META META-MM3.
META META-MM3.
Ever since Metá Metá were formed in 2008, they’ve been at the centre of Sao Paulo’s new, vibrant and exciting music scene. It finds artists constantly collaborating on a variety of new and different projects. This includes the three members of Metá Metá.
When Jucara Marcal, Thiago Franca and Kiko Dinucci are neither recording nor touring with Metá Metá, they’re often to be found collaborating with other musicians on new albums and projects. Then when the time came for the members of Metá Metá to record their solo albums, the musicians they had collaborated with, were more than happy to return the favour. It was a similar story when the time came for Metá Metá to record their third album MM3, which was recently released on the Jazz Village label.
Joining vocalist Jucara Marcal, guitarists Kiko Dinucci and saxophonist Thiago Franca for the recording of MM3, were a few of Metá Metá’s musical friends. This included Siba and Rodrigo Campos who cowrote a trio of tracks. However, when it came to recording MM3, Metá Metá were joined by drummer Sergio Machado and bassist and producer Marcelo Cabral. They’re both active participants in the Sao Paulo music scene. So have Metá Metá, since they were formed back in 2008.
That was when Jucara Marcal, Kiko Dinucci and Thiago Franca made the decision to form a group together in Sao Paulo. It’s the biggest city in Brazil, and has a thriving and eclectic music scene. The three members of Metá Metá were all experienced musicians.
This includes the multitalented Kiko Dinucci. He was born in Sao Paulo, and is a composer, guitarist and visual artist. Kiko Dinucci released his debut solo album Na Boca Dos Outros in 2009, the year after he founded Metá Metá. Two years later, Kiko Dinucci’s other group Passo Torto released their debut album.
Passo Torto released their debut album Passo Torto in 2011. Since then, Passo Torto has released Passo Elétrico in 2013, and in 2015, a collaboration with Ná Ozzetti, Thiago Fraça. This is just part of Kiko Dinucci’s recording career.
In total, Kiko Dinucci has released around fifteen albums. They range from samba and free jazz, right through to noise. He has also worked with some high profile Brazilian artists, including Elza Soares and Tom ZÈ. Kiko Dinucci has also collaborated with many of the leading lights of Sao Paulo independent music scene, including Criolo, Lucas Santtanna, Ava Rocha and Ogi. Despite such an impressive musical CV, music is only part of Kiko Dinucci’s life.
He designs artwork and album covers, including for Meta Meta, Passo Torto, Sambanzo and Charanga do Franca. Then there’s also Kiko Dinucci’s career as a filmmaker. So far, he has two films to his name, Danca das Cabacas and the fictional documentary Breve em Nenhum Cinema. The Metá Metá guitarist it seems, has many talents. Equally talented are the other band members.
Thiago Franca was born in Belo Horizonte, in 1980. Thirty-six years later he somewhat modestly describes himself as a musician, composer, arranger and producer. That is something of an understatement.
It was back in 2009 that Thiago Franca released his debut solo album Na Gafieira. This was something Thiago Franca had been working towards for many years. He had long been a student of samba and chora. During that period, he had played, practised and honed his skills as a musician. These years of practise and studying paid off when Na Gafieira was released in 2009. Five years passed before Thiago Franca released his sophomore album
Malagueta, Perus E Bacanaço was released in 2014, with Space Charanga: R.A.N. following in August 2015. By then, Thiago Franca was dividing his time between Metá Metá, his solo career and countless other projects. This included the groups and projects he was involved with.
Among the other groups Thiago Franca has founded, are Sambanzo and MarginalS. These groups play and sometimes, combine disparate musical genres and influences. This includes Afrobeat, Ethiopian jazz, free jazz, noise and traditional Brazilian music. So is the music Thiago Franca has recorded, produced and collaborated on.
When Thiago Franca isn’t working with Metá Metá, on solo albums or with the other groups he has founded, he can be found working with other artists. This is part of the ethos of the Sao Paulo’s new music scene, artists constantly collaborating. Thiago Franca is no different, and records and produces other groups. Sometimes he even plays live with them. Among the artists Thiago Franca was worked with are Criolo, Emicida, Rodrigo Campos, Lucas Santtanna, CÈu,Otto and Tulipa Ruiz. Thiago Franca has also featured on Dinucci¥s and JuÁara¥s solo albums. It seems that Thiago Franca is just as hard working as Kiko Dinucci. So is the third member of Metá Metá, is Jucara Marcal.
She is Metá Metá’s lead singer, and is a member of Vesper and A Barca. This keeps Jucara Marcal busy. Still, though, she found time to release her debut solo album Encarnado in 2014. It featured songs by Kiko Dinucci and Rodrigo Campos. These songs were part of an award winning album.
Encarnado went on to win the APCA award and the Governor of Sao Paulo’s award for the best album of 2014. Buoyed by the success of Encarnado, Jucara Marcal collaborated with experimental musician Cadu Tenorio on the album Anganga. It was released in 2015, and introduced her music to a new audience. However, this was just Jucara Marcal’s latest collaboration.
Previously, Jucara Marcal has worked with Rodrigo Campos, Luiz Tatit, Ava Rocha, Gui Amabis, Ogi and Criolo. Nowadays though, much of Jucara Marcal’s time is spent working with Metá Metá, which is the mothership that the three members seem to gravitate back to.
Metá Metá was founded in 2008, and since then, has released two Eps and a trio of albums. Each album is different from its predecessor, as Metá Metá take a new approach to Brazilian music. They draw inspiration from different musical genres and influences, including jazz, rock and African music. Especially candomblé, which is the music of the yoruba, fon and bantu groups. This is combined with Brazilian music, and results in music that’s innovative, exciting, and devoid of musical and cultural cliches. That has been the case since Metá Metá’s debut album.
Metá Metá.
Three years after Metá Metá were formed, the released their eponymous debut album in 2011. The album showcased a minimalist sound. It was a case of less is more on Metá Metá, where the trio fused polyphony and silence. This proved an effective combination, and one that caught the imagination of discerning record buyers. However, it was Metá Metá’s sophomore album Metal Metal, that introduced their music to a wider audience.
Metal Metal.
When Metal Metal was released in 2012, gone was the minimalist sound of Metá Metá. It was replaced by a genre-melting, multilayered sound. Elements of African, Brazilian and Latin music were combined with avant-garde, free jazz and even punk. The result was an album that was released to widespread critical acclaim.
Suddenly, Metá Metá’s music was finding an audience much further afield than their native Brazil. Music fans in America, Britain and Europe were won over by Metá Metá. They soon became festival favourites, as they toured the world showcasing their unique, genre-melting sound. Before long, Metá Metá were popular at home and abroad. That popularity will doubtless continue to grown when Metá Metá released their long-awaited and much anticipated third album MM3.
MM3.
With time in their respective schedules, the three members of Metá Metá began work upon their third album MM3. Together, they wrote three songs, Angoulême, Angolana and Corpo vão. Meanwhile, Metá Metá guitarist Kiko Dinucco had written Osanyin; and cowrote Mano Légua with vocalist Jucara Marcal. The band had also decided to cover the traditional song Obá Kosô. It would be given a makeover by Metá Metá and would close MM3. Elsewhere, songwriting partnerships were blossoming.
Especially, between members of Metá Metá and their musical friends. This was how the Sao Paulo music scene worked. Kiko Dinucco wrote Toque Certeiro with Siba. Thiago Franca wrote Três Amigos with Sergio Machado and Rodrigo Campos. He wrote Imagem do Amor with Kiko Dinucco. Gradually, the songs that became MM3 took shape. When they were finished, they were recorded by Metá Metá with a little help from their friends.
As the recording began, vocalist Jucara Marcal, guitarist Kiko Dinucci and saxophonist Thiago Franca were joined by two of Metá Metá’s musical friends. This included drummer Sergio Machado and bassist Marcelo Cabral. They slotted into the rhythm section beside guitarist Kiko Dinucci, and gradually, Metá Metá’s most eclectic album to date, MM3 took shape over the course of just two days.
MM3 found MM3 Metá Metá combining disparate musical genres and influences. This included African music, and specifically, music from, Ethiopia, and Mali, Morocco and Niger MM3. It was combined with avant-garde, jazz and rock. Metá Metá also improvised as they recorded MM3, and this took the music in unexpected directions. Another feature of MM3 was the use of minor scales and harmonies. They feature on MM3, where Metá Metá try to replicate their live sound on MM3. It’s also an album that reflects Brazil in 2016.
The three members of Metá Metá explain: “our music is directly influenced by the present political crisis.” Among the major problems, are poverty, discrimination and civil rights. These aren’t the only problems that affects Brazil. It’s a country divided, especially by wealth. Much of the wealth within the Brazil belongs to a small group of people. They own much of the media, newspapers and magazines. While that may be no different to many other countries, Brazil seems to be teetering on the brink of a major political crisis. However, very few people outside of Brazil are aware of these problems. So Metá Metá use the music on MM3 to publicise the problems faced everyday by the Brazilian people. This Metá Metá hope, will give people a: “glimpse at the possibility of a better, more tolerant place.”
Opening MM3 is Três Amigos. Just a bass combines with the pitter patter of drums and a sultry saxophone. A guitar chimes, as a moody, jazz-tinged cinematic backdrop unfolds. Soon, though, it’s all change and the smouldering backdrop is joined by Jucara Marcal’s vocal. It’s a mixture of power and passion, while searing guitars cut through the arrangement where rock and jazz combine. By then, Metá Metá are improvising, as the braying free jazz saxophone competes with the rhythm section, blistering guitar and a defiant, impassioned vocal. After four minutes, this potent and heady brew reaches a crescendo, and has whetted the appetite for the rest of what could well be a veritable musical feast.
A lone growling saxophone soars high above the arrangement to Angoulême. Before long, the arrangement explodes, as musical genres combine. Elements of avant-garde, punk, rock and free jazz combine with Latin. The punk inspired vocal is joined by a rhythm section that charges across the arrangement. Drums pound, while the saxophone references avant-garde and free jazz. A myriad of whirring, grinding sounds punctuate the arrangement. They remain when the vocal drops out, and combine with the free jazz saxophone. That’s until the urgent, emotive vocal returns as Metá Metá continue combine the spirit of ’76 with avant-garde, free jazz and indie rock. In doing so, Metá Metá showcase their versatility and inventiveness.
Just a probing guitar is played as Imagem Do Amor slowly begins to reveal its secrets. It’s join by a rasping saxophone and a tender vocal. Soon, it’s a mixture of power, passion and defiance, as the rest of Metá Metá kick loose. They create a rocky backdrop, before quivering saxophone signals a change. The tempo drops and Metá Metá return to the earlier understated sound. Not for long, as they soon kick out the jams as a blistering rocky track briefly unfolds. However, Metá Metá are chameleons, and return to a jazz-tinged sound and even balladry, before combining a raucous fission of punk, free jazz and rock. They might seem like strange bedfellows, but work, and work well.
Straight away, Metá Metá kick loose, and embark upon a magical musical mystery tour on Mano Légua. Early on, they incorporate elements of jazz, rock and folk. Again, Metá Metá combine power and volume as they play at breakneck speed. Soon, though, they drop the tempo, and a braying, rasping saxophone joins the chiming guitar. The vocal veers between tender and thoughtful, to a fusion of power and passion. Metá Metá take their lead from the vocal, and when the tempo drops, saxophonist Thiago Franca improvises, and heads in the direction of free jazz. This allows them to showcase their skills. Mostly, Metá Metá play with power, passion and urgency, as if desperate to get their message across on another glorious genre-melting track.
Scampering percussion and drums combines with the bass and chiming guitar on Angolana. A subtle, sultry saxophone proves the perfect accompaniment to what’s one of Jucara Marcal’s best vocals. She sings within herself, eschewing power for tenderness and emotion. The rest of the band take care not to overpower the heartfelt vocal. This results in a beautiful and cinematic track where folk, jazz, Latin and rock combine seamlessly to create one of MM3’s highlights.
Stabs of growling horns join the rhythm section in setting the scene for the vocal on Corpo Vão. It’s soulful, heartfelt and impassioned, while the rest of Metá Metá combine jazz, rock and percussion to create an urgent, dramatic arrangement. A guitar joins the blistering saxophone solo, while drum rolls punctuate the arrangement. Jucara Marcal’s combines power and urgency, before vamping and scatting, as if conjuring up the spirit of Janis Joplin. She inspires the rest of Metá Metá, as they reach new heights, before this memorable and urgent song reaches its crescendo
As Osanyin unfolds, the arrangement is almost understated. Just the guitar, percussion and rhythm section combine with a braying saxophone. Elements of blues and rock combine, while Jucara Marcal’s vocal is tender and sometimes, jazz-tinged. So is the saxophone. It heads in the direction of free jazz, groaning, growling and rasping. Meanwhile, Metá Metá improvise, while Jucara Marcal’s vocal is heartfelt and soulful. Again, she eschews power and sings within herself, while the saxophone is played with power. Especially as Metá Metá improvise, before Jucara Marcal’s vocal returns. All the time, the rhythm section drive the arrangement along, as machine gun licks are unleashed on the guitar. They play their part in what’s a captivating combination of free jazz, rock and jazz.
Straight away, there’s an African influence to Toque Certeiro. This comes courtesy of the rhythm section and chiming, crystalline guitar. Meanwhile, Jucara Marcal scats, before delivers a joyous vocal. Later, bursts of braying saxophone punctuate the arrangement, before growing in power. When the saxophone drops out, Jucara Marcal’s vocal takes centre-stage. It’s soulful and joyous, as the rhythm power the arrangement along. They’re joined by a chiming guitar and the growling guitar. Together, they create a fitting homage to Metá Metá’s love of African music.
Obá Kosô which closes MM3, has a jazz-tinged cinematic sound. The arrangement meanders along African drums and a firmly strummed guitar providing the backdrop to the sultry saxophone. Soon, a bass adds a dark, moody sound, as it prowls along. Late r, a rocky guitar shimmers, and joins the rasping, braying guitar. By now, Metá Metá are enjoying the opportunity to jam, and showcase their musical prowess. Just when it seems things can’t get any better, a soulful, spiritual vocal is added. Harmonies augment the vocal, adding the perfect foil to the vocal. As Metá Metá fuse elements of rock, jazz, soul, Afrobeat and avant-garde, they’ve never sounded better. The Três Amigos have kept the best until last, as they come of age musically.
Although Metá Metá have been together since 2008, and have released two previous albums, MM3 is the best album of their career. Metá Metá and their musical friends have created what is without doubt, the best and most eclectic album of their career. They combine everything from Afrobeat and avant-garde, to folk, free jazz and funk through to jazz, Latin and rock. Seamlessly, Metá Metá switch between musical genres, and sometimes, even combine several different genres on the one track. The result is MM3, a potent and heady brew from one of the leading light’s of Sao Paulo’s new, vibrant and exciting music scene, Metá Metá.
That is no surprise, as Metá Metá feature three truly talented and versatile musicians. They’ve spent the last eight years making music together, and nowadays, are popular throughout America, Britain, Europe and South America. However, MM3 which was recently on the Jazz Village label is the album which should introduce Metá Metá to a new and wider audience.
No wonder. MM3 is a career defining album from Metá Metá. They come of age musically on MM3, an album of genre-melting music with an important social message. It finds the Três Amigos, Metá Metá reach new and untold musical heights on their latest and greatest album, MM3.
META META-MM3.
LITTLE RICHARD-THE RILL THING, THE KING OF ROCK ’N’ ROLL AND THE SECOND COMING.
LITTLE RICHARD-THE RILL THING, THE KING OF ROCK ’N’ ROLL AND THE SECOND COMING.
After a three years absence, Little Richard hit the comeback trail on the 11th March 1970. That was when he began work on his new album The Rill Thing. This would be the first album the thirty-five year old rock ’n’ roller had released since Little Richard’s Greatest Hits: Recorded Live! in July 1967.
It was his second and final album for Okeh. Ironically, Little Richard’s Greatest Hits: Recorded Live! was his first album to chart in ten years. The album reached 184 in the US Billboard 200 and twenty-eight in the US R&B charts. However, this was a far cry from Little Richard’s debut album.
Here’s Little Richard was released in March 1957, on Speciality, and reached thirteen on the US Billboard 200. Since then, album after album failed to chart. It had also been a long time since Little Richard enjoyed a hit single.
Twelve long years had passed since Little Richard enjoyed a top thirty single. Good Golly, Miss Molly had been released in January 1958, and reached number ten in the US Billboard 100.
The followup Ooh! My Soul was released in May 1958, but reached just thirty-one on the US Billboard 100. After that, Little Richard’s singles never came close to troubling the top thirty.
By the time Little Richard’s Greatest Hits: Recorded Live! was released in July 1967, music had changed beyond recognition. Despite this, Little Richard hadn’t changed. Some critics thought he was a relic of music’s past, and of little relevance to modern music. Given how important a part Little Richard had played in the birth of rock ’n’ roll, this must have been hard to take. Some saw it as tough love, After all, the psychedelic era was in full swing, and still, Little Richard kept playing the same songs he had played five and ten years previously. Something had to give.
What nobody expected was for three years to pass without a new Little Richard album. That’s what happened. However, maybe that’s no surprise.
By the mid-sixties, tongues were wagging about Little Richard There were allegations that he was drinking and smoking heavily. This was just the latest indiscretion in a controversial life.
Little Richard’s had been arrested in 1962 for an act of voyeurism in Long Beach, California. This wasn’t the first time he had been arrested for a similar offence. The first time was when he was in his early twenties. That was before he became a he found fame and fortune as a rock ’n’ roll singer. His latest arrest must have caused untold damage to his reputation.
Especially in America’s bible belt, where Little Richard would’ve hoped to sell copies of his new gospel album The King Of The Gospel Singers. It was released in March 1962, and was his third gospel album. The King Of The Gospel Singers proved to be Little Richard’s dalliance with gospel for some time. Little Richard returned to singing what had been called the devil’s music, rock ’n’ roll.
That was the case until 1967. However, Little Richard was out of luck, and after his contract with Okeh expired, didn’t record and release an album for three years. Little Richard’s comeback album was The Rill Thing, which was released on Reprise in August 1970. The Rill Thing, The King Of Rock ’N’ Roll and The Second Coming were recently remastered and reissued as a two CD set by BGO Records. These three albums cover the period between 1970 and 1972, when Little Richard hit the comeback trail.
The Rill Thing.
Three years after recording Little Richard’s Greatest Hits: Recorded Live!, Little Richard began work on his comeback album. He had signed to Reprise Records, and they decided to send Little Richard to Rick Hall’s Fame Studios, in Muscle Shoals.
Strangely, Little Richard had decided not hire Rick Hall to produce his comeback album. This seemed a strange move. After all, if anyone could get Little Richard’s career back on track, it was Rick Hall. He had worked with some of the biggest names in music, and had rejuvenated and transformed careers. However, Little Richard was confident in his own abilities, and was going to arrange and produce his comeback album, The Rill Thing. It was an album of cover versions and songs from the pen of Little Richard.
Nine songs had been chosen for what became The Rill Thing. Little Richard had written Somebody Saw You and Rill Thing, using his real name Richard Wayne Penniman. He also wrote Freedom Blues with Esquerita. The pair then penned Dew Drop Inn with Keith Winslow. Spreadin’ Natta, What’s The Matter? was the final song Little Richard cowrote, this time, with Robert “Bumps” Blackwell and Maybelle Jackson. These Little Richard compositions were joined by four cover versions.
This included Hank Williams’ Lovesick Blues and Lennon and McCartney’s I Saw Her Standing There. They joined Larry Lee’s Two-Time Loser and Travis Wammack and Albert Lowe Jr’s Greenwood, Mississippi. These songs, and the rest of the album, would be recorded in Fame Studios.
When recording began at Fame Studios, Little Richard accompanied himself on piano on Freedom Blues, Dew Drop Inn and Rill Thing. Then for the rest of The Rill Thing, the band joined him.
The band included a mixture of the Muscle Shoals Rhythm Section, and Little Richard’s band. Proving the heartbeat, was Muscle Shoals Rhythm Section drummer Roger Hawkins. He was joined in the rhythm section by Jesse Boyce on electric bass; plus bassists Jerry Masters and Eddie Fletcher and guitarists Albert Lowe and Travis Womack. They were augmented by pianist Clayton Ivey and a horn section. It featured trumpeter Harrison Callay, trombonist Charles Rose, baritone saxophonist Ronnie Eader and tenor saxophonists Wade Jackson and Harry Thompson. They accompanied Little Richard who not only played piano and added vocals, but took charge of arranging and production. After nearly three months of recording, Little Richard and his band completed The Rill Thing on the 2nd of June 1970. Now his comeback could begin in earnest.
With Little Richard having recorded The Rill Thing, Reprise Records scheduled the release of the album for August 1970. This left just two months to promote Little Richard’s comeback album.
By then, Freedom Blues had been released as a single in April 1970. It reached number forty-seven in the US Billboard 100 and twenty-eight in the US R&B charts. This made Freedom Blues Little Richard’s most successful single for twelve years. Critics and record butters awaited the release of Little Richard’s comeback album with interest.
The only albums that had been released while Little Richard had been away, were repackaged compilations of songs. What critics, and indeed record buyers wanted, was a new album from Little Richard. Especially if it offered something new. The Rill Thing certainly did.
On The Rill Thing, Little Richard’s music heads in a new direction, swamp rock. With this multitalented band for company, Little Richard set about reinventing himself. To do this, they combine elements of blues, funk, jazz, R&B and rock. The result was a much more contemporary sounding album. This was what he should’ve done years ago. It was a case of better late than never.
Freedom Blues was a taste of what was to come as a reinvigorated Little Richard hit the comeback trail. He strutted his way through Greenwood, Mississippi and Two-Time Loser. Then on Dew Drop Inn and Somebody Saw You, Little Richard accompanied by blazing horns, rolls back the years. All the time though, Roger Hawkins metronomic drums never miss a beat. It’s an impressive sound.
The same can be said, when Little Richard kicks loose on Spreadin’ Natta, What’s The Matter? He pounds and punishes the piano, and delivers a powerhouse of a vocal. The Rill Thing finds Little Richard and his band jamming, combing funk, jazz and rock on a languid, laid back jam. Lovesick Blues finds Little Richard and his piano taking centre-stage, on a track that’s a tantalising taste of what he was still capable of. He then closes The Rill Thing with his inimitable cover of I Saw Her Standing There. Horns play a leading role, on a barnstorming cover, before Little Richard bids his audience farewell.
Critics and record buyers who had longed for Little Richard to reinvent himself were richly rewarded. The music was full of energy and excitement, and was a reminder why Little Richard was once vied for the title of The King Of Rock ’N’ Roll. With a multitalented band for company, Little Richard had recorded his best album in many a long year. Many critics thought this was a new beginning for Little Richard?
Despite the positive reviews, when The Rill Thing was released in August 1970, it failed to chart. That’s despite selling over 200,00 copies. However, Little Richard enjoyed a minor hit single.
When Greenwood, Mississippi was released, it stalled at just number eighty-five in the US Billboard 100 in 1970. However, with an album that sold over 200,000 copies and two hit singles, The Rill Thing had launched Little Richard’s comeback. Now he had to build upon The Rill Thing. Maybe, The Rill Thing was the Second Coming Of The King Of Rock ’N’ Roll?
The King Of Rock ’N’ Roll.
After Little Richard’s comeback album, The Rill Thing, the man who once vied for the title The King Of Rock ’N’ Roll, began to think about the followup. Surely, Little Richard would make the return journey to Fame Studios, and hookup with the same band?
He didn’t. Instead, Little Richard hooked up with producer H. B. Barnum, to record what was an eclectic album. Despite selling 200,000 copies of The Rill Thing, Little Richard turned his back on swamp rock. This was a disappointment for his fans who liked the swamp rock sound of The Rill Thing. However, this wasn’t the only change Little Richard made.
Whereas he wrote much of The Rill Thing, Little Richard only wrote In The Name and arranged the traditional song Midnight Special. These songs were joined by nine cover versions.
Among them, were two which producer H. B. Barnum cowrote. He penned King Of Rock ‘N’ Roll with Bradford Craig and Green Power with John Anderson. They were joined by Hoyt Axton’s Joy To The World; Keith Richards and Mick Jagger’s Brown Sugar; Hank Williams’ I’m So Lonesome I Could Cry; Ed G. Nelson and Fred Rose’s Settin’ The Woods On Fire and John Fogerty’s Born On The Bayou. The other two songs came from the Motown songbook, including Marvin Gaye and William “Mickey” Stevenson’s Dancing In The Street. It was joined by Robert Rodgers and William “Smokey” Robinson’s The Way You Do the Things You Do. This eclectic collection of songs would become the followup to The Rill Thing.
Recording of The King Of Rock ‘N’ Roll began at the Record Plant, Los Angeles, on 25th of May 1971. Little Richard played electric piano and added his vocals. Behind him, the band covered songs by Hank Williams, The Temptations, Martha and the Vandellas, Three Dog Night and The Rolling Stones. Many of these songs seemed a strange choice for Little Richard. However, he and producer H. B. Barnum reworked the songs, and sometimes, took them in unexpected directions.
The jump blues of of the title-track opens The King Of Rock ‘N’ Roll, and finds Little Richard referencing everyone from Elvis Presley to Sly Stone and even Tom Jones. It’s a dramatic and explosive taste of what Little Richard has in store. Was this the Second Coming of The King Of Rock ‘N’ Roll?
Joy To The World is a slow burner, where Little Richard transforms the song with the help of gospel-tinged backing vocalists. They return and play an important part on Brown Sugar, which in Little Richard’s hands, is reinvented, becoming a driving fusion of rock and R&B. In The Name marks a change in direction, as Little Richard heads in the direction of gospel rock. Then on Dancing In The Street, Little Richard kicks loose, vamping and testifying his way through a joyous take on this familiar song. Midnight Special appears to be slow burner, as Little Richard delivers a soulful vocal. Soon, he’s whooping and hollering, as he launches into driving fusion of R&B, rock and soul. Backing vocalists and horns play their part in the song’s sound and success. They return on The Way You Do The Things You Do, as the song is reworked by Little Richard. Soon, though, it’s all change.
One of the finest cover versions, is a soulful cover of Hank Williams’ I’m So Lonesome I Could Cry. Then Little Richard rings the changes.
He delivers a driving and energetic version of Settin’ The Woods On Fire. It’s a return to his old, familiar sound. Born On The Bayou, the album closer, finds Little Richard vamping, before he unleashes a vocal powerhouse. He sings call and response with the backing vocalists, while horns rasp on song that sounds as of it was Born On The Bayou. It’s part of a truly eclectic album, The King Of Rock ‘N’ Roll.
Despite The King Of Rock ‘N’ Roll’s eclecticism, not all critics were won over by the album. Reviews were mixed. Some critics liked the album, and felt that Little Richard was on the right road. Other critics, including the ever contrarian Rolling Stone magazine weren’t impressed by The King Of Rock ‘N’ Roll. They were the biggest critics of the album. Their criticisms included the way the album had been mixed; the album was under produced; the music was too commercial and Little Richard’s decision to eschew his trusty acoustic piano. However, the times they were a changing, and so was Little Richard. He was determined to return to the album charts.
And so he did. When The King Of Rock ‘N’ Roll was released in October 1971, the album sneaked into the US Billboard at 193. That was as good as it got. Neither of the singles, Green Power which was released in October 1971, nor Dancing in the Streets, which was released in December 1971 charted. However, at least The King Of Rock ‘N’ Roll had charted. This gave Little Richard something to build on. Maybe Little Richard’s luck was changing?
It wasn’t. Around the time Little Richard recorded The King Of Rock ‘N’ Roll, it’s thought that he began taking cocaine. This would eventually cost Little Richard $1,000 a day. Before that, Little Richard had another album to record, Second Coming.
The Second Coming.
By the time Little Richard’s thoughts turned to his new album, his profile was higher than it had been for years. He was a familiar face on American television. Little Richard was also collaborating with a new generation of artists.
Over the last couple of years, Little Richard had recorded Miss Ann with Bonnie and Delaney, for their fourth album To Bonnie From Delaney. It was released in September 1970. Joey Covington of The Jefferson Airplane and Hot Tuna was keen to record with Little Richard, and the pair cut a Bludgeon Of A Bluecoat (The Man). Alas, the song was never released. Little Richard’s duet with Mylon LeFevre on He’s Not Just A Soldier. It found his way onto his 1972 album Over The Influence. The calls kept coming Little Richard’s way.
He was asked to record But I Try with The James Gang. Just like the song Little Richard cut with Joey Covington, the collaboration with The James Gang was never released. Another group that recorded with Little Richard, were Canned Heat. They recorded Rockin’ With The King in late 1971. Little Richard was busier, than ever, and even recorded two songs for a soundtrack. However, as 1972 dawned, Little Richard’s thoughts turned to his new album.
For his third album for Reprise Records, Little Richard was reunited Robert “Bumps” Blackwell. He wrote song for, and produced Little Richard during the time he was signed to Speciality. These were Little Richard’s glory days, and Robert “Bumps” Blackwell had played an important part in the rise and rise of Little Richard. However, could Robert “Bumps” Blackwell do so again, and lead Little Richard into the promised land of commercial success and critical acclaim?
Unlike The King Of Rock ‘N’ Roll, Little Richard wrote most of the songs on The Second Coming. This was an apt title, given it was The Second Coming of the Robert “Bumps” Blackwell and Little Richard partnership. Little Richard wrote Mockingbird Sally, The Saints, Prophet of Peace and Sanctified, Satisfied Toe-Tapper. He cowrote Second Line with Robert “Bumps” Blackwell; It Ain’t What You Do, It’s The Way How You Do It with Pete Kleinman; Rockin’ Rockin’ Boogie with Seabrun Hunter and Thomasine with Maybelle Jackson. The only song Little Richard played no part in, was Nuki Suki with Bill Hemmons wrote. He was part of Little Richard’s band when recording of The Second Coming began.
For the recording of Second Coming, Little Richard and Robert “Bumps” Blackwell who co-produced the album, had put together a band featuring some two generations of top session players. Some were from the fifties, while others would make their name during the seventies. They headed to the Record Plant, Los Angeles, where The King Of Rock ‘N’ Roll had been recorded.
When recording began on the 27th March 1972, the rhythm section featured drummer Earl Palmer, bassist Chuck Rainey and guitarists Mike Deasey, George Davis, Adolph Jacobs and David T. Walker. They were joined by Sneaky Pete Kleinow on pedal steel guitar, baritone saxophonist Bill Horn and tenor saxophonistsLee Allen and Bill Hemmons. Little Richards played piano, added vocals and lead the band. By the 12th of April 1972, Second Coming was complete. The album had been recorded in just sixteen days. Second Coming was scheduled for release in September 1972.
With Little Richard and Robert “Bumps” Blackwell reuniting for Second Coming, it was an exciting prospect for critics and fans alike. Eventually, critics received their advance copy of Second Coming, and at last were able to decide whether the album was the Second Coming of The King Of Rock ‘N’ Roll.
Mockingbird Sally explodes into life, and open Second Coming. It’s powered along by the piano and rhythm section while horns augment, a vampish, powerhouse of a vocal. It’s a reminder of Little Richard’s glory days. Second Line finds Little Richard vamping, while his band combine R&B, funk and jazz. There’s no letup on It Ain’t What You Do, It’s The Way How You Do It. Again, Little Richard combines power and soul, before he and his band showcase their considerable skills. Seamlessly, two generations of musicians unite.
It’s a similar case on The Saints. Although it’s credited to Little Richard, the song has been inspired by When The Saints Go Marching In. It’s given a makeover, as jazz, funk and R&B are combined by this Little Richard and his tight, talented band. Nuki Suki is a similar to The Saints, and features another musical masterclass by the band. Again, they fuse jazz, funk and R&B as Little Richard, ever the showman vamps his way through this Bill Hemmon composition. Then on Rockin’ Rockin’ Boogie, Little Richard unleashes some boogie woogie piano, and a vocal that’s a mixture of raw power and enthusiasm. He’s always in control though, as he pounds his piano, that drives the arrangement along. Soon though, Little Richard rings the changes.
Prophet Of Peace has a much more contemporary sound. Funky describes the introduction, before Little Richard’s band combine blues and rock. Meanwhile eschews power for a soliloquy, on one of Second Coming’s highlights. On Thomasine, Little Richard’s hurt-filled vocal sits atop the rhythm section and horns. They drive the funky arrangement along, while Little Richard lays bare his hurt for all to hear. Sanctified, Satisfied Toe-Tapper closes Second Coming. and is a truly irresistible track where funk and R&B combine with soul jazz and boogie woogie on this epic jam. It seems Little Richard has kept the best until last. Critics agreed.
The Second Coming won the approval of most critics, and it looked as if the renewal of the Little Richard and Robert “Bumps” Blackwell had worked. Critics were won over by Second Coming, which mixed elements of Little Richard’s old sound with a new, funkier, contemporary sound. However, how would record buyers respond when Little Richard released The Second Coming?
Sadly, when The Second Coming was released in September 1972, the album never troubled the charts. By then, Little Richard felt that his three Reprise Records’ albums hadn’t been promoted sufficiently. It was a frustrating time for him. Adding to Little Richard’s frustrations, was the commercial failure of Mockingbird Sally. It was released in November 1972, but failed to chart. For Little Richard, this marked the beginning of the end of his time at Reprise Records.
Although Little Richard recorded one further album for Reprise Records, Southern Child was shelved and never released until 2005. The Second Coming proved to be the last album Little Richard released for Reprise Records. At least Little Richard’s Reprise Records’ swan-song was an album to be proud of.
The renewal of the Little Richard and Robert “Bumps” Blackwell partnership resulted in an album that found Little Richard at his enthusiastic and energetic best. If more time and money had been spent promoting the album, maybe just maybe, Little Richard would’ve returned to the US Billboard 200 and surpassed the success of The King Of Rock ‘N’ Roll? Second Coming was an album that deserved to fare better than it did. Alas, it failed commercially, and to all intents and purposes ended Little Richard’s time at Reprise Records. Sadly, this period of his career is often overlooked.
That’s a great shame, as The Rill Thing marked a welcome return to form from Little Richard as he headed in the direction of swamp rock. Record buyers recognised that the man who was once regarded as The King Of Rock ‘N’ Roll was back, with one of his finest albums in many a year. Over 200,000 copies of The Rill Thing were sold. This wasn’t enough to trouble the charts.
A year later, The King Of Rock ‘N’ Roll managed to sell enough copies to sneak into the lower reaches of the charts. The King Of Rock ‘N’ Roll had been produced by H.B. Barnum, and is an underrated album, that features some memorable moments from Little Richards. He revisited his musical past, and combined this with the music of the early seventies. Little Richard was catering to old and new fans alike on The King Of Rock ‘N’ Roll. However, on The Second Coming he bowed out in style.
Little Richard and Robert “Bumps” Blackwell combined to create an album that rivals The Rill Thing. It’s a close run thing, with The Rill Thing proving a slightly stronger album. These albums are the best that Little Richard had released in a long time. Sadly, The Rill Thing, The King Of Rock ‘N’ Roll and Second Coming never found the audience they deserve. Now BGO Records have remastered and reissued The Rill Thing, The King Of Rock ‘N’ Roll and Second Coming as a two CD set. This is a very welcome reissue, and one that’s a reminder of The Second Coming Of Little Richard who was The Rill Thing, and many thought, was The King Of Rock ‘N’ Roll.
LITTLE RICHARD-THE RILL THING, THE KING OF ROCK ’N’ ROLL AND THE SECOND COMING.
PASCAL PINON-SUNDUR.
PASCAL PINON-SUNDUR.
It used to be that fourteen year olds dreamt about forming a band, and releasing an album. This they hoped, was the start of a career in music, and the road to fame and fortune. They dreamt of touring the world and releasing a string of critically acclaimed and commercially successful albums. Alas, things don’t quite pan out that way.
In reality, very few fourteen years olds ever get round to forming a band. Especially nowadays.
Nowadays, rock ’n’ roll doesn’t seem to be the career path of most fourteen year olds. They seem more concerned with schooling and exams, than the more important things in life, like rock ’n’ roll. The few fourteen years old who do decide form a band, often never even get as far as playing live. Their nascent career has hit the buffers and their dreams are their left in tatters, without playing note in anger. These are changed times.
During the sixtes and seventies, many fourteen year olds dreamt of making a career out of music. It was a way to escape poverty. So they decided to try and follow in the footsteps of The Beatles, Rolling Stones, The Kinks, Genesis and Yes.
By then, many fourteen year olds had learnt to play an instrument, so with a few friends, formed a band. Practise sessions were held in bedrooms or garages. The next step was to play live. Usually, this meant playing at youth clubs. Those bands that managed to survive the experience unscathed, went on to repeat the experience until they were old enough to play in pubs and clubs. Then maybe, the band would be spotted by an A&R rep from one of the record labels? Sometimes, thugh, further education, relationships and work intervened and the dream was over. Very few bands made were picked up record companies, and a tiny percentage of those got as far as releasing an album. At least they dared to dream.
Nowadays, it seems, most fourteen year olds don’t seem to place the same importance on music. They certainly don’t live and breath it like previous generations. The times they are a changing. Things have even changed since twin sisters Jófríður and Ásthildur Ákadóttir were fourteen.
That was less than ten years ago. Back then, Jófríður and Ásthildur Ákadóttir were growing up in Reykjavík, Iceland. They loved, and literally lived and breathed music. So much so, that they decided to form a band with two friends. This band they named Pascal Pinon, which recently, released its third album Sundur on Morr Music
Having made a decision to form a band Jófríður and Ásthildur Ákadóttir gathered together every musical instrument they had. This they doled out to their two friends had joined the band. The nascent band began to practise in the twin’s bedroom. Gradually, they began to hone their sound, and within a couple of months, were able to plan their first concert.
This concert Pascal Pinon billed as The Friendly Concert. It was a success, and was a stepping stone to greater things. Soon, Pascal Pinon were playing at various local venues, and were already a popular draw. Already, Pascal Pinon were thinking of the next step in their musical career…recording an album.
Pascal Pinon.
To record what became their debut album Pascal Pinon, the band borrowed a house in the nearby town of Voga. They made the short journey from Reykjavík, and transformed the house into a makeshift recording studio. That was where the eleven new songs that became Pascal Pinon were recorded.
For Pascal Pinon, cofounder Jófríður Ákadóttir had written nine new songs. Bassist Halla Kristjánsdóttir wrote Moi with Kristín Ylfa Hólmgrimsdóttir and Pascal Pinon. Closing Pascal Pinon, was a cover of Davíð Stefánsson’s En Pú Varst Aevintýr. These eleven tracks were recorded by the four members of Pascal Pinon.
When the recording of Pascal Pinon began, Jófríður Ákadóttir played guitar and added vocals. Her sister Ásthildur Ákadóttir played accordion, bass, keyboards and added vocals. Augmenting the sisters, were bassist Halla Kristjánsdóttir and Kristín Ylfa Hólmgrimsdóttir, who switched between guitar, glockenspiel, flute and recorder. At first Jófríður Ákadóttir’s shyness meant she had some difficulties laying down her vocal parts. Soon, though, she had overcome her shyness and the recording began to take shape. With everything going to plan, the eleven songs were soon recorded. Pascal Pinon left their makeshift studio behind and began to make plans.
With their eponymous album recorded, Pascal Pinon’s thoughts turned to releasing the album. At first, Pascal Pinon decided to self release Pascal Pinon. So Pascal Pinon was initially released in 2009. There was a tweeness and innocence to Pascal Pinon’s mixture of acoustic Neofolk and lo-fi pop. It was no surprise that the album soon found an audience. This lead to Morr Music signing Pascal Pinon.
Now signed to Berlin-based Morr Music, Pascal Pinon was rereleased in December 2010, complete with a new album cover. This resulted in Pascal Pinon’s music reaching a wider audience. The band that had been formed in a Reykjavík bedroom by twin sisters was already making its presence felt. They were well on their way to living the dream.
Twosomeness,
Buoyed by the reception and success of their eponymous debut album, Pascal Pinon soon began work on their sophomore album. By then, the Reykjavík based duo had their own home studio. This they named Jónsi and Alex’s Home Studio, which was a home from home for the twins. This would be the perfect place to record their sophomore album Twosomeness, which they were in the process of writing.
Eventually, twelve new songs were written, and would become Twosomeness. Again, Jófríður Ákadóttir had played a huge part in the writing process. She wrote eight of the songs, and cowrote the other four. This included Ekki Vanmeta, which Ásthildur Ákadóttir cowrote the lyrics to; while Davíð Stefánsson contributed the lyrics to Sumarmál. Rósa Þórisdóttir cowrote the lyrics to Þerney (One Thing) and wrote the lyrics to Fernando. These songs were recorded in Jónsi and Alex’s Home Studio.
By then, Pascal Pinon were now duo. There had been neither a fallout, nor any bad feeling. Jófríður and Ásthildur had founded the band, and had always been Pascal Pinon’s senior partners. They wrote the songs, played the majority of the instruments and dictated musical direction. So the other two members left the band, but would occasionally return to lend a hand. Not this time around though.
Instead, Jófríður and Ásthildur played most of the instruments. Jófríður Ákadóttir played clarinet, guitar, keyboards and added vocals. Ásthildur Ákadóttir showcased her versatility, playing bassoon, dulcitone, glockenspiel, harmonium, keyboards, piano and contributed vocals. Given the sisters’ versatility, only Róbert Reynisson was drafted in, and played electric guitar. Producing Twosomeness. was Alex Somers who played bass and a variety of toy instruments. This would be part of the sound of what was a very personal album, Twosomeness.
When recording of Twosomeness began, Jófríður and Ásthildur were closer than ever. This was very different to what happens in many families and bands. Often, young people begin to drift apart. Not Jófríður and Ásthildur, Instead, their friendship was blossoming, and were growing even closer. Musically, the sisters had become one, united in a common purpose, making music. They celebrated their togetherness and unity on Twosomeness which was recorded in their new studio.
Gradually, the twelve song begin to take shape at Jónsi and Alex’s Home Studio. It housed a myriad of musical instruments, including a selection of keyboards and guitars. These were put to good use on Twosomeness, which had a different sound to their eponymous debut album. That became apparent when Twosomeness was complete.
Morr Music scheduled the release of Twosomeness for 2012. When critics heard the album, they realised that Twosomeness was a move away from the understated, sparse sound of their eponymous debut album. Replacing this, was a much more eclectic album. It featured arrangements that were much fuller. They incorporated elements of pop and folk. Another difference was, that this time around, some of the lyrics were sung in English, while the rest are delivered in their native tongue. The lyrics were celebratory and had a strong narrative, while the music veered between ethereal and ambient to otherworldly and joyous. Twosomeness was a celebration of the sisters growing closer, at an age when many siblings and band members would be growing apart.This was something to celebrate. So were the reviews of Twosomeness.
Critics were won over by the quality of music Twosomeness. It was a truly captivating album that won the hearts and minds of critics. Critical acclaim accompanied the release of Twosomeness in January 2013. Pascal Pinon were hailed one of the rising stars of European music, and their next album was awaited with interest.
Sundur.
Over three years would pass before Pascal Pinon returned with their third album, Sundur. A lot had happened since then.
Pascal Pinon had headed out on tour to promote Twosomeness. This took up much of 2013. By then, the two sisters had come to one of the toughest decisions of their young lives, they had to spend some time apart.
This came when Asthildur got the opportunity to sturdy classical piano and composition in Amsterdam. It was the opportunity of a lifetime, and one most musicians would’ve grasped with both hands. However, this meant the two sisters would be apart for the best part of two years. The course was due to begin in early 2014, and would last until late 2015. For Asthildur, it was a tough decision, and one she didn’t take lightly. Eventually, she decided to head to Amsterdam. Meanwhile, an opportunity arose for Jofriur.
When Jofriur isn’t recording and touring with Pascal Pinon, she has another band Samaris. They got the opportunity to tour the world during part of the time Asthildur was in Amsterdam. This for Jofriur was an opportunity of a lifetime, and would fill the void left by her sister’s decision to head to Amsterdam.
During the time Jofriur toured the world with Samaris, she lead a nomadic lifestyle. She travelled from city to city, playing a gig, before heading off to the next venue. This was the routine night after night, week after week. Eventually, the tour was over and the sisters were reunited.
Jofriur travelled from Reykjavík in Iceland to see Asthildur, in Amsterdam. Some times, Asthildur made the return journey, and travelled from Amsterdam to see Jofriur in Reykjavík. The sisters bond and friendship was stronger than ever. So is their determination to make music.
They had sent eighteen months writing and recording Pascal Pinon’s third album Sundur. The title was taken from an Icelandic proverb sundur go saman, which translates as apart and together. This describes the sister’s relationship during the time that Asthildur spent in Amsterdam.
The time the twins spent apart, has provided the inspiration for
Sundur. The time they spent apart is the thread that runs through the album.Given how close the sisters had been all their lives, being geographically separated for the best part of two years, must have been a traumatic time. It’s documented throughout Sundur. However, with the two sisters geographically separated, writing Sundur was problematic.
Usually, the sisters wrote together. That wasn’t as easy, even though they continued to visit each other. During these visits, songs began to take shape. However, it wasn’t until late 2015 that the songs were completed. With the songs written, the finishing line was soon in sight for Pascal Pinon, as Sundiur neared completion.
Sundur had been written and produced over an eighteen month period, quickly came together. The majority of Sundur was recorded within a two day period. By late 2015, Pascal Pinon’s much-anticipated third album was competed. The question was, what awaited listeners.
On Sundur, Pascal Pinon showcased music where they revisited their eponymous debut, but also headed in a totally new different. The music on Sundur was folk-tinged and minimalist. It was also lo-fi, with experimental leanings. There was a rawness to the music, while arrangements are understated and sparsely orchestrated. They feature mesmeric rhythms and a driving piano. Sometimes, they’re augmented by the occasional synths. Adding a percussive sound, was composer and engineer Aki Asgeirsson. He’s also the proud father of Jofriur and Asthildur. He transforms scrap metal into a percussion instruments, which he plays. All this helps to frame Pascal Pinon’s inimitable vocals. Just like on their two previous albums, the vocals are at the heart of the sound and success of Sundur.
Opening Sundur is Jósa and Lotta. A piano plays, and at first, is distant, and hidden behind filters. Gradually, it moves to the front of the arrangement and accompanies Pascal Pinon’s heartfelt, urgent vocals deliver the carefully crafted lyrics. Pascal Pinon sing in unison. Meanwhile, an organ sits below the piano, as Pascal Pinon sing: “two birds both that fly high, two stars on each side, try to push and to carry on, in a desperate measure to belong.” Later, the vocals drop out leaving just the piano and organ. It drops out, and is replaced by furistic keyboards, in what’s a beautiful, ruminative song.
Just acoustic guitars play as 53 unfolds. They’re played slowly and deliberately, ushering in the vocal. It is full of sadness and hurt, singing: “his mother would have been 53, her misery took her away, what a view out the window, she followed it down and closer her eyes for eternity.” Soothing, cooing harmonies and guitars accompany the vocal. The lyrics are dark, powerful and cinematic, while the understated arrangement frames the vocal perfectly. This is an arrangement where less is more, and allows the vocal to take centre-stage.
A droning synth and drum machine are joined by Aki Asgeirsson’s metallic percussion on Forest. Soon, horns signals the arrival of a tender, almost nervous and urgent vocal. The vocal breathes life and meaning into the cinematic lyrics. “I’ve been listening for the weather report,hoping that I’ll hear some news of recovery.” By then, it’s possible to imagine someone trapped within a Forest desperately waiting to be rescued, as thoughts racing through their mind. Especially here, where two people have been separated and long to be reunited. “If I could cross the ocean in my head, I’d be there in your arms again.” Meanwhile, the arrangement features the pitter patter of metallic percussion, a myriad of beeps and squeaks, lumbering beats and even horns. Later, strings add the finishing touch. They’re used sparingly and prove an effective addition to this moving, cinematic song.
It’s just a crystalline acoustic guitar that opens Skammdegi. It’s joined seesaw keyboards before the vocal enters. This time, Pascal Pinon revert to their native tongue. Their delivery is tender and deliberate. Sometimes, they harmonise, as synths wah-wah in the background. They’re used sparingly, allowing the vocal to take centre-stage, as the guitars play a supporting role. Later, the tempo slows, and the arrangement meanders, melodically along, in what’s a beautiful example of Neofolk.
An accordion plays and reverberates on Fuglar. It’s joined by an ethereal vocal. A bass is played carefully and slowly, adding a heartbeat as vocals and harmonies intertwine. Sometimes, it sounds as if Fuglar has been inspired by John Martyn’s One World. There’s similarities in the way the accordion, reverberates and creates a wash that provides the backdrop for the vocal. They combine to create a track where folk’s part and present combine. Together they create a captivating and mesmeric song whose ethereal beauty is omnipresent.
Synths and a piano combine as a drum machine scampers on Spider Light. They’re soon joined by an organ, as layers of music combine and become part of something that’s greater than the sun of its parts. Synth strings are added, and provide the perfect counterpoint to the piano on a track where lo-fi and experimental combine with electronica to create a multilayered and genre-melting soundscape that shows another side to Pascal Pinon.
Orange is a relationship song and about how nothing ever stays the same. “I had a lover, one I found flying for overseas, and soon it was over, it was bittersweet, he sent me a letter and soon, all my tears had been shed.” Soon, heartbreak and hurt give way to anger and frustration, and the realisation: “that nothing ever stays the same.” All the time, just a lone piano accompanies the vocal. Later: “now I have a lover, who lives close to me on the same sea, sometimes he’s bitter, but mostly, he’s sweet.” Still though, in the back of Jófríður’s mind is the realisation: “that nothing ever stays the same.”
From the distance, a droning sound draws nearer on Twax. Soon, percussion tinkles and chimes on this minimalist, lo-fi sound. Again, this less is more approach works, and works well. It’s captivating and has the listener spellbound, as instruments and found sounds appear, disappear and reappear on this understated, ambient track. Maybe Pascal Pinon should record an album of this type of music?
Percussion jangles, before a harmonium plays on Babies. Meanwhile, Pascal Pinon add soft, thoughtful vocal as a distant drums plays ominously. This provides the perfect accompaniment to the lyrics. They sing of: “lift ourselves from the ground, let wings grown from our backs, as if we’re angels.” Maybe this is a relocation of someone struggling to come to terms with adulthood? Especially when later, Pascal Pinon sing: “lower ourselves from the skies, and onto the earth, let arms grown out of our bodies, as if we’re babies.” Their ethereal vocals give way the wavering harmonium and the ominous beat of drums. This allows the listener to reflect and ruminate on the lyrics.
Ast is another piano lead song. It features Jófríður’s tender, ethereal vocal. Sometimes, though, the piano is played firmly and briskly. This provides a contrast to the tender, soul-baring vocal that oozes emotion.
Weeks which closes Sundur, opens with siren like synths providing the backdrop for an emotive vocal. Jófríður sings: “weeks pass so fast that it amazes me, I don’t know how to keep track of time, with every day memories of the golden days, they disappear and turn into black.” There’s a sadness and a longing for these days, as the sirens continue to ring out. It’s as if they send out a warning that time is passing, and passing quickly, so best make the best of that time. Suddenly, this realisation seems to hit home, as emotion and sadness fill Jófríður’s vocal on what’s a truly poignant, wistful and thoughtful song. Pascal Pinon have kept one of their best songs until last on Sundur.
After three years away, Pascal Pinon return with Sundur, which is a career defining album. Sundur is without doubt, the best album of Pascal Pinon’s career. It’s certainly their most eclectic album.
Sometimes, Pascal Pinon sound as if they’ve been inspired by Astrid Williamson’s early albums, John Martyn and Kate Bush. There’s even a nod to Sandy Denny, on what’s a thoroughly modern album of folk music.
Sundur finds Pascal Pinon combining disparate genres. There’s elements of ambient and avant-garde, plus electronica and experimental, right though to folk, Neofolk and pop. Sometimes, several genres melt into one on the one multilayered song. Other times, the songs are minimalistic, with sparse, spartan arrangements. They often feature just guitars or a piano, which proves the perfect accompaniment to the vocal. There, less is more. Then on the two soundscapes, Pascal Pinon let their imagination run riot, and create captivating instrumentals. However, captivating is a word that perfectly describes Sundur, which was recently released on the Berlin-based Morr Music.
The music on Sundur can also be described as beautiful, cinematic, emotive and ethereal, but also dark, ruminative and wistful. Always though, the music on Sundur is captivating on what is without doubt, a career-defining album where Pascal Pinon come of age musically.
PASCAL PINON-SUNDUR.
DEEP PURPLE-THE JOURNEY TO ROCK TITANS.
DEEP PURPLE-THE JOURNEY TO ROCK TITANS.
Little did record buyers realise it,that the seventies was the golden era for rock music. That was when rock music came of age. So did true titans of rocks, like Led Zed Zeppelin, Black Sabbath and Deep Purple. As the seventies dawned, they become three of biggest bands in the world.
For the four members of Led Zeppelin, their lives were transformed when their debut album became one of the biggest selling albums of 1969. This was the start of the rise and rise of Led Zeppelin. They had released three albums that had sold over twenty-five million by the time Deep Purple made a commercial breakthrough.
It had taken four albums before 1970s Deep Purple In Rock transformed the fortunes of Deep Purple. For the next five years, commercial success and critical acclaim would be constant companions of Deep Purple. Between 1970 and 1975 Deep Purple enjoyed worldwide success. Deep Purple would also become one of hardest rocking groups of the seventies.
Vying with Deep Purple for the title of Kings of seventies rock were Led Zeppelin and Black Sabbath. Just like Deep Purple, they were hugely successful and hard rocking bands. They were also the hardest living living rock groups. This lead to them being known as the “unholy trinity of British hard rock and heavy metal.” The three groups seemed proud of their infamy, and wore it like a badge.
The “unholy trinity’s” penchant for the rock ’n’ roll lifestyle was legendary. Excess and extravagance was an everyday occurrence. Similarly, chaos and carnage was omnipresent as the “unholy trinity” toured the world. Each group seemed to determined to outdo the other. Hotel rooms were wrecked, televisions thrown out of windows and copious amounts of drink and drugs consumed. This would ultimately come at a human cost later in the seventies with the death of Led Zeppelin’s John Bonham. Until then, the party continued; and the “unholy trinity” continued to make what would be remembered as some of the best, and most memorable music of the seventies. They were living the dream. Especially Deep Purple, who had only been formed in 1968.
Deep Purple were formed in 1968 in Hertford. However, the story begins in 1967. That was when ex-Searchers drummer, Chris Curtis, contacted London based businessman, Tony Edwards, with a business proposition. Chris wanted to create a supergroup which he would name Roundabout. The idea behind the name was that the lineup was fluid. Members would come and go, on what was akin to a musical roundabout. Tony Edwards liked the idea and brought onboard Jon Coletta and Ron Hire. They named their new venture Hire-Edwards-Coletta (HEC) Enterprises. Now with financial backing, Chris Curtis started putting together Roundabout.
The first member of Roundabout was Jon Lord, a classically trained organist. He’d previously played with The Artwoods. Guitarist Richie Blackmore, who recently, had been working as a session musician is Hamburg auditioned. He too joined Roundabout. So did bassist Nick Simper, whose most recent band was The Flower Pot Men. Nick was a friend of Richie Blackmore. The two other members of Roundabout were also friends. Rod Evans was recruited as the lead vocalists. Previously, he was a member The Maze. Their drummer was Ian Paice. Nick became the final piece in the jigsaw. However, he was not the first choice drummer.
Originally, Bobby Woodman was meant to be Roundabout’s drummer. He was drummer when Rod Evans auditioned as vocalist. Richie Blackmore had seen Nick Paice playing before. Although just eighteen, Richie knew Ian Paice was a good drummer. So when Bobby headed out to buy cigarettes, Ian Paice was auctioned. Instantly, everyone realised Nick Paice was a better drummer. When Bobby returned with his cigarettes, he was no longer Roundabout’s drummer. However, at least Roundabout’s lineup was settled. Or so people thought.
Roundabout were kitted out with the finest equipment and lived at Deeves House in South Mimms, Hertfordshire. This was their home during March 1968. That was, until they headed out on a short tour of Denmark and Sweden. It was during this tour that Roundabout became Deep Purple.
It was Richie Blackmore that came up with the name Deep Purple. This was the name of his grandmother’s favourite song. That was the name he wrote on the blackboard, when everyone was asked to choose a new name for the nascent band. Deep Purple wasn’t the favourite though. That was Concrete God. However, the members of Roundabout decided against it. They felt the name was too harsh. So Roundabout became Deep Purple and began recording their debut album in May 1968.
Shades Of Deep Purple.
When Deep Purple entered Pye Studios, in Marble Arch, London Deep Purple in May 1968, they’d chosen ten songs for their debut album Shades Of Deep Purple. Seven songs were written by members of Deep Purple. The other three songs were cover versions. This included Joe South’s Hush, Lennon and McCartney’s Help! and Joe Roberts’ Hey Joe which is synonymous with Jimi Hendrix. These ten songs were recorded by the original version of Deep Purple. This included vocalist Rod Evans, drummer Ian Paice, bassists Nick Simper, organist Jon Lord and guitarist Richie Blackmore. Producing Shades Of Deep Purple was a friend of Richie’s, Derek Lawrence. Once Shades Of Deep Purple was recorded, it was released later in 1969
When critics heard Shades Of Deep Purple they weren’t impressed. Reviews were mostly negative. Since then, critics have rewritten history and most reviews of Shades Of Deep Purple are positive. Back in 1968, things were very different. Shades Of Deep Purple was perceived as unfocused. It was a mix of psychedelia, progressive rock, pop rock and thanks to Richie’s guitar riffs, hard rock. That was why many critics disliked Shades Of Deep Purple. Record buyers had different ideas about Shades Of Deep Purple,
Shades Of Deep Purple was released in July 1968 in America. It reached number twenty-four in the US Billboard 200 charts. This was no doubt helped by Hush reaching number four in the US Billboard 100 charts. Two months later, Shades Of Deep Purple reached number fourteen in Britain. For Deep Purple their debut album had been a commercial success and their lives transformed.
After the commercial success of the single Hush and Shades Of Deep Purple, Deep Purple were booked into a gruelling tour of America. Their American record company, Tetragrammaton, decided that Deep Purple should record another album. So Deep Purple headed into the recording studio in September 1968 to record The Book of Taliesyn.
The Book of Taliesyn.
Time was against Deep Purple. There wasn’t long before their American tour began. Deep Purple only had five new songs written. They had to rely upon cover versions to complete The Book of Taliesyn. Neil Diamond’s Kentucky Woman, Lennon and McCartney’s We Can Work It Out and River Deep, Mountain High completed The Book of Taliesyn. It was released in America in December 1968,
Just like Shades Of Deep Purple, The Book of Taliesyn was a mixture of psychedelia and progressive rock. The only difference was it had a harder edge. Deep Purple’s trademark sound was evolving. Critics seemed to prefer The Book of Taliesyn. It received a much more favourable reception from critics. This was also the case upon the release of The Book of Taliesyn.
Released in December 1968, The Book of Taliesyn reached number fifty-four in the US Billboard 200. Two singles were released in America. Kentucky Woman reached number thirty eight in the US Billboard 100 charts. Then River Deep, Mountain High stalled at number fifty-three in the US Billboard 100 charts. The Book of Taliesyn charted in Canada and Japan. It seemed word was spreading about Deep Purple. However, in Britain, The Book of Taliesyn failed to chart. That wasn’t the only problem Deep Purple would have.
Deep Purple.
By 1969, Deep Purple were becoming a tight, talented band. Onstage and in the studio, they were growing and evolving. This included as songwriters. Although they’d only been together just over a year, they were a much better band. They’d released two albums and toured constantly. There was a problem though. Which direction should their music take?
Some members of Deep Purple wanted their music to take on a rawer, harder sound. This didn’t please everyone. Lead vocalist Rod Evans and bassist Nick Simper were in the minority. Organist Jon Lord, guitarist Richie Blackmore and drummer Nick Paice wanted the band to change direction. With the band split, this wasn’t the best way to prepare for the recording of their third album Deep Purple.
For Deep Purple, the band were keen to turn their back on cover versions. Deep Purple only featured one cover version, Donavon’s Lalena. The eight tracks were all written by members of Deep Purple. Just like their first two albums, Deep Purple would be produced by Derek Lawrence.
Recording of Deep Purple took place during a two-month tour. Deep Purple had ensured they had some free days where they could record their third album during January and March 1969. Recording took place at the De Lane Lea Studio, London. They were familiar with the De Lane Lea Studio. Previously, Deep Purple had rerecorded The Bird Has Flown there. So, they were familiar with the room. This allowed Deep Purple to work quickly. With their reputation in America growing, Deep Purple wanted their eponymous album released as soon as possible.
As soon as Deep Purple was recorded, Deep Purple jumped on a plane and headed back to America. They rejoined the tour of the country that had claimed them as their own. There was a problem though. Tetragrammaton, Deep Purple’s American label hadn’t pressed the album. Worse than that, the label had financial problems. Within a year, they would be insolvent and filing for bankruptcy. Already, this was affecting Deep Purple. Their manager John Colleta headed home. He decided that this would save on a hotel room. Things it seemed, couldn’t get any worse for Deep Purple.
On the release of Deep Purple in June 1969, the album had a harder sound. Elements of blues, progressive rock and heavy metal combined on seven tracks. The exception was The Bird Has Flown. It veered off in the direction of classical music. Mostly, though, Deep Purple’s trademark sound was evolving. How would critics and fans respond to Deep Purple?
Given the problems with Tetragrammaton, it’s no surprise that Deep Purple wasn’t a commercial success. Tetragrammaton couldn’t afford to promote Deep Purple properly. Despite generally positive reviews from critics, Deep Purple stalled at 162 in the US Billboard 200 charts. It failed to chart in the UK on its release in November 1969. At least Deep Purple charted in Japan. Things looked up when Deep Purple was certified gold in Germany. That was the only good news Deep Purple enjoyed.
The tension that was within Deep Purple bubbled over after the release of their third album. This lead to vocalist Rod Evans and bassist Nick Simper being replaced. In came vocalist Ian Gillan and bassist Roger Glover. Little did anyone realise that this would later, be perceived as the classic lineup of Deep Purple. It was also the lineup that recorded the album that saw Deep Purple make a commercial breakthrough in Britain, Deep Purple In Rock.
Deep Purple In Rock.
With their new lineup, Deep Purple Mk II entered the studio for the second time. They made their recording debut on Concerto for Group and Orchestra which was a collaboration between Deep Purple and The Royal Philharmonic Orchestra. However, Deep Purple In Rock was the start of a new era in Deep Purple’s history.
Recording of Deep Purple In Rock took place at IBC, De Lane Lea and Abbey Road Studios. A total of seven songs were recorded. They were written by Deep Purple. These seven songs showcased the new Deep Purple. The music was heavier and more like what would be seen as their classic sound. This was essentially hard rock or heavy metal. It was after the success of Deep Purple In Rock that lead to Deep Purple being referred to as the third member of the “unholy trinity of British hard rock and heavy metal.
Deep Purple released Deep Purple In Rock on 3rd June 1970. This was Deep Purple’s first album to be released to widespread critical acclaim and commercial success. It was the first Deep Purple album to reach the top ten in Britain. Deep Purple In Rock reached number four in Britain. In America, Deep Purple In Rock only reached number 143 in the US Billboard 200 charts. Elsewhere, Deep Purple In Rock was a huge commercial success worldwide.
From Europe to Argentina, America and Japan, Deep Purple In Rock was a huge success. This resulted in gold discs for Deep Purple in America, Argentina, Britain, France and Holland. For Deep Purple, Deep Purple In Rock was a game-changer. Their decision to change direction musically was vindicated. Now, Deep Purple were one of the biggest bands in rock music. Little did Deep Purple realise that they were entering the most successful period of their career.
Fireball.
Fireball was the first of three number one albums Deep Purple would have in Britain. Belatedly, Britain had “got” Deep Purple. They were their own, and were proud of that. The hard rocking quintet’s unique brand of hard rock was winning friends and influencing people. Having toured extensively, at last Deep Purple were now part of British rock royalty. This continued with Fireball.
Given Deep Purple extensive touring schedule, albums were recorded whenever the band had downtime. Fireball was recorded during various sessions that took place between September 1970 and June 1971. Recording took place at De Lane Lea Studios and Olympic Studios, London. Other sessions took place at The Hermitage, Welcombe, North Devon. During these sessions, seven tracks were recorded. Each of the tracks were credited to the five members of Deep Purple. Unlike other bands, everyone in Deep Purple played their part in the songwriting process. That had been the case since the first album Deep Purple Mk. II had recorded, Deep Purple In Rock. Just like Deep Purple In Rock, Fireball would be a commercial success.
Most critics gave Fireball favourable reviews. There were very few dissenting voices. Apart from later, members of Deep Purple. They felt Fireball wasn’t their best album. Record buyers disagreed.
Across the world, Fireball was a huge commercial success. Fireball was released in Britain in July 1971. Record buyers in America and Europe had to wait until September 1971. By then, Fireball had reached number one in Britain and was certified gold. Two singles were released in Britain. Strange Kind of Woman reached number eight and Fireball number fifteen. This was just the start of Fireball’s success.
When Fireball was released in America it reached number thirty-two in the US Billboard 200 charts and was certified gold. In Canada Fireball reached number twenty-four. Fireball proved one of Deep Purple’s most successful albums in Japan, reaching number sixty-six. Australians were won over by Fireball, when it reached number four. Deep Purple proved popular in Israel, where they enjoyed a top ten album. However, it was in Europe that Fireball burnt brightest.
On Fireball’s release in September 1971, it reached number one in Belgium, Denmark, Germany and Sweden. Fireball reached the top ten in Finland, France, Holland, Italy Norway. Despite the widespread commercial success and critical acclaim Fireball enjoyed in Europe, the only gold disc awarded was in Holland. However, Deep Purple would make up for this with their sixth album, Machine Head.
Machine Head.
By 1972, Deep Purple had established themselves as one of the hardest working bands in music. They seemed to be constantly touring. When they weren’t touring, they were recording. As a result, Deep Purple were about release their sixth album in less than four years, Machine Head.
Unlike their five previous albums, Deep Purple didn’t head into the recording studio. Instead, they brought the recording studio to them. They were booked to stay at the Grand Hotel, in Montreux Casino, Switzerland. So that’s where they brought the Rolling Stone’s sixteen track mobile recording studio to. Between the 6th and 21st December 1971, Deep Purple were meant to record their sixth album, Machine Head. However, there was a problem.
Lead vocalist Ian Gillan had contracted hepatitis. His doctors advised him to rest. For Deep Purple, this was a disaster. The hotel rooms and mobile recording studio was booked. They’d already had to cancel their forthcoming American tour. Cancelling the recording of their sixth album would be an utter disaster. No doubt realising the gravity of the situation, and buoyed by the excitement of starting recording a new album, Deep Purple decided to head to Switzerland.
Deep Purple landed in Switzerland on 3rd December 1971. Only one further concert had to take place at Montreux Casino. That was Frank Zappa’s now infamous concert. It took place on the 4th December 1971. During Frank Zappa’s set, an over enthusiastic member of the audience fired a flare. It hit the roof, causing the Montreux Casino to go on fire. Fortunately, nobody was hurt. Unfortunately, the Montreux Casino was in no fit state to double as a makeshift studio. Luckily, the Montreux Casino’s owner Claude Nobs new a theatre nearby that could be transformed into a makeshift studio. So Deep Purple headed to the Pavilion, where they’d record a song based on the somewhat surreal experience at the Montreux Casino. This song would become a classic, Smoke On The Water.
For what became Machine Head, Deep Purple had six songs completed. They were all credited to the five members of Deep Purple. So would the unfinished song. It was provisionally titled “Title No. 1.” However, as the five members of Deep Purple spoke about the events at the Montreux Casino, bass player Roger Glover uttered the immortal words “Smoke On The Water.” A classic had been born.
During a sixteen day period between the 6th and 21st December 1971, Deep Purple recorded their sixth album, Machine Head. The conditions weren’t ideal. The mobile recording studio was parked outside and cables run through the Pavilion. They ran along corridors and under doors. It was far from the ideal conditions to record an album. Coupled with Ian Gillan’s medical condition, it’s a wonder Deep Purple were able to even record an album, never mind a career defining album.
Machine Head was released on 25th March 1972. Reviews varied between favourable to glowing. Although reviews mattered, what counted was sales. There was no problem there. On its release, Machine Head reached number one in eight countries. This included Argentina, Australia, Austria, Britain, Canada, Denmark, France and Yugoslavia. In Holland, Italy, Japan, Norway andSweden, Machine Head reached the top ten. Across the Atlantic, Machine Head became Deep Purple’s most successful album, when it reached number seven in the US Billboard 200 charts. Given the commercial success of Machine Head, it received a plethora of gold and platinum discs.
Having reached number one in their home country, Machine Head was certified gold in Britain. Across the English Channel, Machine Head was certified gold twice. In Argentina, Machine Head was certified platinum. However, Machine Head was most successful in America, where it was certified double-platinum. However, this wasn’t the end of the commercial success. Machine Head featured two singles.
Never Before was chosen as the lead single in Britain. Although it reached number twelve, this seemed a strange choice. After all, Smoke In The Water was a classic in waiting. It reached number four in the US Billboard 100 charts. It wasn’t until 1977 that belatedly, Smoke In The Water was released as a single, where it reached number twenty-one. How it wasn’t released as a single in 1972, remains a musical mystery. However, having released a career defining album, Machine Head, Deep Purple headed out on their Machine Head World Tour.
Made In Japan.
The Machine Head World Tour would be one of the most gruelling tours Deep Purple had embarked upon. It was scheduled to last the rest of 1972 and into 1973. Deep Purple were a hugely successful band. That’s why music lovers in the four corners of the globe wanted to see and hear Deep Purple. That included in Japan.
By August 1972 Deep Purple had arrived in Japan. They’d been popular in Japan for most of their career. However, Machine Head transformed Deep Purple’s fortunes. This included in Japan. On the 15th and 16th of August 1972, Deep Purple took to the stage in Osaka. Then on 17th August 1972, Deep Purple landed in Tokyo. These three concerts were recorded and became Made In Japan, which was akin to a a heavy rock masterclass from Deep Purple.
For anyone who couldn’t make the Machine Head World Tour, Made In Japan was the perfect reminder of a legendary tour. Especially the Japanese leg. Between the 15th and 17th August 1972, Deep Purple were at their hard rocking best.
This continued wherever they went. However, there were a lot of people who wanted a reminder of this legendary tour. For others, who for whatever reason, couldn’t get to see Deep Purple, a double album entitled Made In Japan was almost as good. So Made In Japan was released in Britain in December 1972 and in America in April 1973.
When critics heard Made In Japan, even the most cynical and hardbitten rock critic had to compliment Deep Purple. They were no one of the three best heavy rock bands in the word. Led Zeppelin were the best and Deep Purple and Black Sabbath fought it out for second place. So well received was Made In Japan, that it was heralded as one of the finest live albums ever. Made In Japan further reinforced Deep Purple’s reputation as one of the greatest heavy metal bands.
On its release in December 1972, Made In Japan reached number fifteen in Britain and was certified gold. Made In Japan reached number one in Austria, Germany and Canada. In Norway, Made In Japan reached number seven. Then in April 1973, Made In Japan reached number six in the US Billboard 200. For Deep Purple, this resulted in even more gold and platinum discs.
Across the word, Made In Japan was a commercial success. After being certified gold in Britain, it was then certified gold in France. Made In Japan was then certified platinum in America, Austria, Germany and Italy. In Argentina, Made In Japan was certified double platinum. Just four years after they first formed, Deep Purple were one of the most successful rock bands in the world. Their 1972 legendary live album, Made In Japan, is a reminder of Deep Purple at their very best.
Following Made In Japan, commercial success and critical acclaim continued for Deep Purple. There would also be changes in lineup, breakups and reunions. However, the classic lineup of Deep Purple features on Made In Japan. The classic line up of Deep Purple bid a farewell on 1973s Who Do We Think We Are.
When Who Do We Think We Are.
Following the critical acclaim and commercial success of Made In Japan, Deep Purple were keen to build on the momentum created by their live opus. Fortunately, Deep Purple had already recorded a new studio album. It had been recorded in Europe, during summer and autumn 1972.
The five members of Deep Purple had penned seven new songs, and they were recorded during using the Rolling Stones Mobile Studio. It made its war to Rome, Italy in July and part of When Who Do We Think We Are was recorded there. Then in October 1972, When Who Do We Think We Are was completed in Frankfurt in Germany. With their new studio album completed, this should’ve been a time for celebration. It wasn’t though.
Far from it. The group was slowly being ripped apart by disagreements within Deep Purple. Tensions had been high when When Who Do We Think We Are was being recorded. Things got so bad, that members of the Deep Purple weren’t speaking to each other. This resulted in a schedule having to be drawn up, so that warring band members could record their parts separately. Somehow, though, the five members managed to record the followup to Made In Japan. The big question was, would the internal strife affect quality of music on When Who Do We Think We Are?
When critics heard When Who Do We Think We Are, there was no consensus. Critics felt the quality of music was inconsistent. That was why reviews ranged from mixed to negative. Some critics accused Deep Purple of merely “going through the motions of making an album.” This was a far cry from previous albums.
When Who Do We Think We Are was released in January 1973, it reached number four in Britain. Across the Atlantic, the album proved successful, selling 500,000 copies within the first three months. This helped When Who Do We Think We Are reach number fifteen in the US Billboard 200. This resulted in gold discs in America and France. Compared with Deep Purple’s recent success this was seemed slightly disappointing. To make matters worse, vocalist Ian Gillan and bassist Roger Glover left the band after Who Do We Think We Are. Deep Purple’s career looked like it was at a crossroads.
With Ian Gillan and Roger Glover having left Deep Purple, this left a huge void. marked the end of an era for Deep Purple. Ian Gillan and Roger Glover were almost irreplaceable. They had played a huge part in Deep Purple’s rise to titans of rock.
From Deep Purple In Rock, right through to Made In Japan, Deep Purple enjoyed critical acclaim and commercial success. Deep Purple, and its classic lineup of Ritchie Blackmore, Ian Gillan, Jon Lord, Ian Paice and Roger Glover were one of the biggest bands in the free world. However, the departure of Ian Gillan and Roger Glover looked as if this spelt the end of Deep Purple. Maybe it would be best if Deep Purple called it a day, while they were at the top. The last thing they wanted to do was besmirch their illustrious musical legacy. However, the three remaining members of Deep Purple weren’t ready to call it a day.
Instead, the two departing members of Deep Purple were soon replaced. A then unknown David Coverdale became Deep Purple’s vocalist, while Glen Hughes of Trapeze took over as bassist. They had big shoes to fill. However, with the help of the remaining members of Deep Purple, managed to do so during 1974. It was one of the busiest years of Deep Purple’s career.
Burn.
With the two new members of Deep Purple onboard, work began on the first album of Deep Purple Mk. III’s career. When work began on what became Burn the five members of the band were involved. There was a problem though. Glenn Hughes had unexpired contractual obligations. This meant he couldn’t be credited on the album. Despite this, Glenn Hughes and the rest of Deep Purple cowrote five songs. The exceptions were Sail Away and Mistreated, which Richie Blackmore and David Coverdale cowrote. A200 which closed Burn, was written by Richie Blackmore, Jon Lord and Ian Paice. These songs were recorded in Montreux, in Switzerland.
Recording of Burn took place during November 1973. The Rolling Stones Mobile Studio had been hired, and made its way to Montreux. This was where the new lineup of Deep Purple made its debut. Deep Purple Mk. III featured a rhythm section of drummer Ian Paice, bassist Glenn Hughes and guitarist Richie Blackmore. Augmenting the rhythm section, was keyboardist Jon Lord. They provided the backdrop for new vocalist David Coverdale. He was part of a group that moved Deep Purple’s traditional sound forward. There was more of a boogie influence on Burn, which even featured elements of funk and soul. Once Burn was completed, Deep Purple would shortly showcase their new sound.
With Burn recorded, and the release scheduled for 15th February 1974. Before that, critics had their say on Deep Purple’s eighth studio album. Most of the critics were impressed with Deep Purple Mk. III’s ‘debut’ album. The hard rocking Burn set the bar high, as a hard rocking Deep Purple kicked loose. There was no stopping them, as they incorporated elements of boogie, blues, funk and soul. Burn was an album where Deep Purple’s music began to evolve. However, how would their fans respond?
On the release of Burn on 15th February 1974, it reached number three in Britain and number nine in the US Billboard 200. This resulted in gold discs in America, Argentina, Britain, France, Germany and Sweden. Richie Blackmore, Jon Lord and Ian Paice’s decision to continue continue with Deep Purple had been vindicated. Now their thoughts turned to Deep Purple’s second album of 1974, Stormbringer.
Stormbringer.
Following the success of Burn, Deep Purple began work on a new album, Stormbringer. It was a case of building on the momentum of Burn. So Deep Purple began work, writing and recording Stormbringer.
Soon, though, it became apparent that Stormbringer was quite different from Deep Purple’s previous albums. The first difference was that only Love Don’t Mean a Thing, High Ball Shooter and The Gypsy were credited to Deep Purple. Previously, entire albums were written by, and credited to, the entire band. This had worked well. However, things had changed on Burn. Maybe by then, musicians were realising who lucrative songwriting was, and why various songwriting partnerships sprung up within Deep Purple?
For Burn, the new members played a part in writing Stormbringer. Richie Blackmore wrote Stormbringer, Lady Double Dealer and Soldier Of Fortune with David Coverdale. He and Richie Blackmore cowrote You Can’t Do It Right with Glenn Hughes. Hold On was written by David Coverdale, Jon Lord and Ian Paice. These nine songs were recorded in Germany,
Deep Purple returned to the studio in August 1974. This time though, they made the trip to Giorgio Moroder’s Musicland Studios, in Munich. It was becoming a popular recording studio, and would continue to be throughout the seventies. Many rock bands, including Led Zeppelin and Queen would record albums at Musicland Studios. Deep Purple were just the latest band to make the journey to Munich. That was where they recorded a rock album with a difference. Before that, David Coverdale had made a discovery.
One of the songs Deep Purple cowrote, was the title-track Stormbringer. When David Coverdale cowrote the song, he claimed that he had no knowledge that Stormbringer was the name of a magical sword in Michael Moorcock’s books. This was a somewhat embarrassing discovery. For Michael Moorcock, this was neither the first, nor last time Stormbringer would inspirer a musician. Hawkwind had been inspired, and later, so would Blue Öyster Cult, That was in the future. Before that, critics received advance copies Stormbringer.
Critics were in for a surprise when they received a copy of Deep Purple’s ninth studio album, Stormbringer. When they played the album, they discovered that the funk and soul influences that had been glimpsed on Burn, were now much more prominent on Stormbringer. This came as a shock to critics. They had never envisaged one of the hardest rocking bands on planet rock, incorporating funk and soul into their music? Deep Purple’s stylistic change was about to backfire on them.
None of the critics were impressed by Stormbringer. Reviews of Stormbringer called the album Deep Purple’s most disappointing album. There were few saving graces apart from Lady Double Dealer, which became goth metal favourite; the uber rocky High Ball Shooter and wistful balladry of Soldier of Fortune. Deep Purple had failed to reach their usual high standards…by a long chalk. How would their faithful fans react?
When Stormbringer was released in November 1974, it reached number six in Britain and number twenty in the US Billboard 200. Stormbringer was certified gold in America, Britain, France and Sweden. Record buyers continued to buy Deep Purple’s albums, albeit not in the same quantities as during their classic era. Despite this, the two albums Deep Purple had released during 1074, meant it was one of the most successful years of band’s career. Sadly, 1975 was the beginning of the end.
Come Taste The Band.
After releasing two albums that were certified gold on both sides of the Atlantic during 1974, successes gave way to uncertainty in early 1975. Guitarist Richie Blackmore decided to leave Deep Purple. Another member of the classic lineup had left. With just two remaining, and Deep Purple having just released the worst album of their career, surely now was the time for one of the titans of rock to call time on their career? If they didn’t, they risked harming their reputation even further. Despite this risk, Deep Purple Mk. III soon became Deep Purple IV.
David Coverdale, one of the new recruits had approached Jon Lord to ask him to keep Deep Purple together. Jon Lord agree, and the search for a new guitarist began. It just so happened that David Coverdale new someone who suited the bill, Tommy Bolin. He was drafted in and work began on Come Taste The Band which was written in Los Angeles.
For the first time ever, not one song on a Deep Purple album was written by the band. Come Taste The Band. Indeed, only two of the nine songs were was written by the two remaining members of the classic lineup of Deep Purple. Ian Paice cowrote the album opener Comin’ Home with David Coverdale and Tommy Bollin. Jon Lord cowrote This Time Around/Owed to ‘G’ with Glenn Hughes and Tommy Bollin. The rest of the album, was the work of thew new members of Deep Purple.
Tommy Bollin and David Coverdale penned Dealer, I Need Love, Drifter and Love Child. David Coverdale and Glenn Hughes closed the album closer You Keep On Moving. The other song on Come Taste The Band, was Lady Luck, which was written by David Coverdale and Jeff Cook, who was Tommy Bollin’s usual songwriting partner. Just like at least one other track, this wasn’t a new song.
At least two songs on Come Taste The Band weren’t new songs. Jon Lord later said that he thought that You Keep on Moving had been written in 1973 by David Coverdale and Glenn Hughes, and had been rejected for the Burn album. Lady Luck was another old song. It was going to make its debut on Come Taste The Band. However, there was a major problem. Incredibly, Tommy Bolin couldn’t remember the lyrics, and couldn’t get in touch with Jeff Cook. So David Coverdale rewrote some of the lyrics and Deep Purple recorded. the song. Fortunately, Jeff Cook approved the new lyrics and the pair shared the songwriting credits on Come Taste The Band.
With Come Taste The Band written, Deep Purple began to rehearse the album at Robert Simon’s Pirate Sound Studios. Robert Simon was meant to be engineering Come Taste The Band. That was the plan. After problems about scheduling, Deep Purple left Pirate Sound Studios, and headed to Musicland Studios.
No longer was Robert Simon going to engineer Come Taste The Band. Co-producing Come Taste The Band with Deep Purple was Martin Birch. Recording began on the 3rd of August 1975, and continued right through to the 1st of September 1975. By then, Deep Purple’s tenth album was complete.
With Come Taste The Band recorded, EMI and Warner Bros, decided to release the album on Deep Purple’s Purple Records on 10th October 1975. Purple Records had released every Deep Purple album since 1971. Back then, though, Deep Purple were a musical goliath. Things were very different four years later.
Although Come Taste The Band saw Deep Purple return to a much more traditional hard rocking sound, the album was much more commercial sounding. However, Come Taste The Band lacked one thing that most Deep Purple albums had, consistency and quality. Critics described Come Taste The Band as a weak album. Given the reviews of Come Taste The Band, this didn’t auger well for Deep Purple.
And so it proved to be. In Britain, Come Taste The Band reached number nineteen and was certified silver. This equated to just 60,000 sales. Meanwhile, Come Taste The Band stalled at forty-three in the the US Billboard 200. There was no glittering prize this time around. This was disappointing. However, things got worse when two members of Deep Purple spent time in jail.
After the release of Come Taste The Band, Deep Purple headed out on tour, to support their tenth studio album. All was going well until the band reached Jakarta, in Indonesia. Patsy Collins who was one of the team who looked security for Deep Purple was found dead. An inquiry found that Patsy Collins that there were “suspicious circumstances” surrounding the death. The Indonesian police arrested Glenn Hughes and two others. They were taken to a local jail. To the rest of the band as if the four men were being framed. However, the promoter was determined that show must go on.
Meanwhile, the Indonesian promoter had arranged a second concert. There was a problem though; he was only willing to pay for one night. The Indonesian police seemed only to willing to ensure the show went ahead. They brought Glenn Hughes to the venue at gunpoint. The show went ahead, and then Glenn Hughes was returned to jail. Meanwhile, Tommy Bolin was given some morphine by the promoter. This would have consequences on the Japanese leg of the tour.
By then, a satisfactory solution had been found to the problem of the “charges.” Deep Purple’s management had to not only forego their fee, but pay add a further sum of money to the pot. This it was alleged was given the Indonesian police and army, who made sure Glenn Hughes was able to leave Indonesia. A relieved Deep Purple left Indonesia, en route to Japan.
On the flight to Japan, Tommy Bolin took the morphine the Indonesian promoter had given him. He promptly fell asleep for over eight hours. Unfortunately, he had fallen asleep on his arm, and when he woke up was unable to play guitar properly. With Tommy Bolin indisposed, Jon Lord had to play many of the guitar parts on his keyboards and organ. This was just the latest problem that had beset Deep Purple. They seemed to be fated. So it was no surprise that when the tour ended, Deep Purple split-up until 1984.
Deep Purple Mk. IV called time on their career in the spring of 1976. Only Jon Lord and Ian Paice remained from the lineup of Deep Purple that released Shades Of Deep Purple in 1968. Two years later, Deep Purple In Rock transformed the fortunes of Deep Purple.
For the next five years, commercial success and critical acclaim would be constant companions of Deep Purple. Between 1970 and 1975 Deep Purple enjoyed worldwide success. Deep Purple would also become one of hardest rocking groups of the seventies.
Vying with Deep Purple for the title of Kings of seventies rock were Led Zeppelin and Black Sabbath. Just like Deep Purple, they were hugely successful and hard rocking bands. They were also the hardest living living rock groups. This lead to them being known as the “unholy trinity of British hard rock and heavy metal.” The three groups seemed proud of their infamy, and wore it like a badge.
The “unholy trinity’s” penchant for the rock ’n’ roll lifestyle was legendary. Excess and extravagance was an everyday occurrence. Similarly, chaos and carnage was omnipresent as the “unholy trinity” toured the world. Each group seemed to determined to outdo the other. Hotel rooms were wrecked, televisions thrown out of windows and copious amounts of drink and drugs consumed. They were living the dream. That dream appeared to continue until Who Do We Think We Are.
By the time Deep Purple began work on Who Do We Think We Are, all wasn’t well within the band. Things had gotten so bad, that a schedule was drawn up that allowed band members to record on their own. Somehow, Deep Purple managed to complete Who Do We Think We Are, which was well received by critics and a commercial success. After that, Ian Gillan and Roger Glover left Deep Purple.
The departure of Ian Gillan and Roger Glover looked as if this spelt the end of Deep Purple. Maybe it would be best if Deep Purple called it a day, while they were at the top. Instead, Deep Purple continued but were never quite the same band.
Deep Purple released three albums after Ian Gillan and Roger Glover left. Burn was the best of the trio, but still didn’t come close to matching the quality of the albums Deep Purple released during their classic era. The other two albums, Stormbringer and Come Taste The Band were disappointing albums. By Come Taste The Band, Deep Purple knew their time was up, and called it a day in the spring of 1976. It was the end of era, but not the end of Deep Purple.
Eight years later, the original lineup of Deep Purple eventually made a comeback, and released Perfect Strangers in 1984. During the eight year period Deep Purple were away, Led Zeppelin called it a day after the death of drummer John Bonham. This left a huge void. When Deep Purple returned in 1984, this went some way to filling it. Good as the reunited Deep Purple were, they never released albums of the quality that they released between Deep Purple In Rock and Who Do We Think We Are. These albums were classics, and featured Deep Purple at their hard rocking best. These albums have stood the test of time.
Over forty years later, and many of Deep Purple Mk.II’s are now regarded as classic albums; while Deep Purple are now regraded as rock royalty. The same can be said of Led Zeppelin and Black Sabbath, the other members of the “unholy trinity of British hard rock and heavy metal.” Their music is a reminder of the golden age of rock. Especially the music Deep Purple released between Deep Purple In Rock Who Do We Think We Are.
These albums feature the finest music of Deep Purple’s long career. During the period Deep Purple recorded these classic albums, their penchant for the rock ’n’ roll lifestyle was legendary. It came with the territory. This was after all, rock ’n’ roll. Chaos and carnage was omnipresent and expected as Deep Purple toured the world. This never seemed to affect Deep Purple’s music. Just like Led Zeppelin and Black Sabbath, Deep Purple were the hard rocking, hard living, good time band, for whom commercial success and crucial acclaim were constant companions.
DEEP PURPLE-THE JOURNEY TO ROCK TITANS.
THIRTY YEARS OF THE TRASHCAN SINATRAS.
THIRTY YEARS OF THE TRASHCAN SINATRAS.
Nowadays, very few bands get to celebrate their tenth anniversary, never mind their twentieth or thirtieth. Especially bands formed in the eighties.
Many were short-lived affairs, who released a couple of albums, before calling it a day. Some crashed and burned amidst rancour and anger. Often, money was at the heart of the problems. Others bands retired, after lifestyle problems intervened. However, there was another problem with eighties bands.
During the eighties, many bands became reliant upon a ‘sound.’ At the heart of it, were drum machines and synths. This sound, didn’t have the longevity that guitar bands would enjoy. Many of them, are still going strong, including two Scottish bands who have returned with new albums during 2016, Teenage Fanclub and Trashcan Sinatras. Both celebrate important anniversaries during 2016.
This year, Teenage Fanclub celebrate their twenty-five years making music. However, the Trashcan Sinatras are the big brothers. They were formed five years earlier, in 1986, and this year are celebrating thirty years making music. However, these thirty years have had more than a few ups and downs.
That was when in Irvine, in Ayrshire The Trash Can Sinatras were born. The original lineup featured a rhythm section of drummer Paul Forde, bassist Frank Reader and guitarist George McDaid. Completing the lineup was guitarist and vocalist Davy Hughes. With the lineup in place, the band started thinking of a name for the nascent band. It was then the band’s thoughts turned to memories of a music class at school.
Memories came flooding back of the students improvising on a myriad of makeshift instruments. This included some trash cans. It was then that someone mentioned Frank Sinatra. Suddenly, The Trash Can Sinatras were born. The newly named band then began to hone their sound. However, by late 1986, early 1987 a few changed in The Trash Can Sinatras’ lineup.
Among the newcomers were lead guitarist Paul Livingston and rhythm guitarist John Douglas. They were joined by drummer Stephen Douglas. That wasn’t the of the changes. Davy Hughes switched to bass and Frank Reader switched to acoustic guitar and became The Trash Can Sinatras’ vocalist. This would the lineup of the band until 1998. However, with a settled lineup in place, The Trash Can Sinatras began playing live.
Initially, The Trash Can Sinatras were a covers band, who played on the Ayrshire pub and club circuit. This was where The Trash Can Sinatras honed and tightened their sound. It was akin to a musical apprenticeship, and one that stood them in good stead. Especially one night in Kilmarnock, where the Trash Can Sinatras’ lives were changed forever.
For The Trash Can Sinatras, the gig in Kilmarnock started off as just another booking. Little did they realise that Simon Dine was in the audience. He watched with interest, as The Trash Can Sinatras worked their way through their set. By then, The Trash Can Sinatras were regarded as a band with potential, who were destined for greater things. Soon, A&R executives would be catching the shuttle from London. So Simon Dine decided to steal a march on the competition.
Before long, The Trash Can Sinatras s were signing with Go! Discs. After signing on the dotted line, The Trash Can Sinatras decided to invest their advance wisely. They bought their own recording studio in Kilmarnock, which they called Shabby Road. This made sense, and would pay off in the long run.
Especially since The Trash Can Sinatras were about to head into the studio to begin recording their debut single and album. This would take time, but eventually, was worth it.
Cake.
The benefit of owning their own recording studio, meant that The Trash Can Sinatras weren’t watching the clock, and knowing that every hour was costing the band money. Instead, the Trash Can Sinatras could spend as long as they wanted working on the ten songs that they had written for their debut album, Cake.
At Shabby Road studios, The Trash Can Sinatras were joined by serval session musicians. They augmented the Trash Can Sinatras, adding strings, keyboards, piano and percussion. The two other people who joined The Trash Can Sinatras, were producers Roger Bechirian and John Leckie.
Roger Bechirian produced Obscurity Knocks, Thrupenny Tears, The Best Man’s Fall and Funny. John Leckie who mixed Cake produced Even The Odd and Circling The Circumference. The Trash Can Sinatras produced Maybe I Should Drive, Only Tongue Can Tell, You Made Me Feel and January’s Little Joke. Once the ten tracks were completed, Cake was released in 1990.
It had taken the best part of three years to complete Cake. However, it was well worth it. Critical acclaim accompanied the release of Cake. The Trash Can Sinatras’ lyrics were cerebral and witty; while their tight, Byrdsian harmonies were the perfect foil for Frank Reader’s vocals. The result was pop perfection from Irvine’s soon to be famous five. A great future was forecast for The Trash Can Sinatras, who were regarded as Scottish music’s next big thing.
When Cake was released on June 25th 1990, the album reached seventy-four in the UK, and 131 in the US Billboard 200. This was helped by the success of the lead single Obscurity Knock. It reached number eighty-six in the UK, and number twelve in the US Modern Rock charts. The followup Only Tongue Can Tell reached number seventy-seven in UK, and number eight in the US Modern Rock charts. Later, in 1990, the only disappointment came when Circling The Circumference failed to chart. However, Cake had been a successful debut album for The Trash Can Sinatras.
After the release of Cake, The Trash Can Sinatras embarked upon their first tour of the UK and North America. With Cake spending three months on the US Billboard 200, The Trash Can Sinatras’ spent much of their time touring America. It was a far cry from playing cover versions in a Kilmarnock pub. However, the story was only beginning.
I’ve Seen Everything.
Three years passed before The Trash Can Sinatras returned in 1993, with their sophomore album I’ve Seen Everything. By then, bassist George McDaid had left, and was replaced by Davy Hughes. He and the rest of The Trash Can Sinatras penned the fourteen songs new songs that became I’ve Seen Everything. They were recorded at the band’s Shabby Road studio, in Kilmarnock.
Joining The Trash Can Sinatras at Shabby Road, was a new producer, Ray Shulman. He seemed an unlikely choice to produce The Trash Can Sinatras. Ray Shulman was the former bassist of pioneering progressive rockers Gentle Giant. Their music was very different to The Trash Can Sinatras. Despite this, it proved a successful partnership.
When I’ve Seen Everything was released in 1993, plaudits and praise accompanied the release of this masterclass in perfect pop. The Trash Can Sinatras had matured as a band since their 1990 debut album Cake. Their witty wordplay and harmonies were still trademarks of the band’s sound on what was an eclectic album, I’ve Seen Everything. It was released in 1993.
I’ve Seen Everything reached number fifty, but failed to chart in America. This was disappointing for The Trash Can Sinatras. However, Hayfever reached number eleven in the US Modern Rock charts and sixty-one in the UK. The followup single was I’ve Seen Everything. Despite its undoubtable quality, it failed to chart. For The Trash Can Sinatras this was another disappointment. However, headed out on tour, determined to win fiends and influence people.
A Happy Pocket.
After another three years, The Trash Can Sinatras returned with their third album, A Happy Pocket in 1996. It featured another fourteen songs from the pen of The Trash Can Sinatras. They had recorded and produced the album at Shabby Road, where they were joined by some of their musical friends. This included former Love and Money keyboardist Paul McGeechan and violinist David Crichton. However, one difference was that this time round, several mixers were used on A Happy Pocket.
Rather than employ one person to mix A Happy Pocket, different mixers were used. This included Larry Primrose who mixed six song and engineered two. Hugh Jones and Helen Woodward mixed four of songs; while Vincenzo Townsend engineered and mixed I Must Fly and Steve Whitfield mixed Make Yourself At Home. Using so many different mixers was something that critics commented on.
While A Happy Pocket was well received by critics, they felt that it didn’t quite match the quality of their first two albums. They were now regarded as cult pop classics. Part of the problem was the overuse of overdubbing and the mandolin. The other problem was using so many different mixers. This some critics felt, resulted in A Happy Pocket sounding like a compilation, rather than an album. Some critics felt some of the tracks had an unfinished sound, and were almost like demos.
However, A Happy Pocket featured several tracks that featured The Trash Can Sinatras at their very best. Especially, The Safecracker, Twisted and Bent, How Can I Apply…? and The Therapist. These tracks featured musical masterclasses from The Trash Can Sinatras, and featured hooks aplenty. It was against this backdrop that A Happy Pocket released.
When A Happy Pocket was released in 1996, the album failed to chart. Neither did any of the singles. The lead single was The Main Attraction, which was followed up by Twisted And Bent and How Can I Apply…? To Sir, With Love was the final single released from A Happy Pocket, and not only did it fail to chart. This was just the start of a period where nothing seemed to go right for The Trash Can Sinatras.
After the release of A Happy Pocket, The Trash Can Sinatras decided not to tour North America. Instead, they toured the UK and Japan, where they were a popular band. However, on their return, The Trash Can Sinatras were in for a surprise, and not a pleasant one.
In 1996, Go! Discs was acquired by Universal Music. One of the first things that happens after the takeover, is a record company’s roster is examined with a fine tooth comb. There are always casualties. Sadly, one of the casualties were The Trash Can Sinatras. They were dropped by Universal. This was a huge blow for the band.
So was the loss of bassist Davy Hughes. He departed in 1996, and returned in 2001. Before that, things would get a lot worse for The Trash Can Sinatras.
Especially when The Trash Can Sinatras realised that they would have to sell their beloved Shabby Road studios. Now they had lost the studio where they had recorded their first three albums. This could prove expensive in the long run. However, worse was to follow.
So perilous was The Trash Can Sinatras’ finances, that they had no option but to declare bankruptcy. It was a huge blow, and one that many bands wouldn’t recover from. However, The Trash Can Sinatras weren’t most bands.
For the next three years, The Trash Can Sinatras decided to keep a relatively low profile. They didn’t play live until 1999, when they toured the UK and Ireland. The Trash Can Sinatras then released their first live album, Chewing A Brick. Later in 1999, The Trash Can Sinatras embarked upon a tour of Japan. During that tour, they released a cover of Randy Newman’s Snow on Sony Japan. Not long after this, a new era began for The Trash Can Sinatras.
After all that had happened during the last few years, The Trash Can Sinatras decided to head to Hartford, Connecticut where they would record their fourth album, and then play a series of live dates. The recording sessions took place between March and June 2000. During that period, around twelve songs were recorded. This was more than enough for an album. However, when The Trash Can Sinatras returned home and listened to the ‘album’, the band realised that it was much too dark and subdued an album. This wasn’t what they wanted. So a decision was made to scrap the album, and start again.
Weightlifting.
2001 was when The Trash Can Sinatras began work on what became Weightlifting. During that year, they wrote new songs and recorded demos at Riverside Studios, in Glasgow. This was a new experience. Previously, The Trash Can Sinatras had recorded at their Shabby Road studio. Now the meter was running as The Trash Can Sinatras recorded their demos. Over the next year, twelve songs were recorded. This was the start of the comeback.
In 2003, The Trash Can Sinatras decided to return to the live circuit in earnest. They started playing concerts and festivals across Scotland. By then, The Trash Can Sinatras’ fourth album was well on its way to completion.
What became Weightlifting, featured twelve songs which were written by the band. These songs were produced by The Trash Can Sinatras and Simon Dine. Once the album was recorded, it was ready to mix,
Andy Chase of The Ivy, who was also a respected producer, was hired to mix Weightlifting. When he had finished mixing Weightlifting, the album was scheduled for release in August 2004.
Before that, The Trash Can Sinatras headed out on tour. They played in Spain, London and then headed to America in March 2004. The Trash Can Sinatras played a sellout show at the Troubadour in Los Angeles, and then headed to Austin, Texas to play at the South By Southwest festival. Again, The Trash Can Sinatras played a barnstorming set, and the comeback continued. However, there was a surprise in store.
When critics received copies of Weightlifting, they realised that the band had changed their name. Weightlifting was the first album from the newly renamed Trashcan Sinatras. It was also a carefully crafted album of joyous jangle pop. Fittingly Welcome Back opened the album, and set the tone for what was a return to form from the Trashcan Sinatras. They stuck to what they knew, and refrained from gimmicks in their latest pursuit of hook-laden perfect pop. Among the highlights, were string drenched, soulful ballads like Got Carried Away, What Woman Do To Men and A Coda.There’s brief excursions into heavy metal, stoner and a pastor sound. Mostly, it’s the Trashcan Sinatras doing what they do so well, jangle pop. With critical acclaim accompanying Weightlifting, things were looking good for the Trashcan Sinatras.
After a summer spent touring and promoting their fourth album Weightlifting, the Trashcan Sinatras were almost ready to release their first album in eight years. When Weightlifting was released on 31st August 2004, the album failed to chart in the UK and America. To add the Trashcan Sinatras’ woes, neither of the singles, All The Dark Horses nor Wild Mountainside charted. It was a disappointing result for an album that oozed quality. However, weren’t beaten. Not by a long shot.
In The Music.
Following the release of Weightlifting, there were a couple of changes in the Trashcan Sinatras’ lineup. Bassists Davy Hughes had left the band in 2005. His replacement was Grant Wilson joined in 2006, but departed in 2008. Replacing Grant Hughes on bass was Frank DiVanna. However, with a settled lineup, the Trashcan Sinatras returned in 2009, with their long-awaited fifth album In The Music.
The Trashcan Sinatras had written ten new songs for In The Music. They had been recorded with producer Andy Chase, who had mixed Weightlifting .Recording of In The Music took place at Stratosphere Sound, New York between November 2007 and February 2008. Further sessions took place in Martha’s Vineyard in July 2008. That was when Carly Simon added backing vocals to Should I Pray? Once the album was complete, the release was scheduled for 2009.
Before that, critics had their say on In The Music. It was well received by even the hardest nosed critics. They were won over by the album’s much more understated, grownup sound. The songs were carefully crafted and the music was lush, polished and soulful. Some critics regarded the album as almost flawless, and a mature and magnificent album of pop perfection. Surely this would get the Trashcan Sinatras back onto the charts?
The Trashcan Sinatras were taking no chances, and embarked upon a tour that began in July 2009 and lasted four months. By November 2009, the tour was over and In The Music had been released on 14th September 2009. Lightning struck twice, and In The Music failed to chart. For the Trashcan Sinatras, it was another in a long line of disappointments. As a result, seven years passed before the Trashcan Sinatras returned with Wild Pendulum,
Wild Pendulum.
In October 2014, The Trashcan Sinatras announced that they were about to begin recording their sixth album. Wild Pendulum would be a thoroughly modern album, which the band announced, fans could pre-order via PledgeMusic. Fans could buy various packages, and would received updates of the project. It was written and recorded during 2015.
As usual, the twelve songs that became Wild Pendulum, were written by the Trashcan Sinatras. The album was then recorded at ARC Studios, in Omaha, Nebraska. That was where the Trashcan Sinatras got to work.
The rhythm section featured drummer and percussionist Stephen Douglas, bassist Frank DiVanna and rhythm guitarist John Douglas. Paul Livingston played lead and acoustic guitar, Stevie Mulhearn added keyboards and Francis Reader took charge of vocals. Augmenting the Trashcan Sinatras’ core band were Nathaniel Walcott on piano, organ and clarinet and guitarist Simon Dine who also adds “sonic scenery. Producer Mike Mogis played guitars, pedal steel and percussion. However, there were still pieces of the jigsaw missing.
So series of guest artists were drafted in. Pianist Ben Brodin played on All Night; harmonica player Dustin Arbuckle plays on Ain’t That Something and vocalist Susan Sanchez who features on I’m Not The Fella and What’s In The Box? Just like previous Trashcan Sinatras albums, strings play an important part. So a string section were brought onboard. Wild Pendulum was nearly complete. Christopher Thorn then took care of some addition recording at Fireside Sound in L.A. Now Mike Mogis could mix the album and Howie Weinberg mastered Wild Pendulum in Laurel Canyon. Once this was complete, the Trashcan Sinatras could make an important announcement.
The Trashcan Sinatras announced that Wild Pendulum was complete, and ready for release in January 2016. That was the plan.
Unfortunately, the release of Wild Pendulum was delayed until March 2016. However, the Trashcan Sinatras were out of luck. There was yet another delay, and the release was put back again. For the Trashcan Sinatras it was a frustrating time. Especially, as they were about to embark upon some sonic experimentation on their long-awaited, and much anticipated sixth album, Wild Pendulum.
When Wild Pendulum was released, it was quite unlike previous Trashcan Sinatras’ albums. Their last couple of albums were a reminder that the Trashcan Sinatras were one of the finest indie pop bands of their generation. Their unique and enchanting brand of jangle pop had flitted in and out of their fan’s lives for the past thirty years. During that period, The Trashcan Sinatras had steadfastly refused to change direction. Why should they? They were, without doubt, one of the finest purveyors of jangle pop. Despite this, the Trashcan Sinatras’ last three albums hadn’t matched the commercial success of their first two alums. So they decided to change direction.
For Wild Pendulum, Simon Dine of Adventures In Stereo, a longtime confidant of the group was drafted in to add some ‘sonic scenery.’ This was a stylistic departure from the Trashcan Sinatras. So was Simon Dine’s use of samples, loops, found sounds and horns. Combined with Mike Mogis’ much richer and fuller arrangements, Wild Pendulum was step into the unknown for the Trashcan Sinatras. It may have been one short step for mankind, but a giant leap for the Trashcan Sinatras.
Some things hadn’t changed though. Still the Trashcan Sinatras were capable of carefully crafting hook-laden, perfect pop. Let Me Inside (Or Let Me Out) which opened Wild Pendulum, was a statement of intent. The Trashcan Sinatras old and new sounds combined. From there, Best Days On Earth is a beautiful and joyous anthem. The hooks haven’t been spared on Ain’t That Something, which features Trashcan Sinatras’ trademark harmonies play. This results in a melodic and memorable anthem. Equally memorable is Autumn, a musical epic, where swathes of the lushest strings sweep above Francis Reader’s vocal. Variety it seems is the spice of life for the Trashcan Sinatras.
All Night finds the Trashcan Sinatras heading for the dance-floor. This is a first. Who would’ve ever believed The Trashcan Sinatras would ever make a dance track? They have; but do it their way. Normal service is resumed on Family Way wheres pizzicato strings accompany Francis, as he combines clever wordplay, hooks and harmonies. It’s a potent combination, and is a reminder of everything that’s good about the Trashcan Sinatras. After this, its all change.
The tempo drops on I’m Not The Fella. It’s reminiscent of Prefab Sprout in their prime, as the Trashcan Sinatras roll back the years. Cinematic describes Waves (Sweep Away My Melancholy), where Francis Reader paints pictures with the lyrics against a much fuller arrangement. All too soon, Wild Pendulum is almost over. I See The Moon closeshas a much more understated sound. This allows Francis Reader tender, thoughtful vocal to take centre-stage as he reflects, and delivers a needy, hopeful vocal on this pensive ballad. The Trashcan Sinatras have kept one of the best until last, on what’s their best album since Cake in 1990.
Despite Wild Pendulum being the best album the Trashcan Sinatras have released in twenty-six years, it passed record buyer by. On both sides of the Atlantic, Wild Pendulum failed to chart. This was the Trashcan Sinatras’ fourth consecutive album to fail to chart. Twenty-three years had passed since the Trashcan Sinatras’ 1993 sophomore album I’ve Seen Everything charted. Given the quality of Wild Pendulum, this must have been a massive disappointment for the Trashcan Sinatras.
Especially since tweaked their sound, and given it a moderne makeover. To some extent, the Trashcan Sinatras had reinvented themselves on Wild Pendulum. Sonic scenery, samples, loops, horns and found sounds have been combined on Wild Pendulum. There’s even a dance-track on Wild Pendulum. That was a first. It sits side-by-side with anthems, beautiful ballads and perfect pop. Still, the Trashcan Sinatras were one of the finest purveyors of perfect pop extraordinaire. This thee Trashcan Sinatras have been doing since 1986.
As the Trashcan Sinatras celebrate their thirtieth anniversary, sadly, the wider record buying public have yet to discover the delights of the Trashcan Sinatras. They’re still one of music’s best kept secrets. That’s a great shame, as the Trashcan Sinatras are one of the most talented Scottish bands of the last thirty years.
They seemed destined f0r greatness, but sadly, their career has taken a few twists and turns. The Trashcan Sinatras were dropped by their record company; had to sell their recording studio; were declared bankrupt; had to change their name and even abandoned an album. That’s not forgetting several changes in lineup. Still though, the Trashcan Sinatras come back for more, and recently, have come back stronger.
What better way for the Trashcan Sinatras to celebrate their thirtieth anniversary, than with a new album, Wild Pendulum. It features Irvine’s finest purveyors of jangle pop at their pioneering best, as they reinvent themselves. To do that, the Trashcan Sinatras combined hooks and harmonies with samples and sonic scenery. One thing that hadn’t changed, was the Trashcan Sinatras’ use of clever wordplay. It’s been a trademark of the Trashcan Sinatras’ music for thirty years. Hopefully that will continue to be the case in the future, as the Trashcan Sinatras continue to do what they do best, make music.
That’s what the Trashcan Sinatras have been doing for the past thirty years. During that period, Irvine’s most famous sons, the Trashcan Sinatras, have been one of the finest purveyors of flawless jangle pop. Long may that continue to be the case.
THIRTY YEARS OF THE TRASHCAN SINATRAS.
CLASSICAL GASSERS-POP GEMS INSPIRED BY THE GREAT COMPOSERS.
CLASSICAL GASSERS-POP GEMS INSPIRED BY THE GREAT COMPOSERS.
Ever since the birth of rock ’n’ roll, songwriters have drawn inspiration from many sources. This includes everything from politics and poetry, to tragedy and triumph, even hurt, heartbreak and hope to controversy and current affairs, through to culture and classical composers. They’ve all provided food for thought for songwriters over the past sixty years.
Especially the music composed by the great classical composers. Many a time, the melody of a pop or rock song has been inspired by a classical composition. So much so, that nowadays. all the great classical composers have written their way into the musical history books.
The music of Bach, Debussy, Grieg and Mozart, Prokofiev, Rossini, Schubert and Tchaikovsky has influenced, and often, provided inspiration for a songwriter. Especially when they’re struggling with that all important melody. Suddenly, they find the solution in classical music. Often, these songs were recorded by some of the biggest names in music.
Among them, were Roy Orbison and Lesley Gore plus Harpers Bizarre, Jay and The Americans, Julie Rogers, Lesley Miller, Shorty Long, Sounds Incorporated, The Second City Sound and The Toys. They’re among the twenty-four artists that feature on Ace Records’ recently released compilation, Classical Gassers-Pop Gems Inspired By The Great Composers. These songs were all recorded during the sixties. However, even today songwriters are finding inspiration in classical music.
Opening Classical Gassers-Pop Gems Inspired By The Great Composers is Piltdown Rides Again, the 1960 single by The Piltdown Men. They were no ordinary group. Instead, they were an instrumental studio group, created by songwriter and musicians Ed Cobb and Lincoln Mayorga.
They wrote Piltdown Rides Again with Howard Adelman. However, they were obviously inspired by Gioachino Rossini’s William Tell Overture. Its influence is apparent from the opening bars, before a horn lead, rocking instrumental unfolds. When Piltdown Rides Again was released in Britain, it found favour with record buyers, and reached number fourteen. This was just the latest of a string of successful instrumental singles for The Piltdown Men on both sides of the Atlantic.
Jay and The Americans were founded in Belle Harbor, Queens, New York in 1960. Success came quickly for them, and by 1961 they were signed to United Artists. A year later, and Jay and The Americans’ star was in the ascendancy.
Not only did they released She Cried as a single in 1962, but it lent its name Jay and The Americans’ debut album. Dawning, which featured on the flip side of She Cried, featured on the album. Just like She Cried, Dawning was produced by Leiber and Stollr. They transform this Mark Barkan and Tony Powers composition, which had been inspired by Grieg’s Morning from the Peer Gynt Suite No. 1.The result was a delicious slice of perfect pop.
My Clair De Lune was the B-Side to Jay and The Americans’ 1963 single Only In America. It was penned and produced by Leiber and Stoller. They drew inspiration from Debussy’s 3rd Movement from Suite Bergmanasque. When the considerable talents of Leiber and Stoller, Debussy and Jay and The Americans were combined, the result was a tender, heartfelt ballad.
In August 1965, The Toys released A Lover’s Concerto as a single on Dynovoice Records. A Lover’s Concerto was a originally written and produced by Sandy Linzer and Denny Randell. However, they had been inspired by J.S. Bach’s Minuet In G, so the great composer received a writing credit. That is only fair, as without this ‘contribution’, it wouldn’t be the same song. By that I mean, beautiful, memorable, melodic and truly timeless.
Sandy Linzer and Denny Randell also cowrote Attack which The Toys released as a single December 1965. Again, they’ve drawn inspiration from classical music. This time, it’s the March from Tchaikovsky’s Nutcracker Suite. Just like A Lover’s Concerto, Attack is a memorable and urgent slice of sixties pop.
Fifty years ago, in 1966, Lesley Miller released Mountain Of Our Love on RCA Victor. It was penned by Malou René and inspired by Grieg’s Peer Gynt Suite No. 1. No expense was spared it seems. An orchestra and backing singers accompany Lesley Miller, while a pounding, driving beat adds to the drama. Much of this drama comes courtesy of a vocal that’s a mixture of emotion and power. Alas, Mountain Of Our Love wasn’t a commercial success. However, it’s a welcome addition to Classical Gassers-Pop Gems Inspired By The Great Composers.
1962 saw Roy Orbison release his Crying album in many parts of the world. The album was released in North America, Europe, Scandinavia, Japan and Australia. In America, Crying was released in America. One of the songs on the album was She Wears My Ring. Originally, it was penned by Boudleaux and Felice Bryant. They had been inspired by Serradell’s La Golondrina. Nowadays, they receive a co-credit on She Wears My Ring. It was released as a single in South Africa and Australia. However, She Wears My Ring was never released as a single in America, despite being an impassioned and emotive ballad from the Big O.
Sounds Incorporated arranged and recorded Hall Of The Mountain King in 1965. It was based Grieg’s Morning from the Peer Gynt Suite No. 1. Later in 1965, Hall Of The Mountain King was released as a single. However, they weren’t the only group to record Hall Of The Mountain King. Eight years later, Electric Light Orchestra recorded Hall Of The Mountain King for their 1973 On The Third Day.
My Hero was based upon Oscar Strauss’ operetta The Chocolate Soldier. It had been originally recorded Deanna Durbin. Then in November 1967, Renee St Clair released My Hero as a single on the Jubilee label. Renee St Clair’s version was very different to what had gone before. The tempo was quicker, and a pounding beat drove the arrangement along. Meanwhile, Renee St Clair through herself into this irresistible slice of pop.
Back in 1967, Gary Brooker and Keith Reed had penned a new song, A Whiter Shade Of Pale. The song had been inspired by Bach’s Air from Orchestra Suite in D, and became Procol Harum’s debut single. When it was released on 12th May 1967 , Gary Brooker and Keith Reed’s lives were transformed. A Whiter Shade Of Pale sold ten million copies; reached number one in eleven countries, and even today, is a favourite of radio stations. For Gary Brooker and Keith Reed, A Whiter Shade Of Pale has provided them with a pension plan. Especially, as many artists have covered, and continue to cover the song.
This includes Shorty Long in August 1969. His version was released on the Soul label, and is the best cover of A Whiter Shade Of Pale. It’s soulful, with a heartfelt vocal. Shorty Long even briefly vamps, adding the soulfulness and beauty of a classic song.
For their debut single, The Mindbenders chose Carole Bayer and Toni Wine’s Groovy Kind Of Love, which had been inspired by Clementi’s Rondo from Sonatina In G. When Groovy Kind Of Love was recorded by The Mindbenders it became a beautiful, hopeful ballad. It was released on on Fontana in 1965, and reached number two in Britain and America. Not only was Groovy Kind Of Love The Mindbenders’ finest hour, but it’s a song that became a pop classic.
Closing Classical Gassers-Pop Gems Inspired By The Great Composers is Sabre Dance by Love Sculpture. They were a Welsh rock band who featured Dave Edmunds. Love Sculpture’s roots were in blues and rockabilly. By 1968, they were a hard rocking trio who had signed to Parlophone.
One of the singles Love Sculpture released during 1968 was Sabre Dance. It’s from Khachaturion’s Gayaneh Ballet, and was arranged by Dave Edmunds. In his hands, Sabre Dance is totally transformed. Urgency and energy are injected into the track, as the rhythm section power the arrangement along, Meanwhile, Dave Edmunds delivers a masterclass on guitar. When Love Sculpture released their sophomore album Blues and Feelings in 1969, Sabre Dance close the album. It also closes Classical Gassers-Pop Gems Inspired By The Great Composers, and is a case of keeping the best until last.
Love Sculpture’s 1968 single Sabre Dance was a truly memorable way to close Classical Gassers-Pop Gems Inspired By The Great Composers. It’s one of twenty-four tracks on this new Ace Records compilation. They’re a reminder of just how important a part classical composers have had in pop and rock music.
The great classical composers, including Bach, Debussy, Grieg and Mozart, Prokofiev, Rossini, Schubert and Tchaikovsky have provided inspiration for many an aspiring or established songwriter. Sometimes, they aren’t consciously inspired by a classical composer. That only becomes apparent later, and can prove an expensive mistake.
There’s been several cases where songwriters have been forced to give a credit to a classical composer. This can prove an expensive. Especially if the song has been a million seller that’s topped the charts. Suddenly, the songwriter or songwriters can be losing a large part of their income. However, their song wouldn’t have been as successful without the influence of Bach or Debussy. That is apparent throughout Classical Gassers-Pop Gems Inspired By The Great Composers.
It’s an interesting and eclectic selection songs. Familiar faces and new names site side-by-side. So do singles, B-Sides and album tracks. Some of these songs are pop classics, while many are heard regularly on the radio. Others fall into the category of hidden gems. However, each and every song on Classical Gassers-Pop Gems Inspired By The Great Composers is a reminder of the influence classical composers have had in modern music; and is also a reminder of one of the most important decades in the history of music, the sixties.
CLASSICAL GASSERS-POP GEMS INSPIRED BY THE GREAT COMPOSERS.
SPACE ECHO-THE MYSTERY BEHIND THE COSMIC SOUND OF CABO VERDE FINALLY REVEALED!
SPACE ECHO-THE MYSTERY BEHIND THE COSMIC SOUND OF CABO VERDE FINALLY REVEALED!
In the spring of 1968, dockers in Baltimore, loaded cargo onto a ship bound for Rio De Janeiro, in Brazil. For the dockers, it was just another day at the “office.” This was what they did, day in, day out. No longer did the dockers even wonder what the ship was carrying. The only dockers who might have worked out what was heading onto the ship, were those that were interested in music.
They would’ve recognised brands like Farfisa, Hammond, Korg, Moog and Rhodes. These companies manufactured equipment for making electronic music. This included electronic pianos, organs, synths and a myriad of effects units. Their destination was the ESME Exhibition in Rio De Janeiro.
The ESME Exhibition would be the perfect showcase for all the manufacturers’ latest musical wares. There were many musicians in Brazil, including a number who would want to try, and hopefully buy the latest equipment. So would many of the shops selling musical equipment not just in Brazil, but across South America.
This included in Columbia, which along with Brazil, the various manufacturers had earmarked as one of the most potentially lucrative countries in South America. However, the manufactures had set their sights high, and were aiming to win orders from across South America. It was a vast, and potentially lucrative market for their products. That was why, it was of vital importance that the ship set sail on time.
It looked as if Lady Luck was on the side of the manufactures whose equipment was heading to Rio De Janeiro. The sea was calm, which was perfect as the ship set sail for Rio De Janeiro on 20th March 1968. As the ship headed out of the port, the manufacturers breathed a sigh of relief.
If all went to play, there would be plenty of time for the ship to make its way to Rio De Janeiro. There had been enough time for the manufactures to setup, test and familiarise themselves with what was complicated equipment. This they hoped would sell in vast quantities. That was the plan anyway.
Alas, it didn’t quite go to plan. Later on the 20th March 1968, the cargo ship carrying the musical equipment disappeared from the radar. This was strange, given it had been a calm, clear day? Maybe this was just a minor blip?
Sadly, it wasn’t. The ship carrying the precious musical cargo seemed to have vanished from the face of the earth. Everyone from the shipping company to the coastguard and the manufacturers whose cargo was en route to Rio De Janeiro couldn’t fathom out what had happened? Had the ship sank or had it been plundered by modern day pirates? Nobody knew.
All became clear, a couple of months later, when villagers of Cachaco, a village on the Sao Nicola Island of Cabo Verde looked out, and discovered the missing ship. However, it hadn’t washed up onto the beach. Instead, it had come to rest in a field. Not any field though. This was field that was eight kilometres from the coast.
Given this was far from an everyday occurrence in Cabo Verde, nobody had any idea how to deal with the situation. So a decision was made to consult the village elders. The wise men’s solution was to open the ship, and see what was inside. Fortunately, by then, the colonial police had arrived and taken charge of the situation.
The first thing the police did, was to secure the scene. After this, Portuguese scientists were asked to investigate. They took several weeks to investigate how the ship had found its way into a field eight kilometres from the coast. None of the conclusions were even remotely possible, including that ship might have fallen from the sky. Equally implausible was a fact that was kept from villagers.
Scientific reports claimed that traces of ‘cosmic dust’ had been found onboard the ship. The bow of the ship, the report claimed, looked as if it had been exposed to extreme heat. This it was claimed, was similar to traces left by meteors. The situation was getting stranger by the minute. However, suddenly, things weren’t adding up.
If theoretically, the ship had reentered the atmosphere at such high speed, the ship would’ve been totally destroyed. Rather than a ship sitting in the middle of a field in Cabo Verde, all the would’ve remained would have been a few particles. The mystery deepened.
At least, a decision had been made to open the ship. So a team of welders were drafted in, and given the job of opening the various containers. As the welders worked, tension and excitement filled the air. Everyone wondered what was inside of the containers? Eventually, the welders had cracked open the first container, and discovered the musical equipment that had been destined for the ESME Exhibition in Rio De Janeiro. When the locals heard what was inside the ship, suddenly the anticipation and excitement turned to disappointment.
The villagers had no use for electronic musical equipment. Even if they did, there was no electricity in that part of the island. So a decision was made to store the equipment in a local church. This was only a temporary solution, as the equipment would’ve to be moved from the church for mass on Sunday. Somehow, a solution had to be found within a few days.
During that period, Amilcar Cabral, the anti-colonial leader made a decision as the future of the electronic musical equipment. It wasn’t his place to do so, but this didn’t stop him. He wanted given out in places where there was electricity. Other instruments should be given to children with a sense of rhythm, or those that had shown an aptitude for music. These children were given complex and expensive pieces of electronic musical equipment. They were being thrown in at the deep end, and it was a case of sink or swim.
Some of the children swam, and went on to play an important part in the Island’s musical future. They’re regarded as having played a part in modernising local rhythms, including coladeras, funana and mornas. That came later, as these rhythms were said to be banned by the Island’s colonial runners until 1975. By then, some of the beneficiaries of the musical equipment were making good use of their unexpected gifts. This included Paulino Viera who became one of the most innovative musicians in the history of Cabo Verde.
Paulino Viera features on a recently released compilation. This is Analog Africa’s Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! It features fifteen tracks, including Bana, whose guitarist was Paulino Viera. Other contributors include António Sanches, Dionisio Maio, Fany Harvest, Pedrinho, Tchiss Lopes, Abel Lima and Américo Brito. They’re among the most important musicians in the history of Cabo Verde, so it’s fitting that they feature on Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! It’s an eclectic compilation.
Opening Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! is Pinta Manta by António Sanches. He’s a purveyor of funana music. This was a risky business until 1975, when Cabo Verde gained its independence. Before that, funana musicians risked arrest by the PIDE, the Portuguese security services. However, by the late seventies, Cabo Verde was a very different country, and one where making music was a much safer occupation.
One of the musicians whose career began around this time was António Sanches. He recorded the album Buli Povo, which he self-released in the early eighties. The closing track is Pinta Manta. It’s urgent and gallops along on a track that’s raw but features an impassioned vocal. Adding a moderne sound, is a synth that beeps, buzzes and squeaks. It provides an unusual counterpoint on a track where two coutures collide successfully and joyously.
In 1984, Dionisio Maio released his eponymous sophomore album. It was recorded at Estúdio Musicorde, and featured Dia Ja Manche, which was written by Paulino Vieira of Bana. He arranged and played piano, percussion and guitar. Adding synths, was another member of Bana, Toi Vieira. They play their part in the sound and success of Dia Ja Manche. It begins as a jazzy, piano lead track, and quickly is transformed. Soon, it becomes melodic, celebratory and soulful as elements of Cabo Verde’s past is combined with the music of the present. Together, they create the music that thirty years later, has a timeless quality.
No compilation of music from Cabo Verde would be complete with a contribution from Bana. This is the stage name of Adriano Gonçalves. He was one Cabo Verde’s most successful artists. Bana were also a prolific, and recorded over twenty albums. This means that compiler Sammy Redjeb of albums to choose from. Eventually, he settled on Pontin Pontin, from the 1979 album Disco. It was released on the French label Capriccio.
Despite the album’s title, there’s no way that Pontin Pontin can be described as disco track. Instead, it’s a morna track, which features the Brazilian halftone. This beat is quite different to what’s used on many Bana songs, and adds a Latin influence. It certainly ensures the song stands out. So does the piano, percussion and stabs of horns. The finishing touch is a heartfelt and soulful vocal. When this is all combined, the result is a memorable, soulful and dance-floor friendly song from the late, great troubadour.
That Day is a track from Fany Harvest and The Children Of The Ghetto’s album Funky Ghetto. It was self-released in 1984.From the opening bars of That Day, it’s obvious something special is unfolding. It’s slow and moody with a late-night, smoky sound. However, before long, the tempo is rising and the band play with a degree of urgency. Searing and chiming guitar licks are at the heart of the arrangement, and accompany the vocal every step of the way. The is soulful, needy and impassioned, and is reminiscent of James Brown. Meanwhile the arrangement marries Afrobeat and funk. This is a potent and heady brew that results in one of the highlights of Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed!
João Cirilo was a musical pioneer. He helped to modernise batuku, when he took to the stage with a synth. This was unheard of. That day, João Cirilo wrote is name into Cape Verdean musical history. He also released several albums, including Pó D’terra-Raízes on the Edição Táki-Talá label. It featured Po D’Terra and friends combining musical genres and influences. Zé António unleashes and sprays a blistering guitar solo, while the rhythm section and Paulino Vieira’s percussion underpin the arrangement. Soon, synths are added and the arrangement scuttles along. Sitting proudly atop the arrangement is João Cirilo’s vocal on a genre-melting track where João Cirilo and friends combine elements of rock, Latin, funk and soul.
Abel Lima features twice on Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! The earliest song from Abel Lima, was Stebo Cu Anabela from the 1980 album Africa Boum. It was released by Production Abel Lima. Stebo Cu Anabela is an irresistible fusion of Afrobeat, funk, rock and soul. Adding the soulfulness is Abel Lima’s vocal, while the rest of the band add a joyous, celebratory backdrop. He’s back later, to close the compilation.
Os Apolos released a quartet of albums, including their eponymous album, It was released on the La Do Si Discos label and featured Ilyne. It’s best described as a fusion of Afrobeat, cumbia and jazz that’s urgent, irresistible and a call to dance.
Djal Bai Si Camin is a seven minute epic from António Dos Santos’ 1983 self-released album, Bom Dia Nha Cretcheu. This is another rarity. When a copy change hands recently, it was for £110, €130 or $165. If the whole album is as good as Djal Bai Si Camin, then someone will consider that money well spent. It’s soulful, funky, jazz-tinged and full of hooks.
Closing Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde Finally Revealed! is Corre Riba, Corre Baxo which featured on Abel Lima E Les Sofas’ 1977 album Nos Bida. It was released on the Afrika New label, and nowadays is a real collector’s item. Copies don’t change hands often, but when they do, it’s for ever increasing sums of money. No wonder, if all the songs are of the quality of the joyous and celebratory Corre Riba, Corre Baxo.
That quality is present through Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde. It’s a perfect introduction to the Cabo Verdean music scene after it gained its independence from Portugal in 1975. After that, the Cabo Verdean music scene flourished, with artists and bands combining musical genres and influences to create new and exciting music. Often, the basis for this music is the of Cabo Verde’s past. Other times, the instruments are similar to those that were supposedly found on that mysterious boat in a field in mid 1968.
I say supposedly, as there’s very little to substantiate the claims. If such a thing had happened, articles and books would’ve been written about it, and films and documentaries made. Conspiracy theorists would’ve had a field day. That has never happened, and is unlikely to happen soon. There’s a good reason for that, and that the shipwreck didn’t happen the way that folklore describes.
Instead, the Cabo Santa Maria wasn’t found in a field, but in the Praia Boa Esperanca (Boa Esperanca Beach) in 1968. That’s where the Caba Santa Maria sits now. It’s now a rusting wreck, which was become a tourist attraction in the Boa Esperanca Beach. What’s unclear, is whether the Cabo Santa Maria was the ship that set sail from Baltimore en route to the ESME Exhibition in Rio De Janeiro? If it was, this begs several questions?
Did the colonial police to report the discovery of the ship to the relevant maritime authorities and Lloyds of London? If they did, they should’ve been able to trace the owner of the ship. Similarly, the owners of the cargo, including the musical equipment could’ve been traced. However, despite having survived a shipwreck, the musical equipment was lost a second time.
Just days after the cargo was removed from the ship to the church, the frantic search for somewhere to store the musical equipment continued. It had to be moved before Sunday mass. Amilcar Cabral the Marxist leader of anti colonial party had a solution, and one that would paint him in a good light. Like a Marxist Robin Hood, Amilcar Cabral, decided to give the musical equipment away. Schools and children were the beneficiaries of his benevolence. For the second time, the musical equipment was lost. This time though, it was lost for good.
For Cabo Verdean’s Amilcar Cabral’s act of generosity meant that the story had a happy ending. However, this story is one that has been exaggerated and grown legs over the years. Most likely, the musical equipment was rescued from the ship, and was given to schools and children. That part of the story may be true. Apart from that, the rest of the story is akin to a modern day fairy tale.The rest of the story, about a flying ship and cosmic dust is somewhat far fetched, to say the least. Doubtless though, this tale will continue to be spun. That’s a great shame.
There’s much more to Cabo Verde than fairy tales about a flying ship and cosmic dust. This includes Cabo Verde’s music scene, It’s documented on Analog Africa’s latest compilation Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde. The music on Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde is of the standard one would expect from a compilation baring the Analog Africa name. It’s a label that concentrates on quality, rather than quantity.
That quality is apparent throughout the compilation, which is the perfect introduction to the thriving, eclectic and vibrant Cabo Verde music scene after independence in 1975. During that period, Cabo Verde cultural capital blossomed as a new generation of musicians got the opportunity to showcase their considerable talents. A reminder of their music can be found on Space Echo-The Mystery Behind The Cosmic Sound Of Cabo Verde, which hopefully, is the first in a series compilations documenting Cabo Verde’s rich musical past.
SPACE ECHO-THE MYSTERY BEHIND THE COSMIC SOUND OF CABO VERDE FINALLY REVEALED!
VENEZUELA 70-COSMIC VISIONS OF A LATIN AMERICAN EARTH-VENEZUELAN EXPERIMENTAL ROCK IN THE 70S.
VENEZUELA 70-COSMIC VISIONS OF A LATIN AMERICAN EARTH-VENEZUELAN EXPERIMENTAL ROCK IN THE 70S.
Over the last twenty years, the compilation market has been totally transformed. Nowadays, the compilation market is bigger, with many more labels regularly releasing compilations.
A turning point was the mid to late nineties, when many small, independent labels began to release compilations. Some specialised in a particular musical genre. Others specialised in music from a particular country or continent. Nearly twenty years later, and that has continued to be the case.
Nowadays, there are labels who specialise in African, Asian, Eastern European, Latin and Jamaican music. These labels have introduced numerous types of music to a much wider record buying public. They have much more eclectic tastes in music, and welcome and embrace music from Brazil, Germany, Kenya, Nigeria, Norway and Romania. Despite seemingly discovering music from four corners of the globe,there’s musical frontiers yet to be conquered.
Compilers everywhere realise this, and are willing to go in search of new and previously unheard music. Some of these compilers are the new war correspondents. They’re seasoned veterans, who have survived several musical tours of duties. This includes trips to countries teetering on the brink of war or revolution.
Other compilers have taken their lives into their own hands, by heading into the wrong side of town. Sometimes, they’ve escaped by the skin of their teeth. However, what makes it all the risks worthwhile is if they’ve found they were looking for…music.
Especially music that most people will never have heard before. That makes the journey all the more worthwhile. Especially when on the journey home, the compiler has in their possession, master tapes and release forms. This is the start of a journey that in six months or a year, results in a new compilation finding its way onto the racks of record shops. That definitely makes all the danger, hard work and late nights worthwhile. Many compilers know this feeling.
This includes Toni Arrelano. He compiled Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s, which was recently released by Soul Jazz Records. It’s a sixteen track compilation that features contributions by Vytas Brenner, Pablo Schneider, Fernando Yvosky, Vytas Brenner, Angel Rada, Miguel Angel Fuster and Apocalipsis. These artists are largely unknown outside of their home country, where they recorded during what was a golden age for Venezuela.
During the seventies, Venezuela was one of the most prosperous countries in South America. It began to prosper when oil was discovered in north west Venezuela in 1914. Soon, there was a gold rush in the Maracaibo basin. However, it was liquid gold prospectors came in search of, oil.
Before long, most of the biggest oil companies were beating a path to the Maracaibo basin. Soon, they were shooting fish in a barrel. There was oil, and plenty of it. As a result, people came from all over the world in search of work and wealth. This was no surprise, as Venezuela was ideally situated.
Venezuela was the gateway to the Caribbean, so people from Cuba, Guyana, Haiti, Jamaica, Puerto Rico and Trinidad and Tobago arrived in Venezuela. So did immigrants from neighbouring South American countries. This included Bolivia, Brazil and Columbia. However, Venezuelans were used to people settling in their country.
That had been the case for over 200 years. People had emigrated fro Germany, Italy and Portugal. So had Arabs and Africans. Venezuela had always been a multicultural country. This was no different in 1928
By 1928, Venezuela was the largest exporter of oil in the world. Venezuela had become home to many of the world’s biggest oil companies. They came in search of black gold, and found a plentiful supply. This they exported to across the globe. However, by 1943 the Venezuelan government were tired of watching their oil heading out of the country, and decided to take action.
In 1943, the Venezuelan government passed laws that resulted in a 50/50 split in profits between the government and the oil companies. This was a huge blow to oil companies, but the Venezuelan government were resolute. They weren’t going to change their mind. Especially when the money raised from the oil tax transformed Venezuela into one of the most prosperous countries in the world.
That was the case through the remainder of the forties and fifties. By 1960, Venezuela’s new, democratically elected government played a leading role in founding OPEC, whose aim was to ‘support’ the price of oil. Things were changing in Venezuela.
The country continued to prosper in more ways than one. During the sixties, Venezuela had a rich cultural capital. The kinetic arts scene was thriving, and so was music. Traditional forms of Venezuelan music continued to prosper in some parts of Venezuela. However, many Venezuelans began to look outside of the country for musical inspiration.
They looked to Cuba, Puerto Rico and Latin America. Some Venezuelans had travelled to New York, and heard the Nu Yorican which was popular within the Latino community. This music soon began to influence Venezuelans. So too did British rock music. However, other types of music from within Venezuela began to influence the music scene.
With so many immigrants settling in Venezuela, they brought with them their own musical influences. These different musical genres would all play a part in Venezuela’s musical future.
Meanwhile, the prosperity continued, and there was an air of positivity during the sixties. Venezuela was a very different country It was run by democratically elected government, who looked like they were about to play an important part on the world stage, given their role in OPEC. However, as the sixties gave way to the seventies, Venezuela changed, and the wider world were in for a surprise.
In 1973, Venezuelans voted to nationalise the oil industry. For all the companies who had invested heavily in Venezuela, this was a massive blow. The only small crumb of comfort was that the new law didn’t take force until the 1st of January 1976. After that, Petróleos de Venezuela would take over exploration, production, refining and exporting oil. This meant all the money made out of oil, stayed in Venezuela, and made the country even more prosperous. That was the theory.
The only problem was, that by the seventies corruption was rife within Venezuela. Still the country continued to prosper, pre and post the 1st of January 1976. Venezuela was a wealthy and prosperous country financially and culturally.
Part of Venezuela’s rich cultural capital during the seventies was its music scene. Venezuelan musicians were creating ambitious and innovative music. However, that music has never been heard outside of Venezuela. That’s a great shame, given the quality of music produced by Venezuelan musicians during the seventies. It deserves to be heard by a much wider audience. That is now possible, given the release of Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s by Soul Jazz Records. It’s features sixteen tracks from what many people consider the golden years of Venezuelan music, the seventies.
Opening Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s is Araguaney by Vytas Brenner. He was born in Tübingen, Germany in 1946, but his family migrated to Venezuela in 1949. Twenty-four years later, in 1973, Vytas Brenner released his debut album La Ofrenda De Vytas on the Yare label. One of the album’s highlights is Araguaney, a genre-melting track where electronica and folk rock meet progressive rock and psychedelia. It’s a potent and heady brew, that captivates and whets the listener’s appetite for this veritable musical feast. The same can be said of Vytas Brenner’s other contributions. That’s not surprising, given
Bang-Going-Gone was released by the B-Side of Vytas Brenner’s 1973 single Ganado. It’s a truly groundbreaking track, where elements of avant-garde combines with Latin and progressive rock. The result is a track that was way ahead of its time.
This is the case with Caracas Para Locos which Vytas Brenner recorded with Ofrenda. It’s a track from their 1975 album Jayeche, which was released on Discomoda. Elements of progressive rock, Latin, fusion and space rock are combined by a a truly talented band. Seamlessly they combine musical genres and influences, and show yet another side to Venezuelan music during its golden age, the seventies
Next in this musical feast. They contribute a trio of tracks to Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. The Un Dos Tres Y Fuera story began in 1971, when the group were founded. Four years later, they were signed to the Discomoda label and preparing to release their debut album No Hay Que Contar Mucho. The opening track was Machu Picchu. It’s a fusion of disparate musical genres. Traditional Venezuelan music, including mirandero, tuyero and aragueno is combined with jazz, funk and rock. Equally eclectic is the instruments Un Dos Tres Y Fuera deploy. They combine percussion and synths with the rhythm section and horns. Together, they create a truly irresistible potpourri of musical genres. This continues to be case as Un Dos Tres Y Fuera’s career progressed.
Having released their debut album in 1974, Un Dos Tres Y Fuera were releasing an album each year by 1976. Sin Complicacion was their third album for Discomoda. It featured San Juan, Tambor Y Fuera, a slow burner of a track that eventually reveals it delights. Gradually, the tempo quickens, and cumbia is added to this musical melting pot. It’s given a stir, and soon, a memorable and dance-floor friendly blossoms.
Two years later, in 1978, Un Dos Tres Y Fuera were still signed to the Discomoda label, and preparing to release their fourth album Sencillamente Un, Dos, Tres Y Fuera. Still, Un Dos Tres Y Fuera continued to combine disparate musical genres, influences and instruments to create music that was ambitious and inventive. One of album’s finest moments is Son De Tambor Y San Juan which features Un Dos Tres Y Fuera’s then trademark sound.
Miguel Angel Fuster also features three times on Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. He spent much of his career composing music for Venezuelan film and TV. This included the soundtrack to 1973s Cuando Quiero Llorar No Lloro. However, there was more to Miguel Angel Fuster than soundtracks.
In 1974, he released La Quema De Judas as a single on the Yare label. Miguel Angel Fuster hadn’t left the world of soundtracks behind. Cinematic strings play a leading role and combine with Latin percussion in a track that incorporates elements of electronica, fusion and even a blistering rock guitar. It’s a tantalising taste of a truly talented composer.
Miguel Angel Fuster career as writing soundtracks contained in 1976. He contributed five tracks for Música De La Película Soy Un Delincuente. This includes Polvo Lunar, an ambitious and innovative track where fusion and free jazz combine with cinematic strings and rock. Just a year later, in 1977 Miguel Angel Fuster wrote the soundtrack to Banda Sonora Del Film Simplicio. It featured Dame De Comer, where Latin, funk, jazz funk and rock combine to create a cinematic track that’s variously moody, mellow and dramatic.
Angel Rada was born in Cuba in 1948, but moved to Venezuela when he was just one. By 1970, Angel Rada had joined the band Gas Light. They released several singles and contributed to a soundtrack album. However, in 1973, Angel Rada moved to Munich to study electronic music. Six years later, in 1979, he released his debut album and moved back to Venezuela. That was where Angel Rada’s career prospered.
He went on to release dozens of albums. So it’s fitting that two of his tracks features on Opening Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. This includes Panico A Las 5am, and Basheeba, a track from the album Upadesa. It was released on Uranium Records in 1983. Basheeba, sounds as if it’s been heavily influenced by Berlin School pioneer Klaus Schulze. That’s more than likely; as Klaus Schulze was one of the two people Upadesa was dedicated to. With its fusion of avant-garde, Berlin School and electronica, Upadesa Basheeba is a fitting homage from one musical pioneer to another.
While prospectors struck black gold nearly a century ago, Soul Jazz Records have also been prospecting in Venezuela. They’ve discovered the sixteen tracks on Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. They’re a tantalising taste of what was a golden age for Venezuelan music, the seventies.
During the seventies, artists like Vytas Brenner, Pablo Schneider, Fernando Yvosky, Vytas Brenner, Angel Rada, Miguel Angel Fuster, Apocalipsis and Miguel Angel Fuster created groundbreaking and genre-melting music. To do that, they drew inspiration from, and combined disparate musical genres, influences and instruments. Everything from avant-garde to Berlin School, electronica and experimental has been combined with funk and fusion plus Krautrock, Latin, progressive rock, psychedelia, rock and space rock. All these genres can be heard throughout Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. They’re combined by artists and groups who pushed musical boundaries and created ambitious and exciting music. Sadly,this music is largely unknown outside of their home country. That’s a great shame.
Especially considering the quality of music that is on Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. Thankfully, Soul Jazz Records have produced what’s essentially an introduction to Venezuelan music of the seventies. Hopefully, this isn’t a one-off, and further volumes of Venezuelan music from the seventies will be released. Maybe, Soul Jazz Records would even consider reissuing some of the albums that the tracks are taken from? Especially Vytas Brenner’s debut album La Ofrenda De Vytas. It featured one of the most talented musicians in Venezuela’s thriving music scene during what was a golden age. However, Vytas Brenner was just one of many talented musicians recording and releasing ambitious and innovative music during the seventies.
There were many, many more. This includes the other musical pioneers that feature on Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s. Their music deserves to be heard by a much wider audience. Hopefully, the recent release of Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s will result in a resurgence of interest in Venezuelan music from the seventies. If it does, then it will be thanks to Soul Jazz Records. They struck gold when they discovered the music on Venezuela 70-Cosmic Visions Of A Latin American Earth-Venezuelan Experimental Rock In The 1970s, which is, without doubt, one of the best compilations of 2016 so far.
VENEZUELA 70-COSMIC VISIONS OF A LATIN AMERICAN EARTH-VENEZUELAN EXPERIMENTAL ROCK IN THE 70S.
KON AND THE GANG-KON AND THE GANG
KON AND THE GANG-KON AND THE GANG
It’s hard to believe that twenty years have passed since BBE released their very first release, Stop and Listen Volume 1 on the 4th of November 1996. It was compiled by Dr. Bob Jones and was a journey through disparate musical genres. Everything from soul, jazz and funk to disco and house featured on a compilation where Curtis Mayfield rubbed shoulders with Sarah Vaughan, Linda Clifford and Barbara Lynn. This compilation was eclectic with a capital E. Stop and Listen Volume 1 was also a compilation that oozed quality, and BBE were a label to watch.
That proved to be the case. Over the next few years, further volumes in the Stop and Listen series were released. So were a number of other compilations, including Strange Games and Things and Keb Darge’s Legendary Deep Funk. This was just a tantalising taste of what was to come from BBE.
Over the next twenty years, some of BBE’s most successful compilations have been Disco Love, John Morales Presents The M&M Mixes, Private Wax and Keb Darge and Little Edith’s Legendary Wild Rockers. These are just a few of the compilations released by BBE over the past twenty years. However, there’s more to BBE than compilations.
Indeed, there’s many strings to the BBE bow. This includes reissuing many long forgotten, lost and hard to find albums. These albums have been discovered in far flung corners of the globe, and have been reissued by BBE. Belatedly, these albums are now finding favour by an appreciative audience of musical connoisseurs. The same can be said of the many albums of new music that BBE have released since 1996.
Nowadays, BBE have established a reputation as a label that released albums of innovative and influential new music. This includes albums by both established and up-and-coming artists. These artists come from far and wide. Nowhere is off limits to BBE in their search for new and exciting music. One of the many artists who have realised an album on BBE is Kon.
He’s had a long association with BBE. This began in 2007, when Kon and Amir released Off Track Volume One: The Bronx. This was a double album, which featured a truly eclectic selection of music. Each DJ’s selection featured on one of the discs. Kon had edited each of these tracks and then mixed them, which gave the chance to showcase his skills as a DJ. The first volume in Off The Track series was a success, and two further volumes followed.
The next, Off Track Volume Two: Queens was released in 2008 and featured a suitably eclectic selection of songs. This was meant to represent the musical melting pot that’s the borough of Queens. It was a convincing musical representation. So was the third and final volume in the series, Off Track Volume III: Brooklyn. It was released in 2010, and since then, there’s been no further instalments in the series. However, this wasn’t the end of Kon’s association with BBE.
Three years later, in July 2013, Kon released his debut album On My Way, on BBE Music. It contained original music, which featured Kon and some of his musical friends. This included keyboardist Yuki Kanesaka, plus vocalists Amy Douglas, Ben Westbeech, Induce and George Levin. They all played their part in the sound and success of On My Way. Now three years later, some of Kon’s friends have played a port in his Kon and The Gang project.
Kon explains the origins of the project. It’s: “a play on words…which became an idea for this compilation” So Kon: “asked a few of my producer and DJ friends to contribute original tracks.” They were happy to contribute tracks which became part of Kon and The Gang. It was recently released by BBE Music on heavyweight vinyl and digital download. Kon and The Gang features eight previously unreleased tracks. This includes two from Kon, plus tracks from Doc Daneeka, Serge Gamesbourg, Scott ThatManMonkz, Eli Escoba, Bosq and Caserta. Each of these tracks are soulful and perfect for the dance-floor. That’s what people have come to expect of Kon, whose love of music began when he was just four.
This life-changing event happened when Christian Taylor, the man that would become Kon, first heard Electric Light Orchestra’s 1974 album Eldorado. The drama and theatre of Eldorado, with its cinematic strings, well crafted songs and poppy hooks captured Kon’s attention. He was hooked, his love of music began. Soon, Kon went in search of more music. Helping fuel this interest in music was his father.
He was a drummer, and was happy and willing to become Kon’s wingman when he went in search of the perfect break. Soon, Kon was a self-confessed crate-digger. Kon’s raison d’etre was the pursuit of music with the perfect beat or break. He was determined to leave no stone unearthed in his search for vinyl.
Kon searched dusty basements, backstreet record shops, flea markets, charity shops and nowadays, online auctions looking for vinyl. They were and still are among his favourite haunts in his pursuit of that elusive slab of vinyl. The one that contains the perfect break and beat. Even better, it might be the perfect song, the one that changes your life and makes you wonder how you lived without it? Especially, if that song was funky.
For Kon, when it came to music, it was a case of the funkier the better. This music would influence the Off Track and On Track compilation series Kon and Amir would go on to compile. That was the future. Before that, Kon decided to embark upon a musical career.
Given Kon’s love of music, this came as no surprise to those that knew him. Kon seemed to live and breath music. There was a degree of inevitability that Kon would eventually make a career out of music. Like many future producers, Kon started life as a DJ,
Starting off as a DJ back in the eighties, Kon started honing his own unique DJ-ing style. The next step for Kon, was making his own edits, which he played during his DJ sets. His edits were his secret weapons, guaranteed to liven up any dance-floor. These edits found their way onto Kon and Amir’s Off The Track compilations.
Three volumes were released between 2007 and the 2010 on BBE. The first was Off Track Volume One: The Bronx in 2007. A year later, ff Track Volume Two: Queens was released in 2008 The third and final volume in the series, Off Track Volume III: Brooklyn was released in 2010. Making edits however, was just a step towards the next part of Kon’s career, when he start working as a remixer.
Making his own edits was good preparation for when Kon started remixing tracks. It was as if everything had been leading towards this. This had included a lifetime listening to, and understanding music. Then there was all the time Kon spent studying John Morales and Walter Gibbons remixes. Having learnt from two of the top remixers, Kon was well prepared to start his remixing career.
His style of remixing involved stripping the track back to just the rhythm section. After allowing them their moment in the spotlight, he started rebuilding the track. Quickly, Kon’s reputation as a remixer grew. However, much as he enjoyed creating edits and remixes, he wanted to create his own music. This was the next chapter in Kon’s career, what everything had been leading to.
So in 2013, Kon released his debut album of original music, On My Way on BBE Music. This added a new string to Kon’s musical bow. He was a DJ who made edits, was a remixer and had just released his first artist album. Then there was his work with Nitetime, Star Blazers, Whiskey Baron and the songs he wrote with Dan Nicklin nd Edward Anderson. Kon was one of the hardest working men in music. However, Kon wasn’t one to rest on his laurels. He was about to embark upon new project, with a little help from his friends.
Ironically, The Kon and The Gang project came about almost by accident. It was a play on words, that proved the genesis for the album. This set Kon thinking.
Soon, he was asking his DJ and producer friends if they had any unreleased tracks that would be willing to contribute to the project? Before long, Kon had been offered the six tracks that would eventually, feature on Kon and The Gang.
This includes Doc Daneeka, Serge Gamesbourg, Scott ThatManMonkz, Eli Escoba, Bosq and Caserta. These artists were perfect additions. They were all up-and-coming artists, who Kon had high hopes for. To these six tracks, Kon added two of his own productions. These eight tracks would be spread across four sides of heavyweight vinyl, and became Kon and The Gang.
The music on Kon and The Gang is representative of the new wave of unique and original music that has recently been influenced by disco. It’s become increasingly popular within the vibrant edit scene. This is sure to be the case with the music on Kon and The Gang. After all, it’s always soulful, and veers between laid back to energetic, as boogie gives way to disco on this compilation of dance-floor delights.
Opening Kon and The Gang, is the first of two Kon productions, Can’t Get Enough. This disco infused slice of soulful, funky house is a reminder of Kon’s production skills. He’s created a joyous sounding dance-floor filler to cherish. It whets the listener’s appetite, for the rest of this compilation.
Kon also has a hand in I Promise. It was produced by Doc Daneeka and features Seven Davis Jr. However, Kon reworks the original. It’s a memorable and mesmeric fusion of boogie and house. Just like Can’t Get Enough, there’s a soulful quality to the vocal on this irresistible track.
Again, there’s a boogie influence on Serge Gamesbourg’s Do It Well. Gradually, the track shows its summery delights. Key to this is the percussion, which adds a Latin influence. The percussion and keyboard plays leading roles as the Do It Well heads in the direction of deep house. By then, another soulful floor-filler is unfolding. It’s sure to tempt even the most reluctant dancer onto the dance-floor.
It’s a similar story with I Like To Feel Your Eyes On Me When I Look Away. It was produced by That Man Monkz and features J. Gordon. Their combined and considerable talents create a slice of summery sounding, uber soulful Nu Disco.
This Nu Disco sound continues on Awe Baby, which marks the return of Kon. This time, he remixes his original production on the Medlar Remix. It’s a track that’s obviously been influenced by he classic disco of the seventies. There’s also a hint of boogie and even P-Funk in the tough keyboard sound. However, it’s used subtly, and plays its part in a joyous slice of Nu Disco.
New York based DJ and producer Eli Escobar is responsible for Back 2 Luv, which features Steven Klavier. Here, Nu Disco meets house, on another soulful and uplifting track where hooks haven’t been spared.
Bosq’s Out Of My Head is another track that worms its way into the listener’s consciousness. That’s the case from the funky bass line, percussion and piano to the vocal. They combine to create a truly memorable track. It’s funky and soulful, as Bosq fuses Nu Disco and house with disco strings. The result is another dance-floor filler from Kon and The Gang.
Closing Kon and The Gang, is Caserta’s Hooked On Ya. It’s a slow burning slice of deep house which gradually unfolds. When it does, it’s well worth the wait. Mellow, melodic and mesmeric, Kon has kept the best until last on Kon and The Gang.
That is the story of the latest chapter in both the Kon and BBE story. Three years after releasing On My Way, Kon returns to BBE like the conquering hero, with a new and exciting project Kon and The Gang. It’s a double album that was recently released by BBE on vinyl and as a digital download.
Kon and The Gang which features eight previously unreleased tracks. Two of the tracks were produced by Kon, while the rest were produced by Kon’s multitalented gang. They’re responsible for an album of dance-floor filler that oozes quality. These dance-floor fillers all have one thing common, they’re soulful. Some of the tracks are funky, but all are guaranteed to get fill a dance-floor. The tracks range from deep house to Nu Disco and incorporate elements of boogie, classic disco, funk, house and soul. Often, several genres have been combined to create tracks that are veer between energetic, joyous and hook-laden, to mellow, melodic and memorable.
Indeed, memorable is the perfect word to describe the Kon and The Gang compilation. That has been the case with so many compilation BBE have released over their twenty year history. The Strange Games and Things, Disco Love, John Morales Presents The M&M Mixes, Private Wax and Keb Darge and Little Edith’s Legendary Wild Rockers compilation series’ have all stood the test of time. There’s a reason for that; the quality of the music. It’s been truly memorable. The same can be said of the recently Kon and The Gang compilation.
It’s a compilation to cherish, and a celebration of the music that recently, has been making waves within the vibrant edit scene. The music on Kon and The Gang has been transforming dance-floors from a sea of tranquility to a place where good times are guaranteed, and where everybody’s dancin’ all night long. That’s why, for anyone looking to get the party started, then Kon and The Gang, it’s all you need. At the party, Kon and The Gang will be able to tempt even the most reluctant dancer onto the dance-floor and ensure that’s where they stay awhile.
KON AND THE GANG-KON AND THE GANG
JUDY COLLINS-IN MY LIFE, WILDFLOWERS AND WHALES AND NIGHTINGALES.
JUDY COLLINS-IN MY LIFE, WILDFLOWERS AND WHALES AND NIGHTINGALES.
Judy Collins was never meant to become a folk singer. Originally, she had studied classical music and made her public debut when she was just thirteen. That night in Denver, Judy Collins played Mozart’s Concerto For Two Pianos. All Antonia Brico’s tuition and encouragement had been worthwhile. Her pupil she believed, was destined for greatness. There was a problem though.
Lately, Judy Collins had started to show an interest in folk music. This troubled Antonia Brico. She didn’t approve of her pupil’s growing interest in folk music. Antonia Brico didn’t want Judy Collins to stray from her path, which she hoped, could lead her to becoming one of the top classical pianists . After all, she was an outstanding and prodigious pupil. Judy Collins despite her youth and talent, was also determined; determined to pursue her interest in folk music. So she made the toughest decision of her young life, and discontinued her piano lessons with Antonia Brico.
Soon, Judy Collins had switched to guitar and was further embraced folk music. Previously, she had just dipped her toe in water. Now she dived in head-first, and discovered that the water was lovely. Initially, Judy Collins had discovered the music of Woodie Guthrie, Pete Seeger and traditional folk songs . This was just the start of Judy Collins’ love affair with folk music.
At home, music was almost omnipresent. Her father was a singer and disc jockey. He had moved to Denver, Colorado from Seattle, Washington when Judy Collins was ten. She was born on 1st of May 1939, and was the eldest of five children. However, the Collins’ family move to Denver worked in Judy Collins’ favour.
Musicians were always around the Collins’ household. They encouraged Judy Collins’ burgeoning interest in folk music. By the time she graduated high school, Judy was ready to make her debut as a folk singer.
Her debut took place at Michael’s Pub in Boulder, Colorado. Soon, though, Judy Collins was regular on the local folk scene. She played at Exodus folk club Exodus and at the University Of Connecticut. This resulted in Judy playing at campus parties and making appearances on college radio. That was where she met musicians like David Grisman and Tom Azarian. Soon, though, Judy was ready to head make the next step in her, and headed to the capital of American folk music, Greenwich Village.
Now settled in Greenwich Village, Judy Collins began to play in some of the best known folk clubs, including Gerde’s Folk City. Judy’s timing was perfect, the sixties folk boom began.
Suddenly, folk music was de rigueur. Record companies began to sign up some of the leading lights of the Greenwich Village folk scene. This included Judy Collins, who signed to Jac Holzman’s Elektra Records in early 1961.
Little did Judy Collins realise that this was the start of a thirty-five year relationship she would have with Elektra. During that period, Judy released In My Life, Wildflowers and Whales and Nightingales. They’ve recently been remastered and reissued by BGO Records as a two disc set. These three albums were released between 1966 and 1970. By then, Judy was an experienced and successful recording artist. Judy’s recording career began later in 1961, when she released her debut album A Maid Of Constant Sorrow.
A Maid Of Constant Sorrow.
Having signed to Elektra Records in early 1961, Judy Collins’ thoughts turned to her debut album. Elektra Records’ founder Jac Holzman was keen to record his latest signing’s debut album. So Judy began choosing suiting material for her debut album.
Eventually, Judy Collins had settled on twelve songs. Most were traditional songs, including the Scottish anthem Wild Mountain Thyme, the Irish standard The Prickilie Bush and a remake of Man Of Constant Sorrow, which became A Maid Of Constant Sorrow. They were familiar songs on the folk scene, unlike Wars Of Germany, John Riley and Tim Evans. However, Tim Evans was penned by English folk singer and songwriter Ewan McColl. He was a familiar face on the folk scene, and later, would write one of Judy’s biggest hit singles. That was all in the future.
Before that, Judy Collins entered the studio with Jac Holzman who would produce her debut album. Accompanying Judy, was former Weavers’ guitarist Fred Hellerman and Erik Darling on banjo. They provided a sparse and understated accompaniment to Judy’s vocals on the twelve songs, which became A Maid Of Constant Sorrow.
With A Maid Of Constant Sorrow completed, Elektra Records scheduled the release of Judy Collins’ debut album in November 1961. Before that, critics had their say on A Maid Of Constant Sorrow.
For many critics, Judy Collins was a new name. They immediately drew comparisons with Bob Dylan, given that many of the songs on A Maid Of Constant Sorrow were protest songs. Judy became a storyteller as she painted pictures with her voice. However, Judy was also an educator, introducing critics and record buyers to not just familiar songs and others which were much more obscure. Each of the songs showcased a talented vocalist, especially on A Maid Of Constant Sorrow, Wild Mountain Thyme, Know Where I’m Going and The Rising Of The Moon. Critics were won over by Judy Collins’ debut album, and A Maid Of Constant Sorrow was released to mostly positive reviews.
This augured well for the release of A Maid Of Constant Sorrow in November 1961. Despite winning the approval of critics, A Maid Of Constant Sorrow wasn’t a commercial success. The album failed to trouble the US Billboard 200. However, Judy Collins’ debut album found favour within the burgeoning folk community. Given folk music’s popularity was rising, so should Judy’s. It might take a couple of albums though.
Golden Apples Of The Sun.
Despite the disappointing sales of Judy Collins’ debut album, Jac Holzman wasn’t giving up on his latest signing. He was playing the long game, and sent Judy back into the studio to record her sophomore album, Golden Apples Of The Sun.
It followed a similar pattern to A Maid Of Constant Sorrow. Nine of the twelve songs on Golden Apples Of The Sun were traditional songs. This included Bonnie Ship the Diamond, which Judy arranged. The other songs Judy decided to cover were Reverend Gary Davis’ Twelve Gates to the City, Sydney Carter’s Crow On The Cradle and Mike Settle’s Sing Hallelujah. These twelve tracks were recorded with producer Jac Holzman and a small band.
Just like the sessions for A Maid Of Constant Sorrow, the band of bassist Bill Lee and Walter Raim on guitar and banjo. Judy played guitar and piano and while laying down the vocals. Once the twelve songs were recorded, Golden Apples Of The Sun was scheduled for release in July 1962.
Before that, critics received their advance copies of Golden Apples Of The Sun. By then, folk music’s popularity was rising, and critics were paying more attention to the Greenwich Village folk scene. Already Judy Collins was one of the leading lights of the Greenwich Village folk scene. Most of the critics cast an approving eye over Golden Apples Of The Sun, and its mixture of traditional and new songs. They showcased a talented and versatile singer, who had the uncanny ability to bring a song to life. A great future was forecast for Judy Collins.
Alas, lightning struck twice for Judy Collins. When Golden Apples Of The Sun was released in July 1962, the album failed to chart. A small crumb of comfort was that Golden Apples Of The Sun was a popular album within the folk community. However, gradually, Judy was making inroads into the wider record buying public. It would be a case of third time luckily for Judy Collins.
Judy Collins 3.
After two albums which failed to chart, a few changes were made for Judy Collins’ third album. The first change was the type of songs Judy was covering.
She covered two Bob Dylan songs, Farewell and Masters Of War. This was a shrewd move, given the popularity of Bob Dylan. Just like on her debut album, Judy again covered songs by Ewan McColl and Mike Settle. This time round, Judy covered Ewan McColl’s The Dove and Mike Settle’s Settle Down. They joined Pete Seeger’s Turn! Turn! Turn! (To Everything There Is A Season); Jim Friedman and Shel Silverstein’s Hey, Nelly Nelly and Come Away Melinda and covers of two traditional songs, Bullgine Run and Ten O’Clock and All Is Well. These songs would become part of Judy Collins 3, which featured a new face.
When Judy Collins arrived at the studio in March 1963, Mark Abramson had been chosen to produce Judy Collins 3. He would go on to play an important part in the rise and rise of Elektra Records. Another new face was guitarist and banjo player Roger McGuinn. He would go on to enjoy commercial success and critical acclaim with The Byrds. However, in 1963, he was a session player, who joined bassist Bill Takas and Walter Raim. He also played guitar and banjo. Judy laid down guitar parts and played the piano, while adding the vocals on Judy Collins 3. It was completed by April 1963, but wasn’t released until later that year.
By the time that Judy Collins 3 was released later in 1963, Judy Collins’ star was in the ascendancy. She was already regarded as one of the best at interpreting traditional songs. Despite this, Judy had decided to cover many new contemporary songs on Judy Collins 3. She was equally at home covering new and contemporary songs. Critics were won over by Judy Collins 3’s mixture of traditional songs and covers of songs by Bob Dylan, Pete Seeger and Ewan MacColl. Part of the success of Judy Collins 3, was Judy’s decision to stay true to the originals. This pleased critics and record buyers.
When Judy Collins 3 was released, it reached 126 in the US Billboard 200. It was a case of third time lucky for Judy Collins, whose music was belatedly reaching a wider audience. However, it would be another two years before Judy returned with her fourth studio album.
The Judy Collins Concert.
Although Judy Collins didn’t release a studio album during 1964, she released her first live album The Judy Collins Concert. It was recorded on March 21st 1964, at Town Hall in New York City. That night, Judy worked her way through fourteen songs from some of her favourite songwriters.
Judy opened her set with Billy Edd Wheeler’s Winter Sky, and covered several two more of his compositions Red-Winged Blackbird and Coal Tattoo. Tom Paxton’s The Last Thing On My Mind, My Ramblin’ Boy and Bottle Of Wine joined Fred Neil’s Tear Down the Walls, John Phillips’ Me and My Uncle, Bob Dylan’s The Lonesome Death of Hattie Carroll and Ewan McColl’s Cruel Mother. These songs were joined by Jim Friedman and Shel Silverstein’s Hey, Nelly Nelly and covers of traditional songs like Bonnie Boy Is Young and Wild Rippling Water. Accompanying Judy were bassist and cellist Chuck Israel and Steve Mandell on banjo and guitar. Judy switched between piano and guitar as she delivered a captivating set. It was being recorded by Elektra Records, and was produced by Mark Abramson. It became The Judy Collins Concert.
When The Judy Collins Concert was released in July 1964, the reviews of the album were mostly positive. Critics who hadn’t yet heard Judy live, had the opportunity to do so, without even leaving the comfort of their favourite armchair. They praised what was an enchanting set which featured Judy Collins as she breathed life, meaning and emotion into familiar and traditional songs. Surely, The Judy Collins Concert would build on the success of Judy Collins 3?
Sadly, that wasn’t the case. The Judy Collins Concert failed to chart, which was a huge disappointment. After it seemed as if Judy had made a breakthrough with Judy Collins 3. However, it wasn’t just The Judy Collins Concert that didn’t sell well.
For much of the sixties, live albums didn’t sell in vast quantities. That would change in the seventies. By then, music had changed beyond recognition. Even in July 1964, music was changing in America, with the British Invasion bands arriving on American shores. How would Judy Collins react?
Fifth Album.
Judy Collins didn’t return with her Fifth Album until November 1965. The only difference was that the album featured a bigger band, and a much more eclectic selection of instruments. Strings, a dulcimer and harmonica would augment Judy on Fifth Album.
Just like Judy Collins 3, Fifth Album featured mainly cover versions by some of her favourite songwriters. By 1965, Bob Dylan was still one of Judy’s favourite singer-songwriters. So much so, that she covered three of his songs, Mr. Tambourine Man, Tomorrow Is A Long Time and Mama, You Been on My Mind which became Daddy, You Been on My Mind. They were joined by Phil Ochs’ In the Heat of the Summer, Gordon Lightfoot’s Early Morning Rain, Gil Turner’s Carry It On and a live version of Malvina Reynolds’ It Isn’t Nice. Other songs included Billy Edd Wheeler’s The Coming of the Roads and two traditional songs, So Early, Early In The Spring and Lord Gregory. These songs, and the rest of Fifth Album were recorded with producer Mark Abramson.
When recording began, Judy was joined by a bigger band. Strings were added to some of the tracks. A familiar face was bassist Bill Takas, who had played on previous albums. He was joined by two other bassists, Bill Lee and Chuck Israels, who also played cello.
They were joined by Richard Fariña on dulcimer and Lovin Spoonful founder John Sebastian on harmonica. Two guitarists featured on Fifth Album, Danny Kalb and Eric Weissberg who added harmonies. Judy as usual, accompanied herself on piano and guitar. Once her first studio album in two years was complete, Elektra Records announced its release in November 1965.
A lot had happened since Judy Collins had been away. The British Invasion bands dominated the American charts, the psychedelic era had begun. However, resolutely, Judy Collins stuck to her trademark acoustic sound. Fifth Album won the approval of critics, who complemented Judy on her choice of song and delivery. It was hailed as her finest albums. Fifth Album had the potential to be a career defining album.
When Fifth Album was released in November 1965, it climbed the charts all the way to forty-six in the US Billboard 200. This was by far, the most successful album of Judy Collins’ career. That was until her next album.
In My Life.
Buoyed by the commercial success of her Fifth Album, Judy Collins’ thoughts soon turned to the followup. This time though, her sixth album, In My Life. It marked a turning point in Judy Collins’ career, in more way than one.
The first was that In My Life was Judy Collins’ first album not to feature any traditional songs. Instead, she covered songs by some of the biggest names in music. This included Lennon and McCartney’s In My Life, Bob Dylan’s Just Like Tom Thumb’s Blues, Randy Newman’s I Think It’s Going To Rain Today, Donavon’s Sunny Goodge Street and Richard Fariña’s Hard Lovin’ Loser. Two Leonard Cohen songs featured on In My Life, Suzanne and Dress Rehearsal Rag. Another first, was the inclusion of a song penned by Jacques Brel. He was another of Judy’s favourite songwriters, and his composition with Alasdair Clayre La Colombe was included. These songs, and the rest of In My Life were recorded in London.
Sound Techniques studio was chosen to record In My Life. Judy Collins’ usual producer Mark Abramson was present, and directing operations. Joshua Rifkin arranged and conducted the orchestra. This was a first, Judy being accompanied by an orchestra who produced dramatic, widescreen backdrops for her vocals. They became In My Life, which was released in November 1967.
By the time that In My Life was released, Suzanne had already been released as a single. It was released in 1966, but failed to chart. Hard Lovin’ Loser didn’t do much better, when it crept into the US Billboard 100 at number ninety-seven. However, by then, the reviews of In My Life had been published.
In My Life received the best reviews of any album Judy Collins had released. Critics were won over by the change in style, and big, dramatic, orchestral arrangements. They framed Judy’s vocal, as she interpreted the twelve songs, and in many cases, brought something new to the songs. This just added to Judy’s reputation as one of the best interpretative singers of her generation. Songs came to life, and took on new meaning. Especially Suzanne, I Think It’s Going To Rain Today, Dress Rehearsal Rag, Sunny Goodge Street and even In My Life. However, throughout In My Life, Judy delivered a series of spellbinding and masterful performances. With critical acclaim accompanying the release of In My Life, this augured well for Judy Collins’ new album.
And so it proved to be. When In My Life was released in November 1966, the album reached forty-six in the US Billboard 200. In My Life surpassed the success of Fifth Album. Less than four years later, and In My Life was certified gold in 1970 after selling over 500,000 copies. However, after basking in the success of In My Life, Judy Collins began work on the followup, Wildflowers.
Wildflowers.
Following the commercial success and critical acclaim of In My Life, Judy Collins began work on a new album, Wildflowers. She was determined to build on the success of In My Life. However, Wildflowers was unlike any of Judy’s previous albums.
Wildflowers was a turning point in Judy Collins’ career. It was the first album to feature songs penned by Judy. She wrote three of the ten songs on Wildflowers, including Since You Asked, Sky Fell and Albatross. These three songs were augmented by two covers of Joni Mitchell’s Michael from Mountain and Both Sides Now. Judy also covered a trio of Leonard Cohen songs, Sisters Of Mercy, Priests and Hey, That’s No Way To Say Goodbye. Again, Judy covered a Jaques Brel song, La Chanson Des Vieux Amants (The Song of Old Lovers). The other song on Wildflowers was a cover of the fourteenth century composition, A Ballata Of Francesco Landini. These songs were recorded in New York with producer Mark Abramson.
Just like In My Life, Joshua Rifkin was drafted in, and arranged nine the ten songs. The exception was Priests, which arranged by Robert Silvester and Robert Dennis. However, when it came to conducting Wildflowers, Joshua Rifkin took charge, hoping for a repeat of the commercial success and critical acclaim of In My Life.
Before Wildflowers was released in October 1967, critics had their say on Judy Collins’ new album. Wildflowers featured Judy’s songwriting debut on Since You Asked, Sky Fell and Albatross. She proved to be a talented songwriter and storyteller. Judy brought these songs to life with the aid of Joshua Rifkin’s widescreen arrangements. That was the case as Judy covered songs penned by Leonard Cohen and Joni Mitchell. They were tailor-made for Judy’s interpretative vocal style. Her delivery was heartfelt, impassioned and emotive. Similarly, whether it was drama, hope, heartache or happiness that was required, Judy Collins was capable of providing it on Wildflowers. Critics hailed Wildflowers a fitting followup to In My Life.
They weren’t wrong. When Wildflowers was released in October 1967, it reached number five in the US Billboard 200. This was the highest chart placing of any Judy Collins. What had helped sales of Wildflowers was the success of the single Both Sides Now. It was released in early 1968, and reached number eight in the US Billboard 100, number six in Canada and thirty-seven in the Australian charts. The followup Since You Asked, failed to repeat the success of Both Sides Now when it failed to chart. However, this wasn’t the end of the Wildflowers’ success.
When the Grammy Awards’ nominations were announced in 1969, Both Sides Now was nominated for the Best Folk Performance Or Best Folk Recording. This was a first for Judy Collins, and showed how far she had come in the last two years. Things got even better for Judy Collins, when Both Sides Now won Judy Collins her first Grammy Award. Then in 1969, Wildflowers was certified gold, and became Judy’s second album to sell over 500,000 copies. Life was good for Judy Collins, who was one of the biggest names in folk music. By then, Judy had released a new album, Who Knows Where the Time Goes.
Who Knows Where the Time Goes?
Despite the success of Wildflowers, Judy Collins decided to change direction on Who Knows Where the Time Goes? It featured elements of country rock and folk rock.Who Knows Where the Time Goes? was a much more eclectic album than previous Judy Collins’ albums, and featured covers of songs by some of the great and good of music.
This included Bob Dylan’s I Pity the Poor Immigrant, Leonard Cohen’s Story Of Isaac and Bird On The Wire, Robin Williamson’s First Boy I Loved and Sandy Denny’s Who Knows Where the Time Goes? They joined Ian Tyson’s Someday Soon, Rolf Kempf’s Hello Hooray and the traditional murder ballad, Pretty Ballad. The only Judy Collins’ composition was My Father. These nine songs were recorded with a new band and new producer.
Recording began at Elektra Sound Recorders, Los Angeles, in 1968. This was a first for Judy Collins. She had never recorded an album in L.A. Nor had she worked with David Anderle replaced Judy Collins’ longterm producer Mark Abramson on Who Knows Where the Time Goes? Joining the new producer was a new band. It included a rhythm section of drummer and percussionist Jim Gordon, bassist Chris Ethridge and James Burton on electric guitar and dobro. Augmenting the rhythm section were Buddy Emmons on pedal steel guitar, pianist Mike Melvoin and Van Dyke Parks on piano and electric piano. Michael Sahl switched between organ, piano and harpsichord, keyboard, while Stephen Stills played bass and guitar. This new band plugged in, and took Judy’s music in a totally new direction. For a singer who had just enjoyed the biggest album of her career, this was a huge risk.
Judy Collins needn’t have worried. When critics heard Who Knows Where the Time Goes? they were immediately won over. Critics hailed the album a mini masterpiece. They welcomed an album that showcased a much more eclectic selection of songs. Hello Hooray was headed in the direction of rock, while Poor Immigrant was a move towards country rock. My Father was a masterful example of balladry, something Judy had excelled at throughout her career. However, among the album’s highlights were the Story Of Isaac, which was cinematic and full of imagery. Along with a peerless cover Leonard Cohen’s Bird On A Wire and the wistful, ethereal beauty of the title-track, these three tracks were among the highlights of Who Knows Where the Time Goes? It was described as one of the finest albums of Judy’s career, and was an album that introduced her music to a much wider audience.
The answer to that was yes and no. When Who Knows Where the Time Goes? was released in November 1968, and reached twenty-six in the US Billboard 200. However, by 1969, Who Knows Where the Time Goes? had been certified gold. This gave Judy Collins’ the third gold disc of her career. Her last album of the sixties had been a success. The only disappointment was the performance of the singles.
My Father was released as the lead single in 1968, but failed to chart. Someday Soon fared better, reaching fifty-five in the US Billboard 100 in 1969. This time, around there had been no top ten singles, but still Judy Collins was one of the most successful folk singers of her generation.
Recollections.
The only album that Judy Collins released during 1969, was the first compilation of her career, Recollections. It featured a selection of songs from Judy’s career so far. This included Tomorrow Is A Long Time, Early Morning Rain, Turn! Turn! Turn! (To Everything There Is A Season), Listen Now! Daddy You’ve Been On My Mind, Mr. Tambourine Man, The Last Thing On My Mind and Farewell. One of these songs was released as a single, and gave Judy a hit single.
Judy Collins’ cover Turn! Turn! Turn! (To Everything There Is A Season) was released as a single in 1969, and reached sixty-nine in the US Billboard 100. Although it wasn’t the biggest hit of Judy’s career, it kept her in the public eye, while she pondered her next move. She wouldn’t release a new album until 1970.
Whales and Nightingales.
Essentially, the sixties ended for Judy Collins in October 1968, when she released Who Knows Where the Time Goes? Since then, she hadn’t released a studio album. It wasn’t until August 1970 when Judy returned with Whales and Nightingales, album that owed more to Wildflowers than Who Knows Where the Time Goes?
Whales and Nightingales saw a return to shorter songs, and Judy’s tradition folk sound. She had written Nightingale and cowrote Nightingale II with Joshua Rifkin. The rest of Whales and Nightingales comprised cover versions.
Among the cover versions, were songs by some of Judy Collins’ favourite singers and songwriters. This included Bob Dylan’s Time Passes Slowly, Joan Baez’s A Song For David and Pete Seeger’s Oh, Had I A Golden Thread. Other songs included a cover of Dominic Behan’s The Patriot Game, John Newton’s Christian hymn Amazing Grace and Prothalamium which Michael Sahl and Aaron Krame wrote. Judy chose two Jaques Brel compositions, including Marieke which he penned with Gerard Jouannest. The two men also wrote Son Of with Eric Blau and Mort Shuman. Augmenting these covers were a trio of traditional songs, Gene’s Song, Farewell to Tarwathie and Simple Gifts. These thirteen songs were recorded during 1970 with a familiar face.
Given Judy Collins was returning to her familiar folk sound, it made sense to reunite with her former producer, Mark Abramson. He had produced most Judy’s commercially successful and critically acclaimed albums. The exception was Who Knows Where the Time Goes? That was the past. Whales and Nightingales was the future.
Another familiar face was Joshua Rifkin, who arranged and conducted Sons Of, Prothalamium and Marieke. Judy also arranged a trio of tracks, Farewell To Tarwathie, Simple Gifts and Amazing Grace. One of these songs would become one of Judy Collins’ best known songs.
Once Whales and Nightingales was complete, Elektra Records scheduled the release for August 1970. The song that was chosen as the lead single, was a surprising one, Judy Collins’ cover of the Christian hymn Amazing Grace. When it was released in 1970, it reached number fifteen in the US Billboard 100 and number ten in the Australian singles’ charts. This augured well for the release of Whales and Nightingales.
Especially when Whales and Nightingales was well received by critics. Again they complemented Judy Collins on her judicious choice of songs, which she interpreted in her own unique way. This included Bob Dylan’s Time Passes Slowly, Joan Baez’s A Song For David and Pete Seeger’s Oh, Had I A Golden Thread. They were perfect for Judy, and brought out the best in her.
So did Farewell To Tarwathie, which featured one of the most imaginative arrangements on Whales and Nightingales. Judy was accompanied by a chorus of humpback whales, who provided a sparse, but almost haunting arrangement. These understated arrangements had always provided the perfect backdrop for Judy Collins’ vocals.
Whales and Nightingales featured two songs Judy Collins had written. The first was Nightingales, a beautiful song,which delivered against sparse, understated arrangements. So was and Nightingales II, which featured a lush, string-drenched, widescreen arrangement. However, one of the most powerful songs was Judy’s cover of Amazing Grace. It was akin to a soul-baring confessional. Critics agreed that Amazing Grace was one of the finest moments on Whales and Nightingales, which was a return to form from Judy,
When Whales and Nightingales was released in July 1970, the album reached number seventeen in the US Billboard 100. By 1971, the album had sold over 500,000 copies and had been certified gold. Judy Collins’ first album of the seventies, saw her pickup where she left off in 1968.
After eight studio albums and one live album, Judy Collins was one of the most successful folk singers of her generations. Judy Blue Eyes’ last four album had been certified gold. This remarkable run began with 1966s In My Life, and included 1967s Wildflowers, 1968s Who Knows Where the Time Goes? and ended with 1970s Whales and Nightingales. During this period, it seemed Judy Collins could do wrong. She enjoyed several hit singles, including her cover of Joni Mitchell’s Both Sides Now. It won Judy her first Grammy Award in 1969. Judy Collins had come a long way since her debut album A Maid of Constant Sorrow in 1961.
While A Maid Of Constant Sorrow and its followup Golden Apples Of The Sun failed commercially, Jac Holzman and Elektra Records stuck with Judy Collins. They knew it would take two or three albums before Judy made a breakthrough. Their faith in Judy was richly rewarded, and by 1970, she was one of the most successful female singers of her generation.
Judy Collins was also a pioneer of folk music. She had been around from the earliest days of the folk boom, and rode this musical elevator through the sixties. Throughout the decade, Judy flew the flag for folk music. That was despite the onslaught of pop, rock and psychedelia. Still, Judy stood firm. The only time she wavered, was in 1968s when she released Who Knows Where the Time Goes? It saw Judy enjoy a dalliance with country rock and folk rock. However, folk music was her true love, and she returned to the fold for Whales and Nightingales in 1970. Judy’s first album of the seventies was a triumphant returned, for the First Lady of folk.
She had released some of the best music of her career between 1966 and 1970. Three of Judy Collins’ most successful albums were In My Life, Wildflowers and Whales and Nightingales. They’ve recently been remastered and reissued by BGO Records as a two disc set. These three albums were released between 1966 and 1970 and feature Judy Collins’ trademark folk sound. By then, Judy was one of the best interpretative singers of her generation. Seamlessly she brought songs to life, and they took on new meaning. That’s the case on In My Life, Wildflowers and Whales and Nightingales, which are the perfect introduction to Judy Collins, who is, without doubt, one of the greatest singer-songwriters of her generation.
JUDY COLLINS-IN MY LIFE, WILDFLOWERS AND WHALES AND NIGHTINGALES.
TONY BANK-LIFE AFTER GENESIS.
TONY BANK-LIFE AFTER GENESIS.
All too often, Tony Banks has been referred to as “the keyboard player from Genesis.” This is doing the sixty-seven year old a huge disservice. Tony Banks is a multi-instrumentalist, whose just as comfortable playing guitar as his playing piano, Hammond organ, synths or Mellotron. Seamlessly, Tony Banks could switch between musical instruments. That and his ability to innovate, played an important part in Genesis’ success. However, while Genesis dominated a large part of Tony Banks’ career, it’s just part of the story.
By the Genesis split-up in 1998, after thirty-one years together, Tony Banks was already an established solo artist. He released his debut album A Curious Feeling in 1979. After that, Tony Banks released another nine albums. They showed the different sides to Tony Banks.
As well as solo albums, Tony Banks released soundtracks and orchestral albums. Then there’s the albums Tony recorded with his Bankstatement and Strictly Inc. projects. These albums show Tony Bank’s versatility and ability to innovate over five decades. During this period, Tony Bank’s career has taken a few twists and turns.
A Curious Feeling.
For the past twelve years, Tony Banks had concentrated on making Genesis one of the biggest bands. He had cofounded the band in 1967, and by 1979, the only original members of the band were Tony and Mike Rutherford. The most recent departure was guitarist Steve Hackett, who left in 1977. This left Tony, Mike and Phil Collins, whose first album was a trio was 1978s …And Then There Were Three… The following year, Tony released his first solo album, A Curious Feeling
Before heading off to Polar Music Studios, Stockholm, Sweden, Tony Banks had written eleven tracks. They became A Curious Feeling, a progressive rock concept album. The concept for the album was Daniel Keyes’ short story Flowers for Algernon. Recording of A Curious Feeling took place during the spring and summer of 1979. Accompanying Tony were drummer Chester Thompson and vocalist Kim Beacon, while Tony Banks and David Hentschel produced A Curious Feeling. It was released on 8th October 1979.
When A Curious Feeling was released, the reviews were scathing. This was no surprise. 1979 was the height of the post punk era. Critics slated anything that represented the musical establishment. Tony never stood a chance at the hands of the the new breed of gunslinger critics. They neither to recognised nor were willing to acknowledge the quality of music on A Curious Feeling.
Despite the protestations of the gunslinger critics, A Curious Feeling reached number twenty-one in Britain and number 171 in the US Billboard 200. Tony Banks was vindicated in his decision to release his debut album. However, it would be five years before he released the followup.
The Wicked Lady.
After a gap of five years, Tony Banks released the first of two albums during 1983. The first was a remake of the soundtrack to Wicked Lady. It had originally been released in 1945, and featured Margaret Lockwood. An estimated 18.4 million million people saw The Wicked Lady, which was based on Magdalen King-Hall’s novel The Life and Death of the Wicked Lady Skelton. Thirty-eight years later, and Tony Banks collaborated with the National Philharmonic Orchestra on the remake of The Wicked Lady.
While Tony Banks featured on side one of the remake of The Wicked Lady, the National Philharmonic Orchestra featured on the second side. This unlikely collaboration found favour with critics.
When The Wicked Lady was released in April 1973, critics were impressed by the Tony Banks produced soundtrack. Especially, the second side. Its drama and complexity found favour with critics. Tony’s vision and creativity had been put to good use on The Wicked Lady. However, later in 1983, Tony released the followup to A Curious Feeling, The Fugitive.
The Fugitive.
Just like A Curious Feeling, Tony wrote the nine tracks on The Fugitive. This time around, Tony recorded The Fugitive closer to home. The Farm in Surrey, Genesis’ studio, was the venue for the recording of Tony’s sophomore album. To coproduce The Fugitive, Stephen Short was drafted in. Recording began in 1982.
Tony began recording the album at home, on an eight-track studio in 1982. He laid down the basic tracks. Then in 1983, recording began at The Farm. This time around, Tony took charge of the vocals. He was joined by Genesis’ touring guitarist Daryl Stuermer, bassist Mo Foster and drummer Steve Gadd. On Charm, no drummer was used. Instead, Tony used a Linn LM-1 drum machine. Eventually, the nine tracks were complete, and The Fugitive was released in late June 1983. By then, Genesis were preparing release their eponymous album in October 1983.
It was a battle of the albums, one that The Fugitive lost. Reviews of The Fugitive were mixed. Some critics like the sparseness of the arrangements, and were won over by Tony’s vocals. Up until then, they were a well kept secret. That was until The Fugitive was released.
The Fugitive was released in late June 1983, and stalled at number fifty in the British charts. After just two weeks, The Fugitive disappeared from the charts. Since then, The Fugitive has become a rarity. So did Tony Banks solo albums. Genesis were on the cusp of worldwide domination, where commercial success and critical acclaim was omnipresent.
Soundtracks.
So it wasn’t until 1986 that Tony Banks next released an album. Soundtracks featured tracks from two soundtracks that Tony Banks had been involved with. The first was Starship. It was released in December 1984, and is also known as Lorca and the Outlaws. Quicksilver was the other soundtrack. Tony was just one of a number of artists who contributed tracks to Quicksilver. Tracks from both these albums made their way onto Soundtracks.
When Soundtracks was released in March 1986, reviews were mixed. Critics noted that the quality of music was mixed, with the poppier sounding tracks lacking that all important hook. Given the reviews, it was no surprise when Soundtracks wasn’t a commercial success. Maybe this was why Soundtracks wasTony Banks’ final soundtrack album? For his next album, Tony was inspired by the success his friend Mike Rutherford was enjoying with his “other” band.
Bankstatement.
When he wasn’t busy with Genesis, Mike Rutherford was busy with his new group, Mike and The Mechanics. They were enjoying commercial success and critical acclaim. This inspired Tony Banks to form his own band, Bankstatement.
Essentially, Bankstatement were a trio featuring Tony, Alistair Gordon and Australian born singer-songwriter Jayney Klimek. Each of the three vocalists shared vocal duties. They were augmented in the studio by a band that included former Genesis guitarist Steve Hillage. He co-produced Bankstatemen with Tony. Recording took place during 1988 and 1989. A total of eleven songs penned by Tony Banks were recorded. These songs became Bankstatement, which was released in August 1989.
On the release of Bankstatement, the album was well received by critics. They recognised the quality of what was carefully crafted pop songs. Despite the reviews, neither Bankstatement, nor the three singles charted. Following the commercial failure of Bankstatement, the project never released a followup. Instead, Tony’s next album was his third solo album, Still.
Still.
Five years had passed since Tony released The Fugitive, his second solo album. Since then, he had been busy with Genesis and released an album with Bankstatement. A solo album was overdue. So in 1990, Tony Banks began recording what would become Still.
Unlike Tony’s two previous solo albums, Tony didn’t write each of the entire album Instead, Tonye wrote seven and cowrote Red Day On Blue Street and I Wanna Change The Score with Nik Kershaw. Tony cowrote Another Murder of a Day with Fish from progressive rock band Marillion. They were just two of the guest vocalists on Still.
The other two vocalists were Jayney Klimek and Andy Taylor of Duran Duran. Along with Nik Kershaw and Fish, recording of Still got underway in 1990, and was completed in 1991. The album was scheduled to be released later in 1991.
Originally, Still was going to be called Still It Takes Me by Surprise, after one of the tracks on the album. However, it was shortened to Still, and released in April 1991. Reviews of Still were mixed. However, Giant Records had high hopes for Still. They promoted the album heavily. Despite their best efforts, Still didn’t sell well in Britain. That was the case a year later, when Still was released in America in April 1992. Since then, Still is regarded by some as Tony Banks best albums. Following the disappointing sales ofStill, Tony Banks would to reinvent himself.
Strictly Inc.
The latest reinvention of Tony Banks came in 1995, when he released Strictly Inc. It was a collaboration between Tony and Jack Hues, the lead singer of Wang Chung. They were joined by a rhythm section of drummer John Robinson, bassist Nathan East and guitarist Daryl Stuermer. Jack Hues played guitar and Tony took charge of keyboards. Ten tracks were recorded between 1994 and 1995, and became Strictly Inc. which was released later in 1995.
Strictly Inc. was released on 11th September 1995. Critics weren’t impressed by Strictly Inc. The highlight of the album critics said, was Tony’s keyboard playing. Layers of keyboards were stacked one on top of another, melting seamlessly into one. They were augmented by Jack’s vocals. However, critics felt that vocals were no match for Tony’s keyboards. Unsurprisingly, when Strictly Inc. was released it failed commercially. That was despite Strictly Inc. bearing the band member’s names.
That was against Tony Bank’s wishes. He wanted Strictly Inc. not to feature the band member’s names. While this would’ve added an air of mystery, it would’ve also meant that cynical critics couldn’t take a swipe at Tony. They weren’t impressed by Strictly Inc. Nor were record buyers. So much so, that Virgin Records never bothered to release Strictly Inc. in America. Given the response of critics to Strictly Inc,Tony decided to reinvent himself yet again.
Seven: A Suite For Orchestra.
In the nine years between Tony Banks releasing Strictly Inc. and the release of Seven: A Suite For Orchestra in March 2004, a lot had happened. Genesis had split-up in 1998. After thirty-one years together, the trio went their separate ways. Five years later, Tony began work on Seven: A Suite For Orchestra in 2003.
Seven: A Suite for Orchestra was a first for Tony Banks. He had never released a classical album. Tony penned the seven suites, and played piano on Spring Tide, The Ram and The Spirit of Gravity. Accompanying him were the London Philharmonic Orchestra, conducted by Mike Dixon. Producing Seven: A Suite For Orchestra was Tony and Nick Davis, who Tony knew from his work engineering and producing Genesis. The pair finished Seven: A Suite For Orchestra was completed in 2004, it was released in March 2004.
When Seven: A Suite For Orchestra was released in March 2004, some critics were surprised by this stylistic departure from Tony Banks. However, Tony had written soundtracks and orchestral pieces before. He took this further on Seven: A Suite For Orchestra. Despite this, Seven: A Suite For Orchestra didn’t catch the imagination of record buyers. It was too far removed from what people expected of Tony Banks. Sales were disappointing, and successful continued to elude Tony Banks. It was too far removed from what people expected of Tony Banks. So much so, it would be eight years before Tony returned with the followup to Seven: A Suite For Orchestra.
Six: Pieces For Orchestra.
It wasn’t until April 2012 that Tony Banks returned with his second classical album, Six: Pieces For Orchestra. Eight years had passed since the release of Seven: A Suite For Orchestra. However, Tony had been busy.
He wrote the six suites on Six: Pieces For Orchestra. Again, Tony and Nick Davis co-produced Six: Pieces For Orchestra. It features the City Of Prague Philharmonic Orchestra. They’re conducted by Paul Englishby. Two soloists play an important part in this evocative, haunting and bewitching album. It features two of Tony Banks’ finest classical works. This is further proof, if any was needed of Tony Banks versatility and ability to reinvent himself.
This versatility allowed Tony Banks to reinvent himself several times between the release of A Curious Feeling in 1979 and Six: Pieces For Orchestra in 2012. During that period, Tony Banks solo career has taken numbers twists and turns. He’s released three solo albums, two soundtrack albums, two, orchestral albums and formed two bands, Bankstatement and Strictly Inc. In total, Tony Banks has released nine albums between 1979 and 2012. That’s pretty good going, considering Tony Banks was still a member of Genesis until 1998.
This meant that up until 1998, Tony Banks had fit his solo career around Genesis’ recording and touring schedule. They were one of the most successful bands on planet rock. Genesis’ albums sold by the million, so Genesis’ took priority. Solo careers and side projects were when the band had some downtime. During that period, Phil Collins enjoyed a hugely successful solo career, while Mike Rutherford’s band Mike and The Mechanics were also enjoying commercial success. However, Tony Banks never reached the same heights as his bandmates and friends.
While Tony Banks is undoubtably a talented and versatile musician, he never enjoyed the commercial success his talents deserved. Maybe his constant determination to reinvent himself musically worked against him? If he had forged out his own unique sound, then maybe Tony Banks’ would’ve gone on to enjoy commercial success and critical acclaim? This might have taken a couple of albums, but would’ve paid off in the long run. It certainly paid off for his former bandmates in Genesis, Phil Collins and Mike Rutherford. However, this wasn’t for Tony Banks. Instead, he wanted to explore new musical frontiers.
Tony Banks went on to write soundtracks, classical albums and formed two short-lived bands. Each of these projects took Tony Banks’ career in a different direction. Even his three solo albums A Curious Feeling, The Fugitive and Still are quite different stylistically, and show different sides to Tony Banks’ music.
It’s a career where Tony Banks has explored everything from art rock, classical, pop, progressive rock, rock, soft rock and symphonic rock. No two albums were the same, as Tony Banks sought to reinvent himself. He certainly succeeded in doing so during a long and varied career.
Sadly, Tony Banks didn’t come close to enjoying the commercial success that came Phil Collins and Mike Rutherford’s way. However, throughout his solo career, Tony Banks was a musical maverick, who created ambitious and pioneering music. To do this, Tony Banks often flitted between, and combined disparate musical genres. The result was ambitious music that pushed musical boundaries. Sometimes this music failed commercially and divided the opinion or critics and record buyers. Maybe, part of the problem was Tony Banks had the safety net of Genesis?
Given the success Genesis enjoyed, Tony Banks wasn’t relying on his solo career putting food on the table. So he was able to experiment, and sometimes, indulge himself musically? Virgin Records and Atlantic, who released Genesis albums in Britain and America respectively, were willing to indulge a member of one of their most successful signings by releasing albums Bankstatement and Strictly Inc.
Both albums failed commercially and weren’t well received by critics. The cost of these albums would be a drop in the ocean compared to what Genesis were earning for Virgin Records and Atlantic. However, while Strictly Inc. was a low point in Tony Banks’ career, at least he was willing to head in new directions musically, and release ambitious music.
That was the case throughout Tony Banks’ thirty-three year solo carer. Constantly, Tony Banks released ambitious and pioneering music, where he continually pushed musical boundaries, and in the process proved that there was life after Genesis.
TONY BANK-LIFE AFTER GENESIS.
EMERSON. LAKE AND PALMER-THE EARLY YEARS 1970-1973.
EMERSON. LAKE AND PALMER-THE EARLY YEARS 1970-1973.
The Emerson, Lake and Palmer story began back in in 1970. That was when Keith Emerson and Greg Lake first met at the Filimore West, in San Francisco. Both of them were at a musical crossroads. Keith was a member of The Nice, while Greg Lake was a member of King Crimson. Nether Keith nor Greg felt fulfilled musically. So, the decided to form a new band.
This new band would feature Keith on keyboards, Greg on bass and a drummer. Their first choice for a drummer was Mitch Mitchell, who was without a band, after The Jimi Hendrix Experience split-up. They agreed to jam together. Then the music press heard about this jam session.
Rumours started doing the rounds that Jimi Hendrix was going to join this new supergroup. That put an end to the jam session. It never took place. Jimi Hendrix had never been asked to join the supergroup. Mitch Mitchell meanwhile, lost interest in the project. This presented a problem. Keith and Greg still didn’t have a drummer. Then Robert Stigwood, who was then the manager of Cream, suggested Carl Palmer’s name.
Carl Palmer was another experienced musician. He’d previously been a member of The Crazy World Of Arthur Brown. At that time, he was a member of Atomic Rooster. So Carl was approached. He was, at first, reluctant to leave Atomic Rooster, which he’d cofounded. However, when he spoke to Keith and Greg he realised that he could be part of something special.
Having left Atomic Rooster, he became the third member of the newly formed supergroup Emerson, Lake and Palmer. They made their debut at The Guildhall, Plymouth, on 23rd August 1970. Then on 26th August 1970, Emerson, Lake and Palmer stole the show at the Isle Of Wight Festival. This resulted in Emerson, Lake and Palmer being offered a recording contract by Atlantic Records.
Ahmet Ertegün the President of Atlantic Records realised the potential in Emerson, Lake and Palmer. Here was a band who wouldn’t just sell a huge amount of records, but could fill huge venues. So, not long after signing Emerson, Lake and Palmer, Ahmet Ertegün sent them into Advision Studios, London, where they recorded their eponymous debut album.
Emerson, Lake and Palmer.
At Advision Studios, Emerson, Lake and Palmer recorded ten tracks. They became Emerson, Lake and Palmer. Although this was meant to be the birth of a supergroup, the ten tracks on Emerson, Lake and Palmer came across as a series of solo pieces. However, Emerson, Lake and Palmer were a new band, who’d just recorded an eclectic and innovative album.
Although many people refer to Emerson, Lake and Palmer as prog rock band, they’re much more than that. Their music is eclectic. They draw inspiration from a variety of sources. This includes classical, folk rock, jazz, psychedelia and rock. Some of the music is futuristic. That’s in part to Keith Emerson’s use of the Moog synth. The result was a pioneering, innovative album that would launch Emerson, Lake and Palmer’s career.
When critics heard Emerson, Lake and Palmer, they hailed the album as innovative and influential. On its release in the UK in October 1970, i Emerson, Lake and Palmer reached number four. Three months later, on New Year’s Day 1970, Emerson, Lake and Palmer was released in the US. It reached number eighteen in the US Billboard 200 and was certified gold. Ahmet Ertegün, the President of Atlantic Records had been vindicated. Emerson, Lake and Palmer were on their way to becoming rock royalty.
Tarkus.
It was a case of striking when the iron was hot for Emerson, Lake and Palmer. They returned to Advision Studios, in London to record what became their sophomore album Tarkus. It was much more of a “band” album. Emerson, Lake and Palmer were now a tight, musical unit. This was very different from Emerson, Lake and Palmer, which was more like an album of solo pieces. Tarkus saw the birth of Emerson, Lake and Palmer as one of the giants of prog rock.
Tarkus was released in June 1971. That wasn’t originally the plan. Instead, Pictures At An Exhibition was meant to be Emerson, Lake and Palmer’s sophomore album. This was a live album which was recorded in March 1971. It saw Emerson, Lake and Palmer interpret Modest Mussorgsky’s opus Pictures At An Exhibition. it was a groundbreaking album. There was a problem though. Emerson, Lake and Palmer’s management didn’t agree. They weren’t sure that what essentially a interpretation of a classical suite was the direction Emerson, Lake and Palmer should be heading. So, Tarkus became the followup to Emerson, Lake and Palmer.
On its release in June 1971, critics realised that Tarkus marked a much more united Emerson, Lake and Palmer. They were well on the way to finding their trademark sound. Gone were ballads and jazz-tinged tracks. Instead, it was prog rock all the way. Record buyers loved Tarkus. It reached number one in the UK. Over the Atlantic, Tarkus reached number nine in the US Billboard 200 and was certified gold. Following the commercial success of Tarkus, Pictures At An Exhibition was released later in 1971.
Pictures At An Exhibition.
Three months before the release of Tarkus, Emerson, Lake and Palmer arrived at Newcastle City Hall, in Newcastle, England on the 26th March 1971. They were about to record their first live album, Pictures At An Exhibition. This was no ordinary live album.
Instead, Emerson, Lake and Palmer had decided to adapt Russian classical composer Modest Mussorgsky’s Pictures At An Exhibition. This was one of the first times classical music had been adapted by a rock band. That night in Newcastle, just four of the original ten pieces in Mussorgsky’s suite, along with the linking Promenade were recorded, They were performed live as one continuous piece, with new parts written by Emerson, Lake and Palmer. These new parts linked Mussorgsky’s original themes, which Emerson, Lake and Palmer’s played with enthusiasm and energy. Despite this, Pictures At An Exhibition was nearly never released.
It seemed that Pictures At An Exhibition was fated. Problems with their management meant that Pictures At An Exhibition’s release was delayed. It wouldn’t be until November 1971 the album was released. However, at one point it looked as if Pictures At An Exhibition wouldn’t be released. Atlantic Records were reluctant to release what was essentially a classical suite as an album. This they feared, wouldn’t sell well. So the project was put on the back burner, Suddenly, it looked unlikely that Pictures At An Exhibition would be released. That was until Tarkus was certified gold in America. All of a sudden, Atlantic had a change of heart,
Rather than release Pictures At An Exhibition on the main Atlantic label, a decision was made to release the album as a budget priced album. Atlantic Records it seemed were hedging their bets. That seemed a wise move when the reviews were mixed. Rolling Stone magazine was far from impressed with Pictures At An Exhibition. Neither was the self styled Dean of American Rock Critics, Robert Christgau, Despite this, Pictures At An Exhibition sold well.
When Pictures At An Exhibition was released in November 1971, it reached number three in the UK. In America, Pictures At An Exhibition reached number ten in the US Billboard 200. This resulted in Emerson, Lake and Palmer’s third consecutive gold album. A year later, three became four.
Trilogy.
Just like previous albums, Emerson, Lake and Palmer were determined to push musical boundaries on Trilogy, their third studio album. Just like their two previous albums, Trilogy was recorded at Advision Studios, London. Emerson, Lake and Palmer were at their innovative best, recording progressive rock, but with a twist.
An example of this was the inclusion of Abaddon’s Bolero on Trilogy. Rather than the usual 3/4 rhythm a Bolero would have, it was turned into a march by using a 4/4 rhythm. Emerson, Lake and Palmer also pioneered the beating heart sound on Trilogy. Pink Floyd would use it to such good effect on Dark Side Of The Moon. So would Jethro Tull on A Passion Play and Queen on Queen II. This sound was first heard on Endless Enigma Part One. It came courtesy of Carl Palmer’s Ludwig Speed King bass drum pedal. Once again, Emerson, Lake and Palmer were demonstrating that they were one of the most innovative progressive rock bands. Their efforts were rewarded.
On its release in January 1972, Trilogy reached number two in the US. As usual, Emerson, Lake and Palmer enjoyed more success in the US. Trilogy reached number five in the US Billboard 200. This resulted in another gold disc for Emerson, Lake and Palmer. Things were about to get better for Emerson, Lake and Palmer though.
Of the three previous studio albums Emerson, Lake and Palmer had recorded, they complex, innovative, genre-melting affairs. Emerson, Lake and Palmer embraced the latest technology in what seemed like their quest for musical perfection. They also made use of overdubbing. This made their music difficult to replicate live. The band always felt they came up short live. So Emerson, Lake and Palmer set about recording an album they could replicate accurately live. This was Brain Surgery Salad.
Brian Surgery Salad.
Recording of Brian Surgery Salad took place between June and September 1973. Brain Salad Surgery was a fusion of prog rock and classical music. This is obvious straight away.
Emerson, Lake and Palmer adapted William Blake and Hubert Parry’s hymn Jerusalem and then Alberto Ginastera’s Toccata. Greg Lake wrote Still…You Turn Me On and then cowrote Benny The Bouncer and Karn Evil 9: 3rd Impression with Keith Emerson and Peter Sinfield, one of the founding members of King Crimson. Keith Emerson penned Karn Evil 9: 2nd Impression and cowrote Karn Evil 9: 1st Impression, Part 1 with Greg Lake also penned Karn Evil 9: 1st Impression, Part 1. These tracks were brought to life by Emerson, Lake and Palmer at their inventive best.
On Brain Salad Surgery, Keith Emerson played Hammond organ, piano, accordion and a myriad of synths. Greg Lake took charge of vocals, acoustic, electric, and twelve-string guitars. He also played bass guitar. Carl Palmer played drums, percussion, percussion synthesizers, gongs and timpani. Greg Lake produced Brian Surgery Salad, which was released in November 1973. Before that, critics had their say on Brian Surgery Salad,
Mostly, the reviews of Brain Salad Surgery were positive. However, the usual contrarian critics were’t as impressed. They seemed unwilling to recognise that Brain Salad Surgery was the finest hour of Emerson, Lake and Palmer’s four album career. Brian Surgery Salad featured Emerson, Lake and Palmer at their tightest and loudest. Here was a tight, visionary band fusing prog rock, jazz and classical music. It was an ambitious, powerhouse of an album. Emerson, Lake and Palmer were at the peak of their creative powers, and record buyers on both sides of the Atlantic realised this.
When Brain Salad Surgery, was released in November 1973, it became Emerson, Lake and Palmer most successful album. It reached number two in the UK and number eleven in the US Billboard 200. This resulted in two more gold discs to add to Emerson, Lake and Palmer’s collection. They were well deserved though.
By the time Emerson, Lake and Palmer released Brain Salad Surgery, they were at their innovative and groundbreaking best. That wasn’t surprising given Emerson, Lake and Palmer were three of the most gifted and visionally musicians of their generation. They were able to seamlessly combine musical genres, and had been since their eponymous debut album.
On their first three studio albums, Emerson, Lake and Palmer flitted between prog rock, jazz and classical music, creating genre-meleting music. This music was ambitious, complex and innovative. That was no surprise. Emerson, Lake and Palmer had always embraced the latest technology in what seemed like their quest for musical perfection. They also made use of overdubbing extensively. However, the more complicated and multilayered Emerson, Lake and Palmer’s became, the more difficult it was to replicate live.
Overdubbing had been used extensively by Emerson, Lake and Palme. They added layer upon layer of instruments. The result was a complex orchestral arrangement. The only problem was replicating the songs live, This Emerson, Lake and Palmer was impossible. After several attempts to play these songs live, Emerson, Lake and Palmer realised they couldn’t make it work live. Eventually, they gave up, and cut it from their set as they embarked on extensive tours,
By 1973, Emerson, Lake and Palmer were one of the most successful bands on both sides of the Atlantic. Although they had only released four studio albums and one live album between 1970 and 1973, they were already festival favourites and stadium fillers. Emerson, Lake and Palmer were well on their way to becoming one of the most successful progressive rock bands.
From 1970s Emerson, Lake and Palmer, 1971 Tarkus and Pictures At An Exhibition, 1972s Trilogy and 1973s Brain Salad, Emerson, Lake and Palmer could do no wrong. Each album they released was certified gold in America. By 1973, Emerson, Lake and Palmer were well on their way to becoming one of the most successful bands of the progressive rock era. Their music was innovative, inventive and influential. Especially the music Emerson, Lake and Palmer released during the early years between 1970 and 1973.
EMERSON. LAKE AND PALMER-THE EARLY YEARS 1970-1973.
SON-OF-A-GUN AND MORE FROM THE LEE HAZLEWOOD SONGBOOK.
SON-OF-A-GUN AND MORE FROM THE LEE HAZLEWOOD SONGBOOK.
On August the 4th 2007, Lee Hazlewood passed away aged seventy-eight. That day, music lost one its most talented sons. During a career that had spanned six decades, Lee Hazlewood had worked as a singer, songwriter, musician, arranger and producer. Somehow, though, Lee Hazlewood found time to found his own record label LHI Records in 1967. By then, Lee Hazlewood had been involved with music since the the early fifties.
That was when Lee Hazlewood left the army. Prior to serving Uncle Sam, Lee Hazlewood had been pursuing a career in medicine. That was the past though.
When Lee Hazlewood left the US Army, he decided not to pursue his medical degree. Instead, Lee Hazlewood began work as a disc jockey. That he hoped, was only temporary.
What Lee Hazelwood really wanted to do with his life, was write songs. This must have seemed like a pipe dream to his friends and family. However, Lee Hazlewood had the last laugh. His songs were recorded by artists over a fifty a year period. This includes several generations of musicians that feature on Son-Of-A-Gun and More From The Lee Hazlewood Songbook. It’s just been released by Ace Records, and features twenty-two tracks. There’s contributions from Waylon Jennings, Billie Dearborn, Sanford Clark, The Jesus and Mary Chain, Sanford Clark, Mark Morriss, Gold Leaves and Primal Scream With Kate Moss. They’re just a few of the names on Son-Of-A-Gun and More From The Lee Hazlewood Songbook that were recorded during Lee Hazlewood’s long and illustrious career. His story began during one of the darkest periods, American history, the Great Depression.
Lee Hazlewood was born in Mannford, Oklahoma on the 9th July 1929. During his early years, Lee and his family moved between Arkansas, Kansas, Oklahoma and Louisiana. Brought up on a diet of bluegrass and pop, Lee’s tastes broadened when his family moved to Texas. Music it seemed was in his blood. Despite that, Lee didn’t make a career out of music when he left high school.
Not at all; music seemed to be the last thing on Lee Hazlewood’s mind. Making a career out of music only came later. When Lee Hazlewood left high school, he headed to Dallas’ Southern Methodist University. That was where he studied medicine. After university, Lee joined the US Army during the Korean War. When he was discharged from the Army, Lee decided medicine wasn’t for him.
Instead, Lee took a job as a disc jockey. His reason for doing so, was it allowed him to work on his songwriting skills. Lee had decided to pursue a career in music. That didn’t mean spinning records. No. It meant writing them.
The first hit Lee wrote and produced was Sanford Clark’s 1956 rockabilly hit The Fool. That was just the start of Lee’s musical career. He went on to pen two more hits for Sanford Clark, 1956s Usta Be My Baby and 1957s The Man Who Made An Angel Cry. Lee then wrote Leroy Vandyke’s 1957s The Pocket Book Song and Pat Boone’s 1957 single Why Did I Choose You? However, Lee’s career really took off when he met innovative guitarist Duane Eddy.
Best known for his twangy guitar sound, Duane Eddy will always be remembered as a pioneering guitar player. With Lee Hazlewood writing and producing many of his singles, Duane Eddy went onto enjoy a successful career. Lee penned and produced 1958s The Walker, Rebel Rouser, Dixie Part 1 and Peter Gunn. Soon, Lee began writing for other artists, including Sam Horn and His Orchestra, Mark Robinson and Das Hazy Osterwald Sextet. However, just like 1958, most of the hits he wrote were for Dune Eddy.
During 1959, Duane Eddy enjoyed a string of hit singles. Forty Miles of Bad Road, Only Child, The Quiet Three and Shazam. Duane Eddy was now one of the biggest names in music. Although Lee had to keep the hits coming for Duane, he penned singles for Hans Brandel and Sanford Clark. This was no bad thing, as the hits started drying up for Duane Eddy.
1960 saw Duane Eddy release just three singles, one of which Rebel Walk, had been released before. Luckily, Lee was writing for other artists including Paul Rich, Tony Castle and Greg Connors. Another artist who’d release a single during 1960 was Lee Hazlewood.
Lee’s debut single was Words Mean Nothing. which Lee recorded with Duane Eddy and His Orchestra. It wasn’t a commercial success, so Lee went back to songwriting and production. However, Lee had enjoyed a tantalising taste of life as a recording artist. His return to songwriting and production was only going to be temporary.
For the next three years, Lee Hazlewood was busy working as songwriter and producer. During 1961, Lee worked penned songs for Tom and Jerry, Donnie Owens, Tony Gunner and Bud Ashton and His Group. Then in 1962, Duane Eddy enjoyed a string of hit singles. With The Shadows and The Ventures recording songs written by Lee, Lee Hazelwood could’ve continued to enjoy a career as a successful songwriter. He didn’t.
Instead, Lee decided to relaunch his solo career. He signed to Mercury and began work in what was his 1963 debut album, Trouble Is A Lonesome Town. This was first album of Lee Hazelwood’s five decade recording career. However, despite release over twenty solo studio albums, still many people remember Lee Hazlewoodfor the songs he’s written for other people. Twenty-two of them feature on Son-Of-A-Gun and More From The Lee Hazlewood Songbook.
Opening Son-Of-A-Gun and More From The Lee Hazlewood Songbook is Jarvis Cocker and Richard Hawley’s cover of A Cheat, which was originally recorded by Sanford Clark. The Pulp frontman and his onetime band-made Richard Hawley collaborated on A Cheat, for the 2002 tribute album Total Lee!-The Songs Of Lee Hazlewood. One of the highlights, was Jarvis Cocker and Richard Hawley’s cover A Cheat. They totally reinvent the song, as betrayal, anger and frustration combine to create a vocal that’s almost menacing as they accuse A Cheat.
Chiswick born, Mark Morriss and his brother Scott founded The Bluetones in 1993. They went on to enjoy a string of hit singles and commercially successful albums between the late-nineties and early nougties. By 2008, Mark Morriss had released his debut album Memory Muscle, on Fruitcake Music. Memory Muscle featured a cover of My Autumn’s Done Come, which originality featured on Lee Hazlewood’s 1963 debut album Trouble Is A Lonesome Town. My Autumn’s Done Come is celebratory ballad, where Mark Morriss welcomes the onset of middle age, on a song that is sure to resonate with many people.
Lee Hazlewood originally recorded Won’t You Tell Me Your Dreams for his 1971 solo album Requiem For An Almost Lady. Forty-one years later, and Gold Leaves covered Tell Me Your Dreams for a single released by Light In The Attic. Tucked away on the B-Side, was Lee Hazlewood’s original’s version. This allowed record buyers to compare and contrast. Gold Leaves’ country-tinged version is a beautiful, heartfelt version of this ballad, that does justice to this Lee Hazlewood song.
Another song from Lee Hazlewood’s 1971 solo album Requiem For An Almost Lady is I’d Rather Be Your Enemy. This was a song that Lee Hazlewood had written about an ex-girlfriend. There has been speculation that the girlfriend in question was Nancy Sinatra? In 1990, I’d Rather Be Your Enemy. was covered by Boyd Rice and Friends for their 1990 album Music, Martinis and Misanthropy. It was released on New European Recordings and began a new chapter in Boyd Rice’s career.
Joining him in this new beginning, was one half of Strawberry Switchblade, Rose McDowall. She was one of Boyd Rice’s “Friends,” and helped provide the backdrop for his vocal. It’s best described as a mixture of cynicism and scepticism. Boyd Rice it seemed, had obviously to be convinced of how love can transform lives. His interpretation of the lyrics makes this clear.
In 1967, Lee Hazlewood and Suzi Jane Hokom recorded Summer Wine. Forty years later, Ville Valo and Natalia Avelon Summer covered Summer Wine for the soundtrack to Das Wilde (Eight Miles High). Polish-German actress Natalia Avelon was starring in the film, and was joined by Ville Valo the frontman of Finnish heavy rockers HIM. While this seems like an unlikely musical partnership, it was one that worked, and worked well. They prove the perfect foil for each other, as they create a cinematic cover of Summer Wine. It’s one of the best versions of the oft-covered Summer Wine.
Two years after Lee Hazlewood released his Love And Other Crimes album in 1968, Waylon Jennings released his Singer Of Sad Songs album. It was released released by RCA Victor in 1970, and had been produced by Lee Hazlewood. Singer Of Sad Songs stalled at number twenty-three in the US Country charts, and was the least successful album Waylon Jennings had released since Waylon Sings Ol’ Harlan in 1967. However, Singer Of Sad Songs is a hidden gem in Waylon Jennings’ discography, with Singer Of Sad Songs one of the highlights of a truly underrated album.
One of the most successful Scottish bands of the last thirty years, are East Kilbride’s finest, The Jesus and Mary Chain. They were inspired by a disparate selection of artists, including Lee Hazlewood. The Jesus and Mary Chain covered I’m Glad I Never from Lee Hazlewood’s 1971 solo album Requiem For An Almost Lady. It featured on The Jesus and Mary Chain’s 1989 singles’ box set Head On. There’s a darkness to The Jesus and Mary Chain’s cover of I’m Glad I Never, especially when William delivers the line “I’m Glad I Never had a gun.”
By 1967, Lee Hazlewood and Nancy Sinatra had just released their debut album Nancy and Lee. It featured the song Lady Bird. Lee knew that the song would’ve been perfect to record with his then girlfriend Suzi Jane Hokom. There was a problem though. He had given Nancy Sinatra first option on the song. She liked the song, and the pair covered Lady Bird for their album Nancy and Lee. However, a year later, Suzi Jane Hokom got the opportunity to record the song.
The only downside was, that it wasn’t with Lee. Instead, country singer Virgil Warner and Suzi Jane Hokom covered Lady Bird for their eponymous debut album. It was penned and produced by Lee, and released on his LHI label. Virgil Warner is the perfect foil to Suzi Jane Hokom as they make the song their own.
Sixty years ago, in 1956, Sanford Clark enjoyed a rockabilly hit with The Fool. This was the first hit single that Lee Hazlewood had written. Three years later, in 1959, Sanford Clark covered another Lee Hazlewood composition Son-Of-A-Gun single. It was released on the Jamie label, but failed to match the success of The Fool. That is despite the quality of Son-Of-A-Gun. It’s a cinematic song about redemption, that tells the story of a Wild West gunslinger who finds love, and mends his way. Not long after the release of Son-Of-A-Gun, it was the first song Keith Richard learnt to play on guitar, before going on to form the Rolling Stones.
Billie Dearborn covered Friday’s Child, the title-track to Lee Hazlewood’s 1965 album. Three years later, Billie Dearborn released Friday’s Child as a single in 1968 on LHI Records. By then, the song had been covered by three other artists, including Lee Hazlewood and Nancy Sinatra. However, Billie Dearborn version of Friday’s Child can only be described as soul-baring and beautiful, as she combines power and emotion.
My final choice from Son-Of-A-Gun and More From The Lee Hazlewood Songbook, is Sand which was covered by Holly Golightly With Brian Nevill. It was released as a single on Box Theory Records in 1996. This was thirty years after Lee Hazlewood and Suzi Jane Hokom recorded the song for the 1966 album, The Very Special World Of Lee Hazlewood. Holly Golightly and Brian Nevill’s cover stays true to the original, and pays homage to a truly talented songwriter, Lee Hazlewood.
There’s more to Lee Hazlewood than a songwriter through. Son-Of-A-Gun and More From The Lee Hazlewood Songbook which was recently released by Ace Records is proof of that. Lee Hazlewood was also a singer, producer, arranger and founded and ran his own record label LHI Records. Multitalented describes Lee Hazelwood. His career began when the equipment found in most studios was very basic.
That however, isn’t surprising. Lee Hazlewood started out as a producer in the late fifties. Back then, equipment was far from advanced. That hardly seemed to matter to Lee Hazlewood. Still, he was able to create groundbreaking music.
This was the case from his work with Duane Eddy, right through to the music he created during the surf and hot rod crazes. It seemed Lee Hazlewood knew how to make the most of the basic equipment found in studios. What he produced, left other producers scratching their head. They wondered how they could create similar results? Other songwriters were in a similar boat.
They watched as Lee Hazelwood penned hit after hit. Duane Eddy, The Astronauts and The Ventures were all beneficiaries of Lee Hazelwood’s songwriting skills. So were Sanford Clark, Dean Martin, Frank Sinatra and Nancy Sinatra. Later, though, Lee Hazlewood’s songs were covered by several generations of singers.
Everyone from country and folk singers to crooner and indie rockers went on to cover Lee Hazelwood’s songs. Proof of this is Son-Of-A-Gun and More From The Lee Hazlewood Songbook. It’s just been released by Ace Records, and features twenty-two covers of Lee Hazlewood’s songs. They’re an eclectic selection, and include contributions from Waylon Jennings, Billie Dearborn, Sanford Clark, The Jesus and Mary Chain, Sanford Clark, Mark Morriss, Mick Harvey, Gold Leaves, Primal Scream With Kate Moss, Jarvis Cocker and Richard Hawley. These songs were released between 1959 and 2012, which covers Lee Hazlewood’s entire career. Sadly, on August the 4th 2007, Lee Hazlewood passed away aged seventy-eight. Even after his death, artists continue to inspired and influenced by Lee Hazlewood.
Many of the artists that have been influenced and inspired by Lee Hazlewood weren’t even born when he first wrote and recorded some of the songs on Son-Of-A-Gun and More From The Lee Hazlewood Songbook. However, these songs have a timeless quality, and fifty years after they were first released, artists are covering them. Sometimes, they stay true to the original, other times, they reinvent the song. Lee Hazlewood, a musical pioneer would’ve approved of that.
After all, throughout a career that panned six decades, Lee Hazlewood was an innovator, who has influenced and inspired several generations of musicians. This includes many of the artists on Son-Of-A-Gun and More From The Lee Hazlewood Songbook. They pay homage to a musical legend on Son-Of-A-Gun and More From The Lee Hazlewood Songbook who somewhat belatedly, is enjoying the recognition he so richly deserves.
SON-OF-A-GUN AND MORE FROM THE LEE HAZLEWOOD SONGBOOK.
DAN WHITEHOUSE-THAT’S WHERE I BELONG.
DAN WHITEHOUSE-THAT’S WHERE I BELONG.
Earlier this year, Reveal Records revealed their latest singing, Dan Whitehouse. To celebrate the signing of the talented, Birmingham based singer-songwriter, Reveal Records released Introducing on 22nd April 2016. Introducing featured eight tracks, which were a mixture of Dan Whitehouse compositions and cover versions. This was a tantalising taste of what Dan Whitehouse was capable of. However, one song stood head and shoulders above the rest, That’s Where I Belong.
It’s a hook-laden, joyous anthem written by Dan Whitehouse. That’s Where I Belong also lends its name to Dan Whitehouse’s forthcoming album, That’s Where I Belong, which will be released by Reveal Records on 2nd September 2016. That’s Where I Belong is the much anticipated fifth album from Dan Whitehouse, whose career 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, who duets 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 his forthcoming album That’s Where I Belong.
Nothings Gonna Change opens That’s Where I Belong. Just drums and a chiming, crystalline guitar join washes of Hammond organ. They provide the backdrop for Dan on this love song. He delivers a hopeful, joyous vocal. It’s accompanied by gospel inspired harmonies and braying horns. At heart of songs success are the Hammond organ, harmonies and horns. So catchy is the song, that the backing vocalists can’t resist adding handclaps. No wonder; given the song’s joyous, hook-laden, anthemic sound.
On Close Up, Dan Whitehouse is joined by Jess Morgan, and the pair duet. From the opening bars, the arrangement is understated. Just a subtle, chiming guitar plays, while Dan delivers tenderly and sometimes ruefully, delivers the cinematic lyrics. Memories come flooding back to him. First about: “wait for four years till they got the call, I guess my blindness set us free.” Meanwhile, the rhythm section are accompanied by a weeping pedal steel. This is the perfect accompaniment to Dan’s wistful, emotive vocal. Later, as Jess accompanies Dan, her vocal proves the perfect accompaniment. Especially as he sings: “tonight we’ll have our first meal, you’ll sit beside me Close Up, Close Up it’s the only way I can see.” It’s a beautiful, moving ballad from Dan Whitehouse.
That’s Where I Belong is very different track. It’s a much more uptempo, hook-laden song, and features a full band. This includes a Hammond organ, rhythm section and guitars. They accompany Dan who sometimes sound like Michael Stipe. He combines power and emotion, as he delivers a heart-wrenching vocal. Behind him, washes of swirling Hammond organ, and soaring, cooing backing vocals play starring roles. They join the rhythm section and guitar in driving this irresistibly catchy relationship song along. It has single written all over, given its anthemic sound.
On Work, the rhythm section join a with a searing guitar and washes of Hammond organ, before Dan delivers another melodic and catchy track. He’s accompanied by backing vocals, while the rhythm section underpin the arrangement. A blistering guitar cuts through the arrangement as Dan promises: “I’ll do anything for you, I’ll Work for you, do anything you ask me to.” This is the signal for the backing vocalists to step forward, and add the finishing to a track that hopefully, is coming to a radio near you, very soon.
Just a lone piano opens The Little Left Unsaid. It gives way to Dan’s vocal, before the two unite. Soon, Dan is delivering a heartfelt, soul-baring vocal. Memories come flooding back, before a determined Dan assures: ‘we’ll make it through.” He sounds as if he’s lived and survived the lyrics to this poignant and heart wrenching ballad.
You Brought The Sunshine literally explodes joyously into life. The rhythm section propel the arrangement along, while bursts of guitar, piano and cooing harmonies augment Dan’s vocal. It’s a mixture of power and emotion, and is akin to a confessional Again, hooks haven’t been spared, as the songs heads firmly into anthem territory
The arrangement to The Places We Have Been is sparse, with just a subtle washes of weeping guitar accompanying Dan’s soul-baring vocal. Gradually, though, the arrangement builds. The rhythm section, weeping pedal steel and piano joining Dan. He’s joined by backing vocalists as he delivers a needy vocal.It’s akin to an outpouring of emotion. Especially as he assures and promises: “I’ll never leave.” Adding the finishing touches as Dan reminisces are a sultry saxophone, harmonies and pedal steel. They’re the perfect accompaniment to Dan Whitehouse, as he lays bare his soul for all to see.
Cooing harmonies opens CCC while the rhythm section, scorching guitar and swirling washes of Hammond organ unite. They provide a dramatic backdrop for Dan’s vocal, as the song heads into anthem territory. Accompanied by the cooing harmonies, a pounding rhythm section and a jangling guitar, Dan showcases his talent as a singer, songwriter and storyteller. The lyrics come to life, before as the drama builds. Then at the bridge, the band slow things down. This adds to the drama, before pounding drums and Dan’s vocal exits stage left. It’s replaced by cooing harmonies, washes of Hammond organ and searing guitars. They combine with the rhythm section, this allows Dan’s band to showcase their considerable talents.
The Left Handed Way closes That’s Where I Belong. The arrangement is understated, with just a crystalline guitar accompanying Dan’s vocal. It’s heartfelt and impassioned, as his guitar chimes. Memories come flooding back. So do “regrets.” Later, hope returns: “I feel we could have it all, if we could keep it together, I feel that The Left Handed Way up to God is much better for me.” Then when Dan’s vocal drops out, this leaves just the electric guitar. As it’s played slowly, its crystalline, chiming sound adds a wistful sound that allows the listener to ruminate, on a song that shows another side to Dan Whiteside.
Although That’s Where I Belong just features just nine songs from Dan Whitehouse, lasting thirty-four minutes, these songs showcase a truly talented singer, songwriter and storyteller. Dan Whitehouse breathes meaning and emotion into the lyrics. These lyrics tell a series of stories on the nine carefully crafted songs.
Many of these songs have a cinematic quality, as Dan Whitehouse tells a story. Some of these stories aren’t Dan’s own. Instead, he 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 and Little Left Unsaid, 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 for That’s Where I Belong. 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 That’s Where I Belong, which is the perfect showcase for Dan Whitehouse’s versatility.
That’s Where I Belong features ballads and hook-laden anthems. The ballads include Close Up, The Places We Have Been and You Brought The Sunshine. Hook-laden anthems include Work, That’s Where I Belong, Nothing’s Gonna Change It. They’ve the words single written all over them, and could be coming to a radio near you very soon. Let’s hope so.
Dan Whitehouse has spent a lifetime making music. However, since he embarked upon his solo career in 2007, Dan has been working towards making a commercial breakthrough. Hopefully, his fifth album That’s Where I Belong, which will be released on Reveal Records on 2nd September 2016, will introduce Dan Whitehouse to a much wider audience. That’s Where I Belong, with its mixture of beautiful ballads and hook-laden anthems, is the perfect introduction to the newest troubadour in town, Dan Whitehouse.
DAN WHITEHOUSE-THAT’S WHERE I BELONG.
ERIC BURDON AND THE ANIMALS-EVERY ONE OF US.
ERIC BURDON AND THE ANIMALS-EVERY ONE OF US.
A lot can happen to a band in just four years. In August 1968, Eric Burdon and The Animals were proof of this. They were preparing to release their fouth American album, Every One Of Us, which was recently released by BGO Records. However, a lot had happened since The Animals released their eponymous debut album in September 1964.
By then, The Animals had been around since 1962. That was when The Animals were formed in Newcastle, England. However, The Animals roots can be traced to a band that that had been formed four years earlier, in 1958, The Alan Price Rhythm and Blues Combo.
They were popular within the Newcastle area, in the late-fifties and early sixties. However, by 1962, music was changing, and changing fast. The Beatles had burst onto the scene, and this was a game-changer. So in 1963, The Alan Price Rhythm and Blues Combo decided to add a vocalist to their lineup.
The man they chose was Eric Burdon. He joined a rhythm section of drummer John Steel, bassist Bryan “Chas” Chandler and guitarist Hilton Valentine. Completing the lineup, was organist and the man who lent his name to the Combo, Alan Price. However, not for long.
Not long after Eric Burdon joined the band, The Alan Price Rhythm and Blues Combo decided to change their name to something more rock ’n’ roll, The Animals. They set about making their presence felt in the Newcastle music scene.
Soon, The Animals were one of the most popular local bands. Their fiery sets of saw The Animals fusing electric blues and rock. This proved popular, and won over audiences night after night. Each night, The Animals’ sets were combination ran through covers of songs recorded by blues greats like Muddy Waters, Howlin’ Wolf, John Lee Hooker and Jimmy Reed. This struck a nerve with audiences in their home city. However, The Animals had set their sights higher than being a big fish in a small pond.
In 1964, The Animals made the decision to move to London. By then, The Animals had struck up a relationship with music impresario Giorgio Gomelsky. He owned the Crawdaddy Club, and for a time managed the Rolling Stones, who were the club’s house band. However, by 1964, the Rolling Stones had gone on to bigger things. Soon, so would The Animals.
Not long after The Animals moved to London, they were signed by Columbia Records. Quickly, The Animals repaid Columbia Records’ faith in them. Their debut single Baby Let Me Take You Home was produced by producer and pop impresario Mickie Most. When the single was released in March 1964, it reached twenty-one on the UK singles charts. Success had come quickly for The Animals in Britain. America was a different proposition though.
Five months later, and Baby Let Me Take You Home was released in America, but stalled at 102 in the US Billboard 100. Soon, though, The Animals would be one of the biggest British Invasion bands.
Three months later, in June 1966, The Animals released The House Of The Rising Sun as a single. This traditional song transformed The Animals’ career it when it reached number one in Britain, America, Canada, Australia and Sweden. Elsewhere, including Germany and Holland, The House Of The Rising Sun gave The Animals a top ten single. They were well on their way to becoming one of the biggest bands on both sides of the Atlantic.
The Animals.
Given the success of The House Of The Rising Sun, The Animals were sent into the studio to record an album with producer Mickie Most. Columbia wanted an album quickly, to build on the success of The House Of The Rising Sun.
Twelve songs were chosen and would become The Animals. The songs included old blues and R&B numbers, and was a reminder of The Animals’ musical roots. Among the songs that were chosen were Ray Charles’ Talkin’ About You Baby, John Lee Hooker’s Mad Again, Fats Domino’s I’ve Been Around. It was joined I’m in Love Again which Fats Domino wrote with Dave Bartholomew. Two Chuck Berry’ songs were chosen, Around and Around and Memphis, Tennessee. They joined The Animals first two singles Baby Let Me Take You Home and The House Of The Rising Sun. These songs became The Animals eponymous debut album. It was released later in 1964.
Before that, critics reviewed The Animals debut album. It was mostly well received, and showcased what The Animals as a band were about. The Animals was then released in Britain and America in September 1964.
On both sides of the Atlantic, The Animals built on the success of The House Of The Rising Sun. The Animals reached number six in the UK and seven in the US Billboard 200. This was the start of rise and rise of The Animals to become one of the most successful British Invasion groups.
Animal Tracks.
Just eight months later, The Animals released their sophomore album Animal Tracks. It had been recorded during 1964 and 1965, and mostly, followed in the footsteps of The Animals’ eponymous debut album.
Mainly, Animal Tracks was another album of covers of R&B and blues. This included Chuck Berry’s How You’ve Changed, Ray Charles’ Hallelujah I Love Her So, Big Maceo Merriweather’s Worried Life Blues, Clarence Carter’s I Ain’t Got You, Jimmy Reed’s Bright Lights, Big City and Bo Diddley’s Roadrunner. There was also a cover of Shirley Goodman and Leonard Lee’s Let The Good Times Roll, which Ray Charles made famous. However, tucked away on side two of Animal Tracks, was the first song penned by a member of The Animals.
It was Eric Burdon who was the first member of The Animals to write a song for an Animals’ album. His contribution was For Miss Caulker. This was just the start of Eric Burdon’s songwriting career, which blossomed over the new few years. Before that, Animal Tracks was recorded with producer Mickie Most. Once the album was complete, it was released in Britain in May 1965.
Unlike the reviews of their eponymous debut album, Animal Tracks wasn’t as well received by critics. Some of the songs were as strong as those on The Animals. They lacked the quality and energy. However, this didn’t bother record buyers.
When Animal Tracks was released in May 1965, it reached number six in the UK. However, Animal Tracks wasn’t released in America until September 1965, but reached just fifty-seven in the US Billboard 200. Before Animal Tracks was released in America, The Animals released their American sophomore album The Animals On Tour.
The Animals On Tour.
After the released of their eponymous debut on both sides of the Atlantic, The Animals ‘ popularity soared stateside. They quickly became one of the most popular and successful British Invasion groups. So a decision was made to record an album that would only be released in America, The Animals On Tour.
This was the start of confusing time for fans of The Animals. Albums were released in Britain and America at different times. Some albums, including The Animals On Tour weren’t officially released in Britain. The first album that wasn’t officially released in Britain, was The Animals On Tour.
Given the title, many record buyers thought The Animals On Tour was a live album. It wasn’t. Instead, it was another album of cover versions. Some of the tracks had featured on Animal Tracks, including Chuck Berry’s How You’ve Changed, Ray Charles’ Hallelujah I Love Her So, Big Maceo Merriweather’s Worried Life Blues, Calvin Carter’s I Ain’t Got You, Jimmy Reed’s Bright Lights, Big City and Bo Diddley’s Roadrunner. There was also a cover of Shirley Goodman and Leonard Lee’s Let The Good Times Roll. They rubbed shoulders with John Lee Hooker’s Boom Boom and Dimples, which he wrote with James Bracken. The only new track on The Animals On Tour was an Eric Burdon and Alan Price composition I’m Crying. These twelve tracks were recorded in 1964 and produced by Mickie Most.
The Animals On Tour was released in March 1964, the same times as Animal Tracks was released in Britain. Doubtless copies of Animal Tracks made their way across the Atlantic, where fans of The Animals were in for a surprise. Both albums featured a number of similar tracks. So it was no surprise that The Animals On Tour stalled at a lowly ninety-nine in the US Billboard 200. This was a disappointing outcome for The Animals.
What was a bigger disappointment was when of organist Alan Price quit The Animals in May 1965. Tension had been building within the band for some time. They had also been touring almost non stop. The constant touring made things worse, as Alan Price had a a fear of flying. So when he left The Animals, reasons cited were personal and musical differences, plus Alan Price’s fear of flying. This was a huge blow for The Animals.
Mick Gallagher stepped into the fray, and replaced Alan Price on a temporary. This was only until Dave Rowberry joined The Animals and became their keyboardist. This was the start of a new era for The Animals.
Things improved for The Animals when Animal Tracks was released in America in September 1965. It reached fifty-seven in the US Billboard 200. That was despite many of the tracks on Animal Tracks having already featured on The Animals On Tour. It seemed that The Animals were still one of the most popular and prolific British Invasion bands.
The Animals had released three albums in America in the space of a year. Each album had sold well, and by late 1965, The Animals were one of the most popular British Invasion bands. They were rubbing shoulders withThe Kinks and The Who, and had set their sights on The Beatles and Rolling Stones. If all went well, The Animals could be one of the biggest British bands of the sixties. However, the pressure continued to build as The Animals began to work on their new American album, Animalization.
Animalization.
When work began on Animalization, the lineup of The Animals featured a rhythm section of drummer John Steel, bassist Bryan “Chas” Chandler and guitarist Hilton Valentine. Completing the lineup, were vocalist Eric Burdon and keyboardist Dave Rowberry. They chosen twelve songs that became Animalization.
Just like previous albums, the majority of Animalisms featured cover versions. This included covers of soul, blues and R&B songs. Among them, were Joe Tex’s One Monkey Don’t Stop No Show, John Lee Hooker’s Maudie, Chuck Berry’s Sweet Little Sixteen, Screamin’ Jay Hawkins’ I Put a Spell on You and Alonzo Tucker and Jackie Wilson’s Squeeze Her, Tease Her. Joining the nine cover versions were a trio songs penned by members of The Animals.
Eric Burdon and new keyboardist Dave Rowberry formed a new songwriting partnership, penning You’re On My Mind and She’ll Return It. Dave Rowberry also wrote Clappin’. The Animals’ newest member was making his presence felt. Soon, though Dave Rowberry was no longer the new member of The Animals.
When recording of Animalization began, work began on laying down twelve tracks with producer Mickie Most. Dave Rowberry made his Animals’ debut, adding keyboards. However, with eight tracks recorded, drummer John Steel quit. He was replaced by Barry Jenkins, who featured on Don’t Bring Me Down, Cheating, See See Rider and She’ll Return It. Once the album was complete, Animalization was released in June 1966.
Prior to the release of Animalization, reviews of the album were published. They were mostly positive, with some of the reviews calling Animalisms one of The Animals’ best albums. Elements of blues, rock, R&B and soul were combined by The Animals. The only problem was, The Animals were still too reliant on cover versions. Maybe the Eric Burdon and Dave Rowberry songwriting partnership would flourish? That was in the future.
When Animalization was released in America, the album reached number twenty in the US Billboard 200, and became The Animals’ second biggest selling American album. Now they had to build on the success of Animalization.
Animalisms (US Version).
Just four months later, The Animals released an American version of Animalisms. It featured an alternative track listing, which featured twelve cover versions. They were an eclectic selection of songs.
Frank Zappa’s All Night Long sat side by side with Sam Cooke’s Shake, Fred Neil’s The Other Side of This Life, Howlin’ Wolf’s Smokestack Lightnin’, Percy Mayfield’s Hit The Road Jack, Muddy Water’s Louisiana Blues and Donovan’s Hey Gyp. These songs were recorded during July 1966.
The recording session took place at Lansdowne Recording Studio, in London, England and T.T.G, Hollywood, in California. Tom Wilson took charge of production. He gave The Animals more freedom to express themselves artistically. They embraced this opportunity on what was the last session that featured drummer Barry Jenkins. He played on ten tracks, with John Steel playing on Outcast and That’s All I Am to You. When the sessions were complete, Animalisms was released on 21st November 1966.
When critics heard Animalisms they were impressed with the album, which found The Animals relishing their new found artistic freedom. They flit seamlessly between musical genres on Animalisms. Sadly, when Animalisms was release, it failed to chart. This was a huge disappointment. However, the times they were a changing for The Animals.
When a cover of the blues classic See See Rider was released, the group were now billed as Eric Burdon and The Animals. This lineup was short-lived and split-up in September 1966. The Animals’ career was over after just two years.
Eric Burdon and The Animals.
A new chapter in The Animals’ story began shortly thereafter. Eric Burdon began putting together a new band. Drummer Barry Jenkins was the first person recruited by Eric Burdon for his new band.
This new band became Eric Burdon and The Animals, who musically had undergone a Damascene conversion musically. Previously, Eric Burdon had a been a disciple of hard driving blues. Not any longer. He decided to incorporate his take on psychedelic rock into Eric Burdon and The Animals’ music. This began on their debut album Eric Is Here.
While Eric Burdon and The Animals was a new band, not all members of the band featured on the band’s debut album Eric Is Here. It comprised entirely of twelve cover versions. This time around, Eric Burdon was relying on many Brill Building songwriters. This included Goffin and King’s On this Side of Goodbye, Barry Mann, Cynthia Weil’s It’s Not Easy and Tommy Boyce and Bobby Hart’s In The Night. Three Randy Newman songs were also chosen, including Mama Told Me Not To Come, I Think It’s Going To Rain Today and Wait Till Next Year. These songs were quite unlike what The Animals had previously covered. However, this was a new beginning for Eric Burdon and The Animals.
What didn’t change was that Tom Johnson produced Eric Is Here. He brought onboard an orchestra, who accompanied Eric Burdon and The Animals. They combined blues rock, R&B psychedelic rock and rock on Eric Is Here. Alas, it was neither a potent nor heady brew.
When Eric Is Here was released, only Eric Band and Barry Jenkins were credited as having played on the album. It proved to be an inauspicious start to Eric Burdon and The Animals’ career. Neither critics nor record buyers were won over by Eric Is Here. The reviews of Eric Is Here included some of the worst that any Animals album had received. Things got were when Eric Is Here was released in March 1967. The album stalled at a lowly 121 in the US Billboard 200. Across the Atlantic, Eric Is Here failed to chart in Britain. All that Eric Burdon could hope, that things would improve when Eric Burdon and The Animals released their sophomore album, Winds Of Change.
Winds Of Change.
Following the disappointment of Eric Is Here, Eric Burdon began putting together Eric Burdon and The Animals. Joining drummer Barry Jenkins in the rhythm section was bassist Danny McCulloch and guitarist Vic Briggs. The final piece of the jigsaw was John Weider, who played electric violin. Now Eric Burdon and The Animals could begin to move towards psychedelic rock on their sophomore album Winds Of Change.
On their previous album Eric Is Here, Eric Burdon and The Animals had just toyed with psychedelic rock. Not this time. psychedelic rock. Eric Burdon and The Animals wrote ten new tracks, and covered Mick Jagger and Keith Richards’ Paint It Black. Producing Winds Of Change was Tom Johnson.
Recording of Winds Of Change took place over a two week period in March 1967, at TTG Studios in Los Angeles. That was where Eric Burdon and The Animals recorded their hard rocking cover of Paint It Black. The rest of Winds Of Change was the most psychedelic album Eric Burdon and The Animals recorded and released.
Winds Of Change was released in September 1967, but before that, critics lavished the album with critical acclaim. It was Eric Burdon and The Animals at their most psychedelic, on what was one of their best albums. Among the highlights were Winds Of Change and Yes I Am Experienced which was Eric Burdon and The Animals’ answer to the Jimi Hendrix Experience. The quality continued on San Franciscan Nights, Good Times and the album closer, It’s All Meat. It found Eric Burdon and The Animals at their most psychedelic. After a false start, Eric Burdon and The Animals had returned with a career defining album.
When Winds Of Change was released in September 1967, it reached forty-two in the US Billboard 200, but failed to chart in Britain. Despite that, it looked as if Eric Burdon and The Animals might go on to reach the heights that The Animals reached between 1964 and 1966. The new group certainly had the talent, and had something that The Animals lacked. Eric Burdon and The Animals featured five talented songwriters. They would put their songwriting skills to good use on The Twain Shall Meet.
The Twain Shall Meet.
For the very first time in the history of The Animals and Eric Burdon and The Animals, an entire album was written by members of the band. This was a first. No longer were Eric Burdon and The Animals reliant on old blues or R&B songs. Gone also, were the days when Eric Burdon and The Animals relied upon songs by Brill Building songwriters. The Twain Shall Meet was written by the five members of Eric Burdon and The Animals.
Among the songs they wrote for The Twain Shall Meet was Monterey, a celebration of 1967 Monterey Pop Festival. Sky Pilot Parts 1 & 2) was an anti Vietnam War song, which would give Eric Burdon and The Animals a number fourteen hit single in the US Billboard 200. It tapped into the mood of the American nation. These songs were recorded in December 1967.
When the recording began, Tom Wilson returned to produce The Twain Shall Meet. This time though, two vocalist were used on The Twain Shall Meet. Eric Burdon took charge of the vocals on five songs, while bassist Danny McCulloch added the vocals on Just the Thought and Orange and Red Beam. These seven songs were completed later in December 1967, and released in April 1968.
Unlike Winds Of Change which was released to critical acclaim, The Twain Shall Meet received mixed reviews. One of the fiercest critics of The Twain Shall Meet was Rolling Stone magazine. This was disappointing for Eric Burdon and The Animals.
So was the performance of The Twain Shall Meet. It was only released. When it was released in March 1967, Eric Burdon and The Animals’ third album stalled at just seventy-nine in the US Billboard 200, but failed to chart in Britain. The only small crumb of comfort was the performance of the singles.
Monterey was the lead single, and fifteen in the US Billboard 100. The followup Anything, reached just a lowly eighty in the US Billboard 100. However, Sky Pilot then reached number fifteen in the US Billboard 100 and forty in the Britain. Two top twenty singles almost made-up for The Twain Shall Meet stalling a seventy-nine in the US Billboard 200. Maybe Eric Burdon and The Animals’ next album, Every One of Us, would be bigger success?
Every One of Us.
1968 was without doubt, the busiest year of Eric Burdon and The Animals’ career. They released a trio of albums. The second album in the trio was Every One of Us, which was recently reissued by BGO Records. It’s a welcome reissue, because when Eric Burdon and The Animals released Every One of Us, it was never released in Britain.
Eric Burdon and The Animals were never as popular as The Animals in Britain. None of their albums had charted in Britain. It was very different to when The Animals enjoyed three top ten albums. That was the past, and the past was another country for Eric Burdon and The Animals.
When work began on Every One of Us, Eric Burdon and The Animals were now a sextet. Zoot Money, a British vocalist and keyboardist had joined the band. The addition of a new band member was risky. There was always the potential that it would upset the equilibrium of the band. Especially since the band had been working well together, and had written two albums. This changed on Every One of Us.
For Every One of Us, which featured seven tracks, Eric Burdon wrote much of the album He penned White Houses, Uppers and Downers, The Immigrant Lad, The Year Of The Guru and cowrote New York 1963-America 1968 with Zoot Money. Eric Burdon also arranged the traditional song St. James Infirmary Blues. The only song that Eric Burdon didn’t play a part in was Serenade To A Sweet Lady. It was written by John Weider. These seven songs would become Every One of Us.
When recording of Every One of Us began, there was no sign of producer Tom Wilson. Instead, Eric Burdon and The Animals produced For Every One of Us. By then, the rhythm section consisted of drummer Barry Jenkins, bassist and 12-string guitarist Danny McCulloch and guitarist and bassist Vic Briggs. John Weider switched between guitar and celeste and Zoots Money played Hammond organ and piano. This time round, Eric Burdon took charge of all the vocals. Once Every One of Us was complete, it was scheduled for release later in 1968.
Before that, critics had their say on Every One of Us. They concluded that Every One of Us was a much more accomplished album than its predecessor The Twain Shall Meet. Blues rock and psychedelia melted into one, as Eric Burdon and The Animals hit the ground running on Every One of Us.
White House was full of social commentary about the America’s ills circa 1968. Eric Burdon’s lyrics are some of the best on the album. However, when White House gives way to the twenty-four second Uppers and Downers, it’s a gateway to the John Welder penned Serenade To A Sweet Lady. It’s an understated slice of psychedelic jazz, that meanders along. It proves the perfect showcase for Eric Burdon and The Animals’ considerable musical talents. Especially the guitar playing, which veers between folk to jazz tinged. In terms of musicianship, Serenade To A Sweet Lady has to be the highlight of the album. However, there’s still much more
The Immigrant Lad is a conceptual piece that’s set in an East End bar. It’s a mixture music, dialogue and theatre, that takes on a progressive sound. Although very different from what’s gone before, it’s another ambitious track from the pen of Eric Burdon.
Although St. James Infirmary is a traditional song that Eric Burdon and The Animals give a makeover, it sounds as if it owes a debt of gratitude to House Of The Rising Sun. Especially Eric Burdon’s delivery of the lyrics, and the arrangement where blues, rock and jazz are combined with psychedelia. This leaves just New York 1963-America 1968, a nineteen minute epic. The lyrics are cinematic and full of social comment. Eric Burdon deals with the issues of politics and race, in a track where drama and theatre give way to a full blown jam around the eleven minute mark. After that, Eric Burdon and The Animals kick loose, and once again showcase their inconsiderable talents. It’s an impressive way to close Every One of Us, which was released in August 1968.
When Every One of Us was released in August 1968, this accomplished album of psychedelic blues stalled at just 152 in the US Billboard 200. This was a huge disappointment, considering the quality of the music and musicianship. The critics had thought that Every One of Us would fare much better. Things didn’t improve when White House was released as a single. It reached just sixty-seven in the US Billboard 100. For Eric Burdon and The Animals this just rubbed salt into their wounds.
Eric Burdon and The Animals had released what was without doubt, one of their finest albums since the release of Eric Is Here in March 1967. The only album that surpasses Every One of Us, is Winds Of Change which was released in September 1967. Even Love Is which was released in December 1968 failed to match the quality of Every One of Us. Love Is proved to be Eric Burdon and The Animals’ swan-song, and the third of three albums the band released during 1968.
It was the most prolific and productive year of Eric Burdon and The Animals’ career. However, their finest moment of 1968 was Every One of Us, an oft-overlooked hidden gem that wasn’t released in Britain. That was a great shame, as British record buyers never got the opportunity to hear what was the finest moments of Eric Burdon and The Animals. That is until now.
Recently, BGO Records reissued a remastered version of Every One of Us. This is the perfect opportunity to discover or rediscover Every One of Us, the fourth album from Eric Burdon and The Animals. Every One of Us is a highly accomplished and vastly underrated album of psychedelic blues from Eric Burdon and The Animals, which was one of their finest moments.
ERIC BURDON AND THE ANIMALS-EVERY ONE OF US.
COME BACK STRONG-HOT ATLANTA SOUL 4.
COME BACK STRONG-HOT ATLANTA SOUL 4.
Everyone who founds a record company, has their own reason for doing so. Often, they own a recording studio or manage artists and bands. Founding their own record label is a natural progression for them. That was also the case with three giants of music.
During the golden age of music, a number of bands, including The Beatles, Rolling Stones and Led Zeppelin formed their own record labels. The Beatles’ Apple Records and Led Zeppelin’s Swan Song were more like a traditional label, signing and releasing music by other artists. By contrast, Rolling Stones Records, was just a vehicle for The Rolling Stones’ music. Despite this The Beatles, Rolling Stones and Led Zeppelin were trailblazers, and led the way for a later generation of musicians.
Nowadays, many artists and bands found their own label, purely to release their own music. They may eventually release other people’s music, but initially, only release their own music. However, it’s not just people within the music industry who decide to form record labels.
Musical history is littered with examples of entrepreneurs who thought they could make money out of running a record company. The only problem was, they lacked the specialised skills that were required. There was a way round this, but surrounding themselves with music industry professionals. Then they were in with a fighting change of running a profitable record company. However, some entrepreneurs have an ulterior motive when they a found record company. This includes Michael Thevis.
The story began in the early seventies, when Michael Thevis was looking for a legitimate way to get his substantial fortune into the financial system. By then, Michael Thevis was heavily involved in pornography. So much so, that he would later admit to a Louisville jury that he was: “the General Motors of pornography.” That was still to come.
In the early seventies, Michael Thevis had a problem. He discovered that he was under investigation from the FBI. Not wanting to follow in the footsteps of Al Capone and Dutch Schultz, who were brought down by federal investigations, Michael Thevis began looking for legitimate enterprises.
Casting around looking for a legitimate business, Michael Thevis hit upon the idea of forming not one, but three record labels. This included GRC (General Recording Corporation), Aware and Hot Atlanta. These labels were part of Michael Thevis’ nascent musical empire. The three labels recorded some of the music on Come Back Strong-Hot Atlanta Soul 4, which will be released on Kent Soul, an imprint of Ace Records on 26th August 2016. Many of these songs were recorded at another part of Michael Thevis’ nascent musical empire.
Soon, there was a new addition to Michael Thevis’ musical empire, the Sound Pit Studio in Atlanta. It boasted some of the best equipment money could buy. Building the studio made financial sense. It saved hiring other studios, and meant artists signed to GRC, Aware and Hot Atlanta could record at the impressive Sound Pit Studio. When the studio wasn’t in use by Michael Thevis’ artists, it could be hired out, and bring in much needed income. However, as all this empire building continued, tongues began wagging, including Michael Thevis.
Veterans of the Atlanta music scene watched, as the state-of-the-art studio took shape. This was the most advanced studio in Atlanta. It was a similar case with the rest of Michael Thevis’ musical empire.
No expense was spared as Michael Thevis expanded his musical emprire. He added to his record labels and Act One publishing company, the Jason Management booking agency and a film company. They became part of Michael Thevis’ musical empire. He was proud of his empire, and wasn’t shy about telling people about it.
Rather than keep a low profile, Michael Thevis ran his musical empire from a lavish suite of offices in Atlanta. They were featured in Billboard in May 1974, when the magazine ran a feature on the Atlanta music industry. A bullish Michael Thevis told Billboard of his latest takeover, and his expansion plans.
Recently, Michael Thevis had recently bought the Moonsong publishing company from Bill Brandon. This became part of the GRC’s publishing division, alongside Act One, Michael Thevis’ own publishing company. To run the newly expanded publishing division, Bill Brandon joined GRC, and became the publishing manager of GRC’s R&B division. However, the acquisition of Moonsong was just part of Michael Thevis’ grand plan.
Michael Thevis told Billboard of his plans to build a brand new twenty-eight story skyscraper in Atlanta. This would be where he ran his musical empire. It would have outposts in Nashville, Houston, Los Angles, New York and London. What made Michael Thevis’ seem all the more convincing, was when he booked eight pages of advertising in Billboard’s Atlanta special.
To most people, Michael Thevis came across as a legitimate businessman, who had big plans for the future, and for Atlanta. By then, everyone seemed to buy into Michael Thevis’ grand plan. He was the local boy who had made good. It was a case of hail the conquering hero.
Incredibly, though, nobody seemed to be paying close attention to the numbers. None of Michael Thevis’ record companies were particularly successful. They were nether consistently releasing hit singles, nor successful albums. So where was all the income coming from? Was it the publishing company, recording studio, booking company or film company? Nobody it seemed, was in a hurry to find out. Given Michael Thevis past and his reputation for violence, maybe that wasn’t surprising?
Originally, Michael Thevis’ film company financed legitimate films. This included the Zhui Ming Qiang in 1973, and Seizure, one of Oliver Stone’s earliest films. It was released in 1974. A year later, Michael Thevis had gone up in the world, and released Poor Pretty Eddy 1975. Every film was bringing greater riches Michael Thevis’ way. However, although Michael Thevis was trying to build a legitimate business empire, he had reverted to type.
The film company he had acquired began producing pornographic films. If any journalist had even looked into activities of Michael Thevis’ empire, it could’ve come tumbling down. This looked unlikely in early 1975.
Country singer Sammy Johns had been signed to GRC for a couple of year. In early 1973, Sammy Johns released Chevvy Van as a single. It was reported to have sold over three million copies. Given that a GRC artist had just enjoyed such a successful single, surely the label’s finances would be on a sound footing as 1975 progressed?
One would’ve thought so. However, many of GRC, Aware and Hot Atlanta’s releases weren’t particularly successful, and didn’t sell in vast quantities. These losses were mounting up. Michael Thevis’ record companies weren’t particularly successful. They had their uses though.
Running a regional record companies offered Michael Thevis an opportunity and facility to launder dirty money. He could’ve used dirty money to buy his own companies’ releases. These phantom record sales would only exist on paper, and would have the effect of laundering the dirty money through the company’s accounts. Once the money was in the record company’s accounts, tax could be paid on the profit that had been made. This would further legitimise any dirty money the company was making. Especially, as the FBI were still watching Michael Thevis.
In late 1975, Michael Thevis’ musical empire came crashing down. After nearly three years of investigating Michael Thevis, the FBI swooped, and arrested him. His entire musical empire came crashing down. Artists were left high and dry, and Michael Thevis’ grand plans were left in tatters. It looked like the beginning of the end for GRC and Michael Thevis.
It wasn’t. Michael Thevis’ wife Veld and son Michael Jr, took over the running of GRC. For Michael Thevis worse was to come.
He was convicted of conspiracy to commit arson, and distribution of obscene materials. The man who sparked the three year investigation into Michael Thevis, even testified in court. Roger Dean Underhill took to the stand, and the FBI’s informant testified against his former business partner. He thought this was the right thing to do.
Alas, it was a decision Roger Dean Underhill would live to regret. In 1978, Michael Thevis managed to escape from prison. Straight away, he was placed on the FBI’s top ten most wanted list. By then, Michael Thevis and some of his ‘associates’ had placed an open contract on Roger Dean Underhill.
When the hit came, the shooter was none other than Michael Thevis. He shot and killed Roger Dean Underhill and one of his associates. Not long after the murders, Michael Thevis was arrested and taken to a high security facility. The Scarface of Porn was the convicted of the two murders. Over thirty years later, and Michael Thevis is still serving his sentence. Parole looks unlikely for the man who founded the GRC, Aware and Hot Atlanta record labels.
GRC, Aware and Hot Atlanta were home to some of the most talented artists in the southern states of America. This included Sam Dees, John Edwards, Dee Irwin, Joe Hinton, Loleatta Holloway, Danny Johnson, Jimmy Lewis and Dorothy Norwood. They all feature on Come Back Strong-Hot Atlanta Soul 4, which I’ll pick the highlights of.
Opening Come Back Strong-Hot Atlanta Soul 4 is an unreleased track from Dorothy Norwood. She was born in Atlanta, but moved to Chicago where she joined gospel supergroup The Caravans. After leaving The Caravans, Dorothy Norwood signed to the Savoy label, she released a trio of gospel albums. By 1973, Dorothy Norwood was back in Atlanta and signed to GRC.
She released four singles for GRC between 1973 and 1975. However, Big Boat Ride, which was penned and produced by Deke Richards, and was the one that got away. Dorothy Norwood sings call and response with her backing vocalists, and seamlessly combines gospel and soul on this long lost hidden gem. It’s a welcome discovery, and reminder of what Dorothy Norwood is capable of.
Another song that was recorded for GMC, but never released, was John Edwards’ cover of Sam Dees’ Come Back Strong. Things might have been very different, had the Aware label which John Edwards was signed to, had not closed its doors in such a hurry. Maybe Come Back Strong would’ve given the future member of The Detroit Spinners that elusive hit single, as he brings new meaning to this Sam Dees’ classic?
When Judy Green released Face To Face as a single on the Aware label. Tucked away on the B-Side was I Still Love You So. Both songs were written and produced by Atlanta born Thomas “Tee” Fletcher. When Face To Face was released, it was only the second single that Aware had released. It was the perfect showcase for Judy Green.
She was a talented and versatile singer, who was born and brought up in Rockmart, Georgia. Judy Green delivers a vocal powerhouse on the hook-laden Face To Face. It epitomises everything that’s good about Southern Soul. The flip side I Still Love You So is a beautiful ballad, which shows another side to Judy Green. She seems to live the lyrics, as she delivers a needy, hopeful vocal.
By 1973, Joe Hinton’s recording career was a decade old, when he signed to GRC’s imprint Hot Atlanta. Already, the singer-songwriter had already passed through various labels, and was hoping that Hot Atlanta was the start of something new. It was. He wrote two songs for the 1974 movie Black Scarlet with Dee Irwin. These two songs feature on the Black Starlet promo EP.
This included the beautiful, piano lead soulful ballad Up Is Down. Then on Hollywood Faces Joe Hinton is joined by Dee Irwin. They duet on what is a funky, soulful and cinematic ballad. Joe Hinton’s last contribution, is a cover of Jimmy Lewis’ A Hundred Years From Now. It’s a lovely, understated and enchanting ballad that meanders along, and in the process, showcases the vocal prowess of Joe Hinton.
Prolific. That is probably the best word to describe singer-songwriter Jimmy Lewis. He wrote many songs, which were covered by a variety of artists. Jimmy Lewis also recorded many of the songs he wrote. This includes I Can’t Leave You Alone, a Southern Soul ballad, where Jimmy Lewis delivers a needy vocal. Sadly, this song lay in GRC’s vaults until 2002, when it was released on a compilation Kent Soul compilation. It makes a welcome reappearance on Come Back Strong-Hot Atlanta Soul 4.
Another prolific songwriter was Sam Dees. He penned both sides Jean Battle’s sophomore single. It was released on Red Lite in 1972 as a double-A side. Both sides ooze quality, but When A Woman Loves A Man is the stronger of the two. It features a soul-baring vocal, on another Southern Soul hidden gem.
Lorraine Johnson was born in Alabama in 1949, and like many future soul singers, grew up singing gospel. By the late sixties, Lorraine Johnson had crossed over and was singing in clubs. It was around this time, that Lorraine Johnson met Bill Brandon, who would introduce later, her to Clinton Moon and Jesse Lewis, who owned Moonsong Records.
In 1973, Bill Brandon and Lorraine Johnson released Let’s Make Our New Love Something Special as a single. Both sides were penned by Sam Dees, who became Lorraine Johnson’s vocal coach. Sadly, that was Lorraine Johnson’s only release on Moonsong Records. She did record a number other songs, which have lain unreleased. This includes A Love Like Yours and the Sam Dees and Fredrick Knight composition The Best Of My Years. It features a heartfelt and soulful vocal from Lorraine Johnson, who with Sam Dees’ help and guidance, was blossoming into a talented and versatile singer.
When William Brandon and Sam Dees cowrote Claim Jumpin’ Man, it was meant to be the followup to his 1972 single Stop This Merry-Go-Round. William Brandon recorded the song, and then tried to garner interest from various labels. When they passed on the song, Moonsong decided to keep the song for their own artists. Since then, William Brandon’s version of Claim Jumpin’ Man, has lain unreleased. It features a vocal powerhouse on this memorable slice of Southern Soul.
During the seventies, Sam Dees recorded many demos, including What Good Is Love. It was never released until 2015, when it found its way onto Kent Soul’s compilation It’s Over. What Good Is Love is a tantalising taste of what Sam Dees is capable of, and a reminder of the It’s Over compilation.
Chicago born Floyd Smith was a singer, songwriter and producer. One his compositions was I Want ‘Cha To Let Me Come Home, which Floyd Smith cowrote Ripple. Floyd Smith then recorded I Want ‘Cha To Let Me Come Home. It was hidden away on the flip side of Floyd Smith’s 1974 single for Aware, The Bump. I Want ‘Cha To Let Me Come Home is a much better song, and if released as a single, would surely have fared much better than The Bump, which was ill-judged attempt to cash in on a short-lived dance craze.
Back in the early seventies, Rozetta Johnson was signed to the Clintone label. This meant she benefited from the songwriting skills of Sam Dees. He wrote I’ve Come Too Far Back (To Turn Back Now) with Jesse Lewis). Several versions of the song were recorded, but were never released. That was until 1998, when Kent Soul released a compilation of Rozetta Johnson’s music, I’ve Come Too Far Back (To Turn Back Now). The version Come Back Strong-Hot Atlanta 4 never made it onto the compilation, and is a welcome addition. It’s a beautiful ballad, which features an impassioned vocal from Rozetta Johnson.
My final choice from Come Back Strong-Hot Atlanta 4 is Loleatta Holloway’s So Can I. It’s another Sam Dees composition, which was the flip side of Loleatta Holloway’s single Cry To Me. It was released on Aware in 1974. This was the same year as Loleatta Holloway’s husband Floyd Smith released The Bump. There was no comparison, with Loleatta Holloway wining hands down. Even So Can I which features a vocal powerhouse from Loleatta Holloway stands head and shoulders above The Bump. That’s not surprising, as Loleatta Holloway was one of the crown jewel’s of Aware Records, and Michael Thevis’ musical empire.
GRC and the rest of Michael Thevis’ musical empire all came crashing down in late 1975. Michael Thevis’ attempt to build a legitimate business empire was doomed to failure. It had been for three years, ever since the FBI starting investigating his business activities.
That was when Roger Dean Underhill was involved in a routine traffic stop. An eagle-eyed traffic officer noticed a small cache of stolen guns under the passenger seat. This resulted in Roger Dean Underhill being arrested. Rather than face the consequences, Roger Dean Underhill decided to inform upon his business partner, Michael Thevis. This lead to the start of a three year investigation that resulted, in the arrest and subsequent conviction of Michael Thevis. For all the artists signed to GRC, Aware and Hot Atalanta, this was the beginning of the end.
It was a disaster for all the artists affected by the collapse. They were left without a label. Some of the artists were also owed royalties, which in some cases, was a significant sum of money. For the artists signed to GRC, Aware and Hot Atalanta, they had no idea what the future held for them.
They certainly could never have envisaged that forty-one years later, some of their music would be among the twenty-three tracks on Come Back Strong-Hot Atlanta 4. It will be released by Kent Soul, an imprint of Ace Records on 26th August 2016.
Come Back Strong-Hot Atlanta 4 is one of the finest compilations of Southern Soul that’s been released this year. It features contributions from Sam Dees, John Edwards, Dee Irwin, Joe Hinton, Loleatta Holloway, Danny Johnson, Jimmy Lewis and Dorothy Norwood. That is just part of the story of Come Back Strong-Hot Atlanta 4.
There’s much more music to discover on Come Back Strong-Hot Atlanta 4, which has been lovingly compiled by Ady Croasdell. He’s chosen a mixture of familiar faces, old friends and new names. They feature on the latest instalment in the Hot Atlanta series, Come Back Strong-Hot Atlanta 4. So singles, B-Sides and unreleased tracks. They have one thing in common, their indisputable quality.
Some of the best songwriters, musicians and producers were employed to produce the music on Come Back Strong-Hot Atlanta 4. Many of the artists on Come Back Strong-Hot Atlanta 4 went on to enjoy long and successful careers. Sadly, others never quite enjoyed the commercial success and critical acclaim their music deserved. It was a case of what might have been. Hopefully, Come Back Strong-Hot Atlanta 4 will introduce each of the artists on the compilation to a new, and much wider audience. This music is part of the rich musical legacy that Michael Thevis’ burgeoning musical empire left behind, after its sudden demise in late 1975.
Nearly three years after Michael Thevis’ attempt to buy respectability began, it was foiled by the FBI. This was the end of what was a remarkable escape in Atlanta’s musical history. Part of the story is documented on Come Back Strong-Hot Atlanta 4, which is a tantalising reminder of Atlanta’s rich and vibrant musical scnee during the early seventies.
COME BACK STRONG-HOT ATLANTA SOUL 4.
THE DAMNED-THE BLACK ALBUM.
THE DAMNED-THE BLACK ALBUM.
By 1980, change was afoot for The Damned. This wasn’t new. The last four years had been turbulent for The Damned. Their lineup had been fluid since The Damned were formed in 1976. Members came and went, and after the release of their most disappointing album, Music For Pleasure Rat Scabies quite the band. This was the beginning of the end, and The Damned split-up in 1978.
Within a year, the band were back together. There was a problem though, due to copyright reasons, couldn’t use The Damned name. So for a while, they toured as The Doomed. However, by April 1979, The Doomed were told they were free to call themselves The Damned. It looked like their luck was changing.
That seemed to be the case. The Damned signed to Chiswick Records, and recorded their third album, Machine Gun Etiquette. It was released in November 1979, and hailed a classic album. This lead to some debate whether Machine Gun Etiquette was The Damned’s first second classic album.
Some critics believed that The Damned’s 1977 debut album Damned, Damned, Damned was a classic. Others weren’t so sure and were of the belief that Machine Gun Etiquette was The Damned’s first classic album. However, all critics agreed on one thing, that it was good that The Damned were back with a settled lineup. This critics hoped would soon begin recording the followup to Machine Gun Etiquette. However, the was a problem.
There always seemed to be in the early years of The Damned. In the early part of 1980 Algy Ward The Damned’s bassist left the band. He had only joined in 1978, but played an important part in the sound and success of Machine Gun Etiquette. Algy Ward was going to be sadly missed.
Fortunately, The Damned just happened to have a readymade replacement for Algy Ward, Paul Gray. He was formerly the bassist in Essex pub rockers Eddie and The Hot Rods.
They had released their third album Thriller in March 1979, which stalled at number fifty in the UK album charts. Thriller had failed to replicate the success of 1977s Life On The Line. The album reached twenty-three on the UK album charts, and featured the hit single Do Anything You Wanna Do. It reached number nine in the UK singles charts. This set the bar high for Eddie and The Hot Rods.
Neither of the two singles charted, and Thriller made just a brief visit to the UK album charts. It was the beginning of the end for Eddie and The Hot Rods. By May 1979, Paul Gray was playing bass for The Members, while Brian Masters and Chris Taylor were members of Plus Support. This just added fuel to the rumours that Eddie and The Hot Rods were about to split-up. That didn’t happen though.
Instead, Eddie and The Hot Rods were dropped by Island. The reason given was the disappointing sales of their 1979 album Thriller. Eddie and The Hot Rods night have been down, but they weren’t out.
Tony Cranney was drafted in to replace Tony Gray as Eddie and The Hot Rods’ bassist. The timing was perfect. Eddie and The Hot Rods had signed a new contract with EMI in August 1979. Soon, Tony Gray was on the move too.
After the departure of Algy Ward in early 1980, The Damned were needing a new bassist. Tony Ward fitted the bill, and joined The Damned in time to record the followup to Machine Gun Etiquette, The Black Album. Just like Machine Gun Etiquette, The Black Album was recently reissued on vinyl by Ace Records. It was The Damned’s fourth album, and first double album in their four year history.
The Damned were formed in London in 1976, when members of two existing groups decided to form a new band. This included Dave Lett, Raymond Burns and Chris Millar, who previously, had been members of Masters Of The Backside. They were joined by final Brian Robertson, who had been a member of the London SS. They became The Dammed.
In The Damned, the four musicians dawned new musical identities. Vocalist David Lett was known as Dave Vanian; drummer Chris Millar became Rat Scabies; bassist and future guitarist Raymond Burns sported the moniker Captain Sensible. Guitarist Brian Robertson became known as Brian James. Together as The Damned, they soon began making their presence felt in London’s nascent punk scene.
On the 6th of July 1976, The Damned made their live debut, when they supported the Sex Pistols at 100 Club. This was the start of a rivalry between the two groups, which saw one writing their name into musical history.
Having made their live debut, The Damned’s thoughts eventually turned to releasing a debut single. None of the punk groups had released a single yet. Somebody had to be first, so why not The Damned?
They headed to Pathway Studios, London, with producer Nick Lowe. That was where The Damned recorded their new single, the Brian James’ composition New Rose. On the B-Side, was a cover The Beatles’ Help, which was given a punk makeover. Once the single was recorded, it was released on October 22nd 1976, and made history.
New Rose was released by Stiff Records, and reached eighty-one in the UK single charts. It became the first single to be released by a British punk rock group. The Damned had beaten the Sex Pistols’ Anarchy In The UK to the title by five weeks. This wouldn’t the only time The Damned made musical history.
Damned, Damned, Damned.
After the success of New Rose, The Damned headed out on tour with the Sex Pistols, The Clash and The Heartbreakers. The plan was to tour Britain, taking punk to the provinces. However, by then, the Sex Pistols had released Anarchy In The UK as a single. This resulted in many venues cancelling the concerts, in case anarchy in the provinces broke out. After a shorter tour than The Damned had expected, they returned to London, and completed the recording of their debut album.
Recording of Damned, Damned, Damned took place during three sessions at Pathway Studios, London. The first was in September 1976, with the album being completed in December 1976 and January 1977. In total, it had taken just ten days to record Damned, Damned, Damned. This left just the album to be mixed. It was completed on 15th January 1977, and just a month later, Damned, Damned, Damned was released.
Before that, critics had their say on The Damned’s debut album Damned, Damned, Damned. The reviews were mostly positive, and praised the energy and humour of the songs. Most were penned by Brian James, with Tony James cowriting Fish, and Rat Scabies contributing Stab Yor Back. Closing the album was a cover of The Stooges’ I Feel Alright. It was one of the tracks where critics remarked upon drive and energy of the rhythm section. Rat Scabies’ drums and Brian James’ bass were crucial to the album’s sound and indeed, success.
When Stiff Records released The Damned’s debut album Damned, Damned, Damned, on 18th February 1977, it reached number thirty-one in the UK album charts. Making the success even sweeter, was the thought that The Damned had become the first punk band to release an album. Again, The Damned had beaten their old nemesis’ the Sex Pistols again, and in doing so, had written their way into musical history. This was becoming a habit.
Alas, The Damned’s run of breaking records came to an abrupt end on 18th February 1977. The same day as Damned, Damned, Damned was released, Neat, Neat, Neat was released as a single. It failed to even trouble the charts. There was small crumb of comfort. Neat, Neat, Neat featured a truly memorable bass line from Captain Sensible. So much so, that in 2006 Stylus magazine called Captain Sensible’s one of the thirty-third best bass line of all time. However, back in 1977, The Damned hardly had time to worry about the commercial failure of Neat, Neat, Neat.
Straight after the release of Damned, Damned, Damned, The Damned headed out on tour, to promote their debut album. Then in March 1977, The Damned got the opportunity to open for T-Rex in March 1977. Things were happening quickly for The Damned, and as
Spring turned to summer, they then embarked upon an American tour. The Damned became the first British punk band to tour America. Again, they had beaten the Sex Pistols to the punch. However, by August 1977, changes were afoot.
In August 1977, The Damned brought onboard Lu Edmonds as a second guitarist. Around this time, there was also an ill-conceived and ill-fated attempt to bring Syd Barrett onboard to produce their sophomore album. Sadly, by then the founder of Pink Floyd was living a reclusive lifestyle and had serious health problems. However, his onetime colleague Nick Mason agreed to produce what became Music For Pleasure.
Music For Pleasure.
Now a five piece, The Damned began work on their sophomore album, Music For Pleasure. Again, Brian James wrote much of the album. He penned six songs of the ten songs; cowrote Problem Child and Stretcher Case with Rat Scabies and joined with Dave Varian to write Your Eyes. The remaining song, Idiot Box, came from the pen of Dave Varian and Rat Scabies. However, to onlookers, Brian James was playing a major part when it came to writing The Damned’s first two albums. Without him, where would they be?
When it came to recording Music For Pleasure, The Damned had come up in the world. They headed to Britannia Row Studios, which Pink Floyd had built after recording Wish You Were Here in 1975. It was a cutting edge facility, and very different to most studios that punk bands frequented. WithNick Mason taking care of production, The Damned recorded the ten tracks that became Music For Pleasure. Once it was recorded, Stiff Records scheduled the release for late 1977.
Eventually, Music For Pleasure was scheduled for released on the 18th November 1977. Before that, critics had their say on the album. Critics were far from impressed. Part of the problem was the quality of songs. They failed to match the quality on Damned, Damned, Damned. This isn’t unusual, as often, a band have spent months, even years writing their debut album. So when asked to write an album in a short space of time, this is often a step too far. Among the few highlights were Politics, Alone, Your Eyes and Creep (You Can’t Fool Me). They just about stood up to scrutiny, in an album that some critics felt, lacked focus and musical direction. Even new addition Lu Edmonds came in for criticism, with critics doubting that he brought anything to the table. Did The Damned really need two guitarists? That some critics felt was debatable. However, Lu Edmonds almost got away lightly. Other critics went further, calling the album a disaster and a musical misjudgement. This didn’t augur well for the released of Music For Pleasure.
Especially when Stretcher Case Baby had been released as the lead single, on 3rd July 1977, but never came close to troubling the charts. This must have worried members of The Damned and everyone at Stiff Records. Things got worse when Problem Child was released on the 28th September 1977, and failed to chart. Surely things couldn’t get any worse for The Damned?
By then, they must have been fearing the worst, and preparing for what was to come. However, even The Damned couldn’t have foreseen what would happen. When Music For Pleasure was released on the 18th November 1977, the album failed to chart. Neither did final single released from Music For Pleasure.
When Don’t Cry Wolf which was released in December 1977, it failed to chart. It became The Damned’s fourth consecutive single that failed to chart. Only their debut single New Rose charted, and even then, reached a lowly eighty-one in the UK single charts. These were worrying times for The Damned.
Little did The Damned know that two members of the band were planning to quit. Don’t Cry Wolf would prove to be two members of The Damned’s swan-song. That was in the future. Before that, The Damned were hit by two huge blows.
The first was when Stiff Records dropped The Damned. Suddenly, the band who were at the vanguard of the punk movement were without a label. To make matters worse, one of their most talented musicians walked away from the band.
Rat Scabies was so disappointed with Music For Pleasure, that he quit The Damned. Given the importance of Rat Scabies’ drums in The Damned’s sound, it was a blow the band wouldn’t recover from.
That is despite bringing future Culture Club drummer Jon Moss onboard. He couldn’t replicate the sound of Rat Scabies, and in February 1978, The Damned split-up for the first time.
For the next year, the members of The Damned worked on a variety of projects. However, in late 1978, Rat Scabies had formed a new band, Les Punks for a one off gig. Its lineup featured vocalist Dave Vanian, Captain Sensible and a rhythm section of drummer Rat Scabies and Motorhead’s Lemmy on bass. So successful was the Les Punks’ gig, that they reunited in early 1979.
When Les Punks reunited, they decided to change their name to The Doomed. This as close as they dare to using The Damned name. If they had performed as The Damned, there was the likelihood that they would encounter problems with the use of the band’s trademark. By then, Captain Sensible had switched to guitar and keyboards. This left the band without a bassist. While Lemmy filled in when recording demos and playing a few live dates, he had other commitments.
This left The Doomed searching for a replacement bassist. They thought they had found it in Henry Badowski. He spent part of 1978 playing with The Doomed. Then Henry Badowsk was eventually replaced by The Saints’ former bassist Algy Ward. The Doomed’s problematic bass position had been solved. At last, The Doomed had a settled lineup. The only blip came in December 1978, during The Doomed Scottish tour. Gary Holton had to briefly fill in for Dave Vanian. Apart from that, things were looking up for The Doomed.
By April 1979, The Doomed were now The Damned. The group was now, officially able to play and record as The Damned. It was a big relief to the band, whose career had been on hold. Now The Damned could begin to play live and sign a new record deal.
The Damned made their ‘second’ debut in April 1979. By then, Dave Vanian’s vocal style had changed, and he was no longer just singing in his former high baritone style, but crooning. It came as a shock to those who remembered The Damned’s early days as punk pioneers. Another difference was The Damned had adopted a much more melodic style. It was a mixture of speed and volume, and driven along by Captain Sensible’s keyboards. The times they were a changing.
Later in 1979, The Damned’s good luck continued, when they signed a record deal with Chiswick Records. Not long after signing their new recording contract, The Damned headed to Wessex Studios to record what became Machine Gun Etiquette.
Machine Gun Etiquette.
Before heading to Wessex Studios, The Damned had written ten new tracks and cowrote I Just Can’t Be Happy Today with Giovanni Dadomo. Gone were the days when The Damned were reliant upon one songwriter to write most of an album. Belatedly, The Damned were a democracy as far songwriting went. Machine Gun Etiquette was a much more collaborative album. It was also album where they paid homage to one of their musical heroes, MC5.
On their debut album Damned, Damned, Damned, The Damned covered The Stooges I Feel Alright. This time around, The Damned covered MC5s Looking at You. This was fitting given the new direction The Damned’s music was about to head in on Machine Gun Etiquette.
The Damned would combine elements of sixties garage rock, pop, punk and psychedelic rock. There was also a more experimental sound Machine Gun Etiquette. It seemed as if The Damned were in the process of finding themselves musically. Helping them to do so, was producer Roger Armstrong.
When The Damned arrived at Wessex Studios, London, they immediately encountered another of the punk pioneers, The Clash. They were in the process of recording their classic album, London Calling. The new lineup of The Damned must have been hoping that their comeback album would enjoy some of the success that previous Clash albums had enjoyed. They were now one of the biggest British bands, while the third lineup of The Damned were starting over.
This new lineup of The Damned featured vocalist Dave Vanian; drummer Rat Scabies; bassist Algy Ward and Captain Sensible who was switching between guitar and keyboards. It took two lots of sessions to record Machine Gun Etiquette. The first began in March, and finished in May 1979. After a month which The Damned spent playing live, they returned to the studio in July. They spent the next two months completing their third album Machine Gun Etiquette. By August 1979, The Damned were ready to begin their comeback.
For The Damned’s comeback single, the album opener Love Song was chosen. No wonder; it was undoubtably one of the highlights of Machine Gun Etiquette. It’s memorable and catchy, as The Damned fuse elements of punk with swaggering garage rock and a memorable hook. Playing leading roles, were Rat Scabies’ drums and Captain Sensible’s blistering, searing guitar licks. Atop the arrangement, sits Dave Vernon’s punk infused vocal. This was a potent combination, which when in it was released in April 1979, caught the imagination of the record buying public. Love Song reached number twenty in the UK, and was then released in France, Germany and Holland. The Damned had just enjoyed the biggest hit of their career so far. Soon, The Damned were on a role.
Having enjoyed a hit single with Love Song, The Damned were keen to repeat the experience. The song that was chosen for their second single, was Smash It Up. It’s a song of two parts, where the melodic first half giving way to riotous fusion of pop and punk. It was critique of hippie culture, and a call for political revolution. This the BBC took offence at, fearing it would lead to anarchy in the UK. However, this was the best thing that could happen to the song.
Smash It Up was released on the 28th September 1979, with ironically Burglar on the B-Side. Burglar saw Rat Scabies take charge of the lead vocal. Suddenly, curiosity got the best of record buyers, who bought the single to see what the fuss was about. When this was combined with The Damned fans who bought Smash It Up, it reached thirty-six in the UK. The Damned’s call for political revolution, had been a successful and profitable exercise.
Having released two hit singles from Machine Gun Etiquette, things were looking good for The Damned as November 1979 release date approached. There was only one hurdle left to overcome, the critics. All The Damned had to do, was avoid the slings and arrows of over critical critics.
Unlike their sophomore album Music For Pleasure, Machine Gun Etiquette was hailed a resounding success by critics. Some went as far as to use the c-word, and called Machine Gun Etiquette a classic. This some critics said, was The Damned’s second classic. However, whether Damned, Damned, Damned was a classic is debatable. Machine Gun Etiquette certainly was
Critics enjoyed, embarked and welcome The Damned’s exploration through sixties garage rock, pop, punk and psychedelic rock. They hadn’t turned their back on their punk roots, but The Damned knew that their music had to evolve. What hadn’t changed was The Damned’s ability to create music that is witty and sometimes, full of social comment. Having won over the critics by writing and recording a classic album, all that remained was to release Machine Gun Etiquette.
When Machine Gun Etiquette was released in November 1979, it was to critical acclaim. Ever since their comeback, The Damned’s luck had changed. This continued when Machine Gun Etiquette reached number thirty-one in the UK album charts. Eventually, it was certified silver. The Damned had released the most successful and finest album of their career, Machine Gun Etiquette. Now came the hard bit, recording the followup, which became The Black Album.
Before that, The Damned released a new single, a cover of Jefferson Airplane’s psychedelic rock classic White Rabbit. It was released in early 1980, and reached just eighty-two in the UK single charts. This must have been a disappointment. Hopefully, though, their fourth album The Black Album would more than makeup for the disappointing chart placing of White Rabbit.
The Black Album.
Having just released the most successful album of their career, and one that was hailed a classic, The Damned got to work on their fifth album. Most bands would’ve have decided to pickup where they left on Machine Gun Etiquette. However,The Damned weren’t most bands. Instead, they were about to head off on a musical journey through disparate genres.
For The Black Album, David Vanian, Rat Scabies, Captain Sensible and Paul Gray wrote ten new tracks. The Damned also wrote Wait For The Blackout with Billy Karloff, and Dr Jekyll and Mr Hyde with Giovanni Dadomo. These twelve tracks were recorded at two studios.
One of studios that were used was the famous Rockfield Studios, in Monmouthshire. It had been where many classic albums had been recorded. Now The Damned became the latest group to use its prestigious studios. The rest of The Black Album was recorded at Shepperton Studios, Shepperton, in Surrey These studios became a home from home for The Damned as they recorded The Black Album.
When recording of The Black Album began, The Damned had decided to produce the album themselves using the alias The Kings Of Reverb. The exception was History Of The World (Part One), which Hans Zimmer who played synths, produced. The rest of The Black Album featured just The Damned.
For the second album in a row, drummer Rat Scabies had a new partner in the rhythm section. This time, it was bassist Paul Gray. He joined Captain Sensible who played electric guitar, acoustic guitar and keyboards. As usual, David Vanian took charge of the vocals. As the sessions began, it quickly became apparent that The Black Album wasn’t going to very different to Machine Gun Etiquette, in more ways than one.
Quickly, it became apparent that The Black Album was a much different album from its predecessor. The Damned were veering between, gothic rock, indie rock, new wave, psychedelia, punk and rock. It’s a much more eclectic, expansive album. This made the title The Black Album all the more fitting. So would the album cover. That was still to come.
The other difference between Machine Gun Etiquette that The Black Album was a much longer album. One track, Curtain Call, lasted just over seventeen minutes. There was no way that The Black Album would fit on one album. However, there wasn’t enough music to fit on two albums. Then came the idea to have side four feature live tracks.
Fortunately, The Damned had recorded a concert especially for members of their fan club. It had been recorded at Shepperton Studios, on 26th July 1980. Six songs were chosen from the recording of the concert, and found their way onto side four of The Black Album. This included Damned classics and favourites, including Love Song, Second Time Around, Smash It Up (Parts 1 & 2), New Rose, I Just Can’t Be Happy Today and Plan 9 Channel 7. These six songs were a tantalising taste of what The Damned live sounded like. So was the entire recording of the fan club concert, which was released in 1982 as Live Shepperton 1980. By then, The Black Album had been released.
Before that, The Damned decided that the The Black Album deserved an album cover worth of its title. Against a plain black album cover, Damned was written in gothic script, which holly leaves surrounding the nameplate. However, when The Black Album was reissued in 1982 as a single album, the album cover parodied The Beatles’ White Album. However, even in its present form, the album cover was perfect for The Damned’s ambitious, sprawling and genre-hopping double album, The Black Album. It would be released in October 1980, but before that, the lead single from The Black Album was released.
Just a month prior to the release of The Black Album, The History Of The World (Part 1), was released as single in September 1980. On the flip side was a non album track Sugar and Spite. When The History Of The World (Part 1) was released, it came with the credit ‘credit:’ “overproduced by Hans Zimmer.” Ironically, the synth driven History Of The World (Part 1) was a poppy and polished track, and one that radio stations should’ve picked up on. Alas, it reached just fifty-one in the UK singles’ charts. This was another disappointment.
Meanwhile, critics had received their advance copies of The Black Album. It was an ambitious, sprawling double album, where The Damned experimented, flitting between, and sometimes, combining disparate musical genres. This includes on future Damned classic Wait For The Blackout, a dramatic fusion of punk and psychedelia. There was also The Damned’s first foray into gothic rock, which the album cover more than hinted at. Gothic rock was a genre The Damned would embrace throughout the rest of the eighties. That was still to come. Before that, The Black Album would reveal the rest of its secrets.
Elements of indie rock, new wave and psychedelia, plus punk and a much more traditional rocky sound all shawn through on The Black Album. Critics agreed that The Black Album was a much more ambitious and adventurous album. On 13th Floor Vendetta, The Damned use as inspiration the 1971 film The Abominable Dr. Phibes. It’s atmospheric, cinematic and memorable, one of the highlights of The Black Album. Another of the album’s highlights was Lively Arts, where The Damned romp their way through the track combing drama, social comment and hooks. The Damned also romp their way through Drinking About My Baby, where punk and rock combine head on to create a memorable sing-a-long.Therapy is equally memorable, thanks to its irresistibly catchy chorus. However, when critics and later, record buyers listened to side three, they were in for a surprise.
It contained the most ambitious song on The Black Album. This was Curtain Call, a seventeen minute epic. It’s a journey through musical genres and moods. Hypnotic, joyous, lysergic, moody and thoughtful, this was The Damned as they had never been heard before. It was The Black Album’s Magnus Opus. This wasn’t the end of the surprises.
Side four featured the six live tracks The Damned had recorded for their fan club. For those that had never been to see The Damned live, this was the next best thing. Six classics and old favourites sat side by side. This included Love Song, Second Time Around, Smash It Up (Parts 1 & 2), New Rose, I Just Can’t Be Happy Today and Plan 9 Channel 7. It was, and still is, a tantalising taste of what The Damned live sounded like in 1980.
After four sides of The Black Album, critics drew their conclusions. What was apparent, was that The Damned had come of age musically. No longer could they be described as ‘just’ a punk band. Punk still peppered parts of The Black Album. However, their music was much more sophisticated, as it headed in different directions. This included hints of electronica and a move towards goth rock. There was also a psychedelic sound to The Black Album. Especially on the seventeen minute Magnus Opus Curtain Call, which took up side three. Elsewhere, The Black Album featured diversions via indie rock, new wave, pop, psychedelia and rock. The Damned were musical butterflies, as they flitted between genres. Most critics were won over by The Damned latest and most ambitious and adventurous album. However, what about record buyers?
Eleven months after the release of Machine Gun Etiquette, The Black Album was released by The Damned in October 1980. It reached number twenty-nine in the UK album charts, which was the highest placing of The Damned’s four albums. However, the only slight disappointment was that The Black Album wasn’t certified silver like its predecessor. However, the commercial success of The Black Album was a reason to celebrate. A hit single however, would be the cherry on the cake.
So The Damned released There Ain’t No Sanity Clause in November 1980. It wasn’t a track from The Black Album. Instead, it was hoped that There Ain’t No Sanity Clause might make an impact on the lucrative British Christmas singles market. It wasn’t to be, and the single stalled at ninety-seven in the UK singles charts. Maybe The Damned would have better luck next time?
In February 1981, Dr Jekyll and Mr Hyde was released as the second single from The Black Album. Alas, the single failed to chart. The Damned were out of luck.
The Black Album was the final album The Damned released for Chiswick. However, a year later, in May 1982, Chiswick imprint Big Beat Records, released Wait For The Blackout as a single. Sadly, lightning struck twice, and the single failed to chart. This was a slightly disappointing end to The Damned’s time at Chiswick. However, the two albums that The Damned had released on Big Beat Records, Machine Gun Etiquette and The Black Album were two most successful albums of their career.
Machine Gun Etiquette and The Black Album have recently been reissued by Chiswick, an imprint of Ace Records. They’re welcome reissues. Machine Gun Etiquette is a classic album, while The Black Album finds The Damned’s music evolving.
The Black Album find The Damned moving towards goth rock, which they went on to embrace throughout the eighties. There’s also a psychedelic influence to The Black Album, as The Damned begin to move away from their punk roots. They didn’t cut the ties entirely, for fear of alienating their older fans, who had been around since The Damned released the first punk single and album. That was just four years before the release of The Black Album in 1980. A lot had happened since 1976.
Forty years later, and incredibly, The Damned are still going strong. They’ve had their ups and downs, but still keep making music and playing live. They’ve released over thirty albums since The Black Album. However, The Black Album and its predecessor Machine Gun Etiquette are both reminders of The Damned in their prime, when they swaggered their way through albums, displaying a devil may care, rebellious attitude. This resulted in some of the most memorable music of their forty year career. Thos included the classic album Machine Gun Etiquette, and the album where The Damned came of age musically, The Black Album which featured a much more sophisticated and eclectic style.
THE DAMNED-THE BLACK ALBUM.
IAN GILLAN-THE GILLAN BAND AND GILLAN YEARS.
IAN GILLAN-THE GILLAN BAND AND GILLAN YEARS.
From the late sixties, right through to the seventies, fusion was one of the most popular musical genres. Fusion was popular on both sides of the Atlantic. However, by the late seventies record buyers were tiring of the fusion of jazz and rock. So were some musicians. This included former Deep Purple frontman Ian Gillan.
In July 1978, Ian Gillan called time on The Ian Gillan Band, which he had formed three years earlier in 1975. Since then, The Ian Gillan Band had released a trio of albums. Their debut was 1976s Child in Time. However, The Ian Gillan Band story began two years earlier, in 1973.
That’s when vocalist Ian Gillan left Deep Purple. He played his part in the recording of Deep Purple’s 1974 album Who Do We Think We Are? It was released in America in January 1973, and a month later, in February 1973, in Britain. By then, Ian Gillan was exhausted. He and the band were desperately in need of a rest. That however, wasn’t going to happen.
Deep Purple, one of the unholy trinity of British hard rock, were about to go out on tour. However, Deep Purple desperately needed a rest. Their management wanted Deep Purple to tour Who Do We Think We Are? Reluctantly, they agreed. So they headed out on tour. Before long, tensions arose within Deep Purple.
By the summer of 1973, Deep Purple were in Japan. This was their second Japanese tour. Unlike their first tour, all wasn’t well within the band. Arguments arose between members of the band. Lead vocalist Ian Gillan and Bob Glover clashed with guitarist Richie Blackmore. Whatever had happened or been said, there was no going back. Ian Gillan and Bob Glover quit Deep Purple in June 1973.
On his return home, Ian Gillan announced he had retired from the music business. He wanted to focus on other business ventures, including a business building motorcycle engines, a country hotel ands the Kingsway Recording studio. However, Ian didn’t stay retired for long.
By April 1974, Ian was using the Kingsway Recording studio to begin work on his first solo tracks. He debuted them at Roger Glover’s Butterfly Ball at the Albert Hall, on 16th October 1975. This whet Ian’s appetite. Before long, he was putting a new band together. It eventually became The Ian Gillan Band.
The Ian Gillan Band.
Child in Time.
Originally, Ian called his new band Shand Grenade. This was a combination of Shangri-la and Grenade. The name didn’t go down well with his management. They managed to persuade Ian to change the name to The Ian Gillan Band, which was an Anglo-American band.
The first lineup featured the rhythm section of drummer and percussionist Mark Nauseef, a native of New York. The rest of the band, including bassist John Gustafson and guitarist Ray Fenwick were British. So were keyboardist Mike Moran and Ian, who added vocals and harmonica. They headed to the Musicland Studios in Munich, which was then, one of the most famous European studios.
That’s where The Ian Gillan Band recorded their debut album Child in Time. Recording took place between December 1975 and January 1976. Seven songs were recorded, including six which were penned by members of The Ian Gillan Band. Then once Child in Time was completed, the album was mixed at Mountain Studio, Montreux, February 1976. Five months later, Child in Time which was produced by Roger Glover, was ready for release.
Child in Time was well received by critics. That’s despite the change in style. Ian Gillan was no longer the hard rocking musician of his Deep Purple days. The Ian Gillan Band had turned their back on rock, in favour of fusion and even, funk. This shocked fans of Deep Purple.
Especially when Deep Purple fans realised that Child In Time, a Deep Purple classic, was given a funky makeover. This was perceived as an act of sacrilege. It certainly didn’t help sales of Child Of Mine, which was released on Island.
When Child in Time was released in July 1976, it reached number fifty-five in Britain. Elsewhere, Child in Time reached number thirty-six in Sweden. Little did Ian Gillan and rest of The Ian Gillan Band realise, that that was as good as it got for them.
Clear Air Turbulence.
After the release of Child In Time, The Ian Gillan band returned to the studio in July 1976. Right through to September 1976, they recorded the six tracks that became Clear Air Turbulence which doesn’t feature in The Album Collection. Once the album was completed, The Ian Gillan Band were set to head out on tour.
That never happened. While the concerts were scheduled, and the tour promoted, it was eventually cancelled. Things weren’t going well for The Ian Gillan Band. It was just about to get worse.
Ian Gillan wasn’t happy with Clear Air Turbulence’s sound. So much so, that the album’s release was postponed. This allowed Clear Air Turbulence to be remixed. Once the remixing was completed, the release of Clear Air Turbulence was schedule for April 1977.
On the release of Clear Air Turbulence, reviews were mixed. The Ian Gillan Band experimented on Clear Air Turbulence. Hard rock, prog rock and fusion sat side-by-side. Some critics felt this didn’t work. However, on tracks like Money Lender and the jazz-fusion of Over The Hill and Goodhand Liza, The Ian Gillan Band find form. However, this was too little too late.
When Clear Air Turbulence was released on 15th April 1977, it wasn’t a commercial success. For Ian Gillan this was a huge disappointment. All his efforts had been in vain.
Scarabus.
Sadly, Scarabus proved to be The Gillan Band’s swan-song. The ten tracks had been recorded at Kingsway Recorders, London, between July 1977 and August 1977. Three months later, in November 1977, Scarabus was released.
When the critics heard Scarabus, they were disappointed by what they heard. Ian Gillan seemed ill at ease by Scarabus’ somewhat contrived jazzy sound. Critics longed for Ian to kick loose. He never does. Even when Scarabus heads in the direction of rock, it’s more like faux rock. So, it’s no surprise that Scarabus was the weakest and least successful album by The Ian Gillan Band.
On its release in November 1977, Scarabus wasn’t a commercial success. It didn’t trouble the charts. For The Ian Gillan Band it was a disappointing end to their career. However, before long, Ian Gillan was back to his hard rocking best with a new band, Gillan
Gillan.
Gillan (The Japanese Album).
With The Ian Gillan Band history, Ian Gillan began the next chapter in his musical career, Gillan. It saw Ian return to a much harder, rocky sounding style of music. For Ian Gillian, this was what he did best. His new band Gillan featured a familiar face and some new names.
The only member of The Ian Gillan Band that joined Gillan was Colin Towns. He was joined by guitarist Steve Bryd, bassist John McCoy and drummer Pete Barnacle. However, although Pete featured on Gillan’s eponymous debut album, he was soon replaced by Liam Genockey. This was just one of several changes in Gillan’s lineup over the next four years.
With his new band in tow, Ian headed to what were familiar settings, Kingsway Recorders, in London. That’s where the ten tracks that became Gillan, were recorded between July 1978 and August 1978. Gillan would be released in September 1978.
Straight away, there was a problem. Gillan didn’t have a record deal in Britain. However, Gillan had a record deal for Japan, Australia and New Zealand. So, Gillan was only released in these three countries.
On the release of Gillan it sold well in Japan, Australia and New Zealand. That wasn’t surprising. The reviews of Gillan were positive. So were the reviews in the British music press. However, with Gillan unavailable in Britain, it had to be imported from Japan. This lead to Gillan being referred to as The Japanese Album. When copies of the album arrived, it quickly became apparent that Gillan marked a return to form from Ian Gillan and his hard rocking band. They weren’t going to be long without a recording deal in Britain.
Mr. Universe.
That proved to the case. By the time Gillan returned to Kingsway Recorders in April 1979, Gillan had signed to Acrobat. For the next two months, the classic lineup of Gillan recorded the ten tracks that became Mr. Universe.
By the time of the Mr. Universe sessions, Gillan were already onto their third drummer. Mick Underwood was Gillan’s drummer, having replaced Liam Genockey. Mick was joined in the rhythm section by bassist John McCoy and guitarist Berne Tormé. Colin Towns played keyboards and flute and Ian Gillan played harmonica and added vocals. This is regarded as the classic lineup of Gillan.
The new lineup of Gillan worked hard for the next two months. Eventually, by June 1979, Mr. Universe was completed. Gillan were ready to release what was their first British album.
Prior to the release of Mr. Universe, critics were sent a copy of Gillan’s sophomore album. For Ian, this was a worrying time. Latterly, during his days with The Ian Gullan Band, the critics hadn’t been kind to him. That wasn’t the case with Mr. Universe. The critics were won over by Gillan’s hard rocking sound. They were pleased to hear Ian Gillan back what he did best.
Equally happy were the record buying public. When Mr. Universe was released in October 1979, it reached number eleven in the British charts. Ian Gillan had just announced his return. He wasn’t going anywhere.
Glory Road.
After the success of Mr. Universe, Ian Gillan was keen to strike while the iron was hot. So, having toured Mr. Universe, work began on Gillan’s third album, Glory Road.
Recording of Glory Road began in April 1980. For two months, Gillan were locked away at the studio Ian built, Kingsway Recorders. That’s where he had recorded all The Ian Gillan Band and Gillan albums. It’s where Gillan recorded the ten tracks that became Glory Road, the album they hoped would give them their first transatlantic hit.
After the success of Mr. Universe in Britain, Gillan were determined to crack the lucrative American market. Ian knew, that was where the big money was to be made. His time with Deep Purple showed him the riches that were capable of being made in America. However, in hoping to break America, this presented a problem.
Many bands didn’t release the same version of their album in America. That was the case with Glory Road. The running order was different, and Your Mother Was Right replaced Sleeping on the Job. The release date was scheduled as October 1980.
Before the release of Glory Road, the critics had their say. For any band, this can be a nervous time. A bad review can prove costly. Fortunately, most of the reviews of Glory Road were positive. Granted, there were a few dissenting voices. Mostly, though, Gillan looked as if they were heading down the Glory Road.
When Glory Road was released, in October 1980, Gillan fans made a beeline for the limited edition double album. It contained the free album For Gillan Fans Only. Most fans had to settle for ordinary version of Glory Road.
Plenty did. Glory Road became Gillan’s biggest selling album. Not only did it reach number three in Britain, but was certified solver. This made Glory Road Gillan’s biggest selling album. However, that wasn’t the end of Glory Road’s success.
In America, Glory Road crept into the US Billboard 200, reaching 183. This was the first time a Gillan album had charted in America. Were Gillan about to crack the lucrative American market?
Future Shock.
Buoyed by the success of Glory Road in both Britain and America, Gillan set about recording the followup. The last few months had been among the busiest in Gillan’s career. What with promoting Glory Road in Britain and America, plus a gruelling touring schedule, Gillan had hardly any time to think about their fourth album, until now.
Just like previous albums, Gillan headed to Ian’s studio, Kingsway Recorders, in London, UK. The recording began in December 1980. After breaking for Christmas and New Year, Gillan returned to Kingsway Recorders in January 1981. They finished their fourth album later that month.
Much of what became Future Shock was penned by Ian, John McCoy and Bernie Tormé. This included the title-track. It was was inspired by Alvin Toffler’s book Future Shock. As for Future Shock’s distinctive artwork, it was created by Alan Daniels for Young Artists. With its eye-catching, futuristic image, Future Shock was guaranteed to grab record buyers attention. So was the music.
Before Future Shock was released in March 1981, the critics had their say. They were one over by Future Shock. So much so, that they called Future Shock one of the greatest hard rock albums. This bode well for the release of Future Shock.
When Future Shock hit the shops, it became Gillan’s biggest selling album in Britain. Future Shock reached number two, and was certified silver. However, across the Atlantic, Future Shock failed to chart. This was a disappointment. After all, America was the most lucrative market. Especially, for hard rock. Sadly, it looked like Gillan were never going to be as successful in America, as they were in Britain.
Double Trouble.
Just seven months after the release of Future Shock, Gillan were back with their fifth album Double Trouble. Unlike previous albums, it was a double album. However, this was a double album with a difference.
For their fifth album, Gillan had decided to release a double album. The first album contained studio recordings, while the second album featured Gillan live. Double Trouble had been recorded during 1981, just as Gillan’s lineup was changing.
Gillan had returned to the studio in August 1981. This was the first time since Bernie Tormé had been sacked. Gillan had been asked to play on British pop show Top Of The Pops. Their single No Laughing in Heaven had charted. However, Bernie didn’t want to play on Top Of The Pops. So he was sacked.
Bernie’s replacement was Janick Gers. he featured on the eight tracks recorded at Kingsway Recorders. However, Bernie featured on If You Believe Me, which was recorded at the Rainbow Theatre, London on 4th March 1981. The remainder of the live tracks were recorded at the Reading Festival, on 29th August 1981. These live tracks showcased what Gillan in concert sounded like.
For Gillan, Double Trouble was akin to their calling card. It featured studio recordings and live tracks. This was the perfect introduction to Gillan. However, it was always risky releasing a hybrid album like Double Trouble.
Other groups had tried this. For some groups, it worked, and worked well. However, for other groups it backfired on them. They were accused of throwing together an album. So, were Gillan risking their reputation with Double Trouble?
That proved to be the case. The critics weren’t impressed with Double Trouble. Reviews were mixed. It seemed Gillan’s decision to combine studio recording and live tracks on Double Trouble seemed to have backfired.
When Double Trouble was released in October 1981, it reached number twelve in Britain. After the mixed reviews, the members of Gillan breathed a collective sigh of relief. The Gillan success story continued apace.
Magic.
Nine months after releasing Double Trouble, Gillan returned to the studio in July 1982. At Kingsway Recorders, in London, Gillan began recording what would become Magic. A total of eighteen tracks were recorded between July and August 1982. However, only ten made the cut. They became Magic.
With Magic completed, Gillan’s sixth album was scheduled for release later in 1982. However, before that, the critics had their say.
Just like Double Trouble, Magic failed to excite the critics. They weren’t won over by Magic. The reviews were mixed. This didn’t bode well for Magic.
On its release, Magic reached just number seventeen in Britain. This was Gillan’s least successful album in Britain. It was also their last.
The end was neigh for Gillan. Not long after the release of Magic, Black Sabbath were looking for a new lead singer. This was a huge opportunity for someone. Black Sabbath knew who they wanted. The chosen one, was Ian Gillan.
It was an offer Ian Gillan couldn’t refuse. Still, Black Sabbath were one of the biggest names in rock. So, he disbanded Gillan became the new lead singer of Black Sabbath. Ironically, his new job didn’t last long.
Ian Gillan’s time with Black Sabbath lasted just one album and one tour. Then Ian Gillan returned home. He rejoined Deep Purple, the group where he started his career. Gillan was now history.
Gillan had lasted just four years. During that period, they had managed to release six albums. Five of these albums were released in Britain, and reached the top twenty in the album charts. The two most successful albums were 1980s Glory Road and 1981s Future Shock. Both albums were certified silver. Along with Gillan’s 1978 eponymous debut album and 1979s Mr. Universe, these albums feature Gillan at their hard rocking best. Quite simply, it’s a joy to behold. That describes Gillan on Mr. Universe, Glory Road and Future Shock. They don’t hold back. In full flow, they’re torchbearers for British rock. As rock goes, it doesn’t get much harder or heavier than Gillan. They were one of the last great British rock bands, and were responsible for rebuilding Ian Gillan’s career.
After the disappointment of The Ian Gillan Band’s last two albums, Ian Gillan’s career was at a crossroads. His reputation had taken a bruising, and he had to prove himself all over again. This he did with Gillan. Four years later, a rejuvanted Ian Gillan had reinvented himself, and was the lead singer of another of the unholy trinity of British hard rock, Black Sabbath. While his time with Black Sabbath was sadly short-lived, Ian Gillan was back at the top of the musical tree. His jazz-fusion years were long gone, for four years, Ian Gillan was back to his hard rocking best with Gillan.
IAN GILLAN-THE GILLAN BAND AND GILLAN YEARS.
WEATHER REPORT-THE COLUMBIA YEARS 1971-1975.
WEATHER REPORT-THE COLUMBIA YEARS 1971-1975.
By the late-sixties, jazz was no longer as popular as it had once been. Jazz’s popularity had plummeted over the last few years. Many jazz clubs were closing, or being converted into venues that put on rock bands. Sales of jazz were down. Critics and cultural commentators were drawing comparisons with blues music.
Although there had been a brief resurgence in the blues popularity earlier in the sixties, many of its biggest names were struggling to eek out a living. They played wherever they could get a gig. Some had even turned their back on the blues. For many it was a worrying time. Part of the problem was, the blues hadn’t really evolved. While the same couldn’t be said of jazz, its popularity was declining, and declining rapidly. Something had to change.
Jazz albums were no longer selling in the same quantities as a decade earlier. Some established labels struggled financially. So did the newer labels, who promised a brave new world in jazz. That didn’t happen. Across America, jazz’s decline was noticeable. Many jazz clubs were now putting on pop and rock groups. Jazz was, yesterday’s music. It was a dying genre. However, had jazz’s demise been overstated?
That proved to be the case. Riding to the rescue, like jazz’s very own caped crusader, came fusion. A mixture of jazz, funk and rock, fusion proved to be jazz’s savour. Maybe just, jazz had a future?
That proved to be the case, with many of the biggest names in jazz embracing jazz. This included one of the most innovative and influential supergroups of the jazz-fusion era, Weather Report. The most successful period of their career was between 1971 and 1975, when the signed to Columbia. During this period, Weather Report’s lineup and music were both evolving musically.
The Weather Report story began in New York 1970. That was when Weather Report was founded by Austrian keyboardist and composer Joe Zawinul and saxophonist and composer Wayne Shorter. They were friends and previously, had been members of Miles Davis’ band. Now that they had founded their own group Weather Report, which decided they would lead together. However, before they could lead Weather Report, the needed to complete the lineup.
So Joe Zawinul and Wayne Shorter went in search of a rhythm section. The first musician they brought onboard was Czech bassist Miroslav Vitouš. To complete Weather Report’s lineup, drummer and percussionist Alphonse Mouzon. This quartet were hugely experienced musicians.
Previously, Joe Zawinul had worked with Cannonball Adderley and then Miles Davis, where he met Wayne Shorter. They’d previously been members of Maynard Ferguson’s Big Band. Then Wayne Shorter had worked with Art Blakey. It was after Wayne Shorter and Joe Zawinhul played on Miles Davis’ two fusion albums, 1969s In A Silent Way and 1970s Bitches Brew that they came up with the idea of their own band. Little did they realize that this new band, Weather Report, would go on to record fourteen studio albums and two live albums during their sixteen years together. During Weather Report’s lifetime, the lineup was fluid. However, despite the changes in lineup, Weather Report’s music was always innovative, inventive and influential. That was case from their 1971 debut album Weather Report.
Weather Report.
Start as your mean to go on could and should’ve been Weather Report’s motto. From their 1971 debut album Weather Report, they were innovators, breaking new ground musically. The quartet of keyboardist Joe Zawinhul, saxophonist Wayne Shorter, bassist Miroslav Vitous and drummer and percussionist Alphonse Mouzon were joined by percussionists Don Alias, Barbara Burton and Airto Moreira. Recording took place between 16-22 February and then on 17th March. Eight tracks were recorded, which became Weather Report. This was very different to anything that had gone before.
Abstract, avant garde, abstract and experimental are all words that were used to describe Weather Report. Influenced by Miles Davis’ two fusion albums In A Silent Way and Bitches Brew, Weather Report is variously explosive, intricate, subtle and always, compelling, captivating and innovative. Having said that, Weather Report wasn’t a hugely successful album.
Jazz critics lauded the inventiveness and innovation of Weather Report. Critically acclaimed it was, commercially successful it wasn’t. Weather Report only reached number 191 in the US Billboard 200, but reached number seven in the US Jazz Charts. Often, however, great works of art and music, aren’t recognized straight away. Given how ahead of their time Weather Report were, this was the case here. Their second album I Sing The Body Electric would see a change in fortune for Weather Report.
I Sing The Body Electric.
I Sing The Body Electric, Weather Report’s 1972 sophomore album, saw two new members join the group. They were percussionist Dom Um Romao and drummer Eric Gravatt, who replaced Alphonse Mouzon. Recording took place during sessions in November and December of 1971. I Sing The Body Electric completed in January 1972, when Medley: Vertical Invader, Surucucu and Directions were record live in Tokyo. For the audience attending these concerts, they were able to glimpse the direction Weather Report’s music was heading.
When Weather Report’s sophomore album I Sing The Body Electric was released in 1972, critics and fans heard another side to their music. Weather Report with its new lineup had reinvented themselves and their music. I Sing The Body Electric proved much more popular that their debut album, reaching number 147 in the US Billboard 200. The music appealed to a wider audience, incorporating jazz, rock and electronica.
With five tracks were recorded in the studio, three live and the music was much more complex, eclectic and ethnically diverse. I Sing The Body Electric drew inspiration and influence from a wider range of influences. Music from four corners of the globe, plus electronic instruments and guest artists aplenty, all player their part in I Sing The Body Electric commercial success and critical acclaim. Guest artists included guitarist Ralph Towner and flautist Hubert Law. They played their part in I Sing The Body Electric’s rich tapestry. Intricate, complex, grandiose, forward-thinking, experimental, it was all these things and much more. With two studio albums behind them, Weather Report decided that the next step was the release of the first of two live albums, Live In Tokyo.
Live In Tokyo,
Fans of Weather Report had enjoyed a taster of the group’s live sound on I Sing The Body Electric. The last three tracks on I Sing The Body Electric were recorded in Tokyo. Now, fans had the opportunity to hear what Weather Report live sounded like, when a double-album entitled Live In Tokyo, was released later in 1972. For critics and fans alike, they were at last able to hear a four tantalizing sides of a group featuring some of the most talented, inventive and innovative musicians feeding off each other.
Live In Tokyo allowed Weather Report to showcase their inventiveness and innovativeness. There was everything from free form jazz and fusion, which gave way to explosive, then intricate, complex passages of music. Veering into experimental and avant garde, before taking detours into multicultural music and rock, always, the music returns to jazz. The interplay between the members of Weather Report is stunning. It’s as if each member intuitively knows what the other is about to do. They read and anticipate this, responding to what’s gone before with something equally compelling and captivating. Whether the tempo increases or another layer of music is added to the rich, multi-textured tapestry, second guessing Weather Report ins’t easy. Indeed, over two discs of Live In Tokyo, Weather Report demonstrate and reinforce just why, they were such an important, influential and innovative band, who each time they released an album, would reinvent themselves and their music. This would be the case with their third studio album Streeetnighter.
Streetnighter.
Streetnighter was to prove the final album where bassist Miroslav Vitous would be Weather Report’s sole bassist. On Streetnighter, which was recorded during a five-day period in February 1973, Miroslav shares bass-playing duties with Andrew White. Similarly, Herschel Dwellingham plays drums on four of the six tracks. Like previous albums, Streetnighter found Weather Report’s lineup in a state of constant evolution. Changing too, was their music on Weather Report’s third studio album Streetnighter.
When Streetnighter was released in April 1973, critics and fans hailed the album’s groove oriented sound. As a result, Streetnighter reached number eighty-five in the US Billboard 200, number forty-one in the US R&B Charts and number seven in the US Jazz albums. This was Weather Report’s most successful album. It also marked another change in direction musically for Weather Report.
Andrew White’s electric bass played a much more prominent role on Streetnighter. Miroslav Vitous featured on just two tracks. As usual, for Joe Zawinhul, the groove was key to Streetnighter’s success. So, Andrew White played a huge part. From the opening bars of the thirteen-minute epic Boogie Woogie Waltz, played in 3/4 time and with a glorious Latin sound, Weather Report are in the tightest of grooves, right through to the closing notes of Non-Stop Home. For Joe Zawinhul, Streetnighter was a voyage of discover. He realized he could use his wah-wah pedal with his Fender Rhodes and introduced his ARP synth to add a melodic twist. The other change was in Wayne Shorter’s playing. He’s reined in, his playing much more restrained. It seemed, Streetnighter marked the start of a new era for Weather Report. With another new lineup and having reinvented themselves yet again, what would the future hold for Weather Report on their fourth studio album Mysterious Traveller.
Mysterious Traveller.
While Streetnighter saw Miroslav Vitous share bass duties with Andrew White, on Mysterious Traveller he played on only one track American Tango. The other six tracks marked the Weather Report debut of Philly bassist Alphonso Johnson. Like the bass, two drummers played on Mysterious Traveller. Skip Hadden played on two tracks and Ishmael Wilburn the other five tracks. Along with guest artists and vocalists, Mysterious Traveller saw the birth of what many people regard as Weather Report’s signature sound. Funk, fusion, R&B and rock. Gone was the improvisational nature of Weather Report’s first three studio albums. How would this change in style be received by critics and fans?
When Mysterious Traveller was released in 1974, critics lauded the album as Weather Report’s best album so far. Fans too, loved the new sound. Mysterious Traveller reached number forty-six in the US Billboard 200, number thirty-one in the US R&B Charts and number two in the US Jazz Charts. It was an album that appealed to a much more broader section of listeners. Whether it was fans of funk, jazz, R&B or rock, there was something for them all on Mysterious Traveller. The best way to describe Mysterious Traveller is as fluid, but funky and containing a pulsating heartbeat. Although Wayne Shorter plays a lesser role on Mysterious Traveller, his contribution was crucial. So too was Weather Report’s new member, Alphonso Johnson. For Miroslav Vitous, Mysterious Traveller was his Weather Report swan-song. At least Miroslav had played his part in making Mysterious Traveller Weather Report’s most successful album. What would the future hold for Weather Report next?
Tale Spinnin’
With Miroslav Vitous having left Weather Report, the lineup on Tale Spinnin’ was now Joe Zawinhul, Wayne Shorter and the newest member, bassist Alphonso Johnson. Another new face would feature on Tale Spinnin.’ However, this would just be a walk-on part. It could’ve been much more long term though.
Joe Zawinhul had heard Leon “Ndugu” Chancier playing with Carlos Santana’s band. He’d been hugely impressed with this multitalented drummer and percussionist. Leon was part of Carlos Santana’s band, and was recording in the studio next to Weather Report. He was asked to join Weather Report for a session. This session lasted a week. It resulted in Leon being asked to become a member of Weather Report. He declined the offer, preferring to stay with Carlos Santana. Recording of Tale Spinnin’ took place at Wally Helder Studios in Los Angeles. The sessions started in February 1975 and ended in April 1975. Six tracks were recorded during this two month period, and became Weather Report’s fifth studio album Tale Spinnin.’
Ever since Weather Report released their debut album Weather Report, each of their studio albums had surpassed the success of the previous one. This was the case with Tale Spinnin.’ It proved their most successful album, reaching number thirty-one in the US Billboard 200, number twelve in the US R&B Charts and number three in the US Jazz Charts. Critics and fans alike, took to with Tale Spinnin’s heavier, funkier sound. Key to Tale Spinnin’s success were two new addition’s to Weather report’s lineup.
While Leon filled the drummer’s seat, percussionist Alyrio Lima added an African influence. This replaced the Latin influence of Mysterious Traveller. So, funk, fusion, R&B and rock were joined by African influences. Just like their four previous studio albums, Weather Report continued to reinvent and innovate. Unlike other group’s, Weather Report weren’t content to stand still. Granted, the trademark sound had started to take shape on Mysterious Traveller, but on Tale Spinnin’ evolved. The result was six groundbreaking, innovative and inventive tracks, which became Tale Spinnin,’ Weather Report’s most successful album of their six album career. This was just the start in the Weather Report story, which would see them release another nine studio albums and one more live album.
Between 1971 and 1975, Weather Report’s music continued to evolve. From their debut album Weather Report through I Sing The Body Electric and Streetnighter, Weather Report’s trademark sound evolved. With a constantly evolving lineup, the change constantly evolved as Weather Report reinvented themselves and their music. By Mysterious Traveller, Weather Report’s signature sound had taken shape. Tale Spinnin’ saw this signature sound begin to evolve. Weather Report weren’t the type of group to discover their signature sound then churn out album after album of similar music. Instead, Weather Report continued to innovate and reinvent themselves and their music. This resulted in Weather Report becoming one of the most influential jazz fusion groups.
With Wayne Shorter and Joe Zawinhul at Weather Report’s helm, they fused musical genres and influences, resulting in some of the most groundbreaking, inventive and influential music of the seventies and eighties. Weather Report were together between 1970 and 1986, and released fourteen studio albums and two live albums.However, some of the most innovative, inventive and influential music Weather Report recorded and released was between 1971 and 1975, when the Columbia Years were just beginning.
WEATHER REPORT-THE COLUMBIA YEARS 1971-1975.
HITLIST 2-MORE HOT 100 CHARTBUSTERS OF THE 70S.
HITLIST 2-MORE HOT 100 CHARTBUSTERS OF THE 70S.
For many baby boomers, the early to early to mid-seventies was a golden age for music. They had just graduated from university, and were making their way in the world. Many had well paid jobs, no commitments and often, a high disposable income. By then, the baby boomers had also already established a strong cultural identity.
They had grownup during the sixties, which without doubt had been one of the most important decades in musical history. This just happened to coincide with the first wave of baby boomers entering their teenage years.
The first baby boomers were born in 1946, and by the time The Beatles released Love Me Do in 1962, were teenagers. They were beginning to take an interest in music, art and literature, and were already establishing a cultural identity. This would take shape during what many refer to as the original golden age of music.
1964 proved to an important year culturally. It marked the end of the post–World War II baby boom. However, many baby boomers remember 1964 as the year the British Invasion arrived on American shores. Suddenly, American teenagers preferred The Beatles, Rolling Stones, The Who, The Kinks and The Animals to Bob Dylan and those clean cut all-American boys, The Beach Boys. Soon though, the times were a changing.
In 1965, the psychedelia era began. Over the next few years, music was transformed. Especially by the Grateful Dead, Jefferson Airplane, The Doors, The Byrds, Jimi Hendrix and Pink Floyd. The music was a game-changer, and a long way from Love Me Do. Even Elvis Presley, was neither as popular, nor relevant as he had been. He was sill cavorting in third rate movies, as modern music passed him by. The king it seemed, had lost his crown. Meanwhile, many baby boomers had embraced the cultural changes.
Especially the first wave of baby boomers. Many had become pioneering musicians, including Bob Dylan, The Beatles, the Rolling Stones, Cream and The Doors. Many other baby boomers were at colleges and universities across America. While they embraced and enjoyed the new music, some were unable or unwilling to participate fully.
Some were unable to afford to buy LPs or concert tickets. It was taking them all their time to pay their way through college or university. Then there were other students who didn’t quite ‘get’ the music. They neither understood, enjoyed nor embraced psychedelia. Neither did they agree nor approve of the role drugs, including LSD, mescaline and peyote, played in psychedelic music. As a result, many baby boomers sat out the psychedelic era. This certainly wasn’t the golden age of music. That was still to come.
By the early to mid-seventies, many of the first wave of baby boomers had graduated college or university. They were now making their way in the world. Many had well paid jobs, no commitments and often, a high disposable income. This they enjoyed spending. One thing many baby boomers enjoyed spending money on was music.
Many baby boomers who were brought up on a steady diet of music from Love Me Do onwards, began to seriously collect records. So were many of the baby boomers who sat out the psychedelic era. They discovered music through their local AM radio station, and soon, were enjoying the music of the early to mid-seventies. Before long, they and were also collecting albums. Like the rest of the music-loving baby boomers, they had the disposable income to do so, and voraciously, began hoovering up copious amounts of albums. These they played on their expensive, high end hi-fi systems. Soon, the baby boomers had amassed vast collections of vinyl. They documented what was a golden age of music. The same can be said of Hitlist 2-More Hot 100 Chartbusters Of The 70s, which will released be Ace Records on 26th of August 2016.
Hitlist 2-More Hot 100 Chartbusters Of The 70s is a twenty-four track compilation that features some of the biggest artists of early to mid-seventies. This includes The Doobie Brothers, The Allman Brothers Band, Joe Walsh, The Band, Bread, Elvin Bishop, Dave Loggins, Three Dog Night, Carly Simon, Linda Ronstadt and Alice Cooper. These are just a few of the artists on Hitlist 2-More Hot 100 Chartbusters Of The 70s, which I’ll pick the highlights of.
Opening Hitlist 2-More Hot 100 Chartbusters Of The 70s, is The Doobie Brothers single China Grove. When it was released on Warner Bros, in 1973, it reached fifteen on the US Billboard 100. China Grove is a track from The Captain and Me, which reached number seven on the US Billboard 200, and was certified double platinum. The Captain and Me featured the classic lineup of The Doobie Brothers. His unmistakable, gritty vocal plays an important part in this guitar driven slice of classic rock. It’s a reminder of just how good a band The Doobie Brothers were, during the Tom Johnson years.
By 1973, The Allman Bros. Band’s unique fusion of Southern Rock and blues rock had made them one of the biggest selling American bands. Their last two albums had been certified platinum. When Brothers and Sisters was released in 1973, it reached number one on the US Billboard 200 and was certified gold. One of the singles released from the album was Ramblin’ Man. It reached number two on the US Billboard 100. Sadly, after Brothers and Sisters, The Allman Bros Band never reached the same heights again. However, forty years later, their music, including singles like Rambin’ Man, is timeless and still as popular as ever.
In 1973, former James Gang guitarist and vocalist Joe Walsh, left the band to form the short-lived group Barnstorm. After released one album Barnstorm became Joe Walsh. They released their debut single Rocky Mountain Way on ABC/Dunhill Records. It reached a creditable twenty-three on the US Billboard 100. This rocky track is akin to an outpouring of nervous energy, that showcased the combined talents of Joe Walsh. Their 1973 debut album The Smoker You Drink, The Player You Get on ABC/Dunhill Records reached number six on the US Billboard 200, and launched Joe Walsh’s forty-year solo career.
Canadian roots rockers The Band were founded in 1964, and went on to play a part in defining music in the late-sixties and early seventies. Their third album Stage Fright, was released by Capitol in August 1970, reaching number five in the US Billboard 200. This resulted in The Band’s second gold disc.The lead single from Stage Fright was Rag Mama Rag, which stalled at forty-six in the US Billboard 100. It’s underrated and oft-overlooked song from The Band’s back-catalogue, that’s a reminder of one of the best, and most important bands of the late-sixties and early seventies.
Unlike the majority of bands on More Hot 100 Chartbusters Of The 70s, Ace are a British band which featured Paul Carrack. They released their debut album Five-A-Side on Anchor Records in 1974. It reached number eleven on the US Billboard 200. When Ace released How Long as a single in 1975, it reached number five on the US Billboard 200, but only number twenty in Britain. However, since then, How Long has become a AOR classic, and the song that for most people, is synonymous with Ace.
When Bread released their fourth album Baby I’m-A Want You in 1972, they were one of the most successful AOR groups. Their last two albums had been certified gold. Two became three when Baby I’m-A Want You was released on Elektra. It reached number three on the US Billboard 200, and was Bread’s most successful album. Baby I’m-A Want You also featured one of Bread’s most successful singles, Everything I Own. This beautiful ballad Everything I Own, which reached number five on the US Billboard 100. and is one of the finest singles Bread ever released.
It was in Detroit in 1967, that Frijid Pink were formed. They started life as a blues rock band. By 1969, they were signed to the Parrot label, and label and decided to cover a rock classic. The song they chose was The Animals’ House Of The Rising Sun.It’s given a hard rocking, heavy metal makeover. However, it wasn’t until 1970 that House Of The Rising Sun charted, reaching number seven in the US Billboard 100; five in Britain; four in Germany and number one in Canada. Later in 1970, Frijid Pink released their eponymous debut album, and it reached number eleven in the US Billboard 200. This is one of four albums Frijid Pink released between 1970 and 1975. They’re a reminder of an underrated and talented band, who reinvented a rock classic.
Dave Loggins family comes from a musical family. His brother Kenny would enjoy a long and successful career. However, Dave Loggins recording career began earlier that his cousin, in 1972. That was when Dave Loggins released his debut album Personal Belongings. The followup was 1974s Apprentice (In A Musical Workshop), which was released on Epic, and reached number fifty-three on the US Billboard 200. This was Dave Loggins’ most successful album. Partly, this was because of the beautiful, heartfelt ballad Please Come To Boston. It reached number five in the US Billboard 100, and is the finest song Dave Loggins wrote and recorded.
1971 was a big year for Carly Simon. She had released her eponymous debut album, which reached number thirty on the US Billboard 200. That’s The Way I’ve Always Heard It Should Be was chosen as a single, and reached number ten on the US Billboard 100. Carly Simon it seemed was destined for greatness.
And so it proved to be. Carly Simon’s sophomore album Anticipation was one more step along the road. It had been recorded in London, and was released in November 1971. Just like her eponymous debut album, Anticipation reached number thirty in the US Billboard 200. However, this time around, resulted in Carly Simon’s first gold disc. The lead single Anticipation reached number thirteen on the US Billboard 100. While this didn’t quite match the success of her debut single, Anticipation is beautiful, emotive and carefully crafted song that showcases Carly Simon’s skills as a singer and songwriter. It also typifies the emerging Laurel Canyon sound, and is a foretaste of the quality of music Carly Simon would go on to write and record.
In 1975, Linda Ronstadt was enjoying the most successful period of her career. Her previous album, Don’t Cry Now has been certified double-platinum. The followup Prisoner In Disguise was released in 1975, and reached number four on the US Billboard 200. This resulted in a platinum disc for Linda Ronstadt. When it came to choose the lead single, You’re No Good was chosen, and gave Linda Ronstadt a number one single. For the followup, Phil Everly’s When Will I Be Loved was chosen. It was given a country rock makeover and reached number two in the US Billboard 200. It’s a reminder of of a truly talented singer, Linda Ronstadt at her very best, during the most successful period of her career.
Orleans were formed in Woodstock, New York in 1972. They went on to enjoy five hit singles. Their most successful was Still The One which reached number five on the US Billboard 100. It’s a driving and joyous fusion country rock and soft rock, that’s taken from Orleans’ fourth album Waking And Dreaming. It was released on the Asylum label in 1976, reaching number thirty on the US Billboard 200. Waking And Dreaming was the most successful album Orleans released during a twelve album career that’s spanned two periods, and forty years.
My final choice from Hitlist 2-More Hot 100 Chartbusters Of The 70s is the closing track, which is Reunion’s Life Is A Rock (But The Radio Killed Me). Reunion was a studio band that was the brainchild of Joey Levine, who wrote songs and jingles. However, he didn’t write Life Is A Rock (But The Radio Killed Me). Instead, Paul DiFranco and Norman Dolph wrote the song, while Joey, Paul DiFranco and Marc Bellack took care of the production. Joey also delivers the lead vocal, where he reels of an incredible ninety seemingly random names. Although it’s very different from previous tracks, it’s not lacking in hooks. That is the case throughout Hitlist 2-More Hot 100 Chartbusters Of The 70s.
For baby boomers or just anyone who appreciates enjoys the music of the seventies, then Ace Records forthcoming compilation Hitlist 2-More Hot 100 Chartbusters Of The 70s is a must have. It’ll be released on 26h of August 2016, and is without doubt, one of the best compilations of seventies music released during 2016.
The twelve tracks I’ve chosen only scratch the surface of Hitlist 2-More Hot 100 Chartbusters Of The 70s. There’s tracks from Dobie Gray,The Messengers, The Gentry’s, The Hollies, Elvin Bishop, Three Dog Night, Rick Derringer and Alice Cooper. Hitlist 2-More Hot 100 Chartbusters Of The 70s is a star-studded compilation.
Each of these tracks on Hitlist 2-More Hot 100 Chartbusters Of The 70s have several things in common. They were all favourites of AM radio and made their way into the US Billboard 100. The other thing is, the undoubted quality of music on Hitlist 2-More Hot 100 Chartbusters Of The 70s. They’re a reminder of what was a golden age for music, which the baby boomers were able to experience and enjoy firsthand. That may have been over forty years ago, but now the baby boomers and music lovers of all ages can relive that golden period on Hitlist 2-More Hot 100 Chartbusters Of The 70s.
HITLIST 2-MORE HOT 100 CHARTBUSTERS OF THE 70S.
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