PAUL McCARTNEY-PURE McCARTNEY-DELUXE BOX SET.
PAUL McCARTNEY-PURE McCARTNEY-DELUXE BOX SET.
It was on the 10th of April 1970, that Paul McCartney announced his departure from The Beatles. A week later, he released his debut studio album McCartney. Since then, Paul McCartney has released another sixteen solo albums and seven albums with Wings. That is not forgetting eight live albums, various collaborations, a remix album and six classical albums. Many of these albums saw Paul McCartney’s music head in new, and unexpected directions.
Paul McCartney’s post-Beatles’ career has been the musical equivalent of magical mystery tour. He has released albums of pop and rock, through to classical music and even a soundtrack album. However, dig deeper into Paul McCartney’s back-catalogue and there’s albums of ambient techno, electronic music and jazz. Some of these albums have been released under aliases like Thrillington, The Fireman and Twin Freaks. These albums often feature ambitious and innovative music.
That isn’t surprising. Paul McCartney was never a musician who would rest on his laurels. He’s an innovator, and a musical chameleon who has always been determined to create ambitious and pioneering music. Sometimes he does this with a variety of collaborators from very different backgrounds. This includes the legionary George Martin and Youth of Killing Joke and The Orb. They have played an important part in ensuring Paul McCartney’s music remains relevant. Alas, not all of Paul McCartney’s projects have won over critics and cultural commentators.
That has been the case as far back as Wing, the group Paul McCartney formed in 1970 with his wife Linda, Denny Seiwell and Denny Laine. The newly formed Wings went on to release seven studio albums between 1971s Wild Life and 1979 Back To The Egg. Wings were always more popular in America, with four of their albums topping the US Billboard 200 and the rest reaching the top ten. This resulted in Wings selling over seven million copies in America alone. However, across the Atlantic in Britain, Wings neither received the credit nor recognition their music deserved.
Partly, that was because of the inevitable comparison with The Beatles. This must have been hugely frustrating for Paul McCartney. Especially when deep down, he must have known that Wings would never come close to replicating the commercial success and critical acclaim The Beatles enjoyed. Nor could Paul McCartney hope that Wings would ,make the same cultural contribution of The Beatles had. Very few groups would ever come close to doing so. However, in 1970, Wings was the start of a new chapter in his life. All he could’ve hoped for was that each new album was judged on its merits.
Alas, that never quite happened, and it’s only relatively recently that some of Wings’ albums have been reappraised and are beginning to receive the recognition they deserve. That is a familiar story with some of Paul McCartney’s other projects. When they were released, they seemed to have been judged by different standards that apply to lesser mortals. Now record buyers have the perfect opportunity to make their minds up about Paul McCartney’s extensive and eclectic back-catalogue. Paul McCartney has spent time carefully compiling a new sixty-four song four disc box set, Pure McCartney. It was recently released by Concord Music Group, and will allow record buyers to reappraise Paul McCartney’s post-Beatles’ career.
It can’t have been easy for Paul McCartney selecting the sixty-six tracks that comprise Pure McCartney. He had a veritable feast of music to choose from. Somehow, though, Paul McCartney has managed to narrow his choices down to just sixty-four. I’m sure he could’ve compiled a six or eight disc such is the amount of music he had to choose from. However, the problem with just limited Pure McCartney to just sixty-four tracks, is Paul McCartney can’t please all the people all the time.
His vast legion of fans have their favourite tracks from his post-Beatles’ career. These favourite tracks his fans hope, and in some cases, expect to be in any compilation of Paul McCartney’s music. The only problem is, that some of these tracks have featured on previous compilations, including 1978s Wings Greatest, 1987s All the Best! and 2001s Wingspan: Hits and History. That has been the case with Band On The Run, Jet, Let ‘Em In, Live and Let Die, Silly Love Songs and With A Little Luck. Leaving them off Pure McCartney, wasn’t in reality an option. Especially given the quality, popularity and importance of the snags in Paul McCartney’s post-Beatles’ career. Their addition reasonable and is to welcomed. They’ll be in good company on Pure McCartney.
There’s quite few more familiar faces on oPure McCartney They’re joined by a smattering of hidden gems from Pure McCartney’s extensive and illustrious back-catalogue. Mostly, though, the songs on Pure McCartney are singles and album tracks, which are interspersed with the occasional edit and remix. They’re a snapshot of a forty-five year period between 1970 and 2015. that are a reminder that there’s more to Paul McCartney’s career than The Beatles.
Disc One.
Often, the first disc of a compilation in box set is front loaded with familiar tracks. Pure McCartney is no different. Fittingly, Maybe I’m Amazed opens disc one of Pure McCartney. It’s a classic from Paul McCartney’s debut solo album McCartney. A year later, Paul McCartney returned with his first collaboration with his wife Linda.
This was Ram, an album that’s sometimes overlooked. It’s only recently it’s been reappraised, That isn’t surprising given the quality of songs of the quality of Heart Of The Country, Dear Boy, Uncle Albert/Admiral Halsey and Too Many People. After the release of Ram, Paul and Linda McCartney released Another Day as a single. Why it didn’t feature on Ram seems strange, given its beauty and quality. However, after the release of Ram., Paul and Linda McCartney decided to concentrate on their new group, Wings.
The first Wings’ album represented, is 1973s Red Rose Speedway, which featured Big Barn Bed. Gradually, Wings were finding their feet, and came of age later in 1973, on their classic album Band On The Run. Two songs from Band On The Run feature on Pure McCartney, the classic Jet and one of the album’s most underrated song’s Let Me Roll It. After a two year gap, Wings returned with a new album.
This was their 1975s album Venus and Mars. It’s an underrated album, that features Listen To What The Man Said. It’s a welcome addition to Pure McCartney. So is Warm and Beautiful n beautiful, ballad from Wings fifth album Wings At The Speed of Sound. It was released in 1976, and featured another one of Wings’ best songs Silly Love Songs. Disc one has featured some of the best music from Wings’ seven album career. However, what of Paul McCartney’s career post-Wings?
Following the demise of Wings, Paul McCartney struggled to release cohesive solo album. Mostly, they were mixed bags, but usually featured reminders of his earlier career. This includes The Songs We Were Singing and Flaming Pie, the title-track of Paul McCartney’s 1997 album. Eight years later, in 2005, Paul McCartney released the album. It featured the folk rock single Jenny Wren. The most recent addition is New, the title-track from Paul McCartney’s 2013 album. Still, he was capable of crafting catchy songs of the highest quality. That is the case throughout disc one of Pure McCartney. However, what about disc two?
Disc Two.
Fans of Wings are well catered for on disc two of Pure McCartney. The earliest track from Wings’ seven studio albums is Bip Bop from the 1971 album Wild Life. It’s quite different from what followed from Wings.
They released Hi, Hi, Hi as a single in 1972. It never featured on an album until the 1976 triple live album Wings Over America. Another song that never found its way onto a Wings’ album was Live and Let Die. Paul McCartney had been asked to write the theme to the James Bond film. This was regarded as an honour for a songwriter back then. He penned Live And Let Die, which was performed by Wings and released as a single in 1973. Just like Hi, Hi, Hi, Live And Let Die never made it onto an album until it featured on Wings Over America in 1976. By then, Wings had been busy.
Wings released two albums during 1973. The first, Red Rose Speedway, featured the beautiful ballad, My Love .It’s another Wings’ classic and shows that even without his old songwriting partner John Lennon, Paul McCartney was capable of crafting songs of the highest quality. Later in 1973, Wings released their classic album Band On The Run. Two oft-overlooked songs are Nineteen Hundred and Eighty-Five and Mrs. Vandebilt. They’re both underrated tracks, and welcome additions to Pure McCartney, a reminder of their classic album Band On The Run. It set the bar high for Wings.
Good as 1975s Venus Mars was, it didn’t quite match the quality of Band On The Run. Neither did 1976s Wings At The Speed Of Sound. However, it featured Let ‘Em In, which became one of Wings most popular songs. A year later Wings released Mull Of Kintyre as a single in 1977. Although it’s one of Wings’ most successful singles, it never featured on an album. It’s Marmite music, and a single that divided and continues to divided the opinion of fans. Sadly, after Mull Of Kintyre, Wings released just two more albums, 1978s London Town and 1979s Back To The Egg. This was a disappointing swan-song, saved only by a couple of songs, including Arrow Through Me. Despite the demise of Wings, Paul McCartney’s career continued.
Paul McCartney’s first post-Wings album was McCartney II, which featured the ballad Waterfalls. Although not quite up to the standard of 1970s McCartney, which featured Every Day, McCartney II was certified gold on both sides of the Atlantic.
Calico Skies is another of the highlights of 1997s Flaming Pie. Although the album wasn’t Paul McCartney’s finest hour, there were still occasional reminders of what the great man was capable of.
English Tea is another song from the 2005 album, Chaos And Creation In The Backyard. It has a much more underrated sound that allows Paul McCartney’s voice to take centre-stage. Paul McCartney’s most recent album is New, which was released in 2013. Two songs from New feature, Save Us and Appreciate. Of the two tracks, the rocky Save Us is the better of the two tracks. Appreciate has a more experimental sound. This will divide opinion. So will the inclusion of a song from The Fireman project.
The Fireman project features Paul McCartney, and Youth of Killing Joke and The Orb. They’ve released three albums between 1993 and 2008. Their third album is Electric Arguments. Sing The Changes was released as a single, and showcases their genre-melting sound where ambient, electronica, rock and psychedelia combine. It’s a track that will divide the opinion of Paul McCartney loyalists. However, it shows that even though he was sixty-six in 2008, he was still determined to innovate. For that, he deserves the utmost credit. That brings us to the end of disc two of Pure McCartney, which has been a case of so far, so good.
There’s been very few controversial inclusions on Pure McCartney. That is apart from Mull Of Kintyre, Appreciate and Sing The Changes on disc two. Mostly, has featured an interesting and eclectic selection of Paul McCartney’s post-Beatles’ career.
Disc Three.
Fans of Wings will be saddened that the group is underrepresented on disc three. Especially in light of some disappointing inclusions. The only contribution from Wings is Girlfriend, from the 1978 album London Town. The rest of the album is given over to tracks from Paul McCartney’s solo album, and a couple of collaborations.
The collaborations included the dreadful Ebony and Ivory which Paul McCartney recorded with Stevie Wonder. Despite the combined talents of two musical giants, and a remix, it’s still, one of the worst songs Paul McCartney recorded. Another remix is the collaboration between Paul McCartney and Michael Jackson, Say, Say, Say. Although it’s a slight improvement on Ebony and Ivory, I could’ve lived without its addition on Pure McCartney. The same can be said of what must take the title of Pure McCartney’s worst songs, We All Stand Together. Just like the other two tracks, these aberrations have no place on Pure McCartney. Thankfully, things get better.
Tug Of War was Paul McCartney’s second album since Wings split-up. Two ballads from Tug Of War feature on Pure McCartney; Wanderlust and the beautiful, string drenched, ballad Here Today. It’s remixed for Pure McCartney, and is a welcome addition. Some people will say the same about Pipes Of Peace, the title track from Paul McCartney’s 1983 album. It struck a nerve with the record buying public, and gave Paul McCartney a Christmas number one. Three years later, Press was released as a single from the 1986 album Press To Play. While it stalled at twenty-five in the UK single charts, Press is something of a hidden gem from Paul McCartney’s back-catalogue. The same can be said about some of the songs from the nineties.
Flaming Pie was released in 1997, and was Paul McCartney’s first album in four years. Among the highlights from an album that was certified gold, were The World Tonight, Souvenir and Beautiful Night. Paul McCartney’s comeback had been successful. Now he was back to stay, and spent much of the next sixteen years making music.
In 2005, Paul McCartney released the album Chaos And Creation In The Backyard. One of the most best and most memorable tracks was, Fine Line, which was released as a single. Two years later, Dance Tonight was a released as a single in 2007. Sadly, it’s distinctly average, and far from Paul McCartney’s finest hour. Despite this, it featured on the 2009 live album, Good Evening New York City. Three years later, and Paul McCartney was back, and revisiting the past.
My Valentine was a track from the 2012 covers album Kisses On The Bottom. It found Paul McCartney covering standards in a variety of styles. Kisses On The Bottom reached the top ten on both sides of the Atlantic, as did the followup, New. It was produced by various young, up-and-coming producers. This included Paul Epworth, who produced Queenie Eye the second single released from New. This was a song from Paul McCartney’s most recent album, and brings disc three of Pure McCartney up to date.
Of the three discs so far, disc three of Pure McCartney in my opinion is, the is weakest. That however, is relative, The inclusion of three tracks take the edge of disc three. Other people will enjoy the saccharine delights of Ebony and Ivory and Say, Say, Say. We All Stand Together even Paul McCartney diehards will despair of. Hopefully, the great man will make up for his minor misdemeanours on disc four of Pure McCartney.
Disc Four.
There’s just fifteen tracks on disc four of Pure McCartney. The earliest track is the wistful sounding ballad Junk, from Paul McCartney’s debut solo album McCartney. It was released in 1970, just a week after announcing his departure from The Beatles. However, within a year, Paul McCartney had formed his second group, Wings.
Venus And Mars/Rock Show is Wings’ first contribution. It’s from their fourth album, Venus and Mars which was released in 1975. It became a live favourite on their US tour, and featured on the 1976 triple live album Wings Over America. Two years after that memorable live album, Wings released London Town.
There’s two tracks from London Town on Pure McCartney; Don’t Let It Bring You Down and a DJ edit of With A Little Luck. These tracks are a reminder of Wings sixth and penultimate album, which was the last cohesive they released. A year later, Wings released Goodnight Tonight in 1979. However, it didn’t feature on Wings’ 1979 swan-song, Back To The Egg. Sadly, it was a disappointing album, but the jazz-tinged ballad is a beautiful reminder of an underrated group.
The Back Seat Of My Car is another of the highlights from Paul and Linda McCartney’s 1971 album Ram. It was the only album credited to the couple. After Ram, they formed Wings, which was together until 1979. The remainder of disc four of Pure McCartney is given over to Paul McCartney’s post-1979 solo albums.
Paul McCartney’s first post-Wings album, was McCartney II, which was released in 1980. The single hook-laden Coming Up and Temporary Secretary. Four years later, Paul McCartney released his most disappointing album of the eighties, Give My Regards To Broad Street. It was released in 1984, to some of the worst reviews a Paul McCartney album had ever received. Despite the dreadful reviews, it still sold enough to reach number one in Britain. The highlight of album was No More Lonely Nights. The followup to Give My Regards To Broad Street, was Press To Play which was released in 1986. Critics were far from impressed by the album, which featured Good Times Coming/Feel The Sun. Alas, it’s a disappointing addition to Pure McCartney, and one most people could live without. However, things do get better.
Flaming Pie which was released in 1997, is album Paul McCartney has dipped into several times for Pure McCartney. He does so again, choosing the ballad Little Willow and Great Day. After a brief excursion into the nineties, Paul McCartney dips into his noughts discography.
Fifty-three years after releasing Love Me Do with The Beatles in 1962, Paul McCartney released Chaos And Creation In The Backyard in 2005. It featured the piano lead ballad Too Much Rain. It’s another hidden gem, where Paul McCartney rolls back the years. Two years later, Paul McCartney released Memory Almost Full. He chooses Only Mama Knows, a classy slice of classic rock. The sixty-three year old hadn’t lost his Midas Touch, as the decades slipped by.
By 2014, Paul McCartney’s recording career had spanned six decades. There was no sign of him putting his feet up, when he released Hope ForThe Future as a single in 2014. One of the legends of music was still going strong, and Pure McCartney is a celebration of Paul McCartney’s post-Beatles career.
Pure McCartney features sixty-six songs from Paul McCartney’s solo career. They’re an eclectic selection of songs that were released between 1970 and 2014. This includes songs from Paul McCartney’s solo career. They’re an interesting selection, which are the perfect introduction to Paul McCartney’s seventeen album solo career. The only disappointing tracks from Paul McCartney’s solo career are Good Times Coming/Feel The Sun, and the dreadful We All Stand Together. It’s the lowest point of Paul McCartney’s solo career.
There are two other tracks that most people could live without. The first is the Paul McCartney and Stevie Wonder collaboration Ebony and Ivory. Then there’s Say, Say, Say, where Michael Jackson joins Paul McCartney. Neither track are worthy of inclusion. Electric Arguments a track from Paul McCartney’s The Fireman project will divide opinion. Personally, I could’ve think of several songs that I would rather had been included. However, it’s all a matter of opinion, and the man that matters is the compiler, and the man that’s responsible for all the music on Pure McCartney, Paul McCartney.
He was the driving force behind Wings, who are well represented on Pure McCartney. These tracks are a reminder of just how good a band Wings were on their day. Sadly, in Britain, Wings neither received the credit nor recognition their music deserved. Partly, that was because of the inevitable comparison with The Beatles. This must have been hugely frustrating for Paul McCartney. Especially when you realise just how good some of Wings’ contributions are.
Especially songs like Band On The Run, Jet, Let ‘Em In, Live and Let Die, Silly Love Songs and With A Little Luck. They’re not just regarded as Wings’ classics, but pop classics. Given their undoable quality, it’s no wonder that Wings’ seven albums sold over seven million albums in America alone. Four of these albums topped the US Billboard 200. This meant that Paul McCartney became one a small and select band of musicians who had been part of two groups who topped the US Billboard 200 with two different bands. It seemed that being in a band brought out the best of Paul McCartney.
That was case with The Beatles, and then with Wings. Paul McCartney seemed to thrive within a group environment. Indeed some of his most memorable songs have been written and recorded as part of a group. In the case of Wings, Paul McCartney wrote the majority of the song, but was joined by talented musicians Denny Seiwell, Denny Laine annd Henry McCullough. Linda McCarney also played her part in the Wings’ success story, and in the success of Ram.
Ram was the only album credited to Paul and Linda McCartney. This 1971 album is oft-overlooked, and well worth rediscovering. After hearing the tracks on Pure McCartney, many record buyers will be seeking out a copy of Ram. That is sure to be the case with many of albums that Paul McCartney has chosen tracks from. He could’ve chosen from thirty-one studio albums, but somehow, managed to narrow this down, so that he could choose ‘just’ the sixty-six tracks that became Pure McCartney.
That can’t have been easy, and must have resulted in some difficult decisions from Paul McCartney. However, nobody knows the music Paul McCartney released in his post-Beatles’ career than Paul McCartney. He’s deeply invested in what has been forty-four years work. So there was nobody better qualified to create a lovingly compiled compilation of Paul McCartney’s post-Beatles carer. Eventually, Paul McCartney came up with what he believes represents the crème de la crème of his post-Beatles carer, Pure McCartney.
PAUL McCARTNEY-PURE McCARTNEY-DELUXE BOX SET.
THE MAGNETIC NORTH-PROSPECT OF SKELMERSDALE.
THE MAGNETIC NORTH-PROSPECT OF SKELMERSDALE.
Four years ago, The Magnetic North announced their arrival when they released their debut album Orkney: Symphony Of The Magnetic North in May 2012. It was released to widespread critical acclaim, and immediately was hailed one of the best albums of 2012. However, the inspiration for the critically acclaimed Orkney: Symphony Of The Magnetic North came from the most unlikely places.
The idea for Orkney: Symphony Of The Magnetic North came to Orcadian, Erland Cooper when she was asleep. That was when she claims to have been visited by the ghost of another Orcadian, Betty Corrigall. After this nocturnal visit was over, Erland’s visitor left her a present, an album’s worth of song titles that eventually became an imagined soundtrack to the island of Orkney. This became Orkney: Symphony Of The Magnetic North, a beautiful, elegiac and melodic album which introduced The Magnetic North to the record buying public. Four years layer, and The Magnetic North recently returned with a new album, that was inspired by another unlikely source, the new town of Skelmersdale, in North West England.
Skelmersdale’s roots can be traced back to the New Towns Act 1946. It made provision for new towns across the Briain. The first wave of new towns began in 1946, and right through to 1950, helped alleviate housing shortages in post war Britain. Eleven years later, and the second wave of new towns began in 1961. This was when Skelmersdale was granted new town status. Just over twenty years later, Skelmersdale became the home of one of the future members of The Magnetic North.
By the early eighties, Skelmersdale was the official UK home of the Transcendental Meditation movement. Skelmersdale situation in the middle of the UK made it the ideal place for the Transcendental Meditation movement to build the country’s first maharishi village. Soon, Skelmersdale was home to families from across Britain, who are looking to live peaceful and peace-promoting lives. This included the Tong family, who moved to Skelmersdale in 1984.
One of the Tong family was Simon, who nowadays, is a member of The Magnetic North alongside Erland Copper and Hannah Peel. That was still to come. Back in 1984, Simon and the rest of the Tong family made the short journey from Bolton, to the spiritual nirvana of Skelmersdale. Simon’s father had embraced the whole Transcendental Meditation movement. However, Simon hadn’t quite embraced Transcendental Meditation. That came later: “when I got to 16 and started practising it for a few years, it worked. I became a lot less miserable and angry.” However, little did Simon realise that his teenage years in Skelmersdale would one day, inspire an album.
Nearly twenty years later Simon Tong, Erland Copper and Hannah Peel were member of The Magnetic North. It was a vehicle for their occasional collaborations. Their debut album was Orkney: Symphony Of The Magnetic North, which was released to critical acclaim in 2013. With time in their respective busy schedules, the three members of The Magnetic North were looking for inspiration for their sophomore album. When Simon began reminiscing about his former life in Skelmersdale, this proved to be a eureka moment. Hannah Peel suggested the band look to Skelmersdale for inspiration. This was the genesis of The Magnetic North’s sophomore album Prospect Of Skelmersdale, which was recently released on Full Time Hobby.
Hannah Peel suggested that the three members of The Magnetic North should head to Skelmersdale, in the hope of finding musical inspiration. By visiting Simon’s home town, they hoped that they would get some sense of what the town was about. So a visit to Skelmersdale was planned, with Simon Peel providing an alternative road map. This is the one the sat-nav providers doesn’t provide. Each place on the map was accompanied by a paragraph of humorous comments. Simon didn’t hold back, and hilarity ensued. Unsurprisingly,the initial attempts to write an album failed. So The Magnetic North tried a new approach.
Having failed to find inspiration in Skelmersdale, The Magnetic North decided to visit a place where Simon spent childhood holidays, Eskdale. This was where The Magnetic North began rewriting their sophomore album. Two key components of the album The Magnetic North were hope and positivity.
To write the album, The Magnetic North left no stone unturned. They studied old news stories, the town’s modern history, relied upon distant memories and even drew inspiration from road signs and graffiti. Gradually, the three members of The Magnetic North carefully crafted eleven new songs. They told the stories of the hope that imbued the new arrivals, and the desperation of those who wanted to leave. This recording The Magnetic North realised, would become a sonic time-capsule, which documented a time and place in a town’s history.
Having written ten new songs, and decided to cover George Harrison’s Run Of The Mill and the traditional song A Death In The Woods, recording of Prospect Of Skelmersdale got underway. Producing the album were the three members of The Magnetic North. Some of the album was recorded in Eskdale, while other sessions took place at Rockwood Studios and Coronet Studio, London. That was where Simon Tong was transformed into a one man rhythm section, playing drums, bass, guitar and even keyboards. Erland Cooper was equally versatile, switching between drums, guitar and keyboards. Vocalist Hannah Peel played keyboards and took charge of the strings and brass. However, one of The Magnetic North’s secret weapons still had to be added, a variety of spoken word samples. They were used on Prospect Of Skelmersdale. So were some guest musicians,
They were brought aboard to augment The Magnetic North. Among the addition musicians were drummer James Field; Alex Card on bass clarinet and clarinet and flautist Daniel Shao who also plays piccolo. Laura Grove played piano and added vocals on the track that closed the album, Run Of The Mill. Once the twelve songs on Prospect Of Skelmersdale were recorded, Erland Cooper mixed the album. All that was left was for Guy Davis to master Prospect Of Skelmersdale. Now The Magnetic North’s sophomore album was ready for release.
After nearly four years, The Magnetic North returned with their much-anticipated sophomore album Prospect Of Skelmersdale. It had been a long wait, but was Prospect Of Skelmersdale worth it?
Opening Prospect Of Skelmersdale is Jai Guru Dev,which was the name of the original guru to the Maharishi. Just melancholy strings usher in Hannah Peel’s tender, hopeful vocal. Soon, an organ drones, providing the perfect counterpoint to the vocal and strings. Then at 1.06, a sample of a speech from the opening of the maharishi village enters. Ethereal harmonies float above the sample. It’s is a reminder of an age when there was hope for the future in Skelmersdale and other new towns. As the sample drops out, the arrangement becomes shrill and dramatic, before an alarm clock rings. It’s a wakeup call, and a reminder that the hopes and dream of bright new future has gone badly wrong. as nowadays, people are desperate to leave Britain’s new towns.
There’s an urgency to the acoustic guitar that opens Pennylands. It’s accompanied by subtle strings, a guitar and harmonies. They drop out, and are replaced by pizzicato and then quivering strings. That’s until the tempo increases and the rhythm section and guitars join the lush, swirling strings. They help propel the arrangement along, as Hannah delivers the lyrics, while The rest of The Magnetic North add harmonies. By now, everything is falling into place, creating a hook-laden song that’s not just melodic and memorable, but truly irresistible
A Death In The Woods is a traditional song, which The Magnetic North give a makeover. The introduction is akin to an eerie musical merry-go-round. It provides the backdrop for Simon’s vocal, as he delivers the dark, cinematic lyrics. Soon, though, harmonies, the rhythm section and strings have been added. They play their part in multilayered arrangement. That’s until the arrangement is stripped bare, adding to the drama. Filters hide the arrangement is it threatens to reappear. When it does, it’s loud, too loud. Having said that the mixture of instruments and harmonies works, and works well. They add an element of drama, to this cinematic song.
What sounds like snap, crackle and pop of worn vinyl opens Sandy Lane. Meanwhile, A piano is played deliberately, strings sweep as a sample of Fyfe Robertson advertising the delights of Skelmersdale is added. When it drops out, all that’s left are Hannah and Simon’s tender, heartfelt vocal. Soon, strings and a flute, piano and weeping guitar are added as this beautiful, melodic song meanders along. When the vocals drop out, the instruments are added to the arrangement, and at 2.54 grows in power. The rhythm section join the strings, woodwind and punchy harmonies. One thing that doesn’t change is the earlier beauty, which is almost omnipresent during this journey down Sandy Lane.
Another sample from Skelmersdale’s past opens Signs, a song that funnily enough, was inspired by road signs. As the sample plays, rueful strings play. However, when the sample drops out, there’s almost a hip hop influence as crispy drums and what sounds like a scratch combine. Thankfully, The Magnetic North continue their unmistakable fusion of folk and indie pop. As drums crack and scamper, vocals join with strings, guitar and keyboards. Gradually, the arrangement builds. The vocals, strings and drums playing leading roles in creating sweet, poppy hooks in this homage to Signs.
The ethereal beauty of Hannah’s vocal opens Little Jerusalem. Accompanying her, are quivering strings, which combine with an organ to create a slow, dramatic backdrop. Later, when the vocal drops out, the arrangement drifts slowly and dreamily along. Just drums, lush strings and percussion combine with chirping guitars. Then when Hannah returns, swathes and swells accompany of her best and most beautiful vocals along.
As Remains Of Elmer unfolds, samples accompany a chiming, crystalline guitar while drums crack, clatter and resonate. Meanwhile, Simon and Hannah deliver the cinematic lyrics. The Magnetic North’s sonic palette is a combination of instruments, effects and vocal. They’re used effectively, painting pictures, and later, adding drama. This comes courtesy of swathes of urgent sweeping strings, harmonies and the rhythm section. They’re a potent combination, that create one of the highlights of Prospect Of Skelmersdale.
Thunderous drums open Cergy-Pontoise, while guitars and keyboards combine. Soon, they’re joined by strings. By then, the drums have been reigned in, and are no longer dominating the mix. Especially when Hannah’s dreamy vocal enters. She’s accompanied by rumbling drums, sweeping strings, a clarinet, a dreamy guitar and harmonies. Then when the vocal drops out, the multilayered arrangement takes centre-stage. Instruments are added, disappear and then reappear. So does Hannah’s vocal, albeit briefly. All too soon, Cergy-Pontoise is over, and all that remains is the memory of The Magnetic North at their melodic and inventive best.
A lone piano plays slowly on Exit, adding a melancholy hue. Soon, though, it’s all change as the piano gives way to an acoustic guitar, sci-fi sound and a sample of sat-nav. Meanwhile, Simon whose driving towards the Exit, delivers a wistful, crestfallen vocal. He’s accompanied by Hannah, synthetic drums, sci-fi sounds and the piano. They’re unlikely bedfellows, but work well and accompany Simon’s soul-baring vocal on another cinematic song rich in imagery.
The arrangement to The Silver Birch literally floats and flutters along. A piano and clarinet combine with a guitar and handclaps. They set the scene for Simon’s vocal. It’s delivered with a degree of urgency, while the instruments dominate the arrangement. Simon’s vocal sits back in the arrangement, which now features strings and harmonies. Soon, the baton passes to Hannah, and she delivers a tender vocal. By then, the arrangement has grown, becoming almost grandiose and symphonic. Later, the arrangement is stripped bare. All that remains are the woodwind, which add a poignancy to one of the best productions on Prospect Of Skelmersdale.
Distant drums combine with percussion and a piano on Northway Southway. They’re joined by strings, before Simon and Hannah share the lead vocal. Their vocals sit well together, while the arrangement builds and grows. Playing leading roles are the piano strings and guitar. They create the perfect foil to the vocals, on this beautiful, emotive ballad. My only quibble is the addition of a sample at the very end of the song, which takes away from the beauty, emotion and drama.
A cover of George Harrison’s Run Of The Mill closes Prospect Of Skelmersdale. This is fitting, as George Harrison was born in Liverpool, just sixteen miles from Skelmersdale. Joining The Magnetic North, is Laura Groves who plays piano and deliver a tender, heartfelt and vocal. She’s accompanied by washes of keyboards, strings and harmonies. They create an understated backdrop that allows Laura Graves to shine, on another of the album’s highlights.
After four long years, The Magnetic North return recently with their eagerly awaited sophomore album Prospect Of Skelmersdale. It finds The Magnetic North picking up where they left off on Orkney: Symphony Of The Magnetic North. They create another album of beautiful, elegiac and melodic music. Hooks certainly aren’t in short supply.The music on Prospect Of Skelmersdaleis also cerebral, cinematic and infused with hope and positivity. They’re the two threads that run through the album.
Prospect Of Skelmersdale wasn’t an easy album to write. After a false start, The Magnetic North retired to Eskdale, where Simon Tong had holidayed as a child. That was the start of a search for musical inspiration. The Magnetic North left no stone unturned. They studied old new stories, the town’s modern history, relied upon distant memories and even drew inspiration from road signs and graffiti. Gradually, the three members of The Magnetic North carefully and lovingly crafted eleven new songs. These songs told the stories of the hope that imbued the new town’s arrivals, and the desperation of those who wanted to leave. That’s the case with Skelmerdale, and all of the other new towns that were created in 1961.
In a way, Prospect Of Skelmersdale tells their story too. It’s a powerful musical document, and one that The Magnetic North realise, will become a sonic time-capsule. It documents a time and place in a town’s history. This musical document, Prospect Of Skelmersdale was created by musicians turned historians, The Magnetic North.
It’s a fitting followup up to Orkney: Symphony Of The Magnetic North, and one that has been worth the four year wait. The Magnetic North have created another carefully crafted of music that’s variously beautiful, elegiac and ethereal as well as cerebral, cinematic and melodic. For those that have yet to discover the delights of The Magnetic North, then Prospect Of Skelmersdale is perfect starting place and is a tantalising taste of what the talented trio are capable of.
THE MAGNETIC NORTH-PROSPECT OF SKELMERSDALE.
THE DAMNED-MACHINE GUN ETIQUETTE.
THE DAMNED-MACHINE GUN ETIQUETTE.
Not many bands get to celebrate their fortieth anniversary. Especially punk bands. They were mostly short-lived affairs, who released one or two singles, before calling it a day. However, one band are still going strong after forty years, The Damned. Their third album Machine Gun Etiquette has just been reissued on vinyl by Ace Records. It was released in 1979, three years after the story of The Damned began.
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 sported 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 Scabie 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. That humour was evident in the album opener Love Song, where The Damned combine their trademark pun sound with wit and cliches. It’s a similarly story on Noise, Noise, Noise and Liar. This is what people had come to expect from The Damned.
Elsewhere, The Damned swagger their way through Machine Gun Etiquette, as they created riotous, rocky and memorable music. It’s akin to an adrenaline rush as The Damned rock, and rock hard. They kick out the jams, on Machine Gun Etiquette and on Anti Pope, which is a song of two parts. Then on the MC5s Looking At You, The Damned pay homage to Detroit’s finest with a blistering, driving fusion of garage rock and punk. However, one of the highlights is
I Just Can’t Be Happy Today which stylistically and sonically, is reminiscent of the Electric Prunes. Hooks aren’t in short supply on this fusion of pop and rock. However, on other songs, another side to The Damned shines through.
These Hands features one of Dave Vanian’s best vocals, on a tale of supposed merry mayhem. This gives way to Plan 9 Channel 7, a five minute epic, about the life and times of James Dean. However, after Liar, this leaves just Smash It Up Part 1 and 2. The Damned many critics felt, had kept the best until last. Critics hailed Machine Gun Etiquette a stonewall classic.
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. It’s just been reissued on vinyl by Ace Records. The sound quality is stunning, and is the perfect way to rediscover this classic album.
Thirty-seven years after the release of Machine Gun Etiquette, The Damned’s third album is nowadays recognised as a classic album. The Damned come of age on Machine Gun Etiquette. No longer were they the punk band that made their debut on Damned, Damned, Damned. While The Damned hadn’t turned their back on their punk roots, they had moved towards a much more rocky sound.
The Damned incorporate elements of sixties garage rock, pop and psychedelia to their punk roots on Machine Gun Etiquette. This resulted in a much more accessible album than their first two albums. Machine Gun Etiquette had a much wider appeal than Damned, Damned, Damned and Music For Pleasure. Partly, this was to do with the new lineup.
With Captain Sensible switching to keyboards and guitar, this left a void. A new bassist was needed, and Algy Ward fitted the bill. He slotted into the rhythm section alongside drummer Rat Scabies, and they formed a formidable partnership. Meanwhile, Captain Sensible proved a talented keyboardist and guitarist. This game of musical chairs had worked. So had the other change since The Damned had reformed.
This final change was that no longer were The Damned reliant upon one songwriter. Suddenly, the band was a democracy as far as songwriting was concerned. Their lyrics were clever, controversial, witty and sometimes, full of social comment. These songs came to life in the Wessex Studios, and gave The Damned the most successful album of their career.
While Machine Gun Etiquette failed to match the success of the other album being recorded at Wessex Studios, The Clash’s London Calling, The Damned are still going strong after forty years. What better way to celebrate such an important anniversary, than with Ace Records vinyl reissue of The Damned’s classic album Machine Gun Etiquette?
THE DAMNED-MACHINE GUN ETIQUETTE.
STEIN URHEIM-STRANDEBARM.
STEIN URHEIM-STRANDEBARM.
Stein Urheim is unlike most musicians. He’s a talented multi-instrumentalist, who refuses to be constrained by musical norms. Instead, his approach to music is that anything is possible. That has been the case on his first two solo albums, where Stein Urheim has pushed boundaries to their limits, and sometimes beyond. This approach has served Stein Urheim well.
Already, Stein Urheim has released two critically acclaimed solo albums for Hubro Music. His debut album Kosmolodi was released in April 2012, and announced Stein Urheim’s arrival. Immediately, he was regarded as a rising star of the vibrant and thriving Norwegian music scene. This proved a prescient forecast.
Less that a year later, in February 2013, Stein Urheim and Mari Kvien Brunvoll released their first collaboration, Daydream Twin. It was so well received, that it was nominated for a Spellemannprisen, the Norwegian equivalent of a Grammy Award. Buoyed by the success and reception of Daydream Twin, Stein Urheim began work on his eponymous sophomore album.
Almost a year to the day, and Stein Urheim returned with his eponymous sophomore album. It was released to widespread critical acclaim in February 2014. Suddenly, Stein Urheim’s music was known internationally, and he was being hailed as one of the most innovative Norwegian artists of his generation. However, Stein Urheim wasn’t one to rest on his laurels.
Instead, Stein Urheim has recorded and released his second collaboration with Mari Kvien Brunvoll, For Individuals Facing The Terror Of Cosmic Loneliness. It was an ambitious and genre-melting album that unsurprisingly, was released to overwhelming critical acclaim in October 2015. However, that wasn’t the only project Stein Urheim had been working on.
Far from it. Stein Urheim had also been recording his much anti pated third album, Strandebarm. It was recently released by Hubro Music, and features a welcome return by thirty-seven year old Stein Urheim. His life seems have revolved around music for much of his life.
Stein Urheim was born, and is still based in the beautiful coastal city Bergen in 1979. That was where he grew up, and first discovered music. Soon, his life seemed to revolve around listening to, and playing music. The first instrument Stein learn to play, was the guitar. Since then he has expanded his musical horizons.
Nowadays, Stein Urheim is best described as a multi-instrumentalist. He owns and plays a wide variety of stringed instruments. Many of these instruments, Stein has picked up as he travels the globe. However, it’s not just instruments that Stein Urheim has collected, but credits.
During a career that’s spanned the best part of two decades, Stein Urheim has worked on a variety of different projects. Since making his recording debut in 2001, Stein Urheim has worked as a musician, vocalist, arranger, producer and recordist.
Stein’s worked with some of the biggest names in Norwegian music. One of his first appearances was on Unge Frustrerte Menn’s 2001 album Dronningen Av Kalde Føtter. Three years later, Stein played on Barabass and The Happy Few’s 2004 album Rali Rei. Then in 2009, Stein accompanied Sergeant Petter on his Sgt. Petter album. Other appearances include on Sigrid Moldestad’s 2010 album Sandkorn and Gabriel Fliflet Åresong. Indeed, Stein was a member Gabriel Fliflet’s band Åresong and HP Gundersen’s drone band The Last Hurrah. As you can see, Stein is an experienced, versatile and talented musician. His talents are highly in demand. It’s a wonder he has the time for a solo career. Somehow, he managed to finds the time to write, record and release his much-anticipated third album Strandebarm.
After a two year absence, Bergen based, multi-instrumentalist Stein Urheim, returns with another album of ambitious and innovative music, Strandebarm. Apart from Fjellbekken a traditional song, and the lyrics to Oh So Nice which Kurt Vonnegut, Stein Urheim wrote the rest of Strandebarm. However, Strandebarm’s tonal point of departure was the music of the past.
Specifically, French music of the early 1900s and American ragtime and standards of the twenties and thirties are a tonal departure point for Stein Urheim on Strandebarm. These he combines with both acoustic instruments and electronic elements. They’re both part of Stein Urheim’s musical arsendal, which he deploys to good effect as he recorded Strandebarm.
The recording of Strandebarm took place at the Strandebarm Church in January 2015. It just happens to be situated not far from Stein Urheim’s home. However, it wasn’t convenience of the Strandebarm Church why is was chosen for the recording of Stein’s third album. Instead, it was the stunning acoustics. This made it the perfect place to record Strandebarm. Joining Stein, were a couple of old friends.
At Strandebarm, Stein Urheim was joined by recordist Audun Strype, plus engineer and producer Jørgen Træen. Both had worked with Stein before. Once everything was in place in the makeshift studio, Stein was ready to put his skills as a multi-instrumentalist to good use.
When the record button was pressed, Stein Urheim became a one man band recording guitars and acoustic instruments. Seamlessly he switched between traditional and exotic instruments. It didn’t seem to matter when Stein was laying down guitars, flutes, harmonica, slide tamboura, fretless bouzouki, mandolin, langeleik, Turkish Tanbur, banjo, pocket-cornet or percussion he was equally comfortable. During the recording, Stein added delay, triggered loops and added vocals. Given Stein’s versatility, there was no need to bring onboard an entire band. Instead, just producer and engineer Jørgen Træen augmented Stein. Jørgen played modular synths, added effects and triggered loops. Once the sessions at Strandebarm were complete, everyone headed to Duper Studio.
That was where some additional recording took place. Once the sessions at Duper Studio were complete, the album complete and ready to be mixed. Now Stein Urheim’s third solo album Strandebarm was nearing completion. The big question was, would Strandebarm enjoy the same critical acclaim as Stein Urheim’s two previous albums Kosmolodi and Stein Urheim?
Water Part 1 opens Strandebarm. A myriad of traditional and exotic instrumentation combine as the soundscape gradually, and slowly, reveals it secrets. By then, Stein has unleashed his musical arsenal, including various stringed instruments. To this, he adds a hint of delay. Soon, nothing is as it seems as washes and swells of meandering music assails the listener. Instruments appear, only to disappear and reappear. They create music that’s variously beautiful, cinematic, exotic, haunting, lysergic and wistful. It’s a fusion of ambient, avant-garde, classical, Eastern and experimental music. That’s until, a slide tamboura signals all change. Drums join with a picked guitar as the tempo rises. From there, the drums provides the heartbeat as Stein switches between guitar and slide tamboura. Together, they create an atmospheric, cinematic soundscape that references Ry Cooder’s soundtrack work, in this captivating opening track.
Straight away, the soundscape quivers and shivers, as synths join with stringed instruments on Strandebarm. They create a ruminative soundscape. Gradually,instruments are added, including lush and wistful strings. Almost midway through the track, a much more experimental, almost weeping, sci-fi sound emerges. Its ethereal beauty washes over the listener, before a flourish of guitar signals a change in direction. The arrangement is stripped bare, and all that remains is Stein’s acoustic guitar. His finger flit up and down the fretboard as he carefully plucks his guitar, producing a quite beautiful, dreamy solo. Then at just the right time, washes of floaty synths are added and prove the perfect counterpoint for the guitar. The synths drop out ,but reappear as Stein produces a musical masterclass on his acoustic guitar.
There’s an Eastern influence to Water Part-2, various stringed instruments are played. They resonate and drone, as percussion is added to the meditative soundscape. Meanwhile, Stein’s vocal has a similar meditative sound. Soon, though, his fingers flit up and down the fretboard of his guitar, as he strums and plucks. Behind him, the Eastern influence is can still be heard, as it resonates and drones. Then it’s all change as Stein sings: “what’s in the water, H20, life;’s in the water.” His vocal is multi tracked, as accompanies himself on guitar. Sometimes, he adds effects, before the Eastern sound returns, on what’s a song of two parts. It’s the perfect showcase for Stein’s versatility as he fuses disparate musical genres, including elements of avant-garde, Eastern, folk, psychedelia and even a hint of pop.
Washes of synths beep and squeak on Fjellbekken, as if sending out a code. They then buzz as if recreating the sound of a biplane. This marks the start of a multi-cultural musical journey. Ethereal synths are joined by washes of langeleik. By then, instruments are being layered, and merge into one as effects and added. Then the arrangement is stripped bare, and the stringed instruments enjoy their moment in the spotlight. Just the slide tamboura and langeleik remain, as the underrated, mellow and dreamy arrangement meanders mesmerically along. In the distance, instruments drift in, adding an exotic hue. Suddenly, Stein is painting pictures of somewhere warm and dusty, as his myriad of instruments paint an atmospheric and sometimes dramatic, cinematic backdrop on this Norwegian fiddle tune.
Washes of weeping slide tamboura resonate and drone on Oh So Nice. They an atmospheric backdrop, before Stein picks and plucks at the strings. They resonate and drone before Stein delivers Kurt Vonnegut’s hopeful lyrics. Behind him, various stringed instruments accompany him. They then take centre-stage as the vocal drops out. This allows Stein to deliver another breathtaking solo, which is full of flourishes and flamboyance from the multitalented multi-instrumentalist.
Understated and dreamy describes the arrangement to Dragene Over Tempelhof. Washes of dreamy synths float across the arrangement, leaving an ethereal trail in their wake. They continue to float and flutter elegantly along, like an ambient soundscape. That’s until Stein decides to throw a curveball. Suddenly, industrial and found sounds interrupt the dreamy, ethereal soundscape. They add a new dimension, and add to, rather than detract from what’s one of the highlights of Strandebarm.
Berlin Blues whch closes Strandebarm, has an almost otherworldly sound as it meanders along. Then when Stein begins to pluck his guitar, soon, he’s rolling back the years to another musical era. His playing is inspired by French music of the early 1900s, blues and then ragtime. Meanwhile, washes of weeping stringed instruments provide a subtle accompaniment. Seamlessly, he switches between styles playing with accuracy and sometimes speed. Later, Stein accompanies himself on various stringed instruments. Remarkably, he seems comfortable playing each of the instruments. Then with less than a minute remaining, Stein spring his latest surprise. The tempo rises, and the soundscape becomes a musical free for all. Briefly, instruments, samples and effects melt into one. That’s until Stein rings the changes, and unleashes a bluesy guitar solo, that once again, showcases his considerable skills.
Throughout Strandebarm, Stein Urheim has showcased his talent, versatility and inventiveness, as he creates another album of innovative music. It’s a real melting pot of musical genres and influences. There’s elements of ambient, avant-garde, blues, electronica, experimental, folk, improv, industrial and psychedelia. However, then there’s the musical genres that were the tonal point of departure for Strandebarm.
This includes French music of the early 1900s; American ragtime and standards of the twenties and thirties. They were what Stein Urheim describes as his “tonal departure” when recording Strandebarm. Their influence can be heard on Strandebarm. So can all the other musical influences that have influenced Stein Urheim’s musical career.
Stein cites Norwegian folk music; the pioneers of electronic music, including Bjørn Torske, Kraftwerk and Jon Hassel; blues guitarist Lightnin’ Hopkins; the free jazz of Ornette Coleman and the music of American composers Lou Harrison and Steve Reich as musical influences. When all these musical genres and influences are combined, it’s a heady, potent and breathtaking brew. That is the perfect description Stein Urheim’s third album Strandebarm, which has recently been released by Hubro Music.
The heady brew that is Strandebarm, is best described as atmospheric, beautiful, ethereal, haunting, melancholy, mesmeric and wistful. Other times, the music is cinematic and dramatic. However, for much of Strandebarm, the music is ruminative and thoughtful. It allows time to reflect and consider, without being subdued or sombre. Far from it.
Instead, Strandebarm is another captivating album from one of the leading lights of Norway’s vibrant music scene, Stein Urheim. The Bergen based musical pioneer continues to innovate and take his music in new and unheralded directions. Other times, Stein Urheim springs a surprise, as he takes the listener on a musical adventure. By then, Stein Urheim is playing the role of a swashbuckling musical pioneer. Helped along by his collection of eclectic and exotic stringed instruments from the four corners of the world, Stein Urheim has created some of the most ambitious, exciting and innovative music of his career on Strandebarm.
STEIN URHEIM-STRANDEBARM.
GEORGE HARRISON-THE APPLE YEARS.
GEORGE HARRISON-THE APPLE YEARS.
On the 10th April 1970, Paul McCartney announced his departure from The Beatles. A week later, he released his debut album McCartney. Meanwhile, The Beatles were in the process of releasing their swan-song, Let It Be.
Just a month later, the Phil Spector produced Let It Be, and the single The Long and Winding Road were released on the 8th May 1970. Let It Be was a disappointing swan-song from The Beatles. It was the only Beatles album not to be accompanied by glowing, critically acclaimed reviews. Worse was to come, later in May 1970, the documentary that accompanied Let It Be was released. Critics weren’t impressed by the documentary. Despite this, Let It Be won the 1970 Academy Award for Best Original Song Score. By then, the four former Beatles were concentrating on their solo careers.
After the breakup of The Beatles in 1970, John, Paul and Ringo embarked upon solo careers. Most of the attention was centred around John and Paul. This suited George Harrison fine.
George Harrison’s solo career began in November 1968, nearly two before the breakup of The Beatles. That’s when George Harrison released the soundtrack to Wonderwall. It became George Harrison’s debut album, and one of the most of the most innovative, yet underrated music released by a former Beatle. This starts with George Harrison’s debut album, Wonderwall.
Wonderwall.
Wonderwall was the soundtrack to Joe Massot’s film. The soundtrack was a fusion of two musical cultures. Indian classical music and rock sat side-by-side on Wonderwall. This isn’t surprising. George Harrison had been interested in Indian music since 1966. Now George had the opportunity experiment with his new musical love.
Recording of Wonderwall took place between November 1967 and February 1968. On Wonderwall, George Harrison collaborated with renowned classical pianist and orchestral arranger John Barham. He played an important part in Wonderwall. So did a number of Indian musicians, including of the other Mahapurush Misra, Shivkumar Sharma and Aashish Khan. However, it wasn’t just classical musicians that featured on Wonderwall.
Eric Clapton, Ringo Starr and Peter Tork featured on Wonderwall. So did Tony Ashton and his band The Remo Four. Once recording of Wonderwall was complete, it was released on The Beatles’ new record label Apple.
Before Wonderwall was released, it failed to catch the attention of critics. Many didn’t even bother to review Wonderwall. They perceived it as just a soundtrack. However, since then, critics have reevaluated Wonderwall. It’s now perceived as a compelling and innovative album. Indeed, Wonderwall is now one of the most underrated solo albums by a former Beatle. Not many people would’ve realised this in 1968.
Wonderwall was released in Britain on 1st November 1968, it failed to chart. A day later, Wonderwall was released on 2nd November 1968. It peaked at number forty-nine in the US Billboard 200. This vindicated George Harrison’s decision to release such a groundbreaking album. The followup to Wonderwall saw George’s music head in a much more avant garde direction.
Electronic Sound.
Just over a year later, George Harrison released his sophomore album, Electronic Sound. It was an album of avant garde music. Electronic Sound was released on The Beatles’ short lived Zapple label in May 1969.
Zapple was an imprint of Apple. Its raison d’être was to release of avant garde music. However, Zapple didn’t last long. When Allen Klein started managing The Beatles, he closed the label down. This was one of his cost cutting measures. One of the few albums it released was Electronic Sound.
Electronic Sound was recorded during November 1968 and February 1969. The album featured just two lengthy pieces played on the Moog snyth. Under the Mersey Wall lasted nearly nineteen minutes and No Time or Space was a twenty-five minute epic. These two songs became Electronic Sound, which was released in May 1969.
Just like Wonderwall, critics weren’t interested in Electronic Sound. Reviews were few and far between. That’s not surprising. Here was an album that ahead of its time. Very few people understood what George was trying to achieve. Later, when critics revisited Electronic Sound, it was deemed as an album for completists only or those interested in pioneering electronic albums. Electronic Sound hadn’t stood the test of time. Neither was it a commercial success.
Electronic Sound was released in Britain on 9th May 1969, and failed to chart. Just over two weeks later, Electronic Sound was released in America on 25th May 1969. History repeated itself and Electronic Sound failed to chart. However, George’s luck was about to change. His third album All Things Must Pass, which was recently released by Commercial Marketing as a double album, would transform George Harrison’s career.
All Things Must Pass.
While his first two album had been adventurous and groundbreaking, George Harrison’s third album All Things Must Pass is much more traditional. All Things Must Pass showcases George’s talent as a songwriter.
For All Things Must Pass headed to the studio with eighteen tracks. Many of the songs were new songs. Some of the tracks on All Things Must Pass were written while George was a member of The Beatles. They turned down tracks like All Things Must Pass and Isn’t It A Pity. So George kept them for his solo career. Now was the time to showcase these songs on All Things Must Pass.
Sixteen of these tracks were written by George. The exceptions were I’d Have You Anytime, which George and Bob Dylan cowrote. If Not For You was the other track on All Things Must Pass. It was a cover of a Bob Dylan song. These eighteen songs were part of what became a triple album. It was recorded in three top studios and featured an all-star cast.
Recording of All Things Must Pass began on 26th May 1970 and finished in late October 1970. Three studios were used. This included Abbey Road Studios, Trident Studios and Apple Studios. During that five month period, the great and good of music played a walk on part on All Things Must Pass.
During the recording sessions for All Things Must Pass, Derek and The Dominos featured. Jim Gordon played drums, Carl Radle bass and Eric Clapton acoustic and electric guitars. Ex-Beatle Ringo Starr played drums. Billy Preston who played with both The Beatles and Rolling Stones played piano and organ. Another Beatles’ confident, Klaus Voormann, played guitar and bass. Ginger Baker of Blind Faith played drums. Dave Mason of Traffic played electric and acoustic guitars and Phil Collins of Genesis percussion. Alan White of Yes added drums. These big names were joined by some top session players.
This included Bobby Whitlock. He was formerly a member of Delaney and Bonnie, and in 1970, session musician to the stars. Bobby played piano, organ, tubular bells and harmonium. Horns came courtesy of saxophonist Bobby Keys and trumpeter and trombonist Jim Price and pedal steel Pete Drake. Playing acoustic guitar were Pete Ham, Tom Evans and Joey Molland. Pianists included Tony Ashton and Gary Brooker. Joining this crack band of session players was Beatles’ roadie Mal Evans, who played percussion. He played a small part in what would become the most successful album of George Harrison’s career, All Things Must Pass.
With All Things Must Pass completed, it was scheduled to be released on 27th October 1970. Before then, the music critics passed judgment on All Things Must Pass. There was not one dissenting voice. Critics hailed All Things Must Pass as a classic. Critical acclaim accompanied All Things Must Pass. It was, without doubt, the greatest album of George’s three album solo career. It was a coming of age for George Harrison.
It was as if George Harrison had been freed from the shackles that were The Beatles. He was being held back by the Lennon-McCartney axis. They dictated what songs featured on albums. George’s songs were rejected out of hand. He was about to have the last laugh though.
The cover of All Things Must Pass saw George Harrison surrounded by four comedic looking gnomes. They were meant to represent The Beatles. Beatles watchers saw this as George commenting on his removal from The Beatles. No longer was he a Beatle. After all these years as a Beatle, George was had his own identity back. Even better, he was about to release a classic album All Things Must Pass.
27th October 1970 was D-Day for George Harrison. That was the day All Things Must Pass was released as a triple album. The first four sides featured the main part of All Things Must Pass. It was produced by George and Phil Spector. On sides five and six, was Apple Jam. It featured five jams. The lavish triple album that was All Things Must Pass, was about to become one of the most successful solo albums by a former Beatle.
The lead single released from All Things Must Pass during 1970 was a double A-Side. This was My Sweet Lord/Isn’t It A Pity. It reached number one in America, Australia, Britain, Canada, Germany, Holland, Norway, Sweden and Switzerland. Having sold one million copies in America, My Sweet Lord was certified gold. It was then nominated for a Grammy Award. There was a problem though.
Anyone familiar with Ronnie Mack’s He’s So Fine, will immediately spot similarities between the two songs. So did Bright Tunes Music. They filed a write against George’s Harrisongs Music on 10th February 1971. Nearly five years later, on 23rd February 1976, the case was settled. It was held that George Harrison “subconsciously copied” He’s So Fine. Damages totalled $1,599,987, which was deemed 75% of the North American royalties. For George, the case caused him huge problems. He became so paranoid about subconsciously copying some else’s work, that he could hardly write. However, back in 1970, that wasn’t the case.
On the release of All Things Must Pass on 27th October 1970, it reached number one in America, Australia, Britain, Canada, Holland, Norway and Sweden. All Things Must Pass also reached number four in Japan and number ten in Germany. Given how successful All Things Must Pass was, it’s no surprise it was certified gold in Britain and Canada. In America, All Things Must Pass was certified platinum six times over. That equates to sales of six million copies of All Things Must Pass. Never again, would George Harrison reach these heights. After all, All Things Must Pass is a stonewall classic.
After the release of All Things Must Pass, no longer was George perceived as a junior partner in The Beatles. That was far from the case. He was a talented and prolific songwriter. The sixteen songs he wrote for were just the tip of a musical iceberg. For years, George had been quietly writing songs. By 1970, he had accumulated a vast body of work. Now was the time to let the record buying public hear what he was capable of on All Things Must Pass.
All Things Must Pass was George’s Magnus Opus. It’s an epic album. Lavish, epic arrangements are the perfect foil for George’s vocal. The music is both melodic and mystical. Especially when George draws inspiration from Indian music. This is part of All Things Must Pass’ spiritual sound.
During All Things Must Pass spirituality and religion play an important part. This is apparent on My Sweet Lord. Just like other tracks on All Things Must Pass, My Sweet Lord is a mixture of rock ’n’ religion. It’s an anthemic modern day hymnal. However, there’s other influences on All Things Must Pass.
This includes The Band, Bob Dylan and of course Phil Spector. His arrangements are part of the albums lavish, grandiose sound. Phil Spector co-produced All Things Must Pass. He was yin to George’s yang. Now that George was freed from the constraints of Lennon and McCartney, Phil helped the genie escape from the bottle.
In doing so, Phil Spector helped George Harrison record an album he’d never better, All Things Must Pass. Cerebral and spiritual, beautiful, thoughtful and spiritual, the music is sometimes wistful and melancholy. Always, you’re compelled during six sides of music. For George Harrison, many thought that following up All Things Must Pass was almost impossible.
Living In The Material World.
After the release of All Things Must Pass, George Harrison put his career on hold. Instead, he spent much of 1971 and 1972 raising money for the refugees in the newly independent Bangladesh. One of George’s biggest, and most ambitious, fundraising projects was The Concert for Bangladesh on the 1st August 1971.
Two concerts took place on the 1st August 1971. At 2.30pm and 8pm, George Harrison and Friends took to the stage. These “friends” included Bob Dylan, Eric Clapton, Ringo Starr, Billy Preston, Ravi Shankar, Leon Russell and Badfinger. These concerts were recorded and released as a triple album.
When The Concert For Bangladesh album and film were released in America on 20th December 1971 and on 10th January 1972 in Britain, it proved to be a huge success. The album topped the charts around the world, and won a Grammy for Album of the Year. Eventually, George’s fundraising efforts raised twelve million dollars, which was sent to Bangladesh. Only after the fundraising was over, would George’s career resume.
For his fourth album, and first since 1970, George penned the eleven new tracks that became Living In The Material World. It was a highly personal album. The songs dealt with George continued struggle for spiritual enlightenment. This wasn’t easy. Especially with George being viewed as a musical “superstar.” Living in the physical world, with all its temptations made it difficult for George to reach his spiritual goals. George a deeply spiritual man, it seemed, was struggling with Living In The Material World.
Recording of Living In The Material World began at George’s Oxfordshire home, Friar Park. In Friar Park’s guest room, George had a recording studio installed. It centred around sixteen-track tape machine. The sessions began during October 1972 and continued through to March 1973. Other sessions took place at the Apple Studios and Abbey Road Studios. This was where George’s band got to work.
When the recording of Living In The Material World, began, George had decided to use a smaller band. This included Gary Wright, Jim Keltner, John Barham, Klaus Voormann, Nicky Hopkins, Zakir Hussain and ex-Beatle Ringo Starr. They recorded the eleven tracks that became Living In The Material World. Later, in February and March 1973, overdubbing took place. Once Living In The Material World was recorded,it was scheduled for release in May and June of 1973.
Before the release of Living In The Material World, it was one of the most highly anticipated albums of 1972. No wonder. George Harrison hadn’t released an album since 1970. A taste of Living In The Material World was the single Give Me Love (Give Me Peace on Earth). On its release it reached number four in Britain and number one in the US Billboard 100. This augured well for Living In The Material World.
When critics heard Living In The Material World, they hailed the album a pop classic. Words like cerebral, profound and spiritual were used to describe the deeply personal Living In The Material World. This critically acclaimed classic was an insight into life as an ex-Beatle. What was obvious, was that George Harrison was obviously finding it difficult reconciling his spiritual needs, with life as a music legend. His legendary status was about to grow.
Living In The Material World was released in America on 30th May 1973, and reached number one in the US Billboard 200 charts. This resulted in a gold disc for George. When Living In The Material World was released in Britain on 22nd June 1973 it reached number two. Elsewhere, Living In The Material World reached number one in Australia and Canada, and reached the top ten in Holland, Japan, Norway and Sweden. George Harrison’s star was still in the ascendancy, having released his second classic album. What next for George Harrison though?
Dark Horse.
The aptly titled Dark Horse was George’s fifth album. After all, George had released the most successful solo album by a former Beatle, All Things Must Pass. He’d followed this up by his second solo album Living In The Material World. So by December 1975, critics and music lovers eagerly awaited the release of Dark Horse. However, the Dark Horse album will forever by mired in controversy, due to the accompanying tour. The story begins in November 1973.
For Dark Horse, George wrote seven of the nine tracks. He also cowrote two other tracks, including Far East Man, which George and Ron Wood wrote. George also cowrote Bye Bye Love with Felice and Boudleaux Bryant. These tracks, like much of of the music on Dark Horse is extremely honest and personal.
This begins with Simply Shady, which opens Dark Horse. A guilt ridden George, examines his pursuit of earthly pleasures, rather than spiritual fulfilment. So Sad addresses the failure of George’s first marriage. It’s a soul-baring, autobiographical song. Maya Love is a song about illusory nature of love. George’s solo success lead to him being called the Dark Horse. After all, most people thought that John or Paul would enjoy the most successful solo career. These people had underestimated George. It Is ‘He’ (Jai Sri Krishna) was penned by George after he visited Vrindavan, in northern India, with his friend Ravi Shankar, who later, would play an important role in the Dark Horse story.
Before that, recording of Dark Horse began in November 1973. Recording began at George’s home studio at Friar Park, Oxfordshire. After a break the sessions resumed in April 1974. Then between August and October 1974, Dark Horse was completed. Some of the sessions took place in Los Angeles, at A&M Studios. Accompanying George was an all-star band.
For the recording of Dark Horse, some of the musicians that played on Living In The Material World returned. Among them, were Gary Wright, Jim Keltner, Klaus Voormann, Nicky Hopkins and Beatle Ringo Starr. They were joined by Ron Wood, saxophonist Tom Scott, Roger Kellaway and Alvin Lee. Just like previous albums, Dark Horse which was released in December 1974, was produced by George.
On the 9th December 1974, Dark Horse was released in America. This coincided with George’s Dark Horse tour of North America. This was a controversial tour for two reasons. The first was, that Ravi Shankar was named as co-headliner. Given that this was the first North American tour by an ex-Beatle since 1966, this didn’t go down well.
Audiences wanted to see George, not what many audience members regarded as a “little known” Indian musician. This was far from the truth. Ravi Shankar was a well known, and highly regarded and respected musician. He was also a good friend of George, who sadly, was struggling with laryngitis during the tour.
Due to the laryngitis, George couldn’t feature as heavily as he wanted. However, he thought this was the perfect opportunity to let audiences hear more of Ravi Shankar. This backfired on George.
Critics, including some of the most influential music critics and cultural commentators rounded on George and his decision to allow Ravi Shankar to feature so heavily. Some of the concert reviews were scathing and the George Harrison-Ravi Shankar tour called a failure. This affected sales of Dark Horse.
Rather than judge Dark Horse on its merits, it was a case of guilt by association. What was a groundbreaking album, showcasing George’s new sound was trashed by some axe grinding, influential critics. Their view of Dark Horse was taken as gospel. Looking back, Dark Horse was an ambitious and innovative album, one that should’ve been a bigger commercial success.
Prior to the release of Dark Horse, the title-track was released as a single in America on 18th November 1974, and reached number fifteen in the US Billboard 100 charts. The second single was Ding Dong, Ding Dong, was released on the 6th of December 1974. It reached number thirty-eight in Britain and thirty-six in the US Billboard 100 charts. However, the album, Dark Horse fared better commercially.
Dark Horse was released on 9th December 1974. It reached number four on the US Billboard 200 charts. This resulted in another gold disc for George. However, in Britain, Dark Horse failed to chart. However, it was later certified silver, having sold over 50,000 copies. After Dark Horse, critics were left wondering if George’s star was no longer in the ascendancy?
Extra Texture (Read All About It).
The criticism of the Dark Horse tour and album had affected George badly. Returning to Friar Park, George became melancholy and wistful. Some went as far as to say he was slightly depressed. This was reflected in some of the ten songs that George wrote for Extra Texture (Read All About It). They find a melancholy George in a reflective state. Unlike other albums, Extra Texture (Read All About It) has no spiritual message. It’s quite different from George’s five previous albums, right down to where it was recorded.
Whilst George had recorded previous albums in Britain, he decided to forsake his home country for Los Angeles. This made sense. After all, most of George’s band were Americans.
While most of Dark Horse was recorded in A&M Studios, Los Angeles, some recording took place at George’s home studio, in his Friar Park mansion. Abbey Road Studios were also used. However, for much of the time A&M Studios, Los Angeles was a home from home for George as he recorded Extra Texture (Read All About It).
LA was where many of George’s band, including Gary Wright, Jim Keltner, Klaus Voormann, Nicky Hopkins and Beatle Ringo Starr lived. They were joined in the studio by Ron Wood, saxophonist Tom Scott, Billy Preston, Ronnie Spector and George’s wife Dhanni Harrison. They recorded Extra Texture (Read All About It), which was George Harrison’s Apple Records’ swan-song.
Ever since George was working on Dark Horse, he’d been working on founding his own record label, Dark Horse. It would release his future albums, and albums by artists George discovered or believed in. Getting a record label up and running, was taking time. However, at least this allowed him the opportunity to fulfil his obligations to Apple Records. Would however, George leave Apple Records on a high with Extra Texture (Read All About It),?
Critics didn’t think so. On its release, Extra Texture (Read All About It) was panned my critics. They called the album a series of sermons from George Harrison. These sermons they called aimless and pointless. Sometimes, there was air of pomposity about Extra Texture (Read All About It). Only Tired Of Midnight Blue and Can’t Stop Thinking About You were up to George’ usual high standards. This resulted in the critics turning on George. Rolling Stone savaged the album. Other critics followed suit. For George, Extra Texture (Read All About It) didn’t look like being the swan-song he’d hoped for.
Extra Texture (Read All About It)’s lead single was You, which was released on 12th September 1975. You reached number thirty-eight in Britain and number twenty in the US Billboard 200. Then when This Guitar (Can’t Keep from Crying) was released in America on 8th December 1975, it failed to chart. Two months later, history repeated itself, when This Guitar (Can’t Keep from Crying) was released in Britain. On its release on 6th February 1976, This Guitar (Can’t Keep from Crying) failed to chart. Had George lost his Midas touch?
Despite the scathing reviews, Extra Texture (Read All About It) was still a commercial success. It reached number sixteen in Britain and number eight in the US Billboard 200 charts. This resulted in another gold disc for George. While Extra Texture (Read All About It) wasn’t his most critically acclaimed album, it was a commercial success. This allowed George Harrison to leave Apple Records with his head held high.
After Extra Texture (Read All About It), a new era began for George Harrison. He released his future albums on his own Dark Horse label. It was distributed by A&M Records. For George, owning his own label made commercial sense, and just as importantly, for a musical innovator, gave him much more artistic freedom.
At Apple Records, George was one of four partners in the label. In the early days of Apple Records, George was allowed the freedom to experiment. This allowed him to record Wonderwall, a groundbreaking album, that for far too long, was underrated by critics. Then when Allen Klein became The Beatles’ manager, he wasn’t keen to release Electronic Sound, George’s sophomore album. It was far too experimental, for Allen Klein’s liking.
He had been brought in to sort out The Beatles and Apple Records’ finances. Allen Klein realised that albums like Electronic Sound, important and innovative they may be, weren’t going to be million sellers. However, Electronic Sound was released and for his third album, George Harrison released the most successful album by a former Beatle, All Things Must Pass.
Of all the albums George Harrison recorded, All Things Must Pass is his Magnus Opus. Featuring his classic single My Sweet Lord, All Things Must Pass was a career defining album. George was on a roll. He followed All Things Must Pass with Living In The Material World.
This was George’s second classic album. Living In The Material World showed, that, the man referred to as the Dark Horse had hidden depths. That was obvious from George’s Beatles’ days.
He had already written If I Needed Someone, Taxman, Within You Without You, While My Guitar Gently Weeps, Something, Here Comes The Sun and I Me Mine. It was obvious to most people that George was a talented songwriter. Except it seemed two of his friends and bandmates.
The only people who it seemed, couldn’t see that George Harrison was indeed a talented songwriter, were Lennon and McCartney. Time after time, they rejected George’s songs. This must have been disheartening. Especially as he watched some of Lennon and McCartney’s worst songs, including Dig A Pony, Sun King, Polythene Pam, Revolution 9, Everybody’s Got Something To Hide Except Me And My Monkey and Don’t Bother Me make their way onto Beatles’ albums. Eventually, George Harrison tired of having his songs rejected by Lennon and McCartney. So he decided to stockpile these songs for his solo career.
By 1974, George was about to release Dark Horse. This was a controversial album. After two albums where seemingly, George could do no wrong, the critics turned on George. Partly, the scathing reviews were down to give Ravi Shankar equal billing. When George was struck down with laryngitis, Ravi Shankar played a bigger role in the tour. This didn’t please some high profile critics. They turned on George, giving both the Dark Horse tour and album scathing reviews. This affected sales of Dark Horse.
Although, Dark Horse was a success in America, back in Britain, the album flopped. No longer was the Dark Horse enjoying the same commercial success as he had. To make matters worse, his sixth album Extra Texture (Read All About It) was also panned by critics. However, the difference was, it was a bigger success in Britain and America. For George Harrison, this was a successful, if not critically acclaimed end to The Apple Years.
After six albums for Apple Records it was the end of an era for George Harrison. The Dark Horse had founded his own label, and was about to embark upon a new chapter in his career. However, the music he had released during the Apple Years, was some of the best, most successful and innovative to be released by a former Beatle.
George Harrison’s career began with his two mist overlooked albums, Wonderwall and Electronic Sound. Both albums are truly groundbreaking, and feature music that was way ahead of its time. They’re two of the reasons why George Harrison was, and will always be remembered as a musical pioneer. However, there’s more to The Apple Years than two albums.
During The Apple Years released George Harrison’s two classic album All Things Must Pass and Living In The Material World. Bothwere career defining albums, that set the bar high for the remainder of George Harrison’s Apple Years.
After this, George Harrison released just two further albums for Apple Records, Dark Horse and Extra Texture (Read All About It). It brought to an end George Harrison’s Apple Years. Now, forty-one years after George Harrison left Apple Records, the six solo albums he released are a reminder of the early part of George Harrison’s illustrious solo career. For many, the six albums George Harrison released for Apple Records represent the former Beatle at his creative zenith.
During that period, George Harrison released some of the most innovative, critically acclaimed and commercially successful solo albums by any of the former Beatles. Alas, after the Apple Years, never again, would George Harrison reach the same heights.
At least George Harrison enjoyed the satisfaction that during much of Apple Years, that he managed to outshine the rest of the Fab Four in terms of innovation, critical acclaim and commercial success. The man the rest of The Beatles called the Dark Horse, had the last laugh during the Apple Years.
GEORGE HARRISON-THE APPLE YEARS.
DONNIE AND JOE EMERSON- STILL DREAMING?
DONNIE AND JOE EMERSON-STILL DREAMING?
All parents want the best for their children. That has been the case since time immemorial. Parents want their children to have what they never had. So when children are young, they lavish them with the best in clothes and toys. As the children get that bit older, they’re given the best bikes, game’s consoles and sport’s equipment. By the time the children enter their teenage years, they’re dressed in designer clothes, have the best in laptops and iPods. Still, the parents are determined that their child should enjoy the finest things in life. However, some parents take this way too far. This was the case with Donnie and Joe Emerson’s parents.
Back in 1979, Donnie and Joe Emerson’s parents spent $100,000 buying equipment for their two son’s home studio. That wasn’t enough. Donnie and Joe weren’t going to settle for second best. Not when it came to the equipment for their nascent studio. The synths, drum machines and eight-track recorders available were good, but not good enough for Donnie and Joe. They had their limitations.
This had been proved a couple of years earlier, when Donnie and Joe Emerson recorded and released their debut single. It was a Donnie Emerson composition Take It. On the flip-side was another song penned by Donnie, Thoughts In My Mind. These two songs weren’t recorded as Donnie and Joe Emerson, but as Don, Joe and Eldon. Once the single was recorded it was ready for release.
Donnie and Joe Emerson had two options. They could shop Take It to various record label, in the hope that one might take a chance on the single. The label would have the budget and expertise the promote Take It. There was another option, release Take It as a private pressing. This is what the happened to Take It.
Take It was released on the family record label Enterprise and Co. When the single was released in 1977, Take It sunk without trace. Surely, the Emerson family had learnt a lesson from the commercial failure of Take It? Or had they?
Two years later, in 1979, Donnie and Joe Emerson realised that their home studio wasn’t without its limitations. They needed better equipment. Especially if they were going to record their debut album.
So, Donnie and Joe’s parents made one of the biggest decisions of their life, and mortgaged the 1,600 acre family farm in Fruitland, Washington. All this was so Donnie and Joe could follow their dreams. They went out and bought the very best musical equipment money could buy. This included was much better than the synths, drum machines and eight-track recorder in their original studio. By comparison, this was state of the art. It was the perfect environment for Donnie and Joe Emerson to record their debut album.
For their debut album, Donnie and Joe had written three tacks together, Good Time, Feels Like The Sun and Don’t Go Lovin’ Nobody Else. The rest of the album was written by Donnie. Similarly, Donnie played a bigger part in the recording of the album.
At the Emerson family’s new, state of the art studio, Joe Emerson played drums and added harmonies. Donnie played bass, acoustic, rhythm and lead guitar, synths and added lead vocals. He also took charge of production and mixing the album. Once the eight tracks were recorded, the album became Dreamin’ Wild. This was almost ironic.
After all, the Emerson brothers had been living the dream. In doing so, they’d spent a fortune, their parent’s fortune. The Emerson’s had spent $100,000 and mortgaged their future. Dreamin’ Wild had to sell well. It had to be a huge hit.
Having released their debut single as a private pressing, surely the Emerson family would try and interest record companies in Dreamin’ Wild? They had the budget and experience to promote the album. This would’ve been in Donnie and Joe Emerson’s best interests. However, the Emerson family decided to release the album privately. This wasn’t unusual.
All across America, private pressings were being released. They varied in quality. Many were little more than vanity releases. Not Dreamin’ Wild.
It showcased two talented singers, songwriters and musicians. Dreamin’ Wild wasn’t just a case of wealthy parents indulging their son’s musical fantasies. No. Far from it. Donnie and Joe’s fusion of soft rock, funk and soul had potential. The Emerson brothers could’ve enjoyed a successful career. Especially, if they’d signed to a major label. They would’ve guided Donnie and Joe’s career. That would’ve made sense. So would bring in an experienced management team to guide Donnie and Joe’s career. Sadly, that didn’t happen.
Instead, Dreamin’ Wild was released on the Emerson family’s Enterprise and Co. label. Its only prior release had been Donnie and Joe’s 1977 single Take It, and it had sunk without trace. Sadly, when Dreamin’ Wild was released in 1979, lighting struck twice. Just like Take It, Dreamin’ Wild it sunk without trace. The Emerson family’s gamble hadn’t paid off.
They had bet the bank on their talented sons. Not only were they $100,000 lighter, but there was a mortgage on their 1,600 acre farm. Dreamin’ Wild must be the most expensive private pressing ever.
The copies of Dreamin’ Wild that had found their way into record record shops, soon found its way into the Dollar bin. They were just the latest of thousands of private pressing that were released each year. Many were vanity releases, that deserved to find their way into the remainder piles and Dollar bins. Not Dreamin’ Wild. It was a cut above most private pressings. Maybe if the Emerson brothers had belatedly shopped the album to a record company, they might have taken a chance on it. However, by then, it was too late.
Following the commercial failure of Dreamin’ Wild, Joe decided to concentrate on the family farm. For Joe the dream was over. Reality seemed to have hit home. Maybe Joe realised that they were never going to enjoy commercial success and critical acclaim by releasing private presses? Things might have been different if they had been signed to a record company. So Joe decided to concentrate on helping run the facility farm, while music would become a hobby, something he did to relax. Donnie wasn’t willing to give up on his dream.
Still, Donnie believed he could make a career out of music. Maybe even with his brother? So while Donnie continued to chase his musical dream, he wrote and recorded with Joe when his brother had some spare time.
Over the next two and a half years, they wrote and recorded seventy songs. Not only were the Emerson brothers prolific, but the quality was consistent. What differed was style. They recorded everything from FM rock, power pop, and new wave. That was part of the problem.
The Emerson brothers continually flitted between musical genres. They couldn’t be marketed as pop, rock or new wave artists. This would’ve made it difficult for a record company to market the Emerson brothers. Their versatility had, in fact backfired. They would’ve been better advised to concentrate on one particular genre. However, that never happened, as the Emerson brothers didn’t seem interested in working with a record company. Instead, it seemed, they wanted to do things on their terms. That was all very well, but had already proved expensive. Despite this, Donnie never gave up his musical dream.
Throughout his life, music has been a constant. It was his passion, and how he once hoped to make his living. Sadly, Donnie Emerson never made the commercial breakthrough, and was never able to make a living out of music. However, at least he had the opportunity to follow his dreams. His parents made sure of that.
They spent $100,000 buying equipment for their two son’s home studio. That wasn’t enough. Donnie and Joe weren’t going to settle for second best. Not when it came to the equipment for their nascent studio. The synths, drum machines and eight-track recorders available were good, but not good enough for Donnie and Joe. They had their limitations. So, their parents mortgaged the 1,600 acre family farm in Fruitland, Washington. All this was so Donnie and Joe could follow their dreams. Sadly, this gamble didn’t pay off.
This wasn’t because Donnie and Joe lacked talent. Far from it. Instead, it was a case of making a series of bad decisions. The first was spending a small fortune on a home studio for two teenage boys. That was indulging two boy’s dreams. In doing so, the Emerson family risked everything. Their second mistake was not trying to get a record company interested in Dreamin’ Wild. Maybe then, Dreamin’ Wild would’ve become a commercial success. By releasing Dreamin’ Wild on their own label, the Emerson family weren’t able to promote the album sufficiently. So, it’s no surprise that Dreamin’ Wild sunk without trace. That’s a great shame.
The Emerson brother’s were both talented singers, songwriters and musicians. Joe cowrote three tracks, played drums and added occasional harmonies. Donnie wrote the rest of Dreamin’ Wild; played most of the instruments and sang the lead vocals. He also mixed and produced the album. Dreamin’ Wild was very much his baby.
It seems that Donnie was the driving force behind the Emerson brothers musical partnership. Maybe music played a different part in the two brothers’ lives? For Joe Emerson, maybe music was a hobby and if anything came of it, that was an added bonus. By comparison, Donnie Emerson’s life seemed to revolve around music. He was determined to make a career out of music, no matter what. This included letting his parents spent $100,000 and mortgage their farm to pay for a new studio. This allowed Donnie and Joe Emerson to record their debut album Dreamin’ Wild. At last, Donnie Emerson was living the dream, and when their debut was released was still dreaming. Alas, it was ultimately all for nothing.
The dream soon became a nightmare when the album Dreamin’ Wild failed commercially. Despite this, Donnie Emerson continued to dream, and who knows, maybe even today, is still dreamin’ of making a career as a music, like he was when he released Dreamin’ Wild.
DONNIE AND JOE EMERSON- STILL DREAMING?
BUILDING INSTRUMENT-KEM SOM KAN Å LEVE.
BUILDING INSTRUMENT-KEM SOM KAN Å LEVE.
Just over two years have passed since Norwegian trio Building Instrument released their eponymous debut album in March 2014. The album was released to widespread critical acclaim, and great things were forecast for Building Instrument. Since then, Building Instrument have been working on their much anticipated sophomore album, Kem Som Kan Å Leve.
After nearly two years, Kem Som Kan Å Leve is completed, and will be released on Hubro Music, on the 2nd of September 2016. Kem Som Kan Å Leve marks a welcome return from the Nordic sonic explorers, Building Instrument. Their story began eight years ago.
It was back in 2008, that Building Instrument was formed by Mari Kvien Brunvoll, Øyvind Hegg-Lunde and Åsmund Weltzien. Originally, the three members of Building Instrument planned to make electronic music. That was their raison d’être…albeit briefly. Before long, Building Instrument decided to turn their back on electronic music.
After a musical rethink, Building Instrument settled on a very different sound. This time, they decided to make acoustic music, which would allow Building Instrument to improvise and innovate. Having made the decision to change direction, Building Instrument began to practise, honing and shaping their new sound. Gradually, their own unique sound began to take shape. It is best described as genre-melting, with Building Instrument drawing inspiration from various musical genres and influences. Once they had honed their unique sound, Building Instrument began to play live.
Each night Building Instrument took to the stage, they took the audience on a magical, musical, mystery tour. One minute Building Instrument’s music is understated, then the next it’s playful. The Building Instrument throw a curveball, and change direction. The next track is totally different, with Building Instrument losing their earlier self restraint, becoming bold as they kick out the jams. As a result, Building Instrument’s music is always innovative, inventive and interesting. Other times, glorious rhythms and melodic music assailed the audience, who were enthralled by veered between emotive and ethereal to compelling and dramatic. Other times, the music was adventurous, bold and always, innovative. However, that wasn’t surprising given Building Instrument’s multi-talented lineup.
Building Instrument’s vocalist is Mari Kvien Brunvoll, who also takes charge of an eclectic and interesting selection of instruments. This includes the zither, percussion, kazoo and sampler. Mari Kvien Brunvoll released her eponymous debut album in 2012. She has also worked with many artists during her carer. This includes her collaboration with Stein Urheim on their 2013 album Daydream Twin. It was nominated for a Spellemannprisen in the Open Category in 2013. However, Mari Kvien Brunvoll isn’t the only experienced musician in Building Instrument.
So is drummer and percussionist Øyvind Hegg-Lunde. He has been a member of several groups, including Crab Is Crap, the Erlend Apneseth Trio, Glow, Klangkameratane, Strings and Timpani and The Sweetest Trill. The final member of Building Instrument is Åsmund Weltzien, who plays synths, melodica and adds electronics and melodica. Together, the three multitalented members of Building Instrument proved a formidable force.
Having laboured long and hard to establish a reputation as a live band, Building Instrument were now familiar faces on Norway’s thriving and vibrant music scene. By then, Building Instrument’s concerts were receiving rave reviews. In the increasingly competitive Norwegian music scene, Building Instrument were regarded as rising stars. Their music was adventurous, inventive, innovative and totally unique. They had forged and honed their own style over the last few years. During this period, they’d worked away, quietly recording their eponymous debut album.
Building Instrument.
In March 2014, Building Instrument was released to critical acclaim. The music was beautiful, cinematic, ethereal, innovative and inventive album of genre-melting music, where Building Instrument push musical boundaries to their limits, and sometimes, beyond It was a captivating album, and one that sonically and stylistically, defied description.
Building Instrument combined elements of ambient, avant-garde, electronica, experimental, folk, free jazz, pop, and rock. There’s even a nod to sixties soundtracks and jazz. At the heart of Building Instrument’s sound, was the ethereal beauty of Mari Kvien Brunvoll’s vocal. The result was an album where Building Instrument certainly fulfilled their potential, and in doing so, whetted the listener’s appetite for the followup.
Given it had taken Building Instrument six years to release their eponymous debut album, the question was, how long would it take them to release their sophomore album? Building Instrument it turned out, took just over two years to record Kem Som Kan Å Leve, which by todays, standards, isn’t long. Kem Som Kan Å Leve is one of the most anticipated albums of 2016, and finds Building Instrument heading out on another magical musical mystery tour.
Kem Som Kan Å Leve.
Having released their eponymous debut album, Building Instrument’s thoughts turned to the followup. It took the best part of two years to complete six tracks that became Kem Som Kan Å Leve. The music to the six tracks was composed by Building Instrument, while vocalist Mari Kvien Brunvoll wrote the lyrics and is responsible for the melodies. However, the inspiration for some of Kem Som Kan Å Leve came from the artwork of Kurt Schwitters.
During the two year period that Building Instrument were writing and recording Kem Som Kan Å Leve, the trio were commissioned to write music that was inspired by Kurt Schwitters’ artwork. There was a reason for this.
In September 2015, a new, and permanent exhibition of Kurt Schwitters’ artwork was being opened at the Henie Onstad Kunstsenter, at Høvikodde, which is on the outskirts of Oslo. To celebrate the opening of the exhibition, a concert had been arranged. This was part of one of the most important events in Oslo arts calendar, the Ultima Oslo Contemporary Music Festival. The week that the exhibition of Kurt Schwitters’ was opened, Building Instrument would record Kem Som Kan Å Leve at the Studio, a hall in the Henie Onstad Kunstsenter. This was fitting.
Kurt Schwitter has obviously influenced Building Instrument. He was a German artist, who was born in 1887. Just like the members of Building Instrument, he was truly multitalented. Not only was Kurt Schwitter a painter, but a collage artist, sound poet and installation artist. However, during the thirties, Kurt Schwitter had to flea from the Nazis, and for a while, lived in exile in Hjertøya, in the municipality of Molde. This was a huge coincidence, as Molde just happened to be where Mari Kvien Brunvoll called home.
Maybe Mari Kvien Brunvoll had visited the Merzbau building that Kurt Schwitter had built in the stone cabin he rented? Whether she has, it certainly seems like Kurt Schwitter’s work has influenced Building Instrument.
On Kem Som Kan Å Leve, Mari Kvien Brunvoll delivers some of the lyrics using the Molde dialect. Other lyrics she sings using
an invented language. This was something she did on Building Instrument’s eponymous debut album. It’s also one of Liz Fraser’s trademarks when she was the Cocteau Twins’ vocalist. However, in the case of Building Instrument, they felt that it brought them closer to Kurt Schwitter.
A member of Building Instrument remarked: “working with this commissioned piece enabled us to go further in the direction of expanding or erasing the meaning of language, just as Schwitters did with his sound poetry.” It also was another example of Building Instrument’s determination to innovate, and push musical boundaries. That was certainly the case when Building Instrument recorded Kem Som Kan Å Leve.
Recording of Kem Som Kan Å Leve took place at The Studio, a hall in the Henie Onstad Kunstsenter. The session began on 11th September, with Jørgen Træen recording and co-producing the album with Building Instrument. Kem Som Kan Å Leve was recorded live. There was no overdubbing. This is unusual, as most groups are repair any ‘mistakes.’ However, when Building Instrument began recording Kem Som Kan Å Leve it was just like one of their live shows, as they improvised and headed in unexpected directions. To do this, Building Instrument deployed an array of eclectic instruments and effects.
Vocalist Mari Kvien Brunvoll played percussion, zither, kazoo and took charge of live sampling and effects. Åsmund Weltzien played synths and added electronics. Drummer and percussionist Øyvind Hegg-Lunde was responsible for the album’s heartbeat. After four days of recording, Kem Som Kan Å Leve was completed on 14th September 2015. Building Instrument had played their part.
Now the album could be mixed and mastered. The process began in January 2016. Four of the tracks were mixed at Grotten Studion by Bergen Kjøtt. He then mixed Like God å Leve and Taket at Broen Studio. However, when Kem Som Kan Å Leve was to be mastered, Bergen Kjøtt returned to Grotten Studion. Once the mastering was completed in February 2016, Building Instrument’s much-anticipated sophomore album was almost ready for release.
Nearly seven months later, and Kem Som Kan Å Leve will be released by Hubro Music on the 2nd of September 2016. Kem Som Kan Å Leve marks the welcome return from Building Instrument, who now are regarded as one of the most exciting and innovative Norwegian bands. They provide you with six compelling reasons why on Kem Som Kan Å Leve.
Opening Kem Som Kan Å Leve is Collage. The introduction is understated, dreamy and melodic. Soon, though, percussion, drums and a spoken word sample are added. There’s almost a hip hop influence. That’s until a church organ meanders in. It replaces the sample, provides a contrast to the mesmeric percussion and drums. Adding another contrast is Mari Kvien Brunvoll’s dreamy vocal. It almost floats across the arrangement, reminiscent of Liz Fraser. Then when the vocal drops out, washes of organ increases in volume and combines with the zither. Again, contrasts abound. Later, when the vocal returns, the volume of the organ decreases leaving space for Mari Kvien Brunvoll. Her ethereal vocal is panned right, while the organ, drums and percussion accompany her. Together, they create a dreamy, ethereal and melodic Collage that’s a tantalising taste of what’s to come from Building Instrument.
Sound effects are panned right on Fall, while keyboards, drums and then the zither are added. They may sound like unlikely bedfellows, but provide interesting contrasts and work well together. Suddenly, the drum drops out and Mari Kvien Brunvoll delivers a heartfelt vocal. She’s just accompanied by the zither, before the drums return. Soon, though, the vocal drops out, and the zither chimes, while the pitter patter of drums are joined by keyboards and percussion. Then when the vocal returns, Mari Kvien Brunvoll’s plaintive cry is full of emotion, before later becoming impassioned and sincere. All the time, instruments are swapped in and out, the arrangement veering between understated to a much fuller sound. This provides the perfect accompaniment to the vocal, on what’s a beautiful and captivating track, full of subtleties, surprises and nuances.
Rett Ned meanders into being, the understated arrangement crackling, reminiscent of old, worn vinyl. Meanwhile, Mari Kvien Brunvoll tenderly, before her vocal grows in power. It’s cocooned in effects, giving it a dreamy quality. Accompanying the vocal are an organ and crisp drums. Still, Mari Kvien Brunvoll’s vocal is bather in effects as it floats across the arrangement. When the vocal drops out, drums, percussion, keyboards and the zither combine. Later, when the vocal returns, it’s dubby, dreamy and lysergic. The arrangement is slow, meandering and multilayered. Contrasts abound, as elements of ambient, avant-garde, dub, electronica, experimental and indie pop are combined. Together they create a lysergic and dreamy modern day chill out track.
There’s almost an industrial influence as Farge Tida Sakte unfolds. There’s also a Faustian influence as washes of synths add an otherworldly sound. Soon, drums crack, scamper and skip across the arrangement. Meanwhile, the zither is added to this genre-melting musical feast. So is Mari Kvien Brunvoll’s vocal. Again, it’s bathed in effects, while effects are added to parts of the arrangement. Only the drums and zither are left untouched. Later, the sing song vocal grows in power and emotion, as it floats across the arrangement. That’s until the arrangement is stripped bare, and begins to rebuild. When it does, the vocal, drums, zither and kazoo combine. This results in an arrangement that’s variously hypnotic, ruminative and spacious as it floats and meanders along. It washes over the listener who bathes in its ethereal beauty.
Washes of synths meander and float across the arrangement to Like God å Leve. Soon, clip clop percussion and a bass join Mari Kvien Brunvoll’s impassioned, powerful vocal. Later, the vocal is swathed in effects becoming dreamy. That is only briefly. The earlier power returns, as synths, percussion, drums and a bass combine. Playing an important part in the arrangement are the synths. They add a cinematic sound, while Mari scats. Then when her vocal drops, out washes and waves of gently cascading synths play an important part in this dreamy, ethereal and hypnotic soundscape.
All too soon, Kem Som Kan Å Leve is over, as Taket closes the album. Synths, keyboards and subtle drums provide a backdrop for Mari Kvien Brunvoll’s cooing, ethereal vocal. It quivers, shivers and shimmers, before the improvised vocal gives way to an impassioned, emotive pleading vocal. By then, the arrangement features just occasional drums. Given its quality, Mari’s vocal deserves to take centre-stage. Later, keyboards synths and drums accompany Mari, as she revisits her earlier cooing, ethereal vocal. When it drops out, the baton passes to the keyboards, and they continue to create an ethereal backdrop, which provides a poignant ending to Taket and indeed, Kem Som Kan Å Leve.
Just over two years after the release of their critically acclaimed, eponymous debut album, Building Instrument return with Kem Som Kan Å Leve. It’s the much anticipated sophomore album from Building Instrument. Not only has Kem Som Kan Å Leve has lived up to the expectation, but surpassed it. Quite simply, Kem Som Kan Å Leve is one of the best albums of 2016.
Building Instrument have used their 2014 eponymous debut album as a building block, and have gone much further on Kem Som Kan Å Leve. They continue create inventive and innovate music, that’s ambitious and adventurous. That music is also beautiful, dreamy, ethereal, hypnotic and melodic. Partly, that is because of Mari Kvien Brunvoll’s vocal. She switches between the Molde dialect, and an invented language that only she can understand. That doesn’t matter.
Mari Kvien Brunvoll’s vocal is similar to Liz Fraser when she was with the Cocteau Twins. It has a similar calming, dreamy and ethereal quality. That ethereal beauty plays a huge part in the sound and success of Kem Som Kan Å Leve. However, Mari’s vocal can’t exist in isolation.
So the rest of Building Instrument, plus Mari Kvien Brunvoll combine to create the perfect accompaniment to the vocals. Synths, crisp drums, a myriad of percussion, the unmistakable sound of the zither and of course, an array of samples and effects. These effects are used effectively throughout Kem Som Kan Å Leve. Sometimes, it’s the vocal that’s bathed in effects; while other times, it’s parts of the arrangement. Each time, it proves hugely effective in this career-defining, genre-melting album.
Just like on their eponymous debut album, Building Instrument combine disparate musical genres. Elements of ambient, avant-garde, electronic, experimental, folk, indie pop, improv, industrial and jazz. It’s a captivating fusion of musical genres and influences. These influences include Kurt Schwitter a painter, but a collage artist, sound poet and installation artist.
On Kem Som Kan Å Leve, Building Instrument followed in the footsteps of Kurt Schwitter. Building Instrument: “go further in the direction of expanding or erasing the meaning of language, just as Schwitters did with his sound poetry.” This was an ambitious project, but the results are fascinating and captivating. They can be heard on Kem Som Kan Å Leve, which finds Norwegian sonic explorers at their inventive and innovative best. Kem Som Kan Å Leve is Building Instrument’s musical Magnus Opus, which features six soundscapes that are ambitious and adventurous, but also beautiful, dreamy, ethereal, hypnotic and melodic.
BUILDING INSTRUMENT-KEM SOM KAN Å LEVE.
ARTHUR BLYTHE-LENNOX AVENUE BREAKDOWN, IN THE TRADITION, ILLUSIONS AND BLYTHE SPIRIT.
ARTHUR BLYTHE-LENNOX AVENUE BREAKDOWN, IN THE TRADITION, ILLUSIONS AND BLYTHE SPIRIT.
Prodigy is an often overused word. It’s used to describe young children who show a modicum of talent in sport and music. Sadly, and all too often, those that are described as a prodigy never fulfil their supposed potential. The young ball player ends up parking cars, and the prodigious violinist pumping gas. However, there are some prodigies who fulfil their potential, including alto saxophonist Arthur Blythe.
He was born in Los Angeles on July 5th 1940. When he was nine, Arthur Blythe discovered the alto saxophone. Soon, he was taking lessons with a family friend, and saxophonist Junior Foster. He taught Arthur Blythe, and watched as he progressed from elementary school orchestra to the marching band. Within a few years, Arthur Blythe’s life would change, when he discovered jazz in his mid-teens. This was a game-changer.
Previously, Arthur Blythe loved R&B. That was his music. Then he discovered jazz. Arthur Blythe was then taught by Kirkland Bradford, who had played in Jimmie Lunceford’s swing band. However, it wasn’t swing that Arthur Blythe gravitated towards.
Instead, it was Thelonius Monk and then John Coltrane. It was only later, that Arthur Blythe discovered one of the greatest saxophonists, Charlie Parker. By then, Arthur Blythe lived and breathed jazz. He had discovered his purpose in life, and that was playing jazz saxophone.
While this is usually a dream for most young musicians, Arthur Blythe lived this dream; first as sideman and then as a solo artist. His solo career began in 1977, when Arthur Blythe signed to India Navigation. By 1978, Arthur Blythe had signed to a major Columbia, where he released Lenox Avenue Breakdown, In the Tradition, Illusions and Blythe Spirit. They have recently been reissued by BGO Records on a two disc set, and are the perfect introduction to Arthur Blythe. However, in the mid-sixties, Arthur Blythe was still finding has way as a musician.
By the mid-sixties, Arthur Blythe went in search of like-minded musicians. He found them at The Underground Musicians and Artists Association, which had been founded by pianist and composer Horace Tapscott. This was the perfect environment for an up-and-coming musician. Not only was Arthur Blythe surrounded by innovative and influential musicians, but it lead to him making his recording debut.
Horace Tapscott was looking for someone to play alto saxophone on his 1969 debut album and first album as bandleader, The Giant Is Awakened.Having gotten to know Arthur Blythe over the last few years, his friend from the Underground Musicians and Artists Association got the call. He was officially a member of the Horace Tapscott Quintet.
The Giant Is Awakened.
With Arthur Blythe onboard, the Horace Tapscott Quintet headed to the studio to meet producer Bob Thiele. He also owned Flying Dutchman Productions, the label the Quintet were signed to. It was an exciting time for everyone involved. Especially Arthur Blythe, who was making his recording debut; and Horace Tapscott who thought he was going to allowed to help mix the album. Before that, the album had to be recorde
Recording took place between the 1st and 3rd of April 1969. Over the three days, the Quintet recorded four Horace Tapscott compositions with producer Bob Thiele. The veteran producer had worked with some of the biggest names in jazz, and was the perfect person to coax and cajole the best performance from the nascent Quintet. He certainly brought out the best in Arthur Blythe, whose performances were being committed to tape for the first time. Once the sessions were over, it should’ve been a time to celebrate.
Alas, the celebrations were cut short when it became clear that Horace Tapscott wasn’t going to be involved in mixing The Giant Is Awakened. Horace Tapscott wasn’t pleased. For Horace Tapscott who was already suspicious of the music industry, this was enough for him to turn his back on the recording industry for ten years. This was ironic.
When The Giant Is Awakened was released later in 1969, it was to widespread critical acclaim. Sadly the Horace Tapscott Quintet would never released another album. However, Arthur Blythe had enjoyed recording The Giant Is Awakened, and was keen to repeat the experience.
Three years later, in 1972, Arthur Blythe returned to the studio. This time, it was with Julius Hemphill on his album Coon Bid’ness. It was an ambitious and innovative album where avant-garde and jazz combine. When it was released later in 1972, it was to critical acclaim. For the second time, Arthur Blythe had played an important part in the success of an album.
In 1974, two became three when Arthur Blythe joined Azar Lawrence for the recording of what was, a truly groundbreaking album of spiritual jazz, Bridge Into The New Age. Arthur Blythe didn’t seem of place alongside Azar Lawrence, Woody Shaw and Hadley Caliman. Despite this, Arthur Blythe’s career took an unexpected twist.
Just like many jazz musicians, Arthur Blythe had headed to New York, which was then, regarded as the American jazz capital.By the mix-seventies, was struggling to make a career out of music. Competition was fierce, and Arthur Blythe had no option but to take a job as a security guard. This was only temporary. Fortunately, he was soon hired by avant-garde vocalist Lean Thomas.
He was establishing a reputation as a leading light of avant-garde scene. Leon Thomas had also recently worked with a man from Arthur Blythe’s past, Bob Thiele. Their paths would cross again. That was in the future. Arthur Blythe was part of Leon Thomas’ band, and that was where he was ‘spotted’ by one of the biggest names in jazz, Chico Hamilton.
He played on Chico Hamilton’s 1975 album for Blue Note, Peregrinations, and the 1976 followup Chico Hamilton and The Players. Right through to 1977, Arthur Blythe played alongside Chico Hamilton. However, by 1977, his talents were in demand.
In 1976, Gil Evans Orchestra were looking for an alto saxophonist. Arthur Blythe answered the call, and would spend several years working with the Gil Evans Orchestra. When he was neither working with Chico Hamilton nor the Gil Evans Orchestra, worked with a variety of jazz musicians.
This included recording an album with Woody Shaw in 1977, This was The Iron Men, which featured Anthony Braxton. However, The Iron Men wasn’t released until 1980. By then, Arthur Blythe had embarked upon a solo career.
The Grip.
Arthur Blythe solo career began in early 1977, when having signed to the indie label India Navigation, he recorded his debut album The Grip on February 26, 1977. Unlike most debut albums, The Grip was a live album which was recorded at the Brook, in New York.
The Grip was an ambitious and adventurous album of free jazz. That was no surprise, as Arthur Blythe had put together a band that featured some of the most creative, free spirits on the New York jazz scene. Drummer Steve Reid provided the heartbeat, while Bob Stewart on tuba, trumpeter Ahmed Abdullah, cellist Abdul Wadud and percussionist Muhamad Abdullah joined Arthur Blythe. They were responsible for a debut album that won over critics.
When The Grip was released later in 1977, praise and plaudits accompanied the release of a truly groundbreaking album. Arthur Blythe’s band went further than any of his contemporaries. Critics were enthralled by such ambitious and adventurous album. What was all the more remarkable was that it was a live album. There were no second chances. That was the case with the other live album recorded on 26th February 1977.
Metamorphosis.
The same night that The Grip was recorded at The Brook, the tapes were left running and a second live album was recorded, Metamorphosis. It was also released later in 1977, and just like The Grip, Metamorphosis, was an album that found favour with critics. They were impressed by Arthur Blythe’s distinctive and unique sound, as he and his band of musical free spirits took the listener on an another musical adventure. For critics and the record buyers who discovered Metamorphosis, it was a tantalising taste of what was to come from Arthur Blythe.
Bush Baby.
Despite having recorded and released two live albums early in 1977, Arthur Blythe wasn’t willing to rest on his laurels. Instead, he featured on Synthesis’ debut album Six By Six. Then he signed a contract with the Adelphi label, and headed into the studio in December 1977.
For his first studio album, Arthur Blythe four new compositions, They would be recorded by a trio. This featured Bob Stewart on tuba and Ahkmed Abdullah on congas. Sitting atop the arrangement was the unmistakable sound of Arthur Blythe’s alto saxophone. With the four compositions recorded, Bush Baby was released in 1978.
Before the release of Bush Baby, critics had their say on the album. Just like his two live albums, critics remarked upon Arthur Blythe’s adventurous spirit. They also remarked that already, Arthur Blythe was a versatile musician. He could seamlessly switch between playing soulfully, to playing with an unbridled intensity. Critics were won over by Bush Baby which was released in early 1978. Equally impressed by Arthur Blythe, were Columbia Records, who signed him in 1987. This was the start of a new era.
In The Tradition.
Having signed to Columbia Records, Arthur Blythe got the opportunity to renew his acquaintance with producer Bob Thiele. He was drafted in to produce Arthur Blythe’s Columbia Records’ debut, In The Tradition.
For In The Tradition, Arthur Blythe composed Break Tune and Hip Dripper. The rest of the tracks were cover versions, which took Arthur Blythe back to his teenage years. Fats Wallers’ Jitterbug Waltz had been a favourite, when R&B was Arthur Blythe’s passion. The other songs included a cover of Duke Ellington’s In A Sentimental Mood, and Caravan, which the Duke penned with Irving Mills and Juan Tizol. However, the album closer was Naima, which was written by one of the artists who inspired Arthur Blythe, John Coltrane. These six tracks were recorded at Mediasound Studios, in New York.
At Mediasound Studios, the free spirits that played on Arthur Blythe’s first three albums were absent. Replacing them, were a rhythm section of drummer Steve McCall and bassist Fred Hopkins. Completing Arthur Blythe’s quartet were pianist Stanley Cowell. Once In The Tradition was complete, Bob Thiele didn’t make the same mistake twice.
Not only did Bob Thiele co-produce In The Tradition with Arthur Blythe, but he allowed him play a part in the mixing of the album. He must have remembered the confusion surrounding the Horace Tapscott Qunintet’s The Giant Is Awakened. So, Arthur Blythe mixed In The Tradition with Doug Epstein. Then later in 1978, Arthur Blythe’s Columbia debut was released.
Critics were in for a surprise when they heard In The Tradition. This time, there were neither sonic experiments, nor musical adventures from Arthur Blythe. Instead, as the title suggested, the album had a much more traditional sound. The quartet embraced and enjoyed this return to a more traditional sound. It allowed the quartet to showcase their considerable skills. This was something critics remarked upon, praising and lauding the standard of musicianship on display on In The Tradition.
Especially on standards like In A Sentimental Mood and Caravan. Then on Naima, Arthur Blythe pays homage to Trane. He also showcases his skill as a composer and musician on Break Tune and Hip Dripper. When In The Tradition was released later in 1979, it was to critical acclaim.
The only disappointment was that In The Tradition didn’t chart in the US Billboard 200. However, it found an audience within the jazz community, who wondered what direction Arthur Blythe was heading next?
Lenox Avenue Breakdown.
1978 was one of the busiest years of Arthur Blythe’s career so far. Away from own his recording career, Arthur Blythe still worked as a sideman. He headed out on tour with Gil Evans, and recorded two live albums on the night of February 25th 1978. The first was Gil Evans Live at the Royal Festival Hall London, which wasn’t released until 1979. That same night, The Rest of Gil Evans Live at the Royal Festival Hall London 1978 was recorded. However, it wasn’t released until 1981. Two months later, and Arthur Blythe was back in the recording studio.
He played on two albums by Lester Bowie, The 5th Power and African Children. They were recorded between April 12th and 17th 1978. However, Arthur Blythe wasn’t finished working as sideman yet.
Arthur Blythe returned to Mediasound Studios later in 1978, with four new compositions. They would become Lenox Avenue Breakdown, which featured an expanded lineup of Arthur Blythe’s band.
This time around, Arthur Blythe was working with a septet, which featured some top jazz musicians. The rhythm section alone featured drummer Jack DeJohnette, bassist Cecil McBee and guitarist James Blood Ulmer. They were augmented by the familiar face of Bob Stewart on tuba, flautist James Newton and percussionist Guilherme Franco. Producing this all-star lineup, was a man used to big occasions, Bob Thiele. He coaxed and cajoled a masterful performance out of the septet. It was worth every ounce of effort and energy that had been expounded. After this, it was over to Arthur Blythe to mix Lenox Avenue Breakdown. Then Arthur Blythe’s Magus Opus was almost ready for release.
Before that, critics had their say on Lenox Avenue Breakdown. Critics thought the band had been together for years. However, they were a new band, and had been together just a week when Bob Thiele pressed play. He watched as the septet delivered a masterful performance on an album of innovative and influential contemporary jazz.
Bob Stewart the longest serving member of Arthur Blythe’s band, played an important part on Lenox Avenue Breakdown. Especially on the title-track, a thirteen minute epic, where he delivered what’s considered one of the finest tuba solos in modern jazz. That’s just one reason why Lenox Avenue Breakdown is the album’s centrepiece. However, the new band all play their part on album that critics exhausted superlatives on.
It was variously hailed a masterpiece and a modern classic. In a later review, The Penguin Guide To Jazz said: “one of the lost masterpieces of modern jazz.” Sadly, that was the case.
When Lenox Avenue Breakdown was released in 1979, the album never troubled the US Billboard 200. Even in the US Billboard Jazz Albums Charts, Lenox Avenue Breakdown reached just thirty-five. Arthur Blythe’s Magnus Opus, was indeed: “one of the lost masterpieces of modern jazz.” The next time Arthur Blythe stepped into a studio would be to play on an album by one the band that played on Lennox Avenue Breakdown.
This was Jack DeJohnette, who was about to record a new album Special Edition. Arthur Blythe spent part of February rehearsing and recording Special Edition. However, by the time Special Edition was released in 1980, the same year Arthur Blythe released third album for Columbia. That was still to come. Arthur Blythe was working on various projects
This included recording a new album with Gil Evans in July 1979. To do this, he had to catch a flight to Rome. That was where Gil Evans was going to record his next album.
On July 29th 1979 at Trafalgar Studios, Rome Arthur Blythe was part of Gil Evans’ band that recorded the double album Parabola. However, the next time Arthur Blythe was with Synthesis.
Two years had passed since the released their debut album Six By Six. When it came time to record Segments in 1979, Arthur Blythe got the call. Having recorded the album with Synthesis, Arthur Blythe, got the opportunity to accompany another jazz great, McCoy Tyner.
Playing in McCoy Tyner’s band kept Arthur Blythe busy for the rest of 1979, and into early 1980. McCoy Tyner was about to record a double album with a quartet, and wanted Arthur Blythe to feature on it. Seven musicians would feature on the eleven tracks that became Quartets 4×4.
Recording of Quartets began at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey on March 3rd. This was the day that that Arthur Blythe was needed. He recorded Blues in the Minor, Stay As Sweet As You Are and It’s You Or No One, and that was his part complete. Now his thoughts could turn to his solo carer, his third Columbia album Illusions.
Illusions.
Having spent 1979 and early 1980 working as a sideman, this allowed Arthur Blythe to get over the commercial failure of Lenox Avenue Breakdown. Arthur Blythe must have known it was the best album of his career. Critics had called it a masterpiece and a classic. Now he had it all to do again, in the hope that commercial success wouldn’t continue to elude him. So Arthur Blythe returned to the studio in April 1980.
When recording Illusions began, the changes had been rung, Rather than Mediasound Studios, Illusions was being recorded at CBS Recording Studios, New York. Producing the album, was Arthur Blythe and Jim Fishel. There was no sign of Bob Thiele, nor the septet that featured on Lenox Avenue Breakdown.
While it was still a septet that featured on Illusions, this time there were several new faces. Even two different drummer were used on the album, each playing on three tracks. This meant the rhythm section featured drummers Steve McCall and Bobby Battle, bassist Fred Hopkins and guitarist James Blood Ulmer. Tubaist Bob Stewart returned, and was joined by cellist Abdul Wadud who had featured on Arthur Blythe’s first two albums. Completing the lineup was pianist John Hicks. They spent much of April and May recording Illusions. Once it was complete, critics were in for a surprise.
On Illusions, critics realised, that Arthur Blythe had used two different quartets. Musicians were swapped in and out, depending on the track. The result was an album of innovative and inventive jazz, where Arthur Blythe are at the peak of their powers. Arthur Blythe as a composer, bandleader and musician, was at his creative zenith, as he pushed musical boundaries to their limits, and sometimes, way beyond. It was a fitting followup to Lennox Avenue Meltdown, Arthur Blythe’s Magnus Opus. However, while the music on Illusions was innovative and inventive, Columbia would’ve preferred an album that appealed to a much wider audience.
When Illusions was released, just like Arthur Blythe’s two previous albums, it failed to trouble the US Billboard 200. To make matters worse, Illusions didn’t even match the success of Lennox Avenue Meltdown, which reached thirty-five in the US Billboard Jazz Album Charts. For Arthur Blythe, this was a huge disappointment.
Following the release of Illusions, Arthur Blythe returned to working as a sideman. Later in 1980, he played on Gil Evans’ album Live at the Public Theater Volume 1 and 2. The other album Arthur Blythe played on, was John Fischer’s 1980 album 6 × 1 = 10 Duos for a New Decade. Working on such an ambitious album, must have given Arthur Blythe food for thought.
Blythe Spirit.
Arthur Blythe returned to CBS Recording Studios, in New York in 1981. This time around, Arthur Blythe had four new compositions, Contemplation, Faceless Woman, Reverence and Spirits in the Field. The other three tracks included George and Ira Gershwin’s Strike Up the Band; Johnny Burke and Erroll Garner’s Misty and a rework of the traditional gospel song Just a Closer Walk With Thee. These songs were recorded by a band that featured familiar faces and new names.
The rhythm section featured drummers Steve McCall and Bobby Battle, bassist Fred Hopkins and guitarist Kelvyn Bell. Tubaist Bob Stewart returned, and was joined by cellist Abdul Wadud and pianist John Hicks. Just like on Illusions, different musicians featured on the seven tracks. They would become Blythe Spirit, which produced by Jim Fishel and Arthur Blythe. It was a quite different album, from Arthur Blythe.
Critics realised this, when they received their advance copy of Blythe Spirit. Elements of avant-garde were combined with hard bop and R&B on Blythe Spirit Arthur Blythe. Some of the tracks featured a trio, while others featured quartet or quintet. They were responsible for tracks the veered between conventional like Misty, and a much more adventurous approach. Especially on the swinging take of Just A Closer Walk With Thee. Strike Up The Band was given an unlikely makeover, while the Arthur Blythe compositions are best described as genre-melting, and innovative. This resulted in an album that was well received by critics, but failed to find a wider audience.
Just like Illusions, Blythe Spirit failed to trouble the US Billboard 200. Illusions never even reached the US Billboard Jazz Album Charts. It was another disappointment for Arthur Blythe, and of course, Columbia.
They had placed their faith in Arthur Blythe, and gave him the freedom to release albums that featured ambitious, inventive and innovative. Sometimes it was almost experimental, as Arthur Blythe became a sonic explorer and took his music in unlikely directions on his four albums for Columbia.They’ve recently released by BGO Records as a two disc set, consisting of Lenox Avenue Breakdown, In the Tradition, Illusions and Blythe Spirit. This two disc set the highpoint of Arthur Blythe’s Columbia years.
His finest moment of his first four albums for Columbia was Lennox Avenue Breakdown, which was Arthur Blythe’s Magnus Opus. It was the best of the seven albums Arthur Blythe had released between 1977 and 1981.Lennox Avenue Breakdown was was an album that Arthur Blythe would struggle to surpass.
Illusions was a fitting followup to Lennox Avenue Breakdown, and came close to reaching the heights of Arthur Blythe’s finest hour. However, Arthur Blythe’s Columbia debut, In The Tradition, features a much more conventional sound. However, Blythe Spirit the Arthur Blythe’s fourth for Columbia, was a genre-melting album where avant-garde, post bop and R&B were combined. This might seem like an unlikely fusion, but it was a veritable musical feast that showed yet another side to Arthur Blythe. He switched between a trio, quartet and quintet, unleashing conventional, ambitious and even swinging, rousing music. This was a captivating way to end the first part of the Columbia years.
Having released four albums for Columbia, Arthur Blythe would released another five albums between 1982 and 1987. During that period, Arthur Blythe continued to work as a sideman. This is something he had done between 1978s In The Tradition and 1981s Blythe Spirit. There’s every possibility that working with some of the biggest names in jazz inspired Arthur Blythe, and played a part in the direction his music took.
It certainly took a few twists and turns, as the onetime prodigy Arthur Blythe’s first four albums contained some of the best, and most ambitious, creative, influential, innovative and inventive music of a solo career that’s spanned four decades. Sadly, despite enjoying such longevity, Arthur Blythe is still one of jazz music’s best kept secrets.
Maybe BGO Records’ reissue of Arthur Blythe’s first four Columbia albums, will result in his music being rediscovered by a wider audience, who will appreciate, embrace and enjoy albums like Lenox Avenue Breakdown, In the Tradition, Illusions and Blythe Spirit?
ARTHUR BLYTHE-LENNOX AVENUE BREAKDOWN, IN THE TRADITION, ILLUSIONS AND BLYTHE SPIRIT.
BOB LIND-MAGELLAN WAS WRONG.
BOB LIND-MAGELLAN WAS WRONG.
It was in 1966, when Bob Lind released his critically acclaimed debut album Don’t Be Concerned, on World Pacific Records. One of the songs on Don’t Be Concerned, was the song that launched Bob Lind’s career, Elusive Butterfly.
It was released as Bob Lind’s debut single in 1965, not long he signed to World Pacific Records, a subsidiary Liberty Records. When Elusive Butterfly was released in December 1965, it gave Bob Lind a top ten hit on both sides of the Atlantic. Elusive Butterfly reached number five in the US Billboard 100, but number five in the UK. This was just the start of the Bob Lind’s career.
By then, Bob Lind was twenty-three. He was born in Baltimore, Maryland on November 25th 1942. However, by 1965, Bob Lind was about to embark upon a career that would see him define and shape the folk-rock genre.
In 1966, Bob Lind released his debut album Don’t Be Concerned. It was released to widespread critical acclaim, and reached 148 in the US Billboard 200. For a new artist, in the folk rock genre, where most albums didn’t sell in the same quantities as those by pop and rock artists, this was regarded as a success. So World Pacific Records decided to build upon this success.
Bob Lind returned to the recording studio and recorded his sophomore album Photographs Of Feeling. It was scheduled for release in April 1966. Before that, Remember The Rain was released as a single, but reached just number forty-six in the US Billboard 100 and sixty-four in the UK. Compared to the transatlantic top ten hit Elusive Butterfly, this was have disappointing. So must have been Photographs Of Feeling failing to chart. Despite the positive reviews, of Photographs Of Feeling it never came close to troubling the charts. Despite this, a third Bob Lind album was released in 1966.
This was The Elusive Bob Lind, which was released on Verve Folkways. It featured five songs penned by Bob Lind; plus covers of Bob Dylan’s The Times They Are A Changin’ and the traditional song Hey Nellie Nellie. It was chosen as a single, and released later in May 1966, but failed to chart. For Bob Lind, this was disappointing. He was about to release his third album of 1966, The Elusive Bob Lind.
Prior to the release of The Elusive Bob Lind, critics were fulsome in their praise of the album. Especially, Bob Lind’s songwriting skills, his unique vocal and how he could breath life, meaning and emotion into a song. Despite the praise, The Elusive Bob Lind received, the album failed to chart. With two albums consecutive albums failing to chart, it was a worrying time for Bob Lind. Maybe, his single would get his ailing career back on track?
There was a problem though. With Bob Lind’s last two albums had been released on different labels, they were essentially competing against each other. Five singles were released between April and October 1966.
World Pacific Record released I Just Let It Take Me as second single from, Photographs Of Feeling later in June 1966. It stalled at 123 in the US Billboard 100. For Bob Lind, it was a case of close but no cigar. Especially when San Francisco Woman, was released as the third and final single from Photographs Of Feeling. However, when it was released in August 1966, it reached just 135 in the US Billboard 100. Bob Lind it seemed, was out of luck.
Despite this, Verve Folkways Records decided to release White Snow from The Elusive Bob Lind. This was just the second single released from the album. It was released in October 1966, but failed to trouble the charts. After four consecutive singles failing to chart in the US Billboard 100,
Bob Lind must have been wondering about his immediate future? He certainly wouldn’t have believed anyone who told him in fifty years time, his career would still be going strong, and he would’ve just released a new album. That is the case though.
Recently, Bob Lind released Magellan Was Wrong on Big Beat Records, an imprint of Ace Records. Magellan Was Wrong is the much anticipated followup to 2012s Finding You Again. Bob Lind is a survivor, whose career has spanned six decades. That looked unlikely in the sixties.
After the roller coaster year that was 1966, Bob Lind continued to play live. He was still a popular draw, and had been since the earliest days of his career.Then in the spring of 1967, Bob Lind returned to the studio. This time, he only recorded two singles. Maybe World Pacific Records were being cautious, and wanted to gauge the success these singles? The first single, It’s Just My Love was released in April 1967, but failed to chart. Eight months later, Goodbye Neon Lies was released in 1967, but failed to chart. Little did anyone realise that Goodbye Neon Lies was Bob Lind’s World Pacific Records’ swan-song?
By 1969, Bob Lind, like many singers and musicians had developed a taste for the rock ’n’ roll lifestyle. He battled drug and alcohol addiction. To make matters worse, Bob Lind was regarded as difficult to work with. That was the case with many artists. However, if the delivered the goods, this record companies saw as the cost of doing business with an artist. Sadly, by 1969, Bob Lind had neither released a single for two years, nor an album for three. There was no sign of any music on the horizon. Despite this, very few people would’ve forecast that Bob Lind would decided to walk away from his contract with World Pacific Records in 1969.
Having severed his ties from World Pacific Records, very little was heard of Bob Lind. While he still played live, he never released any music between 1967 and 1971. That was when Bob Lind resurfaced, and signed a contract with Capitol Records.
Not long after this, Bob Lind entered the studio for the first time in four years. He recorded what became Since There Were Circles, Bob Lind’s Capitol Records’ debut album. It was scheduled for release later in 1971.
Before the release of Bob Lind’s comeback album, critics had their say on Since There Were Circle. The album was well received, and maybe, Bob Lind’s luck was changing. Alas, that wasn’t the case.
In September 1971, She Can Get Along was released as the lead single from Since There Were Circles. However, She Can Get Along failed to chart. This didn’t augur well for the release of Since There Were Circles. It also failed to chart, and this marked the end of Bob Lind’s time at Capitol Records.
Not long after leaving Capitol Records, Bob Lind turned his back on music. Bob Lind wasn’t the first, and certainly wouldn’t the last to walk away from music.
During the wilderness years, Bob Lind befriended writer Charles Bukowski. They struck up a close friendship. So much so, that Charles Bukowski immortalised the singer-songwriter in his 1978 book Women. Bob Lind was the inspiration for the character Dinky Summers, who would regularly reappear in Charles Bukowski’s work. Ten years after Women was published, Bob Lind became a writer.
Bob Lind decided in 1988 to follow the sun, and headed to Florida. That was where he embarked upon a new career, as a writer. The move to Florida, and career change proved successful. Not only did Bob Lind write five novels, but a stage play and the award winning screenplay Refuge. It went on to win the prestigious Florida Screenwriters’ Competition in 1991. This must have been the pinnacle of Bob Lind’s career as a writer.
Later in his writing career, Bob Lind spent eight years as a staff writer at the supermarket tabloids Weekly World News and The Sun. This was very different from writing novels, screenplays or a stage play. The content was marketed as satirical and sensationalist, but often fell foul of the privacy laws. For Bob Lind, this must have seemed like a far cry from his days as a musician? Maybe Bob Lind would even consider a comeback?
Thirty-three years after turning his back on music in 1971, Bob Lind had a change of heart in 2004. He was persuaded folk singer Arlo Guthrie, the son of Woody Guthrie, to make a comeback. The venue that was chosen was the Guthrie Center in Becket, Massachusetts.
That night, Bob Lind’s love of playing live was rekindled. Soon, the sixty-two year old and Arlo Guthrie were heading out on tour. Since then, they’ve continued to tour. Bob Lind was back.
Since his comeback in 2004, three’s been two of Bob Lind’s albums have been reissued. The first came in 2006, when RPM Records, an imprint of Ace Records released Since There Were Circles. Later in 2006, Bob Lind self-released his first live album Live At The Luna Star Cafe It featured the first new material Bob Lind had released since 1971. Then in 2007, RPM Records, released Elusive Butterfly: The Complete 1966 Jack Nitzsche Session. Suddenly, a whole new audience were discovering Bob Lind’s music.
Over the next few years, interest in Bob Lind’s music began to grow. However, within the music industry, many artists and groups were familiar with Bob Lind’s songs, and had covered them. This included luminaries like Eric Clapton, Glen Campbell, Dolly Parton, Aretha Franklin and The Four Tops. They’re just a few of the artists who have covered Bob Lind’s music, and helped spread the word about one of music’s best kept secrets.
With Bob Lind’s profile rising, cinematographer Paul Surratt finished a DVD about Bob Lind. It was a documentary, which also featured Bob Lind in concert. Bob Lind: Perspective was released in 2009, and introduced the singer-songwriter to a wider audience. However, there was still one thing Bob Lind hadn’t done since his comeback, release a new album.
Bob Lind rectified this in 2012. He had returned to the studio with The Spongetones’ guitarist Jamie Hoover. He produced what would become Bob Lind’s first album since Since There Were Circles was released in 1971. Forty-one years later, Finding You Again was released on Big Beat Records, a subsidiary of Ace Records. Finding You Again was released to critical acclaim, and marked a welcome return to form from the seventy year old folk-rock pioneer. Now that Bob Lind had found his audience again, the big question was, when would there be followup to Finding You Again?
For Magellan Was Wrong, Bob Lind wrote eleven new tracks and decided to cover Yom Paxton’s Bottle Of Wine. These songs were arranged and produced by Jamie Hoover. He also plays many of the instruments on Magellan Was Wrong. Bob Lind plays acoustic guitar, electric guitar, 12-string guitar and adds synth horns and vocals. Augmenting Jamie Hoover and Bob Lind, were a few musicians who added overdubs in two studios in Fort Worth, Miami. Once the songs, were complete, they became the much-antipated Magellan Was Wrong.
Opening Magellan Was Wrong, is I Don’t Know How To Love You. An urgently strummed guitar joins the rhythm section in driving the arrangement along. The bass like the piano is played slowly and carefully. Meanwhile, Bob Lind’s vocal is impassioned, needy and emotive. Espeically as he sings: “is there a secret code that I can steal, to bring your passion back, to make you feel, to make you see in me, the man you once knew.” Desperation fills vocal as he asks, begs “how can I pull you back, what can I do.” Soon, this paean is unfolding, and Bob ruefully reflects: “I don’t know how I lost you” and later, “I Don’t Know How To Love You, maybe I never did.” Jamie Hoover’s adds instruments at just the right time. Whether it’s the guitar, mandolin or piano, they compliment Bob on this soul-baring ballad.
You Are Home is a a song about the war veterans, who were wrongly imprisoned, and often, were tortured and left traumatised. Now they’re free, and are home with people who love and care for them. A slow, sultry tenor saxophone gives way to Bob’s vocal. He’s constantly reassuring: “you’re safe now, back with the ones that love you…you are back with the ones that love you. Meanwhile, the rhythm section, piano and guitar provide a subtle backdrop. Bob’s vocal is heartfelt and full of sincerity, while saxophone winds its way above the arrangement. It’s not overpowering, and again, compliments Bob’s vocal. When the vocal drops out, the sultry saxophone takes centre-stage and proves the perfect way to closes this beautiful, thought-provoking ballad.
Never Even There is a jazz-tinged song, where Bob scats as a chiming guitar, subtle drums and piano combine. A brief guitar solo gives way Bob’s vocal. He’s soon delivering lyrics that will ring true with many men. They spent too much time doing other things, and not spending time with their partner. Then one day; “she’ll leave you, like you were never even there.” After Bob delivers, that lyric, a jazz guitar returns. That’s until Bob dawns the role of agony uncle. He advices how to stop this happening, and tells what will happen to a man that doesn’t follow his advice,
Washes of Hammond organ give way to a stomping, pounding beat on Magellan Was Wrong. By then, Bob’s painting pictures with his lyrics. Meanwhile, a piano and harmonies accompany him. After years of believing that if something was possible, then it was achievable, he’s lost faith. Frustration fills his voice as he sings: “Magellan Was Wrong, this world is flat sometimes,” on this carefully crafted, hook-laden anthem.
The tempo drops on I Turn To You, a piano lead ballad. In the song, Bob plays tribute to the garage and strength of women. Mostly, it’s a wife or girlfriend a man turns to, when times get tough. As the piano plays, Bob sings: “I Turn To You…because you’re braver than I’ll ever be…you stand up strong against my despair.” Behind him, one of the biggest arrangement unfolds. A piano, drums and later a searing guitar play leading roles. Everything is played by Jamie Hoover. This leaves Bob to give thanks, as the arrangement builds and grows on this poignant ballad.
Bottle Of Wine was written by Tom Paxton, and since then, has been an oft=covered song. Just two acoustic guitars and a mandolin open the song, before Bob begins to deliver the heartbreaking lyrics. There’s desperation in Bob’s vocal as he pleads: “Bottle Of Wine fruit of the vine, when will let me get sober?” It’s a battle Bob in the song sounds desperate to win, but sadly, he’s still “holding his Bottle Of Wine.”
My Friend is another poignant song, where Bob reflects that each day we grow older, the sands of time are running dry. The piano is at the heart of the arrangement, while the rhythm section play subtly. Together, they frame Bob’s vocal. He’s in a reflective mood, looking back at life with his partner at the good times and the bad. Sadly, pride and years of disappointment have driven a wedge between them. Again, there’s a jazz influence to the slow, meandering arrangement. A piano takes the lead, and is joined by a drums and a jazz guitar. Then Bob asks: we’re not here long, must we be strangers in these candle days, and when the final darkness falls, these bitter moments to pride will look small.” These lyrics makes this a truly poignant, moving and beautiful song.
Cooing harmonies and the rhythm section open From The Road. Already, it’s obvious something special is unfolding. They’re joined by Bob’s joyous, hopeful vocal. Punchy harmonies accompany Bob, while the piano, drums and stabs of horns combine. Hooks haven’t been spare on a truly irresistible paean, that Bob dedicates to Jan. She’s lucky to have such a great song written and dedicated to her.
As You, Lola, You! unfolds, Bob delivers another scat. Meanwhile, his band deliver a jaunty, jazzy, mid-tempo arrangement. Bob showcases her versatility as he delivers a jazzy vocal, on this celebration love and being in love.
The sound of David Hubbard’s tenor saxophone opens The Outsider’s Dream. It gives way to the rhythm section and guitar. They accompany Bob’s vocal; as he sings about “a man who dreamed a dream.” As a subtle, tenor saxophone rasps, Bob delivers the cinematic lyrics that tell of a perfect life. “He had a knack for how to live” There’s a twist though: “and from some place outside himself, he saw his funeral passing by, mourned by souls he mattered to.” By then, the arrangement has grown, and provides a fitting backdrop for Bob: “the night passed by and took the dream.” It was then he realised that there was: “something more to get, that tiny tinges of regret.” These he would never forget. Although he keeps the world at bay, he feels these tinges to this day.” Just like so many songs on Magellan Was Wrong, it’s a truly poignant and reflective where Bob brings the lyrics to life.
Blind Love finds the tempo rise, and features a country influence. Again, there’s a cinematic quality to the lyrics. Guitars, synth strings and the rhythm section propel the arrangement along, as Bob remembers and reflects, on the love he once knew. Sadly, it was “Blind Love, and caused pain that even time can’t heal. Bob longs for a chance to turn back the clock, and never make the same mistake again.
A Break In The Rain closes Magellan Was Wrong. It also features the ethereal beauty of coloratura soprano Arbel Martin. She’s the perfect foil for Bob, as he reflects that whatever life throws at people, the earth keeps on turning.
Hw reminds us: “there will be A Break In The Rain, sun in our windows, gardens and lanes, dawn will break and light our way home.” Augmenting Bob and Arbel, are synths. They add the finishing touch, to a track which features ethereal beauty and thoughtful lyrics. It’s the prefect way to close Bob Lind’s comeback album Magellan Was Wrong, which was recently released by Big Beat Records, a subsidiary of Ace Records.
After a four year absence, Bob Lind returns with the best album since he returned to music in 2004, Magellan Was Wrong. It’s a tantalising taste of what Bob Lind’s capable of, and what record buyers missed out on, when he turned his back on music. Thankfully, Bob Lind is back, and has matured as a singer, songwriter and musician.
His lyrics are beautiful, celebratory, cerebral, poignant, reflective, rueful, thought-proving and wistful. Songs about love, love lost, returning heroes and the sands of time running dry, sit side-by-side with a cover Tom Paxton’s Bottle Of Wine. Often, the lyrics are also cinematic, vivid and rich in imagery, as Bob Lind unmistakable voice switches between musical genres. Bob Lind it seems, is just as comfortable singing folk and folk-rock as he is country, jazz or pop rock.
He’s a versatile and truly talented singer, songwriter and musician, who put all his years of experience into writing and recording Magellan Was Wrong. It finds Bob Lind making up for lost time, after turning his back on music for thirty-three years. That was a great shame, and many would say a waste of talent. For too long, music was robbed of one its most talented sons. Thankfully, in 2004,Bob Lind Arlo Guthrie convince Bob Lind to play live. Since then, Bob Lind has been on the comeback trail. However, it took eight years before Bob Lind released a new album.
This was the critically acclaimed Finding You Again which was released in 2012. Since then, Bob Lind’s fans have eagerly awaited the followup to Finding You Again. They had to be patience, and recently, their patience was rewarded when Bob Lind released Magellan Was Wrong. The much-anticipated followup to Finding You Again has been well worth the wait.
Magellan Was Wrong finds Bob Lind back to his very best. What’s more, Bob Lind still seems to be enjoying making music. That is apparent throughput Magellan Was Wrong, where Bob Lind’s joie de vivre shines through. Maybe Bob Lind has finally realised how lucky he his to be making a living out of music, and how much pleasure people get from his music? That I’m sure of. Magellan Was Wrong is a must have for fans, and is finds the comeback King, Bob Lind at his best, on what is without doubt, one the finest albums of his fifty-one year recording career.
BOB LIND-MAGELLAN WAS WRONG.
SIMPLE MINDS-NEW GOLD DREAM (81-82-83-84) DELUXE EDITION.
SIMPLE MINDS-NEW GOLD DREAM (81-82-83-84) DELUXE EDITION.
Simple Minds weren’t an overnight success. Very few bands are. It took five years and five albums before commercial success and critical acclaim came Simple Minds’ way. The album that transformed Simple Minds’ career was New Gold Dream (81–82–83–84).
Suddenly, Simple Minds were one of the most successful bands in Britain, and for the first time, were making inroads into Europe and North America. New Gold Dream (81–82–83–84) which was recently released by Universal as a two disc Deluxe Edition, was a game-changer for Simple Minds in more ways than one.
New Gold Dream (81–82–83–84) was the start of the rise and rise of Simple Minds. It was also the start of Simple Minds stadium rock era. This part of the Simple Minds story began in April 1982. However, Simple Minds were born in the South Side of Glasgow in 1977.
Simple Minds roots can be traced to the short-lived punk band Johnny and The Self-Abusers. They were formed in early 1977, and made their live debut on 11th April, which was Easter Monday. That was the first time the sextet took to the stage. Their lineup that day, included friends Jim Kerr and Charlie Burchill, plus drummer Brian McGee and bassist Tony Donald . They would later become founder members of Simple Minds.
Two weeks after their debut, Johnny and The Self-Abusers opened for Generation X in Edinburgh. This was the start of a summer where the nascent band spent playing live in Glasgow. Before long, the band had split into two factions. Founders Alan Cairnduff and John Milarky were in one faction, while the other featured Jim Kerr, Charlie Burchill,Brian McGee and Tony Donald. Despite being a band divided, Johnny and The Self-Abusers decided to record their debut single.
This was Saints and Sinners, which was released on Chiswick Record in November 1977. On the release date, Johnny and The Self-Abusers announced that they had split-up. Not long after this, Simple Minds were born.
The founding founding members of Simple Minds were Jim Kerr, Charlie Burchill, Brian McGee and Tony Donald. Jim Kerr who had been Johnny and The Self-Abusers keyboardist, packed his keyboards away, and became Simple Minds vocalist, and sometimes violinist. The rhythm section featured drummer Brian McGee, bassist Tony Donald and guitarist Charlie Burchill. Then in January 1978, Duncan Barnwell was drafted in to play second guitar. Not long after this, Barra born keyboardist Mick MacNeil joined the band. This was the original lineup of Simple Minds. They were soon making waves in their home city.
Quickly, Simple Minds established a reputation was one of Glasgow’s best up-and-coming bands. Constantly playing live allowed Simple Minds to hone their sound. However, in April 1978, there was a change to the lineup when Tony Donald left the band. This was a blow, as the band were about to record a demo tape. A replacement was soon found in Derek Forbes, who had been The Subs’ bassist. However, this wasn’t the end of the changes in Simple Minds’ lineup.
Later in 1978, second guitarist Duncan Barnwell was invited to leave the band. Now Simple Mind were a quintet, and that was how they would remain. By then, the Jim Kerr and Charlie Burchill songwriting partnership had taken shape, and Simple Minds had a manager.
Give Simple Minds were rising stars of the Glasgow music scene, it was inevitable that they would come to the attention of Bruce Findlay. He was one of the leading lights of the Glasgow music scene. Not only did he own the Bruce’s Records’ chain, but the Zoom Records’ label, which was a subsidiary of Arista Records. Bruce Findlay had heard good things about Simple Minds, and approached them about managing the group. At first, this was on a part-time basis. However, his would later change.
Life In A Day.
Before that, Simple Minds began work on their debut album, Life In A Day. It featured ten songs written by the Jim Kerr and Charlie Burchill songwriting partnership. Then the five members of Simple Minds headed south.
By then, Simple Minds’ lineup was settled. Vocalist Jim Kerr and keyboardist Mick MacNeil were joined by a rhythm section featuring drummer Brian McGee, bassist Derek Forbes and guitarist Charlie Burchill. They began recording Life In A Day December 1978. Three separate studios were used, including the Rolling Stones Mobile Studio. Further sessions took place at Abbey Road Studios and the Townhouse Studios, in London. Producing these sessions, which became Life In A Day, was John Leckie. He spent the best part of two months recording Simple Minds’ debut album. After nearly two months, Life In A Day was completed in January 1979. It would be released three months later.
Having recorded their debut album, Zoom Records sent copies of Life In A Day to critics. The reviews were mixed, ranging from favourable to positive. Two tracks came in for praise, Murder Story and Simple Minds’ tribute to Nico, Chelsea Girl. However, some critics remarked upon the noticeable early seventies influence, This gave the album a slightly dated sound. Other critics praised Jim Kerr’s vocals, while some praised some of the arrangements on Life In A Day. Despite this, there was no consensus. It was left to record buyers to have the final say.
Life In A Day was released on 1st April 1979, and reached just number thirty in the UK charts. For a debut album, it was regarded as a success. Then when Life In A Day was released as a single on 15th May 1979, it stalled at a disappointing sixty-two on the UK. For Simple Minds’ sophomore single, Chelsea Girl was chosen, but failed to chart. This was a disappointment for Simple Minds. Overall, they could be satisfied with the progress that they had made so far.
Real To Real Cacophony.
Just seven months after the release of Life In A Day, Simple Minds returned with their sophomore album Real To Real Cacophony. This was a much more collaborative album, with Jim Kerr writing the lyrics and the music for the twelve tracks being written by the band. However, what didn’t change, was John Leckie producing Real To Real Cacophony.
Recording of Real To Real Cacophony took place at Rockfield Studios, in Monmouth, Wales during September 1979. This had previously, been the scene of numerous musical triumphs. Classic albums and number ones had been recorded at Rockfield Studios. Maybe, Simple Minds were hoping that they would be inspired by the surroundings?
Once Real To Real Cacophony was complete, Zoom Records had scheduled a release date for November 1979. This didn’t leave much time to promote the album.
In the midst of releasing Real To Real Cacophony, critics had their say on Simple Minds’ sophomore album. Again, the reviews were mixed. Some of the views were favourable, while others were mixed. At least Real To Real Cacophony was well received by some of the critics. They realised that although the music on Real To Real Cacophony was still being influenced by the music the band grew up listening to, this time, they used this merely as a starting point. That music was reshaped and transformed into something totally different. Simple Minds were sonic sculptors. One example was the influence of Kraftwerk’s Radio Activity on Real To Real, which was one of the highlights of Real To Real Cacophony. It was released in November 1979.
When Real To Real Cacophony was released in November 1979, the album failed to chart. Neither did the single Changeling. For Simple Minds this was a huge blow. It would be nearly a year before Simple Minds returned with their third album, Empires and Dance.
Empires and Dance.
Despite the disappointment of Real To Real Cacophony, Bruce Findlay became Simple Minds’ full-time manager. His job was steering the band through the toughest time of their career.
Following the commercial failure of Real To Real Cacophony, Simple Minds began work on what would become Empires and Dance. Again, Jim Kerr wrote the lyrics, while the band wrote the music to the ten tracks. They were recorded in Wales, using the Rolling Stones Mobile Studio.
In Wales, John Leckie was in charge of production on Empires and Dance. This was the third album he had produced for Simple Minds. It would also be his swan-song.
Once Empires and Dance was complete, the release date was scheduled for 12th September 1980. Before that, critics received their advance copies. They dissevered that Empires and Dance was a genre-melting album. Elements of new wave, post punk, dance, electronica and rock melted into one. This one bullish critic later called “a post punk dance classic.” In contrast, NME called Empires and Dance “a weird, agitating record.” Mostly, though, the album was reasonably well received. One track stood out from the crowd, the album opener, I Travel. It should’ve transformed Simple Minds’ fortunes.
On 12th September 1980, Empires and Dance was released. It didn’t sell well, and stalled at just forty-one on the UK charts. That was an improvement on Real To Real Cacophony. Elsewhere, Empires and Dance reached number forty-seven in New Zealand. That was a small crumb of comfort.
Especially when the lead single I Follow failed to chart. This was a huge blow, as it was the strongest track on the album. History repeated itself when Celebrate was released as a single, but failed to chart. This was strange, given the song’s popularity among Simple Minds’ fan-base. While this was another disappointment, Simple Minds were soon going up in the world.
Sons and Fascination and Sister Feelings Call.
After Empires and Dance, Simple Minds left Arista Records and signed to Virgin Records. Some industry watchers saw this as a gamble on the part of Virgin Records.
After all, Simple Minds’ three albums hadn’t sold well. Life In A Day reached just number thirty in the UK album charts; Real To Real Cacophony never came close to troubling the charts and Empires and Dance stalled at just forty-one on the UK album charts. The three albums yielded very little when it came to singles. Life In A Day had given Simple Minds a minor hit single when it reached sixty-two in the UK singles charts. However, Virgin Records decided to take a chance on Simple Minds. They were determined to repay Virgin Records’ faith in them.
So Simple Minds began work on not just one album, but two. Sons and Fascination and Sister Feelings Call would be recorded at the sessions, and released on the same date. This was unusual, and meant twice the amount of work for Simple Minds.
Again, Jim Kerr penned the lyrics and Simple Minds wrote the music. Eight songs would feature on Sons and Fascination, while seven featured on Sister Feelings Call. When it came to recording Sons and Fascination and Sister Feelings Call, John Leckie had been replaced by Steve Hillage, of Genesis and Gong.
Steve Hillage had much in common with Simple Minds; especially a shared love Krautrock. Having bonded over their love of Krautrock, Steve Hillage got to work, and began to change Simple Minds’ sound. This included changing the position of the rhythm section. They were given a much more prominent place in the mix. The rhythm section was louder, driving and anchoring the arrangements along. Other instruments were panned across the arrangement. Sometimes, they were positioned in what seemed like an unlikely place for a guitar or vocal. Two examples are the positions of Jim Kerr’s vocal The American and Sweat In Bullet. Other times, instruments are placed so that they play their part in what’s an atmospheric backdrop. This was very different to John Leckie’s approach. However, the million Dollor question was would it result in a change of fortune for Simple Minds?
When the reviews of Sons and Fascination and Sister Feelings Call were published this seemed debatable. Both albums divided the opinion of critics. What critics agreed, was that Simple Minds were moving more towards the mainstream. The song structures were much more conventional, and the songs more melodic. However, it seemed that Simple Minds still were unable to record a cohesive album. Reviews of Sons and Fascination ranged from mixed to favourable. Sister Feelings Call really divided the opinion of critics. Their reviews ranged from favourable to unfavourable. There was no middle ground. It seemed that Sister Feelings Call was Marmite music, critics either liked or loathed the album. Ironically, as is often the case, history was later rewritten and many critics have revised their opinion on both albums.
The release of Sons and Fascination and Sister Feelings Call were scheduled for 12th of September 1981. Initially, Virgin Records decided to package the two albums as double album. In Britain, Sons and Fascination and Sister Feelings Call reached number eleven and were eventually certified gold. Elsewhere, Sons and Fascination and Sister Feelings Call reached number seven in Sweden and four in Switzerland. This was the first time a Simple Minds album had charted in these countries. It was a similar case in Australia, where Sons and Fascination and Sister Feelings Call reached thirty-one. Maybe, Simple Minds’ luck was changing?
It certainly looked like it. In 1981, The American was chosen as the lead single from Sister Feelings Call, and reached fifty-nine in the UK. This was slightly disappointing, considering it was one of the album’s highlights.
Love Song was then chosen as the lead single from Sons and Fascination, and reached forty-seven in the UK; seventeen in Australia; sixteen in Sweden and thirty-eight in Canada. Simple Minds had a minor hit on three continents. To build on the success of Love Song, Sweat Bullet was released as a single. It reached fifty-two in the UK; forty-seven in New Zealand and seventeen in Sweden. Simple Minds’ music was gradually reaching a wider audience. So a decision was made to rerelease one Simple Minds’ finest singles, I Travel. However, lightning struck twice, and the single failed to trouble the charts. This was disappointing. However, the events of 1982 would more than makeup for this.
Following the release of Sons and Fascination and Sister Feelings Call, set out on tour. This time, drummer Brian McGee would be absent. He had left Simple Minds after recording Sons and Fascination and Sister Feelings Call. It was a decision that surely, would come back to haunt him.
While a replacement was found, Kenny Hyslop became a part-time member of Simple Minds. He headed out on the first part of Simple Minds’ Sons and Fascination and Sister Feelings Call tour. He would also feature on one of songs on their next album New Gold Dream (81–82–83–84).
New Gold Dream (81–82–83–84).
Having returned from touring Sons and Fascination and Sister Feelings Call, Simple Minds were faced with the prospect of beginning work without a permanent drummer in place. However, ex-Skids’ drummer Kenny Hsylop was proving to be a useful and interesting addition to Simple Minds’ lineup.
While the rest of Simple Minds were interested in Krautrock, Kenny Hsylop enjoyed funk, hip hop and dance music. His influence could be heard on Simple Minds next single, Promised You A Miracle.
The five members of Simple Minds wrote Promised You A Miracle. Since then, allegations have been made the that inspiration for the riff came from an old funk track that had been played on the tour bus during the Sons and Fascination and Sister Feelings Call tour. That however, is just mere speculation. What isn’t in doubt, is that Promised You A Miracle was the first true pop song that Simple Minds wrote.
Promised You A Miracle was recorded with producer Peter Walsh at Townhouse Studios. At the heart of the song’s success is the interplay between Kenny Hyslop’s thunderous electronic beats, Charlie Burchill’s guitar riff and the hook that comes courtesy of Mick MacNeil’s keyboards. Add to that, Jim Kerr’s swaggering vocal, and the result was a slice of perfect pop. It was a stepping stone from Simple Minds old new sound to the stadium rock years.
When Simple Minds released the anthemic Promised You A Miracle it reached number eleven in the British charts. This was Simple Minds biggest British hit single. Soon, Promised You A Miracle took Europe by storm.
In Belgium, Promised You A Miracle reached number thirty-one; seventeen in Sweden; twenty-four in the Netherlands and twenty-five in the Republic Of Ireland. Further afield, Promised You A Miracle reached number eleven in Australia; nine in New Zealand and sixty-five in the US Billboard Hot Dance Charts. This was the start of Simple Minds transformation from new wave pioneers, to stadium rock superstars.
Having released what many critics felt was one of the finest song of their career so far, Simple Minds’ thoughts turned to their fifth album. However, a problem had arisen. Drummer Kenny Hyslop the band felt, wasn’t fitting in. What didn’t help, was his apparent suspicion of record companies. So Kenny Hyslop left Simple Minds in February 1982, five months after he joined on a temporary basis. In that short space of time, he had written his name in Simple Minds’ history. Now the search began for a successor.
Given Simple Minds’ star was in the ascendancy, plenty of drummers were interested in the job. Finally, Simple Minds settled on former Café Jacques drummer Mike Ogletree. Moving from a progressive rock band like Café Jacques, to Simple Minds could’ve been a culture shock for lesser drummers than Mike Ogletree. However, he quickly fitted in.
Having made his way to a converted barn in Perthshire, where Simple Minds were working on their next album Mike Ogletree got to work. By then, the four remanning members of Simple Minds had written eight new tracks. When they were combined with Promised You A Miracle, they became New Gold Dream (81–82–83–84). It was recorded in Perthshire and at Townhouse Studios, in London.
Recording began in Perthshire, where Mike Ogletree laid down the drum parts to what became New Gold Dream (81–82–83–84). Simple Minds then moved to Townhouse Studios to join producer Peter Wallsh, and complete New Gold Dream (81–82–83–84).
That was where Peter Walsh introduced Simple Minds to London born, session musician, Mel Gaynor. Peter Walsh assured Simple Minds that twenty-two year old Mel Gaynor was an experienced drummer. He had previously played with various artists and bands. So it was agreed that Mel Gaynor would sit in on the sessions, and learn the drum parts from Mike Ogletree, who would switch to percussion.
With the decision made to bring onboard Mel Gaynor as drummer, now he had to learn how to replicate Mike Ogletree’s drum parts. This was easier said than done, as the two drummers had very different playing styles. Eventually, three different drummers were credited with playing on New Gold Dream (81-82-83-84).
Mike Ogletree played drums on three tracks, Colours Fly and Catherine Wheel, Somebody Up There Likes You and New Gold Dream (81-82-83-84). Mel Gaynor featured on Someone Somewhere In Summertime, Big Sleep, New Gold Dream (81-82-83-84), Glittering Prize, Hunter and The Hunted and The King Is White and In The Crowd. The other drummer who featured on New Gold Dream (81-82-83-84), was Kenny Hyslop who played on Promised You A Miracle. These three drummers slotted into the rhythm section with bassist Derek Forbes and guitarist Charlie Burchill. Jim Kerr added the vocals on the eight tracks. Joining Simple Minds were a couple of guest artists.
This included Herbie Hancock, who played keyboards on Hunter and The Hunted. Sharon Campbell added vocals on Colours Fly and Catherine Wheel and Glittering Prize. With these parts recorded, New Gold Dream (81-82-83-84). It would be released on 13 September 1982. Before that, Simple Minds headed back out on tour.
The Sons and Fascination and Sister Feelings Call was a two-part tour. Simple Minds headed out on tour, having completed New Gold Dream (81-82-83-84). Their timing couldn’t have been better, as they had just enjoyed the biggest hit single of their career, Promised You A Miracle. However, the followup Glittering Prize, came close to replicating that success.
Four months after the release of Promised You A Miracle, Glittering Prize was released as the followup in August 1982. It reached number sixteen in Britain; number four in Sweden; eleven in the Republic Of Ireland; nine in Australia and four in New Zealand. Word was spreading about Simple Minds’ new sound. This was just in time for the release of New Gold Dream (81–82–83–84).
Before that, critics reviewed New Gold Dream (81–82–83–84). They lavished praise on what was, by far, the best album of Simple Minds career. It was the most cohesive and complete album of their five album career. Simple Minds combined their old new wave sound with synth pop, electronica, pop and rock. The result was a carefully crafted album where Simple Minds came of age musically.
Among New Gold Dream (81–82–83–84)’s highlights, were the pure pop anthems Promised You A Miracle, Glittering Prize and Someone Somewhere In Summertime. They were hook-laden, stadium rockers that transformed Simple Minds from also rans to superstars.
When New Gold Dream (81–82–83–84) was released on 13th September 1982, life was never going to be the same for Simple Minds. New Gold Dream (81–82–83–84) reached number three in Britain, and was certified platinum. Across the English Channel, France, New Gold Dream (81–82–83–84) reached thirty in France and was certified gold. Elsewhere, in Europe, New Gold Dream (81–82–83–84) reached thirty-one in the Netherlands and nine in Sweden. Further afield, Simple Mind’s popularity was growing.
In Australia, New Gold Dream (81–82–83–84) reached number three, and in New Zealand number two. However, belatedly, Simple Minds made a breakthrough in North America with New Gold Dream (81–82–83–84). Not only did it reach sixty-five in the US Billboard 200, but was certified gold in Canada. For Jim Kerr, Charlie Burchill, Michael MacNeil and Derek Forbes, it was a New Gold Dream come true.
The only disappointment was when one of Simple Minds’ most anthemic tracks, Someone Somewhere in Summertime, stalled at number thirty-six in Britain. It did reach thirty-six in Australia, and sixteen in the Republic Of Ireland. Apart from that, things had never been better for Simple Minds.
Or so it seemed. Simple Minds had been having problems with drummers. On New Gold Dream (81–82–83–84), the problem was, they didn’t have one. So, they’d used two drummers for the recording of New Gold Dream (81–82–83–84). Mike Ogletree played on three tracks, while Mel Gaynor played on the other five tracks and Kenny Hyslop who played on Promised You A Miracle. However, it was Mike Ogletree that headed out on tour with Simple Minds, to tour New Gold Dream (81–82–83–84). Mike played on the first leg of the tour, and left in November 1982 to form Fiction Factory. That presented a problem for Simple Minds.
The answer to their problem was Mel Gaynor. He had played on New Gold Dream (81–82–83–84). So, he knew many of the songs. Mel Gaynor was brought onboard, and became Simple Minds’ first non-Scottish member. However, Mel Gaynor’s drumming would prove a crucial part of Simple Minds future sound and success.
During the summer of 1983, Simple Minds played a series of high profile concerts. Many were in large stadiums, in front of fifty thousand people. This was no place for shrinking violets. So, Simple Minds cranked up the volume and went for it. Little did anyone realise, that Simple Minds were now bona fide stadium rockers.
One new song epitomised Simple Minds’ new sound… Waterfront. With its pulsating bass line, thunderous drums, and Jim’s strutting, preening vocal, Simple Minds literally swaggered their way through what was their latest anthem. This raised a few eyebrows. Were Simple Minds in the process of reinventing themselves?
That proved to be the case, with Simple Minds becoming one of the most successful stadium rock bands of the eighties and nineties. They could do no wrong from 1984s Sparkle In The Rain through 1985s Once Upon A Time, 1989s Street Fighting Years and 1991s Real Life. During that period, Simple Minds enjoyed a glittering career, with everything they touched turning to gold and platinum. From the UK, Europe, North America and Australia, Simple Minds were one of the biggest selling bands. However, when Good News From The Next World was released in 1995, it “only” certified gold in the UK, Germany, France and Switzerland, the writing was on the wall for Simple Minds.
Never again did they reach the same heights as they enjoyed between 1984 and 1995. For thirteen years, Simple Minds had been The Untouchables. However, that would never have been passible without the album that started this run of critically acclaimed and commercially successful albums, New Gold Dream (81–82–83–84). It was recently rereleased by Universal as a two disc Deluxe Edition.
The Deluxe Edition of New Gold Dream (81–82–83–84) features the album on disc one, and twelve extended mixes on disc two. There’s an instrumental of Sending Out An Angel, a club mix of Promised You A Miracle and even a German 12” remix of New Gold Dream without the drums. That’s not forgetting US remix and a dub remix of Promised You A Miracle. In total, there are four versions of Promised You A Miracle, two versions of Glittering Prize and just the one version of New Gold Dream and Someone Somewhere In Summertime. For anyone who likes remixes, then disc two of New Gold Dream (81–82–83–84) will be a veritable smorgasbord. However, for most people, the main event is disc one, and the newly remastered version of New Gold Dream (81–82–83–84).
The Deluxe Edition of New Gold Dream (81–82–83–84) features the album on disc one, and twelve extended mixes on disc two. There’s an instrumental of Sending Out An Angel, a club mix of Promised You A Miracle and even a German 12” remix of New Gold Dream without the drums. That’s not forgetting US remix and a dub remix of Promised You A Miracle. In total, there are four versions of Promised You A Miracle, two versions of Glittering Prize and just the one version of New Gold Dream and Someone Somewhere In Summertime. For anyone who likes remixes, then disc two of New Gold Dream (81–82–83–84) will be a veritable smorgasbord. However, for most people, the main event is disc one, and the newly remastered version of New Gold Dream (81–82–83–84).
After struggling for four albums, Simple Minds came of age musically on New Gold Dream (81–82–83–84). Now, Simple Minds were well on their way to superstardom. There was no stopping them as strutted and swaggered their ways through million selling albums of stadium rock. At last, Simple Minds were fulfilling their potential. For the next five albums, Simple Minds were one of the biggest and most successful British bands of the eighties and nineties. They enjoyed many a Glittering Prize, between the release of New Gold Dream (81–82–83–84) in 1982 and Good News From The Next World in 1995. However, two Simple Minds albums stand head and shoulders above the rest; Gold Dream (81–82–83–84) which transformed Simple Minds’ career; and Sparkle In The Rain, which completed the transformation of Simple Minds’ career to stadium rockers and fully fledged colossi of planet rock.
SIMPLE MINDS-NEW GOLD DREAM (81-82=83-84) DELUXE EDITION.
JEANETTE JONES-DREAMS ALL COME TRUE.
JEANETTE JONES-DREAMS ALL COME TRUE.
The history of soul music is littered with artists who could’ve and should’ve gone on to greater things, but for whatever reason, commercial success and critical acclaim passed them by. That, sadly, was the case with Jeanette Jones.
She had talent in abundance, and a voice that was a mixture of power, passion, emotion and sheer soulfulness. Sadly, Jeanette Jones’ recording career was all too brief, and amounts to just one single, Darling, I’m Standing By You. It was released on the Golden Soul label in 1969, and the two years later, was reissued by Kent. Nothing came of the single.
Jeanette Jones’ last recording session was in 1974, when she recorded a publishing demo for Barry Goldberg. Sadly, that was the last time she entered a recording studio. It was also the end of Jeanette Jones’ musical career. For Jeanette Jones, the dream was over.
Since then, Jeanette Jones has remained an enigmatic and mysterious figure. Very little is known of her life pre and post music. Nowadays, it is thought that Jeanette Jones lives quietly in San Francisco. It’s also where Jeanette Jones recorded the twelve songs that feature on the compilation Dreams All Come True. It was recently released on white vinyl by Kent Soul, an imprint of Ace Records. The twelve songs on Dreams All Come True document Jeanette Jones’ career at Leo Kulka’s Golden State Recorders. That however, is only part of Jeanette Jones’ story.
Details of Jeanette Jones’ early life are sketchy. It’s thought that she was born and brought up in San Francisco. That was where Jeanette Jones first discovered music.
Just like many future soul singers, Jeanette Jones first started singing in church. That proved to be Jeanette Jones’ gateway into music. However, it was with the Voices Of Victory gospel choir that Jeanette Jones’ first came to prominence.
Cora Wilson had formed The Voices Of Victory gospel choir in 1962. Hers was no ordinary choir though. The Voices of Victory gospel choir featured sixty singers, who travelled the West Coast in their own bus. They sang in churches and at gospel conventions. It was an impressive sight and sound. Especially when the soloists enjoyed their moment in the spotlight. By 1965, one of the soloists was Jeanette Jones.
She was the owner of a impressive and powerful voice. When Jeanette Jones stepped into the spotlight, she combined, power, passion and emotion. Given the her vocal prowess, it was no surprise that Jeanette Jones was one of the stars of The Voices Of Victory gospel choir. Everyone who heard them realised this. So too would Leo Kulka at Golden State Recorders.
Leo Kulka first encountered Jeanette Jones in November 1965. Cara Wilson had booked Golden State Recorders to record an album by The Voices Of Victory gospel choir. It was to be recorded at Golden State Recorders, and then a limited number of albums would be pressed. They would be sold after concerts. In a way, Cara Wilson was just testing the water, to see if there was a market for albums featuring her choir. However, Leo Kulka felt she was underselling her choir.
As the recording session got underway, at Golden State Recorders, Leo Kulka realised how good The Voices Of Victory gospel choir were. He knew they were recorded as one of the best choirs in the state, and when he heard them in the studio realised that their music deserved to be heard by a much wider audience. So did the voice of one of the choir’s soloists, Jeanette Jones.
Her voice stopped Leo Kulka in his tracks. It was a cut above the rest of the soloists. Jeanette Jones was capable of singing with power, but was always in control as she delivered the lyrics with emotion and sincerity. From the moment Leo Kulka heard Jeanette Jones sing, he promised himself he was going to sign her. So once the recording session was over, Leo Kulka approached Jeanette Jones, with a view to signing her.
Jeanette Jones wasn’t interested in signing a recording contract. She had no intention in crossing over, and instead, wanted to continue to do what she saw as the “Lord’s work” with The Voices Of Victory gospel choir. This must have come as a surprise to Leo Kulka.
Back in 1965, most singers, including gospel singers, dreamt of signing a recording contract. Even if this meant crossing over from gospel to secular music. Jeanette Jones it appeared was the exception. That was until late 1967.
It wasn’t until late 1967, that Leo Kulka next encountered Jeanette Jones. By then, things had changed for Jeanette Jones. Not only had she crossed over, and was singing secular music, but she also had acquired a manager, Jay Barrett.
He didn’t come from a musical background. Instead, he was a banker who was based in Palo Alto. Although a relative newcomer to the music industry, Jay Barrett wasn’t content to be a manager, he also dreamt of forging a career as a songwriter. Jeanette Jones he hoped would go on to record some of these songs. So he went away to work on a proposal.
By then, Jeanette Jones had signed to Leo Kulka’s Golden Soul label. Leo Kulka was vastly experienced, and would be able to guide Jeanette Jones through the early stages of her recording career. Soon, though, Soon, Jay Barrett came up with a proposal. It stated that if Jeanette Jones was willing to record Jay Barrett’s songs, then he was willing to part finance the recording of a demo. This would be recorded Leo Kulka’s Golden State Recorders. Leo Kulka agreed to this, and began preparing for his first session with Jeanette Jones.
The recording session was scheduled to take place in February 1968. No expense was spared, and Leo Kulka began to put together an extensive backing band. There was a problem though. The songs that Jay Barrett had written were unsuited to Jeanette Jones in their present form.
They were poppy, and sounded like a remnant from earlier in the sixties. Soon, though, Leo Kulka had worked out a solution, backing vocalist. So Leo Kulka put in a call to Ramona King and her brother Cleo.
Ramona King’s career began in 1962, when she signed to Eden Records. Since then, she had spent time at Warner Bros. Records, Amy and most recently, Action Records. Leo Kulka explained that he needed backing vocalists to accompany Jeanette Jones and help her add some much needed soulfulness to Jay Barrett’s songs. The Kings agreed, and when the recording sessions began, found themselves at Golden State Recorders.
At that first recording session, Jeanette Jones recorded a couple of Jay Barrett songs, Jealous Moon and Quittin’ The Blues. With the large ensemble accompanying her, the two songs were soon in the can, They were produced by Leo Kulka, with Jay Barrett receiving a co-production credit. The next step, was to try and interest another label in the songs.
Leo Kulka began shopping Jealous Moon and Quittin’ The Blues to various labels. However, none of the labels expressed an interest in releasing the songs. For Leo Kulka, this was a huge disappointment. So he dug deep into his contact book.
The man he decided to consult was Larry Goldberg, an independent producer based in Los Angeles. Larry Goldberg was part talent scout, part producer. Part of his time was spent finding and developing artists. Other times, he shopped his artists to major labels. Just like Leo Kulka, Larry Goldberg was vasty experienced. He also thought he might have the answer to Leo Kulka’s problem.
The answer Larry Goldberg thought, might lie in three backing tracks. This included the Ben Raleigh penned Break Someone Else’s Heart. Another possibility was Andy Badale and Albert Elias’ I Want Action, which had recently given Ruby Winters a hit. The third and final songs was Sam Russell’s Cut Loose, which had been arranged by H.B. Barnum. Having listened to the three pop soul cuts, Leo Kulka agreed that they had the potential to solve his problem. So he gave Jeanette Jones a call, and she made her way to Golden State Recorders.
Although Jeanette Jones was signed to Leo Kulka’s Golden Soul label, she was still singing with the Voices Of Victory gospel choir. Maybe she was keeping her options open, given the life of a professional singer could sometimes, be perilous? Careers were often short, unpredictable and unprofitable. Jeanette Jones must have realised this after her first recording session. Now was time to try once again.
Having listened to the trio of backing tracks, Jeanette Jones set about laying down vocals. She combined power and emotion, delivering an almost defiant vocal on Break Someone Else’s Heart. Then on Cut Loose, Jeanette Jones delivers a vocal tour de force, as horns and harmonies accompany her vocal on this stomper. On the final song, I Want Action Jeanette Jones again combines power and emotion as she delivers a needy, hopeful vocal. Once the vocals were recorded, Jeanette Jones had had done her part. Now it was over to Leo Kulka.
His job was to shop the songs to various labels. Given the quality of the songs, Leo Kulka must have been confident of securing a deal for Jeanette Jones. Despite his best efforts, none of the labels he approached were interested in releasing the songs. Lightning had struck twice for Jeanette Jones.
She returned to the Voices Of Victory gospel choir. By the spring of 1969, Jeanette Jones was now fronting the Voices Of Victory gospel choir. They were one of the biggest and most successful gospel choirs on the West Coast. Despite this, Jeanette Jones returned to Golden State Recorders.
Still Jeanette Jones hadn’t given up on her dream of making a career out soul music. So she headed to Golden State Recorders. That was where she first encountered singer-songwriter Wally Cox. Leo Kulka had asked him to write a song that would showcase Jeanette Jones’ conferable vocal talents. He delivered a trio of songs, including Darling, I’m Standing By You. It was tailor made for Jeanette Jones.
At Golden State Recorders, Jeanette Jones prepared to record Darling, I’m Standing By You. With Leo Kulka producing, Jeanette Jones delivered a spine-tingling, soul-baring, testifying vocal. Backing vocalists accompany her every step of the way, as Jeanette Jones combines gospel and soul, on what was a career defining moment.
Meanwhile, Wally Cox went away and wrote two new songs. The Thought Of You was a beautiful mid-tempo ballad, that again, seemed tailor made for Jeanette Jones. She’s in a reflective mood, as she gives thanks for the love she’s found. Unlike some of the soul being released in 1969, it had a much more modern, contemporary sound. Wally Cox’s other composition was I’m Glad I Got Over You, which features a defiant Jeanette Jones as she delivers another vocal powerhouse against an urgent, driving arrangement. It’s another song with a much more contemporary sound, that could’ve and should’ve transformed Jeanette Jones’ career. Leo Kulka realised this.
So much so, that he was willing to release ‘Darling, I’m Standing By You and The Thought Of You’ on his own record label, Golden Soul. Leo Kulka hoped that the local R&B and gospel an radio stations would pickup on the single. This Leo Kulka hoped, would result in him being able to cut a distribution deal with a major label. That was the plan.
Leo Kulka had 1,000 copies of Darling, I’m Standing By You and The Thought Of You pressed. These copies he hoped would sell out, and the single would be picked up radio stations in the San Francisco area. However, the 1,000 copies of Darling, I’m Standing By You failed to sell, and Leo Kulka was back to square one.
While many people would’ve called it a day, Leo Kulka decided to use the single to shop Darling, I’m Standing By You to major labels. He took the single to Atlantic, but they turned the song down. Motown then passed on Darling, I’m Standing By You. Things weren’t looking good for Darling, I’m Standing By You, and Jeanette Jones’ career.
She had been trying to make a breakthrough since 1967, and was no nearer to doing so. Things however changed in 1971, when the Bihari brother agreed to release some of Leo Kulka’s releases on their Kent Records and Modern Records’ labels. One of the singles they chose to release was Jeanette Jones’ Darling, I’m Standing By You. Maybe, Jeanette Jones’ luck was changing?
Alas it wasn’t to be. Darling, I’m Standing By You failed commercially, and quickly, the single disappeared without trace. For Leo Kulka and Jeanette Jones it was a frustrating time. The single, Leo Kulka felt, hadn’t received sufficient promotion by Modern Records. So it was no surprise when it failed for commercially. By then, Jeanette Jones was beginning to rethink her future.
Following the commercial failure of Darling, I’m Standing By You, Jeanette Jones started to work as a session singer. She also worked with Mike Bloomfield on his Mill Valley Bunch project. They released their one and only album Casting Pearls on Verve Records in 1972. Soon, though, Jeanette Jones began to look beyond music.
Jeanette Jones began to do some voiceover work, and was chosen as the voice of the Swiss Colony Wine radio campaign. It was also around this time, that Jeanette Jones began to do some modelling. This kept her busy, and gradually, Jeanette Jones seemed to lose interest in music. Indeed, she only returned to Golden State Recorders one more time.
This was in 1974, when Jeanette Jones headed to Golden State Recorders to record a publishing demo for Barry Goldberg, who a friend of both Mike Bloomfield and Leo Kulka. During that last session, Jeanette Jones cut two tracks penned by Gerry Goffin and Barry Goldberg. The first was You’d Be Good For Me a pulsating slice of uber funky music. Very different was What Have You Got To Gain By Losing Me? It’s a truly beautiful, heart wrenching ballad that showcased Jeanette Jones’ ability to breath life, meaning and emotion into a song. Sadly, after the publishing demo for Barry Goldberg, Jeanette Jones turned her back on music.
Since then, nothing has been heard of her, and the Jeanette Jones’ story is a case of what might have been. She could’ve and should’ve enjoyed commercial success and critical acclaim. Jeanette Jones certainly didn’t lack talent. Quite the opposite
Jeanette Jones was a hugely talented singer, who had the ability to breath life, meaning and emotion into lyrics. She could combine power and passion, and seamlessly switch between ballads and uptempo tracks. Despite her undoubted talent, sadly, Jeanette Jones never made a breakthrough. It was a case of what might have been.
That is despite Leo Kulka championing Jeanette Jones. He produced her, and then shopped the songs to bigger labels. Sadly, only once did a single get picked up by a bigger record, Darling, I’m Standing By You. Even when that happened in 1971, Modern Records didn’t promote the single sufficiently. Maybe this lead to Jeanette Jones considering her future?
After four years struggling to make a breakthrough, maybe reality kicked in and Jeanette Jones realised that not all dreams come true? It was certainly around this time that Jeanette Jones began to work as a session singer. After this, the only time Jeanette Jones returned to a recording studio was to record a publishing demo for Barry Goldberg, Ironically, during that session, Jeanette Jones recorded one of her finest songs What Have You Got To Gain By Losing Me? It’s a poignant reminder of Jeanette Jones, and features on Dreams All Come True, which was recently released on white vinyl by Kent Soul, an imprint of Ace Records. The twelve tracks on Dreams All Come True, also document what was a case of what might have been.
What if Jeanette Jones has signed to Leo Kulka’s Golden State in 1965, when he recorded The Voices Of Victory gospel choir? However, Jeanette Jones wanted to continue doing the “Lord’s work.” Maybe by the time she changed her mind in 1967, it was too late? Music was changing, and changing fast. Suddenly the musical landscape was totally different. There is also the possibility that Jeanette Jones was neither driven nor determined enough to make a career out of music. Deep down, maybe Jeanette Jones knew that enjoying a successful career as singer was a long shot, and very few succeeded? That would be ironic, as Jeanette Jones had what it took to enjoy a long and successful career in music. Dreams All Come True is proof of this.
JEANETTE JONES-DREAMS ALL COME TRUE.
TRIUMPH AND TRAGEDY, THE STEVIE RAY VAUGHAN STORY.
TRIUMPH AND TRAGEDY, THE STEVIE RAY VAUGHAN STORY.
Stevie Ray Vaughan’s career is a story of triumph and tragedy. He spent eleven years struggling to make a breakthrough. During that period, Stevie Ray Vaughan spent six years as a sideman. This was akin to a musical apprenticeship for Stevie Ray Vaughan. Having served his apprenticeship, Stevie Ray Vaughan headed out on his own in 1977.
Stevie Ray Vaughan formed Triple Threat Revue, who would later, become Double Trouble. They announced their arrival with a barnstorming set at 1982s Montreux Jazz Festival. This resulted in Stevie Ray Vaughan and Double Trouble being signed to Epic.
Just over a year later, Stevie Ray Vaughan and Double Trouble released their debut album Texas Flood in 1983. It went on to sell over two million copies, and was certified platinum. This was triumph in the story of Stevie Ray Vaughan. The tragedy came just seven years later.
On August 27th 1990, tragedy struck, when Stevie Ray Vaughan was killed in a helicopter crash. The Texan blues man was just thirty-six, and had only enjoyed seven years in the spotlight. During that period, it seemed that Stevie Ray Vaughan and Double Trouble could do no wrong. They had released albums sold over eight million albums. It was a far cry from when Stevie Ray Vaughan dropped out of high school, Stevie Ray Vaughan, and embarked upon life as a blues man.
College or university Stevie Ray Vaughan decided, wasn’t for him. He had known that for a while. Maybe longer than he realised? After all, Stevie Ray Vaughan had been playing the guitar most of his young life.
Stevie Ray Vaughan was born in Dallas, Texas on October 3rd 1954. After watching his brother Jimmie play his guitar, seven year old Stevie Ray Vaughan picked up a guitar for the first time. Soon, he was hooked, and was determined to master the guitar.
By the time Stevie Ray Vaughan, he had mastered the guitar, and music became more important than getting an education. Eventually, he began to think of making a living out of music. After all, neither college nor university Stevie Ray Vaughan decided wasn’t for him. He had known that for a while. Instead, he wanted to play the blues. This many thought was just a pipe dream, a phase he was going through and eventually, Stevie would settle down. However, in 1971, Stevie Ray Vaughan dropped out of hight school and embarked upon a career as a blues man.
Ever since Stevie Ray Vaughan dropped out of high school in 1971, he had been playing the blues. Having played in a series of bands, Stevie’s break came when he started playing with Marc Benno’s band The Nightcrawlers. After The Nighcrawlers, Stevie played with Danny Freeman in The Cobras. For Stevie, this was all part of his musical apprenticeship. Then in 1977, Stevie Ray Vaughan went from sideman to bandleader, when he formed Triple Threat Revue.
Triple Threat Revue would later become Double Trouble. This came about, when Stevie Ray Vaughan brought onboard the rhythm section of drummer Chris Layton and bassist Tommy Shannon. It was with Double Trouble at his side, that Stevie Ray Vaughan announced his arrival at 1982s Montreux Jazz Festival.
That night, at 1982s Montreux Jazz Festival, Stevie Ray Vaughan and Double Trouble announced their arrival. Stevie, playing vintage guitars, eschewed the use of effects. Effects were used sparingly during his performance. While Stevie turned his back on effects, he and Double Trouble liked to crank the sound up. To do this, they combined a series of amplifiers. This made the audience sit up and take notice. What they saw was a a blistering, virtuoso performance. By the time Stevie Ray Vaughan and Double Trouble left the stage, at 1982s Montreux Jazz Festival their star was in the ascendancy.
Eleven months later, Stevie Ray Vaughan and Double Trouble released their debut album Texas Flood on Epic. It sold over two million copies, and was certified double platinum. This was the start of the rise and rise, of Stevie Ray Vaughan and Double Trouble.
Texas Flood.
Before they signed to Epic, Stevie Ray Vaughan and Double Trouble headed to Jackson Browne’s recording studio in Los Angeles. Between 22nd to 24th November 1982, Stevie Ray Vaughan and Double Trouble recorded ten tracks that would become their debut album, Texas Flood.
At Jackson Browne’s recording studio, Stevie Ray Vaughan and Double Trouble hooked up with engineer Richard Mullen. He would co-produced Texas Flood with Stevie Ray Vaughan and Double Trouble.
Texas Flood featured ten tracks. Five were penned by Stevie, who also cowrote Dirty Pool with drummer Doyle Bramhall. Along with covers of Howlin’ Wolf’s Tell Me and Buddy Guy’s Mary Had a Little Lamb, these tracks became eventually become Texas Flood.
On the first of the three days at Jackson Browne’s recording studio, Stevie Ray Vaughan and Double Trouble spent setting up their equipment. The next two days, Stevie Ray Vaughan and Double Trouble recorded what would become Texas Flood. Now all Stevie Ray Vaughan and Double Trouble needed, was a label to release Texas Flood.
In early 1983, Epic signed Stevie Ray Vaughan and Double Trouble. Epic having heard the master tapes of Texas Flood, decided it needed remastered. So, a $65,000 advance was given to remaster the recordings. The advance also allowed Stevie to lay down his vocals at Riverside Sound in Austin, Texas. Then on June 13th 1983, Texas Flood was released.
When Texas Flood was released, it was mostly, well received by critics. No wonder, Stevie Ray Vaughan was easily, one of music’s most exciting guitarists. However, Rolling Stone magazine and Robert Christgau, forever the contrarians, weren’t won over by Texas Flood. This didn’t affect sales of Texas Flood, which reached number thirty-eight in the US Billboard 200. Having sold two million copies, Texas Flood was certified double platinumin America and Canada. Following the success of Texas Flood, Stevie Ray Vaughan and Double Trouble headed out on a gruelling tour.
On 20th July 1983, Stevie Ray Vaughan and Double Trouble found themselves in Toronto. That night, they played at The El Mocambo. The concert was broadcast live, with Stevie Ray Vaughan and Double Trouble, billed as a A Legend In The Making.
Stevie Ray Vaughan and Double Trouble made their way through eight tracks. They were a mixture of original tracks and cover versions. Tracks from Texas Flood and Stevie Ray Vaughan and Double Trouble’s sophomore album Couldn’t Stand the Weather, sat side-by-side. These eight tracks were a tantalising taste of Stevie Ray Vaughan and Double Trouble live. Following the concert at The El Mocambo, the tour continued, before Stevie Ray Vaughan and Double Trouble returned to the studio in January 1984.
Couldn’t Stand the Weather.
Just like Texas Flood, Couldn’t Stand the Weather, Stevie Ray Vaughan and Double Trouble’s sophomore album Stevie penned half the tracks. He wrote four of the eight tracks. The other four tracks were cover versions, including a cover of Jimi Hendrix’s Voodoo Child (Slight Return). These eight tracks were recorded at The Power Station, New York.
Over nineteen days at The Power Station, Stevie Ray Vaughan and Double Trouble recorded Couldn’t Stand the Weather. Producing Couldn’t Stand the Weather, were Stevie Ray Vaughan and Double Trouble, Richard Mullen and Jim Capter. From the minute Stevie Ray Vaughan and Double Trouble laid down their cover of Tin Pan Alley, it was obvious to those in the control room that, here was a band at the top of their game.
That proved to be the case. On the release of Couldn’t Stand the Weather, on 15th May 1984, Stevie Ray Vaughan and Double Trouble’s fusion of blues rock, electric blues and Texas rock, won friends and influenced people. This included the programmers at MTV. They put the video for Couldn’t Stand the Weather on heavy rotation. For Stevie Ray Vaughan and Double Trouble this meant their music reached a much wider audience.
Then when critics heard Couldn’t Stand the Weather, it received widespread critical acclaim. Stevie Ray Vaughan and Double Trouble were now being hailed as the saviour of the blues. It had fallen out of fashion long ago. The problem was, the blues hadn’t evolved since the advent of the electric guitar. As a result, the blues was on life-support and close to breathing its last. Then came Stevie Ray Vaughan and Double Trouble, a blue group who were on MTV. This was as game-changer.
Especially when Couldn’t Stand the Weather was released on May 15th 1984, and reached number thirty-one on the US Billboard 200 charts. This resulted in Couldn’t Stand the Weather being certified double platinum in America and platinum in Canada. It seemed that Stevie Ray Vaughan and Double Trouble could do no wrong.
Soul To Soul.
In March 1985, Stevie Ray Vaughan and Double Trouble returned to the studio. This time, they headed to the Dallas Sound Lab. Between March and May 1985, Stevie Ray Vaughan and Double Trouble recorded the ten tracks that became Soul To Soul.
For Soul To Soul, Stevie only penned four of the ten tracks. They were Only Say What, Ain’t Gone ‘N’ Give Up On Love, Empty Arms and Life Without You. Drummer Doyle Bramhall contributed Lookin’ Out the Window and Change It. The other tracks were cover versions, including Willie Dixon’s You’ll Be Mine and Earl King’s Come On. Just like Texas Flood, Soul To Soul was co-produced by Stevie Ray Vaughan and Double Trouble and Richard Mullen. Soul To Soul would be released on September 30th 1985. However, before that, Stevie Ray Vaughan and Double Trouble made a triumphant return to where it all began, the Montreux Jazz Festival.
Three years after making their breakthrough at 1982s Montreux Jazz Festival, Stevie Ray Vaughan and Double Trouble returned to where it all began. They played a storming ten song set. That night, just like three years earlier, Stevie Ray Vaughan and Double Trouble had the audience enthralled. Here was the most exciting blues band in the world. Since their Montreux debut, Stevie Ray Vaughan and Double Trouble had sold four million albums in America alone. Before long, four would become five.
On the release of Soul To Soul, it was well received by critics. Soul To Soul received the same critical acclaim as their two previous albums. Stevie Ray Vaughan and Double Trouble were regarded as the most exciting blues band in the world. They were also one of the most successful.
Change It, one of two singles released from Soul To Soul, found flavour with MTV programmers. It reached number seventeen on the US Rock charts. Despite this, Soul To Soul wasn’t as big a commercial success as Stevie Ray Vaughan and Double Trouble’s two previous albums.
Soul To Soul was released on September 30th 1985. However, the album reached number thirty-four in the US Billboard 200 charts, and was certified platinum. In Canada, where Stevie Ray Vaughan and Double Trouble’s two previous albums were certified platinum, Soul To Soul was only certified gold. This was a troubling time for Stevie Ray Vaughan and Double Trouble.
Live Alive.
After the release of Soul To Soul, it would be four years before Stevie Ray Vaughan and Double Trouble released another album. During this period, Stevie’s appetite for drink and drugs couldn’t be sated. After breakfast, Stevie would begin his daily diet of a quart of whiskey and a quarter ounce of cocaine. This was Stevie’s daily diet. It would’ve killed most people. Not Stevie. He continued to record and play live. One of Stevie Ray Vaughan and Double Trouble live performances was released in July 1986, as Live Alive.
Live Alive was a double album recorded during 1985 and 1986s Live Alive tour. Stevie Ray Vaughan and Double Trouble swagger their way through fourteen tracks on Live Alive. Despite his chaotic lifestyle, Stevie was still one of the best blues guitarists of his generation. Backed by the tightest of rhythm sections, Stevie unleashes a series of blistering performances. Whether it’s original songs or cover versions, they come alive in Stevie Ray Vaughan and Double Trouble’s hands. As a result, critics and record buyers were won over by Live Alive.
Most critics gave Live Alive positive reviews. A few critics disagreed. However, that’s not surprising. Live albums always divide the opinion or critics. Not record buyers. When Live and Alive was released in July 1986, it reached number fifty-two in the US Billboard 200 charts. Although this was the lowest chart placing of any Stevie Ray Vaughan and Double Trouble album, Live Alive was certified platinum in America and Canada. This would be the last album Stevie Ray Vaughan and Double Trouble would release for three years.
In Step.
By the time Stevie Ray Vaughan and Double Trouble returned with their fourth album, In Step, Stevie was a changed man. Gone was the hard living, wild man, with the insatiable appetite for drink and drugs. This was reflected in some of the songs on In Step.
For In Step, Stevie only wrote two tracks, Travis Walk and Riviera Paradise. However, Stevie cowrote four tracks with Doyle Bramhall. This included Wall of Denial and Tightrope, which reflect Stevie’s newfound sobriety. Along with covers of Willie Dixon’s Let Me Love You Baby, Buddy Guy’s Leave My Girl Alone and Howlin’ Wolf’s Love Me Darlin,’ these songs became In Step.
Recording of In Step began on January 25th 1989 and lasted right through to March 13th 1989. Further sessions took place at Kiva Sudios, Memphis, and then in Los Angeles at Sound Castle and Summa Studios, where Double Trouble and Jim Gaines co-produced In Step. Once In Step was finished, it was released on June 6th 1989.
When In Step was released on June 6th 1989, the album was well received by critics. Stevie Ray Vaughan and Double Trouble’s fused of blues, rock and soul on In Step, which was perceived as an incredibly honest, personal and autobiographical album. This appealed to record buyers.
On In Step’s release, it reached number thirty-three in the US Billboard 200 charts. This resulted in In Step being certified double platinum in America, and platinum in Canada. Stevie Ray Vaughan and Double Trouble were the most successful blues bands of the eighties,
Since 1983s Texas Flood, Stevie Ray Vaughan and Double Trouble had sold eight million albums. Sadly, In Step was the final Stevie Ray Vaughan and Double Trouble album released during Stevie’s lifetime.
Tragedy struck for Stevie Ray Vaughan on August 26th 1990. After playing two shows with Eric Clapton at the Alpine Valley Music Theatre, in East Troy, Wisconsin, some of the musicians were due to fly to Chicago. This included Stevie Ray Vaughan. He made his way to one of the four helicopters waiting on a nearby golf course. However, there was a problem.
Witnesses report that that night, the skies weren’t clear. Instead, there was fog, haze and low cloud. This was far from ideal flying conditions. Despite this, the helicopters took off. Joining Stevie Ray Vaughan in the third helicopter, were three of Eric Clapton’s entourage. Once the passengers and crew were ready, the Bell 206A JetRanger helicopter took off, en route for the Merge Field, in the Windy City at 12.50 a.m.
As the helicopter made its way from East Troy, Wisconsin to Merge Field, Chicago, the pilots were instructed to fly over a 1000-foot ski hill. Given the inclement weather conditions, this seemed a strange route. It had disastrous consequences.
By the time the helicopter took off from, it was now the 27th August 1990. As the helicopter climbed high into the night sky, it suddenly, veered to the left and crashed into the ski hill. It was later discovered that the helicopter crashed just fifty feet from the summit. For everybody on board it had been a case of so close, yet so far.
At 4.30 a.m, the Civil Air Patrol were told about the incident. It took them three hours to locate the crash site. When they did, they were able to ascertain that there were no survivors. That day, music lost one of its most talented and charismatic sons, Stevie Ray Vaughan.
The Texan blues man was only thirty-five. Stevie Ray Vaughan had only released four studio albums and one live album. However, these albums sold over eight million copies, making Stevie Ray Vaughan and Double Trouble the most successful blues bands of the eighties.
Stevie Ray Vaughan and Double Trouble almost single handedly, revived interest in blues music. Suddenly, there was a resurgence in interest in what was an almost a moribund musical genre. Not any more. Throughout the eighties, Stevie Ray Vaughan and Double Trouble’s unique brand of blues rock reached a new, and much wider audience. Playing an important part in the rise and rise of Stevie Ray Vaughan and Double Trouble was MTV.
A number of Stevie Ray Vaughan and Double Trouble’s tracks were on heavy rotation on MTV. Suddenly, a new generation had been introduced to the blues by Stevie Ray Vaughan and Double Trouble. They were their gateway to a whole wider body of work. However, tragically, Stevie Ray Vaughan and Double Trouble’s amounts to just the five albums released during Stevie Ray Vaughan’s lifetime.
Stevie Ray Vaughan and Double Trouble’s swan-song was In Step, which was released on June 6th 1989, some twenty-seven years ago. However, still, a new generation of musicians cite Stevie Ray Vaughan as an influence. No wonder; he was one of the greatest blues guitarists of his generation. Sadly, Stevie Ray Vaughan was only in the spotlight for seven years.
During the seven years that Stevie Ray Vaughan and Double Trouble’s star was in the ascendancy, they released four studio albums and one live album. Their swan-song was In Step, which was released in 1989. By then, Stevie had turned his life around. No longer was he living the rock ’n’ roll lifestyle.
Stevie Ray Vaughan was a changed man. Gone was the hard living, wild man, with the insatiable appetite for drink and drugs. The change in Stevie Ray Vaughan was reflected on In Step’s lyrics. It introduced the listener to a new, changed Stevie Ray Vaughan. They liked what they heard, and In Step reached number thirty-three in the US Billboard 200 charts. This resulted in In Step being certified double platinum in America, and platinum in Canada. Stevie Ray Vaughan and Double Trouble looked like becoming one of the biggest bands of the nineties. They had already sold over eight million copies between 1982 and 1989.
Sadly, that never happened. On August 27th 1990 Stevie Ray Vaughan was killed in a helicopter crash. He was only thirty-five years old. That day music lost one of its most charismatic and talented sons, Stevie Ray Vaughan. His life is one of triumph and ultimately tragedy, but one that will never be forgotten.
TRIUMPH AND TRAGEDY, THE STEVIE RAY VAUGHAN STORY.
THE SHORT-LIVED STORY OF FOTHERINGAY.
THE SHORT-LIVED STORY OF FOTHERINGAY.
When Sandy Denny left Fairport Convention in December 1969, the reason she gave, was that the wanted to hone her skills as a songwriter. However, less than a year after her departure from Fairport Convention, Sandy Denny formed a new group, Fotheringay. Although Fotheringay were a short lived band, they certainly made a lasting impression on British folk music.
The Fotheringay story began in 1970, not long after Sandy Denny’s departure from Fairport Convention. Sandy decided to put together a new band. One of the first musicians she brought onboard was guitarist Trevor Lucas.
He had been born in Australia, but was now based in Britain. Trevor was now a familiar face in the British folk scene. Previously, Trevor was a member of Eclection. That’s when Trevor met Sandy Denny. The pair started dating in May 1969, and eventually, married in 1973. However, Trevor’s career began back in Australia, in the early sixties.
Back then, Trevor Lucas was a solo artist. He released his debut solo album See That My Grave Is Kept Clean in 1964. Then on New Year’s Eve Trevor boarded a ship and made the journey from Australia to Britain. That’s when he became a member of Eclection, and met drummer Gerry Conway.
Eclection were a folk-rock band, who were formed in 1967, and broke up two years later in 1969. However, by then, Trevor Lucas and Gerry Conway were firm friends. They renewed their musical partnership in Fotheringay.
Gradually, Sandy’s new band was taking shape. The final pieces in the musical jigsaw were two former members of the Poet and the One Man Band. Guitarist Jerry Donahue had moved from Manhattan to Britain, where he quickly became stalwart of the folk scene. This wasn’t surprising. Jerry’s father was big band saxophonist Sam Donohue. However, Jerry wasn’t inspired by his father. Instead, Gerry McGee, Earl Scruggs, Chet Atkins and Duane Eddy inspired Jerry, who in 1970, joined Fotheringay with Edinburgh born bassist Pat Donaldson.
By 1970, Pat Donaldson was a familiar face in the London music scene. He had moved to London in the early sixties. Since then, he had been a member of Bob Xavier and the Jury, Zoot Money’s Big Roll Band and the reformed Dantalian’s Chariot. Fotheringay was just the latest group the twenty-seven year old bassist work with.
With the lineup of her new band finalised, all Sandy Denny needed was a name for the band. She decided on Fotheringay, after Fotheringay Castle where Mary Queen Of Scots was imprisoned. With its lineup complete and a name in place, Sandy Denny’s new band could begin work on their debut album.
Fotheringay.
Sandy Denny didn’t waste any time recording Fotheringay’s debut album. She wrote four tracks and cowrote Peace in the End with Trevor Lucas. He also penned The Ballad of Ned Kelly. Other tracks included covers of Gordon Lightfoot’s The Way I Feel, Bob Dylan’s Too Much Of Nothing and Banks of the Nile. These ten tracks were recorded between February and April, 1970 at Sound Techniques, in London with Joe Boyd producing what became Fotheringay.
Once Fotheringay was completed, the album was released in June 1970. It was one of the most eagerly awaited albums of the year. Both critics and record buyers awaited with interest the release of Fotheringay’s eponymous debut album with interest and anticipation. Here was a group that had the potential, to be one of the biggest and most successful folk group.
On the release of Fotheringay, critics weren’t disappointed. Quite the opposite. Critics hailed the album a masterful debut. Sandy Denny was back, and better than ever. Her enchanting, ethereal vocal was complimented by a tight, talented band. They won not just the critics, but record buyers.
Fotheringay sold well upon its release in June 1970, and reached number eighteen in Britain. Good as this was, it wasn’t good enough for Island Records. Their expectations and Fotheringay’s differed. Island Records hoped the album would be one of the label’s biggest selling albums. That wasn’t the case. This resulted in Island Records’ pressurising Sandy to embark upon a solo career.
Sandy Denny dug her heels in. She was determined to continue with Fotheringay. So work began on what was meant to be Fotheringay’s sophomore album.
Fotheringay 2.
A total of eleven tracks were meant to feature on Fotheringay’s sophomore album. This time, Sandy Denny only wrote two songs. Trevor Lucas and Pete Roach penned Knights of the Road and Restless.Among the other tracks were traditional songs, a cover of Bob Dylan’s I Don’t Believe You and the Dave Cousins’ composition Two Weeks Last Summer. These eleven tracks were recorded by an expanded lineup of Fotheringay.
Joining the usual lineup of Fotheringay was Linda Thompson. She was going to add backing vocals when the sessions began in November 1970. The sessions continued into December 1970. Everyone thought that things were going to plan. Sadly, that wasn’t the case.
In January 1971, it was announced that Fotheringay were no more. The band broke up and what would eventually become Fotheringay 2 was shelved. The songs were in various states of completion. Fotheringay 2 wasn’t an album in the true sense of the word. There was a lot to do before Fotheringay 2 could be released. However, back in 1971, it seemed unlikely that Fotheringay 2 would be released. This would change in 2008.
Although Fotheringay 2 wasn’t complete, and to some extent, was work-in-progress, a decision was made to release the album in 2008. Using editing and modern recording techniques, the album was completed by Jerry Donohue and the other surviving band members. By then, several of the tracks had been released.
The two Trevor Lucas and Pete Roach compositions found their way onto two Fairport Convention albums. Knights of the Road featured on the 1973 album Rosie; while Restless found its way onto the 1975 album Rising For The Moon album. Fairport Convention even decided to record the Bob Dylan song I Don’t Believe You for their album Nine. Despite recording I Don’t Believe You, it never made it onto Nime when it was released in 1973. By then, Sandy Denny had recorded several Fotheringay songs for her solo albums.
When Sandy Denny was choosing material for her debut album The North Star Grassman And The Ravens, the decided to cover a trio of tracks that had been recorded for Fotheringay 2. Late November, John The Gun and The North Star Grassman And The Ravens all found their way onto Sandy Denny’s 1971 debut album. Then for Sandy’s 1974 album Rendezvous, she decided to record Silver Threads and Golden Needles. Belatedly, the song made its debut. So would Fotheringay 2 in 2008.
When Fotheringay 2 was released, the long lost album was well received. It was a reminder of Fotheringay’s potential. If they had stayed together, they could’ve become one of the great British folk bands. That critics said, was apparent by listening to Fotheringay 2. However, critics wondered what Fotheringay 2 would’ve sounded like if more time had been spent on the album? Would Fotheringay 2 have become one of the great British folk albums? Sadly, that wasn’t to be and it was a case of what might have been.
If Fotheringay hadn’t split-up in January 1971, would they have become a serious rival to Fairport Convention for the title of Britain’s premier folk-rock band. While that might seem unlikely, Fotheringay had something Fairport Convention didn’t…Sandy Denny. Her enchanting, ethereal vocal was at the heart of the sound and success of Fotheringay. So was her songwriting skills.
That’s why Sandy Denny left Fairport Convention. She wanted to improve as a songwriter. While she formed Fotheringay not long after leaving Fairport Convention, Sandy Denny was already a talented songwriter. She got the chance to shine on Fotheringay’s 1970 eponymous debut album. Not only did Sandy pen four tracks, but she wrote Peace in the End with Trevor Lucas. It seemed away from Fairport Convention, Sandy Denny was maturing as a singer and songwriter. Maybe, it was because was Fotheringay was her band? No longer was she surrounded by strong personalities who maybe, overshadowed Sandy. Given time, Sandy Denny’s new group could’ve rivalled Fairport Convention.
Sadly, that wasn’t to be. When Fotheringay reached a respectable number eighteen in 1970, this wasn’t good enough for Island Records. They started whispering in Sandy Denny’s ear, encouraging her to embark upon a solo career. While this wasn’t what Sandy Denny wanted, it would be financially advantageous to Island Records. However, Sandy Denny wanted to continue with Fotheringay. Sadly, Fotheringay was short-lived.
In January 1971, the announcement came, that Fotheringay had split-up. Island Records got their wish. Sandy Denny embarked upon a solo career.
The Solo Years.
Her debut album was The North Star Grassman and the Ravens. It was released in September 1971, and featured Late November, John The Gun and The North Star Grassman And The Ravens, which were meant to feature on Fotheringay 2. Critical acclaim accompanied the release of The North Star Grassman and the Ravens. Sandy Denny it seemed, could do no wrong.
A year later, Sandy Denny released her sophomore album Sandy in September 1974. It was released to the same critical acclaim as The North Star Grassman and the Ravens. However, Sandy surpassed the quality of The North Star Grassman and the Ravens. Indeed, it would prove to be the best album of her solo career.
It wasn’t until 1974, that Sandy Denny released Like an Old Fashioned Waltz followed in June 1974. The album saw a philosophical Sandy consider themes like loneliness, fear of the dark, the passing of time and even the changing seasons. Essentially, Sandy was fixating on growing old and death. That would prove ironic
When Like an Old Fashioned Waltz was released, critics noticed Sandy’s stylistic departure. Pop and folk featured heavily. It seemed Island Records were trying to turn Sandy Denny into something she wasn’t. Maybe that’s why Sandy returned to Fairport Convention.
A Return To Fairport Convention.
Sandy rejoined Fairport Convention in 1974. By then, Sandy’s husband Trevor Lucas was also a member. They joined for the Fairport Convention’s world tour. It was captured on the 1974 live album Fairport Live Convention. Sadly, Sandy and Trevor left Fairport Convention in 1975. Their swan-song was Rising For The Moon.
The Solo Years Take 2.
Following her second departure from Fairport Convention, Sandy returned to her solo career. Soon, she began work on what before her fourth solo album Rendezvous. One of the songs Sandy recorded was Silver Threads And Golden Needles. It had been recorded during the Fotheringay 2 sessions. However, Sandy decided to review the song for her fourth solo album Rendezvous.
She released Rendezvous in May 1977. Rendezvous saw Sandy embrace a contemporary rock sound. This was very different from previous albums. Still, Rendezvous was reasonably well received by critics. However, they noted that Rendezvous didn’t match the quality of The North Star Grassman And The Ravens and Sandy. Not long after the reviews were published, Rendezvous was released. Now record buyers could have the final say on Rendezvous.
Despite touring Britain promoting Rendezvous, the album didn’t sell well. The final night of the tour took place on 27th November 1977, at the Royalty Theatre, in London. It was recorded and was meant to be released as a live album, Gold Dust. Problems with the guitars meant this didn’t happen until 1998, when Gerry Donhue rerecorded the guitars. Ironically, that ill-fated concert was Sandy Denny’s swan-song.
When Rendezvous failed commercially, Island Records dropped Sandy. She was already drinking heavily, smoking and snorting cocaine. Her behaviour became erratic. Sandy was also suffering from severe headaches. So a doctor prescribed a distalgesic. However, Sandy continued to drink. Whether this played a part in a fall she had in late March 1978 is unknown. What we know, is that tragedy struck on 17th April 1978.
That night, Sandy Denny was admitted to the Atkinson Morley Hospital in Wimbledon. She fell into a coma, and four days later, on 21st April 1978, Sandy Denny died. The cause of Sandy’s death was a brain haemorrhage and blunt force trauma. It’s likely that when Sandy Denny fell, this played a contributory factor in her death. Tragically, Sandy Denny was only thirty-one. That day, British folk music lost one of finest voices.
While Sandy Denny is remembered for her two spells with Fairport Convention and four solo albums, often her time with Fortheringay is often overlooked. That’s a great shame, as Sandy Denny’s short-lived other group features Sandy Denny at the peak of her powers. With Sandy Denny at the helm, Fotheringay could’ve gone on to rival Fairport Convention. Sadly, they never got the opportunity to do so, and the Fotheringay story was over before it had began. It’s Sandy Denny’s “other,” sometimes forgotten and short-lived group.
THE SHORT-LIVED STORY OF FOTHERINGAY.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-NIGHTS OF SIN, DIRTY DEALS AND LOVE SICK SOULS.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-NIGHTS OF SIN, DIRTY DEALS AND LOVE SICK SOULS.
The state of Louisiana means different things to different people. For some, it’s the state’s rich literary heritage. One of its most famous writers was Tennessee Williams, the author of A Street Car Named Desire. Then there’s Anna Rice the nineteenth century author of metaphysical gothic fiction. Her best known work was Interview With A Vampire. However, Ernest Gaines managed to incorporate in his play A Lesson Before Dying, another thing Louisiana is famous for, cuisine.
In A Lesson Before Dying, one of Ernest Gaines’ characters utters the immortal line, “gumbo can be eaten at any time.” That’s the case is Louisiana, where gumbo is a delicacy. So is jambalaya, crawfish boil and a po boy sandwich. It’s a staple of Louisiana, especially in New Orleans during the Mardi Gras. So is music, another thing New Orleans and the rest of Louisiana is famous for.
It’s no exaggeration to say that Louisiana has a rich musical heritage. This was where Allen Toussaint, Dr. John, Harold Batiste, Irma Thomas, Jerry Lee Lewis, Louis Armstrong, the Neville Brothers, Professor Longhair and Tami Lynn were all born. Most of their careers have been well documented. However, this is just the tip of the iceberg, when it comes to Louisiana’s rich and vibrant music scene.
That’s been the case right back to the blues men like Leadbelly, Silas Hogan, Slim Harpo, Pee Wee Whitaker and T-Bone Shingleton were providing the soundtrack to life in Louisiana. Since then, musical soundtrack has changed many times. However, whether it was jazz, bluegrass, country, rockabilly, R&B, soul, swamp pop or zydeco, still Louisiana’s music scene was rich and vibrant. Despite that, Louisiana’s rich musical heritage has been overlooked by compilers.
Until fairly recently, record companies looking to compile a new compilation, followed the well trodden path to Chicago, Detroit, Memphis, Philly and New York. One place they constantly overlooked was Louisiana. That was until Ian Saddler decided to explore the the musical delights of Louisiana.
Ian Saddler knew there were rich pickings to be found in Louisiana. So he headed south, and embarked upon an musical voyage of discovery. What he was looking for, was enough music for his first volume of the By The Bayou series, which would be released by Ace Records. When Ian arrived in Louisiana, he was in for a pleasant surprise.
There was a musical treasure trove that was awaiting Ian Saddler’s discovery. Even Ian Saddler must have been overwhelmed by what he discovered. So vast was this treasure trove of musical delights, that Ian Saddler must have known there was enough for several volumes in the By The Bayou series. That depended on the success of the first volume in the By The Bayou series.
Following the success of the first instalment in the By The Bayou series, Ian Saddler got to work on a second volume. Then came a third, fourth and fifth volume. The By The Bayou series looked like it could run and run.
Fast forward a couple of years, and the fourteenth volume in Ian Saddler’s By The Bayou series has just been released. Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls, which was recently released by Ace Records, is the fifth volume of Louisiana rhythm ‘n’ blues. It features twenty-eight tracks. They’re a mixture of familiar faces, rarities, alternate takes and unreleased tracks. This includes contributions from Chris Kenner, Lester Robertson, Barbara Lynn, Jay Nelson, Leroy Washington, Little Victor, Big Walter Price and Classie Ballou. Some of the artists on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls feature more than once. Often, their first contribution is so good, that they return for an encore on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls. It you’ll realise, is a welcome addition to what’s now one of the most successful and longest running compilation series, By The Bayou.
Opening Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls is Chris Kenner’s Grandma’s House. It was released on the B-Side of his single Don’t Let Her Pin That Charge On Me. It was released on the Baton label on 7th February 1956. Grandma’s House was penned by Chris Kenner, and was recorded in New Orleans. It’s an irresistible slice of R&B from Chris Kenner, that whets the listener’s appetite for the rest of the compilation.
Lester Robertson is one of the artists on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls that features three times. His first contribution is an alternate take of Oh Babe. The original was produced by Sam Montel, and then released as a single on Montel Record Co, in 1959. Oh Babe is piano driven fusion rock ’n’ roll and R&B. Very different is Lester Robertson’s second contribution.
Please Don’t Go was recorded by Lester Robertson at J.D. Miller’s studio. Sadly, this needy, soul-baring ballad lay unreleased until discovered by Bruce Bastin of Flyright Records. It featured on the 1977 compilation Louisiana Swamp Pop. Belatedly, this hidden gem was able to be heard by the record buying public.
Barbara Lynn was born in Beaumont in 1942, and throughout high school, played in bands. However, towards the end of her school days, Barbara Lynn changed direction musically when she saw Elvis. Soon, she was playing in blues clubs. That was blues man Clarence Garlow first encountered Barbara Lynn. Realising she had potential, Clarence Garlow setup a recording session with Eddie Shuler of Goldband.
At that session, Barbara Lynn covered Smiley Lewis’ One Night and Sam Cooke’s Love You Most Of All. Both tracks are a tantalising taste of a truly talented singer, as she breathes life and meaning into these bluesy songs. Incredibly, after the session, Eddie Shuler decided not to sign Barbara Lynn to Goldband. He had passed up the chance to sign Barbara Lynn. It wasn’t until 1961 that singer-songwriter Joe Barry discovered Barbara Lynn. This was the start of a long and successful career. However, maybe history would’ve been different if Eddie Shuler had signed Barbara Lynn?
Jay Nelson was still a teenager when his recording career began. He was born in Jeanerette, Louisiana in 1939, and by the mid-fifties, was recording for J.D. Miller and Eddie Shuler. Betty Ann was a song Jay Nelson recorded during this period. It’s a beautiful heartfelt, paean which sadly, lay unreleased until 1977. That’s when it featured on the 1977 Flyright Records’ compilation. Belatedly, this beautiful hidden gem of a ballad found the audience it deserved.
Lafayette born Little Victor is another artist who features twice on Rhythm ’N’ Bluesin’, Little Victor drops the tempo on the unreleased track Please Be There, and delivers a needy, hopeful vocal. What Is Love was the flip-side to Little Victor’s 1961 single Papa Lou And Gran. It was released on the Richmond label, and has a pleasant surprise on the B-Side, What Is Love. Hurt, heartbreak and betrayal fill Little Victor’s vocal on what’s an outpouring of raw emotion.
Pleasant Joseph was born in a rice plantation in Wallace, Louisiana in 1907. By the time he was a teenager, he was playing music on street corners. This was just the start of a career as a musician.
Before the thirties gave way to the forties, blues man Smilin’ Joe was a familiar face in the clubs of New Orleans where he was making a living as a jazz musician. However, by the forties, Smilin’ Joe was a piano playing blues man. He cut a couple of singles as Smilin’ Joe, including Living On Borrowed Time in 1955. It was released on Flip, and featured Love Sick Soul on the B-Side. Both songs were written by Pleasant Joseph, and are a reminder of talented songwriter and versatile singer and musician.
Leroy Washington is a veteran of the By The Bayou series. His contribution here, is an alternate take of his most famous track, Wild Cherry. It was recorded for J.D. Miller, but was never released until 1977. That’s when it found its way onto the Flyright Records’ Leroy Washington compilation Wild Cherry. It’s a reminder of a hugely talented singer and musician, who tragically, passed away in 1966, aged just thirty-four.
Classie Ballou features four times on the compilation. Just two of those appearances are as a solo artist. They were recorded at J.D. Miller’s studios. This includes the previously unreleased instrumental Crowley Stroll. It’s the perfect showcase for Classie Ballou’s skills as a guitarist. So is Version 2 of Hey Ma Ma, which lay unreleased until 1976. That was when the song was rediscovered and featured on a Flyright Records compilation Rock Me All Night Long. Its track list features some of the most talented singers and musicians from Louisiana, including Classie Ballou.
Ivory Jackson is best known as the drummer for Cookie and The Cupcakes. Occasionally, Ivory Jackson put down his drumsticks and enjoyed a recording career as a vocalist. He worked with Eddie Shuler, who he recorded Clautelia for. Sadly, this piano driven paean wasn’t released until 1976, when it featured on a Flyright Records’ compilation Rockin’ Blues Party. It’s another hidden gem, and one of just four Ivory Jackson recordings that were ever released.
Big Walter Price is another veteran of the By The Bayou series. His contribution is Better Run, which was recorded for Goldband. It’s a piano lead ballad, that features a vocal powerhouse from Big Walter Price. Better Run is one of the unreleased tracks, and makes a welcome debut on hythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls.
So does the Baton Rouge Boys’ Rising Sun. It was recorded at J.D. Miller’s studio, but has lain in the vaults since then. Very little is known about the Baton Rouge Boys. However, Rising Sun’s slow, bluesy, late night sound oozes quality, and will make you want to hear more from the Baton Rouge Boys.
In 1961, Lester Robertson released My Heart Forever Yearns as a single on the Montel Records Co. Tucked away on the B-Side was My Girl Across Town, a Lester Robertson composition. Another recording exists. It’s credited to Lester Robertson and The Upsetters, and is described as an alternate take as My Girl Across Town. Sadly, since it was recorded in 1961, it’s lain in the Montel Record Co. vaults. Not any more; as it’s one of the unreleased tracks on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls. It’s a welcome and joyous addition to the compilation.
The other two tracks from Classie Ballou, are credited to Classie Ballou and His King Tempo Orchestra. They feature on the 1956 Goldland single Loving Huggin’ Kissin’ My Baby. It closes Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls. Eddie Shuler and Classie Ballou wrote this joyous, dance-floor friendly love song. Hidden away on the B-Side, was D-I-R-T-Y D-E-A-L, an Eddie Shuler composition. Classie Ballou unleashes another blistering solo, while his orchestra accompany him on this heartbreaking D-I-R-T-Y D-E-A-L.
That is the story of Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls. It was recently released by Ace Records, and is the fourteenth volume in Ian Saddler’s critically acclaimed and commercially successful By The Bayou series. Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls is also the fifth volume of Louisiana R&B.
The twenty-eight tracks on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls are a mixture of familiar faces, rarities, new names, alternate takes and unreleased tracks. Many artists are veterans of the By The Bayou series, and are back by popular demand. Some artists return for an encore on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls.
Just like previous volumes of the By The Bayou series, some of the artists on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls feature more than once. Often, their first contribution is so good, that they return for an encore. Lester Robertson features three times; twice as a solo artist and once with a band. Classie Ballou features twice as a solo artist, and twice with his orchestra. This shows different sides to the artists concerned. Similarly, the By The Bayou series shows the different sides to Louisiana’s rich and illustrious musical heritage.
Over the past fourteen volumes, Ian Saddler’s documented various different genres. This time around, Ian Saddler concentrated on R&B on Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls. It’s the latest instalment in the lovingly compiled By The Bayou series. Still, there’s not let up in the quality.
That takes some doing. Often the well will have run dry way before volume fourteen. However, Ian Saddler knows where to find rarities, hidden gems and unreleased tracks that ooze quality. They’re his secret weapons in the By The Bayou series, which is without doubt, Ace Records’ longest running and most successful series. It’s the compilation series that looks as if it will run and run. Especially if Ian Saddler continues to compile compilations as good as Rhythm ’N’ Bluesin’ By The Bayou-Nights Of Sin, Dirty Deals and Love Sick Souls, which is a welcome addition to Ace Records’ jewel in the crown, the By The Bayou series.
RHYTHM ’N’ BLUESIN’ BY THE BAYOU-NIGHTS OF SIN, DIRTY DEALS AND LOVE SICK SOULS.
CELESTIAL BLUES-COSMIC, POLITICAL AND SPIRITUAL JAZZ 1970 TO 1974.
CELESTIAL BLUES-COSMIC, POLITICAL AND SPIRITUAL JAZZ 1970 TO 1974.
Sometimes, music has been compared to fashion. Both industries are cyclical, with music and clothes both falling in and out of popularity.
One minute a genre is popular, the next, it’s fallen from grace. That has been the case since the birth of rock ’n’ roll. Everything from disco and doo wop, to progressive rock, psychedelia and punk, through to blues and heavy metal have all enjoyed their moment in the sun. However, as the man sang, “nothing lasts forever,” and each of these genres have fallen out of favour.
Sometimes, a genre’s fall from grace is spectacular. Especially, in the case of disco, when it went from hero to zero in the space of year. However, disco would eventually make a comeback. So would progressive rock, psychedelia, blues and heavy metal. Each of these genres went on to enjoy an Indian Summer.
The birth of the New Wave Of British Heavy Metal in the late seventies, resulted in a resurgence of interest in a genre that had fallen from favour a few years previously. Suddenly, heavy metal was back in fashion. It was a similar case with progressive rock in the eighties. Groups like Marillion introduced a new generation of record buyers to progressive rock. Since then, even disco has made a comeback in this musical merry-go-round. However, one genre had been out of fashion for way too long,..jazz.
Forty years had passed since jazz caught the imagination of the wider record buying public. For a few years in the late sixties and early seventies, jazz crossed over into the mainstream. That was when artists like Miles Davis, John McLaughlin and Herbie Hancock pioneered and popularised fusion, a meeting of jazz and rock. However, the fusion era was short-lived, and didn’t really result in a resurgence in interest in jazz. That didn’t come until last year.
That was when a struggling jazz saxophonist Kamasi Washington released a triple album The Epic. It received widespread critical and hailed as a groundbreaking album. The Epicsold well across the world, and no longer would Kamasi Washington be playing sessions to pay the bills. However, the other effect the success of The Epic has had, is that it’s lead to a resurgence in interest in jazz.
At last, jazz is back in fashion, and a new generation of record buyers are rediscovering the delights of jazz. However, for some newcomers to jazz, they struggle to distinguish between a myriad of sub-genres. They’re confused by sub-genre like bop, post boom West Coast jazz, free jazz and fusion. All they want to find, and listen to, is the music that inspired Kamasi Washington’s The Epic. They need look no further.
The good people at BGP, an imprint of Ace Records, have compiled Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974. This is a ten track compilation of spiritual jazz, the music that influenced and inspired Kamasi Washington’s album The Epic. Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 features Gary Bartz NTU Troop, Azar Lawrence, Charles Earland, Roy Brooks, Joe Chambers, Carlos Garnett, Hampton Hawes and Oliver Nelson. Each and every one of these artists are musical pioneers, and innovators who pushed musical boundaries to their limits. That is apparent throughout Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974.
Each of the tracks on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 are an example of groundbreaking spiritual jazz. Its building blocks were the music of the post bop era, and the free jazz of John Coltrane. To that, boogaloo beats were combined with elements of funk, rock and soul and even African and Middle Eastern influences. When this was combined, it was potent and heady brew, that became known as spiritual jazz.
This new music was inventive and innovative. It was also way ahead of its time; and far removed from the music that other jazz musicians were making. Sadly, it was also very different to the music most record buyers were used to, and it passed them by.
The problem was, most record buyers didn’t understand this cerebral, groundbreaking music. It went over their head, and only a small, but discerning group of record buyers got spiritual jazz. It wasn’t until much later, that a new generation of record buyers discovered the delights of spiritual jazz and it began to grown in popularity. However, when the music was released in the late sixties and early seventies, it was misunderstood. This couldn’t have happened at a worst time for jazz.
No longer was jazz as popular as it once been. Jazz clubs were closing their doors, and others were being turned into rock venues. Even record companies were suffering. Sales of jazz were down and some jazz labels decided to close their doors. However, new labels like Muse began to release spiritual jazz. So did established labels like Prestige, who were renowned for releasing innovative music. Labels like Muse and Prestige would go on to release albums by some of the most pioneering music of the spiritual jazz era. Some of that music features on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974.
Opening Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 is Gary Bartz NTU Troop’s Celestial Blues. It’s a track from Gary Bartz NTU Troop’s 1971 sophomore album Harlem Bush Music-Uhuru. It was released on Milestone Records, and was the followup to the 1970 album Home! However, on Harlem Bush Music-Uhuru, a guest artist joined Gary Bartz NTU Troop.
This was none other than vocalist Andy Bey. His impassioned vocal is the perfect foil Gary Bartz’s soaring also saxophone and Ron Carter’s mesmeric, bubbling, bass line. They become part of what’s a complex but memorable and irresistible piece of music. It belatedly would become a cult classic, and is without doubt the best known track from Harlem Bush Music-Uhuru. It’s also the perfect introduction to two hugely talented artists and purveyors of spiritual jazz, Gary Bartz and Andy Bey.
Fire is another collaboration, this time, between Joe Henderson and Alice Coltrane. By 1974, jazz was in the doldrums, and it wasn’t the easiest time for jazz musicians. Even Joe Henderson who had released debut album Page One in 1963. Since then, Ohio born jazz saxophonist had released ten studio albums, and several collaborations. His latest was The Elements, which featured Alice Coltrane.
She was second wife of John Coltrane. However, Alice Coltrane was a multi-talented musician, who played piano, organ and harp. She had collaborated with Joe Henderson before, on her 1970 album Ptah, The El Daoud. Now Alice sat in with Joe and his band on The Elements, which was released in 1974 on Milestone Records. One of the highlights of The Elements was Fire.
It was a meeting of musical minds, with two pioneers feeding off each other as they drove each other to new highs. Joe’s blazing saxophone is played with power and passion; while Alice flits between instruments, and is equally comfortable switching from piano, tamboura, harmonium and finally harp. She adds flourishes of harp as the rhythm section power the arrangement along. This is the perfect showcase for the multitalented Alice Coltrane, before Joe Henderson takes centre-stage and unleashing a blistering solo. The result is a groundbreaking and timeless example of spiritual jazz, at its very best.
In 1974, saxophonist Azar Lawrence entered the studio to record his debut album, Bridge Into The New Age. By then, the tenor and soprano saxophonist was just twenty-one, but was already regarded as one of jazz’s rising stars. Azar Lawrence had played on McCoy Tyner’s 1973 album Enlightenment. Now a year later, he was about to record his debut album.
The L.A. born musician had put together a band that featured some of the best jazz musicians. They recorded five tracks, that became Bridge Into The New Age. It was released in 1974, on Prestige. Bridge Into The New Age was an ambitious album of innovative music. One of the finest moments was Warriors Of Peace, which featured a masterclass from Azar Lawrence and pianist Joe Bonner. They play starring roles in a track that was indeed, a Bridge Into The New Age, one where spiritual jazz should’ve been king.
Charles Earland was a prolific artists, releasing over sixty albums. He’s known for his albums of soul jazz. However, one of his finest albums was Leaving This Planet, which was released on Prestige in 1975. It’s an album of spiritual jazz, where Charles Earland and his “big burner” are joined by such luminaries as Joe Henderson and Freddie Hubbard. They’re the perfect foil for Charles Earland on the album’s title-track, Leaving This Planet.
The rhythm section and Charles Earland on Hammond organ, power Leaving This Planet along, while trumpeter Freddie Hubbard and tenor saxophonist unleash blistering solos. Later, Charles unleashes a peerless solo on his Hammond organ. His fingers fly and up down the keyboard, before passing the baton to Freddie Hubbard. Together, they play their part in a blistering example of spiritual jazz, which showcases Charles Earland’s versatility. He’s as equally comfortable playing spiritual jazz as he was soul jazz and later, funk.
Eight year after releasing his debut album Beat in 1964, drummer Roy Brooks returned in 1972 with the followup The Free Slave. It was released on Muse Records and is a genre-melting live album. The Free Slave was recorded live at the Left Bank Jazz Society on April 26th 1970. That night, Roy was joined by an experienced and talented band.
It featured bassist Cecil McBee, pianist Hugh Lawson, trumpeter Woody Shaw and tenor saxophonist George Coleman. While Roy anchors the arrangement, the piano and horns play leading role. Especially, trumpeter Woody Shaw and tenor saxophonist George Coleman, who Roy allows to shine. They play starring roles on this twelve minute genre-melting epic, that results in what’s an oft-overlooked hidden gem when it comes to spiritual jazz.
Philly is one of America’s musical city’s, and has given the world some of the biggest, and most successful names in music. One name many people won’t be familiar with, is Joe Chambers. He released his debut album The Alomoravid on Muse Records, in 1974. By then, Joe Chambers had been playing on other people’s albums since 1964. The Alomoravid was the perfect opportunity for the talented multi-instrumentalist to showcase his considerable talents.
So Joe Chambers, who played drums, piano and vibes, put together a band that included some of the top jazz musicians. On The Alomoravid, Joe’s drums are augmented by a myriad of percussion. It coms courtesy of Ray Mantilla who also adds congas; while percussionists David Friedman and Omar Clay both add marimba. This adds an exotic hue, as this mesmeric sounding track meanders along sharing its subtleties, surprises and secrets.
Panama born, but New York raised Carlos Garnett only released five albums during his career. One of the saxophonist’s finest, was Journey To Enlightenment. It was released in 1974, on Muse Records. Opening the album was one of the highlights, Let Us Go (To Higher Heights). It’s a captivating, genre-melting track, where elements of soul-jazz, electronic funk, free jazz and Latin combine. The result wasn’t just an innovative track, but one that was way ahead of its time, and also funky and soulful.
Sadly, Bayeté Umbra Zindiko only ever released two albums for Prestige. His second and final album was Seeking Other Beauty, which was recorded at Fantasy Studios, Berkeley, California on September 18th and October 2nd 1972. The multitalented Bayeté Umbra Zindiko played piano, electric piano and electric clavinet, added vocals and took charge of production. Joining him were the rhythm and horn sections. After two days, Seeking Other Beauty was complete and released in 1973.
Seeking Other Beauty was Bayeté Umbra Zindiko’s finest album, and the album opener, and Let It Take Your Mind the standout track. It’s a joyous musical potpourri, where funk, jazz, rock and soul combine to create a pulsating, driving track. It’s best described as a funky, psychedelic fusion that’s guaranteed to get any party started.
By 1972, Hampton Hawes had been a recording artist for twenty years. His 1972 album Universe, was the first he released on Prestige. It found the veteran jazz musician reinventing himself. To do that, he embraced new technology.
Hampton Hawes added synths to his musical arsenal of piano, electric piano and Hammond organ. This he used to create a slow burner of a track, Josie Black. Gradually, it reveals its charms and secrets. The horn is a counterpoint to the electric piano, as the rhythm section add a funky backdrop. By then, Hampton Hawes was heading into unchartered-waters as elements of funk and fusion combine with contemporary and free jazz. When combined, they play their part in captivating track where Hampton Hawes succeeds in reinventing himself.
Closing Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974, is Aftermath, a track from Oliver Nelson’s 1970 album Black, Brown And Beautiful. It was Oliver Nelson’s solo debut album for Bob Thiele’s Flying Dutchman Productions. Black, Brown And Beautiful is a highly accomplished album, which sadly, didn’t find the audience it so richly deserved. Since then, it’s been a hidden gem of an album. One of its highlights is the opening track, Aftermath.
Joining saxophonist and clarinet player Oliver Nelson, were tenor saxophonists John Gross and John Klemmer. They join with Oliver in playing their part what starts as a slow, sultry and cinematic sounding track. Lush strings then fill out the arrangement which takes on a dramatic, cinematic sound. Then it’s all change as Aftermath heads in the direction frenzied free jazz. Oliver Nelson and his bands push musical boundaries to their limits, and sometimes beyond, as they create one of the finest tracks on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974. This is the perfect way to close Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974, on a musical high.
The ten tracks lasting seventy-four minutes have flown past, as Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 reveals its musical secrets and surprises. Familiar faces and new names sit side-by-side. Each of them, share one thing in common; and that is, that they are all musical pioneers. They created music that was innovative and way ahead of its time. Sadly, much of the music on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 passed record buyers by.
When the music on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 was originally released, it went over the head of many record buyers. They neither understood nor “got” spiritual jazz. To understand the music, record buyers had to go back to spiritual jazz’s roots.
Its building blocks were the music of the post bop era, and the free jazz of John Coltrane. This was just the start. Boogaloo beats were then combined with elements of funk, rock and soul. Sometimes, African and Middle Eastern influences were combined to what was already a potent and heady brew. It became known as spiritual jazz, an oft-overlooked genre that eventually, found the audience it deserved.
This happened when a new generation of record buyers discovered the delights of spiritual jazz. These albums that once lay unloved in dusty warehouses or the Dollar bins of record shops were now appreciated by new audience who not only appreciated, but understood spiritual jazz. No longer was this misunderstood musical genre regarded as too radical and complex.
Instead, somewhat belatedly, Gary Bartz NTU Troop, Azar Lawrence, Charles Earland, Roy Brooks, Joe Chambers, Carlos Garnett, Hampton Hawes and Oliver Nelson began to receive the credit they so richly deserved. They all feature on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974. Each of these artists were pioneers, who created groundbreaking, inventive, innovative and influential music.
One of the artists the artists influenced by those on Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974 was Kamasi Washington. This music played a part in his 2015 album The Epic. It ransformed the career of the onetime sessions musician. Suddenly, he had released one of the most successful albums of the year. The Epic was also the album that lead to the recent resurgence in interest in jazz. However, not all newcomers to jazz know the difference between fusion and free jazz, nor the difference between smooth jazz and spiritual jazz. That’s where they good people at BGP, an imprint of Ace Records come in.
They’ve created Celestial Blues-Cosmic, Political and Spiritual Jazz 1970 To 1974, a compilation of the finest spiritual jazz. It’s the perfect introduction to spiritual jazz, and for newcomers to the genre, a bridge into what was a new musical age, where the rules to jazz were rewritten by music pioneers.
CELESTIAL BLUES-COSMIC, POLITICAL AND SPIRITUAL JAZZ 1970 TO 1974. 
TRASHCAN SINATRAS-WILD PENDULUM.
TRASHCAN SINATRAS-WILD PENDULUM.
Not many bands formed in 1986 are still together today. That includes some of the most successful eighties bands. Many of these bands spilt-up in the late-eighties. Some made it as far as the nineties before calling it a day. By then, music had changed, while many of these bands had stood still. That was all that was heard of them until the suddenly, the eighties were fashionable again.
Many eighties bands were happy to reform, while others agreed to put their differences aside. Some were happy to reform, and spend some time with their old bandmates. However, for others, it was a case of need’s must. The money was long gone, and the only other alternative was reality television, the last bastion of the washed-up celebrity. So the newly reformed bands were happy to join Best Of The 80s package tours that played in half-empty stadiums across Britain. Some were even happy to lower themselves to playing weekenders at holiday camps. It was a sad sight, fifty year old musicians bursting out of gold lame suits. However, other bands had kept their dignity intact.
This includes the Trashcan Sinatras, who were formed in 2016. They celebrate their thirtieth anniversary with their sixth studio album, Wild Pendulum. It was funded by a crowd funding project, and released on the Red River label. Wild Pendulum was the first album the Trashcan Sinatras have released since 2009s In The Music. It’s a welcome return from the Trashcan Sinatras, whose story began in 1986.
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 wasn’t new. He had added the same sonic scenery’ to albums by self-styled ‘Modfather’ Paul Weller. However, 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, where 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, where the Trashcan Sinatras’ trademark harmonies play an important part in what’s 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.
They’re equally at home on the heartachingly beautiful ballads. I Want To Capture Your Heart features a tender, heartfelt and emotive vocal from Francis Reader. Then on What’s Inside The Box, Susan Sanchez compliments Francis’ soul-baring vocal perfectly. The Neighbours’ Place features a reflective vocal full of heartbreak and hurt. It’s delivered against a multi-layered country-tinged arrangement. Soon, though, the Trashcan Sinatras spring a surprise.
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. A stomping beat and harmonica accompany Francis Reader on this slick, hook heavy dancer. Then normal service is resumed. The Family Way finds 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 piano, strings and vocal combine to create a quite beautiful where the Trashcan Sinatras roll back the years. Cinematic describes Waves (Sweep Away My Melancholy), where Francis Reader paints pictures with the lyrics against the fuller arrangement. However, all too soon, Wild Pendulum is almost over. I See The Moon closes Wild Pendulum, and has 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.
Thirty years later, and sadly, the wider record buying public have yet to discover the delights of the Trashcan Sinatras, and their much-anticpated sixth album Wild Pendulum. It features Irvine’s finest purveyors of jangle pop at their pioneering best, as they reinvent themselves. To do that, hooks and harmonies are combined with samples, sonic scenery and clever wordplay by the Trashcan Sinatras on Wild Pendulum. The result isn’t just the Trashcan Sinatras finest album since their 1990 debut Cake, but one of the best albums of 2016 so far. Sadly, Wild Pendulum has been overlooked by record buyers, who have missed out on an almost flawless album of jangle pop from one of Scotland’s most talented bands, the inimitable Trashcan Sinatras.
TRASHCAN SINATRAS-WILD PENDULUM.
THE BETTYE SWANN STORY.
THE BETTYE SWANN STORY.
The Bettye Swann story is a case of what might might have been. She could’ve and should’ve been one of the biggest names in sou music. That looked like being the case when Bettye Swann released her debut single Don’t Wait To Long in 1964. Three years later, in 1967, Betty Swann was topping the US R&B charts with Make Me Yours. The future looked bright for Bettye Swann and critics forecast she was about to enjoy a long and successful career.
Sadly, that wasn’t to be. Bettye Swann never scaled the same heights. Apart from a couple of minor hit singles, commercial success eluded Bettye Swann. Her recording career was over by 1976. In 1980, Bettye Swann gave her last concert. Later that year, Betty’s husband and manager George Barton died in 1980,
Following the death of her husband and manager, Bettye Swann retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Never again, did Bettye return to soul music.
Thirty-six years after Bettye Swann turned her back on music, her music is more popular than ever. Six compilations of Bettye Swann’s music has been released, and her songs regularly feature on compilations. That’s how a new generation of record buyers have discovered one of the finest voices in soul music, Bettye Swann. Her story began in Shreveport, Louisiana, on October 24th 1944.
That’s the date that Betty Jean Champion was born. She was one of fourteen children. Betty grew up in Arcadia, Louisiana. It wasn’t until Bettye was in her teens that she starting singing secular music. She became part of a The Fawns, a vocal group who sung locally. However, in 1963, when Bettye was nineteen, she decided to move to Los Angeles, where she would stay with her sister.
Once she had settled in Los Angeles, Betty was spotted by songwriter Huey Harris. Realising that Betty had potential, Huey told Betty about a friend of his, Al Scott who ran Money Records.
Just like Huey Harris, Al Scott spotted Betty’s potential and wanted to sign her to Money Records. However, he didn’t like her name. So he advised Betty to change her name. She needed something that rolled off the tongue. He had a think, and came up with Bettye Swann. That was more showbiz. With a new name, she signed to Money Records.
Soon, Bettye’s life was transformed. Not only had she a new name, but a manager. She had began writing what she hoped would become her first hit. After a few false starts, Bettye Swann had penned Make Me Yours, which would become her first single.
Recording of Make Me Yours, took place at Gold Star Records, In L.A. Al Scott put together a tight, talented band. For the flip side, Huey Harris’ What Is The World Coming To was chosen? This was Al Scott’s way of thanking Huey Harris for putting Bettye Swann Money Records way. With Doc Siegel engineering the sessions, Make Me Yours and What Is The World Coming To were recorded at the foot of the Hollywood hills in late 1964. Now that Bettye’s debut single was recorded, all that was left, was to release it.
The release was scheduled for late December 1964. Before that, Money Records began promoting their latest singing’s debut single. Money Records didn’t skimp on promotion, and this paid off. By February 1965, Don’t Wait Too Long had reached number twenty-seven in the US R&B charts. For Bettye Swann, this was the stuff dreams were made of. However, the tricky thing was repeating the feat.
For the followup The Man That Said No was chosen. Bettye and Huey Harris cowrote The Man That Said No. The single was released later in June 1965. Everything was looking good for Bettye. She had booked to appear on television, where she would sing her new single. Accompanying her, were The Blossoms, who would add backing vocals. This was great publicity. Al Scott must have thought this would boosted sales. Ultimately, it didn’t. Bettye’s sophomore single was a commercial failure. For Bettye, it was back to the drawing board.
The song chosen for Bettye’s third single was The Heartache Is Gone. It showcased the new soul sound. This was seen as the future of soul. Tucked away on the B-Side was a heart wrenching ballad Our Love. It’s another Bettye Swann composition, and could’ve been released as a single. Sadly, that wasn’t to be. Our Love was destined to be just a flip side. When The Heartache Is Gone was released in 1966, it failed commercially. By then, Al Scott had started to work on Bettye’s debut album.
When work began of Bettye’s debut album, the plan was to used the Bettye’s first three singles and some of the flip sides. New songs would be recorded at Gold Star. They would become Bettye Swann’s debut album. That never happened.
With Bettye’s last two singles failed commercially, the proposed album was shelved. For Bettye this was a huge disappointment. However, Al Scott hadn’t lost faith in Bettye.
He sent her back into the studio. At Arts Studio Bettye recorded a song she had penned, Make Me Yours. For the flip side, I Will Not Cry was chosen. After Bettye had cut Make Me Yours, her career was transformed.
Make Me Your was released in April 1967. Straight away, the track began to climb the charts. Eventually, it reached number one on the US R&B charts and number twenty-one on the US Billboard 100. After three long and frustrating years, Bettye Swann had made a breakthrough. Now came the hard bit, following up Make Me Yours.
For the followup Fall In Love With Me was chosen. This was another song penned by Bettye. When it was released in August 1967, it charted, but stalled at just thirty-six in the US R&B charts. While this was disappointing compared to Make Me Yours, it took Bettye’s tally of hits to three in three years. She was hot property. So Al Scott’s thoughts turned to Bettye’s debut album.
Rather than rush out Bettye’s debut album, Al Scott decided to rerecord some of the tracks. This included two B-Sides, I Will Not Cry and Lonely Love. New tracks were recorded, including The Temptations’ Don’t Look Back, Ray Charles’ I Can’t Stop Loving You and Sam Cooke’s A Change Is Gonna Cone. With the album completed, it was released in 1967 as Make Me Yours.
Despite the effort of everyone at Money Records put into the release of Make Me Yours, the album wasn’t a commercial success. The album passed records by. So Al Scott’s thoughts turned to Bettye’s next single.
The song chosen was a track from Make Me Yours, Don’t Look Back. Hidden away on the B-Side You Gave Me Love. It falls into the category of hidden gem. Don’t Look Back was released in 1968, but failed commercially. Things weren’t going well for Bettye Swann. Her time at Money Records was almost at an end.
Bettye Swann would only released one more single on Money Records. Don’t Take My Mind was another track from Make Me Yours. It was paired with the soul-baring I Think I’m Falling In Love. History repeated itself when Don’t Take My Mind failed to chart. That proved to be the end of two chapters in Bettye Swann’s career.
The money spent on promoting Bettye’s Make Me Yours album had taken its toll on Money Records’ finances. This wasn’t helped by the failure of her last two singles. Something had to give. So, Bettye left Money Records.
Just a year after enjoying a number one single, Bettye Swann parted company with Al Scott. Not only did Al produce and manage Bettye, but they had been a couple. Mixing business and pleasure is always dangerous. That proved to be the case. The relationship faltered, and by 1968, Bettye had a new manager George Barton.
Following her departure from Money Records, Bettye and George Barton moved to Athens, Georgia. George who was twenty years older than Bettye, was a veteran of the music industry. He knew his way around the music business, and in mid-1968 Bettye Swann signed to what was one of the biggest, and most prestigious labels in music, Capitol Records. So far, so good.
Now Capitol Records had to pair Bettye with a producer. They decided to pair Bettye with Wayne Shuler. He was a relative newcomer to Capitol Records. Most people would’ve called Wayne a rookie. That wasn’t the case. Wayne’s father was Eddie Shuler, the producer and owner of Goldband Records. From an early age, he had taught Wayne tricks of the trade. So when he began work at Capitol Records, he had an edge on the real “rookies.” He was well versed not just in soul and R&B. All of a sudden, the pairing of Wayne and Bettye Swann made sense. Maybe Wayne could get Bettye’s career back on track?
Unlike Money Records, Capitol Records’ priority was albums. That was where the money was to be made. Singles were a bonus. Despite this, Bettye’s Capitol Records debut was a single,
I’m Lonely For You. It’s another of Bettye’s compositions. So was the B-Side was (My Heart Is) Closed For The Season. It had a much more grownup sound, and featured Bettye singing about the travails of life. This was the polar opposite of the pop soul of I’m Lonely For You. However, (My Heart Is) Closed For The Season was the direction Bettye’s music would take in the future. Maybe that was as well.
When I’m Lonely For You was released in August 1968, the single failed to chart. This wasn’t a good start to Bettye’s time at Capitol Records. However, better times weren’t far away.
For Bettye’s second single for Capitol Records, Bettye covered Hank Cochran’s Don’t Touch Me. When it was released in January 1969, it reached number fourteen in the US R&B charts. Now all thoughts turned to Bettye Bettye Swann’s first album for Capitol Records.
Ten tracks had been chosen for what became The Soul View Now! Only two of the tracks were penned by Betty. The rest were cover versions. This included Otis Redding’s These Arms of Mine, Chip Taylor’s Angel Of The Morning, Don Gibson’s Sweet Dreams. So do John D. Loudermilk’s Then You Can Tell Me Goodbye and Aaron Neville’s Tell It Like It Is. They both feature on The Very Best Of Bettye Swann. However, back in 1969, some of the top session players accompanied Bettye on The Soul View Now! Once the album was soon recorded, it was ready for release.
Bettye Swann’s first album for Capitol Records, The Soul View Now! was released in the first half of 1969. It reached number forty-eight in the US R&B Charts. Bettye’s luck seemed to be changing.
For her next single, the Chip Taylor penned Angel Of The Morning was chosen. It was released in May 1969, but failed to chart. This was a disappointment. However, still Capitol Records had faith in Bettye Swann. They sent her back into the studio.
Capitol Records didn’t spare any expense. Some top session musicians were drafted in to record the ten tracks. They accompanied Bettye, while Wayne Shuler produced Don’t You Ever Get Tired Of Hurting Me? Among the songs Bettye and her band recorded were Don’t You Ever Get Tired Of Hurting Me?, Little Things Mean A Lot, You’re Up To Your Same Old Tricks Again, Just Because You Can’t Be Mine, Stand By Your Man, Traces, Today I Started Loving You Again and Willie and Laura Mae Jones. On these tracks, Bettye breathed life and meaning into the lyrics. Sometimes, it sounds as if she had lived and survived them as she delivers a vocal tour de force. Once Don’t You Ever Get Tired Of Hurting Me? was completed it was released later in 1969.
When Don’t You Ever Get Tired Of Hurting Me? was released, it failed to chart. Little did Bettye Swann realise, that sadly, thing were going to get a whole lot worse.
Bettye Swann released just two more singles on Capitol Records. The first was Don’t You Ever Get Tired (Of Hurting Me)? It was released in September 1969, and failed to chart. When Little Things Mean A Lot was released in 1970, it also failed to chart. Neither single features on The Very Best Of Bettye Swann. For Bettye Swann, Little Things Mean A Lot was the last single she released on Capitol Records.
This left Bettye Swann looking for a new label. She found it in 1971, when she signed to Fame Records. It was enjoying the most successful period in its history. Candi Staton was its most successful artist. However, Fame Records were alway looking to add to their roster. So with Bettye Swann without a label, Fame Records swooped. Sadly, Bettye’s time at Fame Records was short-lived.
Mickey Buckins had been trying to get an in at Fame Records. His patience was eventually recorded, when he was given a job as staff songwriter and technician. Although Mickey was mainly based at Fame Records’ demo studio, this didn’t matter to him. He was just happy to be working at such a prestigious studio. He eventually formed a fruitful songwriting partnership with George Jackson. One of their songs was I’m Just Living A Lie. It seemed like the perfect song for Bettye Swann.
Bettye went into the Fame studios and cut I’m Just Living A Lie. It was released in March 1971, but failed to chart. For Bettye, history was repeating itself. There was no followup to I’m Just Living A Lie, and Bettye’s time at Fame Records was over.
It was nearly another year before Bettye Swann released another single. However, it was well worth the wait when Victim Of A Foolish Heart was released on Atlantic Records. However, it wasn’t written or produced in-house.
Instead, it had been written and recorded at Fame Records. Just like I’m Just Living A Lie, it was penned by Mickey Buckins and George Jackson. The song was produced by Mickey and Rick Hall. When executives at Atlantic Records heard the song, they knew they had a hit on their hands.
When Victim of A Foolish Heart was released on 30th March 1972, it reached number fourteen in the US R&B Charts and sixty-one in the US Billboard 100. After six singles that failed to chart, Bettye was back. Could she make it two in a row?
For the followup to Victim of A Foolish Heart, the song chosen was Merle Haggard’s Today I Started Loving You Again. Again, recording took place at Fame Studios. This time though, the producers were Phil Hurtt, Tony Bell and LeBaron Taylor. They reinvented Today I Started Loving You Again. When it was released in November 1972, it reached number twenty-four in the US R&B charts and number forty-six in the US Billboard 100. Bettye’s career had been rejuvenated at Fame.
Sadly, Bettye wouldn’t return to Fame to record the follow up to Today I Started Loving You Again. Instead, Bettye was Philly bound. Executives at Atlantic Records seeing the success of Philly Soul. So they sent Bettye to Philly. However, Bettye wasn’t working with Gamble and Huff or Thom Bell. The Big Three were too busy, so Bettye was paired with The Young Professionals.
Their first single with Bettye was The Boy Next Door. On its release in August 1974. it stalled at a disappointing seventy-four in the US R&B charts. On the flip side was Kiss My Love Goodbye, which features on The Very Best Of Bettye Swann. It’s an uptempo track that epitomises the Philly Soul sound. Although quite different from much of the music Bettye had recorded, it showcased her versatility. So did her next single.
For the followup to The Boy Next Door, Time To Say Goodbye and When The Game Is Played On You were chosen. They were released as a double-A-side. Neither track caught the imagination of the record buying public. They missed one of the best tracks from Bettye’s Philly Soul era, When The Game Is Played On You. After the commercial failure of Bettye’s latest single, executives at Atlantic Records were watching events in Philly closely.
Time To Say Goodbye was the last single produced by The Young Professionals. When it was released in September 1974, the single never troubled the charts. This spelt the end of Bettye’s Philly Soul era.
There was no sentimentality at Atlantic Records. When The Young Professionals failed twice to deliver a hit, they brought onboard a new producer, Dave Shapiro.
He chose Red Lane and Curly Putnam’s All The Way In Or All The Way Out. The Dave Shapiro produced All The Way In Or All The Way Out was released in 1975, but reached just eighty-three in the US R&B charts. Then in 1976, Bettye released Heading In The Right Direction. When it failed to chart, this spelt the end of Bettye Swann’s time at Atlantic Records.
Four years later, in 1980, Bettye Swann made what was the final appearance of her career. Betty’s husband and manager George Barton died in 1980,
Following the death of her husband and manager, Bettye Swann retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Never again, did Bettye return to soul music.
That was a great shame. Bettye Swann was one of the most talented singers of her generation. She could breath life, meaning and emotion into lyrics. They were transformed, and the song took on new meaning. Sometimes, it seemed as if Betttye Swann had lived and survived the lyrics. However, despite her undoubtable talent, Bettye Swann didn’t scale the heights that Aretha Franklin, Diana Ross and Gladys Knight did. Nor did Bettye Swann make a fortune from music.
Far from it. Bettye Swann made very little money from music. It’s only relatively recently that Bettye Swann has received a small income from the various compilations of her music that have been released. For newcomers to Bettye Swann, the best place to start are with The Complete Money Recordings and The Very Best Of Bettye Swann (Money, Capitol, Fame, Atlantic Recordings 1964-1975). Both were released by Kent Soul, an imprint of Ace Records and are a tantalising reminder of a woman who was of the finest soul singers of her generation, Bettye Swann.
Nowadays, Bettye Swann is retired, and lives quietly in Las Vegas, Bettye Swann is a modest and humble woman, who doesn’t court publicity. Instead, Bettye Swann has spent so much of her life helping others. Very few of these people will even be aware of Bettye Swann’s past, or her rich musical legacy.
This includes over twenty singles and three albums, Soul View Now!, Make Me Yours and Don’t You Ever Get Tired Of Hurting Me? They’re a tantalising reminder of one of the most talented soul singers of her generation, and tell the first part of the Bettye Swann story.
The second part of the Bettye Swann story began in 1980, when after the death of her husband George Barton, thirty-six year Bettye Swann turned her back on music. She became a Jehovah’s Witness, and embarked upon a career in education in Las Vegas. The Bettye Swann story had taken an unexpected turn. Music’s loss was education’s gain. Since then, Bettye Swann has dedicated her life to helping others. So it’s fitting that having dedicated her life to others, there’s been a resurgence in interest in Bettye Swann’s music. Hopefully, the Bettye Swann story is going to have a happy ending?
THE BETTYE SWANN STORY.
CHARLEY PRIDE-AMAZING LOVE, COUNTRY FEELIN’, PRIDE OF AMERICA AND CHARLEY.
CHARLEY PRIDE-AMAZING LOVE, COUNTRY FEELIN’, PRIDE OF AMERICA AND CHARLEY.
By the time Charley Pride released Amazing Love in October 1973, he was one of the biggest names in country music. Eleven of Charley’s albums had been certified gold, and his last thirteen albums had reached the top ten in the US Country charts. Seven of these albums topped the US Country charts. Charley Pride had come a long way from the days when he was working in a smelter. The only problem was, that no longer were Charley’s albums reaching the upper reaches of the lucrative US Billboard charts.
The seventies had started so well for Charley Pride. His first albums of the seventies, Just Plain Charley was released in January 1970, and reached twenty-two in the US Billboard 200. This resulted in another gold disc for Charley. So did Charley Pride’s 10th Album which was released in June 1970. It reached number thirty in the US Billboard 200 and number one in the US Country charts. Charley’s rich vein of form continued with From Me to You. On its release in December 1970, it reached just forty-two in the US Billboard 200 and number two in the US Billboard 200. Charley Pride, it seemed, could do no wrong.
When I‘m Just Me was released in June 1971, Charley enjoyed his third number one album on the US Country charts. However, I‘m Just Me stalled at just number fifty on the US Billboard 200. There was no gold disc this time around. The only small crumb of comfort was I‘m Just Me reached number two in Canada. Meanwhile, executives at RCA Victor must have noticed that Charley’s last two albums hadn’t sold as well as his first three albums of the seventies. They must have hoped it was a blip.
Four months later, Charley Pride Sings Heart Songs was released in October 1971. The album reached number thirty-eight in the US Billboard 200 and topped the US Country charts. This resulted in another gold disc for Charley. Normal service had been resumed.
Especially when Charley’s first gospel album Did You Think to Pray reached number seventy-six in the US Billboard 200 and reached number one on the US Country charts. This was enough for another gold disc. Although Charley’s first gospel album hadn’t reached the heights of Charley Pride Sings Heart Songs in the US Billboard 200, it was deemed a success. It seemed I’m Just Me had been a blip.
The success continued when RCA Victor decided to release The Best of Charley Pride Volume 2 during the first half of 1972. It reached fifty on the US Billboard 200 and topped the US Country chars. Charley received another gold disc to add to his collection. Later in 1972, Charley released a new country albums.
Nine months after the release of his previous country album, Charley released A Sunshiny Day with Charley Pride in July 1972. While it reached number one on the US Country charts, the album stalled at 115 in the US Billboard 200. This made A Sunshine Day With Charley his least successful album since Songs of Pride…Charley That Is in July 1972. Maybe it was a blip?
That was what Charley and everyone at RCA Victor were hoping. Songs of Love by Charley Pride was released in December 1972, but stalled at a lowly 149 in the US Billboard 200. However, the album still topped the US Country charts. Charley was still a giant of country music.
When Charley released Sweet Country in April 1973, the album reached just 166 in the US Billboard 200. At least Sweet Country reached number three in the US Country charts. Charley was still a massive draw in country circles. However, it seemed that he didn’t have the same crossover appeal he once had. So Charley set out to rectify this on Amazing Love, which is one of four albums reissued on a two disc set by BGO Records. The remastered set covers the period between Amazing Love which was released in October 1973, through Country Feelin’, Pride of America and Charley in May 1975. Would Charley’s search for crossover appeal prove successful?
Amazing Love.
Six months after the release of Sweet Country, Charley returned with Amazing Love in October 1973. It featured ten carefully selected tracks that hopefully, would appeal to more than fans of country music.
Among the tracks that featured on Amazing Love, were Allen Reynolds and Don Williams’ If She Helps Me (Get Over You). Two songs by John Schemers, who was then one of the top songwriters in country music. He had written several tracks for Charley. This time around, he had written I’m Only Losin’ Everything I Threw Away and Amazing Love. Two songwriters who had previously written songs for Charley contributed songs.
Ben Peters wrote I’m Glad It Was You, and James Bullington penned Comin’ Down With Love. Other songs included Al Urban’s Old Photographs, Jerry McBee’s Footprints In The Sands Of Time, Jim Lunsford’s Blue Ridge Mountains Turnin’ Green and Charles Isbell and Joe Keene’s I’ve Just Found Another Reason For Loving You. The song that would close Amazing Love was Glenn D. Tubb and Larry Lee Mr. Joe Henry’s Hand Clappin’ Open Air Rhythm Band. Just like the rest of Amazing Love, it was recorded in Nashville.
As usual, recording took place at RCA’s Nashville Sound Studio. Producing Amazing Love was Charley’s usual producer Jack Clement. However, he was joined by Felton Jarvis, who co-produced Amazing Love. It featured some of Nashville’s top musicians, who accompanied Charley on the ten tracks. Once they were recorded, Amazing Love was scheduled for release in October 1973.
Before the release of Amazing Love, critics had their say on the album. Amazing Love was well received within the country music community. Charley Pride had returned with an album carefully crafted songs. These ten songs showcased his talent and versatility. Bookending Amazing Love were two memorable mid tempo tracks, Comin’ Down With Love and Mr Joe Henry’s Happy Hand-Clappin’Open Air Rhythm Band. Blue Ridge Mountains, a banjo lead song featured a much more traditional sound, and shows another side to Charley. However, some of his best performances come on the relationship songs. Charley breathes life and meaning into the lyrics to If She Just Helps Me (Get Over You) and I’m Glad It Was You. It’s a similar case on the piano lead songs, I’ve Just Found Reason For Loving You and I’m Only Losin’ Everything I Threw Away Old Photographs. They’re a reminder of why Charley Pride was one of the biggest names in country music. So was the album’s standout track, Amazing Love.
The title-track was chosen as a single, and went on to top the country charts in America and Canada. This augured well for the release of Amazing Love.
When Amazing Love was released in October 1973, the album gave Charley Pride another number one on US Billboard Country charts. This was twelfth number one of Charley Pride’s career. However, the album failed to chart in the US Billboard 200. This was hugely disappointing. So was that Charley Pride had released another album, and still there was no sign of another gold disc.
The last gold disc Charley Pride received for a studio album came for Charley Pride Sings Heart Songs, which had been released in October 1971. Since then, only The Best of Charley Pride Volume 2, which was released in 1972, had been certified gold. While that was only two years ago, Charley Pride must have been worried. After all, he was no longer selling the same amount of albums. The problem was, nowadays, most of Charley Pride’s audience were country music fans. Previously, his music had crossed-over, and found an audience within mainstream music. Maybe this would change?
Country Feelin’.
Buoyed by a number one single and album in the US Country charts, Charley began work on his next album Country Feelin’. Ten tracks were chosen, including some from some of Charley’s favourite songwriters.
They had written songs for Charley’s previous albums. This included Ben Peters, who wrote Singin’ a Song About Love and Love Put A Song In My Heart. Among the other familiar faces were Jim Lunsford who wrote Streets of Gold; Allan and Marilyn Bergman contributed All His Children; Felice Bryant wrote We Could and Don Williams and Allen Reynolds cowrote It Amazes Me. Allen Bryant also wrote It Amazes Me with Wayland Holyfield. Other tracks included John Riggs’ Let My Love In, and the Max D. Barnes penned The Man I Used to Be. He wrote I Don’t See How I Can Love You Anymore with Maria Houston. Those songs became Country Feelin’, which was recorded in Nashville.
Recording took place at RCA’s Nashville Sound Studio. Producing Amazing Love was Charley’s usual producer Jack Clement. This time, there was no song of Felton Jarvis, who had co-produced Amazing Love. Joining Charley and Jack Clement were some of the top session musicians in Nashville. They were by The Nashville Edition, who added backing vocals on Country Feelin’. Gradually, the album took shape and once it was complete, RCA Victor started working towards a release date.
Country Feelin’ was scheduled for release in May 1974. Before that, critics had their say on Charley’s latest album. Critics were impressed by Country Feelin’, and called it one of his best albums of recent years. Just like Amazing Love, Country Feelin’ featured a selection of very different tracks.
The album opener, Which Way Do We Go has a much more traditional sound. This tale of love gone wrong whets the listener’s appetite for the rest of Country Feelin’. We Could is a quite beautiful, hopeful ballad that’s one of Country Feelin’s highlights. All His Children is another ballad, but one that’s roots are in the church. It would’ve sat comfortable on anther of Charley’s gospel albums. Street Of Gold features a reflective Charley; while I Don’t See How I Can Love You Anymore is another tale of love gone wrong. Singin’ A Song About Love is a joyous, mid tempo track. The Man I Used To Be is a hopeful sounding song; while Let My Love In features a needy vocal from Charley. Love Put A Song In My Heart, which closes Country Feelin’, is a joyous tale of new love. Country Feelin’ was an emotional roller coaster, which critics thought would sell well.
Alas, when Charley Pride released Country Feelin’ in May 1974, it stalled at number fifteen in the US Billboard Country charts. This was Charley Pride’s least successful album since The Pride of Country Music in June 1967. To make matters worse, Country Feelin’ became Charley Pride’s second consecutive album not to trouble the US Billboard 200. However, the Charley Pride bubble hadn’t burst.
We Could was chosen as a single from Country Feelin’. It reached number three in the US Billboard Country charts, and reached number one in the Canadian Country charts. This was a small crumb of comfort for Charley Pride and everyone at RCA Victor.
Pride Of America.
Six months later, Charley Pride returned back with a new album, Pride Of America in November 1974. By then, much had changed for Charley in an attempt to get him back to the top of the US Country charts.
One noticeable change was than Pride Of America didn’t feature songs by some of Charley’s favourite songwriters. There were not tracks from the ever reliable Ben Peters. Neither Jim Lunsford nor the songwriting team of Allan and Marilyn Bergman featured. However, John Schweers contributed Completely Helpless. Johnny Duncan wrote Mary Go Round and That Was Forever Ago. Red Stegall wrote The Hard Times Will Be The Best Time, Bobby P. Barker penned She Loves Me The Way That I Love You and Rod Morris contributed North Wind. Geoffrey Morgan and Kent Robb cowrote I Still Can’t Leave Your Memory Alone; while Paul Huffman, Joane Keller and Bucky Jones wrote Thorns of Life. Harold Dorman and Wiley Gann wrote Mississippi Cotton Picking Delta Town for Charley. It was semi-autobiographical, and would prove to be an important song for Charley. So would A.L. “Doodle” Owens and Dallas Frazier’s Then Who Am I, which like the rest of Pride Of America, was recorded in Nashville.
This time around, Charley’s usual producer Jack Clement had been replaced by Jerry Bradley. Despite this, when the sessions began at Nashville Sound” Studios, Charley was accompanied by a tight, talented band of top session players on Pride Of America. Once it was finished, it was released in November 1974.
Prior to the release of Pride Of America, critics cast their eye over the album. Opening Pride Of America was the ballad Than Who Am I, a tale of hurt and betrayal. So is Helpless, another soul-baring ballad. The balladry continued on I Still Can’t Leave Your Memory Alone, which is a tale of hurt and heartbreak. Charley then becomes a storyteller on the cinematic sounding The Hard Times Will Be The Best Times, and the semi-autobiographical Mississippi Cotton Picking Delta Town. It would strike a nerve with American record buyers when it was released as a single.
For much of the remainder of Pride Of America, Charley returns to balladry is a series of relationship songs. This is something he does so well. She Love Me The Way That I love You finds grief gives way to new love. It’s a poignant song, whose lyrics Charley brings to life. Equally poignant is That Was Forever Ago, another ballad about the end of a relationship. Thorns Of Life features a heartfelt vocal on this paean. North Wind which closes Pride Of America, is a jaunty ballad, rich in imagery, mystery and emotion. Pride Of America was well received by critics. Things were looking good for Charley Pride.
When Pride Of America was released in November 1974, it reached number five on the US Billboard Country charts. This was an improvement on Country Feelin’. However, Pride Of America was the third consecutive Charley Pride album that failed to enter the US Billboard 200. At least the singles fared better.
Mississippi Cotton Picking Delta Town was chosen as the lead single from Pride Of America. When it was released in late 1974, not only did it reach number three on the US Country charts, but number seventy on the US Billboard 100. This was Charley’s most successful single on the US Billboard 100 since Kiss an Angel Good Mornin’ in 1971. Across the border, Mississippi Cotton Picking Delta Town reached number one on the Canadian country charts. The second single released from Pride Of America, was Then Who Am I. It reached number one in the American and Canadian country charts. For Charley, it was his fourteenth number one single on the country chart. Charley Pride was still one of the biggest names in country music.
Charley.
Following the success of Pride Of America, RCA Victor didn’t waste time releasing another Charley Pride album. Charley was released in May 1975, and featured ten songs that had been recorded in Nashville.
This included Johnny Duncan’s Fools and I Ain’t All Bad. A.L. “Doodle” Owens and Dallas Frazier who had written Then Who Am I for Pride Of America, wrote She’s As Close As I Can Get To Loving You. Hope You’re Feelin’ Me (Like I’m Feelin’ You) came from the pen of Bobby David and Jimmy Rushing. He also wrote Lovin’ Understandin’ Man. The Grindelle, Gibbons and Hatch songwriting team penned Searching For The Morning Sun; while the Foster and Rice partnership were responsible for Now and Then. The other trace on Charley were The Hardest Part Of Livin’s Loving Me, One Mile More and You’re The Woman Behind Everything. They were recorded in the familiar surroundings of Nashville Sound Studios, Nashville.
Jack Clement returned to produce Charley. This was the second album he had produced with Charley Pride. Their first album, had featured two hit singles. It was the perfect start to their partnership. With a band that featured some top session musicians accompanying Charley, he recorded ten tracks at Nashville Sound Studios. They became Charley. When the album was complete, it was scheduled for release in May 1975.
Before Charley was released, critics had their say on the followup to Pride Of America. Again, ballads were to the fore on Charley.
The understated ballad Hope You’re Feelin’ Me (Like I’m Feelin ’You) opened the album. It features a vocal full of heartbreak and hurt. Searching For The Morning Sun is cinematic ballad, where Charley paints pictures with his vocal. Then on The Hardest Part Of Livin’s Loving Me and Now And Me, Charley delivers emotive vocals. They’re a reminder that balladry is something Charley excels at. Fools is a tale of love gone wrong, where pizzicato strings accompany Charley as he calls time on his failing relationship. Charley then delivers a hopeful vocal on I Ain’t All Bad; and a rueful, lovelorn vocal on She’s As Close As I Can Get To Loving You. Lovin’ Understandin’ Man which closes Charley, features a much more traditional sound on this heartfelt paean. It closes another album of carefully crafted songs. Critics were won over by Charley, which received mostly positive reviews. Things were looking good as Charley was released in May 1975.
Charley was released in May 1975, and reached number five in the US Country charts. For Charley Pride it was one step forward, and one step back. Charley hadn’t quite matched the success of its predecessor Pride Of America. Still Charley Pride was no closer to reconquering the US Billboard 200. However, again, Charley enjoyed two hit singles.
The first was I Ain’t All Bad, which reached number six in the US Country charts, but stalled at 101 in the US Billboard 100. Across the border in Canada, I Ain’t All Bad reached number. By then, Charley Pride had a large following in Canada. So when Hope You’re Feelin’ Me (Like I’m Feelin’ You) was released as a single, it reached number two in the Canadian Country charts and number one in the US Country charts. This was Charley’s fifteenth number one single in the US Country charts. However, it must have almost felt like a Pyrrhic victory.
While Hope You’re Feelin’ Me (Like I’m Feelin’ You) topped the US Country charts, it failed to even trouble the US Billboard 100. It had been situation with Charley. While it reached number fife in the US Country charts, it never came close to troubling the US Billboard 200. That was becoming a familiar story.
Charley Pride’s last album to enter the US Billboard 200 was Sweet Country in April 1973. Even then, it stalled at just 166 in the US Billboard 200. Since then, Amazing Love which was released in October 1973, Country Feelin’, Pride of America and Charley which was relaxed in May 1975 all failed to enter the US Billboard 200. It was a disappointing period for Charley Pride. That’s despite the four albums featuring three number one singles in the US Country charts. However, reaching the upper reaches, or even topping the US Country charts wasn’t enough to see Charley Pride enjoy the commercial success he once had.
Between January 1969 and April 1973, eleven of Charley’s albums had been certified gold. During that period, thirteen of Charley’s albums had reached the top ten in the US Country charts. Seven of these albums topped the US Country charts. Only Amazing Love added to that number.
Amazing Love is one of four albums to feature on a two disc set recently reissued by BGO Records. The remastered set includes Amazing Love Country Feelin’, Pride of America and Charley. Although these albums didn’t match the commercial success of Charley Pride’s earlier albums, they feature a true giant of country music at the peak of his powers. These four albums are hugely underrated, and deserve to be rediscovered by a much wider audience. During the period, Charley Pride was still one of the biggest names in country music.
Sadly, Charley Pride’s albums never again sold in the same quantities. It was across the border in Canada, where Charley Pride enjoyed two more gold discs and where The Best of Charley Pride Volume 3 was certified four times platinum in 1976. Since then, Charley Pride has continued to tour and release albums.
While the number albums and gold discs seemed to have dried up, Charley Pride had grown and matured as an artist. Lyrics come to life, as Charley Pride doesn’t so much sing them, but live them. His delivery is heartfelt, emotive and impassioned. It’s country music at his best. That’s not surprising, as Charley Pride is country music royalty.
Nowadays, Charley Pride is still regarded as country music royalty. He’s enjoyed thirty-nine number one singles on the US Billboard Country charts, and sold over seventy-million albums. Still, Charley Pride is RCA Victor’s second biggest selling artist of all time. Indeed, the only artist to have outsold Charley Pride at RCA Victor, is Elvis Presley. The boy from Sledge, Mississippi, who once dreamt of becoming a baseball player has come a long way, and nowadays, is the living embodiment of the American Dream. Patience and persistence paid off for Charley Pride, who is still living the dream.
CHARLEY PRIDE-AMAZING LOVE, COUNTRY FEELIN’, PRIDE OF AMERICA AND CHARLEY.
VAN HALEN-THE DAVID LEE ROTH YEARS AND BEYOND.
VAN HALEN-THE DAVID LEE ROTH YEARS AND BEYOND.
For any successful band, losing their lead singer can prove disastrous. Suddenly, the very future of the band is at risk.The band has two options, to and find a replacement or call it quits. However, this isn’t really an option for a band whose first six albums had sold thirty-four million copies in America alone,..Van Halen. So Van Halen went in search for a David Lee Roth. This wasn’t going to be easy. David Lee Roth had played an important part in the rise and rise of Van Halen .
The Van Halen story began in the early seventies, when brothers, Eddie and Alex Van Halen had formed a band. Like many bands, they found it difficult to settle on a name. Initially, they were called The Broken Combs, then changed the name to The Trojan Rubber Co. By then, The Trojan Rubber Co. had a settled lineup.
Their lineup featured Alex on drums and Eddie on guitar. They were joined by bassist Mark Stone and vocalist David Lee Roth, who they had hired a sound system from. Eddie had initially failed the audition. However, Eddie and Alex were realists. Money was tight, so if they brought David onboard, they would save having to hire a sound system. They also thought that David might improve as a vocalist. However, in 1974, The Trojan Rubber Co. changed its name and its lineup.
1974 was a pivotal year for The Trojan Rubber Co. By then, bassist Mark Stone had been replaced by bassist Michael Anthony. His audition was unorthodox. Only after Michael took part in an all night jam session, was he hired. So, Michael left local band Snake and joined The Trojan Rubber Co. Soon, The Trojan Rubber Co. changed its name to Mammoth, and then Van Halen. For the next three years, Van Halen spent honing their sound.
Van Halen played wherever they could. Backyard parties, clubs and dive bars, they weren’t proud. Far from it. They certainly were loud. Too loud some thought.
When Van Halen went to audition at Gazzarri’s, a bar on Sunset Strip, that was down on its luck, the owner Bill Gazzarri, told them they were “too loud, and refused to hire them.” However, Van Halen’s new managers stepped in.
Mark Algorri and Mario Miranda had just been installed as Van Halen’s managers. They had also just taken over the booking at Gazzarri’s. So, Van Halen were installed as the house band. Not long after this, Van Halen entered the studio for the first time.
The four members of Van Halen headed to Cherokee Studios, which had recently housed Steely Dan. At Cherokee Studios, Van Halen recorded their demo tape. It would become their calling card, and see them play some of L.A.’s top clubs, including the famous Whisky-A-Go-Go.
Soon, Van Halen were a permanent fixture in L.A.’s top clubs. That’s where they continued to hone their sound. It’s also where they came to the attention of Kiss’ Gene Simmons.
Gene Simmons had heard good things about Van Halen. So, he went to check out Van Halen. According to what he had heard, they were one of the rising stars of L.A.’s music scene. When Gene Simmons arrived at the Gazzarri club in the summer of 1976, he was won over by Van Halen. He knew they were going places.
So, Gene Simmons took Van Halen to Village Recorders in L.A. to produce a new demo tape. Overdubs then took place at Electric Ladyland in New York. Things were looking good for Van Halen. The only thing Van Halen baulked at, was Gene’s suggestion to change the band’s name to Daddy Longlegs. That was a step too far. The next step was for Gene to take the newly recorded demo tape to Kiss’ management.
When Kiss’ management heard the demo, they were pretty disparaging about Van Halen. According to Kiss’ managers, Van Halen “had no chance of making it.” These words would come back to haunt them, after Van Halen sold over 50.5 million albums in America alone. However, with Kiss’ management not interested in signing Van Halen, Gene Simmons bowed out of the story. He would be replaced a year later by Mo Ostin and Ted Templeman.
Down but not out, Van Halen returned to the club circuit. For the next year, they continued to hone their sound on the club circuit. One night, in the middle of 1977, Van Halen were playing at the Starwood in Hollywood. There wasn’t much of an audience. However, little did Van Halen know, that two very special guests were in the audience, Mo Ostin and Ted Templeman of Warner Bros. Records. The pair liked what they heard and less than a week later, Van Halen had signed to Warner Bros. Records. Mo Ostin dispatched Van Halen to Sunset Sound Records with producer Ted Templeman, where recording of Van Halen I began.
Van Halen.
Like many bands recording their debut album, Van Halen were fearless. They had no apprehension. Mind you, this wasn’t exactly a new experience. Van Halen had been in studios before, recording two different demo tapes. However, this was for real. The band had written nine tracks. The other two were covers of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man. These eleven tracks would eventually become Van Halen’s debut album, Van Halen.
Recording of Van Halen began in the middle of September 1977. Van Halen’s rhythm section of drummer Alex Van Halen and bassist Michael Anthony set about proving the album’s pulsating heartbeat. A week was spent recording Eddie’s guitar parts. Another two weeks were spent recording David’s vocals and the backing vocals. By early October 1977, recording of Van Halen was all but complete. The decision was made not to do much in the way of over-dubbing. This meant Van Halen was much more like hearing Van Halen live. How would critics respond to this?
Before the release of Van Halen, critics had their say. For everyone at Warner Bros. Records, they held their breath. Back in 1978, critics could be venomous. It was hardly rock critic’s finest hour. They were in the throes of a love affair with punk. Many critics took great pleasure in trashing rock albums. The critics didn’t hold back when it came to Van Halen. Most of the reviews were negative. One of the worst reviews came from the so called doyen of critics, the contrarian Robert Christgau. The equally contrarian Rolling Stone were not fans of Van Halen. At least they admitted that Van Halen were going places. Mostly, the reviews panned Van Halen. However, soon, critics would be eating their words.
When Van Halen was released on 18th February 1978, it began climbing the charts. Eventually, it reached number nineteen in the US Billboard 200 charts. Since then, Van Halen has sold over ten million copies and has been certified diamond. Back in 1978, rhis was just the start of the rise and rise of Van Halen, who critics had changed their mind about.
Gradually, critics changed their minds about Van Halen. Suddenly, they began to regard Van Halen as one of the best debut albums in the history of rock ’n’ roll. That’s the case today, with critics hailing Van Halen as a classic, and one of the greatest debut albums ever released. From that album, a trio singles were chosen.
Three singles were released from Van Halen. A cover of The Kinks’ You Really Got Me reached number thirty-six in the US Billboard 100. Runnin’ With The Devil Stalled at number eighty-four in the US Billboard 100. The final single released from Van Halen was Ain’t Talkin’ ’bout Love. It failed to chart. While the singles failed to replicate the success of Van Halen, it showcased the band at their hard rocking best.
Literally, Van Halen strut and swagger through the eleven tracks on their debut album Van Halen. It’s no surprise that rock and heavy metal fans were won over by Van Halen. It’s a track full of some of Van Halen’s biggest songs, including Runnin’ With The Devil, Eruption, You Really Got Me, Ain’t Talkin’ ‘Bout Love, Jamie’s Cryin’ and Ice Cream Man. Van Halen’s rhythm section of Alex and Michael provide the backdrop to Eddie’s blistering guitars and David’s lived-in vocal. From the opening bars of Runnin’ With The Devil, right through On Fire, Van Halen win friends and influence people. The band who just a year ago, were being hailed L.A.’s best bar band, were on their way to becoming a one of the biggest bands on planet rock.
Van Halen II.
When Van Halen entered Sunset Sound Recorders, in Hollywood, on 11th December 1978, the the four members of the band must have wondered what had happened in the last ten months? They had gone from bar room band, to a million selling rock band. All of a sudden, they were one of the biggest bands in the America. They were being touted as the saviour of American rock. This was hard to comprehend. It also meant that Van Halen were under pressure to record a fitting followup to Van Halen.
Recording of what became Van Halen II began on 11th December 1978. Nine of the ten tracks were penned by Van Halen. Many of the tracks weren’t new songs. Instead, they featured on the Gene Simmons’ sessions. However, given Van Halen were under pressure to record their sophomore album, it’s no surprise that they chose to dust off these songs. The other track chosen for Van Halen II was Clint Ballard Jr.’s You’re No Good. These ten track were produced by Ted Templeman. By January 1979, Van Halen II was complete, and ready for release.
Given the negative reviews of their debut album, the four members of Van Halen must have awaited the reviews of Van Halen II with bated breath. Mostly, reviews of Van Halen II were positive. That’s apart from the “usual suspects,” who still, failed to be won over by Van Halen. They were in the minority. The majority of critics were impressed by Van Halen II’s upbeat, feel good sound. Especially tracks like Dance The Night Away and Beautiful Girls, which some critics referred to Van Halen II as perfect party music. One track however, was very different to the rest.
This was the instrumental, Spanish Fly. It was perceived as the followup to Eruption on Van Halen. Spanish Fly however, is only a minute long, and featured Eddie Van Halen on an acoustic guitar. Rather than fingerpick, he uses a plectrum. This makes things doubly hard. Despite this, he delivers a guitar masterclass. Eddie deploys a variety of techniques, including finger tapping and tremolo picking. Those who had marvelled at Eruption, would be spellbound by Eddie’s performance on Spanish Fly.
That would be the case with Van Halen’s performance on Van Halen II. When Van Halen II was released on March 23rd 1979, copies of Van Halen II sold quickly. It was one of 1979s must have rock albums. Soon, Van Halen two reached number six in the US Billboard 200. Eventually, it sold five million copies in America, and was certified platinum five times over. Across the border, Van Halen II was certified double platinum in Canada. Meanwhile, in France Van Halen II was certified gold. It seemed Van Halen could do no wrong.
While that was the case with Van Halen’s first two albums, their singles were selling as well. While Dance The Night Away reached number fourteen in the US Billboard 100, Beautiful Girls stalled at number eighty-four. Just like many other rock bands before them, Van Halen looked like being an album’s band. Maybe that would change with their third album?
Women and Children First.
Just a year after Van Halen began recording their sophomore album, the band began work on their third album, Women and Children First. It marked the beginning of a new chapter in the Van Halen story.
On Van Halen’s first two albums, Van Halen had added cover versions. This included a cover of The Kinks’ You Really Got Me and John Brim’s Ice Cream Man on Van Halen. Then on Van Halen II, Van Halen covered Clint Ballard Jr.’s You’re No Good. However, when recording of Women and Children First began in December 1979, cover versions were a thing of the past.
Women and Children First, Van Halen’s third album was their first album featuring just songs written by the four members of the band. Maybe Van Halen had realised that putting cover versions on albums was costing the band royalties? There was certainly no need to resort to cover versions? The four members of Van Halen were talented songwriters, capable of writing their own material. So when Van Halen entered the studio to record Women and Children First, they came with ten new songs they had penned. This however, wasn’t the only change that became apparent.
As recording of Women and Children First began, onlookers in the studio realised that Van Halen’s music was becoming heavier. This wasn’t just a stylistic change, and to some extent, a thematic one. Some of Van Halen’s later songs had a degree of darkness. Mostly, though, Van Halen were still the same hard rocking, good time band. However, what became apparent was that their way of recording was changing.
Unlike Van Halen and Van Halen II, Women and Children First saw Van Halen rely more upon overdubs. Backing vocals weren’t used as extensively. They were on Could This Be Magic?, and Nicolette Larson was drafted in to sing the choruses and backing vocal. This was the one and only time a female backing vocalist featured on a Van Halen album. Another first was the keyboard driven And the Cradle Will Rock. Although it sounds like a guitar, it’s a Wurlitzer electric piano with a phase shifter used to transform the sound. It seemed that Van Halen had the confidence to experiment more on Women and Children First. Given that Van Halen were working with such an experienced producer as Ted Templeman, this was the perfect opportunity to try new things. He could show Van Halen how to make their ideas work.
Despite the stylistic change and change in their way of recording, producer Ted Templeman didn’t try to reign in Van Halen. He must have known that Van Halen wanted to broaden their horizons musically. They had always been a hard rocking band, and weren’t willing to sacrifice what many felt was their true sound. Maybe Van Halen had sacrificed some of their true sound on their first two albums. Now that they had their foot in Warner Bros’ door, they could show their true colours. This may not have pleased everyone.
Van Halen finished recording Women and Children First in February 1980. At last, those within Warner Bros. could hear Women and Children First. Some were aware of Van Halen’s music changing stylistically. This didn’t please everyone. Van Halen were one of Warner Bros.’ biggest success stories. By changing their style, this could alienate their audience. Not everyone who had bought Van Halen, and Van Halen II, would be receptive to a heavier Van Halen. Would this be the case within Warner Bros?
Once the executives at Warner Bros. heard Women and Children First, they were able to form an opinion. Most of those whose opinion mattered liked Van Halen’s new sound. They realised that Van Halen wanted to evolve as a band. They couldn’t keep rehashing Van Halen, and Van Halen II. Instead, they had to move forward. However, it was a big risk. Van Halen, and Van Halen II were million selling albums. There was a lot at stake. If Women and Children First flopped it would prove costly.
Van Halen had two hurdles to overcome before they would know if Women and Children First had been a success. The first was the critics.
As the critics their say, everyone at Warner Bros. and the four members of Van Halen awaited the verdict. Eventually, the reviews were published. Many critics remarked upon Van Halen’s heavier sound. They also noted that the four members of Van Halen had written the ten tracks on Women and Children First. Although Women and Children First was quite different from Van Halen II, it was well received by critics. They felt Van Halen were maturing as a band and songwriters. Proof of this were tracks like Could This Be Magic? and Everybody Wants Some!!, which reinforced Van Halen’s reputation and credentials as a good time party band. Having cleared the first hurdle, now record buyers had the final say.
Only if Women and Children First sold in similar quantities to Van Halen and Van Halen II could the album be declared a success. Women and Children First was released on March 6th 1980. Straight away, Women and Children First was selling well. Soon, Women and Children First reached number six in the US Billboard 200. Eventually, it sold three million copies in America, and was certified triple-platinum. Elsewhere, Women and Children First was certified double platinum in Canada and gold in France. As Van Halen and everyone at Warner Bros. breathed a sigh of relief, still Van Halen weren’t selling singles in vast quantities.
The only single released from Women and Children First, was And The Cradle Will Rock. It stalled at number fifty-five in the US Billboard 100. Van Halen it seemed, were never going to be a singles band. However, what really mattered was that Women and Children First had sold well. That was certainly the case. Worldwide, Women and Children First sold over three million copies. Van Halen’s decision to change direction had paid off.
Fair Warning.
By the time that Van Halen began recording their fourth album, Fair Warning, Van Halen were a divided band. The band’s two main men were at loggerheads. David Lee Roth wanted Van Halen to return to the sound of the first two album. He wasn’t in favour of the heavier sound, which he felt didn’t appeal to as many people. The proof of this was the sales of Women and Children First.
Eventually, Women and Children First sold over three million coupes. Van Halen eventually sold ten million copies and Van Halen II five million copies. David felt it Van Halen continued with the heavier sound, they risked alienating record buyers. Van Halen co-founder didn’t agree.
Eddie wanted Van Halen to continue their heavier sound. Women and Children First was the first time they showcased this sound. He felt that the way forward was longer songs with much more complicated song structures. This would allow Van Halen to shine as musicians, especially Eddie, who was seen one of the best guitarists of the late-seventies and early eighties. Given Eddie was one of the best guitarists of his generation, he felt his guitar playing should take centre-stage. David Lee Roth disagreed, and disagreed with Eddie’s other proposal.
The other change Eddie proposed was a continuation of the darker themes that Van Halen began exploring on Women and Children First. For David Lee Roth, this wasn’t what Van Halen were about. They were, in many people’s eyes, a good time rock ’n’ roll band. However, that wasn’t the direction Eddie wanted Van Halen to take. Instead, it looked as if Eddie wanted Van Halen to become the Led Zeppelin of the eighties. With David and Eddie at loggerheads, work began on Van Halen’s fourth album Fair Warning.
Just like Women and Children First, Van Halen penned the ten tracks on Fair Warning. Recording of these ten tracks began in late 1980. Quickly, it became apparent that Eddie’s ideas had prevailed. The music was fast, rocky and sometimes dark. This allowed Van Halen’s rhythm section to showcase their skills Fair Warning. Especially Eddie, who unleaded a series of fierce, blistering solos on tracks like Mean Street, Hear About It Later, Unchained and So This Is Love? David who seemed to have pst the argument, added his trademark vocals. Producer Ted Templman had the job of bringing Fair Warning together. The result was the hardest rocking album of Van Halen’s career, Fair Warning.
Before Fair Warning was released on April 29th 1981, the critics had their say on Van Halen’s hardest rocking album. Reviews of Fair Warning were mixed. Most of the critics embraced Fair Warning. They were impressed by Eddie’s virtuoso skills. Aided and abetted by his box of sound effects, Eddie unleashes a series of blistering solos. Along with the other two members of the rhythm section, he was key to Van Halen’s new, hard rocking style. Together, they provided the backdrop for David’s vocals. He brought to life the lyrics, as Van Halen continued to evolve musically.
It seemed Fair Warning had won over most of the critics. However, while most of the reviews of Fair Warning praised Van Halen’s fourth album, there were still some doubters. They felt that Van Halen were heading down the wrong road. On Women and Children First and Fair Warning, Van Halen’s music had become much harder. This had cost Van Halen precious sales on Women and Children First. Would this be the case with Fair Warning?
On the release of Fair Warning on 29th March 1981, sales were slow. Fair Warning was the slowest selling Van Halen album of their four album career. Eventually, it reached number six in the US Billboard 200. While this was the same as Van Halen II and Women and Children First, sales were way down. Fair Warning sold “just” two million copies. This was a million less than Women and Children First, and three million less than Van Halen II. To make matters worse, none of the singles charted.
Four singles were released from Fair Warning during 1981. The first was So This Is Love. It failed to chart. So did Mean Street, Push Comes To Shove and Unchained. This wasn’t unexpected, as Van Halen weren’t a singles band. However, it further reinforced David Lee Roth’s argument.
Given that Fair Warning was Van Halen’s slowest selling and least successful album, many onlookers wondered whether Van Halen would rethink their sound. It seemed record buyers weren’t embracing Van Halen heavier sound. Maybe it was time to come round to David Lee Roth’s way of thinking?
Diver Down.
After the release of Fair Warning, Van Halen headed out on tour. They spent months promoting Fair Warning. Still, Fair Warning sold slowly, and failed to match the sales of previous albums. Once the tour was over, Warner Bros. started pressurising Van Halen into recording their fifth album.
That wasn’t what Van Halen wanted to hear. They wanted to take some time out, and then spend time writing and recording their fifth album. That wasn’t to be though.
Not long after the Fair Warning tour ended, David Lee Roth came up with an idea. He wanted Van Halen to record a single and release it just after the New Year. He had the very song in mind, Roy Orbison’s Oh, Pretty Woman. While this wasn’t the most obvious choice for a single, the rest of Van Halen agreed.
So the four members headed to Sunset Sound and recorded their cover of Oh, Pretty Woman. After working out an arrangement with producer Ted Templeman, Van Halen recorded Oh, Pretty Woman. Once it was finished, Oh, Pretty Woman was released early in the New Year.
Just after New Year 1981, Van Halen’s version of Oh, Pretty Woman was released. Van Halen weren’t known as a singles band. However, Oh, Pretty Woman succeeded where better Van Halen songs failed, and reached number twelve in the US Billboard 100 and number one on the US Mainstream Rock charts. Ironically, this became the most successful single of Van Halen’s career. However, the success of Oh, Pretty Woman backfired on Van Halen.
Having just enjoyed the biggest selling single of their career, Warner Bros. started pressurising Van Halen into recording their fifth album. Van Halen didn’t get the time to write and record their fifth album.
Eventually, Van Halen relented. That’s despite having been on tour for months. For the last four years, Van Halen had been recording and touring albums. It was like a merry-go-round, one that Van Halen needed to get off. Especially since the last year hadn’t been easy.
Eddie and David were still at loggerheads. Although Eddie had won the day, David had been vindicated. Sales of Fair Warning were way down. It sold a million less than Women and Children First. This was costing Van Halen and Warner Bros. money. So, Van Halen could hardly refuse Warner Bros.’ request to begin recording their fifth album. However, that wasn’t Warner Bros.’ only request.
Given Fair Warning hadn’t been as successful as previous Van Halen albums, someone at Warner Bros hit on the idea that Van Halen should include some covers on what became Diver Down. The reasoning for this was, that if people recognised some of the songs on the album, they would be more likely to by it. Especially if these songs had been hits before. So, Van Halen went in search of covers.
Having already recorded and released Oh, Pretty Woman, Van Halen got to work on their fifth album, Diver Down. In addition to Oh, Pretty Woman, Van Halen had chosen four other cover versions. This included The Kinks, Where Have all the Good Times Gone and Martha and The Vandellas’ Dancing In The Streets. They were augmented by Milton Ager and Jack Yellen’s Big Bad Bill (Is Sweet William Now) and Dale Evans’ Happy Trails. Apart from the five cover versions, Van Halen had seven new songs. Three of the songs weren’t so new.
Hang ‘Em High started life as Last Night, a track from Van Halen’s 1977 demo. Happy Trails was another song from the 1977 demos, which had been included as a joke. Now the joke was on Warner Bros. The other song was Cathedral, a song Van Halen had been playing for a couple of years. During that period, the song had continued to evolve. These three songs would become part of Diver Down, which was recorded in two studios in Los Angeles.
Recording of Diver Down began in January 1982. Two studios were used by Van Halen. The first was Sunset Sound, where Van Halen had recorded previously. Other sessions took place at Warner Bros. Recording Studios, which before the corporate rebinding, was known as Amigo Studios. At these two studios, Van Halen and Ted Templeman got to work. Things weren’t going to plan as Van Halen began recording eleven of Diver Down’s twelve songs.
During the recording of Van Halen’s previous album, Diver Down, released in 1982, David, Eddie and producer Rod Templeman had clashed. The problem was, Eddie wanted to make keyboards a prominent part of the Van Halen sound. David and Rod disagreed. Thinking that Van Halen was a democracy, the two men thought the matter was settled. They were wrong.
Despite this, Eddie went ahead and recorded much of Diver Down at his home studio. When the band heard it, it was keyboard heavy rock rubbed shoulders with Van Halen’s trademark sound. Presented with what seemed like a fait accompli, David began to reconsider his position. He was far from happy with Eddie’s sudden discovery and love of synths. For a rock ’n’ roller like David, this was sacrilege. Despite this, David and Eddie managed to work together.
Over the next three months, Van Halen worked their way through the twelve tracks. Some were easier to record than others. Sometimes, things didn’t go to plan. Some of the covers were difficult to adapt, so that they took on Van Halen’s sound. One of the most problematic was Dancing In The Streets. The problem was Eddie couldn’t work out a guitar riff. Eventually though, Van Halen figured out an their take on Dancing In The Streets. Gradually, Diver Down began to take shape. By March 1982, Diver Down was completed. It would be released on April 14th 1982.
This meant there wasn’t long before Van Halen completed Diver Down and its release on April 14th 1982. By then, some of the members of Van Halen were beginning to realise that Diver Down wasn’t their finest moment. Eddie Van Halen would later say: “I’d rather have a bomb with one of my own songs than a hit with someone else’s.” However, Van Halen had folded too quickly for a band who had already sold over fifteen million albums. They had been cajoled into recording cover versions. For the hard rocking Van Halen, this almost subservient attitude was surprising. Or was it?
When critics were sent advance copies of Diver Down, they were struck by the album cover. It portrayed the diver down flag, which is used to indicate that a scuba diver is diving within that area. If ever it was a case of “a picture paints a thousand words.” David Lee Roth explained that “there was something going on that’s not apparent to your eyes…it’s not immediately apparent to your eyes what is going on underneath the surface.” That could easily be replaced by the press and record buyers weren’t aware what was going on behind the scenes. They never knew that Van Halen were pressurised to record Diver Down. Would the pressure Warner Bros. under, could come back to bite them?
Having received advance copies of Diver Down, critics were determined to have their say. Most were impressed by Diver Down. Some weren’t enamoured with the cover versions. This was quite unlike Van Halen. However, mostly, the reviews of Diver Down were positive. Things were looking up for Van Halen.
On its release on 29th April 1982, Diver Down reached number three in the US Billboard 100. This was the highest chart position of Van Halen’s first five album. Eventually, Diver Down sold four million copies, which was double the amount of Fair Warning. This was pretty good for album that included cover versions and a trio of tracks from Van Halen’s past. However, the success didn’t stop there.
Dancing In The Street was the second single to be released from Diver Down. It stalled at number thirty-eight in the US Billboard 100. The other four singles, Secrets, Little Guitars, The Full Bug and Where Have All the Good Times Gone failed to reach the US Billboard 100. At least they reached the US Mainstream Rock charts. However, times had changed, with Van Halen having enjoyed two hit singles from Diver Down. For a band who hadn’t been known as a singles band, this was changed times for Van Halen, in more ways than one.
Previously, Van Halen would’ve held their ground, and not acquiesced to Warner Bros.’ request to record an album before they were ready. However, it was only later than the members of Van Halen realised that they had folded too easily. They shouldn’t have given in to Warner Bros., as they were an experienced and successful band. If they had taken the time to write and record the album they wanted, they may have reached the scaled the same heights as their next album.
Two years later, in 1984, and Van Halen’s first five albums were well on their way to selling twenty-four million copies. However, their sixth album, 1984 was a game-changer, in more ways than one.
1984.
During the six years since Van Halen released their eponymous debut album, Van Halen were without doubt, the biggest bands in planet rock. Van Halen were certainly the highest paid band in rock music. No wonder. Each album reached a higher chart placing than its predecessor. So, it’s no surprise that Van Halen
had sold fourteen million albums in America alone. 1984, however, was a game-changer, in more ways than one.
Behind the scenes, all wasn’t well within Van Halen. David Lee Roth, Van Halen’s charismatic frontman would quit after 1984. In some ways, the writing had been on the wall.
During the recording of Van Halen’s previous album, Diver Down, released in 1982, David, Eddie and producer Rod Templeman had clashed. The problem was, Eddie wanted to make keyboards a prominent part of the Van Halen sound. David and Rod disagreed. Thinking that Van Halen was a democracy, the two men thought the matter was settled. They were wrong.
Despite this, Eddie went ahead and recorded much of Diver Down at his home studio. When the band heard it, it was keyboard heavy rock rubbed shoulders with Van Halen’s trademark sound. Presented with what seemed like a fait accompli, David began to reconsider his position. He was far from happy with Eddie’s sudden discovery and love of synths. For a rock ’n’ roller like David, this was sacrilege. However, David decided to continue with Van Halen…meantime.
Recording of 1984 took place during 1983 at 5150 Studios, in Studio City, California. Van Halen cowrote all of 1984s songs. Michael McDonald however, received a credit for I’ll Wait. Van Halen’s rhythm section of drummer Alex Van Halen and Michael Anthony’s thunderous bass set about providing the 1984’s heartbeat. Eddie Van Halen played guitar and keyboards. For the last time, David Lee Roth added vocals. Once 1984 was completed, it was that time again, time for critics to have their say on Van Halen’s sixth album.
When reviews of 1984 were published, mostly, they were positive. As usual, there was the odd dissenting voice. One Napoleonic critic described 1984 as a one sided album. For him, the second side received the consolation prize. What he failed to see, was that side one set the bar high.
From the instrumental 1984, through the the Van Halen classics Jump and Panama, Van Halen could do wrong. They were well on their way to hitting a home run. Top Jimmy and Drop Dead Legs rounded off side one, and left you wanting more of Van Halen’s heaving rocking music. Everything just dropped into place. Even the synths had their place, and played their part in a classic album. The fun didn’t stop there.
Hot For Teacher was the perfect way to start side one. An anthemic track, it gave way to I’ll Wait, one of the singles from 1984. Girl Gone Bad was another fist pumping anthem, that showcased what Van Halen were capable. By the time House Of Pain closed 1984 it was apparent that Van Halen had released the second classic album of their career.
1984s fusion of keyboard heavy rock, combined Van Halen’s trademark hard rocking sound proved a winning combination. These two sides of Van Halen resulted in a classic album that would become the biggest selling album of Van Halen’s career.
On its release on January 9th 1984, 1984 started climbing the charts. Eventually, it reached number two in the US Billboard 200. This was the highest chart placing of Van Halen’s six album career. It also became the biggest selling album of Van Halen’s career. Eventually, 1984 sold twelve million copies. 1984 became Van Halen’s second album to be certified diamond. Elsewhere, 1984 was a huge seller.
In Canada, 1984 was certified five times platinum. Over the Atlantic, 1984 was certified gold in Britain and France. Meanwhile, 1984 was certified platinum in Germany. That wasn’t the end of the commercial success.
Four singles were released from 1984. Jump reached number one in the US Billboard 100. I’ll Wait then reached number thirteen in the US Billboard 100. Panama became the third single to be released from 1984. It reached number two in the US Billboard 200. The final single released from 1984, was Hot For Teacher, which stalled at number fifty-six in the US Billboard 200. By then, 1984 had become Van Halen’s most successful album of their career, and their second classic album. However, it was the end of an era.
Following the release of 1984, David Lee Roth left Van Halen. The disagreements with Eddie Van Halen had taken their toll. Relations had been strained since the recording of Diver Down. Eddie was pro synths, David a died in the wool rock ’n’ roller, wasn’t in favour of this stylistic departure. When the pair couldn’t resolve their disagreements, David called time on his career with Van Halen.
David had had a good run. Especially since he was originally seen as a stopgap singer. He had failed the original audition. However, David lasted six albums. They sold thirty-six million copies. Not bad for what one critic referred to as a bar band. It would be another twenty-two years before David Lee Roth rejoined Van Halen.
This came during Van Halen’s 2006. This was the second Van Halen reunion during Van Halen’s long and turbulent career. However, when David Lee Roth left Van Halen after the release of 1984, the group’s future was in doubt.
Looking back, there was no way that Van Halen were going to call time on their career. They were one of the biggest bands in the world. However, replacing David Lee Roth wasn’t going to be easy.
That proved to be the case. The three remaining members of Van Halen were struggling to find the right frontman. Names were considered, and eventually, disregarded. At one point, Van Halen even considered using temporary lead vocalists, including Eric Martin, Jimmy Barnes and Patty Smyth of Scandal were considered as temporary replacements. When Patty Smyth was asked, she declined the opportunity to replace David Lee Roth. She knew his were big shoes to fill. Meanwhile, Warner Bros. were worried.
So much so, that Warner Bros. advised the remaining members of Van Halen to discontinue using the Van Halen name. This request was refused, and the search went on. It came to an end in July 1985, when Eddie Van Halen was talking to a mechanic who was working on his Ferrari. The mechanic recommended Sammy Hagar, the former Montrose frontman. That day, Van Halen found their new lead singer.
Eddie Van Halen contacted Sammy Hagar, and the pair met. They hit it off, and soon, Sammy Hagar was working with Van Halen. This didn’t please everyone.
Even critics who had never been a fan of David Lee Roth were less than impressed with the addition of Sammy Hagar. They didn’t believe the former Montrose frontman was the answer to Van Halen’s problem in the long term. This proved to be the case.
5150.
Van Halen had began recording 5150 in November 1985, and finished the albumin at 5150 studios in February 1986. The band were facing the biggest challenge of their career, following up their second classic album, 1984. However, the new lineup came up short in this challenge.
5150 was released in March 1986, and was the first album of the Sammy Hagar era. It showcased a much more experimental sound than 1984. Critics weren’t impressed by 5150. This included some critics who hadn’t been a fan of David Lee Roth.
These critics weren’t afraid to shoot from the hip. Their reviews ranged from disappointing to favourable. That is despite Eddie Van Halen playing a starring role. His performance was described as a mixture of brilliance and banality. Robert Christgau was less than impressed by Sammy Hagar, saying: “no musician with something to say could stomach responding to Sammy Hagar’s call.” Given the disappointing reviews of 5150, Van Halen and Warner Bros. must have been wondered how the album would sell?
On the release of 5150, it reached number one on the US Billboard 200. 5150 was certified six times platinum in America; three times platinum in Canada; silver in the UK and gold in Germany. 5150 had sold four million fewer copies than 1984. However, 5150 was the start of a new era. maybe there was life after David Lee Roth?
OU812.
When Van Halen returned with OU812 in May 1988, it had been a close run thing. Reording began in September 1987, but was only finished at 5150 Studios in April 1988. With only weeks to spare, OU812 was ready for release.
It was a familiar story. Critics were less than impressed with OU812. Although the whole band came in for criticism, vocalists Sammy Hagar was singled out. He critics felt, was costing Van Halen their shot at becoming the greatest rock band of the eighties. However, Eddie Van Halen seemed to have lost some of his magic, and the usually reliable rhythm section weren’t immune from criticism. With OU812 receiving decidedly mixed reviews, things weren’t looking good for the release of OU812.
When OU812 was released in April 1988, the album reached number one on the US Billboard 200. OU812 was certified four times platinum in America and silver in the UK. Although OU812 topped the American charts, it had sold two million fewer copies than 5150. Elsewhere the album hadn’t sold in the same quantities. This was a worrying time for Van Halen.
For Unlawful Carnal Knowledge.
Following the release of OU812, over three years passed before For Unlawful Carnal Knowledge was released in June 1991.Van Halen had been locked away in 5150 Studios between March 1990 and April 1991. After thirteen months, they returned with their ninth studio album, and the third of the Sammy Hagar era.
When For Unlawful Carnal Knowledge was released, it wasn’t to critical acclaim. Instead, the reviews of the album were mixed. Here was a rock band that had forgotten their raison d’être, and somehow, seemed to have forgotten how to rock. Van Halen were a pale shadow of the band they had been during the David Lee Roth years.
Despite this, For Unlawful Carnal Knowledge reached number one on the US Billboard 200, and was certified three times platinum. Elsewhere, was certified platinum in Canada and silver in the UK. Van Halen’s fans were still religiously buying the band’s albums, albeit in greatly reduced numbers. For Unlawful Carnal Knowledge had sold a million fewer copies in America OU812. Van Halen were no longer as popular as they had once been.
Balance.
Nearly four years passed before Van Halen returned with Balance in January 1995. It had been a turbulent time for the band. Van Halen’s longtime manager and friend Ed Leffler, had passed away in October 16th 1993. He was replaced by Alex’s brother-in-law, Ray Danniels. Balance proved to be a baptism of fire for Ray Danniels.
Balance had been recorded over a three year period. Strung Out was the first song that was recorded. It was recorded in 1993. After this, Van Halen didn’t return to the studio until May 25th 1994. Over the next few months, Van Halen spent time at Studio City, Los Angeles and Little Mountain Sound Studios in Vancouver. That was where five of the lead vocals were recorded by Sammy Hagar. The rest of the album was recorded in L.A. Gradually, Balance begin to take shape, with Van Halen working eight hour days. Eventually, Balance was completed on September 2nd 1994, and was released in early 1995.
Balance, Van Halen’s tenth album was released on 25th January 1995. By then, all was not well within the band. Van Halen were a band divided. In one corner, were Eddie and Alex Van Halen, while a lonely Sammy Hagar sat in the other corner. There was only going to be one winner. However, before the knockout blow was delivered, Balance was released.
If Eddie and Alex Van Halen hadn’t decided what to do next, the reviews of Balance must have made their mind up. Just like the three previous albums featuring Sammy Hagar, the reviews were mixed. Critics weren’t impressed by the album, which had taken over a year to record. It was hard to believe that it was the same group that had released classic albums Van Halen and 1984.
Despite this, when Balance was released, it reached number one on the US Billboard 200. This resulted in Balance being certified triple-platinum in America and Canada. In Brazil, Balance was certified gold. This was a long way from the six million selling 5150, which had been Sammy Hagar’s debut. Balance proved to be Sammy Hagar’s final album with Van Halen. However, that wasn’t the end of the Sammy Hagar era.
After the release of Balance, Van Halen set off on tour. The tour wasn’t the easiest for the band. Tensions within the band were high. Especially between the Van Halen brothers, and lead vocalist Sammy Hagar. This had been the case for some time.
Eddie Van Halen was able to trace back to when he quit drinking on October 2nd 1994. Sadly, during the Balance tour, things got so bad, that Eddie fell off the wagon and began drinking. That wasn’t all that happened.
Two members of Van Halen succumbed to injuries during the Balance tour. Eddie Van Halen was struggling with a hip injury, while brother Alex ended up having to wear a neck brace. However, the major casualty was Sammy Hagar. He departed Van Halen Mk II on Father’s Day 1997, when the band were recording songs for the soundtrack to Twister. The Sammy Hagar era was over, after just four albums.
Van Halen III.
Van Halen should’ve called time on the band after the departure of Sammy Hagar. The band was on its last legs. Bassist Michael Anthony’s contribution to Van Halen III was minimal. However, the benefit of hindsight is a wonderful thing. Instead, Van Halen decoded to continue and brought onboard Extreme lead vocalist Gary Cherone. He made his debut on Van Halen III.
Recording of Van Halen III took place at 5150 Studios, between March and December 1998. Most of the album was recorded by the Van Halen brothers, with Gary Cherone adding vocals. Michael Anthony who had with Van Halen through the highs and lows played only a small part in the album. He featured on Without You, One I Want and Fire In The Hole. The rest of the bass parts were recorded by Eddie Van Halen. It looked like it was the end of an era.
Before the release of Van Halen III, critics had their say on the album. They were less than impressed, and savaged the album. The reviews were among some of the worst any Van Halen received. That wasn’t surprising, as Van Halen III was a low-point in the band’s career in more than one way.
When Van Halen III was released on March 17th 1998, it reached number four on the US Billboard 200. Having sold over 500,000 copies, this was enough for the album to be certified gold. It was a far cry from Van Halen’s glory days, in terms of quality and units sold. However, Van Halen’s glory days were a long gone.
After Van Halen toured Van Halen III, a decision was made to put the band on hold in 1999. This decision was made somewhat belatedly. Van Halen had come close to tarnishing their reputation. By 1999, Van Halen were one of the biggest bands on planet rock. Their 1977 debut album Van Halen and 1984 which were both classic albums, had been certified diamond after selling over ten million copies. This was something very few albums have done. Both albums feature the vocals of David Lee Roth. However, after David Lee Roth left 1984, Van Halen never scaled the same heights.
David Lee Roth proved to be irreplaceable. Neither Sammy Hagar nor Gary Cherone ever came close to replacing David Lee Roth. The four albums Van Halen recorded with Sammy Hagar sold 16 million in America alone; while Van Halen III the only album to feature Gary Cherone, sold just 500,000 copies in America. By comparison, the six albums featuring David Lee Roth sold over thirty-four million copies in America. These albums feature Van Halen at the peak of their power, when they were one of the biggest and most successful bands in musical history. Sadly, after the departure of David Lee Roth, Van Halen were never the same band.
What was ironic was that David Lee Roth left Van Halen after their second classic album, 1984. Who knows what heights the band could’ve reached if they could’ve reconciled their differences. The original lineup of Van Halen’s was a classic, and executives at Warner Bros. believed should’ve been their swan-song.
With David Lee Roth having left the band, executives at Warner Bros. advised Van Halen not to continue using the name. Maybe executives at Warner Bros. were correct, and that the Van Halen name shouldn’t have been used after the departure of David Lee Roth? Every album the new lineup of Van Halen released, was compared to the albums they released during the David Lee Roth. These albums didn’t compare favourably.
Van Halen Mk II and III were a pale shadow of their former self. While they continued to sell records by the million, the sales fell with each of the five albums. Even Van Halen loyalists realised that the band’s best years were behind them.
While Van Halen survived the loss of David Lee Roth, the band didn’t prosper. It was a case of what might have been, if the original lineup had stayed together. Sadly, the original lineup never recorded another album. The nearest they came was in 2012, when Van Halen Mk IV released A Different Kind Of Truth.
A Different Kind Of Truth.
Six years earlier, David Lee Roth was reunited with Van Halen, and they toured together. By then, the Wolfgang Van Halen was the permanent bassist. Van Halen was now, a family affair.
Recording of A Different Kind Of Truth took place between November 2010 and August 2011 at the old A&M Studios. They were now called Henson Recording Studio. That was where Van Halen spent the best part of nine months recording. Six of the songs were new songs. Seven of the thirteen songs on A Different Kind Of Truth were old songs, that Van Halen had written and demoed in the late seventies and early eighties. These songs were rewritten and rearranged. This took time.
Van Halen returned to the studio in early January 2012 to complete A Different Kind Of Truth. It was released on February 7th 2012.
Before the release of A Different Kind Of Truth, the album received something that no Van Halen studio album had received since 1984…critical acclaim. It seemed the return of David Lee Roth had signalled a change in fortune for Van Halen.
On the release of A Different Kind Of Truth, it reached number two in the US Billboard 200. No longer did groups need to sell millions of albums to reach number two. Instead, A Different Kind Of Truth sold 188,000 copies in the first week, and 411,000 copies during 2012. Although this wasn’t enough for a gold disc, A Different Kind Of Truth was the sixth biggest selling album of 2012. Elsewhere, A Different Kind Of Truth was certified gold in Canada. By 2012s standards, Van Halen’s comeback had been a success. It was a reminder of the most successful period of their career, the David Lee Roth years.
A Different Kind Of Truth was a brief and tantalising reminder of Van Halen’s classic years, between 1977 and 1984. During that period, David Lee Roth, Michael Anthony, Eddie and Alex Van Halen were members of members of one of the best and most successful bands. For seven years, Van Halen Mk I rocked hard and lived hard.
They were also a notoriously hard living band. Van Halen burnt the candle at both ends, replicating the excesses of Led Zeppelin, Black Sabbath and Deep Purple. Just like Icarus, members of Van Halen sailed to close to the sun. However, Van Halen lived to tell the tale, and in the process, released some of the best rock music of the late seventies and early eighties. Sadly, all too soon, the David Lee Roth years were over, and Van Halen never scaled the same heights again. It had been good while it lasted. Two reminders of this period, are the classic albums Van Halen and 1984, which feature the hard rocking Van Halen at the peak of their musical powers.
VAN HALEN-THE DAVID LEE ROTH YEARS AND BEYOND.
BELLE AND SEBASTIAN-THE FIRST TWENTY YEARS.
BELLE AND SEBASTIAN-THE FIRST TWENTY YEARS.
Over the last fifty years, many bands have been formed at university or college. Many of these bands went on to hone their sound on college and university circuit. However, only one of theses bands went on to release their debut single and album on their college’s record label. This might sound fat fetched, but it’s not. Stow College in Glasgow has its own record label, and it’s where Belle and Sebastian first came to prominence twenty years ago.
It was back in 1996, at Stow College, in Glasgow that Belle and Sebastian were formed. The band was formed by two students, Stuart Murdoch and Stuart David, and was named after Cecile Aubry’s 1965 book Belle et Sebastien. Since then, many members have joined and left the group, one of the most influential being, Isobel Campbell, who joined in 1996 and left the group in 2002, singing vocals and playing cello. Other members include Chris Geddes and Sarah Martin.
Whilst at college, in 1996, Belle and Sebastian recorded some demo tracks with the college’s music professor Alan Rankin. Yes. That Alan Rankin, formerly the keyboardist and guitarist in The Associates alongside the late Billy Mackenzie. The demos came to the notice of the college’s business studies department, who each year, released a single on the college’s record label. Belle and Sebastian, by then, had recorded a number of songs, enough to fill an album. Having been so impressed by Belle and Sebastian’s music, that year, the label decided to release an album, called Tigermilk.
Tigermilk.
Tiigermilk, which was produced by Alan Rankin, was recorded in just three days. Only 1,000 vinyl copies were pressed, and the album was released in June 1996. Tigermilk was well received and the album sold out quickly.
Nowadays, the original copies of Tigermilk are collector’s items, and prized possessions amongst Belle and Sebastian fans. Little did the members of Belle and Sebastian realise who prized copies of Tigermilk would become, However, following the success of Tigermilk, Belle and Sebastian decided to make a career out of music.
Stuart Murdoch and Stuart David decided that Belle and Sebastian would become a full-time band. Soon, further members joined the band. Isobel Campbell joined on vocals and cello, Stevie Jackson on guitar and vocals, Richard Coburn on drums and Chris Geddes on keyboards.
If You’re Feeling Sinister
After Tigermilk’s success, the group signed to Jeepster Records .in August 1996. Just four months later, Belle and Sebastian were preparing to released their sophomore album If You’re Feeling Sinister. It had been produced by Tony Doogan, who would play an important part in the Belle and Sebastian story.
On 18th November 1996,If You’re Feeling Sinister was released and went on to reached 191 in the UK. Since then, the album has been certified gold. That’s not surprising, Many people believe that this is Belle and Sebastian’s finest album. Indeed, American magazine Spin, liked the album so much, that they put it at number seventy-six in their top one-hundred albums released in the twenty year period between 1985-2005. Rolling Stone magazine put the album in its list of essential albums of the 1990s.
After the release of If You’re Feeling Sinister, the group released series of E.P.s during 1997. The E.P.s were Dog On Wheels, Lazy Line Painter Jane and 3, 6, 9 Seconds of Light. Dog On Wheels featured four songs that were recorded before the formation of Belle and Sebastian. It reached number fifty-nine in the UK charts. Lazy Line Painter then reached number forty-one in the UK charts, before 3, 6, 9 Seconds of Light became the group’s first top forty single, reaching number thirty-two in the UK charts. That was the start of the rise and rise of Belle and Sebastian.
The Boy With The Arab Strap.
September 1998, saw Belle and Sebastian release their third album, the Tony Doogan produced The Boy With The Arab Strap. It reached number twelve in the UK charts and was certified gold. Unlike previous Belle and Sebastian albums, Stuart Murdoch doesn’t feature on vocals. Instead, they’re shared amongst Isobel Campbell, Stevie Jackson and Stuart David. The album received mixed views from the music press. Long time supporter of Belle and Sebastian, Rolling Stone and The Village Voice praised The Boy With The Arab Strap, while others weren’t as impressed. However, since its release, many people, myself included, believe The Boy With The Arab Strap to be Belle and Sebastian’s finest hour. Despite the success of The Boy With The Arab Strap, Belle and Sebastian changed direction musically. However, before that, Tigermlk was released.
Tigermilk.
Three years after Tigermilk was first released, Belle and Sebastian’s debut album was rereleased by Jeepster in 1999. This made sense. Belle and Sebastian’s fans wanted a copy of the band’s debut. However, when Tigermilk was originally released, only a 1,000 copies were pressed. They were now collectors’s items. So a decision was made to reissue Tigermilk. It reached number thirteen in the UK, and was certified gold. With a new millennia fast approaching, Belle and Sebastian were one of the rising stars of British music.
Fold Your Hands Child, You Walk Like A Peasant.
Two years after the release of The Boy With The Arab Strap, Belle and Sebastian returned with Fold Your Hands Child, You Walk Like A Peasant. It was the second album to be produced by Tony Doogan, would become Belle and Sebastian’s music successful album.
Released to critical acclaim in June 2000, Fold Your Hands Child, You Walk Like A Peasant reached number ten in the UK and was certified silver. Across the Atlantic, Fold Your Hands Child, You Walk Like A Peasant became Belle and Sebastian’s first album to chart. It reached eighty in the US Billboard 200. This was as a result of a change in direction from Belle and Sebastian.
Their music is best described as chamber pop. Fold Your Hands Child, You Walk Like A Present has a much more laid-back, mellow sound. The tempo is slower, while vocals are shared amongst band members. Then there’s the strings. They’re used more extensively. Sadly, this was the last album to feature founder member Stuart David. For their next album, Belle and Sebastian would try their hand at writing a film score.
Storytelling.
Although Storytelling was both Belle and Sebastian’s fifth album, it was their first film score. Released in June 2002, the album reached just twenty-six in the UK and15o in the US Billboard 200. This was hugely disappointing, although not as disappointing as what happened next.
Only six minutes of the thirty-five minutes of music recorded by Belle and Sebastian made it into Todd Solondz’s movie. It sounds as if the experience was somewhat frustrating for the band. They had problems communicating with Todd Solondz. Worse was to come.
Belle and Sebastian were about to lose one of their most important members… Isobel Campbell. Having released and toured Storytelling, Isobel Campbell left Belle and Sebastian. She decided to pursue a solo career. Many critics wondered what effect this would’ve on Belle and Sebastian? They came back, but briefly, were different band
Dear Catastrophe Waitress.
Much of the summer of 2003 saw Belle and Sebastian recording their sixth album. Losing Isobel Campbell wasn’t the only that had changed since the release of Belle and Sebastian previous album. No.They had left Jeepster, and signed to Rough Trade. Tony Doogan was also replaced as producer. His replacement was Trevor Horn. This seemed a somewhat strange decision.
Previously, ex-Buggle Trevor Horn had been an award winning producer and songwriter. Recently, though, he had been working with Charlotte Church and Lee Ann Rimes. Considering Belle and Sebastian were one of the hottest indie bands, they seemed strange and awkward bedfellows. It seemed Trevor Horn had been brought in to polish of the band’s rough edges. Rough Trade, a supposed indie label, were polishing away part of the group’s charms. Many onlookers were horrified, afraid of the direction Trevor Horn would take Belle and Sebastian.
In some ways, those fears were justified. Gone was the folksie, melancholy, chamber pop of Belle and Sebastian’s roots. These fears were justified. Dear Catastrophe Waitress was the polar opposite of previous albums. Replacing Belle and Sebastian’s trademark sound was the slick, poppy charms of the Trevor Horn produced Dear Catastrophe Waitress. It was an album that divide the opinion of fans and critics.
Before the release of Dear Catastrophe Waitress, critics gave the album favourable reviews. Critics on both sides of the Atlantic were won over by the new sound Belle and Sebastian showcased on Dear Catastrophe Waitress, but stalled at just twenty-one in the UK and eighty-four in the US Billboard 200. Despite this Dear Catastrophe Waitress was certified gold, and was was nominated for an Ivor Novello award. However, despite the positive reviews Dear Catastrophe Waitress received, thankfully, Belle and Sebastian and Trevor Horn never renewed their acquaintance when they released their next album, three years later.
Between the release of Dear Catastrophe Waitress and 2006s The Life Pursuit, Belle and Sebastian kept busy. In 2005, they released a twenty-five track compilation entitled Push Barman To Open Old Wounds. Featuring a series of E.P.s Belle and Sebastian had released, critics adored the album. Hailed as vintage Belle and Sebastian, they were crowned the best indie band. Very different from Dear Catastrophe Waitress, Push Barman To Open Old Wounds was the Belle and Sebastian their fans knew and loved. Push Barman To Open Old Wounds wasn’t Belle and Sebastian’s only release during 2005.
No. Belle and Sebastian released their first live album, If You’re Feeling Sinister: Live At The Barbican. Released in December 2005, this allowed Belle and Sebastian to revisit their 1996 album If You’re Feeling Sinister and rectify what the band believed to be the mistakes of the original album. That night in September 2005, Belle and Sebastian took the Barbican by storm, playing an encore lasting over an hour. This encore would prove to be somewhat prophetic.
The Life Pursuit.
When Belle and Sebastian released The Life Pursuit in February 2006, it proved to be their most successful album. The Life Pursuit was produced by Tony Hoffer, who previously, produced Air, Turin and Beck. He was a much better fit than Trevor Horn. On its release, critical acclaim accompanied The Life Pursuit, which reached number eight in the UK and number sixty-five in the US Billboard 200. This resulted in another gold disc for Belle and Sebastian. Funny Little Frog then gave Belle and Sebastian the biggest hit single of their ten year career. Despite that, it would be four years until Belle and Sebastian released their next studio album.
Following the release of The Life Pursuit, Belle and Sebastian headed out on tour. They were now well versed in the album, tour, album, tour routine. To ensure their fans didn’t forget them, Belle and Sebastian released The BBC Sessions in November 2008. A double-album, the first disc featured many songs that featured Isobel Campbell. These songs had never been heard before. So for fans of Belle and Sebastian this was a real must have. As for the second disc, it features Belle and Sebastian live in Belfast, which sees the group cover Thin Lizzy’s The Boys Are Back In Town. While The BBC Sessions kept Belle and Sebastian’s fans occupied, the group recorded their most successful album to date.
Belle and Sebastian Write About Love.
October 2010, saw Belle and Sebastian released their eighth studio album. Entitled Belle and Sebastian Write About Love, it was the second Belle and Sebastian album produced by Tony Hoffer. Recorded in Los Angeles, rather than Glasgow this surprised some people. Tony’s decision to take Belle and Sebastian out their comfort zone worked. He was proving to be the perfect foil for Belle and Sebastian’s foibles. Featuring contributions from Norah Jones, Sarah Martin and Carey Mulligan, Belle and Sebastian and friends struck musical gold.
Reaching number eight in the UK, Belle and Sebastian Write About Love reached number fifteen in the US Billboard 200. Critically acclaimed and a hit worldwide, this was a long way from recording Tigermilk in three days as part of a college project. Belle and Sebastian were indie Queens and Kings. Despite this, the continued to things their way.
While many bands would’ve headed straight back into the studio and had a followup to Belle and Sebastian Write About Love release A.S.A.P, this isn’t the Belle and Sebastian way. No. Not only do Belle and Sebastian do things their way, but they care about their fans. So, whilst taking their time recording a followup to Belle and Sebastian Write About Love, they’ve released a nineteen track retrospective, The Third Eye Centre.
This nineteen track retrospective, The Third Eye Centre, features rarities, remixes, B-SIdes, non-album tracks and tracks from E.P.s. The music spans Belle and Sebastian’s career. There’s tracks from albums produced by Tony Doogan, Trevor Horn and Tony Hoffer. Bonus tracks sit side by side with remixes, while B-Sides and charity singles. In some ways, The Third Eye Centre allows the listener to hear another side to Belle and Sebastian. The Third Eye Centre was the perfect amuse bouche until Belle and Sebastian released their ninth studio album.
Girls In Peacetime Want To Dance,
Work began on Belle and Sebastian’s ninth album back in 2014. By then, the members of Belle and Sebastian had written twelve tracks. These tracks would become Girls In Peacetime Want To Dance, which somewhat surprisingly, was produced by Ben H. Allen III.
This was a strange, and somewhat controversial decision. Many people thought Tony Hoffer, who produced Belle and Sebastian’s previous album, Belle and Sebastian Write About Love would return.Belle and Sebastian Write About Love was the second Belle and Sebastian album produced by Tony Hoffer. The first was The Life Pursuit. Tony seemed to bring out the best Belle and Sebastian. However, this being Belle and Sebastian, it’s always a case of expect the unexpected. After all, previously, Belle and Sebastian hired Trevor Horn, who gave their music a slick, polished sheen. So maybe, bring in Ben H. Allen III to produce Girls In Peacetime Want To Dance would work?
Some sceptics had their doubts. After all, Ben H. Allen III’s C.V. showed that previously, he had produced Animal Collective and Washed Out. This was very different to Belle and Sebastian. However, maybe, Belle and Sebastian and Ben H. Allen III would prove a potent partnership.
For their ninth studio album, Girls In Peacetime Want To Dance, Belle and Sebastian penned twelve tracks. Much of the recording took place in Atlanta, Georgia with producer by Ben H. Allen III, .Additional recording took place at other studios in Minneapolis, Minnesota and at Glasgow’s Castle Of Doom Studios with Tony Doogan. He’s previously, has produced four Belle and Sebastian albums. However, they were very different to Girls In Peacetime Want To Dance.
When Girls In Peacetime Want To Dance was released on 19 thJanuary 2015, mostly, the reviews were favourable. Critics noted that Belle and Sebastian were still, among the most talented modern day songwriters. However, critics noted the Belle and Sebastian’s music had been given a makeover, They headed for the dance -floor on several tracks, before returning to their more traditional sound, that took shape over their first four albums. After that, Belle and Sebastian became musical chameleons.
Belle and Sebastian have their own unique sound. It took shape on the quartet of albums produced by Tony Doogan. From 1996s If You’re Feeling Sinister, through 1998s The Boy With The Arab Strap, Fold Your Hands Child, 2000s You Walk Like a Peasant and 2002s Storytelling, Belle and Sebastian’s trademark sound gradually take shape. Then came the Trevor Horn Dear Catastrophe Waitress. That was a one-off.
Tony Hoffer then produced 2006s Belle and Sebastian Write About Love and 2010s The Life Pursuit. However, Tony Hoffer didn’t return for Girls In Peacetime Want To Dance. Instead, Ben H. Allen III took his place on what’s a quite different album from Belle and Sebastian.
Before the release of Girls In Peacetime Want To Dance, it was hard to imagine Belle and Sebastian ever making a dance album. However, with Belle and Sebastian, never rule anything out. They’re a contrarian band, always determined to do things their way. This includes making a dance album. It’s interspersed with Belle and Sebastian’s more traditional sound.
This means the sound that took shape between Tigermilk and Storytelling. The music on these albums showcase the literary and musical talents of Belle and Sebastian. They’re wordsmiths extraordinaire. Each song features lyrics that are cerebral, eloquent, emotive, joyous, melancholy and poignant. Beauty is feature of many of the lyrics. However, others are full of pathos and sadness, and relentlessly tug at your heartstrings. Especially when delivered by Stuart Murdoch, Sarah Martin and Stevie Jackson. However, Belle and Sebastian are no one trick pony.
Far from it. They’ve been making music for twenty years, and that music has evolved since 1997. Belle and Sebastian are musical chameleons, who constantly reinvent their music. This ensures their music stays relevant. It also seem that Belle and Sebastian enjoy being taken out of their comfort zone. Maybe that’s why they’ve worked with so different producers, some of which have seemed a strange fit for Belle and Sebastian. However, those who have followed the band’s career aren’t surprised.
Belle and Sebastian have always had a contrarian streak. They’ve alway been determined to do things their way, and can never be described as a corporate band. Far from it. Belle and Sebastian do things their way, or not at all. if they want to change producer or direction musically, so be it. Similarly, if Belle and Sebastian decide to take four or five years to release an album, so be it. There’s a reason for this. The members of Belle and Sebastian realise that there’s more to life than music.
They’re one of the few bands whose members put the band on hold on hold to spend time with their family. Only Belle and Sebastian could do this. That’s why they’re a one off, and so many people hold them and their music dear. That’s been the case since Belle and Sebastian released Tigermilk in 1996. Twenty years later, and Belle and Sebastian are still going strong. They’ve released nine studio albums, three live albums and two compilations since 1996. These albums feature the inimitable and chameleon-like Belle and Sebastian, as they constantly reinvent their unique brand of enchanting music in their search for musical perfection.
BELLE AND SEBASTIAN-THE FIRST TWENTY YEARS.
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