Every once in a while in the music world a slow burning success story comes along that warms the cockles of your heart and restores your faith in the notion that persistence and staying true to yourself as an artist will pay off and you will get your just rewards.
This week, after 10 years of hard graft and releasing 5 wonderful albums, Brighton based singer/songwriter Mike Rosenberg, aka Passenger, finally got the widespread recognition he deserves as his song ‘Let Her Go’ made number 4 on the UK singles chart.
I have been a fan of Passenger since around 2005 where he went by the more straight forward name of The Mike Rosenberg Band. A good friend of mine from Brighton had turned me onto him as she was a personal friend of his and knew that his songs would strike a chord with me. She wasn’t wrong. Rosenberg’s unique voice; warm, welcoming, honey sweet in tone, soulful and emotive, sat perfectly against his beautifully melodious acoustic songs, the likes of which I am a complete sucker for.
At the time at only age 21, Rosenberg’s songwriting already possessed a maturity that bellied his years and tracks such as the the sublime ‘Walk In The Rain’ and the deeply confessional ‘Table For One’ sounded so perfectly complete they still remain my two favourite songs that Rosenberg has ever penned.
Rosenberg’s songcraft possesses that rare quality of being able to effortlessly transcend all musical genres and appeal to people on an emotional level. He is a classic storyteller of human emotion, coupling heartfelt lovelorn honesty with humourous witticisms, wearing his heart on his sleeve with accessible lyrics easy for people to relate to whether they be 65 year old bearded folkies or 15 year old teenage girls. This is why, thankfully, the British public have finally woken up to the sound of one of our best songwriters 10 years into his career.
After Passenger’s debut album ‘Wicked Mans Rest’ finally emerged in 2007 to decent critical acclaim, the band that had been playing together for a number of years disbanded and Rosenberg decided to continue to use the Passenger name as he embarked on his solo career. Over the next few years Rosenberg based himself in Australia and released 3 more albums, 2009′s Wide Eyes Blind Love, 2010′s ’Flight Of The Crow’ which was recorded with a number of Australian indie artists that remains my personal favourite of his, and a fan only limited edition album called ‘Divers and Submarines’ from the same year.
Just under a year ago he released ‘All the Little Lights’, an album that provided the springboard for how his career has finally taken off and is probably the most complete of all the albums he has released thus far. The most enamouring thing about Passenger albums is the unmistakeable identity he stamps on his songs and while you always know what you are going to get, his wondrous way with melody and emotion never fails to connect.
Since the release of ‘All The Little Lights’ the momentum has been gradually building and it appeared to galvanise Rosenberg and the sleeper cells of fans around the world who sensed that this was now his time. In what was probably his most career defining moment he bagged a high profile support slot with Ed Sheeran on his UK tour that set the foundations for his current success, introducing him to area sized audiences who were completely oblivious to him initially but came away from those gigs as fans. The hard work he had been carrying out in the southern hemisphere was paying off and early in 2013 he found his song ‘Let Her Go’ topping both the Australian and the New Zealand charts. Mainland Europe soon followed with the song hitting number 1 in Belgium, Austria, Netherlands, Switzerland, Denmark, Sweden, Germany and Ireland. By this point it was now impossible for UK radio and the music press at large to ignore him any longer and ‘Let Her Go’ all of a sudden found itself playlisted on UK radio stations resulting in the fabulous success and recognition that he is currently enjoying.
It is with stories like this that the power of social media, in particular an artists Facebook page, can really come into its own. Passenger’s success plays out in a ’This Is Your Life’ style narrative and his Facebook page is a heartwarming record of the success he has been enjoying in the last year. The below picture taken a couple of months ago, sums up how far he has come as an artist in the last couple of years and should be an inspiration to the thousands of singer/songwriters out there that relentlessly ply their trade every day in the hope that their songs will be embraced on a wider scale. Passenger is an artist completely free of pretension, busking in the cities in which he plays, keeping that intimate connection between performer and audience that he has spent years building and it could not have happened to a more humble and affable songwriter. So if like many you have been taken in by ‘Let Her Go’ then his past albums are a treasure trove of wonderfully constructed acoustic songs that share a timeless quality that will ensure that Passenger remains one of the UK’s finest singer/songwriters. Embrace his music and jump on board.
“Australia and New zealand -
I really don’t know where to start …. the last couple of months has been completely ridiculous …. from touring with ed to doing my own sold out headline shows . to be able to go busking again has been wonderful and to have so many of you turn up for it has been a dream come true .
let her go is now no 1 in nz and has been no 1 in the aria charts for two weeks !!!! i never dreamed this could actually happen !!!
from the bottom of my heart , thank you all so so much for supporting me and my music . it means more than i could ever say .
here is a hilarious picture of me busking in pitt st in jan 2011 and beneath it , a picture of me busking in the same spot a couple of days ago ….. loads of love . mike x”
When I first heard word of Pearl Jam 20 coming out this year it instantly became an event I approached with the eagerness of a teeny-bopper waiting outside a venue for the subject of their desires to make an appearance, but also slight trepidation given the pedestal I would inevitably put the film upon before even watching it. A two-hour documentary, directed by none other than Cameron Crowe of ‘Almost Famous’ fame, compiling hundreds of hours of footage captured from the Seattle bands 20 year career and featuring interviews with the band, new and old, along with previously unseen performances made me drool from the outset, and after seeing it I was not disappointed.
Pearl Jam are a band I have had a strange relationship with over the years. Initially completely falling in love with them when their debut album ‘Ten’ came out in 1991 when the grunge movement exploded with the release of that album along with Nirvana’s ‘Nevermind’, I always found myself gravitating towards ‘Ten’ more often than I did for ‘Nevermind’. I loved both bands equally and didn’t fall into the trap of having to choose between the two like many others felt they had to. But there was just something about that album that just connected for me. Come the late 90s I had become more of a spectator rather than a fan, still well aware of the material they were putting out along with their battle with Ticketmaster, being Neil Young’s backing band for an album and tour, and releasing tons of live shows in an attempt to beat the bootleggers. But I found myself drifting away and the odd song I was hearing was not really doing it for me. I always had a lot of respect for them though throughout it all. It wasn’t until their retrospective best of came out in 2006 that I truly rediscovered everything that the band was about and found myself embracing a huge amount of music from their back catalogue that I had been ignorant to for the best part of 10 years. Since then I have found myself acting like teenage girl whenever their name is mentioned. The fact that in 2009 they released a superb album in the form of ‘Backspacer’ just heightened my enthusiasm for this band.
What Cameron Crowe manages to do with this film is make the Pearl Jam story interesting and accessible for those who may not even know the band beyond the song ‘Alive’, but really it is very much aiming for the audience who have stuck with the band for the last 20 years, and is in essence a celebration of their career up to this point. It does help that Crowe is friend as well being a massive fan of the bands music, meaning you get an insight into the bands inner world that any other film maker probably wouldn’t get near to given the bands reclusive nature.
Without doubt the first hour of the film is the most compelling. Showing the band forming from the ashes of Mother Love Bone, whose lead singer Andrew Brown tragically died before they hit the big time. The effect this event had on the band members and those around them still has a very obvious effect on them even to this day. The film is very much an internal affair with the new interviews consisting solely of the band and Soundgarden’s Chris Cornell. It documents the arrival of Eddie Vedder to the band against a backdrop of the young singer surfing and playing acoustic guitar around a camp fire, and his initial nervousness that is shown in some unseen footage of only their second live performance. It shows the frontman staring at the floor, swaying from side to side, looking like he would rather be anywhere else but there. Tracking the young singers confidence as a singer and front man is brilliantly put together, with footage of a key gig in which Vedder, getting increasingly irate at an over zealous security team and their handling of the bands fans, starts singing with an intensity not seen before that point, aiming his venom at the security team in front of the stage. You can see bass player Jeff Ahmet visibly feeling the change in his singer and nodding as if to say “THIS is what we have needed”. From then on Vedder never looks back and turns into the frontman who is so well known from those “rig-climbing” first few years as the band hit superstardom.
The bands relationship with Nirvana and in particular Kurt Cobain is extremely interesting, initially painting Cobain as a rather shallow individual, insulting the band in interviews and acting like a member of Pearl Jam has just shat in his porridge! This quickly turns around with some rather touching footage of Cobain and Vedder slow dancing backstage at the MTV video Music awards in 1992 and Cobain’s admission that since getting to know Eddie Vedder their relationship was very good. The first half of the film concludes with the band talking deeply about the effect Cobain’s suicide had on them personally and as a band, along with footage taken at a Pearl Jam gig the night Cobain died and Vedder paying tribute to him.
The second half of the film focuses mainly on the mid-period when the band were at war with Ticketmaster and their seeming Monopoly on gig tickets and ripping off fans. What has to admired, whether you are a fan of the band or not, is how the band have resolutely stuck to their guns and stood up for what they believe is right. Going to war with Ticketmaster was a disaster career wise in terms of their progression, but they stuck to their principles and rode it out to the other side and watching the footage of the case hearing, you can’t help but feel for Stone Gossard and Jeff Ahmet as they explained their reasoning and why they feel so strongly about the issue.
The collaboration with Neil Young also proved to be an inspired move, giving the band a release from what they had become at that point and injecting new life into the band, not just musically but also with the personal wisdom he bestowed upon them.
As the turn of the century passed the band appeared to be turning the corner but then came tragedy as their appearance at that years Roskilde Festival saw a crowd surge that killed 9 people and seriously injured many others. The footage shown of Vedder on the big screen at the festival on his knees weeping is one of the most poignant of the whole film.
The final few years are pretty much brushed over, but that is not to say that it is any less entertaining. Throughout the film all the band members come across as extremely likeable, even the painfully shy Vedder, but guitarists Stone Gossard and Mike McCreedy are affable and very honest in their views, while Jeff Ahmet has a youthful air about him and the way he speaks. It is obvious how much they mean to each other with a teary Vedder welling up when talking about when he met Ahmet when he first came to Seattle. Not only that, but the film really shows what a great band they are. It is easy to forget how good a guitarist Mike McCreedy is and Chris Cornell’s description of him, and McCreedy’s reaction to that is hilarious. They even have their Spinal Tap moment as they discuss the many drummers they have had of the last 20 years!
Some of the live footage used throughout is stunning. Whether that is from some of their earliest shows or the more recent tours. In particular a rendition of ‘Betterman’ in NYC in 2010 is spine-tingling. Being in a cinema with a great sound system really brings these gigs to life and the warmth between band and audience can really be felt.
As my fairly neutral friend pointed out when we left the cinema, it did come across like a slightly longer episode of Behind The Music, and to a point I would agree, but just watching the film from the off you can tell how painstaking it must have been to put all these little pieces of footage together as well as finding a narrative that flows well. It is this point where such an esteemed director such a Cameron Crowe comes into his own. It does help that he is first and foremost a fan of the band and that really comes across in the finished product. There was no point during the 2 hours that I thought “This is dragging a bit” and he pretty much gets it spot on.
In hindsight I was always going to love this film. Watching music films and documentaries is one of the bedrocks of why I am into music so much, and I could quite easily spend an entire weekend doing just that. This filmed surpassed everything I was hoping it would be and the seemingly effortless way Crowe had put it together shows what a great combination his directing, the band and their music make. What it also does is really value what Pearl Jam have achieved as band over the last 20 years, how they have always stayed true to themselves and what they believe in, as well as still creating great rock music to this day. Eddie Vedders voice has transformed from its angry growl of the early 90s to a more rounded, honey soaked roar that warms the soul, and the band have never sounded better than they do in 2011.
It is a fascinating document that would be impossible for any fan of the band not to enjoy, but equally it should be enjoyed by anyone who claims to take music seriously, no matter what genre they happen to be into, because in essence Pearl Jam show that they hold all the qualities that we as music fans want our idols to possess. Talent, sincerity, longevity, being true to themselves as artists, and a feeling that both themselves and their fans are all moving in the right direction together. For that alone this film is worthy of watching, as Pearl Jam have all those qualities in spades.
Formed from the ashes of multi-million selling hard rockers Creed in 2004, Alter Bridge have been slowly but surely building a solid reputation as one of the finest heavy rock acts currently working in the world today. The 3 former members of Creed Mark Tremonti (Guitars), Scott Phillips (Drums), and Brian Marshall (Bass) teamed up with relatively unknown vocalist Myles Kennedy and have taken the Creed blueprint of searing heavy rock with accessible and anthemic choruses, but now have a timeless quality to their composition. In my opinion, Alter Bridge are a far stronger proposition than Creed ever were, with a massive amount of potential to cross over into the mainstream. This is in no small part down to Myles Kennedy and in particular his voice! His hard rocking vocal style is impressive enough but he also possesses one of the most soulful, beautifully melodic, and far reaching voices in recent memory.
The bands gradual progression over the last 7 years has been at a steady pace. They have not been overly fawned over, hyped up, or been given relentless cover by music magazines. They have developed almost a word of mouth reputation as a scintillating live act who are not afraid to wear their heart on their sleeve. Appealing equally to a fan base of people who like their rock hard and fast, as well as an audience who thrive on stadium rock anthems, their 3 studio albums so far have been an exceptional mix of the above styles. Always sounding authentic, real, and passionate, and intrinsically sharing a love of, and producing, melodic hard rock music that can transcend style, fashion, and tastes to produce something very pure and natural. Each album has been quite distinctive in its own individual sound, but all share the core sensibilities that make for a colossal rock n roll band.
Their debut album “One Day Remains” was a perfect introduction for this band. While you can hear elements of Creed from the word go, Kennedy’s voice lifts these songs to incredible heights that Scott Stapp could only dream of reaching. The albums title track flexes its musical muscle and showcases Mark Tremonti’s incredibly dextrous guitar playing, it also shows a band setting out their stall as a powerful force to be reckoned with. On this album though, it is the more sensitive and sentimental side that hooks the listener in. One point I have made regarding the band over the years is that they are able to do power balladry without descending into schmaltz and cheesy Bon Jovi territory. Maybe its because the songs have more sincerity and feel less forced that contributes to this feeling, but just listening to songs such as ‘Open Your Eyes’ (already a stonewall classic) and ‘Broken Wings’, it really gives a glimpse of the bands potential to crossover without alienating a fan base that also likes its music heavy. Creeds aversion to playing huge guitar solo’s is thrown out of the window, and throughout this album Mark Tremonti relishes the opportunity to do just that!
The ode to a lost loved one ‘In Loving Memory’ is touching yet powerful and ‘Down To My Last’ along with ‘Shed My Skin’ are set closing anthems so rare on debut albums these days. Another hugely popular track is the thundering ‘Metalligus’. Its dark and heavy riffing along with Kennedy’s versatile vocal range power the song along and remains a firm fan favourite as well as keeping the balance between the light and shade on the album in check.
With second album ‘Blackbird’ the band continued their ascendency but focussed more on their heavier sound in a bid to win over any heavy rock purists still sitting on the fence. It worked, ‘Blackbird’ showed a band completely at ease and effortlessly produced a hard rock album that got widespread acclaim from the rock press. Not as immediate as their debut, but repeated listens reveal it to be a more expansive and layered piece of work. ‘Ties That Bind’ and ‘Come To Life’ possess thundering riffs, pounding rhythms, are angry and confrontational, and give way to outstanding Myles Kennedy vocals. Tremonti’s guitar playing is once again in a league of its own. The opening 4 tracks are certainly the darkest and heaviest the band had produced up to that point, then out of the blue along comes ‘Before Tomorrow Comes’. A stadium sized anthem and rallying call against mankind’s destructive nature. The band really open up their wings and fly with this tune.
The epic title tracks sorrowful acoustic opening and sombre mood gives way to an awesome guitar solo which was recently voted best guitar solo of the 21st century by Metal Hammer readers. The “Big Ballad” moment comes in the form of ‘Watch Over You’. A hugely affecting love song, where Myles Kennedy really finds his voice as he sings from the perspective of someone saying goodbye to a loved one before he himself passes away. Kennedy manages to produce one of the finest rock vocal performances I have heard in recent years. The emotion and delivery is perfect and anyone who is in any doubt as to who is the best rock vocalist in the world right now need look no further than this song.
Their third album however, simply titled ‘AB III’, is probably my favourite of all their releases so far. Successfully marrying the heaviness of ‘Blackbird’ with the anthemic choruses of their debut, it is a culmination of the bands hard work up to this point. The atmospheric opening of ‘Slip To The Void’ with Kennedy’s whispered vocals develops into one of the bands heaviest performances of their career. The radio friendly ‘Ghost Of Days Gone By’ lightens the mood and shows the band still love to write songs that appeal to the mass market that are rich in melody and have a sing-a-long quality.
‘Still Remains’ and ‘All Hope Is Gone’ continue to evoke the spirit of ‘Blackbird’ with heavy riffs and thumping, driving, rhythms. ‘Make It Right’ and Tremonti’s intricate guitar picking are matched only by the huge chorus that lingers around your head for hours.
The albums undisputable highlight is the beauty that is ‘Wonderful Life’. Quite simply the finest song the band has ever put their name to. A power ballad that again dodges the cliché’s and from the same school of thought that helped them write ‘Watch Over You’, except this time it is from the point of view of someone saying goodbye to a person who is slipping away from life. Overall the album is the most satisfying in the bands cannon, and has an air of class about it, which bodes well for their progress into future years.
This year also saw the release of their Live In Amsterdam CD/DVD that was shot on the Blackbird tour. It is a key document in proving thatAlterBridgehave the potential to be headlining huge rock festivals in theUK and abroad such as Download and Sonisphere in the not too distant future. With the progress they have made over the last 7 years, I would put money on them doing so sooner rather than later. What the DVD demonstrates is how comfortable their music, as well as themselves as performers, are suited to the big stages. There are no showy pyrotechnics or over the top gestures, just a phenomenal band performing their songs to a rapturous crowd. The fun that both band and crowd are having during the performance is infectious, and with over 20 HD camera’s in attendance on the night, the viewer is sucked into the live show and given a real idea what it is like to not only be at the show, but on stage with the band themselves.
Any self respecting hard rock fan owes it to themselves to embrace this band if they have not done so already. If the next couple of albums continue in the vein of what has come so far, the heady heights set by Creed may well be forthcoming to this band too.
The Black Crowes have been a constant companion of mine since I first laid ears upon them as an impressionable 12 year old lad in 1992. My love for 60s and 70s rock n roll has been well documented before and there are plenty of bands that have pedalled that nostalgic rock n roll sound since it first came about. What makes The Black Crowes different for me is that they have evolved through various guises, sounds, and distinct periods during their 22 year career. They are one of a few bands that are still around that may have started off sounding like their musical heroes, most notably The Rolling Stones, The Faces, and Otis Redding in their early years, but have developed into a rich, organic, and classic “Jam Band”. They have embraced a far broader spectrum of sound and influences that those with only a vague, passing interest in them may not have given them credit for. The aforementioned 70s rock n roll has also been accompanied by, Soul, Funk, Country, Gospel, and Folk. All coupled with a weed-induced haze and laid back vibe as well as fantastic, progressive, intricate, yet powerful live jam-sessions. Always favouring long set-lengths, taking their recorded album material and stretching it out musically in the live environment, while still retaining the power and fire of rock n roll at its finest, making them, as once famously quoted by Melody Maker as “The Most Rock n Roll, Rock N Roll Band In The World”
For me I don’t think there is a band currently working in the world today that can touch The Black Crowes as a live band. I would like to emphasise the “Band” element of my last sentence. There are the Springsteen’s, Rush’s, The Grateful Dead’s, and in recent years Green Day who are fans of playing sets that can top 3 hours. But, none of the above will play 3 nights in a city, play 3 hour sets on each night, without ONE song being repeated. I would challenge any other artist in the world to try and do that. They are a band that doesn’t just play the hits. They fully embrace their entire back catalogue playing whatever takes their fancy, obscure album tracks, b-sides, and choice cover versions from their musical heroes, and in a 20 year career with thousands of shows under their belt I don’t think there has been any setlist that has been identical.
They have been pioneers in encouraging fans to tape their live shows and to trade and exchange amongst themselves, building up a community of live music available to fans and collectors. In recent years the band have recorded the vast majority of their shows and made them available to download for fans on their dedicated live show website. With the aforementioned variation in set-lists and the bands jamming powers this has proved to be a lucrative avenue for the band, knowing that fans are well aware that their live shows are so varied and expansive, that a lot are willing to buy a show they have attended as a memento, or even if they hear reports of how good a show was they are able to download it to hear it for themselves.
The one thing that is apparent when watching and listening to the band in a live environment, as well as the enormity of the musical talent on display, is that they are a band of musicians who are so in tune with each other on a musical level, with a strong telepathy between them that can only happen when a band has played thousands of shows together. While many bands may be able to claim the same “Telepathy” while playing, I would challenge any band to expand their sound as much as The Crowes do, and still sound coherent and engaging to the listener. They are pretty much a definition of what makes a great rock n roll band. Individually brilliant, yet when brought together creates something rather spectacular, with each musician adding their own individual splashes of brilliance to a canvass of sounds that connect in wondrous harmony. I think the thing that defines them the most is how organic and natural they sound as a band. With every twist and turn that has occurred during the years the band has always retained that natural feel and vibe with each and every release.
A band with 9 studio albums, countless live releases, and such a rich array of sounds was always going to hard to define in a few paragraphs, and as it seems with each piece I have written, keeping things short and sweet seem to be beyond my capabilities when writing! So I will aim to provide a “Buyers Guide” charting the bands history and hopefully if anything I write makes you more aware of the breadth of sound the band possess, or even if you have never heard of them before and you like the sound of what you have read and want to check out more about them, then I hope it helps.
Shake Your Money Maker (1990)
Formed in 1989 around the core of brothers Chris (Vocals) and Rich Robinson (Guitars) they released their debut album Shake Your Money Maker in 1990. The brothers were joined by Jeff Cease (Guitars), Jonny Colt (Bass), and Steve Gorman (Drums). Its fresh and vibrant take on the sounds of The Rolling Stones and The Faces with added soul, thrust them into the mainstream, helped no end by their fantastic, and dare I say it, definitive version of Otis Redding’s Hard To Handle. The album was a classic Rock n Roll party from start to finish along with the timeless acoustic ballad “She Talks To Angels” and soaring blues-soul of “Seeing Things” and “Sister Luck” that showed that Chris Robinson was in possession of some of the most soulful, yet powerful, pipes to grace rock n roll for a number of years. Album opener “Twice As Hard” remains a huge favourite with its fantastic slide guitar playing and anthemic chorus. “Jealous Again” is reminiscent of Exile-era Rolling Stones with its bar-room piano and chugging riff and Thick n Thin is an all out party rocker.
The album was an unexpected (yet not undeserved) success eventually selling 3 million copies worldwide. Listening to the album today still sounds like the band were having the time of their lives whilst recording it, and for that reason alone, catching the band with the raw enthusiasm for the music they played, it is an essential purchase.
Essential Tracks:
Twice As Hard
Sister Luck
Seeing Things
Hard To Handle
Stare It Cold
Thick n Thin
She Talks To Angels
The Southern Harmony And Musical Companion (1992)
The rather surprising success of their debut seemed to charge the band up creatively for their second album which was my musical introduction to the band. It remains my favourite, and in many fans eyes, their definitive album. Guitarist Jeff Cease left the band and was replaced by Marc Ford along with the addition of Piano and Organ player Ed Harsch. It is this line-up that is widely considered to be the “Classic” line-up. The album was written and recorded in two weeks (a ballsy thing to do when following up a successful debut), and its loose, yet impeccable musicianship, show the band really hitting their stride. The addition of Ford on guitar was a masterstroke as his style and sound fitted perfectly with the Crowes, and the energy and fresh vibe resulted in an album that still sounds fantastic nearly two decades later. I don’t think there has been a rock n roll album in the last 20 years since its release that can boast an opening trio of songs as strong as “Sting Me”, “Remedy” and “Thorn In My Pride”.
“Remedy” remains a signature song for the band. The powerful Rock n Soul riff with bluesy piano and a sing-a-long chorus remains an absolute anthem in the live environment. The accompanying music video showed Chris Robinson’s charisma as a front man and was a major hit for the band.
“Thorn In My Pride” is a wonderful marriage of acoustic balladry and gospel, with a rousing finale. It is still a staple of live shows and the extended jam the band employ in the mid-section can mean the song can last up to 20 minutes in length. “No Speak No Slave” possesses a potent riff and bluesy groove that is a call to arms against the hypocritical nature of society’s authoritarians. It has served as a belting opener to their live shows over the years. The live version carries more urgency against the albums more laid-back feel but is still a quality song that remains a favourite among fans.
Other album highlights include “Black Moon Creepin’” with its sleazy funk and the epic “My Morning Song”. The latter is a blues-rocking, uplifting soul number which again benefits from being extended and built upon in a live environment. It’s gradual build up for the songs finale is a classic example of the bands jamming powers as it spirals towards the heavens. The whole vibe and feel throughout the rest of the album from the slow-blues of “Sometimes Salvation” and “Bad Luck Blue Eyes Goodbye” to the Stonesy “Hotel Illness” serves for a thoroughly enjoyable listen and remains one of my favourite all time rock albums.
Essential Tracks:
Sting Me
Remedy
Thorn In My Pride
Black Moon Creepin’
My Morning Song
No Speak No Slave
Amorica (1994)
Amorica is album I have had a strange relationship with over the years. It arrived two years after “Southern Harmony…” and was not as immediate as its predecessor and was musically more complex. It has taken me the best part of 15 years to fully appreciate how good an album it is and as a result, I have come to the conclusion that it is second on my list of favourite Crowes records. It had its standout tracks that I had latched onto in the form of the wonderful rock-funk-soul of “A Conspiracy” and the genius road-song “Wiser Time” that speaks of endless days on the road as a band and how on occasion the band can “Part the sea’s” on a musical level. Its country-tinged, widescreen arrangement is a wonderful display of a sound that the band would fully embrace in their later days.
“Gone” expands on the powerful slow-funk rock that the previous albums “Black Moon Creepin’” touched upon, while “High Head Blues” has elements of jazz amongst its juddering blues.
“Cursed Diamond” and “Ballad In Urgency” really start to show the bands more laid back, stoned vibe as well as the expansive nature their music was turning towards. “Nonfiction” takes the acoustic jam stylings of “Thorn In My Pride” and takes the listener on a soulful journey. The more upfront, lighthearted “She Gave Good Sunflower” with its rather obvious reference to the fellatio talents of a young lady is a complete joy with a soaring guitar solo. The strongest track on the album for me is the wonderfully affecting “Descending”. A piano, gospel-tinged, ballad showcasing Ed Harsch’s accomplished piano playing accompanied by touching slide guitar. It is a beautifully constructed piece of music with soul searching lyrics. Combine all these songs with the bar room blitz of “Downtown Money Waster” and the beautiful acoustic instrumental of “Sunday Buttermilk Waltz” makes this album a wonderful listen. Like I said it is a grower and took me a number of years to truly appreciate how great it is. Repeated listening unfurls layer upon layer of brilliant musicianship and a band performing at their creative best.
Essential Tracks
Descending
Gone
Wiser Time
High Head Blues
Nonfiction
She Gave Good Sunflower
Sunday Buttermilk Waltz
Ballad In Urgency
Three Snakes & One Charm (1996)
‘Three Snakes…’ picked up where ‘Amorica’ left off as the band continued to move away from the good time rock n roll sounds of the first two albums, and started to really explore other avenues as to where their music could take them. By far their most varied album, it took quite a while for me to appreciate it in much the same way as ‘Amorica’. I always refer to this album as their “Led Zeppelin 3” due to its more adventurous sounds and providing more acoustic elements against the more layered approach to the louder songs on offer. Going through my highlights on this album shows how varied the material was, with no song sounding remotely similar. ‘Evil Eye’ remains as hazily endearing as the superior version of the later released “Lost Crowes” album. ‘Nebakanser’ in possession of crunching, fuzzy guitar lines matched with a wonderfully poppy sounding chorus line that you find yourself humming long after you first hear it.
My personal favourite on the album ‘Girl From A Pawnshop’ combines the enduring charm of ‘Thorn In My Pride’ and ‘Bad Luck Blue Eyes Goodbye’ from the ‘Southern Harmony…’ record and delivers one of the bands most soulful country/rock ballads. A special mention must go to Marc Ford’s guitar playing on this track which mesmerises in its fluidity and melodic quality. It’s uplifting, gospel tinged, repeated outro line of “P.S. All My Love” is one of my favourite sections of Black Crowes music ever.
‘How Much For Your Wings’ rootsy, acoustic sonics has a campfire-like quality as the Robinson brothers share vocal duties and harmonise brilliantly on the songs urgent, Roy Harper influenced, acoustic riff that accompanies the chorus.
‘Just Say Your Sorry’ is a great bar room rock n roller and is the only track that is reminiscent of their first album, while the chugging intro to ‘One Mirror Too Many’ gives way to a swirling, gorgeously psychedelic, chorus. There is an old-school soul revue in ‘Let Me Share The Ride’, dirty sleazy funk in the shape of ‘(Only) Halfway To Everywhere’ and an out and out pop moment in ‘Blackberry’.
For all this praise I have been giving it, and commending its diversity and expansive nature in embracing so many musical styles, for years I couldn’t get my head around an album so varied in style and took a while for my ears to mature to the level required to appreciate it. For years it was the album I returned to the least. But gradually over time I really started to dig the albums adventurous nature and find it an extremely enjoyable listen when I listen to it now.
For some sections of the fan community it was after this album that they felt the band never really regained the majestic and unique quality of songwriting and musicianship. Even though the first four albums are widely considered to be the best in the bands back catalogue, to dismiss the rest of their output would be doing them a great disservice as the rest of my piece will illustrate.
Essential Tracks
Nebakanezer
Girl From A Pawn Shop
Just Say Your Sorry
How Much For Your Wings
Bring On Bring On
One Mirror Too Many
By Your Side (1998)
The follow up album to TSAOC took almost a complete 360 degree turn in terms of its style. After recording a full album entitled “Band” that was scrapped due to the record company rejecting it and wanting something more “Commercial” (“Band” was later released as part of The Lost Crowes compilation in 2006, reviewed later) Another line up change occurred with the departure of the ever popular Marc Ford and bass player Johnny Colt, and were replaced with Audley Freed on guitars and Sven Pipen on bass.
The Crowes set about fulfilling the record companies demands and came up with By Your Side. Gaining great critical acclaim worldwide, its immediate and radio friendly hooks seemed to breathe new life into the band. For all it’s positive reviews, it surprisingly did not sit well with the hard-core fans who felt the bands organic rock, soul, and experimental edge had been watered down into a chart friendly, corporate rock band. The band freely admit it was written to purely please the record company rather than themselves as artists, but when listening, for a band who’s heart and soul was not fully into it, it is a brilliant piece of work. Infectious choruses, fast-paced party rock n roll, and in “Virtue and Vice” they have one of the finest songs in their back catalogue.
The aforementioned song is the albums closer and thunders in with a Faces style riff and piano line. It swells and soars in all the right places with beautiful melody and cohesion in its execution. At the other end the one-two punch of “Go Faster” and “Stop Kicking My Heart Around” open the album at a blistering pace, full of pop hooks, brilliant flurries of Hammond Organ and gospel backing vocals. The title track follows and awashes itself with a chugging guitar decorated with pretty, sunny Hammond Organ, and uplifting, soulful, choir like accompaniment to Robinson’s powerful vocals.
The feel-good vibe continues throughout the entire album, occasionally falling into rather shallow lyrical content such as “Heavy”, and the lightweight musical endeavours of tracks such as the horn drenched “Only A Fool” and “Welcome To The Goodtimes” and the puerile “Diamond Ring”. But when the band put their foot down, and play the all out funk rock gospel of “Go Tell The Congregation” and party anthem “Then She Said My Name” (despite the fact lyrically, it sounds like the band are taking the piss), it is infectious and custom built for stadiums.
The fact that this album is the one the band return to the least in their revolving set-list is telling. But, it hit all the marks the record company were looking for. Radio-play for the band increased, high profile support slots in the worlds stadiums such as Aerosmith at Wembley Stadium in 1999, and the album was definitely influential in terms of getting more of my friends into them. They have not made an album as “balls-out” as this one in the years since. Instead choosing to embrace the more cosmic, rootsy, country influences to suit the band as they hit their thirties, and despite the hate from a large section of their fan base, it is an album I do return to with much fondness and nostalgia for my late teens.
Essential Tracks
Virtue and Vice
Go Faster
By Your Side
Go Tell The Congregation
Then She Said My Name
Stop Kicking My Heart Around
Lions (2001)
As the millennium turned the Crowes looked to distance themselves from the commercial sounds of 1998’s By Your Side and dived head first into their more experimental, groove and blues based tunes, except this time the vibe was harder to penetrate which made for a difficult listen in the form of Lions. While previous albums that were so vibe based as “Amorica” and “TSAOC” were open and friendly in nature, Lions almost sounded like they wanted you to really work hard at liking it. Widely regarded as their weakest album, it still had golden moments of brilliance, but if you were not an avid fan, a few customary listens by casual observers would have regarded it as tuneless and lacking any emotional and musical depth. While this may appear slightly harsh on the albums best moments, the fact that the band went on hiatus for 4 years after the tour had finished said that the constantly volatile relationship between the Robinson brothers had dried up their creative juices.
Undisputed album highlight “Soul Singing” has a pounding country blues groove and soulful chorus and remains a live staple to this day. Extensively expanded with a middle eastern flavoured jam section, its 4 minute album length sometimes run in excess of 10 minutes.
“Midnight From The Inside Out” opens the album as an uncomfortably slow sleazy groove with Robinson’s vocals shrouded in a haze of distortion. It is dark and moody, yet powerful and heavy, and sets the tone for the album. The sprightly, rousing call to arms that is “C’mon” is the albums only musical nod to their previous album and is a rock n boogie track tailor-made for a live environment. The touching and emotional country acoustic ballad “Miracle To Me” is beautifully understated. It’s a paean to Chris Robinson’s then wife Kate Hudson and displays an emotional honesty lyrically without descending into schmaltz. The song also contains one of my favourite guitar solo’s in the bands catalogue. It is short and simple, but it just clicks with the vibe of the song perfectly.
The most adventurous track comes in the form of ‘Cosmic Friend’ that see’s the band fully embrace their psychadelic tendencies as the song unfurls from a frantic piano riff into funky clattering guitar riffing before swirls of electronic waves rush in for the albums chorus line of “My Friend, The Cosmos Is calling” . The songs ending becomes a melting pot of electronic gloops and overall strangeness with even a babies cry thrown into the mix.
‘Lay It All On Me’ closes the album and is another trademark Crowes ballad filled with soulful piano, laid back instrumentation and Chris Robinson’s rousing vocals.
The album signalled a 4 year break for the band and when they returned they enjoyed a renaissance and rejuvenation culminating in some of the finest live shows they have ever performed.
Essential Tracks:
Midnight From The Inside Out
Soul Singing
Miracle To Me
C’Mon
Lay It All On Me
Cosmic Friend
Into The Fog…Live ( 2005)
While the Crowes had always released live material up to this point, this official live CD/DVD is worth including for review as it captures the very essence of the band as they reformed with the triumphant return of Marc Ford on guitar repacing the outgoing Audley Freed. Filmed and recorded in the middle of a five night run at the San Francisco Fillimore, the bands pure musicality is laid bare along with the added horn section for this specific gig adding an old school soul punch to proceedings. As if the scorching live performances were not impressive enough on their own, according to the notes, the band had only one afternoon to rehearse with the horn section before the show, making the end result even more jaw dropping.
The Fillimore’s gorgeous architecture is a fitting backdrop to The Black Crowes’ live show. Opening with a fogged picture of an unknown individual taking a long toke of a joint, before the band make their way towards the stage, it sets the vibe for the show.
To look at the band look like they have come straight out of 1973 as they launch into “(Only) Halfway To Everywhere” from the ‘Three Snakes…’ album. While never really a fan of the original album versions dirty funk vibe, the live version with horn section is an entirely different beast, turning it into an epic retro soul number. Its original 4 minute length is expanded to an 8 minute extravaganza of soul, funk, and extended jams. Straight off the bat the band display their talent for breaking down a song in the mid-section and building it back up again and this songs breakdown and gradual rebuild is one of the highlights of the album. Full of wonderful horn work and a guitar solo that reminds everybody what an incredible guitar player Marc Ford really is, it blew me away on first listen and showed me this band are capable of suprising even their most dedicated of fans with their live prowess. ‘Sting Me’ and ‘No Speak No Slave’ follow in quick succession with Chris Robinson’s endearing stage presence at the fore. He moves, he shakes, twirls his mic stand, and has an infectious way with a dance move, all finished off with his wide grin that is a constant companion throughout his performance. Eye contact with the audience is key to his engagement with nods, winks, and sheer joy displayed on his face as he performs, ensures they audience are having as good a time as he is.
‘Soul Singing’ is expanded with a middle-eastern flavoured jam in the mid-section. When a lot of bands descend into self-indulgence when these intricate, complex musical pieces come about, The Black Crowes have mastered the art of making it interesting to the listener, never making it feel like it is overblown, making sure that the music carries the listener along for the ride, and never feeling like the band don’t know where they are going with it. The camera work on the DVD is exceptional. Catching the band communicating with each other with the smallest of signals determining where the songs are going.
All the band members are at the top of their game. Sven Pipen’s fluid and bendy bass lines are integral to the bands groove, Rich Robinson’s lead playing compliments Marc Ford’s more searing style brilliantly. Ed Harsch’s piano and Organ playing is exemplary and playful while Steve Gorman is surely the most versatile and reliable drummer currently working in the industry today.
Each song on the cd/dvd is given new life by the band, clearly enjoying being on stage together again. The 9-minute version of Hard To Handle is an absolute classic, as the stupendous horn section and Marc Ford’s incendiary guitar solo’s dance around each other in the bands jam section. Chris Robinson’s dancing and visible elation as the song progresses is infectious. It is the high point of the film, closely followed by the incredible version of ‘Space Captain’ made famous by Joe Cocker’s Mad Dogs And Englishmen tour.
Anyone who has enjoyed any period of the The Black Crowes music over the last 20 years will enjoy this immensely. Chris Robinson’s voice is more raspy than on a lot of their earlier albums, and sounds frayed at times (forgivable when in the middle of a tour playing 3 hours a night), but as a minor quibble, this is the only thing to find fault with. It is a seminal live album showcasing all the characteristics of the band that I spoke of in the first few paragraphs of this piece. I use it regularly as an introduction to people who have never heard them before and every single one of those people are converted to their music as a result.
Essential Tracks:
(Only) Halfway To Everywhere
Sting Me
No Speak No Slave
Soul Singing
My Morning Song
Space Captain
Sunday Buttermilk Waltz
Hard To Handle
Let Me Share The Ride
Remedy
The Lost Crowes (2006)
This album came about as a combination of fan demand and a ‘clearing the decks’ of record company archives in the lead up to the bands then forthcoming Warpaint album. The story of the ‘Lost Crowes’ was of two full albums (‘Tall’ and ‘Band’) that had been recorded, one was from the initial recording sessions before Amorica in 1993, the other was the album of material the band recorded as a potential release after ‘Three Snakes..’ in 1997, which the record company rejected and demanded something more ‘Accessible’ for the record buying public, which resulted in By Your Side being recorded instead.
Listening to these two albums was eye opening in terms of the quality of the songs on offer, as well as how ludicrous it seems that someone at the record company, in their infinite wisdom, did not think the songs were up to much. The general consensus amongst fans and critics alike when these songs finally saw the light of day is that the songs are amongst the bands best. Even the versions of tracks on the ‘Band’ album that eventually made it onto ‘Amorica’ are, in most cases, infinitely better than what appeared on the album. For many hardcore fans, versions of these albums had been circulated and traded for years, but with an official record company release they were able to be exposed to a wider audience. When most bands release a “Rarities” album, often it is no more than cashing in on a few demo’s and unfinished songs. These two albums are the exception to that rule and are worthy of inclusion in any fans collection.
Taking each album individually, ‘Tall’ was recorded before the release of ‘Amorica’. Most of the tracks featured went on to be included on said album. While from a distance it could be said that all these tracks are just inferior versions of the songs from that album, when in truth the vast majority are actually better! ‘A Conspiracy’ is less clinical, less dirty, and flows with a groove not heard on the album version. Robinson’s vocals are stratospherically brilliant on the track and Marc Ford’s guitar work shines beautifully.
‘Evil Eye’ was eventually re-recorded for ‘Three Snakes..’ and contained a very different sounding chorus, but this version is shrouded in a haze of stoned grooves and distortion and a brief, euphoric, wall of sound chorus line “A Little Bliss Forever”, and is all the better for it.
Two other outstanding songs are ‘Tornado’, a Chris Robinson solo tune featuring just him and an acoustic guitar. It is a delicate, soulful, country ballad and remains one of their most understated, yet brilliant songs. The other is the original version of ‘Descending’. While not particularly different from what appeared on the album, the chorus flows better with a change in melodic structure featuring the backing vocals as a prominent feature with Robinson punctuating each line, instead of taking centre stage and, trumpet solo aside, it is the version I prefer out of the two.
‘Band’ is the real highlight of the two discs and you can understand why the band felt aggrieved having to shelve it at the record companies request. It was a natural progression from the occassionally bloated ‘Three Snakes..’ record. ‘Paint An 8′ is a stuttering funk tune followed by the outstanding blues shuffle of ‘Another Roadside Tragedy’ as Steve Gormans drum work is the songs central driving force. The guitars noodle and jam around the relentless shuffling tempo with Robinson’s voice loud and in your face, before the band all click together for the powerful chorus. You can almost feel the bands energy emanating from the speakers as the song takes shape.
One of the albums undisputed highlights is the gorgeous ‘My Heart’s Killing Me’. Gentle acoustic guitars, subtle keys, and a swooping violin that remains a prominent feature throughout, lead the song on its journey of despair and frustration with a killer opening line of “You were so sad you made my dog howl, you kept the ring, forgot the vow” as Robinson mourns the end of one sided relationship. The musical arrangement and execution is beautiful with one of Robinson’s most endearing and soulful vocals.
Released to a great reception from fans and critics alike, it cleared the decks as The Black Crowes entered into their most distinctive, and at times, most controversial period as the band started to embrace the styles that they had only casually flirted with in the past.
Essential Tracks
My Hearts Killing Me
Another Roadside Tragedy
Tornado
Evil Eye
A Consiracy
Warpaint (2006)
Before the recording of this record the band found themselves two members down. Marc Ford’s sudden departure two weeks before the band were due to tour highlighted the increasingly fraught relationship between himself and the Robinson brothers. Not long afterwards, Ed Harsch decided to retire from the band on health grounds that was greeted like a loss of a family member by band and fans alike. With two pairs of massive shoes to fill, the band drafted in Luther Dickinson on guitar and Adam MacDougall on keys before recording the Warpaint album. Possessing the most laid back vibe of all the Crowes releases, leaning heavily on the bands country influences yet still retaining that authentic blues sound, it came across as bit disjointed with the band seemingly not really sure what direction they wanted to go in. Opener ‘Goodbye Daughters Of The Revolution’ starts the album off in fine form coming across as long lost cousin of ‘Sting Me’ from the ‘Southern Harmony..’ record. Its joyous chorus and infectious slide guitar make for an enjoyable listen before the slow blues of ‘Walk Believer Walk’ struts and thumps with menace but sounds like more of blues jam than an actual credible song. ‘Oh Josephine’ gets the record back on track with the first appearance of the bands newly embraced country sound. ‘Evergreen’ and ‘Wee Who See The Deep’ follow, both home to bluesy grooves and the latter really shining with a massive production that cloaks a great Oasis-like chorus and a gem of a guitar solo.
‘Movin On Down The Line’ starts with a riff eerily similar to Led Zeppelin’s No Quarter. It progresses into a feel good country-rock song that sounds great when played live. Other highlights include the blues stomp of ‘God’s Got It’ and the truly sublime ‘Whoa Mule’ that combines country, folk and bluegrass wonderfully. Gormans wonderful percussion and great acoustic guitar playing from Rich Robinson and Luther Dickinson combined with laid back harmonica really make this song a massive highlight.
Overall the album is an enjoyable listen but finds the band torn between the two worlds of what sort of band they were and the natural progression into the more laid back country vibe as the band entered their 40s. But, for all the criticism it received from fans and critics who wanted something more visceral, it has aged well over the last 5 years.
Essential Tracks
Goodbye Daughters Of The Revolution
Whoa Mule
Wee Who See The Deep
Movin On Down The Line
Gods Got It
BEFORE THE FROST…UNTIL THE FREEZE (2008)
For what, for the time being at least, will be the bands swansong, Before The Frost… will probably prove to be the bands bravest and most rewarding album they have produced in their 20 year career. Not content to just head into the studio, the band decided that instead they would hire the farmhouse barn of The Band’s Levon Helm, which had been converted into a recording studio as well as being able to seat a 200 capacity audience, and record a double album over the course of 3 weekends in front of a studio audience. All the material was newly written, sometimes just hours before hitting the stage, and seemed to invigorate the band who appeared to thrive on the pressure of performing these brand new songs in front of their most passionate fans. The thinking behind it being that the crowds reaction would be a good indication of how good the material was, and they would use the best takes of the new songs from the 6 shows, which would form a double album. As an added pressure all the shows were filmed and later released showing how the recording of the album came about.
The bands obvious confidence in their material, as well as deeming it necessary to release a double album rather than a single disc shows that for whatever reason, they were going through a purple patch of creativity that they wanted to make maximum use of.
The record was released as a single disc of ‘Before The Frost….’ With a download code for the second album contained inside entitled ‘Until The Freeze’. The unique approach to recording and releasing the record was interesting enough, but the material contained within is also fantastic. Relying even more heavily on the country and bluegrass sounds that had speckled the previous album, with dashes of classic rock, folk, eastern influences, and even a disco number, it is probably the bands most eclectic album of their career.
‘Good Morning Captain’ leads the album off with honky tonk piano, banjo, and a playful slide guitar riff. It’s a rollicking opening followed by my favourite track on the album. ‘Been A Long Time (Waiting On Love)’ starts with a riff reminiscent of ‘High Head Blues’ from Amorica which snakes and slides its way around Robinson singing his, as ever, suitably cosmic lyrics of “Earthbound wingless dreams” and “Clear crystal burning minds”. The song turns on it’s head halfway through as the band embark on one of their best ever funk jams. The pace picks up and gathers momentum as a wonderful Dickinson guitar solo, complemented brilliantly by and equally impressive Hammond Organ jam, before Dickinson return with a solo that goes stratospheric! By the end of the songs 7 and a half minutes I challenge anyone not to be itching to get up and dance. It finds the Crowes at their most rockin’ since they reformed in 2005.
The quality doesn’t let up as ‘Apaloosa’ arrives and takes shape as one of the bands most expertly crafted country influenced songs.
The arrival of disco influenced number ‘I Ain’t Hiding’ comes as a bit of a shock initially, but the execution with Sven Pipen’s brilliant bass line, the exquisite guitar touches, complete with “Woo Hoo Hoo” lyrics make for an enjoyable listen.
A Rich Robinson fronted ‘What Is Home’ delves deeper into the bluegrass influences with elements of Crosby Still and Nash looming over the vocals.
‘Make Glad’ is all funk n’ strut as the band groove around a simple chorus line, while ‘The Band Played On’ is a straight up rocker. The first disc end with ‘The Last Place That Love Lives’, a soft, Chris Robinson solo number with the vocals given an atmospheric haze, as he laments and sings of being “Never blind to misfortune, never deaf to the sorrowful moan, set adrift on an ocean, until I find that peaceful shore”.
As the second half of the album “Until The Freeze” gets underway the listener is treated to eastern, earthy sitar sound that is ‘Aimless Peacock’ along with strings, and a stoned, mystical journey that is very much vibe based, rather than being a structured song. It works well, as that leads into the most bluegrass sounding song the band have performed yet in ’Shady Grove’. The fabulous ‘Greehorn’ with its wonderful 3 part harmony intro, that segues into one of Rich Robinson’s most pretty and melodic acoustic guitar lines as his brother sings soulfully into another organic, eastern influenced chorus with swirling keyboards, and lazy backing vocals. ‘Lady Of Avenue A’ comes on like an updated ‘Miracle To Me’ and the wonderful cover of the Stephen Stills/Chris Hillman song ‘So Many Times’ is one of the bands most melodically rich country renditions. What one has to admire is how authentic the band sound and how suited Chris Robinsons voice is to the country and bluegrass sounds that they have embraced.
As with most double albums, not everything works, and there are some duds present throughout the course of the double album, but let’s be honest, has anyone sat through a whole double album before and think that everything is great? But overall it is consistently good. The band alienated a lot of their fans with the change in direction over their final two albums, but those who have stuck with them and embraced the change were richly rewarded with this album. It is an album that will benefit with age, and I am pretty sure that it will be an album that people will rediscover in years to come.
CROWEOLOGY (2010)
In summer 2010 the band announced that they were calling it a day after 20 years and have spent the last year touring saying farewell to the world. As a parting gift they released ‘Croweology’, another double album where they have reinterpreted some of their most famous songs in an acoustic setting, along with a handful of new compositions and cover versions. While on the surface it may sound rather bland, it is the complete opposite. Some of the songs have new lease of life injected into them. The fantastic new arrangement of ‘My Morning Song’ with its huge gospel arrangement, and ‘She Talks To Angels’ decorated beautifully with strings and piano could almost be definitive versions. ‘Hotel Illness’ sounds like it should have always been played acoustically while of the new songs the absolutely stunning ‘Cold Boy Smile’ is in my opinion one of the bands finest ever songs.
The bands farewell tour ends next week, fittingly in Amsterdam, where the fans are travelling from the world over to see them at their final two shows. This is of course after two London shows that promise to be very special indeed. If this is truly the last time that we see the band perform then they have left a legacy of some of the best “Real” rock n roll music that the world has borne witness to. I also think that as time goes on, the band will be looked back on extremely favourably for what they have done musically, and will almost become more popular with future generations discovering their music. It will be a long time till we see the likes of them again.
The next band in the “Why I Love…” series is about a band that although not huge on the international, or even national, stage, were quite simply THE reason why I have the burning passion for music that I have. They have shaped my entire musical journey from birth and as they are unfamiliar to the vast majority of people these days I will try and tell their story and the impact they continue to have on me.
Sad Café were a band formed in Manchester, England in 1977 featuring Paul Young (Vocals), Ian Wilson (Guitars), Ashley Mulford (Lead Guitar), John Stimpson (Bass), Vic Emerson (Keyboards), Tony Cresswell (Drums), and Lenni (Sax). Further down the line Des Tong (Bass), Dave Irving (Drums), and Mike Byron-Heir (Lead Guitar) would all become essential ingredients to the bands sound. In total they released 7 studio albums and 1 live album over a 10 year period before calling it a day. A band impossible to pigeonhole into any specific genre, sounding totally different on each subsequent album, with the ability to pen songs so rich in melody and so far reaching in their appeal, it is one of life’s great tragedy’s that the band, having been on the cusp of worldwide fame thanks to monster hit single “Every Day Hurts” in 1979, were not more successful on a wider international scale.
To sum up the band in as few words as possible would be to say that they were a rock band with pop sensibilities. They covered such a wide range of genre’s including rock, prog, jazz, acoustic, classical, reggae, heavy rock, classic rock n’ roll, funk, pop, etc. You name it, and chances are the band tried it at least once. You would think that this would mean the band would lose their identity, particularly as all this genre-hopping would not just be album to album, but track to track on EACH album! But, what they were also able to do was keep a sound that was very much theirs, and a mentality of, even though with all the different sounds they were using, THE SONG itself was absolutely key. Every song they wrote, no matter what genre, had a ‘hook’, with the shared sense of what worked melodically no matter which combination of the band were writing together.
Their live shows were also what set them apart from a lot of others. They developed a reputation for being one of the most formidable and best live bands in the country, even when times were bad they were able to sell out venues wherever they went. In Paul Young they had one of the most engaging, energetic, versatile, and passionate vocalists in the country. His enthusiasm and stage presence, along with the impeccable musicianship of the band, cemented their reputation as a must see live band. Ian Wilson, was the musical director of the band and a strong rhythm guitarist with a distinctive sound to his rhythm playing. He had a clear vision of what the band should sound like and possessed a fine voice too. Ashley Mulford was an exceptional guitar player, with a huge melodic sound to his solo’s, reminiscent of Carlos Santana. John Stimpson was a classic bass player in the “Why play 5 notes when you can play 1” variety. But listening to his playing on albums he possessed a great groove as well as helping provide high harmonies on the bands wonderful backing vocals. Vic Emerson was an absolute maestro on the keyboards and was a key ingredient to the bands distinctive sound. A classically trained musician who was able to programme his banks of keyboards to sound authentically like a 100 piece orchestra. A truly gifted and talented composer who also co-wrote a lot of the bands best known songs. His contribution to the band and the high esteem I continue to hold for him as a musician can not be underestimated.
As mentioned in my ‘About’ page, my earliest memories are from a life that was completely involved in the music industry. My father Gerry was involved with the band from quite early on in their career as a Marketing Manager for Polydor and RCA records, who then went on to become the bands manager for a 6 year period which, rather than riding high on a wave of success that they had enjoyed, became a nightmare due to the financial mis-management of the previous management, leaving the band skint, and the previous management profiting from the bands success.
Some of my earliest and most vivid memories are attending band rehearsals, weekends away at recording studio’s, as well as attending the actual shows. There were various times when I would wake up and find a couple of the band members asleep on my bedroom floor after a night out, along with various times where musicians, sound technicians, etc would be coming and going from our house. While my dad was away a hell of a lot with this kind of work, the times when he was around with all this stuff going on around me have always stayed with me.
So, I am going to attempt to give an overview of their career as I have interpreted it, covering each album and give a glimpse of what they were about, together with why, despite my personal connection, they mean so much to me.
(I have featured a lot of video and audio links from Youtube. Many of these video clips have been transfered from very old VHS tapes and as a result, visually the quality is not the best, nor is the audio. But they give a glimpse of how brilliant this band were and for that reason are worthy inclusions. Personal thanks to all who put these up at the bottom of this piece.)
FANX TA RA (1977)
Their debut album Fanx Ta Ra was released in 1977 in the height of punk and represented all that that movement despised. A progressive, inventive, and expertly crafted work of melodic rock music. It sparked controversy with its front cover, supposedly depicting the image of a naked female looking forlornly as her lover/rapist is seen walking out of the door. Despite the controversy, the content within the album is exceptional, and remains (if I was forced to make a choice) probably my favourite record of the bands.
“Babylon” burst into life with pummelling drums and great descending guitar riff before melding into an acid-jazz flavoured verse. Paul Young’s vocals show their power early on and the chorus line gives us the first glimpse of the vocal harmonies that are so prevalent during their entire career. The mid-section see’s them segue into a Santana influenced beat with chanted harmonised vocals and Ashley Mulford’s guitar work taking centre stage. Its an astonishing opening to a debut album and still sounds fresh over 30 years later.
“Shellshock” bristles with piano-lounge smoothness with funky chorus riff as Young sings of encounters with ladies of the night. The song again shows off Mulford’s incendiary guitar playing as the song ends up as full on funk-rock fest.
“Hungry Eyes”, a haunting, acoustic ballad is the first time Young’s soulful vocals are allowed to show their tenderness after the raw power showcased on the opening couple of numbers. After the acoustic opening and tender delivery of the vocals, the chorus arrives bringing with it Vic Emerson’s sweeping, lush orchestration that wraps the chorus up and pummels it into your head. The string-laden middle eight is a gorgeous example of the bands epic capabilities. Young’s vocals reach heights that you would not have expected them to, based on what had been shown so far, and the string arrangement is absolutely stunning. As the song progresses Young’s vocals show their power once again as the song reaches its climax, before gently bringing the song to a close with the haunting acoustic riff.
Live Version of Hungry Eyes from The Old Grey Whistle Test
“Black Rose” sweeps in with a great keyboard hook and was a live favourite for the bands entire career. Probably the most obvious pop moment on the album with great chorus with amazing backing vocals and great guitar solo. Once again the song is driven by the exceptional keyboard and guitar work (a common theme throughout the album) and is a classic sing-a-long anthem.
The instrumental piece “The Further Adventures Of Mad Alan” is a organ driven slice of prog rock with crashing symbols and noddling guitar work dancing around a sinister chord progression. The song then falls into a laid back, almost Pink Floyd-esque, groove as Mulford does his best Dave Gilmour impression over swelling strings, before blending seamlessly into the heavy rock riff of the albums title track. The riff is so powerful it almost blows you off your feet with flecks of strings adding colour to proceedings. Another middle eight where the song is turned on its head with another Santana influenced guitar solo and fast tempo.
“Flingus Holiday” arrives with a jazzy drum and keyboard intro before Lenni takes centre stage with a joyful sax-led instrumental piece, which like the previous couplet of songs leads seamlessly into “Immortal”, with its thumping dark bass line and weird vocal tics as the story of an sinister, immortal old man unfolds and a great guitar solo as the song turns into a great sleazy rock song.
Another complete 360 degree turn appears with the arrival of “Sail On” with its subtle opening of slow, strummed guitar chords leading into stunning vocal harmonies on the chorus before the song becomes awash in strings, with intense musical bombast and impassioned vocals. Another example of how vocal harmonies start to become a key ingredient of the bands sound.
“Clumbedextrous” another prog influenced song with nonsensical lyrics, weird vocal stylings, and an overall feeling of madness throughout. The cohesion returns with a fabulous final couple of minutes where lead guitar and lush keyboards take centre stage once again.
The finale of the album is the stunning “I Believe (love will survive)”. One of Paul Young’s finest ever ballads. A lovely piano intro and exquisite two part harmonies between Young and Wilson build the song to its simple, yet extremely effective, chorus. Young’s delivery is as great as ever, mixing it up between sweet, soulful, tenderness and rugged, raw power by the songs climax. Blending the two unlikely styles of Marvin Gaye and Mick Jagger in a four minute epic rock ballad is probably as hard a trick to pull off as it sounds. But pull it off he does and it’s a phenomenal end to a fantastic album that is just bursting with ideas and exceptional musicianship.
A mention must go to B-side “Bell Ends”. It’s a song that I was only familiar with in its live format from the “live” album and various TV appearances. Only a few months ago, with the remastered version of Fanx Ta Ra released with it tagged onto the end of the album as a bonus track, was I able to hear the studio version of the song. It was absolutely stunning and an entirely different beast to the live versions that I was familiar with. It successfully manages to mix punk and prog rock, two styles that were completely at odds with each other at the time of release, brilliantly. Both styles work hand in hand with its punky riff, shouted vocals, and angry, confrontational lyrics. This blends into a atmospheric, swirling prog verse before the punk attitude returns even angrier second time around. The song ends with a wonderful slow build up of melodic noise over the absurd refrain of “Bell Ends Forever”. If you wanted to hear what happens when Punk and Prog have a baby, then this is it!
MISPLACED IDEALS (1978)
Hot on the heels of Fanx Ta Ra was its follow up Misplaced Ideals, complete with another controversial cover that was eventually re-branded, released only a year later. Shorter in length but another album bursting with ideas as the opening “Restless” proves with a funky-as-fuck guitar and bass riff, with Young’s Jagger-esque vocal style sneering the lyrics at you. A breakdown occurs in the mid-section with twinkling jazz piano, lolloping bass playing, and a Lenni sax solo that gently re-introduces the main riff quietly as twinkling keys dance around it, before the full force of the band expodes back into the full on riff and a genius guitar solo.
“Here Come The Clowns” a straight up rocker, a verse with a killer hook, and a stuttering, rolling bar room piano chorus. Once again Lenni’s sax playing is far more involved throughout the number.
“Run Home Girl” is a jazz-lounge supernova of a track that first brought the band to the attention of the American audience receiving a lot of radio airplay. A classic 70s sound and the first real pop song they composed.
“Let Love Speak For Itself” starts as a moody, slightly underwhelming, bongo tinged number that turns into a sprawling, epic, rock song, with fantastic backing vocals, and a powerful guitar riff.
Ian Wilson takes lead vocals for the first time on “No Place To Go”, an acoustic rock number in the vein of Crosby Stills and Nash with a pop hook before the arrival of “Relax” the bands first foray into the reggae pop genre.
‘Mario’ is a low key number consisting of just Young’s voice and Vic Emerson’s vast orchestration and is beautifully composed. It shows off Emerson’s talent as a classical composer with swelling strings, and translating that into song.
“Feel Like Dying” is a jazz-blues number telling tales of repeated heartbreak and mourns the end of the final relationship. It’s full of sorrow and self pity and delivered with great female backing vocals. You can just picture Young singing it in a deserted smoky bar with whisky in hand. The definitive version of this song though is on the “Live” album where the female backing vocals are replaced with the band members themselves. To say it is a masterclass in vocal harmonies would be an understatement. The perfect execution of the 3-part harmonies in the middle eight really shows how good the bands vocal capability was.
Album closer (and set opener for many years) “On With The Show” is the undoubted album highlight and remains my (as well as my fathers) favourite Sad Café track of all time. It successfully melds all the best elements of their creativity that they had shown up to this point and wrap it up in a slice of uplifiting, epic, pop-rock, chopping and changing styles throughout it’s 5 minute length.
The verses are sunny and uplifting with a jazzy tempo. Lyrically it covers the familiar ground of not letting life get you down and avoiding potential heartbreak. At the end of each verse they get sucked into a vortex of strings, electric guitar and vocal harmonies. After a couple of verses the song suddenly grabs you by the neck and throws you into a rock n roll frenzy as Young declares that he “just play my rock n roll, gives you something that satifies your soul, come on baby let the good times roll” as the song reaches the heavens with a glorious, soaring guitar solo. As the verse returns with the sunny disposition still in tact the production gets bigger with the flurries of epic strings and Mulford’s lead guitar punctuating each line. The harmonies converge on the lead vocals before the song reaches its peak of perfection as it takes another turn into spellbinding, epic genius, the whole band sing as one leading into the final outro, filled with hazy, swirling sounds and a frantic wall of noise fade out. Perfect.
FACADES (1979)
At the tail end of the Misplaced Ideals tour, original drummer Tony Cresswell left the band and was replaced by Dave Irving as the band entered their most successful period. Their third album, their most successful, saw the band still maintain their eclecticism with the song-writing but was more polished and focussed with the aid of Eric Stewart (10cc) on production. While previous producer John Punter created a wall of sound and reverb drenched backing vocals, with Young’s voice encouraged to be loud and in your face, the result on this third album was more of a glossy sheen to the songs with Young showcasing his versatile vocals more. The songs had a slightly more pop orientated sound as demonstrated by lead single “Every Day Hurts”. A song that was their biggest hit, it peaked at number 3 in the singles chart, remained in the top 40 for 12 weeks, and was amongthe biggest selling singles of 1979. A song that almost every body knows even if they do not know who it is by. A song that when played to people who do not know the band say “Oh Yeah, I love this song!”, and a song with one of the biggest pop hooks ever written with a string drenched chorus partnered with heavy drums, heartfelt lyrics, and four part harmonies. It is a perfectly executed ‘Power ballad’. Everything just clicks and works perfectly with the piano and acoustic guitar led verse, before leading into the wondrous chorus. Years later Q magazine would refer to the song as ‘softened genius’ and it has been included on countless romantic compilation cd’s and a staple of mum-orientated commercial radio. Due to its mega success across the board it would eventually become the bands albatross as it cast a shadow over all future material and saw the band lumped in with all the other soft rock acts of the time and were under constant pressure to deliver material of a similar nature for the rest of their career. But, as a glimpse of how good the band sounded at the peak of their powers, then this song is definitely where it is at.
(Big thanks to the youtube nazi’s who have blocked every version of this song on Youtube so follow this link below to see the video.)
If anyone bought Facades expecting an album chocked full of syrupy ballads they would have been in for a shock. The different styles that they had embraced on their opening two albums were still there in abundance on this album. Opener “Take Me To The Future” with its almost post-punk guitar riff and electronic bleeps and glitches scattered throughout. It has a great chorus with elements of The Undertones in its delivery. This leads into the atmospheric keyboard intro to ballad “Nothing Left Tolouse” with acoustic guitar and fiddle playing prominent parts in key points in the song. By all intents and purposes it was ‘the one that got away’ in the bands eyes in terms of its potential to be a massive follow up single to “Every Day Hurts”. Instead it was left and released as fourth single that failed to chart as the band were already on album number 4 by the time 1980 had come to an end.
“Strange Little Girl” was the brave follow up single to “Every Day Hurts”. Brave in terms of it vastly different sound to the power ballad lead single. Its twinkling nursery rhyme intro is usurped by a menacing acoustic guitar and what sounds like a double bass tracked over the top. This leads into a sinister bass driven verse that sees the return of the sneery vocal delivery from Young and punctuated with heavy riffing from Mulford. Mulford penned the song that re-tells the story of the film “Little Girl Who Lives Down The Lane”. Despite all these elements the chorus reveals a massive pop hook with multi-layered harmonies that reach their peak during the songs outro. The final minute of the song turns the song from a rather menacing pop song, to one that is quite tender and beautiful, with Wilson and Stimpson singing lovely high harmonies over Young and Mulford’s “what’s your name girl?” refrain.
“Crazy Oyster” is a straight up riff rocker with a driving groove, while “Emptiness” see’s the return of Lenni’s Sax, playing the addictive melodic line through the centre of the songs rather jazzy feel.
“Cottage Love” is a funk-rock tale of the “sneaking through bushes” underworld of homosexual cottaging. Full of innuendo and the bands sense of humour coming to the fore, the American version of the album ended up cutting the song from the tracklisting and, ironically, replacing it with “Time Is So Hard To Find” of which the studio version sounded like a 70s gay disco anthem. The live version of “Time Is So Hard To Find” song had a much more funk-rock edge to it, much like the song it replaced on the album. “Cottage Love” has the added texture of Emerson’s programmed, stabbing, violin lines that are used to good effect much like they are on “Strange Little Girl”.
“Angel” see’s Wilson’s return to lead vocals with a similar feel to the previous albums “No Place To Go” but this time with beefed up production and great use of 12-string guitar as the primary instrument. It is a feel good pop song, with its simple yet joyful lyrics and great vocal delivery from Wilson who sings all backing vocals too.
“My Oh My”, the third single and album closer, starts with a gentle piano and slide guitar intro and a soulful vocal before transforming into a wonderful Rolling Stones sounding rocker where Young does his best ever Jagger impression. Its all balls out groove and descends into a rock n roll party and was a highlight of every single live show the band ever did. It was also a firm favourite of mine growing up and believe it really did kick-start my love of the rock n roll sounds of the early 70s.
It’s a great album, not their best, but its highlights are amongst the strongest songs in the bands cannon. It also starts to see the transition from their earlier rock, prog, jazz, and epic production sound to the more pop-rock orientated latter period albums.
It was around the time of the album release that my father became involved in the band as their marketing manager for the record label. On the day I was born the band were due to receive their gold discs for “Every Day Hurts” and having spent the morning at the hospital, my dad went and joined the band for the presentation and was eventually poured home in a record company car in the early hours of the morning!
By this point, with the added exposure of now having hit singles to their name, the bands live reputation was growing more and more and the venues were getting bigger and bigger. Multiple nights at the Manchester Apollo were now standard.
SAD CAFE (1980)
By the end of 1980 their fourth album was released keeping their output ratio of an album a year for the four years they had been in existence. Quite remarkable when compared to today’s music industry where taking 2 years to follow up an album is considered fairly standard. The resulting self titled “Sad Café” album was, in my opinion, one of my least favourite of the albums they produced. That is not to say it was a bad album, far from it. It had golden moments and I don’t think there is one song I dislike on the album, but for me the production was all wrong and sounded very clinical with no ‘live’ feel to the tracks. Lead single “La Di Da” had a great pop chorus and lovely melodic verse, but relied on the soft rock production a bit too much so ended up sounding a bit weak.
Second single “I’m In Love Again” (that should have really been the lead single in my opinion) was a great slice of party rock n roll that still defies logic how it wasn’t a massive hit. The main riff of the song was also shamelessly stolen by Go West on their breakthrough single “We Close Our Eyes”.
Other highlights of the album include “Losin’ You”, a wonderful pop-rock song that was screaming to be released as a single. “Digital Daydream Blues” with its funky guitar line and its sax-led groove leads into a great bluesy pop outro.
The double header of the blue eyed soul of “What Am I Gonna Do” into “Keeping It From The Troops” and its tale of army officer betrayal on foreign shores is fantastic stuff. The former written by Ian Wilson see’s one of Young’s most soulful vocals and a great pop hook to the chorus. Another made for radio single that never was. “Keeping It From The Troops” turns itself into one of the darkest and heaviest sounding tracks they produced and as a live song turned into an absolute beast.
“Dreaming” is a ballad with calypso guitar and a lovely verse, leading into a chorus that doesn’t really go anywhere, BUT, the mid-section of the song turns itself on its head and starts a high tempo calypso party with multi-tracked Saxaphone leading the charge, before a gorgeous guitar solo shoots the song into the stratosphere as Ashley Mulford channels the spirit of Carlos Santana into his best ever solo, surrounded by sublime keyboards.
Despite my own personal criticisms of the production, as a live draw the band were riding on a wave and were selling out shows wherever they went. The subsequent tour of the album was hugely successful with one show at Nottingham Royal Theatre being televised on ITVs Rockstage which was one of my most treasured videos of the band that I still have in my possession to this day. It was a great live document showcasing how great they were musically and visually as a live band. Mulford was my first ever guitar hero with his axe-man shape-throwing, and I used to mimick his moves with my toy guitar in front of the TV. Dave Irving’s powerful drumming and his manic, animal-like performance also was something that stuck with me. Lenni’s eccentric stage costume (a regular occurrence) for that show was a native red indian complete with warpaint and pig tails! But, the band had an “Everyman” like quality that was endearing to the public, much like fellow Mancunians Elbow enjoy these days. In early 1981 their live album was released and shows the band at their absolute peak as musicians.
By this point you would have thought that the band would have been rolling in money with the success that was coming their way. But there were manipulative systems the management would use, utilising the bands success for their own personal gain. Drummer Dave Irving was kind enough to fill in the gaps for this piece by saying “Harvey would keep scoring high payout deals from record and publishing companies. To keep doing this he would constantly move record companies and get fresh deals for the band thus scoring large management fee cuts for doing it. The band was scoring large deals from majors labels RCA/Polydor and A&M across the globe so the amount of money coming the managements way was massive!”
“At the height of the band chart success with RCA he switched labels to Polydor -even when the band still had another 2 albums to do on RCAs contract. He did this time and again making huge amounts of money for himself everytime. The band turned over 2 million plus in 70s/80s so he was pulling in big style! That was a LOT of money back then!! Of course all of this movement and new deals put the bands commitment to record deals into an area of non profit i.e. They would have had to sell a shit loads more records to get into a place where they could make some money for themselves.”
“Another aspect of this was Kennedy St ‘Enterprises’ owned everything about the band. Management – cut, Agency-cut, Publishing-cut, Strawberry Studios-cut, Eric Stewart -double cut from fee, and production. They even had a share in the limos sent here and there for the band.”
OLE (1981)
As 1981 arrived, after the hugely successful tour, yet still no money in the bands cofffers, the band eventually split from Harvey Lisberg’s management and it also saw the first significant re-shuffle in the bands lineup. John Stimpson retired from playing and for a brief period went into co-management of the band with my father, who jacked in his Marketing Manager job with the record company to manage the band full-time. Des Tong was then drafted in as Stimpson’s replacement. Tong was an absolute master of his instrument and possessed an entirely different style to Stimpson’s laid back playing and brought fills, and melodic, complex bass lines to the bands recordings thereafter. Ashley Mulford also left the band half way into the recording sessions for the next album “Ole” due to the pressure of trying to split his time between Canada and the U.K. He was replaced my Mike Byron-Hehir, an equally talented guitarist with a glorious melodic tone to his lead playing that was displayed to great effect on the “Ole” album tracks he appeared on.
“Ole” is one of the bands criminally overlooked and underrated albums. The sound of the album thrust the band firmly into the pop-rock market of the early 80s. Every song sounds like it could have been a single.
“Love’s Enough” opens the album with its jaunty pop bounce with Lenni’s Sax leading the line. The song sounds like one long chorus such is the power of the pop hook to the verse and chorus alike. Lyrically on this song, and for the rest of the album, the band adopt a simpler approach talking about love and loss without trying to get too deep.
“Bittersweet” arrives with a great guitar riff and chiming keyboards, with Wilson’s rhythm guitar being the focal point during the chorus with sublime harmonies.
“#Nine” is a fast paced, ska-tinged, slice of power pop, with funky bass and sax.
“Follow You Anywhere” was the bands lead single and an obvious attempt to recapture the market that fell for “Every Day Hurts”. Very similar in its arrangement and execution, with a soft piano-led verse into a string-laden chorus. It’s a lovely song, but standing next to its predecessor in the ‘power ballad’ mould it doesn’t really compete.
“Gyspy Woman” starts with a killer guitar intro as the song leads into an almost oriental tone and feel. The chorus soars with great backing vocals and possesses a great ear catching melody. The song contains a mandolin solo and builds to a great crescendo.
“Misunderstanding” was the second single from the album and you can hear why. Great fretless bass work from Des Tong powers the song, which is a glorious pop-rock classic, with a huge chorus hook that lodges in your brain and tailor-made for radio. If you love the power-pop from the 80s, there is no doubt that this song will appeal.
“L.A.” rushes in on a wave of urgent strings as the story of the American City with it’s glamorous image, gets turned on its head with a tale of shattered dreams and one of the best stories the band have penned. Tong’s fast bass playing dances around freely as the song unfurls.
“She Do For Me” is the album closer and a mournful ballad with a lovely, lovely chorus. It is almost like a more understated version of “Every Day Hurts” yet still retaining the wonderful melodic quality and is probably one of Vic Emerson’s best ever string arrangements. Subtle and powerful all at the same time, the strings rise and fall as Lenni’s sax see’s the song out and the strings wash over in waves. It is a lovely piece of orchestration and the final time Emerson was able to meticulously put a complex and interesting orchestration to a Sad Café track.
In a summary it is an album that is very much of it’s time. But the wealth of pop hooks and impeccable musicianship make it very hard to ignore and had the band had more money to get the proper promotion behind them, then it could have been massive.
1981 – 1985 (The “Road Band” Years)
This period of time the band essentially became a touring band. With no money they spent a four year period on the road. The travesty of it all was the fact that as a live draw they were still selling out and drawing the punters in. But, once the costs of touring were paid to crew, lighting, catering, etc, the band were left with very little. By this point my father Gerry was the sole manager, arranging gigs wherever possible and the band were living hand to mouth on the road. They made successful appearances at Reading Festival where they dropped “Every Day Hurts” from the set list due to the “rock” nature of the festival but were not allowed to leave the stage due to crowd wanting to hear it! The also appeared at Glastonbury Festival, playing on the Pyramid Stage in 1983. The stage times were chopped and changed at various points throughout the day before eventually the band going on just before headliner Van Morrison. Of course with all this time on their hands the band decided to just get drunk to stop the boredom setting in culminating in a glorious set, with the band half-cut, that was captured and televised years later. Their set was littered with various technical hitches but their enthusiasm and energy was captured brilliantly and it showed the band having the time of their lives. Watching it now it shows the camaraderie and the evident affection the band have for each other that comes with years of relentless touring, even if they weren’t making any money.
Some of my earliest memories of the band came from this period. One memory that springs to mind which, considering I was only 3 at the time its amazing I have any recollection at all, comes from when my dad arranged a whistlestop university tour of England in 1983. My dad brought me along to Reading University during the daytime while the band were setting up and soundchecking. Initially when we first got there, Paul, Mike and Ian were going into town to grab some food, and with me being an insistent 3 year old I wanted to go wherever Paul was going and made my feelings known! I remember so vividly Paul perching me on his knee and turning to my parents and saying “That’s fine buddy, you come with us”. So off I trotted for some lunch and returned for the soundcheck. Again I insisted on going up on stage with the band while they performed and I stood next to Paul gazing up at my hero. My dad found me a small mic stand and microphone so I could stand and sing next to Paul. While they soundchecked Paul pretended to forget the words to “Every Day Hurts”, he then turned to me and said “Do you know the words?” I nodded, so and he bent down and handed me the microphone and I sang the song along with the band. It is one of my most cherished memories that I remember so vividly, its crazy to think I was only 3 when it happened. My dad took a load of photos of this that I would love to post up for people to see, but they were unfortunately lost when we headed up to Manchester years later to see the band perform again. It is something that truly devastates me knowing I do not have them in my possession anymore.
Another memory I have was when Ian Wilson spent Christmas with us at our house and I remember him trying to teach me how to play the harmonica on my little toy one that I had. My mum got a wonderful photo of me perched next to him at the dinner table with both of us trying to play it at the same time. Unfortunatey that photo was also lost.
A lot of other memories are fairly hazy as would be expected. I do remember going to Strawberry Studios in Stockport with its distinctive strawberry logo. I also remember attending a show at some unknown venue and my mum desperately trying to keep me awake to see my dad introduce the band onto the stage.
During this whole period of touring the band attempted to lay down tracks for a follow up album with various demo’s being made, but with such a precarious financial situation nothing solid got put down until 1984 where the band recorded two songs “Why Do You Love Me Like You Do” and “Keep Us Together”. These would prove to be the last tracks that Vic Emerson and Dave Irving would record with the band. Dave by that point had decided to leave the band due to no money coming in with a young family to support and Vic also felt he had reached the end of the line.
Politics Of Existing (1986)
In 1985 the band were able to get enough funding to start recording their next album. Two tracks “Heart (a remix of “Why Do You Love Me Like You Do”), and “Keep Us Together” were the only two tracks recorded with the 81-84 line-up. With Irving and Emerson gone, and Mike Hehir recruited by American singer Corey Hart, The core line-up of Young, Wilson, Tong, and Lenni were left for the remainder of the album sessions and they recruited new drummer Jeff Seopardi. Guest musicians also filled in, most notably Mike Rutherford on guitars, along with Danny Schogger on Keyboards. With a 4 year gap between recording an album, when they were used to writing and recording 1 a year, they had a wealth of quality songs that they had been able to bring together and it really shows on this album. It is an album that is consistently brilliant from start to finish and a masterclass in pop-rock songwriting. The production values are very much of the mid 80s. Very ‘Trebley’, with that classic 80s sheen and clarity to the music and vocals. Again it was an album full of singles. Almost every single song could have been released as a single such was the quality of the tunes and the ear they had for a good melody that refuses to leave your brain.
“I Didn’t Want You” thunders in with a big 80s production and makes the band sound like they are on a mission with something to prove such is the urgency of the delivery.
“Midnight” is a mid-tempo pop-rock pace setter. While lyrically it is a bit naïve, it is pretty and melodic.
“Trying To Reach” is the first obvious single moment on the album. A powerful guitar riff and programmed drum beats spur the song into life along with a great verse leading into an even better chorus. It is a brilliantly constructed pop song, with enough power and edge to keep fans of their rockier stuff happy.
“Saving Grace” is a slice of 80s funk while “Clocks” is a dark, atmospheric, synth-pop epic.
“Refugees” is Reggae-Pop with an outrageous amount of sound effects that help tell the story. Very much of it’s time but infectious with its simple chorus-line of “We are the refugee’s” complete with reefer-toking outro.
The 3 song run that follows are the strongest on the album. “Only Love” is an inspired, uplifting, power-pop number and is probably the bands most fully formed pop song. Released as a single, and had they had the backing of a major label there is no doubt that it could, and should have been one of the finest radio singles of the era.
“Keep Us Together” was one of the final tracks recorded with the 81-84 line-up including Irving, Emerson, and Hehir. A classic 80s power-ballad featuring lovely, twinkling, echo-y synths and keys. The bombastic and thundering final couple of minutes, complete with epic drum intro are ridiculously over the top, but also bloody brilliant.
“Heart” is another fantastic pop-song with its pounding, urgent intro, with the songs sax-led hook leading the charge. A classic ‘verse sounds like a chorus’ trick that the band excel at in the last few albums, is utilised to perfection.
Overall it is a fantastic, 80s, pop-rock album. Almost every song is a killer and I have always thought that had it broken America at that particular time it would have taken off like a rocket. The classic 80s sheen in production is there, which may sound dated when listening now, but as an album of the time it is perfect.
The Final Tour (1986)
Sadly, despite completing a fantastic album with so much potential to reach out to the masses, the dwindling money supply meant that major promotion just could not happen. As always, the resulting tour in 1986 sold-out, culminating in triumphant gigs at Manchester Apollo and Hammersmith Odeon. For the live shows along with the album line-up of Young, Wilson, Tong, Lenni, and Seopardi, Ashley Mulford returned from Canada to tour with the band for the first time in 5 years. Phil Lanzon was brought in on keyboards for the tour. As an added bonus Mike Hehir joined the band for their final night at Manchester Apollo.
The tour rehearsals were held at a country house owned by Simple Minds that had its own studio set-up for the band to rehearse along with rather large gardens. I remember my dad taking me along to watch them rehearse and perched myself on a stool for the majority of the day completely in awe surrounded by it all. I sat next to Lenni who would turn to me occasionally and honk his sax which I found hilarious no matter how many times he did it! Easily amused when you are 6.
I wandered around and spent time next to each musician just watching them play and perform songs that had become so familiar to me for as long as I could remember. I sat next to Ashley and watched him play his guitar that I had seen so often on the TV and thinking to myself “That’s the guitar. That’s THE guitar!”
As was customary at that age I wanted to have a go on Jeff’s drum kit! Just as I had done with Dave’s before that.
When it came to the tour itself I attended the show at Hammersmith Odeon (now Apollo) with my mum and some family friends. Although I had been at gigs before, this is still the one I would class as my very first one due to the fact that I can actually remember it! It is also the reason why the Hammersmith Apollo remains my all time favourite concert venue. Even though I was only six I still remember so many aspects of it vividly. I remember being in the car circling the venue as my mum’s friend searched for somewhere to park. The bands name was lit up in lights at the front of the venue and with each circle we made of Hammersmith I kept looking for the bands name and getting more and more excited. As we entered the venue with the hustle and bustle of the foyer I demanded that my dad get me a Sad Café “Comic” (tour programme) that I had seen people walking around with. I remember being in the upstairs bar area of the venue and hearing the 10 minute and 5 minute calls before the band came on and jumping around with excitement with my friend who had come along with her family.
As for the gig itself I just remember standing on my seat, dancing around and loving every moment. My dad would occasionally come out front and join us to check we were ok. Little was I aware that this was the last night of the tour and the band had only just found out that they were all essentially bankrupt and that the end of the line had been reached. One of things that stood out for me was during the encore when the band invited loads of the fans at the front onto the stage with them as it turned into a riotous rock n roll party throwing the rule book out of the window. I stood on my seat mesmerised by the band partying with their fans on stage for what would be the last time.
After the show my dad took me back stage. I remember being squeezed between the narrow corridors full of people to the bands dressing room, to be confronted by 7 naked men as I entered the room fresh out of the shower! While this would potentially mentally scar a young boy of my age it didn’t really bother me. My dad decided to take me to the stage so I could see what it was like. He walked me out from the side of the stage and remember looking out into the room and what a vast space it was. All the equipment, guitars, drums, etc, were all still there and thought to myself how awesome it must be to be in a band and play on these stages every night.
Ashley’s son was also there and he took me onto the tour bus outside. Looking back on it, it was cool and I remember the lounge area that was situated on the top deck at the front of the bus along with the rows of bunk beds. But my enjoyment was tamed by the fact that the engine was running and my 6 year old paranoia kicked in thinking that the bus was going to drive off with me away from my parents, despite the fact it was just me and this other lad on the bus at the time!
The gig signalled the end of the band. My parents were getting divorced, the band, along with my dad’s management company, went bankrupt. Most of them lost their homes including our own.
Young and Wilson briefly reformed the core of the band along with Des Tong and Mike Hehir for 1989’s Whatever It Takes album which came out of the blue. While the title track, ‘So Cold’, ‘This Hearts On Fire’ and a couple of other songs were strong, overall I could not connect with the album the way I had before. My dad spoke so fondly of his time with the band. He would bring them up constantly in conversation with his own “During the war” storytelling that always started with “When we were on tour…”. It was truly the happiest time of his life being a part of it all. His love for the band and their music would sometimes cloud his judgement a lot of times. He gave up a very well paid job with the record company to go on the road with the band which ultimately led to the breakdown of his marriage and bankruptcy.
Paul Young went on to have a successful career as co-lead singer with Mike And The Mechanics. My dad and I admired the work he did with them from afar but never really grabbed the opportunity to go and see them live. A fact we both regretted deeply when the news came of Paul’s untimely death in the summer of 2000 when he died from a massive heart attack at his home in Cheshire aged just 53. My dad, my brother and I were away on holiday at the time and didn’t find out until we returned, by which point we had also missed the opportunity to attend the funeral. I found out the news almost as soon as we got off the plane and returned home and called on a neighbour to say we were back safely, when she informed me that “Someone from Sad Café” had died while we away. I instantly thought of Paul as he had been the most high profile member since the band had finished and got that huge sinking feeling in the pit of my stomach when news like that comes along. Once I had found out for sure I broke the news to my dad and he was absolutely devastated, even more so when he found out the funeral had been and gone. He always felt that there was unfinished business with the band and always hoped there would be a reunion somewhere down the line.
Later on that year rumblings of a tribute show began to surface before finally the official word came out through Paul’s newly established website, set up by his son Jason, that there would be a tribute show at Paul’s beloved Manchester Apollo with appearances from a clutch of bands that he had performed with over his career. Mike and the Mechanics, Sad Café, SAS Band (supergroup who Paul performed with off and on for the last few years of his life), and The Toggery 5 were all due to perform. The Sad Café members who had signed up were Ian Wilson, Dave Irving, Mike Hehir, Lenni, Vic Emerson, and Des Tong. My dad and I booked tickets and I managed to establish contact with Des Tong on the internet days before the show. We were staying at the Brittania Hotel in Manchester (the bands hotel of choice during their touring days) and had a loose arrangement to try and meet up at some point.
An open invite from Paul’s widow Pat, for fans and friends of the band to meet up at Manchester ’s Hard Rock Café before the show was put out and my dad and I met up with some old fans, along with Jason Young and old stories were exchanged and reminisced upon.
The gig had sold out (as Café had always done at the venue), and my dad and I took our seats 4 rows back. Purely by chance I went off to the toilet and bumped into Ian Wilson at the bar. It had been 15 years since he had seen me as a snotty 6 year old so introduced myself, and he asked if my dad was with me. He immediately sorted us out with tickets to the aftershow party at a bar up the road. I returned to my dad with the tickets in hand. I still remember his face when I handed them to him and said “Courtesy of Ian Wilson”. His smile lit up the room.
The show itself was very emotional. Even though for some reason the SAS Band played Café’s biggest hit “Every Day Hurts” It did not stop me from bawling my eyes out throughout the entire thing.
Sad Café came on and played “Black Rose”, “I Believe (love will survive)” and “My Oh My”. The atmosphere and energy in the room during their set was brilliant. For that brief 20 minute period watching the band play again, even without their front man, was an absolute joy for me, especially being so young when they split first time around.
Mike and The Mechanics played a full set with a deeply touching gesture of an empty mic stand at the front of the stage where Paul would have stood. Paul Carrack said a few numbers in “This is as strange for us as it is for you”, and you could tell the band were very emotional throughout.
After the encore of Pauls biggest hits with the Mechanics performed with every artist of the night, we set off to the after show venue. Seeing my father reunited with the old band mates was the happiest I had seen him for years. I loved being reintroduced to the likes of Vic Emerson, Mike Hehir, and Lenni after so many years. For a large chunk of the evening I was sat down with Lenni bending his ear (much like I am now) and telling him how much the band had meant to me throughout my life. By this point I was rather drunk and memories of the rest of the night, and particularly back at the hotel, were very hazy to say the least. It did allow us a bit of closure after missing the funeral and it helped re-establish contact with the band members afterwards who I have stayed in touch with regularly.
My dad and I travelled up to Manchester a couple of years later and met up with Dave Irving and Ian Wilson and had a great afternoon and evening together telling old war stories of the bands years. So many hilarious stories were told that I could not even begin to start to tell on a piece that is already as long as this. I spent the entire night in stitches and was again, a lovely time for my dad to re-connect with them.
It all came full circle in 2009/2010 when old tapes that Paul had been working on in his home studio had come to light and old friends of the band, Darren Hirst and Alistair Gordon, set about maybe making them into an album with the former members of Sad Café along with Mike Rutherford, Paul Carrack, and various other friends of Paul from over the years. It eventually saw the light of day in March 2011. It was very strange hearing Pauls voice on new material after so many years, but also quite heart-warming too with virtually all members of Sad Café contributing to a large number of the tracks. It was put together with a lot of love and care and is a fitting send off for one of our countries most gifted, and charismatic front men.
Personal Footnote:
I apologise for the length of this piece. I knew it would be long, but I did not know quite how long it would end up being! If you made it to the end then thank you. It has been a deep, personal experience for me putting my feelings down in print and If even a small part of this piece has encouraged anyone to check the band out then I am happy. I would like to extend thanks to Dave Irving for the additional information for this piece along with his Youtube videos as well as ‘sadcafefan90′ who’s audio clips from YoutubeI have used for this piece.
I just hope my personal take of the band has been an enjoyable read to anyone, even if they are unfamiliar with the band. For anyone who is reading who was a fan of the band then I hope that you enjoyed it and felt like I have done them justice. Future blogs will not so long, but ever since I started doing this a few months ago I knew that I wanted to write something about them due to the significant impact they have had on me throughout my life. My brother and I grew up singing their songs, much like any other kid growing up listening to their parent’s record collections, but instead of disregarding them once we hit teenage years, we have regularly returned to their music again and again. No matter what mood I may be in, I always know that there is something of theirs I can stick on. Reading comments on their official site, along with stories people have told when reviewing their back catalogue show just how passionate people have felt about this band for so many years, and how it is absolutely criminal that they were “Held Back” from branching out further, because they had such potential to do so much more. But, I will always treasure, as do so many others, what they have given to me through their music.
I thought I would give a review of probably my all time favourite concert film (and I own a fair few!!) as I believe it needs to be seen by far more people than it probably has been.
This fantastic tour documentary was filmed and recorded on Joe Cocker’s 1970 American tour and gives a fascinating insight into not only the rock n roll circus of the tour itself, but also a great document of the times from which it came. The story of the tour itself is something that you just cannot imagine happening in this day and age.
In early 1970 Cocker touched down in L.A. from a world tour exhausted and ready for a well-earned rest after a relentless tour promoting his first two albums ‘Joe Cocker!’ and “With A Little Help From My Friends’. Over the previous year he had built up a reputation for being one of the most passionate, unique, and electrifying performers on the world stage. His distinctive and powerful roar (there really is no better word for his voice) singing Rock n Roll, Blues, Jazz, and Soul with choice cover versions of famous songs by Ray Charles, Otis Redding, The Beatles, The Rolling Stones, along with so many others, rubberstamped with his own style, had connected with a worldwide audience from all aspects of life, along with a show stealing performance at the previous summers Woodstock Festival.
Upon his arrival in L.A. he was informed by his manager that in only 8 days time he was to set off on another American Tour lasting 7 weeks, playing 48 nights, in 52 cities. This had been arranged without any consultation with Cocker himself and having already parted company with his ‘Grease Band’, he found himself without a band and only a week to find one, rehearse, and get as much material as possible to take out on the road. His hands were tied regarding trying to get out of the tour, and the ramifications of pulling out would have been catastrophic for his burgeoning career at that point. He made a few phone calls and his knight in shining armour arrived in the form of Leon Russell, a good friend and gifted musician who, with Cocker, held a week long open audition where musicians who were available would come along, jam, and by all accounts it became a week of playing music and partying hard! By the end of the week, such was Russell and Cocker’s pull; they had a 25-piece band to take on the road. Among them were Rolling Stones Sax player Bobby Keys, Chris Stainton (Piano and Organ), Don Preston (Guitars), Carl Radle (Bass), Jim Price (Trumpet), with Chuck Blackwell, Jim Gordon, and Jim Keltner (all on drumming duty!!!), Bobby Torres and Sandy Kolikoff (percussion) along with a 10-strong backing choir including Rita Coolidge and Claudia Lennear. The assembled cast of musicians along with soundmen, roadies, secretaries, managers, wives, kids, and animals made up a touring party of 43!
The results contained within this film are a glorious time capsule of a golden period in music with the hippy-spirit still thriving, complete with the rock n roll excesses and decadence synonymous with the times. It gives us a glimpse of the whirlwind nature of the tour, incredible live performances, the band travelling by plane and bus from city to city, the off stage excess, and the often hilarious camaraderie of 25+ musicians on the road together. It is often filmed in split screen, much like the Woodstock film that preceeded it, showing as many aspects of what is going on at the time from as many different view points. The director of the film Pierre Adidge said later “It was no ordinary tour. They brought together the finest musicians in Hollywood, who all went because they wanted to go, because they wanted to be a part of this whole giant effort, they wanted to be together through their music.” The fact that they got together in a matter of days, went on a riotous rock n roll tour, made great music for 7 weeks before disbanding, just adds to the magic. It is essential viewing for anyone who has an interest in the late 60s and early 70s music scene.
From the opening hustle and bustle outside the venue pre-show, mixed with backstage footage with inter-band dynamics already coming to the fore. The 25-piece band gather for a mini sermon in the dressing room with great linessuch as “Every night’s a Saturday, every days a Sunday” before a gospel rendition of “Will The Circle Be Unbroken” is performed before heading to the stage. The spirit of togetherness is palpable before even a note is struck.
One of Cocker’s biggest hits opens proceedings as ‘Delta Lady’ hits you like a train with its funk-soul-pop gloriousness. A track impossible to keep still to, it showcases the power of the huge band to devastating effect. With 3 drummers on stage, a horn section, Russell playing guitar in his top hat and bell bottoms, along with great accompaniment from a truly gifted backing band and choir, fronted by the mesmerising Cocker with his dishevelled style, looking more like a hobo than a rock star, with his drunk uncle at a wedding shuffle, he gyrates and flails around the stage like a man possessed. The music completely consumes him, and his primal delivery swings from sheer raw power to more tender moments showing a very versatile, soulful singer that he often does not get enough credit for. The fact that he was only in his mid-twenties when it was filmed and recorded is astounding with the depth of feeling his voice possessed.
All of the live performances on the film and album are stunningly powerful and to think that this band was pulled together to tour in a matter of days is mind-blowing, such is the quality and musical tightness on display. With each passing song, the exceptional musicianship, and a rowdy, addictive, feel-good vibe running through the music, unveils itself, making the shows sound like the greatest rock n roll party on the planet.
A version of Dave Mason’s ‘Feelin’ Alright’ bristles with the funky piano playing of Stainton and melodic guitar work from Russell. The laid back, but heavy, funk-groove of the bands delivery of the song, utilising the ‘Space Choir’ to maximum effect just makes you want to dance.
The Boxtops song ‘The Letter’ is slowed down with a chorus full of blues-funk and wall of voices, completely different to the original, but somehow still sounding like the same song.
As is shown on his records and throughout the film, Cocker is a wonderful interpreter of other people’s songs. The fact that 4 classic Beatles songs are featured, iconic and legendary on their own merits, but completely reworked to fit Cockers style and making them his own. His now legendary version of ‘With A Little Help From My Friends’ is widely considered to be the definitive version, completely unrecognisable from its rather twee original arrangement. His version of George Harrison’s ‘Something’ is delivered soulfully and beautifully. His vocals gently build from an understated, weathered, blues-croon, to full pelt rock n roll power. “She Came In Through The Bathroom Window” swelled with the added choir and funky edge to the playing gives it additional rock n roll swagger.
He makes his mark on so many other classic songs too. The Rolling Stones “Honky Tonk Woman” now a heavy groove with funky sax, before the chorus becomes an out and out, fast- paced, rock n roll extravaganza.
Ray Charles’ “Lets Go Get Stoned” is 7 minutes of slow-blues perfection with the horn players coming into their own with a gospel backing.
What this album and film does best is show that Cocker can do any style, any genre, take it by the scruff of the neck and make it his own. What this also demonstrates is how skilful Leon Russell is as an arranger and musical director. His influence over the band and the general fun-vibe that runs through the music is channelled through his vision.
The quieter moments between shows are often the most telling. At complete odds with his on stage persona, Cocker comes across as a quiet, almost insular character, visibly uncomfortable with a camera crew as a constant companion, and his rather endearing, engaging interview pieces where he speaks of why singing means so much to him are quite revealing. In his soft Sheffield accent he tells of his opportunity to sing as “a release” of pent up anger, emotion, and frustration. He refers to a quote he made that “If I didn’t have singing I probably would have murdered somebody!” such is the release of rage from within him, which gives his amazingly powerful roar that much more of an edge. He speaks of being lucky that he has had singing as an outlet for that, and so many people do not have an outlet to let everything go, and for that he counts his blessings every day.
A lot of credit also has to go to the tour manager Sherman “Smitty” Jones, who’s ability to organise the touring party, getting them up and out of hotels in the mornings, getting them from place to place, arranging makeshift rehearsal space, negotiating large food orders with disinterested restaurant chef’s, etc, basically making the tour tick along as fluently as it is physically possible to do with such a large amount of musicians who are notoriously difficult to manage. But, doing it with such charm, charisma and level-headedness that is documented superbly throughout this film, he is one of the great unsung heroes of the tour.
There is a rather poignant moment towards the end of the film where the assembled tour party are having a picnic and break into a dancing circle, where again the sense of togetherness and friendship really shines through. Another from the same passage, tour manager Smitty recites the poem “The Face On The Barroom Floor” eloquently to the assembled throng. It is another touching moment.
The tour would eventually take its toll on Cocker. His addiction to alcohol and declining mental state due to depression would mean that he would spend a two-year period away from music back in Sheffield before resurfacing again. The intensity at which he performed, coupled with the sudden nature of the “Mad Dogs…” tour when he was physically and emotionally drained, accelerated his decline. Of course he could have been another rock n roll casualty but luckily Cocker is still here today and performing. His transition to watered down, blue-eyed soul has, I think, altered peoples perceptions of him and many, particularly people under the age of 40, see him as just some old, scraggy dude, with a rough voice singing soul ballads. The most famous of which “Up Where We Belong” with Jennifer Warnes seemed to seal his fate in some people’s eyes. But with ‘Mad Dogs And Englishmen’ you have a film and album that truly shows what a powerful and gifted performer Cocker was in his prime. A unique, one of a kind musician, and one who we should truly value and treasure as one of our greats.
The next instalment is a bit more grassroots but no less important. Saint Jude are a band I have seen as regularly as I can since I first saw them in 2008. Their blend of classic rock and soul from the late 60s and early 70s was always going to sit well with me as I was raised on all the classics from an early age. The likes of The Beatles, The Who, The Rolling Stones, The Faces, Led Zeppelin, Bad Company, Free, Aerosmith, and Rare Earth, along with the soul legends Aretha Franklin, Marvin Gaye, Otis Redding, Curtis Mayfield, etc, were a constant soundtrack in my youth. Despite the indie leanings in my first couple of blogs, it is this type of music I have always been the most passionate about. While in recent years the rock world has only really churned out poor imitations of the real deal, some have been decent, but nothing that has stopped me in my tracks and made me go “Wow!”, until I saw this lot.
The band made up of Lynne Jackaman (Vocals), Adam Green (Guitars), Lee Cook (Drums), Joe Glossop (Keys), and Scott Wiber (Bass) manage to sound like a classic band already. In Jackaman I firmly believe they have one of the finest female vocalists in the country. Their sound of Janis Joplin fronting The Black Crowes whilst having a party with The Faces I don’t think does enough justice to Jackaman’s vocal power. While she shares Joplin’s passionate delivery and tone, particularly in the higher registers, the range and soul she possesses in her voice appear effortless, and elevates the music to an entirely different level.
When I first encountered the band it was back in 2008 when I went to The Red Lion in Twickenham with my brother to see a few local bands play. Saint Jude were the headliners that evening and as soon as lead singer Lynne Jackaman opened her mouth to sing I was transfixed. Her voiced filled the room and I think I can safely say that everyone was mesmerized not only by the powerful lead vocals, but by the songs too. They had the songs to back up the exceptional musicianship which again is so rare these days. So often you see bands that are brilliant musicians but the song craft just doesn’t scale the same heights. Jackaman liked to make eye contact and hold it, captivating you, holding your gaze while she sang the lines towards you, her intensity reeled you in making you feel like you were the most important person in the room at that moment. I left the gig that night knowing I had seen something very special indeed.
Unfortunately that gig was one of their last in London for around 8 months due to a couple of the band members returning to America. I kept my eyes and ears peeled for more news on them and hoped that this one fleeting moment would not be the last I saw of them. I consoled myself with the tracks they had on their Myspace page, a lot of which made the album Diary Of A Soul Fiend, and in the summer of 2009 they started to spring back into action with gigs dotted around between London and Holland.
Luckily the first edition of ‘Diary Of A Soul Fiend’ had been released on itunes by this point and surpassed all my expectations of what I wanted from their album.
‘Soul On Fire’ leaps into life with a Black Crowes groove reminiscent of their track Sting Me, and showcases Jackaman’s vocal ability flawlessly. Bluesy guitars, melodic piano work, and great horn section made this an obvious single, and has been an entry point for so many people that I have managed to introduce the band to.
‘Little Queen’, another obvious single, is an upbeat soul rocker with a chorus that is so good it is hard to imagine that it has never been written before. ‘Down This Road’ and ‘Down & Out’ show the more laid back acoustic sound the band are able to do so well. The spirit of The Black Crowes more acoustic side is channelled beautifully into those tracks with lovely backing vocals on both the songs’ chorus, complimenting Jackaman’s voice perfectly. ‘Pleased To Meet You’ is the centre piece of the album with a fantastic blues-stomp groove and fabulous Hammond organ playing.
‘Parallel Life’ carrying a potent, heavy riff with a funk edge, a huge chorus, and a great breakdown in the mid section that jams around a sleazy riff, before gloriously bringing the chorus back again. ‘Sweet Melody’ follows the same vein with great interplay between the band with a blues riff, harp, and piano all jostling for position while Jackaman lets fly in her higher register before a seductive chorus cascades around you. The jam section towards the end of the song grooves with flurries of piano and guitar leading into a scorching guitar solo with uplifting Hammond organ accompaniment and freestyling high end bass playing, before the return of that funky breakdown riff and brilliant chorus again.
Southern Belle’s up tempo blues rocking groove and enormous chorus, is another firm favourite in the live environment with exceptional guitar playing by Adam Green, with Jackaman’s vocals being allowed to excel during the mid section.
The album is flawless from start to finish without a single weak track, successfully catering to fans of rock n roll from a golden time, but sounding completely fresh and interesting enough for a new younger generation to discover and get into.
I think what set’s them apart from the current retro rock pack is a number of points. The first is the sheer vocal prowess of Jackaman, whose vocal delivery spellbinds. No matter what music you are into, it would be very hard to find anything constructive to criticise about her voice. The next is the sheer natural brilliance of the musicianship with the quality of each instrument shining through on each track without being “Showy”. A difficult balance to get right, but the band gets it spot on. Lastly (and I think most importantly) the melodic sensibility to the song writing. The songs are so well crafted, holding your attention with melodic peaks as well as low end power. None of the songs ever feel bloated, contrived, or outstay their welcome and any person who has a love of rock n roll from 1968-1975 will definitely find something they love on this record many times over.
Eventually I was able to see them again in 2010 supporting The Union at the Islington Academy after a wait that felt like forever. Subsequently I have been able to see them at one of their 100 Club residency shows, as well as Bush Hall and more recently at my favourite London club venue, The Halfmoon in Putney. In late 2010 Adam Green left the band and was replaced by the exceptional Ivor Sims on guitar. Marcus Bonfanti also joined the band on a full time basis after increasingly regular guest appearances. Their gig at The Halfmoon was the first chance I had to see the new line up and was suitably blown away by the added depth an extra guitar player brought to the party.
All these gigs I have attended I have brought along new people who have never heard them before, and every single one has left completely converted with quotes such as “They have restored my faith in British music again” and “What a phenomenal band!” being fairly standard responses when asked what they thought afterwards. They also have a celebrity fan in the form of the legendary Ronnie Wood from the Rolling Stones who has frequently got up on stage with them to perform when he has attended their shows.
All the while over the last year their profile has been raised, the album re-launched, more and more press coverage, shows selling out as standard, high profile gigs at The Isle Of Wight Festival and this years High Voltage Festival, and a general buzz around them that appears to be gathering momentum. So, I would urge anyone who has not already seen them to get down to a gig as soon as possible, as the way things are going, the days of playing small club gigs will be a thing of the past, and I for one could not happier for them if they pull it off.
A couple of significant events occurred in the last couple of weeks in mainstream America and the UK, specifically relating to their annual awards shows the Grammy’s and The Brits. A band from Montreal , Canada shifted the thinking of the suits who make the decisions as to who should be rewarded for their achievements in the music world over the previous 12 months. Both awards ceremonies receive such widespread attention from all corners of the music world, with the vast majority thinking that they do not represent true music and pander only to the general public who thinks music integrity starts and ends with the X Factor. Sneered at by the indie mafia, and other musical genres for their token nominations for bands that are under the radar or seldom played on the radio, knowing that there is not a chance that they will win. Well on both sides of the Atlantic that trend ended. Both the Grammy’s and The Brits gave recognition to a band that I have adored since the first moment I heard them 6 years ago, awarding them Album Of The Year at the Grammy’s, and the Brits awarding them the awards for Best International Band and Best International Album. The band in question: Arcade Fire.
The 8 piece band is based around husband and wife Win Butler (Guitars, Lead Vocals) and Regine Chassagne (Keyboards, Accordion, Drums) along with Win’s younger brother Will Butler (Keyboards, Bass, Guitars), Richard Reed Parry (Guitars, Keyboards), Tim Kingsbury (Bass, Guitars), Sarah Neufeld and Marika Shaw (Violins), and Jeremy Gara (Drums). There reputation as one of the world’s finest bands has been a steady, word of mouth sensation, with critical acclaim, and a strong loyal following that has built up over the last 8 years leading to them to the point of selling out arena’s worldwide, headlining Reading Festival, and numerous other high profile festivals around the world. This is all without a hit record to their name, and staying largely out of the public consciousness which led to such an out pouring of “Who the f*ck are Arcade Fire??” when they were awarded such high profile awards. They have done everything artistically on their own terms, not compromising on how they want to be as a band, and have connected with a growing number of people as awareness of their epic, joyous, emotional, and life-affirming sound as well as blistering live performances has gathered pace. Many critics have cited an almost religious feel to their live shows where band and audience are working together to find the ultimate emotional connection, and having now witnessed them live on a few occasions I can only agree with that sentiment.
My first experience with the band came in mid-2005 when I was around a friend’s house in South London one Friday night. There were a fair few of us there having drinks and gearing up to watch Later With Jools Holland. A couple of my friends had mentioned that they had seen a band that were playing on the show that night only a couple of days prior to that at The Astoria (RIP) in London , and were waxing lyrical about how amazing they were. I had read a gushing review of their album Funeral in the NME only a couple of weeks prior to this. I had disregarded it as typical NME over the top, sensationalist, hyping of a band, so watched the programme with slight cynicism but knew my friends well enough to know that they would not be so praising of a band that didn’t deserve it. The very first song they performed was called Power Out and it caught my attention immediately with its driving, unique rhythm, great energetic guitar riff, a chorus chanted by every member of the band, an almost funky bass line that you would not expect to appear towards the end of the song, along with the use of a xylophone to counter each vocal line! The singers cracked, high end vocals I was not normally a fan of, but really seemed to work perfectly for the song they were singing. Another element that caught me immediately was the energy and manic performance from every member of the band, playing as if their life depended on it (a trait that the band has become famous for). The second song they played, Rebellion (Lies), cemented my initial feelings and I knew that this band was going to be something special.
FUNERAL
A copy of Funeral, an album that got its name and was partly inspired by the death of several of the bands relatives before and during the recording of the album, was bought on the Monday. As a debut album, it is one of the finest albums ever recorded. The gentle piano intro to the opening track, “(Neighbourhood 1) Tunnels”, completely absorbed me before the pounding tempo of the bass drum arrives along with it the opening line “And, if the snow buries my neighbourhood”. As the song unfurls it conjured up intriguing imagery of a two kids abandoning their every day life in favour of a life together in the depths of an eternal winter, forgetting all about their parents, friends, and loved ones, yet still having that connection that they cant seem to let go of that haunts them even as they grow old. As the song progresses the music builds at a beautiful tempo, with flurries of piano, violin, bass, and atmospheric ringing guitar, all coming to the fore at various points, making their presence known but never over stating themselves. The chorus of “You change all the lead, sleeping in my head to gold, as the day grows dim, I hear you sing a golden hymn” still shows the undying love for their partner despite the memories of their previous life never far behind them. The climax of the chorus sees all instruments come together in a beautiful chord progression coupled with an increase in tempo before falling away and allowing the following verses to take centre stage. The song builds to a finale where the tempo is increased, all instruments are playing faster and harder, and the vocals becoming more passionate, but the song never loses its beauty throughout this and the final declaration of love in the final few lines of “Purify the colours, purify my mind, spread the ashes of the colours over this heart of mine” is followed by what has come to represent everything people love about the band. An ethereal, wordless coda, backed by a pounding beat, epic production, with all instruments building the instrumentation to a rousing crescendo of that beautiful chord progression. Never has a song had such a massive impact on me as a grown adult. It is simply stunning and nestles easily into my top 3 songs of all time.
The good thing is that the quality of the album does not let up. Lyrically it has so many interesting reference points creating an atmosphere that runs throughout the whole album. Musically I had also not heard so many interesting sounds coming from a record using so many different instruments and making the band so massive with layers and layers of sound that still uncover hidden depths even to this day.
“Laika” has its roots in more traditional indie with the added bonus of an accordion and stabbing violin lines.
“Power Out” as mentioned before grabs your attention immediately with a beast of an arrangement that makes you feel like the world is about to cave in on itself.
“Crown Of Love” another beautiful love song (or possibly a stalker song with a slightly sinister edge to a few of the lines) about someone who has lost a lover that has moved on but is helplessly hoping that they may come back to them one day. It avoids all cliché’s with what is a fairly standard subject matter for such a song, and the song erupts in the final minute into a fast paced violin-led riff with pounding piano accompaniment before the fade out that makes you desperate for the song to carry on its momentum for another few minutes.
“Rebellion (Lies)”, the most commercial moment on the album again contains that unique rhythmic quality that has become so distinctive to Arcade Fire’s sound. Its uplifting chanted chorus is a show stopper, and the now standard segue in live shows between Power Out into Rebellion is worth the ticket price alone.
The album also contains “Wake Up” the bands calling card. An epic anthem with a wordless chorus that is so joyous and remarkable it is now hard to imagine a musical world without it. It has become a hymn for the current indie generation with its self reflecting yet uplifting lyrical content over a genius guitar and bass riff before the final section of the song turns into a fast paced, motown influenced, pop song. A standard set closer these days and if there is any song that can show you the power of this band then this is it.
The album closes with “In The Backseat”, a hauntingly beautiful piano and strings based song sung by Regine about watching life go by while sitting in the backseat of a car before clanging electric guitar joins in for the chorus where lyrically it turns slightly dark with the line “ Alice died in the night”. The guitar drops out at the end of the first chorus allowing the violins to flourish, beautifully linking into the second verse. The song builds delicately and the chorus arrives again this time with powerful drums that could potentially ruin the ambience of the song, but somehow it works. As the song fades out each individual instrument slowly drops out of the mix, before leaving a faint picking of the violin neck before finishing. It is done with such panache it is difficult not to stand up and applaud at the songs end. A perfect ending to a perfect record in every way.
NEON BIBLE
Their second album Neon Bible arrived in early 2007 with much anticipation within indie circles and was critically acclaimed when it arrived despite the dark nature of the subject matter. It was recorded in an old church the band had converted into a recording studio, and it spoke of impending apocalypse, post 9/11 doom, and feelings of loss and desperation. Yet somehow possessed some of the most uplifting and popular songs in the bands canon including lead single “Keep The Car Running” that announced their return with such power and finesse. Mandolin and hurdy gurdy are used prominently throughout along with an upbeat, powerful rhythm and trademark chanted chorus. “No Cars Go” originally on their self released EP now transformed into a monster stadium anthem with a return of the accordion that plays the songs central melody throughout. It is played at a frantic pace where the entire band sings as one. A wonderful breakdown occurs leaving just the voices and a few violin lines singing the fantastic line “Between the click of the light and the start of the dream” repeatedly, before building up the tempo, re-introducing the instruments steadily, before the line “Little babies, lets go!” introduces an explosion of strings while they round up every other person they can find to go with them, they finish with the uncertain line “Don’t know where we’re going” but immediately followed by a chorus of “Whoooooaaaaaas” that look to scale the heights of the similar passage in their signature song “Wake Up”. As the song reaches a crescendo all of a sudden it really doesn’t seem to matter where they are going as their army of followers chant along into the sunset. As a live song it is truly one of those church moments!
Other highlights include “Antichrist Television Blues” a Springsteen influenced country hoedown speaking of planes crashing into buildings, questioning god, and the exploitation of talented young teenagers to name but a few.
“Windowsill” another dark lyrical acoustic number speaks of their distaste of what a post 9/11 America has become living in constant fear of the end of days.
“Intervention” arrives with a huge church organ that runs throughout the song while lyrically it challenges the blind faith in religion while everything around crumbles apart. But once again, a dark and questioning subject matter that would be thoroughly depressing were it not wrapped up in an epic, hymn-like arrangement.
So while Neon Bible in retrospect was a very dark and gloomy album lyrically, it still possessed the wonderfully uplifting musical moments that saw their reputation rise again culminating in appearances at Glastonbury and a sub-headlining slot at that years Reading Festival. They toured constantly for a year with huge numbers of people turning out to see them for such a word of mouth band. They resisted the temptation to go for the easy option and play arena’s, choosing venues with far more character such as London ’s Alexandra Palace and playing multiple nights.
The Neon Bible tour also saw the band struggling to come to grips with playing in front of so many people. Not in a musical sense as their live shows continued to receive massive praise, the band continued to throw every ounce of energy into their performance, but the band looked awkward at the quieter moments between songs and looked uncomfortable communicating with the audiences. This did not hamper their ascendency and by early 2008 their profile was even higher, while still maintaining anonymity in the mainstream despite playing multiple nights at big venues.
THE SUBURBS
A two year writing and recording break brings us round to the last 8 months when it was announced in spring 2010 that the new album “The Suburbs” would be out in the summer. It was released with massive praise by fans and critics alike. They headlined Reading Festival in August a few weeks after the album went to the top of both the UK and US charts.
For me personally I thought that the album was a leap forward from “Neon Bible”. It had a more nostalgic, yearning feel lyrically rather than the doom and gloom of the second record, and it is what could be described as a concept piece. The title and the lyrical feel to the album was inspired by when the Butler brothers returned home to their native Texas during their down time, and realised how much had changed since they were children. Lines such as “The summer when I broke my arm, I waited for your letter, I have no feeling for you now, now that I know you better” from another Springsteen influenced song “City With No Children” showcasing how time changes so much of what was so important to you as a child. The song, one of the more upbeat numbers on the record has a lovely atmospheric sound with an excellent guitar riff.
The opening title track takes you a bit by surprise due to its bar room piano lead and is a real red-herring for what is to come.
“Ready To Start” a thumping beat driven tune that has opened almost every live show they have done since its release, brings the audience back to what Arcade Fire are capable of with the powerful guitar riffing and slightly gloomy lyrical lines such as “If the businessmen drink my blood, like the kids in art school said they would”. It’s a wonderful statement of intent.
This is followed by the more subdued “Modern Man” that speaks of the suburban man that has turned into everything he thought he wouldn’t be leaving his dreams behind and quietly accepting this fate.
“Empty Room” explodes with frantic violins and a reverb drenched Regine lead vocal over a wall of sound that is one of the most energetic and atmospheric tracks on the record, this is followed brilliantly by the aforementioned “City With No Children”. The track “Half Light 1” a duet between Win and Regine is a beautiful string-laden track full of swirling atmospherics before leading into the electro buzz of “Half Light 2” that is heavily influenced by Depeche Mode.
“Suburban War” ambles into the room with some lovely guitar work and the most nostalgic feel and lyric on the album. Full of key lines “Now the cities we live in could be distant stars, I look for you in every passing car” “They keep erasing all the streets we grew up in”, “All my old friends, they don’t know me now”. A lovely moment occurs halfway through the song where three voices sing in harmony together before the verse starts again. A very minor part of the song, but an utterly charming one. The song turns on its head for the final minute and a half as heavy drums crash into view and bring the trademark Arcade Fire epic sound to the fore as the line “All my old friends, they don’t know me now” is sung over and over and the drums crash around it with the rumble of the band behind. This then leads into “Month Of May” a post-punk tune that you can tell the band love playing and has the same wall of sound and heavy atmosphere but packs a mighty punch when played at full volume. They even manage to throw in digs at the hipster crowd “Kids are still standing with their arms folded tight” for good measure.
The sequence of “Empty Room”-“City With No Children”-“Half Light 1” – “Half Light 2” – “Suburban War” – “Month Of May” is perfectly executed and is where the album flows at its best. Most surprising is the fact that “Month Of May” is the only track in that sequence that has been played live on a regular basis!
“We Used To Wait” again talks of childhood and how drastically the world has changed. The art of letter writing, sending it off and waiting daily for a response is sadly going to be an alien idea to anyone who was born beyond 1990 and lines such as “It may seem strange, how we used to wait for letters to arrive, but what’s stranger still, is how something so small can keep you alive” highlight this fact. It speaks of our all consuming society and everybody needing everything immediately without having the patience to wait.
“Sprawl 2 (Mountains Beyond Mountains)” is another electro song, that sounds very much like Blondie with a vast array of sounds swirling around a Regine lead vocal. It’s a direction that they band had not explored before now but based on the electro-pop tracks that are showcased on the album, it’s a sound that they have nailed and will probably explore further.
In many fans eyes Funeral was their high watermark. A moment in time where the stars align perfectly that will never be topped, but by adding extra dimensions to their sound on “The Suburbs” and having such widespread critical acclaim then they will have the freedom to expand further as their career progresses.
Of course with all the acclaim by the press, fellow musicians who have name dropped Arcade Fire as a band they love since the Funeral days, along with an adoring public, their star has risen so much and the day came where the small intimate venues that they used to play have become a thing of the past. For their recent UK tour it was the vast enormodomes of The 02 and other arena’s around the country that were beckoning, and while I completely resented having to see them in such soulless venues they actually were able to get to grips with the awful acoustics of these venues but also managed to make them feel intimate. No mean feat. Their headlining Reading Festival appearance last summer was another triumph and the band seemed totally at home in front of seas of people along with an improved on stage patter between band and audience. Win Butler ’s voice has improved from the slightly forced high pitched yelps that graced Funeral that helped add the emotional intensity of that album. The last two albums have shown his voice improving and he appears to be at the top of his game as a front man. He has wrestled away the demons he was fighting on the Neon Bible tours in 2007 and looks a comfortable figure leading the line of an exceptional band.
The live environment is where the bands material packs the mightiest of punches. Visually they are mesmerising. Win with his intimidating height and boyish good looks, Regine dances and twirls around the stage, playing a variety of instruments. Jeremy is the pounding heartbeat of the bands rhythm section. Richard a tall, geeky, red head with a wide smile and a unique guitar sound, Tim who quietly goes about his business but is a powerful bass player and in Win’s words is the unsung hero of the band. Sarah and Marika not only masters of their instruments but also show incredible passion when performing. Finally my own personal hero Will Butler whose energetic stage presence is a major talking point for anyone who has seen the band perform. His long dark hair flailing around as he pummels any instrument that happens to have the misfortune of being in his possession. The man is completely awe-inspiring to watch, whether its him beating the living daylights out of a drum during “Rebellion”, battering various percussion instruments and his band mate Richard during “Laika”, his manic tambourine playing during “Tunnels”, climbing the stage rigging, and dancing behind his set of keyboards like a mad wizard. His energy is infectious and helps power the band along during shows.
Each member has their specific role to play and it’s difficult to imagine how the band would be able to function without each key element.
So, with three exceptional albums, critical and public adoration, multiple awards with each passing year, stellar live shows, and staying pure as artists in the process, there really could not have been a more deserving band to receive (in mainstream music’s terms) the highest honours that were bestowed upon them at The Grammy’s and The Brits. It has shown that the independent music scene still has a voice and can influence the suits in the industry to vote in favour of artistic integrity. It proves that being a true artist can pay off and be as rewarding as it used to be when creativity was valued and was given time to develop. Their steady rise to the top is testament to that. They should be an inspiration to any musician starting out that by staying true to what you believe in, and creating music that connects with people, anything is truly possible. I cannot wait to see where things go from here.
I thought I would start with writing about bands who are currently at the centre of my musical world. None more so than this band.
When I first heard about Fleet Foxes it was in an article in a publication doing the usual hype for an up and coming band. I read about this band and their sound of baroque pop jams with harmony laden pastoral folk, and thought that I couldn’t let it pass by without seeing what they were about. When I bought the album on the day of release I was quite simply blown away! They encompassed everything I love about the use of harmonies, reverb, classic folk song writing, and I got a genuine sense of the love of music through the tunes they were playing. Robin Pecknold’s voice on initial listening struck me as a cross between Neil Young and David Crosby but with more power and more range. Unsuprisingly they did sound like Crosby, Stills, Nash, & Young, but had their feet firmly in the more folky sound that band embraced. While it was was extremely refreshing to hear a band so young playing this classic sound, they also brought a fresh vibe to the table with a more intricate, complex form of songwriting and melodic structure.
– Sun Giant/Blue Ridge Mountains – La Blogotheque
The quite wonderful opening of Sun It Rises and its meandering acoustic riff over subtle bass and organ lines is one of the most perfect openings to a record in recent years, and that is before the first line is even sung. “Sun rising over my head, in the morning when I ride” A beautiful melody sung with two voices before the next verse brings in an additional two voices and it is at this moment you realise that this bands vocal ability has the potential to be up their with the best of them, and this is only their debut album with the band having an average age of just 22! The fabulous drum work and interplay with the other instruments continues to build the song to a powerful peak when all instrumentation drops out leaving only four voices to sing the remaining four lines which transport what were already magical harmonies, into the realms of pure, unadulterated beauty, that just sells you this band for what they are.
A personal highlight on the album for me is “Ragged Wood”. A more up-tempo number than the rest of the album using a very danceable beat with once again glorious harmonies powering the songs initial two minutes before what has become a trademark for the band, a second section of the song completely different to the first, and this is again where the magic happens. The song drops to a single bass line followed by a pretty, summery, chiming electric guitar riff that starts to build nicely for a few seconds before the organ arrives to add another layer to the sound, before the harmonies arrive again, less urgent, more laid back, and using long drawn out lines showcasing the vocals beautifully. The melody of the second section of this song is stunning and sticks with you for a long time.
– Ragged Wood
I could do an in depth track by track analysis which would descend into music journo wankery, but the album as whole is wonderfully put together. Despite the use of harmonies some of the strongest points of the album are when Robin Pecknold is alone with his acoustic guitar singing the sort of songs you wished you could hear some of the more “Mainstream” singer songwriters come up with. Pecknold’s ear for a beautiful melody to pull at your heartstrings is outstanding and songs such as “Meadowlarks”, “Oliver James”, and “Tiger Mountain Peasant Song”, showcase this perfectly making them sound like classics that have been lost for the last 40 years.
But it is really the harmonies that set them apart from the current crop of the new Indie-Folk scene that has, quite unexpectedly but brilliantly, exploded over the last 5 years or so.
“He Doesn’t Know Why”, their most commercial moment on the record, sounds like The Byrds, the aforementioned “White Winter Hymnal” and its surreal imagery it conjures up sounds like it could have been on the first Crosby Stills and Nash record, and the quite brilliant delicate vocal intro to “Blue Ridge Mountains” where they reach notes that would make Graham Nash, Timothy Schmidt, Randy Meisner, and Brian Wilson all blush!
This is only their first record and that doesn’t even include the Sun Giant EP that was released a few months before despite actually being recorded after the first album. The EP contains ‘Sun Giant’, an acapella piece involving 4 part harmonies that has pretty much opened every show the band has played, and any band that opens a show acapella, in my opinion, has balls!
‘Drops In The River’ again shows their more forward thinking when it comes to composing with interesting use of instruments, varying time signatures, and once again flawless vocal harmonies. The piste-de-resistance of the EP though is the wonderful ‘Mykonos’. The song has almost become their signature tune encapsulating everything they are about. Summery acoustic guitar picking, warm repeating backing harmonies, and a melody that will stick in your brain many months after first listen. Where the song becomes a classic though, is for the final two and a half minutes where once again the song is turned on its head with the line “Brother you don’t need to turn me away” sung in a capella four part harmonies, drenched in reverb, taking the song to a more melancholic place on their own, before the instrumentation thunders back in to accompany the vocals as the gorgeous melody continues to unfurl. And, just when you think the song cannot get any better, the final fade out using all four voices singing separate lines yet all intertwining together is as breathtakingly beautiful as it gets when listening to this band, and its this that cements it into probably my top 5 musical moments of all time. Yes, it really is that good.
– Mykonos
There are also the B-sides to consider too! Three beautiful songs worth mentioning Isles, Knight On The Road, and the Joan Baez cover of Silver Dagger would all have fitted perfectly on the EP and the album and it must have very difficult to find the strength to say they didn’t make the cut. All are performed by just Robin and his acoustic guitar and in particular Silver Dagger showcases his amazing vocal ability perfectly.
Now, another aspect of the band that has made people sit up and take notice is their live show. A lot of people raised suspicions that they would not be able to recreate the perfect vocal delivery in a live environment. The truth is that they are able to, and in fact it has been one of the main reasons for them receiving universal acclaim and respect. For while they were touring over here in the UK every few months throughout 2008 and 2009, I was desperate to see them, but it was at a time where I was particularly skint with two young children, and I was never able to see them for myself in the flesh. Which made the mad rush and successful acquisition of tickets for their shows in May 2011 all the more exciting for me having missed them first time around, and which prompted me to write this in the first place. What made it worse was having friends that did attend their shows who said they were mind blowing! What endeared me even more was while you would expect them to be a bit “shoegazer” and be a bit distant with the crowd (which I despise in any band!), they were actually very big on communication with the crowd and Robin Pecknold’s quick and natural wit made each show feel more like a coming together of friends who were into the same music. Their run of three nights at London’s Roundhouse in February 2009 sounded like they were completely awe-inspiring and had I been in a financial position to go I would have been there. But alas I feel it will be one of those moments that I was not destined to share. However, I still hold out hope that they will do a 3 night run at the Royal Albert Hall in London at some point in the future. A venue that not only looks amazing, but has perfect acoustics for a Fleet Foxes gig.
So, after a wait that feels like forever the news came last week that May 2011 will see the release of their second album Helplessness Blues with no doubt relentless touring for a year or so after that. Along with this news was a free download of the title track of the new album that is a superb song containing everything that made me love the band in the first place.
During the wait for news on the album, Robin’s posting of songs, lost classics, and a whole world of material that had influenced him on the bands Facebook page helped keep the waiting for more material less frustrating. One notable link that provoked the biggest reaction was a video of him in the studio performing the Joanna Newsom track “On A Good Day”. An amazingly beautiful rendition that had that rare quality of being able to reduce a man to tears on first listen. If it doesn’t make the album then I hope it appears as a b-side somewhere along the line. It is simply too good to not be released.
There were apparent problems during the recording process of this album and having stated on Facebook in September that the album was finished it later transpired that it wasn’t quite the way they wanted it to be so we would have to wait a little longer. I would much rather they got it spot on the way they want rather than caving to time pressure and release something that didn’t match their vision.
So as you may gather I like this band a lot! I come from a family where music truly is in the blood. I got my love of rock n roll and soul from my fathers side, but from my mothers side they were all raised on traditional English and Irish folk songs with a number of my family being musicians and performers. This in turn gave me an inherent love for the sounds this band evoke. I have always been a fan of harmony vocals in any type of music so it stands to reason that Fleet Foxes would automatically get a head start in this respect along with my love of 60s and 70s country tinged, contemporary folk rock and blues. I simply cannot recommend this band enough. I could sit all day and watch videos of their live shows and some of their TV, media, and festival appearances that truly show how great this band is. If you are reading about this band for the first time then I can only recommend that you buy everything they have ever released, along with some easy to get hold of live shows. Listen to them in the right environment. It does not work as background music. You need to give it your full attention with low lighting, a glass of wine, a reefer (if that’s your thing), and put on the headphones and submerge yourself in the music of this band. After repeated listening, and if you are into some of the sounds I have described above, you will grow to love this band as much as I do.
May 13, 2013
Harmonic Prospector
