tag:blogger.com,1999:blog-66951738809525633252024-02-08T12:49:59.516+11:00RetroUniverseTHUMBS UP FROM THE FONZ!A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.comBlogger565125tag:blogger.com,1999:blog-6695173880952563325.post-45892910893182344192014-06-11T00:19:00.002+10:002014-06-11T00:19:56.381+10:00Gary Numan - Planes, Fans & Automobiles<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZNIXaaX4oo5z8FG5oVGZpJPw86VMP9IzR4lYkcD72bxnazA5wHkrvLDDWv-d1ITkNtzVRgXyb4NCAXRMNRAqaMQU9l_typRkOHuu1iED6KZ1Un0R7tC-sUWAluCSk1lmo1gboXNrm0KE/s1600/garynuman1982a.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZNIXaaX4oo5z8FG5oVGZpJPw86VMP9IzR4lYkcD72bxnazA5wHkrvLDDWv-d1ITkNtzVRgXyb4NCAXRMNRAqaMQU9l_typRkOHuu1iED6KZ1Un0R7tC-sUWAluCSk1lmo1gboXNrm0KE/s1600/garynuman1982a.png" height="320" width="214" /></a>Between recording and touring commitments, Gary Numan found time to attain his commercial pilot’s licence, and later went on to fly solo around the world (in less than 80 days). His skyward adventures didn’t go by without misadventure though, including one incident in January of ‘82 when he had to land his plane on a public highway near Winchester. Numan’s love of flying (he has his own collection of vintage military aircraft) may have been in part spurred on by a need to escape some savage critical reviews of his work, with an increasingly derisive approach being targeted at his perceived neo-futurist posturing, synthetically chilled vocals, allegedly pretentious lyrics (heavily influenced by the work of sci-fi authors), and his apparent support of Prime Minister Thatcher - he was in the vast minority of artists to do so at that time. Regardless, Gary Numan rarely used his music as a soapbox vehicle for political and social commentary, and moreover he retained a solid grass roots following of all forgiving, clone-like fans who referred to themselves as ‘Numanoids’.<br /><br />Having parted with his backing band (who went on to form the group Dramatis), Numan returned to the studio in mid ‘81, this time with some well known ‘session’ players in support, including Mick Karn (guitar - Japan), and Roger Taylor (drums - Queen). The single ‘She’s Got Claws’ clawed its way to #6 on the British charts, and helped push the source album, ‘Dance’, to #3 (OZ#85). Temporarily unrestrained by the need to record music he could reproduce on stage, Numan took time to experiment in studio. The album featured a slant on electronic dance beats around varied percussive styles, but received poor reviews from the critics.<br />
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In November of ‘81, Numan rejoined his ‘Telekon’ era backing band, now known as Dramatis, and released the single ‘Love Needs No Disguise’ (UK#33 - credited to Gary Numan and Dramatis). Numan then returned to studio work by himself, with augmentation from session players. The resultant 1982 album, ‘I, Assassin’ (UK#8/OZ#95), explored a more fluid funk style, not altogether immediately accessible to the listener. The album was preceded by three British top twenty singles - ‘Music For Chameleons’ (UK#19); ‘We Take Mystery To Bed’ (UK#9); and ‘White Boys And Heroes’ (UK#20).<br />
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Numan’s 1983 album, ‘Warriors’ (UK#12), attracted the charge of being pompous from some critical quarters, but yielded two top forty hits in the form of the title track (UK#20 - the video for which highlighted Numan's penchant for flying), and ‘Sister Surprise’ (UK#32). However, by this time it was evident that Gary Numan was experiencing increasingly diminishing returns on the British charts, propped up in strong part by his core ‘Numanoids’ fan base. In 1984, Numan set up his own record label, known as Numa, serving to release his own material, and that of brother John’s group Hohokam. The labels’ first album release was Numan’s late ‘84 effort ‘Berserker’ (UK#45), which managed to spawn just two minor hits in the guise of the title track (UK#32), and ‘My Dying Machine’ (UK#66) - the latter an appropriately titled song reflecting the waning interest in Numan’s brand of synth-pop.<br /><br />Following his short lived ‘retirement’ from concert work, during which he became a virtual recluse, in early ’85, Numan released the Live EP ‘Gary Numan - The Live (EP)’ - UK#27 - recorded during December of ’84 at the Hammersmith Odeon, London. In February of ‘85, Numan teamed up with Shakatak’s Bill Sharpe on the UK#17 single ‘Change Your Mind’. Soon after a full album of live material surfaced as ‘White Noise’ (UK#29/OZ#64), proving Numan still had some considerable appeal for the public at large.<br />
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1985 saw the release of the album ‘The Fury’ (UK#24), a critically lambasted effort, that failed to yield any top forty singles - ‘Your Fascination’ (UK#46); ‘Call Out The Dogs’ (UK#49); and ‘Miracles’ (UK#49). Some may have thought that Numan needed a miracle to bounce back from such a critical and commercial calamity, and no such miracle was forthcoming on the late ‘86 album ‘Strange Charm’ (UK#59), though it did spawn two top thirty singles with ‘This Is Love’ (UK#28), and ‘I Can’t Stop’ (UK#27). The album proved to be the final release on Numan’s Numa label which folded soon thereafter.<br /><br />During 1987, Numan hooked up with the band Radio Heart on their eponymous debut album, yielding the hits ‘Radio Heart’ (UK#35), and ‘London Times’ (UK#48). In early ‘88 he teamed up with Bill Sharpe once more on the UK#34 single ‘No More Lies’. Numan then signed with the I.R.S. label, still a fledgling operation at that time, for the release of his 1988 album ‘Metal Rhythm’ (UK#48). The new label failed to yield a resurgence in Numan’s commercial fortunes, with the associated singles, ‘New Anger’ (UK#46), and ‘America’ (UK#49) falling well short of expectations.<br />
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1989 saw an absence of any new studio material from Numan, though he once more joined forces with Bill Sharpe on the album ‘Automatic’ (UK#59), which featured the UK#44 single ‘I’m On Automatic’. The live set ‘The Skin Mechanic’ (UK#55) was also released late in ‘89.<br /><br />The 90s kicked off for Numan with a hook up with several of his ‘Pleasure Principle’ backing players on the March ‘91 album release ‘Outland’ (UK#39), featuring the single ‘Heart’ (UK#43). If there were any lingering doubts, 1992’s ‘Machine +Soul’ album (UK#42), proved that Gary Numan’s commercial profile had all but faded from view. The 1994 live album release ‘Dream Corrosion’ became the first of Numan’s album releases to miss the British charts completely, whilst the subsequent 1995 live set ‘Dark Light’ followed suit. In late ‘95, Numan collaborated with Michael R. Smith on the album ‘Human’, and rounded out the decade with the 1997 solo effort ‘Exile’ (UK#48).<br />
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You could have been forgiven for thinking that Gary Numan had gone into exile as nearly three years elapsed before the release of 2000’s ‘Pure’ album (UK#58), which did garner some positive reviews from the music press, and peers in the music industry who were starting to take inspiration from Numan’s distinctive brand of electro-pop. By now, only the staunch ‘Numanoids’ remained committed to the cause in terms of buying Numan’s work, but they were soon augmented by a respectable number of mainstream fans, who purchased Numan’s 2002 single ‘Rip’ (UK#29), his highest charting single in over fifteen years. 2003 built further on the resurgence of Gary Numan via the single ‘Crazier’ (UK#13), credited to Gary Numan Vs. Rico, and lifted from the album ‘Hybrid’, a collection of reworked Numan hits. Over the ensuing decade Numan released three more studio albums - ‘Jagged’ (2006 - UK#59); ‘Dead Son Rising’ (2011 - UK#87); and 2013’s ‘Splinter (Songs From A Broken Mind)’ (UK#20) - his highest charting album in thirty years.<br /><br />Despite critical derision and dwindling commercial returns over the length of the journey, Gary Numan has been cited as a precursor to, and major player in, the synth/electro-pop scene that burst to prominence in the early 1980s - think Human League, Mi-Sex, Flowers, Visage, Real Life, Soft Cell, the Buggles - see separate posts - and early Depeche Mode, Simple Minds, and Duran Duran. It’s fair to say that the success of ‘Cars’ Stateside also opened the door for the early 80s British invasion of U.S. charts. Numan has also been a major influence to many artists including Nine Inch Nails, Midnight Juggernauts, and Iva Davies from Icehouse (see previous posts). Much of his work has been sampled on other artists’ hit singles, including in 2002 by Basement Jaxx.<br />
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Following the release of his latest album, Gary Numan undertook a major world tour from late 2013, and extending well into 2014, in the process taking him closer to a music career spanning forty years, a feat deserving of respect in anyone’s book.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/i_K93VLhlZk" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/l7wi6OCt-9Y" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/evAxXsDuwbI" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-64332679213509410802014-06-10T16:57:00.001+10:002014-06-10T16:57:57.827+10:00Gary Numan - The Pleasure Principle Of Synth-Pop <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YfbUtiYkbSLTPfP_mmmp8QydCNP4DIs0HCiTwCrm6B_CwEneeWfpJ0bRxyjn7N-kZlLxpyW1wGsPfcVHu3tMsC8YJqB3VjVflBBOHO3xtzt67D7P3WYApm45gxbu23Nrb0jexabzrnvn/s1600/garynuman1980.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4YfbUtiYkbSLTPfP_mmmp8QydCNP4DIs0HCiTwCrm6B_CwEneeWfpJ0bRxyjn7N-kZlLxpyW1wGsPfcVHu3tMsC8YJqB3VjVflBBOHO3xtzt67D7P3WYApm45gxbu23Nrb0jexabzrnvn/s1600/garynuman1980.jpg" /></a>I confess, I’m an unabashed devotee of all things ‘New Wave’, one of the dominant music genres that hooked fans the world over from the late 70s through to mid 80s. ‘New Wave’ comprised several factions, including the ‘new romantic’, ‘post-punk’, and ‘power-pop’ movements. The particular faction that comes under focus for this post is synth-pop, also a major drawcard during that period, and one of its leading exponents (particularly in Britain), in the guise of Gary Numan. Numan came to prominence as the focal point and chief musical architect behind the group Tubeway Army. From heading a punk styled rock band to becoming somewhat of a poster child for the British synth-pop (electro pop) movement, the enigmatic Numan carved out a lasting place in ‘New Wave’ folklore.<br />
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Born Gary Webb, Numan grew up during the 60s with little more than a passing interest in the pop music of the times. It wasn’t until the early 70s that he became enamoured with the likes of Bowie (Ziggy Stardust era), Marc Bolan, and early Roxy Music. But it was almost less about the music and more about the image and stage personas of these artists that registered with young Gary. He also read sci-fi novels voraciously, and began writing his own lyrics inspired by the works of Philip K. Dick, and William Burroughs. Numan joined his first band, the Lasers during 1977, aged 19, going under the name Valerian. His tenure there was brief, and soon thereafter he hooked up with the post-punk outfit the Mean Street, as their guitarist. He quickly assumed the new moniker of Gary Numan (inspired by an ad in the Yellow Pages for a plumber called Neumann), and also frontman duties, and the band contributed a track to the punk compilation album, ‘Live At The Vortex’.<br /><br />Towards the end of ‘77 Numan took a further step towards artistic autonomy when he changed the band’s name to Tubeway Army. The band had been signed to the Beggars Banquet label (a subsidiary of WEA) in early ’78, in the clamouring by record labels for post-Sex Pistols’ punk edged outfits. During the early part of ’78. Tubeway Army released two aggressively styled singles in ‘That’s Not It’, and ‘Bombers’ (recorded at Spacewood Studios in Cambridge), neither of which made much of a splash on the charts, though ‘That’s Not It’ went on to sell 7000 copies.<br />
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It was during this period that Numan became increasingly enamoured with synthesisers and keyboards, and signalled a major stylistic shift from guitar driven punk rock to synth-laced electro pop (heavily influenced by the likes of Kraftwerk, Eno-era Bowie, and early Ultravox). When it came time for Tubeway Army to enter the studio to record their debut album (the sessions being financed by Numan’s father), there was somewhat of a revolt in the band with several members walking out in protest at the shift in musical direction (they went on to form a new punk group called Station Bombers). Numan was left to carry on duties with bassist Paul ‘Scarlett’ Gardiner, and drummer Jess Lidyard (Numan’s uncle) to augment proceedings.<br /><br />Tubeway Army’s autonomous debut album (recorded in just three days) was released in August of ‘78, but initially failed to garner much attention in commercial terms. Numan remained firmly committed to synth-based pop-rock and it paid dividends via the June ‘79 album release, ‘Replicas’. The album, recorded over a period of five days in Gooseberry Studios, London, climbed to #1 on the British charts (OZ#11) on the back of the huge British hit ‘Are ‘Friends’ Electric?’. Released in May of ‘79, the monotonic styled, futurist/sci-fi themed, song entered the British charts the following week. It sold well initially on the back of a run of 20,000 picture discs. But the song received a huge boost in profile via a memorable performance from Numan on ‘Top Of The Pops’. Before going gold the song went electric over the next month and by the end of June had replaced ‘Ring My Bell’ by Anita Ward (see separate post) at #1. After a four week reign atop the British charts, ‘Are ‘Friends’ Electric?’ (OZ#12) was supplanted in top spot by ‘I Don’t Like Mondays’ by Boomtown Rats (see future post).<br />
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‘Are ‘Friends’ Electric?’ was in essence two pieces of art spliced together, a ballad with robotic styled spoken vocals, married to a clipped, relentless synthesiser riff - the resultant whole being exponentially greater than the sum of its parts. The ‘Replicas’ album was filled with the same bleak, synthetic sound throughout, punctuated by a handful of guitar dominated songs. It soared to #1 in Britain (replacing E.L.O.’s ‘Discovery’) during July of ‘79, and Tubeway Army’s debut set was re-released soon after, charting at #14 in Britain at the second attempt.<br /><br />Prior to entering the studio to record a follow up set, Numan found time to play on Robert Palmer’s 1979 ‘Clues’ album (see future posts). During this brief detour, Numan decided to drop the Tubeway Army band tag (which he claimed had only ever been in place for touring purposes), formerly assuming solo status, and returned to the studio, this time with backing players Paul Gardiner (bass), Cedric Sharpely (drums), Chris Payne (synth, viola), and Ultravox member Billy Currie (keyboards).<br />
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In August of ‘79, Numan released his first official solo single, the hypnotic electronica of ‘Cars’. Written and produced by Numan, the single entered the British charts almost immediately and sped to #1 for 1 week in September of ‘79, replacing Cliff Richards’ ‘We Don’t Talk Anymore’, and in turn being replaced by ‘Message In A Bottle’ by the Police. The single was backed by an arresting promotional video which highlighted Numan’s neo-futurist posturing, and Bowie-esque look. Numan recorded the original demo for ‘Cars’ on a bass guitar, and later claimed the song took little more time to write than it did to play. ‘Cars’ peaked at #9 in Australia, and became Numan’s only foray into the U.S. top 40 (#9), early in 1980. The song has taken on an almost cult status over time, and several remixes and re-releases have returned ‘Cars’ to the British charts - in fact for a time Numan held the honour of having the only #1 hit to return to the British charts twice more in different forms (a live version in ‘85 and a remix in ‘87).<br /><br />The follow up single, ‘Complex’, took a decidedly simple route to #6 on the British charts. The source album, ‘The Pleasure Principle’ (UK#1/ UK#16/ OZ#24 - where it spent 38 weeks inside the top 100) hit the top of the British charts the same week as its release. The album featured a heavily synthesised sound, and unworldly/futurist lyrical themes. Keyboardist Dennis Haines replaced Currie (who had returned to Ultravox), and guitarist Russell Bell was added for the subsequent tour which took in Europe, North America, Japan and Australasia. In April of 1980, the first full length music video went on sale capturing Gary Numan’s latest tour, and titled ‘The Touring Principle’.<br />
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In May of 1980, Numan returned to the charts once more with the synth-laced single ‘We Are Glass’ (UK#5/ OZ#15), followed a few months later by ‘I Die: You Die’ (UK#6/ OZ#86). Both songs were lifted from Numan’s second solo album release, ‘Telekon’, which like its predecessor bolted to #1 on the British charts immediately upon its release (OZ#24). Once again the album featured an idiosyncratic selection of Numan penned songs, attired in an increasingly opulent sound of layered synths, strings, and guitars. ‘Telekon’ also yielded the UK#20 single ‘This Wreckage’ in late 1980. However, despite maintaining a high profile in Britain, interest in Numan in the States quickly waned following the initial bout of curiosity surrounding ‘Cars’.<br />
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A live double album, ‘Living Ornaments 1979-1980 (live)’ was released in April of ‘81 and peaked at #2 on the British charts. By this time, Numan had become well renowned for his elaborate live shows, which typically featured a pyramid-shaped stage setup built around fluorescent tubes - Numan would on occasion wave a neon tube about the stage accompanying mock android poses. Soon after came an announcement that he would no longer tour. Numan staged three elaborate Wembley Arena shows by way of a fond farewell to fans. But it would prove a short lived decision - Numan would be back touring by June of ‘83 - but one that doubtless bolstered sales of the ‘Living Ornaments’ set.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/zs-eFRbgn6M" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Ldyx3KHOFXw" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/r3mu5Ug9m8o" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-83116552364706735102014-06-10T13:12:00.000+10:002014-06-10T13:12:34.253+10:00Kelly Marie - A Scottish Disco Diva <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEDGCY0a9WwiH42t0xis2UnvhT_r52kG6jhMlda7pW6qwPFUzh3I634TRurKbHR9dNLxyk2WZ5qxUOVRgdPfFPD0yjgSHj3E2VFj2qb2kW06keorgSr-ES7zx_TrUU_a-avgF2yW8ZXJ-/s1600/kellymarie1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUEDGCY0a9WwiH42t0xis2UnvhT_r52kG6jhMlda7pW6qwPFUzh3I634TRurKbHR9dNLxyk2WZ5qxUOVRgdPfFPD0yjgSHj3E2VFj2qb2kW06keorgSr-ES7zx_TrUU_a-avgF2yW8ZXJ-/s1600/kellymarie1.jpg" height="240" width="320" /></a>So many artists came and went during the disco era, like a flash in the pan (not to be confused with Flash And The Pan - see future post). Many didn’t, and haven’t, received sufficient plaudits for their efforts, in stead being lumped in with the whole critically lambasted disco phenomenon. Of all the voluminous publications on popular music, scarce regard is paid to those artists (save the few pioneering ones such as Chic - see separate post), so seeing as this blog is under my editorial control, and with many of disco’s most famous or notorious artists already featured here, I thought it time to revisit another name from that era, in the guise of female vocalist Kelly Marie.<br /><br />Kelly Marie was born Jacqueline McKinnon in Paisley, Scotland during 1957. Music was a big part of her life from early on, with singing lessons beginning at age ten, singing competitions at age twelve, and a television debut at age fifteen. Under the name Keli Brown, she appeared on the British television talent show ‘Opportunity Knocks’, winning a number of heats with her rendition of ‘I Don’t Know How To Love Him’. The TV appearance brought her to the attention of Pye Records (as opposed to Pye televisions), who signed the young singer to a recording contract.<br />
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Now under the moniker of Kelly Marie, she made a credited appearance on the 1976 Irish #2 ‘Sister Mary’ by Joe Dolan (well known for the hits ‘Make Me An Island’ and ‘Teresa’). Marie then released her debut solo single with ‘Who’s That Lady With My Man’. The single failed to chart in Britain, but shot up the French charts to #5 in mid ‘76 (it went on to sell over 300,000 copies achieving Gold Record accreditation). A further French top twenty hit followed a few months later in the form of ‘Help Me’ (Fr#17). The next couple of singles tanked, before the release of 1977’s ‘Run To Me’, which ran to #22 on the Dutch national charts.<br /><br />1978 saw a boost to Kelly Marie’s worldwide profile with the release of the disco-styled love song ‘Make Love To Me’. The track rocketed to #2 in South Africa, whilst here in Australia it dodged a lot of other disco traffic to park itself at #5 late in ‘78, going on to spend a mammoth 41 weeks inside the Australian Top 100. In fact, such was the longevity of ‘Make Love To Me’ that it ended up being the 12th highest selling single in Australia for 1979 (album of the same name peaked at #87). The track failed to chart in the U.S., possibly because singer Helen Reddy had already released a version. Kelly Marie’s follow up singles, ‘Loving Just For Fun’ and ‘Take Me To Paradise’, fell well short of building on any kind of commercial momentum.<br />
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After releasing a cover of Yvonne Elliman’s chart topper ‘If I Can’t Have You’ (see future post), Kelly Marie released a track in August of ‘79 titled ‘Feels Like I’m In Love’. The track had been penned in the summer of ‘77 by Roy Dorset, lead singer and chief songwriter for British band Mungo Jerry. Dorset had originally intended the song as an offering for Elvis Presley to record. Dorset had been a long time fan of Presley, and had recorded his favourite Elvis song ‘Baby Let’s Play House’ with Mungo Jerry. Sadly, ‘The King’ died in 1977 before the track was recorded. Dorset then recorded the track with his band Mungo Jerry’, and it eventually saw the light of day as a B-side to the band’s French single release ‘Sur Le Pont D’Avignon’. Dorset had also sent the song ‘Feels Like I’m In Love’ around the major British publishing houses, and several interested parties made offers to record the track, all of which Dorset refused. It was Elliott Cowen from Red Bus Music who approached Dorset with the idea that Scottish songstress Kelly Marie would be a good candidate to take the song to the top of the charts.<br />
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With long time producer Peter Yellowstone calling the shots, Marie recorded ‘Feels Like I’m In Love’ in classic disco-dance style in mid ‘79. Her profile was still sufficiently solid in South Africa , that the song reached #7 there in late ‘79, but British success still eluded her. ‘Feels Like Making Love’ did become a popular hit in dance clubs across Britain, and the track’s enduring appeal prompted Pye Records to re-release it in mid 1980 on the subsidiary Calibre label. The track debuted on the mainstream British charts at the beginning of August 1980, and by mid September had ascended to #1, replacing ‘Start’ by The Jam in the process - with two such disparate song styles going back to back atop the charts, it goes to show just how diverse a market Britain was at the time. ‘Feels Like I’m In Love’ held sway at #1 for two weeks, before succumbing to the appeal of ‘Don’t Stand So Close To Me’ by The Police. By reaching #1 in Britain, ‘Feels Like I’m In Love’ also gave songwriter Ray Dorset the rare distinction of having topped the British charts at one time with a composition recorded by their own group (earlier #1s from Mungo Jerry) and to also have one of their songs taken to #1 by another artist. The song frequented the top tens of charts across Europe, and peaked at #7 here in Australia (where it spent 27 weeks on the charts).<br />
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Keen to capitalise on the profile ‘Feels Like I’m In Love’ had afforded Kelly Marie, the record label re-released the 1978 single ‘Loving Just For Fun’ (UK#21), followed by the early ‘81 release of ‘Hot Love’ (UK#22). But by the release of the single ‘Love Trial’ (UK#51) in mid ‘81, it had become apparent that the surge of stardom attained by ‘Feels Like I’m In Love’ was not sustainable for Kelly Marie. A final single ‘Don’t Stop Your Love’, and accompanying album ‘Do You Like It Like That?’ (OZ#93) failed to chart at all in Britain. In part, it might have been that Marie was compartmentalised as a disco/dance singer, and by 1981 disco was on the nose. Meanwhile, fellow Scotswoman Sheena Easton was dominating charts across the world (see separate post).<br /><br />Unperturbed, Kelly Marie continued to release singles regularly over the period from 1982 to 1984, but her only incursion into charts came in mid ‘84 with the single ‘Break Out’ (UK#90). A 1986 re-release of ‘Feels Like I’m In Love’ was the only recording activity from Marie for some time, with the singer devoting her time to starting a family. In 1988, she returned to European charts with the dance song ‘Stealing My Time’, which stole #2 on the Danish charts. A decade passed, during which time Kelly Marie focussed on parental duties. But she returned to the recording studio in 1997, releasing an album of dance versions of hit songs - from ‘Runaway’, through ‘Rescue Me’, to a new version of her 1981 hit ‘Hot Love’. The voice of Kelly Marie was once more in evidence at dance clubs across Britain and Europe.<br />
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In 2002, Marie teamed up with fellow 70s songstress Tina Charles (see future post) on a dance version of ‘To Sir With Love’. In 2005, Kelly Marie took the decision to subject herself to reality TV, with her appearance on the ITV show ‘Hit Me, Baby, One More Time’. Though she lost out eventually to singer Chesney Hawkes, Kelly Marie proved she could still deliver dance songs with the best of them, the highlight being her performance of ‘Feels Like I’m In Love’. Kelly Marie has been more than just another ‘disco diva’, having forged a career spanning over thirty years.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/MLHqSE9IdwM" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/1Wz_9dVJ-Ew" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-38107066418257595782014-06-10T12:46:00.003+10:002014-06-10T12:46:54.038+10:00Killing Joke - 'Love Like Blood'<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNU1C3aweAvsNp-AhXm7magtlylgs32uKjyIs5DavrAZgFs73UpxDVk4dDaPwxS5UmDi90MF9yaMmTB6oRa6-qLciGbtcj178m1Lmr3Zd_JLGhCjtO1o1H9yNWnaHnhAJIkoxw939BMMTX/s1600/killingjokegroupmid3.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNU1C3aweAvsNp-AhXm7magtlylgs32uKjyIs5DavrAZgFs73UpxDVk4dDaPwxS5UmDi90MF9yaMmTB6oRa6-qLciGbtcj178m1Lmr3Zd_JLGhCjtO1o1H9yNWnaHnhAJIkoxw939BMMTX/s1600/killingjokegroupmid3.png" height="298" width="320" /></a>There was a period back in the mid to late 90s when I was furiously buying up just about any 80s CD compilation that contained songs from that era that I was pursuing. One such title, released on the Disky label, was the double CD compilation ‘More Greatest Hits of the 80s’. Some of the tracks I tracked down were ‘Some People’ by Belouis Some, ‘Rush Hour’ by Jane Wiedlin (see previous post), ‘They Don’t Know Me’ by Tracey Ullman, and ‘Water On Glass’ by Kim Wilde (see previous post). As with so many compilations, this double CD also contained one or two nice surprises in the form of great songs I hadn’t previously encountered. One such track was ‘Love Like Blood’ by London based punk/metal outfit Killing Joke. <br /><br />The quartet of Jeremy ‘Jaz’ Coleman (vocals/keyboards), Paul Ferguson (ex-Matt Stagger Band - drums), Geordie (Kevin Walker - guitar/synthesizers), and Youth (Martin Glover - ex-Rage - bass/vocals) formed the punk/metal band Killing Joke in the summer of ‘79. Relocating to Notting Hill Gate, the band borrowed enough money to finance the recording of a 3 track EP, released on their own Malicious Damage label in October of ‘79. DJ John Peel picked up on the EP and championed the band’s raw, kinetic rock sound. As a result, the Island label signed the band up and released the single ‘Nervous System’ a month later. The Island association didn’t last much longer, but Killing Joke eventually found another ally in the E.G. label during the summer of 1980, whilst touring regularly in support of the likes of Joy Division and The Ruts. The band quickly gained a reputation for their loud, energetic shows. Frontman Jaz Coleman regularly wearing war paint and bouncing around the stage maniacally in union with his strident vocal style.<br />
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In September of ‘80, Killing Joke released the single ‘Requiem’, an advance outing from their eponymous debut album, released a month later and rising to #39 in Britain. The album was considered a pioneering effort, and in his book, ‘The Great Rock Discography’, author Martin C. Strong described the set as containing the “anger of punk with apocalyptic doom-mongering”, and Killing Joke were “akin to a sonically disturbing, industrialised Black Sabbath”. The ‘Killing Joke’ set has subsequently been cited as a seminal influence over the likes of US hardcore acts Metallica, Ministry, and Soundgarden. So far as contemporaries were concerned, Killing Joke were not dissimilar to Bauhaus, and Public Image Ltd., in so far as their attempts to link punk rock with a strong dance beat, lashed with rasping guitar, and driven by martial rhythms.<br />
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Killing Joke further expanded on their occult, punk metal anthems to brave new horizons of intensity on their sophomore effort, ‘What’s This For…!’ (UK#42), which yielded the UK#55 single ‘Follow The Leaders’ (UK#55 - hard edged danceable fare that was also a hit on the U.S. dance floor scene). Whilst pushing the envelope stylistically, Killing Joke managed to remain somewhat accessible to the masses. The band did alienate some though with their savage lyrics and often scathing hits at establishment via album artwork and promotional posters. One such occasion where they got the establishment off side was during a tour to Scotland, where a promotional poster was deemed to be offensive, and the band was subsequently banned from playing in Glasgow.<br />
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Killing Joke released their third album, ‘Revelations’, in April of ‘82, a more commercially appealing set (UK#12), yielding the UK#43 hit ‘Empire Song’. And this is where the Killing Joke story becomes a little confusing. Frontman Jaz Coleman had become increasingly obsessed with the notion of imminent world destruction. At the end of a short tour to Iceland, Coleman reasoned that the icy tundra was as safe a place as any to wait out Armageddon, and chose to remain behind after the band had left. Bassist Youth eventually went in search of the band’s missing leader, but couldn’t convince Coleman to return home with him.<br /><br />Youth arrived back in England and hooked up with drummer Ferguson, and an old friend Paul Raven (ex-Neon Hearts) with a view to forming a new band, Brilliant. Brilliant or not, Ferguson and Raven departed soon after to also explore parts unknown in search of Jaz Coleman. Convinced that the world wasn’t going to end any time soon, Coleman caught the first flight back to England, with Ferguson and Raven (bass) accompanying him. Youth had now departed the Killing Joke scene, and somewhere among the cacophony of events, bassist Guy Pratt also had a brief tenure with the band, before going on to join Icehouse (see separate posts). The single ‘Birds Of A Feather’ (UK#64) and the live EP ‘Ha’ (UK#66) were released to round out a frenetic 1982 for the band.<br />
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With the quartet of Coleman, Ferguson, Geordie, and Raven, Killing Joke re-entered the studio to record a new album. In July of ‘83, the ‘Fire Dances’ (UK#29) hit stores, preceded by the advance single ‘Let’s All Go (To The Fire Dances)’ (UK#51). The album was missing some of the ominous and powerfully chaotic edge, and sardonic bite of previous efforts, perhaps reflecting Coleman’s calmer state of mind. With the portents of 1984 to the fore, Killing Joke did keep a lower profile for that year, releasing just two stand alone singles, ‘Eighties’ (UK#60), and ‘A New Day’ (UK#56).<br /><br />The band started a brand new day of sorts in January of ‘85, with the release of the powerfully anthemic ‘Love Like Blood’. The single surged to #16 in Britain (OZ#85), helping to push sales of the source album ‘Night Time’ to #11. The band then entered a creative phase that employed a more keyboard oriented sound, evidenced on the 1986 album ‘Brighter Than A Thousand Suns’ (UK#54), and the commercial disappointment of 1988’s ‘Outside The Gate’ (UK#92), the band also finding themselves outside the gate when it came to critical and long term fans appraisal. Coleman called an end to Killing Joke proceedings for all of 1989, leading in to 1990.<br />
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Following that period, Killing Joke underwent a major upheaval personnel wise, with Coleman being joined by drummer Martin Atkins (ex-Public Image Ltd.), bassist Taff (not to be confused with the word Taffy) who had replaced Andy Rourke (ex-Smiths), who had in turn replaced Paul Raven - are you keeping up? After a brief period of activity, the band then entered a further sabbatical in 1990, during which time Coleman teamed up with ex-Art Of Noise member Anne Dudley, to record the album ‘Songs From The Victorious City’.<br />
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Killing Joke re-emerged in November of 1990 with the critically acclaimed set ‘Extremities, Dirt And Various Repressed Emotions’, which saw a stylistic engagement with raucous, heavy accented, avant-dance rhythms. The band went into virtual seclusion over the next couple of years, before reappearing as the quartet of Coleman, Geordie, the returning Youth (which is something most of us would wish for), and ex-Art Of Noise drummer Geoff Dugmore. That line-up signalled a major return to form for Killing Joke with their 1994 album ‘Pandemonium’ (UK#16), a return to their earlier fare, with a more abrasively metallic sound, which yielded the British top 40 singles ‘Millennium’ (UK#34), and the title track (UK#28). Such was the album’s success, that Killing Joke embarked on their first world tour in almost a decade. Reduced to the trio of Coleman, Youth, and Geordie, Killing Joke released another critically well receive album in 1996, with ‘Democracy’ (UK#39), the album featuring the continuation of a more metallic/industrial sound.<br /><br />Frontman Jaz Coleman went on to spend much of his time over the ensuing decade in New Zealand, acting as the composer in residence for the New Zealand Symphony Orchestra. After a seven year hiatus from Killing Joke duties, he returned to front the band on their 2003 album, a second eponymously titled affair. Over the ensuing decade Killing Joke have continued to fight the good fight against all things conventional and establishment, attempting to incite/alarm the world on such albums as the live 2005 set ‘XXV Gathering!’, and ‘Absolute Dissent’ from 2010 (recorded by the original line-up of Coleman, Youth, Geordie, and Ferguson).<br />
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Having been such a maverick, and seminal influence on so many artists, the fact that widespread commercial success eluded Killing Joke is no great surprise. Integrity and a determination to adhere to strict stylistic principles in the face of critical and popular opposition, remained the cornerstones to the band’s longevity.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/x1U1Ue_5kq8" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/TnpwuRlXbhk" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-40805728900589410442014-06-09T19:08:00.000+10:002014-06-09T19:08:30.138+10:00Classix Nouveaux - 'Guilty'<div class="separator" style="clear: both; text-align: center;">
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Back in the mid 90s I had occasion to purchase a double CD compilation titled ‘The Absolute Best Of The New Romantics’. The collection featured a number of tracks that I had been seeking earnestly to acquire in pristine digital format. Among those were ‘Only You’ by Yazoo, ‘One Night In Bangkok’ by Murray Head, ‘Living On The Ceiling’ by Blancmange, and ‘Temptation’ by Heaven 17 - see previous posts for each artist. I’m not certain how many of the artists included could strictly be referred to as ‘new romantic’, but in the broader sense they were all part of the ‘new wave’ and ‘post punk’ movements that dominated, in particular, the British and Australian charts during the first half of the 80s.<br /><br />One of the bonus acquisitions was a song I had previously been unfamiliar with - ‘Guilty’ by London based band Classix Nouveaux. So in keeping with my innate curiosity with popular music, I thought it merited that I investigate the Classix Nouveaux story in a little more detail.<br /><br />Following the demise of London punk band X-Ray Spex in 1979, guitarist Jak Airport (Jack Stafford), and drummer Paul ‘B.P.’ Hurding, saw the writing through the wall and placed an add in the industry rag Melody Maker, in pursuit of a vocalist to front a new band. The add was responded in the affirmative by a young singer/guitarist calling himself Sal Solo (Sam Smith), who had previous songs on the board with ‘new wave’ outfit, The News. Shortly after, bassist Mik Sweeney rounded out the quartet, and hey presto an instant Classix Nouveaux was born.<br />
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The band’s first major outing on stage came in August of ‘79 at London’s Music Machine nightclub. The music press began taking an interest in the quartet, in part due to their fashion conscious and heavily made-up stage image. Classix Nouveaux were assigned the ‘new romantic’ tag as a result. Before year’s end, founding guitarist Jak Airport caught a flight and was replaced by Gary Steadman.<br /><br />In mid 1980, Classix Nouveaux laid down a four track session for Capital Radio, with one track in particular, ‘Robot’s Dance’ gaining regular airtime courtesy of DJ Nicky Horne. Always on the look out for new talent, the EMI subsidiary label United Artists set about signing the young band, but as negotiations became protracted, the band opted to release ‘Robot’s Dance’ on their own ESP label during August of 1980. The track notched up an eleven week stint on the U.K. Indie Chart dancing its way to #22. The band released a follow up single in November with ‘Nasty Little Green Men’, before work began in earnest on their debut album.<br />
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In February of ‘81, Classix Nouveaux released their debut ‘major label’ single in the form of ‘Guilty’ which was sentenced to #43 on the British charts (Top 20 Sweden, OZ#25/#66 U.S. Dance Club Singles), as a lead out for their debut album. The striking video clip, featuring the new romantic version of Midnight Oil’s Peter Garrett in Sal Solo, managed to get some airplay on MTV Network. The source album, ‘Night People’ (UK#66/ OZ#85) also spawned two more minor hit singles in the guise of ‘Tokyo’ (UK#67), and ‘Inside Outside’ (UK#45). The majority of the tracks were composed by Solo and Sweeney. The sound of the band was more guitar heavy than some of their new romantic contemporaries, such as Japan, but their over the top fashion sense and infectious keyboard rhythms kept the band’s feet firmly in the new romantic camp. During the subsequent European tour, guitarist Gary Steadman was replaced by Finnish guitarist Jimi Sumen.<br />
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By late ‘81, work was progressing on Classix Nouveaux’s sophomore effort, to the point where the advance single ‘Never Again (The Days Time Erased)’ (UK#44) hit stores in October. By April of ‘82, the album ‘La Verite’ (UK#44) hit the ground running as a result of the high interest in the single ‘Is It A Dream’. The band made a video for the track themselves (for a reported budget of $500), in the hope of getting their label EMI to fork over the readies to make a bigger budget effort. Sal Solo was front and centre again, falsetto in full swing, and ‘Is It A Dream’ found its reality at #11 on the British charts. The album boasted a soul-tinged, synth heavy feel to proceedings. Richie Unterberger of All Music Guide described it as “Music of a hand-wringing, grandiose chic glamour on its more ethereal cuts, and of unabashed, bouncy synth pop on the more dance oriented songs like ‘Never Again’ and ‘1999’”. The album yielded two more minor hits with ‘Because You’re Young’ (UK#43), and ‘The End…Or The Beginning’ (UK#60).<br /><br />With producer Alex Sadkin on board, a new collection of Sal Solo compositions underwent the studio treatment in early ‘83. The album was a more mature effort and possessed a more commercial synth based sound, complimented by Sal Solo’s impressive vocal range. Highlights included ‘Never Never Comes’, ‘All Around The World’, and ‘Heart From The Start’. Though the singles ‘Never Never Comes’ and ‘Forever And A Day missed the U.K. charts, and the source album ‘Secret’ remained one in Britain, both album and singles performed well in Poland of all places, prompting Classix Nouveaux to be one of the first rock bands to perform in communist Poland - by now Sal Solo was the only original member left with drummer B.P. Hurding replaced by Paul Turley, and guitarist Jimi Sumen replaced by Rick Driscoll.<br />
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Despite successful touring of Europe, the band failed to establish a strong presence on the charts in the U.K., whilst mainstream success in the U.S. eluded them. By 1985, Classix Nouveaux had parted company, with Sal Solo embarking on a solo career (who’d have thought), scoring a U.K. hit in early ‘85 with ‘San Damiano’ (#15). Several compilations have been released over the years, and the live album ‘The River Sessions’ (recording originally in 1982), was released in 2005. An underrated act by all accounts, Classix Nouveaux deserve a place of merit in the ‘new romantic’ movement.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/nawiQi1kNoI" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ff6gWyyFEyc" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-8087989296148932682014-06-09T18:53:00.001+10:002014-06-09T18:53:42.924+10:00Kiki Dee - 'I've Got The Music In Me'<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAh2yP102L6kCSTaA-P7zzpWcpkL_WNz8sigVG_HfjUFSn-rlediWGVx8yleRD-dHObR5t3b903lOcTUJpnQybq2V1vib9V8RmAeOxXHXod1bOKrbt91g35uKqHwLl16K6ioJEW1oE91b/s1600/kikideeearlyalbum.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeAh2yP102L6kCSTaA-P7zzpWcpkL_WNz8sigVG_HfjUFSn-rlediWGVx8yleRD-dHObR5t3b903lOcTUJpnQybq2V1vib9V8RmAeOxXHXod1bOKrbt91g35uKqHwLl16K6ioJEW1oE91b/s1600/kikideeearlyalbum.jpg" height="320" width="314" /></a>If you’re going to team up with someone to record a duet, you might as well do so with one of the highest profile pop-stars in the business. That’s precisely what female vocalist Kiki Dee did when she teamed up with Elton John to record the 1976 worldwide #1 ‘Don’t Go Breaking My Heart’.<br /><br />Kiki Dee arrived in this world (as opposed to an alien world) as Pauline Matthews during 1947 (the same year as Elton John). At the age of 16, Dee began singing with local bands around her local township of Bradford. Around the same time she also showed an interest in acting and in 1965 had a cameo in the film ‘Deadline For Diamonds’, a thriller produced by Pinewood Studios, London.<br /><br />Songwriter Mitch Murray came up with the stage name Kiki Dee, and during 1965 she signed with the Fontana Records label, releasing the single ‘Why Don’t I Run Away From You’, and by 1968 her debut album ‘I’m Kiki Dee’. During the mid to late 60s, Dee also worked as a session singer, backing the likes of Dusty Springfield, and regularly appeared on BBC Radio singing cover versions.<br />
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During August of ‘69, Kiki Dee came to the attention of the famed Motown label, and became the first female British performer to sign with the label. It was arranged for her to record her first album for the label with producer Frank Wilson in Detroit. The album ‘Great Expectations’ was realised and released in 1971, and yielded the minor U.S. Hot 100 hit, ‘Love Makes The World Go Round’ (#87). The album featured 12 tracks in all, covering some Motown classics including ‘I Second That Emotion’ and ‘For Once in My Life’, alongside a cover of Dusty Springfield’s ‘You Don’t Have To Say You Love Me’ (evoking the vocal style of Springfield in the process).<br /><br />But great expectations weren’t realised, and Dee was dropped from the Detroit label. But though label-less, Dee had an ally in former British Motown executive John Reid, who had gone on to manage Elton John. Reid introduced the two singers, and Dee was signed to John’s Rocket Records label in 1972. She sang backing vocals on a number of Elton John albums, but by late ‘73 was ready to record and release her first solo album for Rocket Records.<br />
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The album ‘Loving & Free’ (OZ#38) hit stores in late ‘73. It was a mixture of covers and several Elton John/Bernie Taupin penned tracks. John played keyboards on seven of the tracks and co-produced part of the album, recorded directly following John’s own ‘Tumbleweed Connection’ album. The stand out track, and hit single, was the beautifully crafted atmospheric ballad ‘Amoureuse’. Written and originally recorded by French artist Veronique Sanson, ‘Amoureuse’ rose majestically to #13 on the British charts in early ‘74 (OZ#12).<br /><br />During 1974, Kiki Dee assembled her own backing group, and recorded the album ‘Patterns’ (released in the U.S. as ‘I’ve Got The Music In Me’ - #28), under the banner of the Kiki Dee Band. The single, ‘(You Don’t Know) How Glad I Am’ (UK#33), originally recorded by Nancy Wilson, did solid business, but it was the upbeat, and appropriately titled, ‘I’ve Got The Music In Me’ (originally recorded by Sabrina Lory) that kept the Dee Band (and brand) in the upper reaches of the charts (US#12/ UK#19/ OZ#52). Within eighteen months Kiki Dee would reach the uppermost of those charts with one of the biggest selling singles of the decade.<br /><br />Elton John and Bernie Taupin had already written a number of songs for Kiki Dee under the pseudonyms of Ann Orson and Carte Blanche. During the first half of ‘76, the prolific song writing team penned an effervescent love song titled ‘Don’t Go Breaking My Heart’. Regular Elton John producer Gus Dudgeon had the reigns in the control booth, for the recording of the planned duet. But John and Dee recorded their vocals separately (due to scheduling issues), with John firstly recording his part at the Eastern Sound studios in Toronto, Canada. The tape was then sent to London, where Kiki Dee added her vocals. Credited to Elton John and Kiki Dee, it was John’s first appearance on his own Rocket Records label. A promotional video was shot for the song in a recording studio, featuring John and Dee playing off one another - with the obvious chemistry of good friends apparent throughout.<br />
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‘Don’t Go Breaking My Heart’ burst on to the British charts mid year, and had reached #1 by the end of July ‘76, replacing Demis Roussos at the top. Astoundingly, it was Elton John’s first involvement in a British chart topper. The song set up residency at #1 for six weeks, in turn being replaced by ABBA’s ‘Dancing Queen’. A similar trajectory occurred for ‘Don’t Go Breaking My Heart’ in Australia, with the track replacing ‘S-S-S--Single Bed’ by Fox (see separate post) during August, and a week later being danced off the top spot by ABBA’s ‘Dancing Queen’.<br />
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The song made its initial incursion into the U.S. Hot 100 at #66 during July of ‘76. Within just five weeks, the Rocket Records single rocketed to #1, in so doing replacing the Manhattans, who had to ‘Kiss And Say Goodbye’ to top spot. The perky pop of ‘Don’t Go Breaking My Heart’ broke the hearts of its competition for four weeks at #1, before the increasingly omnipresent Bee Gees supplanted it with ‘You Should Be Dancing’. Elton John would famously go on to perform the song with Miss Piggy on The Muppet Show. Following the triumph of having the biggest selling single in the world for 1976, John entered a period of voluntary retirement for nearly two years. For Kiki Dee the challenge arose to build on the momentum of her part in such a popular music behemoth. The title track from her 1973 album, ‘Loving And Free’, was released and peaked at #13 in Britain, followed by a minor U.S. hit in ‘Once A Fool’ (#82), but it became apparent that ‘Don’t Go Breaking My Heart’ was going to be a nigh on impossible act to follow.<br /><br />Kiki Dee released a self titled album in early ‘77 (UK#24/US#159). The fourteen track album realised a couple of British top forty hits in the form of ‘First Thing In The Morning’ (#32), and ‘Chicago’ (#28), along with a U.S. re-release of the 1974 track ‘How Glad I Am’ (#74). However, despite featuring an impressive array of guest players, Dee’s 1979 album, ‘Stay With Me’, her final release on Rocket Records, missed the charts altogether.<br />
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The 80s kicked off with a good start for Kiki Dee, with the 1981 single ‘Star’ hitting the celestial heights of #13 in the U.K. (OZ#64). It was lifted from Dee’s first album for the Ariola label, ‘Perfect Timing’ (UK#47). Produced by Pip Williams, the album boasted another impressive cast of guest players, including keyboardist Patrick Moraz (Moody Blues - see separate post), and drummer Steve Holly (ex-Wings). Elton John also joined Kiki on a cover of the Four Tops’ ‘Loving You Is Sweeter Than Ever’.<br /><br />All remained quiet on the Kiki Dee front for the remainder of the 80s, save for the 1987 album ‘Angel Eyes’, and regular backing vocals duties for Elton John. Dee and John returned to the charts as a duet during 1993, with a cover of Cole Porter’s ‘True Love’. They fell one place short in Britain of equalling the #1 triumph of ‘Don’t Got Breaking My Heart’ (OZ#23).<br />
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Kiki Dee returned to the stage in 1993, with the London West End play ‘Blood Brothers’, which spawned a soundtrack album. A ‘Best Of’ collection followed in ‘94 (UK#62), followed two years later by the live album ‘Almost Naked’. Kiki Dee then started a fruitful creative partnership with Carmelo Luggeri, the duo releasing three albums to date; ‘Where Rivers Meet’ (1998), ‘The Walk Of Faith’ (2005), and ‘A Place Where I Can Go’ (2013).<br /><br />Though she will long be associated with the mega-hit ‘Don’t Go Breaking My Heart’, it would be remiss to overlook the forty plus year career of Kiki Dee in its entirety.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/EQmRgFzg0jI" width="560"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/wEcJMJK8_Us" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-67727970096700545132014-06-09T00:45:00.000+10:002014-06-09T00:45:15.369+10:00Yes - Owners Of A Lonely Heart - the Commercialisation of a Prog Rock Band - Pt.2 <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKc9bNQnwjJZK8v4ZRMpnZYufB9SpqGqBhsTc1tPwe8m_uMbdHLyx2qml6hQFmuDHEnfAakTMGcXyrTIt1NPWpAwYz2Kdr2rRATYLb4dE6Jt9qLqoHe-OQMnZZTXqVnnJ1yJe-G_B4SPNy/s1600/yesgroupmid1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKc9bNQnwjJZK8v4ZRMpnZYufB9SpqGqBhsTc1tPwe8m_uMbdHLyx2qml6hQFmuDHEnfAakTMGcXyrTIt1NPWpAwYz2Kdr2rRATYLb4dE6Jt9qLqoHe-OQMnZZTXqVnnJ1yJe-G_B4SPNy/s1600/yesgroupmid1.jpg" height="320" width="269" /></a>Yes then released one of their most commercially successful albums in mid ‘77 with ‘Going For The One’. The album lived up to its title on the British charts (US#8/OZ#16), and yielded the band’s first significant hit singles, ‘Wonderous Stories’ (UK#7), and ‘Going For The One’ (UK#24). During this period, Yes was facing the same challenge as other prog-rock acts, staring down the torrent of new wave and post punk acts exploding onto the British music scene (with disco being the corresponding tidal wave in the U.S.). 1978’s album ‘Tormato’ (UK#8/ US#10/ OZ#22) produced the minor hit ‘Don’t Kill The Whale’ (UK#36 - nice to see the lads supporting animal liberation), and boasted a track listing of shorter, tighter songs, aimed at competing for support with more commercially lucrative genres.<br />
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Yes then experienced a major shake up in personnel, with the departures of both Wakeman (once again) and vocalist Jon Anderson. Both pursued solo careers, with Jon Anderson collaborating with keyboard maestro Vangelis as Jon and Vangelis on several albums. They scored their biggest hit together with 1982’s ‘I’ll Find My Way Home’ (UK#6/ OZ#22). Yes then recruited the duo of Trevor Horn (guitars), and Geoff Downes (keyboards) - both ex-Buggles (see separate posts) - for the 1980 album ‘Drama’ (UK#2/ US#18/ OZ#69). At the conclusion of another world tour (captured on the album ‘Yes shows’ - UK#22/ US#43), Yes released a short press statement announcing the band had folded. Steve Howe and Downes went on to play alongside Carl Palmer and John Wetton in the super-group Asia (see separate posts).<br /><br />Chris Squire and Alan White headed off to record some material of their own but they needed a guitarist to round out the sound. Enter classically trained ex-Rabbit player Trevor Rabin. Rabin had declined an offer to join Asia, and also declined a solo contract with RCA to form the new band Cinema, alongside Squire and White. The trio recruited original Yes keyboardist Tony Kaye, and undertook album sessions with Trevor Horn handling production duties. Rabin was handling vocal duties at this stage, but the chemistry wasn’t quite right. Post his Vangelis collaboration, Jon Anderson was approached by the band to step in and re-record some of the vocal tracks. By this time, the penny had dropped that in essence the collection of five musicians was a re-formed Yes. So the band dropped the Cinema moniker to revive the Yes brand. To survive in an 80s world, the reborn Yes had also adopted a revamped sound, choosing to drop some of the ornate classical pomp and intricate thematic, in favour of a more approachable, streamlined pop-rock sound.<br />
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The ‘hip’ new Yes style was no better in evidence as with the single release, ‘Owner Of A Lonely Heart’, which hit charts in late ‘83. With crunching guitars, pounding drums, overlaid by seering synthesiser hooks, and Jon Anderson’s falsetto vocals, ‘Owner Of A Lonely Heart’ was penned by Rabin, Anderson, Squire and Horn. It was backed by an impressive cinema scale promotional video, but even with so many things going for it, the question remained - could Yes have a major hit single in the U.S. The answer came back in the affirmative in early ‘84. ‘Owner Of A Lonely Heart’ replaced ‘Say, Say, Say’ by Paul McCartney and Michael Jackson at #1 (OZ#14/ UK#28), and following a two week reign was replaced in turn by Culture Club’s ‘Karma Chameleon’.<br /><br />And the change in Yes from album based prog-rockers to pop-rock hit makers was indeed chameleonic (a theme reflected in the music video). The follow up, ‘Leave It’ (UK#56), was a minor hit, but the source album ‘90125’ (named after its catalogue number), proved that Yes could still sell albums in big numbers (UK#16/ US#5/ OZ#27). Like Genesis before them, Yes alienated a percentage of their long standing core fan base with their new ‘commercial’ edge, but ‘selling out’ had more advantages than not.<br />
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Yes then took another sabbatical (during which band members explored external creative avenues), but reconvened on 1987’s ‘Big Generator’ (UK#17/ US#15/ OZ#44), which generated the hit singles ‘Love Will Find A Way’ (US#30/ OZ#80 - which I purchased on vinyl 45), and ‘Rhythm Of Love’. Anderson then left the fray once more and by 1989 had hooked up with old Yes cohorts Rick Wakeman, Bill Bruford and Steve Howe. A court battle then ensued for control of the Yes brand. In 1989, Anderson, Wakeman, Bruford, and Howe performed Yes songs live and released an album of new material but under the awkward banner of Anderson Bruford Wakeman Howe. By 1991, that quartet had resolved its dispute with the other ‘Yes’ camp of Rabin, Squire, White, and Kaye, and they recorded a new ‘official’ Yes album, the appropriately titled ‘Union’ (UK#7/US#15), with the seemingly unwieldy line-up of eight embarking on a hugely successful world tour.<br />
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Yet another combination of players (Anderson, Kaye, Rabin, Squire, White) assembled for the 1994 album ‘Talk’ (UK#20/ US#33), a combination which toured through 1996, resulting in the live set ‘Keys To Ascension’ (UK#48). After a further hiatus, Yes returned in 1999 with the UK#36 set ‘The Ladder’.<br /><br />Over the ensuing decade, Yes released the studio album ‘Magnification’, followed by two major tours (featuring the return of Wakeman), the 2004 tour marking the 35th anniversary of the band as a recording unit. Various incarnations of the group worked as both studio and live collectives over the years, leading up to the Trevor Horn produced ‘Fly From Here’ in 2011.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/9-BMlq_zyko" width="560"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ELpmmeT69cE" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Hrowi4hHz8A" width="560"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-81293540231169557832014-06-09T00:28:00.000+10:002014-06-09T00:28:08.669+10:00Yes - Owners Of A Lonely Heart - the Commercialisation of a Prog Rock Band - Pt. 1<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0rOB9KMleU1mKXUpB2pRLm7XrrsTUJ-5-dP1PxjcVgk5tBcoQq_q9jjyeFU5WToLWaopnuS7guBtlnqwd1pNqcsp4mEztYs1jk5yprHQ0T9vdXBbECDPkj0YGxihXslFIkw3QwRg0w4Jo/s1600/yesgroupearly2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0rOB9KMleU1mKXUpB2pRLm7XrrsTUJ-5-dP1PxjcVgk5tBcoQq_q9jjyeFU5WToLWaopnuS7guBtlnqwd1pNqcsp4mEztYs1jk5yprHQ0T9vdXBbECDPkj0YGxihXslFIkw3QwRg0w4Jo/s1600/yesgroupearly2.jpg" height="226" width="320" /></a>The progressive rock movement has gotten a bad rap over the years, from those beyond the genre’s circle of devotees. It’s been branded inaccessible, obtuse, high-minded, and grandiose, and those are some of the kinder judgements. Without getting laboured down by an intensive examination of the pros and cons of progressive rock, I’ll add my two cents worth by saying that for me progressive rock is rock music for intellectuals. Actually that’s a tad unkind, it’s more that it’s music that the listener has to actively engage with and interpret, to fully appreciate its multi-layered, often intricate texture. Rather than with a lot of pop-rock which can be listened to passively, and allowed to wash over the listener - it’s more immediately accessible and instinctual. That’s not to say that the two genre’s have to be mutually inclusive, or a person can’t enjoy the best of both worlds - as is the case with this author.<br /><br />As denoted in the ‘New Rolling Stone Encyclopaedia of Rock & Roll’ - progressive rock is “a form of rock music in which electric instruments and rock-band formats are integrated with European classical motifs and orchestrations forming extended, intricate, multi-sectional suites”. Which in lay terms I would interpret as pop-rock songs extended in length and widened in range, with a more virtuosic instrumentality. Or to put it another way, pop-rock songs are short stories with a straight forward plot and fewer characters, where as progressive rock is classical literature with all it’s pomp and regalia. The roots of the progressive rock movement lay in the British psychedelic and acid rock movements of the time - as a natural extension of the formers adventurism, and the latter’s cosmic themes.<br />
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By its very nature, given the extended playtime and conceptual nature of most progressive rock tracks, it is an album oriented genre. Commercial radio is less inclined to air seven minute opus’, particularly when they make more sense within the context of an entire album’s theme. One of the earliest and most groundbreaking of these conceptual progressive rock albums was ‘In The Court Of The Crimson King’ (1969) by King Crimson. But that was an album whose texture and structure drew on influences from the Moody Blues (see separate post), and Procol Harum for their “symphonic classicism” (as Rolling Stone describes it), and Jimi Hendrix’ ‘cosmic’ guitar style. Among the more notable, if not altogether commercially lucrative, of the British prog-rock bands of the early 70s and beyond were - Nice; King Crimson; Focus; Emerson, Lake & Palmer; early era Genesis (read the Peter Gabriel years), and the subject of this post, Yes. Yes can be counted among the most enduring and successful of British progressive rock acts. They perfected a formula of virtuoso musicianship encased without classical suite-like structures, and layered by three part harmonies, to yield an elaborate yet compelling whole. Critics scorned it as being high-minded indulgence with little relevance to the common man (and woman), but devotees of the genre were steadfastly enamoured by the sound.<br />
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Yes came to be in London during 1968, and comprised the roll call of Jon Anderson (vocals/ percussion), Peter Banks (guitar/ vocals), Tony Kaye (keyboards), Chris Squire (bass/ vocals), and Bill Bruford (drums). Anderson had met up with Squire in a Soho night club and conceived of forming a new band - the genealogy of the band’s origins, complex as they are, serves as an indicator of just how diverse the band’s personnel history would become over the years. All of the band’s original members had considerable experience with other acts, which contributed to Yes’ profile rising quickly, so quickly that within three months of their first gig they were the opening act at Cream’s November ’68 farewell concert at the Royal Albert Hall.<br /><br />The band were signed to the Atlantic label and released their eponymously titled debut album in 1969 (OZ#38), which comprised some originals, alongside two Beatles and Byrds covers which were expanded into almost unrecognisable baroque extravaganzas. The follow up set, ‘Time And A Word’ (UK#45/ OZ#22) further evolved the band’s sound to incorporate complex string arrangements, though it also drew some critical derision. Yes were prolific during this period, and following the departure of guitarist Peter Banks (to form Flash - aaaaaahhhh!), Steve Howe (ex-Syndicate) came on board for the recording of ‘The Yes Album’ (UK#7/ US#40/ OZ#20), in early ‘71, a stylistic melding of rock with classical music arrangements, with the use of synthesisers becoming increasingly prevalent on an album of all original material. The album received some notice in the U.S. (attained gold accreditation), with some FM stations adding Yes to their regular play lists.<br />
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Yes then recruited one of their most influential members, with keyboardist Rick Wakeman (ex-Strawbs) coming on board in place of Tony Kaye (who formed a new band - Badger). With his classical training, Wakeman added another layering of complex arrangements and symphonic instrumentation to the Yes sound profile. In late ‘71, the band released their fourth album, ‘Fragile’ (UK#7/ US#4/OZ#29), which spawned the band’s first hit singles, ‘Your Move’ (OZ#32/US#40), and ‘Roundabout’ (an edited version of the album track - US#13). ‘Fragile’ was also the first Yes album to feature the sci-fi/fantasy cover art of Roger Dean, and the Yes logo.<br />
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The band’s fifth album, ‘Close To The Edge’ pushed Yes into new and exuberant creative territory, and featured just three extended cuts, one of which was an ornate four piece suite. Following the recording of their ‘Close To The Edge’ (UK#4/ US#3/ OZ#21) in late ‘72, drummer Bill Bruford left the scene to join King Crimson and later establish a successful career as a jazz-rock bandleader, and was replaced by Alan White (ex-Plastic Ono Band). Keyboardist Rick Wakeman’s creative output was nothing short of prolific during this period, and he released his debut solo set in early ‘73, ‘The Six Wives Of Henry VIII’ (UK#7/ OZ#12). In between recording sessions, Wakeman was a key component in translating the Yes complex orchestral songbook into live sets, captured by the 1973 live triple album ‘Yessongs’ (UK#7/ US#30 /OZ#8) - it’s hard to conceive of any artist releasing a triple live album these days, but ‘live’ sets were at the height of their popularity in the mid 70s.<br />
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Inspired by the Shastric scriptures, the late ‘73 extended cuts double album ‘Tales From Topographic Oceans’ became Yes’ first British chart topper (US#6/ OZ#13) in early ‘74. Soon after Rick Wakemen jumped ship to pursue a fully fledged solo career - there had been increasing tension between Wakeman and the rest of the band over ‘lifestyle’ issues. He experienced instant success with the conceptual ‘Journey To The Centre Of The Earth’ (UK#1/ US#3/ OZ#2) in mid ‘74, followed in ‘75 by ‘The Myths And Legends Of King Arthur And The Nights Of The Round Table’ (UK#2/ US#21/ OZ#2) - possibly one of the longest album titles in popular music history. Wakeman’s appeal waned somewhat in the years following, but as a conceptual artist he had few peers during the 70s and early 80s. Yes recruited Patrick Moraz (ex-Refugee, and future Moody Blues - see separate Moody Blues post), to replace Wakeman, and released the ‘Relayer’ set in late ‘74 (UK#4/ US#5/ OZ#15).<br />
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During this period Yes were almost exclusively an ‘albums band’, though they continued to release singles which didn’t chart (this would change with their next album release). The band took a break over most of 1975/76 with four of their members, Howe, Squire, White, and Anderson, all releasing solo albums. Rick Wakeman returned to the Yes ranks during 1976, with Moraz linking up with the revived Moody Blues.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/m1I4Q6Px_78" width="560"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-66157288779899001302014-06-08T18:04:00.000+10:002014-06-08T18:04:04.490+10:00Squeeze - Through The Hourglass<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklcrT5jISalGzLvEMFmw-G_aKM36M1XWXOLLg4ntcolYR4B35-5ukj28s5AakgaH5PRWU9e4URHxWvhrOyocdJG0AW0aiPGT7Mqs1qYnlWbkIXEYXhoUi6hOhsZ9vLMY1HFEo6CV_Unzj/s1600/squeezegroup1987.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgklcrT5jISalGzLvEMFmw-G_aKM36M1XWXOLLg4ntcolYR4B35-5ukj28s5AakgaH5PRWU9e4URHxWvhrOyocdJG0AW0aiPGT7Mqs1qYnlWbkIXEYXhoUi6hOhsZ9vLMY1HFEo6CV_Unzj/s1600/squeezegroup1987.jpg" height="233" width="320" /></a>Squeeze emerged from slumber in early ‘85, with the ‘back to the future’ line-up from early ‘78 (less bassist Kakoulli) - Chris Difford (guitar/vocals), Glenn Tilbrook (vocals/guitar), Jools Holland (keyboards), Keith Wilkinson (bass), and Gilson Lavis (drums). The quirkily titled album ‘Cosi Fan Tutti Frutti’ (UK#31/ US#61/ OZ#97) hit stores in August of ‘85, preceded by the reflectively toned single ‘Last Time Forever’ (UK#45), though subsequent singles - the exotic and soulful ‘Hits Of The Year’, ‘Heartbreaking World’, ‘King George Street’ - failed to attend the pop party. Shortly after, the band added a second keyboardist in the guise of Andy Metcalfe (ex-Soft Boys and Robin Hitchcock & the Egyptians).<br /><br />The now sextet, pushed the Squeeze brand further inside the U.S. Hot 100 than it had ever ventured before, via the effervescent single ‘Hourglass’ (UK#16/ US#15/ OZ#90 - which I purchased on vinyl 45), backed by a humorous and visually captivating promotional clip. The 1987 source album, the cleverly titled ‘Babylon And On’ (UK#14/ US#36/ OZ#84) revealed a band that had lost none of its vim or vigour, aiming to reclaim some of the straight up pop-rock territory of their earlier work. Subsequent singles did little business on the charts, the exception being ‘Trust Me To Open My Mouth’ (UK#72 - the video shot in a giant mouth, thankfully without indigestion). Though it failed to chart, the single ’853-5937’, a tale of phone messages missed, was backed by a clever promotional video, featuring the band playing inside a giant telephone, whilst the band left their mark in the snow on the engaging ‘Footprints’. Metcalfe left after the album release, with Squeeze reverting to their more familiar quintet configuration.<br />
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With a rejuvenated mojo, much was expected from Squeeze’s next album, 1989’s ‘Frank’ (UK#58/ US#113). I’m not certain who Frank was or is, but his namesake failed to build on the momentum generated from his predecessor, with the late ‘89 singles ‘If It’s Love’ (as engaging as it is - the video reveals once more Squeeze’s playful sense of humour), and ‘Love Circles’ finding little love from the record buying public. The album as a whole revealed a band more at ease with their musical identity, engaging in an understated sense. Soon after, long standing Squeeze fans were issued a treat from the band’s old Deptford Fun City label, in the form of the live album ‘A Round And A Bout (Live 1974-1989)’ (UK#50), which featured the bonus 3 track EP ‘Packet Of Three’.<br /><br />Squeeze were then dealt a double blow of misfortune, in the form of Jools Holland leaving once more to pursue a solo career and indulge in his passion for television presenting (firstly hosting the popular ‘Sunday Night’ on NBC, before eventually hosting his own long running show in Britain - ‘Late Night With Jools’ - which each week featured several big name, and emerging music acts). Holland’s considerable genius at the keyboards took more than one replacement to compensate for, Squeeze recruiting the combined services of Matt Irving and Steve Nieve (ex-Elvis Costello & The Attractions) on keyboards, along with Tony Berg (keyboards/guitar), and Bruce Hornsby (accordion). The second in the double whammy of blows came via long time label A&M’s decision to drop Squeeze from their playing roster part way through the band’s 1989 tour.<br />
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With dogged determination, the band marched on to the beat of their next album, ‘Play’ (UK#41), released in August of ‘91 on the Reprise label, and critically well received, though the associated singles, the lively ‘Sunday Street’, and the atmospheric ‘Satisfied’ fell short of the charts. It’s worth noting that Spinal Tap actors Michael McKean and Christopher Guest, are guest contributors to the album.<br /><br />Squeeze then welcomed the return of Paul Carrack to the ranks (in between solo and Mike & The Mechanics duties) for their tenth studio album, ‘Some Fantastic Place’ (UK#26/ US#182), along with new drummer Pete Thomas (ex of Elvis Costello’s Attractions) replacing Gilson Lavis who had left Squeeze to rejoin old cohort Jools Holland and his Big Band. Re-signed to A&M, the band recaptured some commercial momentum, via the singles ‘Third Rail’ (UK#39), melodic power-pop at its finest, and ‘Some Fantastic Place’ (UK#73).<br /><br />The lineup continued into ‘95, except for Kevin Wilkinson in place of Thomas, and released the album ‘Ridiculous’ (UK#50), late in the year. The album yielded three hit singles - the hazy ‘This Summer’ (UK#32), the nostalgic flavoured ‘Electric Trains’ (UK#44), and the partly Difford spoken ‘Heaven Knows’ (UK#27) - proving that Squeeze still had some clout in commercial terms. With Carrack moving back to his tenure with Mike & The Mechanics (see future post), Chris Difford and Glen Tilbrook recruited an all new support structure for Squeeze, in the form of Chris Holland (brother of Jools - keyboards/vocals), Hilaire Penda (bass), and Ashley Soan (drums - formerly of Del Amitri, see separate posts), though it would take almost three years for their next album of new material to appear. ‘Domino’, was released in November of ‘98 via the Quixotic label (the A&M label had folded), though any quixotic ambitions for the album soon evaporated via ‘Down In The Valley’, the associated single which failed to chart - reviews placed the album in the ‘workmanlike’ category at best.<br />
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The Polygram label released the album ‘Live At Royal Albert Hall’ in December of ‘99, with highlights being the slightly rock-a-billy reworking of ‘Annie Get Your Gun’, and acoustic version of ‘Tempted’ which elicited an eager sing-a-long from the audience. But by then Difford and Tilbrook, the core creative forces within Squeeze, had taken the decision to part ways and pursue projects independent of one another, in the process calling an end to Squeeze the band.<br /><br />In 2004, VH1’s ‘Bands Reunited’ featured an episode on Squeeze - the aim being to reunite the original (or key) members of the band with the view of having them to perform a one off concert together. They managed to elicit an affirmative for the offer from Gilson Lavis (drums), and Keith Wilkinson (bass), but were offered a tentative um and ah from Jools Holland who, from my memory of seeing the show, intimated that he might give it a go if Chris Difford and Glenn Tilbrook both committed (“good luck with that” was his message). Apparently Difford and Tilbrook were incommunicado at the time. The producers arranged for both to meet in an arranged place at an arranged time. Difford rolled up but Tilbrook didn’t, and that was the sticking point - the duo simply weren’t ready to work together again at that point.<br />
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Some tentative tour dates began to happen from 2007, and a live album, ‘Five Live: On Tour In America’ was released that year. But by 2010, the ice had fully melted, and the bridges were entirely mended, and the creative partnership of Difford and Tilbrook took to the stage once more as Squeeze. I have a DVD copy of a concert they performed together in 2010, titled ‘Squeeze: Live From The Artist’s Den’. The show was shot in Bryant Park, New York. Preceding the show, Glenn Tilbrook stated that he and Difford felt that it was “the right time for us” to be performing together again. The lads played some classic Squeeze, such as ‘Take Me I’m Yours’, ‘Annie Get Your Gun’, and ‘If It’s Love’, and they sounded as pop-proficient as ever.<br /><br />In August of that year they released, via Love Records, the album ‘Spot The Difference’, a reworking of 14 Squeeze hits, proving they could still deliver the goods, almost as well as the originals. Paul Carrack sounds as good as ever on ‘Tempted’, whilst Chris Difford’s re-rendering of the classic ‘Cool For Cats’ sees the ‘Sweeney doin’ 90’ with all the zest of the original.<br /><br />Though a claim from Difford and Tilbrook that they’d written over 1000 songs together, and critics comparisons to the song writing prowess of Lennon & McCartney, might be in the mildly exaggerated column, the song writing axis of Difford and Tilbrook, and their band Squeeze, established a first-rate body of work over a 20 year pop odyssey. One that warrants being explored by anyone in search of fine music.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/O5sgSW8P2gE" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Z4U8RCN1kfU" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-66903912155855212912014-06-08T17:39:00.003+10:002014-06-08T17:39:59.591+10:00Squeeze - Too Cool For Cats<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQc8BhBB_LhE8_LT7hK8sCsml7outqI4MzCQBMHTAPZT8NVhAe-aHCh4sD4F8I6_Y6nd0wQyc153Ya_KH9yZXmChJiBcFTiVer_9cKkVyDBE60cHa4Xq5LBzI9kCRcshXglfqxFECD9mFa/s1600/squeezegroup1979.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQc8BhBB_LhE8_LT7hK8sCsml7outqI4MzCQBMHTAPZT8NVhAe-aHCh4sD4F8I6_Y6nd0wQyc153Ya_KH9yZXmChJiBcFTiVer_9cKkVyDBE60cHa4Xq5LBzI9kCRcshXglfqxFECD9mFa/s1600/squeezegroup1979.jpg" height="235" width="320" /></a>Back in the late 80s I borrowed a CD titled ‘Singles - 45’s And Under’. It was a ‘best of’ collection from the British band Squeeze. I recall being well chuffed that I could finally listen to the song ‘Cool For Cats’ in pure digital format, but I admit that at the time I wasn’t that familiar with the body of work that Squeeze had produced to that point in time. As brilliant a song as ‘Cool For Cats’ is, it wasn’t, and isn’t, representative of the Squeeze style and sound overall. So it was a great pleasure to hear and immerse myself in the music of Squeeze to a greater degree. I’ve since purchased that ‘best of’ CD for myself, along with a ‘Greatest Hits’ on DVD, and some of the other albums of this much underrated band of the new wave era. Though I confess, as much as I’ve grown to love so many other songs from Squeeze, ‘Cool For Cats’ remains a favourite track. So, just as I broadened my own Squeeze knowledge all those years ago, please read on if you’d like to avail yourself of some of that knowledge now.<br />
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In Deptford, South London during March of 1974, friends Chris Difford (guitar/vocals), and Glenn Tilbrook (vocals/guitar) started a song writing partnership, with Difford handling lyrics, and Tilbrook the music. After accruing a repertoire of material they recruited the services of Jools Holland (keyboards), Harry Kakoulli (bass), and Paul Gunn (drums), and adopted the group name Squeeze (named after a Velvet Underground album).<br /><br />After playing the local pub and club circuit, the quintet were signed to the Miles Copeland owned independent label B.T.M., and released their debut single, ‘Take Me I’m Yours’ in early ‘77. But, the label went bankrupt and the single was withdrawn shortly after its release. Shortly after that, Gunn was replaced on drums by Gilson Lavis. But Squeeze had caught the ear of producer John Cale (of Velvet Underground), who cast a production ear over the three track EP ‘Packet Of Three’, released on the Deptford Fun City label in August of ‘77.<br /><br />The band then came to the attention of major label A&M, who signed them to a recording contract in late ‘77 (this was during a period where the major labels were in a fit of chaotic clamouring to sign up ‘new wave’ acts with potential). The lead out single to Squeeze’s eponymous debut album, released in March of ’78 and produced by Cale, was the reworked ‘Take Me I’m Yours’ (UK#19), one of many cockney adolescent anecdotes that would crop up on the quintet’s early work. The hypnotic rhythm of the track was backed by a straight up performance based clip. The follow up single, ‘Bang Bang’ (UK#49), also registered a hit in the lower reaches of the British charts. . Shortly after the ‘Squeeze’ album came another personnel change, with John Bentley taking over from Kakoulli on bass, the latter leaving to pursue a solo career.<br />
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Following the release of the lead out single, ‘Goodbye Girl’ (UK#63), in late ‘78, Squeeze finished work on their sophomore album, ‘Cool For Cats’ in early ‘79 (produced by John Wood). The title track, and second single, ‘Cool For Cats’ surfaced from the cat’s box in March of ‘79. Whilst Glenn Tilbrook handled the bulk of the band’s vocals, Chris Difford took the mike on ‘Cool For Cats’, employing a kind of cockney style rap to sing the lyrically jocular material. It was pop rock at its best, backed by an eye catching promotional video which featured Difford snarling into the microphone, backed by the band (with Jools Holland resplendent in flying jacket and trademark cigar in mouth). The back up singers wore matching red sunglasses and black leather jackets, one with the letters ‘SQU’, the other with ‘EEZE’ emblazoned on the back. I first saw/heard the song on Australia’s ‘Countdown’, and was awestruck by it from the get go. I also recall that Squeeze were referred to on the show as U.K. Squeeze. I later discovered the reason for this was there was an American band called Tight Squeeze, and for the purposes of not confusing bands, Squeeze were referred to as U.K. Squeeze outside Britain (a similar thing happened with The Beat/The English Beat) - eventually the band Tight Squeeze folded, and Squeeze were known as just that the globe over. But I digress. ‘Cool For Cats’ purred up the pop charts and peaked at #2 in Britain, a whisker away from being top cat, and #5 in Australia in mid ‘79. A few years later I recall hearing the song used in a commercial for Bridgestone tyres - the lyrics amended to “cool for cats, Bridgestone cats” - hardly did the original justice.<br />
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The song writing partnership of Difford and Tilbrook, in particular Difford’s lyrics, were earning a reputation as being astute observations of working class Britain, a darkly droll, and impishly witty, socio-economic commentary (drawing on influence from Ray Davies of the Kinks), encased within a sophisticated pop-rock structure, as evidenced in the follow up single ‘Up The Junction’, a gripping tale of working class love swept away in the face of disenchantment. The record buying public clearly empathised with the tale, matched perfectly with melancholic tinged music, as ‘Up The Junction’ arrived at the UK#2 traffic lights during August of ‘79. The promotional video featured Squeeze playing in the kitchen of a council tenancy. The follow up singles, ‘Slightly Drunk’, and ‘Slap And Tickle’ (UK#24) witnessed Difford’s playful lyrics, and helped to further fuel sales for the source album, ‘Cool For Cats’ (UK#45/OZ#18). The album had established Squeeze as a serious player on the post-punk, new wave scene.<br /><br />Squeeze’s third album, ‘Argybargy’, jostled for business in early 1980, with the lead out single ‘Another Nail In My Heart’ hammering down #17 on the U.K. charts. The band turned in another eye catching performance in the promo video. ‘If I Didn’t Love You’ strangely missed the mark, whilst the premium pop of ‘Pulling Mussels (From A Shell)’ notched up #44 in Britain. The track afforded Holland the room to stretch his pianist skills, whilst Difford’s lyrics were more evocative than ever Despite releasing consistently high quality singles, Squeeze were finding substantial album sales harder to attain, with ‘Argybargy’ only able to push its way to #32 in Britain. It did become the first Squeeze album to chart in the U.S. (#71), due in large part to college-radio picking up on the three single releases. It also reflected the growing craftsmanship of both Difford and Tilbrook, via a diversity of cracking tracks from the percolating ‘Misadventure’ to the Motown-ish ‘There At The Top’.<br />
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Keyboardist Jools Holland then departed the band to pursue his musical muse via the vehicle Jools Holland and the Millionaires, through which he could indulge his growing devotion to boogie-woogie piano. He would soon also lend his talents to co-hosting Channel 4’s ‘The Tube’ on television. A hard act to follow, Squeeze set their sights on recruiting rock/soul journeyman Paul Carrack to the vacant keyboardist position. Carrack had already played with the likes of Ace, Frankie Miller, and Roxy Music and would go on to contribute to many more artists work, and a solo career - see future posts for more.<br />
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Carracks’ first duties with Squeeze were on the breakthrough ‘East Side Story’ album, co-produced by Elvis Costello. The album was intended to be a concept outing of sorts, a kind of new wave answer to ‘Sgt. Peppers’. Four producers were sounded out to cut one side each of a planned double album set - Paul McCartney, Nick Lowe, Dave Edmunds, and Elvis Costello (all but Costello withdrew). The lead out single was the compact pop of ‘Is That Love’ (UK#35) released during April of ‘81. The reception for the song was much more favourable compared to the poor reception effects in the music video. The track was followed mid year by the soulful ‘Tempted’ (UK#40/ US#49/OZ#95), which showcased Carrack’s smooth vocal delivery, and Difford’s brilliantly woven lyrics of a tale of infidelity. The track was backed by a simple but effective performance video. ‘Labour Of Love’ (UK#4) returned Squeeze to the British top five, via a touching country-rock flavoured number. The critics raved, and sales for ‘East Side Story’ were solid in the U.K. (#19), but pushed into brave new territory Stateside (#44).<br /><br />Paul Carrack left Squeeze after a one album tenure, with ex-Sinceros’ player Don Snow taking his place. Carrack, ever the rock journeyman, moved on to tour with Carlene Carter, then played with her husband Nick Lowe’s project Noise To Go (see separate Nick Lowe posts), before embarking on a solo tilt.<br />
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In May of ‘82, Squeeze released their fifth album, ‘Sweets From A Stranger’ (UK#37/US#32), the band seemingly on the edge of breaching the big time in the U.S., though the associated single releases sold modestly, the smooth, soulful ‘Black Coffee In Bed’ reaching a drowsy #51 in Britain, whilst the brooding ‘When The Hangover Strikes’ might as well have stayed in bed. Other album highlights worth noting for reference in the Difford/Tilbrook songbook, were the lively ‘I’ve Returned’, and the seductive ‘The Elephant Ride’. Lyricist Chris Difford had become involved in the British antinuclear movement during this period, and had penned the protest song ‘Apple Tree’ for inclusion on the ‘Sweets’ album, but possibly wanting to avoid the wrong kind of attention the label de-cider-d not to include it. On the back of solid album sales in the U.S., Squeeze kicked off a nationwide tour over the summer of ‘82, including a gig at Madison Square Garden. But with five albums released in five years, and a relentless touring schedule, the song writing team of Difford and Tilbrook were feeling the squeeze for energy and inspiration, and took the decision to disband Squeeze before the end of ‘82.<br /><br />A ‘best of’ compilation, ‘Singles - 45s And Under’ (the CD I first borrowed), was released in November of ‘82, and featured the new track and single, ‘Annie Get Your Gun’ (UK#43/OZ#52), the track ‘going electric’, a not altogether unexpected move. The ‘Singles’ album squashed the competition to peak at #3 in Britain (OZ#76/US#47 - it would eventually be accredited platinum in the U.S.).<br />
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With Squeeze placed on indefinite hold, the creative partnership of Chris Difford and Glenn Tilbrook, looked to life beyond the band, and found it as the duo…wait for it… Difford & Tilbrook. They recruited bass player Keith Wilkinson (with various and sundry session players), to record a self titled album during the first half of ‘84 (UK#47/US#55). Boasting a more sophisticated sound, the album spawned three singles, ‘Love’s Crashing Waves’ (UK#57 - the promotional video filmed, appropriately enough by the seaside), ‘Picking Up The Pieces’, and ‘Hope Fell Down’, without substantial chart success. In 1983, the duo also found time to write a stage play, ‘Labelled With Love’, in which they featured.<br /><br />Though the only encore in sight would feature their old band Squeeze taking the stage once more.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/pblSU5M1d1Y" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/c3635AFfu0s" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/SmlCJFaUnKI" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-27816588443647311692014-06-08T17:15:00.002+10:002014-06-08T17:15:56.760+10:00Eagles - Snapshot #2 - Solo Eagles Fly High Of all the former Eagles to emerge into solo territory in 1980, only guitarist/vocalist Joe Walsh had any form as a solo artist. Prior to kicking off his solo jaunt, Walsh had been a member of the James Gang, going solo in 1971. In 1972, he put together a backing group and recorded the album ‘Barnstorm’ (US#79). He kicked off his solo career proper in 1973 with the album ‘The Smoker You Drink, The Player You Get’ (US#6), which featured the FM classic ‘Rocky Mountain Way’ (US#23/ UK#39/OZ#39), perhaps Walsh’s most instantly recognisable song.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jR1g7IydMSt9ohgcsErbi66bVtTWiRQVbbbNQyqRehZEDXDx9BfGL3JoNk9bdn1ZTWC_rtNRINi5M8R2mRfkqDKuZ9HmD48JAVaFAut8yGSPdW3MId_pCVn6KA-d7x9RWAn1ewW_jH85/s1600/eaglessolowalsh.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0jR1g7IydMSt9ohgcsErbi66bVtTWiRQVbbbNQyqRehZEDXDx9BfGL3JoNk9bdn1ZTWC_rtNRINi5M8R2mRfkqDKuZ9HmD48JAVaFAut8yGSPdW3MId_pCVn6KA-d7x9RWAn1ewW_jH85/s1600/eaglessolowalsh.jpg" height="316" width="320" /></a>Two more albums followed, 1974’s ‘So What’ (US#11/ OZ#55), and the 1976 live set ‘You Can’t Argue With A Sick Mind’ (US#20/ UK#28/ OZ#85), before Walsh was recruited to replace Eagles’ guitarist Bernie Leadon just in time for that group’s ‘Hotel California’ album. Walsh was the only member of the Eagles to continue his solo career whilst still on tenure with the band. In 1978, he released the album ‘But Seriously Folks’ (US#8/ UK#16/ OZ#31), which proved there was a still an appetite among fans for Walsh the solo artist. The album yielded Walsh his biggest solo hit in the form of ‘Life’s Been Good’ (US#12/ UK#14/ OZ#56), a witty, self deprecating account of rock star decadence, of which Walsh was familiar.<br /><br />Following the Eagles’ break-up, Walsh first resumed solo missions with the U.S.#19 hit single ‘All Night Long’, lifted from the ‘Urban Cowboy’ soundtrack. His first full length album arrived in 1981 in the form of ‘There Goes The Neighbourhood’ (US#20/OZ#63), which spawned Walsh’s final foray inside the U.S. Top 40 with the single ‘Life Of Illusion’ (#34). Joe Walsh released three further album’s during the 80s - ‘You Bought It - You Name It’ (US#48) in 1983, ‘The Confessor’ (US#65) in 1985, and ‘Got Any Gum’ in 1987. The late 80s were spent touring with Ringo Starr & His All Starr Band.<br /><br />Walsh recommenced solo duties with the 1991 album, ‘Ordinary Average Guy’, released on the Epic label. The album featured eleven tracks in all, most of them penned by Walsh. The stand out was the title track, ‘Ordinary Average Guy’, a rock come reggae ode to himself and all other celebrities being just ‘ordinary’ and ‘average’ - tongue in cheek of course. When I saw the Eagles play live in 1995 in Sydney, they performed a number of solo hits from each member. Among those was ‘Ordinary Average Guy’, which was performed with a dozen or so life size cardboard replicas of well known music stars, movie stars and celebrity identities - it was a highlight of the show (one of many). The album as a whole was a more measured, even mellow affair by comparison to Walsh’s back catalogue of work.<br />
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‘Songs For A Dying Planet’ followed in 1992, before Walsh resumed Eagles’ duties in ‘94. The futuristic themed ‘A Future To This Life’ appeared and almost as quickly disappeared in 1995. It would be seventeen years before Joe Walsh released his next solo album, 2012’s ‘Analog Man’, the reflections of an aging rock star in a digital world. Walsh benefited from the production work of Jeff Lynne (E.L.O.), and even invited along old friend Ringo Starr as guest drummer. The title track best illustrates that Joe Walsh has retained his rocking, guitar gymnastics, and proclivity toward clever, comic lyrics.<br /><br />Prior to his tenure with the Eagles, bassist/vocalist Timothy B. Schmit played with country-rock outfit Poco. He joined the band in 1970, as s replacement for Randy Meisner, who himself would go on to join the Eagles. Schmit played with Poco until 1977, when once more he replaced Meisner, this time as Eagles’ bassist (a job he auditioned for eight years previous). Following the demise of the Eagles in 1980, Schmit rejoined his old cohorts in Poco, prior to that band also splitting once more in ‘84. Poco reformed once more in 1989, but this time without Schmit in the playing roster.<br />
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Prior to releasing his debut solo album, Schmit had already dipped his creative toes into solo waters with the single ‘So Much In Love’, which featured on the hit soundtrack to ‘Fast Times At Ridgemont High’ in 1982. His first solo album arrived in 1984 in the form of ‘Playin’ It Cool’ (US#160). As you’d expect, Schmit’s silky smooth vocals are a highlight on the album, which also featured guest appearances from Beach Boy Carl Wilson, Don Henley, Joe Walsh, and J.D. Souther.<br /><br />In between solo work over the years, Schmit has leant his sublime high tenor vocals to work by the likes of Bob Seger, Steely Dan, Jimmy Buffet, and even Spinal Tap, as well as a stint with Ringo Starr’s All Starr Band (though not at the same time as Joe Walsh). Schmit released his sophomore album, creatively titled ‘Timothy B.’ (MCA label -US#106), in 1987. The lead out single was the synth inflected, 80s pop styled ‘Boys Night Out’ (US#25), which I purchased on vinyl 45 at the time. The album featured eight tracks in all, penned by the song writing team of Timothy B. Schmit, Bruce Gaitsch, and Will Jennings.<br /><br />Schmit returned in 1990 with the album ‘Tell Me The Truth’, a favourite with the critics who lauded the album’s smooth, polished nature. In all, six producers had a hand in the album, with guest players including Don Henley, Siedah Garrett, Rita Coolidge, and Marilyn Martin (see separate post).<br /><br />Aside from maintaining a presence on tour and in studio with the Eagles, from the mid 90s on, Timothy B. Schmit has released two further solo albums, ‘Feed The Fire’ (2001), and ‘Expando’ (2009), a return to Schmit’s country and folk-rock roots, echoing his Poco days, and early Crosby, Stills & Nash.<br /><br />The Eagles will likely always be regarded as being greater than the sum of its individual parts, but those parts as solo artists have also established a fine body of work.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/BXWvKDSwvls" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/sCUilkA38Xo" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/iW1WHi60aq0" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-73280428911712375722014-04-19T16:03:00.001+10:002014-04-19T16:03:46.183+10:00Eagles - Snapshot #1 - Solo Eagles Fly High<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhea1bFDI7JE0pj_u9FtKeHB_IJumSE343FjIFN3xgx6Wpb9bhXhyphenhyphentGnrHhlK8sq7xS5so4ythw4SaMXc2_E4H97aCU3gpwM_PN-Kskxg4hcKSig7fwYAm1OYPCSqy2DYcMMYb5gkf4ixM2/s1600/eaglesband.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhea1bFDI7JE0pj_u9FtKeHB_IJumSE343FjIFN3xgx6Wpb9bhXhyphenhyphentGnrHhlK8sq7xS5so4ythw4SaMXc2_E4H97aCU3gpwM_PN-Kskxg4hcKSig7fwYAm1OYPCSqy2DYcMMYb5gkf4ixM2/s1600/eaglesband.jpg" height="180" width="320" /></a>The word ‘legendary’ is bandied about far too much in relation to high achieving and/or influential music artists (actually it’s bandied about far too much in general). But one band that merited the application of the world ‘legendary’ are the Eagles. In the decade between their formation in 1971, and messy and prolonged disbandment in 1982 (though they hadn’t actively played together since 1980), the Eagles amassed several platinum albums, many millions in record sales, a clutch of Grammy Awards, sold out world tours, and had earned the widespread respect of their peers. The band eventually reformed in 1994 (and as Glenn Frey stated “for the record we never broke up, we just took a 14 year vacation”), releasing the #1 album ‘Hell Freezes Over’ - a quip at what was once considered necessary for the band to ever play together again. The album featured four new cuts, and eleven classics recorded at a MTV concert performance, and went on to sell over five million copies.<br /><br />But what of the intervening twelve years, between the dissolution of the Eagles, and their eventual reformation. What follows is a look in isolation at one solo project from each of Don Henley, Glenn Frey, Joe Walsh, and Timothy B. Schmidt, recorded during that period.<br />
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Eagles drummer/ vocalist Don Henley released his debut solo album ‘I Can’t Stand Still’ (US#24/ OZ#42) in August of ‘82. Produced by Henley with Danny Kortchmar and Greg Ladanyi, and released on Elektra Records, the album featured 11 tracks in all, 6 of which had been co-written by Henley and Kortchmar. The lead out single was ‘Johnny Can’t Read’ (US#42/OZ#49), a salutary tale about the declining state of the education system in the U.S., wrapped in a bouncing rock-a-billy coating. But it was the follow up single that would announce Henley’s arrival as a solo artist. ‘Dirty Laundry’ cleaned up its act and shone bright at #3 on the U.S. charts in early ‘83 (OZ#51). Lyrically, it was an acerbic swipe at gossip, rumour mongering, and gutter journalism. The track featured a blistering guitar solo from Joe Walsh. The title track and third single, ‘I Can’t Stand Still’ (US#48), was a trouble in paradise love song. Aside from his own talents, Henley assembled an impressive list of guest players, including former Eagles Timothy B. Schmit, Joe Walsh, J.D. Souther, Toto players Jeff Porcaro and Steve Lukather, and Warren Zevon. The album (which I own on CD) was an impressive start to Henley’s post-Eagles career. But bigger things were on the way.<br /><br />Henley released his sophomore solo album, ‘Building The Perfect Beast’ (OZ#4/ US#13/UK#14) in late ‘84 and hit commercial pay dirt. The album realised the hit singles ‘The Boys Of Summer’ (OZ#3/ US#5/UK#12), ‘All She Wants To Do Is Dance’ (US#9), and ‘Sunset Grill’ (US#22), as well as earning Henley a Grammy Award for Best Male Rock Vocal Performance.<br />
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The album , ‘The End Of The Innocence’ (US#8/ UK#22/ OZ#44) followed in 1989, and yielded the title track (co-written by Henley and Bruce Hornsby) as a hit single (US#8/ UK#48), as well as the track ‘The Heart Of The Matter’ (US#21). In 1992, Henley returned to the upper reaches of the charts with ‘Sometimes Love Just Ain’t Enough’ (US#2/ OZ#4/UK#22), a duet with Patty Smyth. Henley’s most recent solo album was 2000’s ‘Inside Job’ (US#7), with most of his creative energies directed to the reformed Eagles.<br /><br />Eagles’ guitarist/vocalist Glenn Frey released his debut solo album, ‘No Fun Aloud’ (US#32/OZ#44) in May of ‘82 on the MCA label. The ten track affair spawned two hit singles - ‘The One You Love’ (US#15), and ‘I Found Somebody’ (US#31). Next up Frey released the album ‘The Allniter’ (US#37/UK#31) in mid ‘84, which yielded the hit singles ‘Sexy Girl’ (US#20), and ‘Smuggler’s Blues’ (US#12/UK#22), the latter featuring in an episode of the TV series ‘Miami Vice’, in which Frey was a guest actor.<br /><br />Glenn Frey’s moment in the sun as a solo artist came via his 1985 hit single ‘The Heat Is On’ (US#2/ OZ#2/UK#12), lifted from the blockbuster Eddie Murphy comedy film ‘Beverly Hills Cop’. Frey followed this up in late ‘85 with ‘You Belong To The City’ (US#2/OZ#20), culled from the ‘Miami Vice’ soundtrack album.<br />
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Three years elapsed before Frey resurfaced with the album, ‘Soul Searchin’ (US#36/OZ#49), released in August of ‘88. The album featured ten tracks, eight of which had been co-written with regular song writing cohort Jack Tempchin. The album’s only hit major single came in the form of ‘True Love’ (US#13/OZ#54), which I purchased at the time on vinyl 45. The track ‘Livin’ Right’ reached #22 on the U.S. Adult Contemporary chart (#90 Hot 100), whilst the title track performed well at #5 on the U.S. Adult Contemporary chart.<br /><br />Four years later Frey returned to the fray with the 1992 album ‘Strange Weather’. Frey worked with Jack Tempchin and Jay Oliver to pen 15 songs for inclusion on the album, but commercial fortunes were waning for Frey the solo artist, as the album missed the U.S. top 200, and only the single ‘I’ve Got Mine’ (US#91) made a dent, or at most small scratch on the paintwork of the Hot 100. Prior to reforming the Eagles, Frey released a live album in 1993, a mixture of Eagles and solo work. In 2012, Glenn Frey released the album ‘After Hours’, a collection of mellow classics from a bygone era, perhaps beginning to feel that he too is a mellow classic from a bygone era.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/VYEm76840Yo" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/qh4nVj8g4hg" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/1-mU-YSk32I" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/j4ueaD22hg8" width="560"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-25692270853308770632014-04-11T15:32:00.002+10:002014-04-11T15:32:56.862+10:00Neneh Cherry - Running In The Family<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilW5o35__PnOJEe2rJxM5fXb4nh3YJtCebXi13gRA2kZQjLaGxhperNYf5pDdf4mDFISBfBaJXx2UirQ1WRhWJFT9GQrHyjrWWdhrSS7xrSn49mWI2dtgwzgJfTrirSXk06Izy8JZnF-_5/s1600/nenehsolo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilW5o35__PnOJEe2rJxM5fXb4nh3YJtCebXi13gRA2kZQjLaGxhperNYf5pDdf4mDFISBfBaJXx2UirQ1WRhWJFT9GQrHyjrWWdhrSS7xrSn49mWI2dtgwzgJfTrirSXk06Izy8JZnF-_5/s1600/nenehsolo.jpg" height="320" width="212" /></a>The term ‘runs in the family’ can have many and varied connotations, good and bad, depending upon context. Popular music is sprinkled with family connections of all natures, and in the case of Neneh Cherry, the Cherry family tree has served to produce one of the most talented singer/songwriters to have emerged during the late 80s, and into the 90s. The ‘Rolling Stone Encyclopaedia of Rock & Roll’ surmised her early career as encompassing styles as disparate as “dropping beats and wisdom like a cosmo boho”, through to “prancing like an African queen”. It was doubtless the girl was artistically versatile, with depth and substance to match.<br /><br />Neneh Cherry was born Neneh Mariann Karlsson in the land of Volvo’s and all things ABBA, but moved to New York City at an early age. She was raised and educated by her Swedish mother Moki (an artist), and step-father Don Cherry (whose surname she adopted). Don Cherry was a world renowned jazz trumpeter who struck gold back in 1956 with the worldwide top five smash ‘Band Of Gold’. Suffice to say jazz music was a mainstay soundtrack in the Cherry household, and a young Neneh soaked up the influences, in particular becoming a devotee of jazz luminary Ornette Coleman, often falling asleep to a jazz soundtrack whilst on tour with her step-father Don.<br />
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At age 17, Neneh Cherry relocated to London where she initially sang backup to the ska band Nails, then augmented the line-up of (nearly) all-girl punk outfit the Slits. She already had a connection of sorts with the band, as step-father Don had provided guest trumpets on earlier work. Following the demise of the Slits in 1981, Cherry followed drummer Bruce Smith (the father of her first child) to the newly formed outfit Rip, Rig & Panic, with whom she sang and played percussion. The band was a stylistic blending of punk, funk, jazz, ska, and soul, that would inform Neneh’s future musical direction. They released three albums - ‘God’ (1981); ‘I Am Cold’ (1982); ‘Attitude’ (1983) - before parting ways. I recall seeing Rip, Rig & Panic guest on the TV sitcom ‘The Young Ones’ during the 1982 series. Cherry followed up her tenure there with a debut single, titled ‘Stop The War’, followed by a new project Float Up C.P. during the mid 80s, and began rapping regularly at London clubs. Her soulful vocals were also in much demand during that period and she appeared on The The’s ‘Slow Train To Dawn’ during 1986, and worked with Massive Attack as an arranger. That same year Cherry met Cameron McVey (better known as Booga Bear), and the two formed a song-writing partnership that would bear considerable fruit before season’s end.<br />
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In 1988, Neneh Cherry entered the studio with producer/ musician McVey to record a revamped version of a song from McVey’s mid 80s project Morgan-McVey. ‘Buffalo Stance’ was a funk-edged song laced with hip-hop beats, and interposed with Cherry’s wide-girl rapping. It hit the charts during November of ‘88 and took a stance at #3 on both sides of the Atlantic (OZ#16). Cherry came to notice as a woman of substance when she appeared on Top Of The Pops in a lycra bodysuit, whilst heavily pregnant with her second child. The smooth and soulful ‘Manchild’, backed by a captivating music video, followed in May of ‘89 (UK#5/OZ#51) as a lead in to the release of Cherry’s debut album.<br />
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With such a diverse musical background, Cherry brought with her a melting pot of stylistic influences in the recording of her debut album - infusing it with hip-hop, jazz, soul, R&B, and avant-rock elements. ‘Raw Like Sushi’ hit stores in mid ‘89 and soon served up a feast at #2 on the British charts (US#40/OZ#35). The single ‘Kisses On The Wind’ blew in at #8 on the U.S. charts in late ‘89 (UK#20/OZ#52), and was followed by ‘Inner City Mama’ (UK#31), which further exemplified Cherry’s depth lyrically, addressing issues of motherhood and feminism with a maturity that belied her still young age (25 years). In 1990, Cherry contributed the track ‘I’ve Got You Under My Skin’ (cover of Cole Porter song - UK#25/OZ#63) to the AIDS research benefit album ‘Red, Hot and Blue’. Soon after, Cherry returned to Sweden with now husband McVey to write and record her sophomore album in the township in which she grew up.<br />
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By late 1992, Cherry returned with the appropriately titled album ‘Homebrew’, a slightly less intoxicating set than her debut effort (UK#27/ OZ#74), which was led out by the single ‘Money Love’ (UK#23/ OZ#84). The album featured guest spots from Gangstarr’s Guru, and R.E.M.’s Michael Stipe. The follow up single ‘Buddy X’ was, upon initial release, restricted to top 40 status (UK#35) - though it became a staple on MTV - but in late ‘99 was given a makeover and re-released by Dreem Team Vs. Neneh Cherry, and found a spot at #15.<br /><br />After a quiet couple of years, Neneh Cherry came to the fore again in 1994 with the mesmerising and evocative single, ‘7 Seconds’, a duet with famed Senegalese singer Youssou N’Dour. Backed by an affecting promotional video, ‘7 Seconds’ took no time at all to peak at #3 in both Britain and Australia, and reached top spot in France (where it stayed for a remarkable 17 weeks) - I purchased the song on CD single at the time. In March of ‘95, Neneh Cherry’s name was attached to the Comic Relief charity single, ‘Love Can Build A Bridge’, a British #1 hit that also featured Cher, Chrissie Hynde, and Eric Clapton.<br /><br />Having released her work in Britain via the Circa label, Cherry signed with Virgin subsidiary Hut for her third album, 1996’s ‘Man’ (UK#16). The album featured the powerful feminist anthem ‘Woman’ (UK#9/OZ#16) which hit the charts mid year, a lyrical retort to the 1966 James Brown hit ‘It’s A Man’s World’. Other featured tracks included ‘Kootchi’ (UK#38), and ‘Feel It’ (UK#38).<br />
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Neneh Cherry then took an indefinite sabbatical from solo recording to focus in part on family duties, but she remained actively involved in all manner of creative endeavours. She formed a production company with her husband, has worked on several television projects, collaborated in jewellery design, contributed vocals to artists as diverse as Peter Gabriel, and Groove Armada, and was an integral part of the band CirKus (alongside her husband, and daughter). In 2011, Cherry returned to her jazz roots when she collaborated with The Thing, an experimental jazz group, with whom she felt a great affinity.<br /><br />Following an absence from solo work of nearly eighteen years, Neneh Cherry released an album of new material in early 2014, titled ‘Blank’, with a European Tour in support announced soon after.<br />
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Proof that the Cherry doesn’t fall far from the family tree came in the form of Neneh Cherry’s half-brother Eagle-Eye. Born the son of Don Cherry and Neneh’s Swedish mother Moki, Eagle-Eye was so named due to his opening of one eye shortly after birth, whilst being looked over by father Don. Like his half-sister Neneh (four years his senior), he was raised in New York City, though also like Neneh, he spent a good amount of time in tow as his father toured the world. Through such experiences, Eagle-Eye soon gained an ear for drumming, and a multitude of other musical instruments. But his first passion upon reaching maturity was firmly in the thespian arts, enrolling in the famed Manhattan School of Performing Arts (FAME!). It wasn’t until he was 24 that Eagle-Eye Cherry gravitated to a formal musical environment, when he joined his first band, whilst still studying towards a degree.<br /><br />Within two years he had been signed up to Sony’s subsidiary Work Records label, and contributed soon after on the Marvin Gaye tribute album, ‘Inner City Blues: The Music Of Marv’, in 1996. It was during this period that Eagle-Eye Cherry amassed a solid catalogue of self-penned songs, that would form the basis of his debut album. Said album, released on Polydor, arrived in mid ‘98 under the banner of ‘Desireless’ (UK#3/US#45). Like older sister Neneh, Eagle-Eye infused a myriad of song styles, and influences on the critically lauded debut set, from 70s era funk, through Dylan-esque guitars, and Motown vocals, he quickly drew comparisons with Lenny Kravitz (see future posts). The debut single, ‘Save Tonight’ was a world wide smash (UK#6/UK#5/ OZ#17), and was followed up by another British top ten hit with ‘Falling In Love Again’ (UK#8). The source album, ‘Desireless’, went on to sell over four million copies worldwide, and achieved platinum status.<br />
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With a burgeoning reputation as a songwriter with innate sensibilities and a wide aural palette, Eagle-Eye Cherry was enlisted to compose the soundtrack albums for the films ‘Best Laid Plans’ and ‘Go’ in the year following his debut set. With producers The Dust Brothers and Rick Rubin on board, Cherry released his sophomore album ‘Living In The Present Future’ (UK#12) in 2000. It featured my favourite track of his, ‘Are You Still Having Fun?’ (UK#21). Over the ensuing twelve years, Eagle-Eye Cherry released three further albums - ‘Sub Rosa’ (2003); ‘Live And Kicking’ (2007); ‘Can’t Get Enough’ (2012). In early 2014, he released the single ‘Dream Away’. With sister Neneh reviving her solo career, it may not be beyond the bounds of reality to envisage a creative collaboration between the two of them in the not too distant future.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/OJ9VBMBS3qE" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/wqCpjFMvz-k" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/z0W212af1uk" width="560"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/FwiuXevi9FE" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/yBSuSLmOGSQ" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-4581005608761727972014-04-04T16:07:00.001+11:002014-04-04T16:07:46.750+11:00Earth, Wind & Fire - Snapshot #2 - Welcome To 'Boogie Wonderland'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vmr2f0AZF93DhDcqwvH8VqaCAyFaI2s0ZHEm8tyNXODhOdAG8hcsRMZNTzQePEJPOIkHSu27WlKpV_gtEDNk01VIRfzDaYxvJxrahXjfXiAhUxfirmrMPdfZbgXL7eIA8Sr55L5pj1CO/s1600/earthwindfiregroupboogie.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vmr2f0AZF93DhDcqwvH8VqaCAyFaI2s0ZHEm8tyNXODhOdAG8hcsRMZNTzQePEJPOIkHSu27WlKpV_gtEDNk01VIRfzDaYxvJxrahXjfXiAhUxfirmrMPdfZbgXL7eIA8Sr55L5pj1CO/s1600/earthwindfiregroupboogie.jpg" height="260" width="320" /></a>Previously, Maurice White had been intent on utilising the playing roster within the band, but for a new song he had written, he had in mind recording it with a bank of female vocals to compliment his own. He recruited the services of female vocal trio the Emotions (see future post), who had scored a US#1 hit in 1977 with ‘Best Of My Love’. The Emotions had toured with Earth, Wind & Fire previously and it wasn’t unheard of for the two acts to share the stage. The trio comprised the Hutchinson sisters, Wanda, Sheila, and Pamela, who had come under the guidance of Maurice White and the auspices of his production house Kalimba Productions (the name taken from the African thumb piano - one of many exotic instruments White incorporated into the EW&F sound). The song that Maurice White had written was ‘Boogie Wonderland’ (US#6/ UK#4/OZ#6), a hit that would be one of the defining anthems of the disco era. Lush, and resplendent in style, ‘Boogie Wonderland’ renders its listener helpless in the face of an overwhelming urge to get up and dance, even those of us not proficient in shaking one’s booty. The song was backed with a lavish performance based promotional video, showcasing the band’s stage craft and doubtless helping push the song to the upper reaches of the charts.<br /><br />‘Boogie Wonderland’ was harvested from the source album, ‘I Am’ (US#3/ UK#5/OZ#12), which also yielded the silky smooth ballad, ‘After The Love Has Gone’ (US#2/ UK#4/OZ#62), which was one of the few songs not penned for the group by White (it had been co-written by the prolific David Foster). The album also spawned the US#16 hit, ‘Star’.<br />
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With such an impressive benchmark to match, Earth, Wind & Fire took their time to re-emerge from the studio, but re-emerge they did in October of 1980 with the new album, ‘Faces’ (US#10/ UK#10/ OZ#55), but relative to ‘I Am’, the album was a commercial disappointment, producing just one top thirty hit in the guise of ‘Let Me Talk’ (US#44/UK#29). It might have been resultant of the imminent demise of disco in the face of a ‘new wave’ of music, but White & Co must have been questioning whether the band were still relevant in their current mode of operation.<br /><br />But disco, and dance music still had a mainstream audience, if a little hard to reach via the airwaves, and Earth, Wind & Fire (now with Bautista back on guitar) managed to access that audience with one last tilt at the upper reaches of the charts. The album was ‘Raise!’ (US#5/ UK#14/OZ#37), and the associated single was the infectious ‘Let’s Groove’ (US#3/ UK#3/OZ#15), backed by a promotional video that showcased all of the band’s glitz and glamour, partnered with the era’s cutting edge video effects. As the clip ends, Earth, Wind & Fire are shown to fade into the distance, symbolic perhaps of the path the band were to take from there on in.<br />
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Released in early ‘83, the album ‘Powerlight’ (US#12/ UK#22/OZ#82) represented more of a power-cut for Earth, Wind & Fire, as for the first time in a decade they released an album that failed to penetrate the top ten (though it did yield the top twenty single ‘Fall In Love With Me’ (US#17/UK#47). Unperturbed, another album followed late in ‘83 in the form of ‘Electric Universe’ (US#40), which was the band’s poorest selling album since their Warner Bros. days. With commercial fortunes drying up, and a sense of the band being directionless, Maurice White took the decision to place Earth, Wind & Fire on an indefinite hiatus from March of ‘84. White pursued solo interests and continued to write and produce work for other artists, whilst Philip Bailey continued with a solo career he had made tentative steps towards back in ‘83. Bailey would combine with Phil Collins on the 1985 US#2 ‘Easy Lover’ - see future post.<br /><br />White reconvened Earth, Wind & Fire in mid ‘87, establishing the new playing roster of himself, Bailey, Verdine White, Andrew Woodfolk, and new guitarist Sheldon Reynolds. It was the sleekest line-up the band had ever had, with other duties being augmented by session players. The relaunched band released the album ‘Touch The World’ (US#33) in November of ‘87, but it generated only two minor hits in the form of ‘System Of Survival’ (US#60/UK#54 - #1US R&B), and ‘Thinking Of You’ (US#67). Ralph Johnson (percussion) and Sonny Emory (drums) were added to the band for 1990’s ‘Heritage’ (US#70), but despite the band’s rich heritage, it was only their core fans that looked to purchase their work.<br />
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Two more albums surfaced during the 90s, ‘93s ‘Millennium’ (US#39 & about seven years too early), and ‘99s ‘In The Name Of Love’. In 2003, Earth, Wind & Fire released the album ‘The Promise’, a mix of original material and classic hits of the band’s career, followed by a venture into neo-soul on 2005’s album ‘Illumination’, with Maurice White taking more of a backseat involvement in proceedings. The band continued to tour over the ensuing decade, and in 2010 were collectively inducted into the Songwriters Hall of Fame. Their latest work was the 2013 album ‘Now, Then & Forever’.<br /><br />Though strongly identified and aligned with the 70s disco phenomenon, Earth, Wind & Fire were a much more diverse musical force than could be contained by just one style. They were also innovators in their craft, and strongly influenced many of their peers, and subsequent generations. With album sales over and above 20 million, who could deny the band their rightful place of prominence in pop music folklore.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/god7hAPv8f0" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Lrle0x_DHBM" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-89507623707916316642014-04-04T15:46:00.000+11:002014-04-04T15:46:27.976+11:00Earth, Wind & Fire - Snapshot #1 - The Elements Come Together<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwWQgR-9gx-FUwWWHwOob3HFgGqAOzh6-VzvGdmcUWdRWNy2IaMmu5TIs0QPf06Mqmbjw8G-uiYy-ssCSeZ49Q_-dZMJktBL7NtY5RiT_IBf_38Dc07wdWcUS41E-JvIygNQHCYkYyssGZ/s1600/earthwindfiregroupfirst.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwWQgR-9gx-FUwWWHwOob3HFgGqAOzh6-VzvGdmcUWdRWNy2IaMmu5TIs0QPf06Mqmbjw8G-uiYy-ssCSeZ49Q_-dZMJktBL7NtY5RiT_IBf_38Dc07wdWcUS41E-JvIygNQHCYkYyssGZ/s1600/earthwindfiregroupfirst.jpg" height="320" width="297" /></a>Some songs age well, whilst others are consigned to become dated almost overnight. Though the disco era received an unfair mauling at the hands of pop-rock purists, in time it has become evident that the genre yielded some of the most pristinely crafted popular music, not just of its time, but imbued with a longevity of appeal thirty years after the word ‘disco’ was dismissed as throwaway music. As with most music genres, disco eventually came back into fashion, and nostalgia has tinted it with an air of respectability. For mine, disco was never ‘out of fashion’. Sure it turned up its share of howlers, as any musical style does, but in the most part it produced finely crafted pop music that infuses the listener, the open minded listener, with a sense of high energy and freedom. No song captures that brief better than Earth, Wind & Fire’s ‘Boogie Wonderland’.<br /><br />Earth, Wind & Fire brought its many elements together in 1969, under the stewardship of Maurice White. White had a vision for the band from early on in his life. He grew up playing music, at one time jamming with Booker T. Jones, later of the Memphis soul band Booker T. and the M.G.’s. At age 16, Maurice White entered the Chicago Conservatory of Music, with a view to becoming a music teacher. Following a stint as a session musician at the renowned Chess Records’ studios (where he played with the likes of Jackie Wilson, Fontella Bass, and The Impressions), he joined a group called the Ramsey Lewis Trio. The group toured the Middle East, whereby White became a student of mysticism, which would inform the vision for his own band. He even drew a picture of what they might look like.<br />
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Relocating to Los Angeles, White first conceived of a new name for his band - Note: for a few months during 1969 whilst based in Chicago, White, and his assembled backing band at the time, were known as the Salty Peppers, but White wasn‘t happy with that name - I mean who would be? Drawing from his astrological star sign, Sagittarius, he identified the three elements earth, air and fire (but no water). He changed air to wind, and behold - Earth, Wind & Fire was born. There was just one problem, he needed to find some musicians to fill the roster for his new project. White not only looked for like minded musicians, but like minded people. Most of the assembled band were vegetarians, and into mysticism and meditation - something the band did collectively before performances. The original line-up for the newly born Earth, Wind & Fire was Maurice White (vocals, drums, percussion), Verdine White (bass), Wade Flemons (keyboards/vocals), Don Whitehead (piano/vocals), Michael Beal (guitar), Sherry Scott (vocals), Yackov Ben Israel (congas/percussion), Chet Washington (tenor sax), and Alex Thomas (trombone).<br />
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Earth, Wind & Fire first recorded as a brass laden, jazz/fusion/ funk band. After their first two albums (‘Earth, Wind and Fire’ - US#93 and ‘The Need Of Love’ - US#89) failed to garner much interest, the band was dropped from the Warner Brothers’ roster at the beginning of 1972. Maurice White had to rethink the conceptual side of the band, which included a virtual clean out of the ranks. Maurice retained only the services of younger brother Verdine, and recruited a new line-up featuring Philip Bailey (vocals/percussion - a key recruit with his distinctive falsetto vocal style), Larry Dunn (keyboards/clavinet), Ralph Johnson (drums/percussion), Roland Bautista (guitar), Ronald Laws (saxophone/flute), and Jessica Cleaves (vocals). The band signed to the Columbia label in ‘72, and released the album ‘Last Days And Time’ (US#87) which failed to improve much on previous efforts. The band’s line-up was fluid in nature during this period (sometimes resembling a cast of thousands), and more changes were made late that year, with Al McKay (guitar), Andrew Woodfolk (horns), and Johnny Graham added to the mix.<br />
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1973’s ‘Head To The Sky’ (US#27) served to increase the band’s profile, and featured their first top fifty single, ‘Evil’. By 1974’s album ‘Open Our Eyes’, which yielded the top 30 single ‘Mighty Mighty’ (US#29), Earth, Wind & Fire had adopted a more overtly danceable style of music, layered in rich folds of funk, soul, and R&B, whilst retaining White’s positive, even metaphysical lyrics within. The blueprint had been laid for a sound that would evolve over the next five years, one that was precise yet sensual, with a broad palette of stylistic brush strokes, from Latin-funk, gospel harmonies, unremitting horn sections, all under the production tutelage of Maurice White. The band’s roster also stabilised during this period as White had found the right chemistry for the outfit. It’s worth noting that the band’s live and studio sound was sometimes augmented by the Phoenix Horns, headed by saxophonist Don Myrick, who also appeared regularly on Phil Collins and Genesis albums of the early 80s - another connection between Philip Bailey and Phil Collins beyond their 1985 collaboration on ‘Easy Lover’.<br />
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In 1975, Earth, Wind & Fire released their sixth studio album, ‘That’s The Way Of The World’, which brought to the fore the falsetto vocal gymnastics of Philip Bailey. The album was a conceptual affair intended to serve as a soundtrack to a film about an aspiring rock and soul band (I’m thinking semi-autobiographical), portrayed by the members of Earth, Wind & Fire at the time - Maurice White, Philip Bailey, Fred White, Verdine White, Larry Dunn, Alan McKay, Ralph Johnson, John Graham, and Andrew Woolfolk. The first single from the album was ‘Shining Star’, a funk based song that impinged more than slightly into the burgeoning disco/dance style. ‘Shining Star’ entered the U.S. Hot 100 at #86 in February of ‘75. Fifteen weeks later ‘Shining Star’ displaced Tony Orlando and Dawn atop the U.S. charts (OZ#95), only to be dimmed a week later by the arrival of Freddy Fender at #1. The song also won the band their first Grammy Award for ‘Best Vocal Performance By A Group’. The #1 and double platinum album, ‘That’s The Way Of The World’ (OZ#84), also spawned a #12 hit in the title track.<br />
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It was during this period that Earth, Wind & Fire graduated to playing arena style venues, with their concerts featuring elaborate stage shows, and spectacular costumes. With a solid schedule of touring under their belt, it was about time Earth, Wind & Fire released a live album, which took the form of ‘Gratitude’ (US#1), which was released in late ‘75 and produced the #5 hit single ‘Sing A Song’ in early ‘76 (one side of the double album set contained new studio tracks). By year’s end, the band had recorded another studio album, ‘Spirit’ (US#2), which harvested the hit ‘Saturday Nite’, the band’s first incursion into British chart territory (#17/US#21). By this stage, Earth, Wind & Fire were a flagship performer on the tidal wave that was disco music. ‘All ‘N All’ (US#3 /UK#13/OZ#21) - the band’s fourth platinum album - opened proceedings for Earth, Wind & Fire in 1978, yielding the hit single ‘Fantasy’ (US#32/ UK#14/OZ#25).<br />
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With disco the dominant musical genus, Earth, Wind & Fire polished their collective glitter balls and gave a danceable overhaul to the Beatles’ classic, ‘Got To Get You Into My Life’ (US#9/ UK#33), and followed that up with one of the consummate party anthems ‘September’ (US#8/ UK#3/OZ#12) in late ‘78. Both hits featured on the mega-selling compilation, ‘The Best Of Earth, Wind & Fire, Vol.1’ (US#6/ UK#6/OZ#7) which served as an entrée to what was to be a sumptuous feast of Earth, Wind & Fire music in 1979.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/rl-WSmryfSY" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Gs069dndIYk" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-82917211549530975042014-03-14T00:18:00.004+11:002014-03-14T00:29:06.159+11:00The Genesis Of 'Abacab'<div class="separator" style="clear: both; text-align: center;">
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In 1986, I was afforded the opportunity to see Genesis in concert at Sydney’s Entertainment Centre. I had just completed my high school studies and was excited, albeit a little nervous, as I hopped on the tour bus to take me to the ‘big smoke’. It was my first big concert experience, and it was more than everything I’d hoped it would be. With almost 20 years touring experience behind them, Genesis knew how to put on a show. I’d later learn to appreciate the Peter Gabriel era Genesis, but at the time I was only familiar with the Phil Collins’ led outfit. This was their ‘Invisible Touch’ tour, an album which saw Genesis reach the pinnacle of their career - in commercial terms at least. The core trio of Phil Collins (vocals/drums), Mike Rutherford (guitar), and Tony Banks (keyboards), were augmented in concert by regular tour cohorts Daryl Stuermer (bass), and Chester Thompson (drums). Almost thirty years later that concert experience has stayed with me as a highlight of my concert going ventures. As quickly as I could I began buying up the Genesis back catalogue, including their 1981 album, ‘Abacab’, which to this day remains one of my choices among the band’s best offerings.<br />
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Genesis recorded a total of five albums, and the 1974 double album ‘The Lamb Lies Down On Broadway’, during Peter Gabriel’s tenure as lead vocalist. During this period of their career the band were primarily an art rock come progressive rock outfit, demanding a concerted effort on the part of patrons to tap into the <br />
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depth of their sound. Gabriel departed Genesis at the end of their 1975 tour, and would go on to achieve a phenomenally successful solo career (see future posts). Rather than look beyond the band for a replacement <br />
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vocalist, the decision was made to add lead vocals to the duties of drummer Phil Collins. Despite some reservations from other band members, Collins was confident he could do the job.<br />
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Genesis carried on in studio with the quartet of Collins, Rutherford, Banks, and long term guitarist Steve Hackett. For touring purposes, the band enlisted Chester Thompson to share drumming duties, freeing Collins up to become the front man. The pair would regularly perform a drum duet for each live show. That incarnation of Genesis recorded two albums together - 1976’s ‘A Trick Of The Tail’, and the early ‘77 set ‘Wind & Wuthering’. Hackett too left the band soon there after, also to pursue a solo career, though without the profile of Gabriel. Once more Genesis were posed the question, do we recruit outside the band to replace Hackett? The answer was the same as with Gabriel, with bassist Mike Rutherford stepping up to assume guitar duties. The band brought Daryl Stuermer into their live configuration to handle bass responsibilities.<br />
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In studio, Genesis had been pared back to the trio of Phil Collins, Tony Banks, and Mike Rutherford, and in 1978 released their first album in that formation, with the appropriately titled ‘And Then There Were Three’, which contained their first bonafide commercial hit in the form of ‘Follow You, Follow Me’, and the sublime ballad ‘Many Too Many’. Genesis followed that up with 1980’s ‘Duke’ set, yielding the guitar driven hit ‘Turn It On’, and the soulful, horn laced Phil Collins penned ‘Misunderstanding’. By this time the band were sailing perilously close to becoming a pop-rock outfit. But they still retained some of their art-rock roots, particularly on the pure album cuts.<br />
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If Genesis were sailing close to pop-rock territory on ‘Duke’, they docked at the pop-rock pier for 1981’s ‘Abacab’. Released in September of ‘81, ‘Abacab’ was produced by Genesis, with acclaimed producer Hugh Padgham acting as sound engineer. Phil Collins handled the lead vocals, percussion and drums, Tony Banks keyboards and backing vocals, and Mike Rutherford guitars, bass, and backing vocals. The album featured nine tracks in all, with eight clocking over four minutes in length. Six of the tracks were co-written by all three band members, with each of Banks, Collins and Rutherford composing one track.<br />
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‘Abacab’ was still ‘art-rock’ at its core, or album oriented rock, but it was layered with an increased number of pop hooks, relative to earlier albums. The Genesis brand instrumental passages were still in evidence on tracks like the album version of ‘Abacab’, but they were less prevalent, and secondary to the band branching into other stylistic areas. A reggae beat was in evidence on the track ‘Me And Sarah Jane’, whilst ‘Dodo’ was driven to extinction by a funk rhythm track. Other album tracks included the oddball character of ‘Who Dunnit?’, the shimmering ‘Like It Or Not’, and the heavily percussed (as opposed to concussed) ‘Another Record’, which was another record all together from Phil Collins’ ‘Face Value’, but similar in sound.<br />
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The ‘Abacab’ album yielded four single releases. ‘No Reply At All’ (US#29 - #2 US Mainstream Rock chart/ OZ#74), boasted the bold brass of the Earth, Wind & Fire horn section (see separate post), who had also recently featured on Phil Collins’ ‘Face Value’ album. The atmospheric ‘Man On The Corner’ was closer to the traditional Genesis sound, and found the outskirts of the top forty (US#40/UK#41). The eccentric ‘Keep It Dark’ (UK#33) was an engaging tale of alien worlds visited (but ssssshhhhoosh, don’t tell anyone) and was backed by an appropriately quirky promotional video. The single remix of the title track, ‘Abacab’ (UK#9/ US#26 - #4 Mainstream Rock chart/ OZ#35), was the closest thing to guitar/synth driven rock on the album, and was remarkably close in nature to a ‘new wave’ song, at least in the single remix. It was backed by a very effective performance based clip. When I’m playing my copy of the Genesis ‘Video Show’ on DVD the volume always gets turned up for ‘Abacab’.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWyksYYSswUgrIWzbxsbZpSusDSMN76LNUpzQcioMCurYSXAIYpsRchXNzdRolC6oMdV-qUnsdGguVu8m-WApJ-dB7fG-SkFbaWdEZFiqJjDS4WMUs0NEnMg9e6eL5qrZRpZ8b-7jS84v/s1600/genesisabacab3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEWyksYYSswUgrIWzbxsbZpSusDSMN76LNUpzQcioMCurYSXAIYpsRchXNzdRolC6oMdV-qUnsdGguVu8m-WApJ-dB7fG-SkFbaWdEZFiqJjDS4WMUs0NEnMg9e6eL5qrZRpZ8b-7jS84v/s1600/genesisabacab3.jpg" height="250" width="320" /></a></div>
‘Abacab’, the album, earned Genesis their second #1 album in the U.K. (US#7/ OZ#18), following on from ‘Duke’, and confirmed the band’s growing commercial appeal. The ’Abacab’ album was a clear pointer to Genesis evolving from a predominantly progressive rock outfit, into a more commercially accessible band, an evolution that would reach its culmination on the mega-selling ‘Invisible Touch’ album.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/6CT04i1ot78" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/HIC9muS2Yuo" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/gQkiqQ7zZBQ" width="420"></iframe>)A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-61727374549734585742014-03-12T22:54:00.000+11:002014-03-12T22:54:25.207+11:00XTC - Serious Skylarking<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgycvbpsIYuiLlwJB7XPd6WIs8yzynnhlcd9ebF_dKDIZ_ZTYjuR_yjBVBz5o5TSk1ph0TEFnnVPFyoW6XG11G3C5_XfskJG4J3_Vqpxvu1-vFdxrleaXbweqvgRqowFcVIdnhQ4CFHBRfb/s1600/XTCgroup2a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgycvbpsIYuiLlwJB7XPd6WIs8yzynnhlcd9ebF_dKDIZ_ZTYjuR_yjBVBz5o5TSk1ph0TEFnnVPFyoW6XG11G3C5_XfskJG4J3_Vqpxvu1-vFdxrleaXbweqvgRqowFcVIdnhQ4CFHBRfb/s1600/XTCgroup2a.jpg" height="320" width="310" /></a>Now an exclusively studio-bound outfit, XTC returned to the fray in mid ‘83 with the release of the album ‘Mummer’ (UK#51), supported by the singles, the acoustically charged ‘Great Fire’, the soulfully smooth ‘Wonderland’, and the gently lilting ‘Love On A Farmboy’s Wages’ (UK#50). Though building on some of the foundations laid down by ‘English Settlement’, the album seemed to take a step back in terms of having a coherent style, though in general it was critically well received in its intentions.<br /><br />The late ’84 album, ‘The Big Express’ (UK#38/OZ#96), recovered some ground in terms of direction, and featured the delightful sea-shanty styled single ‘All You Pretty Girls’ (OZ#76), which I was very happy to eventually get hold of via the ‘Fossil Fuel’ compilation. The follow up singles, the low key ‘This World Over’, and the raucous ‘Wake Up’ failed to awaken record buyers, though the band may have missed a trick in not releasing the enchanting portion of nostalgia-pop in the form of the sprightly ‘The Everyday Story Of Smalltown’. Soon after the release of ‘The Big Express’, session drummer Pete Phippes took an express bus out of XTC, and was replaced by Ian Gregory (keyboardist Dave Gregory’s brother).<br /><br />It was around this time that XTC sowed the seeds of a plan to break free of the confines of the band’s identity, and pursue greater artistic freedom, in a kind of insurgency against trying to satisfy the record labels with commercial success. The band once more hooked up with producer John Leckie to release an EP titled ‘25 O’clock’ in mid ‘85 under the alter-ego come pseudonym Dukes Of Stratosphear, in the process tapping into some fresh artistic inspiration with a more overtly psychedelic offering, harking back to some of their earlier influences, and indeed parodying them.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhMZCMl5dGgrVxVKpVbsdDnhErHaARf8lhyphenhyphen7tvhNTuV8QnqQ6GWIN6aQYpNpxlurZym8uEPaU2UaN0-C6cs0IXrOB74_X0mN7fD1JxXsiqfHNlPePVeJMu-HSQi5Cz4VXPJzjFEiIPVzdD/s1600/XTCskylarking.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhMZCMl5dGgrVxVKpVbsdDnhErHaARf8lhyphenhyphen7tvhNTuV8QnqQ6GWIN6aQYpNpxlurZym8uEPaU2UaN0-C6cs0IXrOB74_X0mN7fD1JxXsiqfHNlPePVeJMu-HSQi5Cz4VXPJzjFEiIPVzdD/s1600/XTCskylarking.jpg" height="313" width="320" /></a></div>
The Dukes’ venture paid dividends with a rejuvenated XTC re-entering the studio during the first half of ‘86 in partnership with acclaimed producer Todd Rundgren. There were some well documented clashes between Rundgren and Andy Partridge, but the end result was the critically acclaimed return to form on ‘Skylarking’ (UK#90/US#70). The lead out single was the seductive ‘Grass’, penned by Colin Moulding. The B-side was a Partridge penned song called ‘Dear God’ (which I ended up purchasing on a CD-EP. Though ‘Grass’ didn’t grow on the charts, a college-radio DJ liked what they heard on the B-side and soon the lyrically biting agnostic anthem ‘Dear God’ became a hit on the American college-radio scene. Overall the album borrowed from the best of earlier albums like ‘English Settlement’ and married it to the lushness of mid 60s psychedelic rock, evoking the echoes of later vintage Beatles and Beach Boys, and marrying polished lyrical arrangements with meticulous instrumentation.<br />
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It was during this period that XTC found itself embroiled in all manner of litigation, against a former manager, and with an unwieldy record label relationship - at that time Virgin handled them in the U.K., whilst in the U.S. Geffen released their work under a licensee agreement. It all fed in to the general perception that XTC were not enamoured with the music industry. Unperturbed by legal wrangling, or perhaps to spite it, the band once more adopted their Dukes Of Stratosphear guise to release the album, ‘Psonic Psunspot’ in August of ‘87 - in 1989, the EP ‘25 O’clock’ and album ‘Psonic Psunspot’ featured on a combined album release titled ‘Chips From The Chocolate Fireball’. By the end of ‘87, Ian Gregory had left the fold, to be replaced by drummer Pat Mastelotto (formerly of Mr. Mister - see separate post).<br />
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With said litigation proceedings placed to one side, XTC returned to the studio in late ‘88 to begin work on their next album. They were partnered this time with producer Paul Fox, and once more their was producer/artist friction as Partridge wrestled for creative control of the project. The result of their endeavours was the creatively well received ‘Oranges And Lemons’ album (UK#28/US#44), released in February of ‘89. The lead out single was the delightful dedication of love, ‘Mayor Of Simpleton’, which I bought on vinyl 45 at the time. ‘Mayor Of Simpleton’ became XTC’s first foray into the U.S. Hot 100 (US#72/UK#44), and was backed up by the brilliant blue skies feel of ‘King For A Day’. Overall the album is brimming with psychedelic sonic brushstrokes, echoing the Kinks’ Ray Davies at his finest on tracks such as ‘The Loving’, and even offering up the Jethro Tull like ‘One Of The Millions’. The album received constant airplay on U.S. college-radio, and ‘Oranges And Lemons’ was voted as 1989’s college-radio album of the year.<br /><br />After two years had elapsed, XTC returned to the studio environment with a plethora of newly penned songs to record. They emerged with 32 new tracks in all, which were apparently dismissed in their entirety by the band’s British label. Unruffled, XTC remained firmly behind the songs they had recorded, and eventually negotiated the release of fifteen of them in the form of the 1992 album ‘Nonesuch’ (UK#28/ OZ#72/US#97). Produced by Gus Dudgeon, the album featured the lead out single ‘The Disappointed’ a richly crafted song telling of the collective identity of the lovelorn among us. I purchased the song on a CD-EP, and the track fared well in both Britain (#33), and Australia (#31). It was backed by an engaging medieval style promotional video. The quirkily titled ‘The Ballad Of Peter Pumpkinhead’ was also released as a single (UK#71). ‘Nonsuch’ was a marrying of some of the band’s late 80s psychedelic trimmings, with a verdant pop sheen.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCzEIdbgkt56DLQbSum6nC0fR104FKx9JbzZ8mybzuHDUcDg7iaFsac8DBYe8e8M0KW0HS7fcMxd1hbohlmNs0m0n6UkosvlLpUcynLYGm1I8KAO7BQAqKrGhG86oF7gEJTgj0iRQqpjO/s1600/XTCgroup3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOCzEIdbgkt56DLQbSum6nC0fR104FKx9JbzZ8mybzuHDUcDg7iaFsac8DBYe8e8M0KW0HS7fcMxd1hbohlmNs0m0n6UkosvlLpUcynLYGm1I8KAO7BQAqKrGhG86oF7gEJTgj0iRQqpjO/s1600/XTCgroup3.jpg" height="222" width="320" /></a></div>
Perhaps weary of in studio conflict over creative control, and record label pressure, XTC mainstays Andy Partridge and Colin Moulding pulled the plug on the band once the dust had settled on ‘Nonsuch’. Partridge, who always seemed to have a diverse and sizeable collection of songs on hand, released two albums of new material within two years - ‘Through The Hill’ in partnership with Harold Budd, and ‘The Greatest Living Englishman’ with Martin Newell. Over the ensuing years Partridge kept his hand in the studio, working with the likes of Mission U.K., and Lilac Time.<br /><br />After six years had elapsed, Patridge and Moulding reappeared from seemingly nowhere with a brand new XTC album, ‘Apple Venus Volume 1’ (UK#42), featuring 11 new tracks, and in the process delighting long patient fans with an album that captured the essence of XTC at their very best. The companion piece, ‘Wasp Star (Apple Venus, Pt. 2)’, followed in 2000.<br /><br />Though wider commercial success eluded XTC over the course of their journey, the band remained true to its influences and sonic vision, in the process gathering a legion of dedicated fans along the way.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Nfw1uW8_JWU" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/5Da9sc6YDBo" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZG3YTqOlIkI" width="420"></iframe>)A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-41412211916576466892014-03-12T22:40:00.000+11:002014-03-12T22:40:35.969+11:00XTC - Making Plans For XTC And More<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijai7n_TsT4qGf9-iUPPr7LXGBOWSw2kH_ZUcYHdAdtnf7mWsvTkXY8S50l4cr_GxqlY5-wuK5lAOf74VPnpOIhQ6zyGdw6dnQKkMsiz8psijJ-yGome7yjh79ysM0095ZKw6sH596_Jk6/s1600/XTCPOST1group2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijai7n_TsT4qGf9-iUPPr7LXGBOWSw2kH_ZUcYHdAdtnf7mWsvTkXY8S50l4cr_GxqlY5-wuK5lAOf74VPnpOIhQ6zyGdw6dnQKkMsiz8psijJ-yGome7yjh79ysM0095ZKw6sH596_Jk6/s1600/XTCPOST1group2.jpg" /></a>About ten years ago I purchased a, long overdue, collection of the ‘best of’ British post punk/new wave band XTC. I’d purchased a number of their singles over the years, but had yet to explore the band for all they were worth. The purchase of the double CD release ‘Fossil Fuel - The XTC Singles’ (UK#33) featured 31 tracks in all and allowed me the chance to explore the band’s music a little more seriously. There was barely a poor track in the songs assembled, and it left me with the question of why had XTC not been a bigger commercial success. The short answer is they never actively pursued it - well that’s one reason - but for a more detailed appraisal of their career and more, please read on.<br /><br />XTC were one of the leading constituents of the British post punk/new wave scene of the late 70s into mid 80s. They were also one of the most enduring and eclectic acts to emerge from that era. Though lumped by some observers as ‘new wave’, XTC resided more in the power-pop zone of the movement. Early days their music was a meticulously crafted brand of art-pop, featuring inventive rhythm patterns, and sometimes weirdly placed melodic contortions. Early critical appraisal compared them to ‘Rubber Soul’ era Beatles, but XTC were never ones to be pigeonholed, even by their loyal cult following.<br /><br />The band’s roots burrowed back to 1973, in Swindon, a rustic outcropping of London. Twenty year old Andy Partridge (vocals/guitar), recruited Colin Moulding (bass/vocals), Terry Chambers (drums), and Jonathan Perkins (keyboards), all three still in their teens. They dubbed themselves the Helium Kidz, and took to local music circuits to hone their craft and build an audience. Initially their style was born of a New York Dolls influenced brand of glitter-pop, mixing straight up rock& roll with quintessential English psychedelia that would inform their later work.<br />
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By 1976, the Helium Kids moniker had blown away, and was replaced by the concisely dubbed XTC. By now, the group were playing a lot of originals, mostly penned by Partridge and Moulding, and influenced by the likes of The Beatles later work, The Move, ‘Pet Sounds’ era Beach Boys, The Small Faces, and Captain Beefheart. Though not pandering to the prevalent punk movement of the time, XTC retained some of the harder edged aspects of their early guise, and by 1977 had been identified by Virgin as having major potential, and signed to their label. Before entering the recording studio, keyboardist Jonathan Perkins was replaced by Barry Andrews (ex-King Crimson).<br /><br />In late ‘77, XTC released the debut single, ‘Science Fiction’, followed in quick succession by ‘Statue Of Liberty’, and ‘This Is Pop?’ (which puts me in mind of Australia’s Sports - see separate posts), the latter garnering some critical attention for the band, and revealing XTC to be a power-pop outfit in punk clothing guise. Amongst the post-punk frenzy of Britain’s music scene in 1978, XTC found a loyal audience who pushed their debut album, ‘White Music’ (recorded in just one week), to #38 on the British charts. The album bubbled along with bursts of chaotic energy, capturing XTC at their early era rebellious best.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjOAPGZGHJGqph6N4O6PCjBX9aDZXyetCPtAycayO__cS1aL3ce_UJYJvb4LKcapBFtRyggeOiPU2QaJ5YEihzsU9L4Wu4B6ziI1wNDjCbfhkjG9YFs787Ms3wqLmq483lpvvk3vyyvyf/s1600/XTCPOST1drumswires.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjOAPGZGHJGqph6N4O6PCjBX9aDZXyetCPtAycayO__cS1aL3ce_UJYJvb4LKcapBFtRyggeOiPU2QaJ5YEihzsU9L4Wu4B6ziI1wNDjCbfhkjG9YFs787Ms3wqLmq483lpvvk3vyyvyf/s1600/XTCPOST1drumswires.jpg" height="320" width="320" /></a></div>
The frenetic single ‘Are You Receiving Me’ hit the airwaves in October of ‘78, and soon after featured on Australia’s ‘Countdown’ national TV program - that’s when and where I first saw XTC in action. The song reached #86 in Australia, likely on the back of that one ‘Countdown’ appearance. The source album, produced by John Leckie (later worked with Stone Roses and Radiohead), was titled ‘Go 2’, and proceeded to go all the way to #21 in Britain (OZ#93). Partridge and Mouldings skills as song-smiths were becoming more evident, and ‘Go 2’ stretched the band stylistically into more adventurous art-pop territory, influenced in parts by a Brian Eno brand of idiosyncratic electronica. A standout was the song’s opening track ‘Meccanic Dancing (Oh We Go!)’, featuring jolting rhythms and a burst of guitar driven power-pop in the middle eight. The band were still keeping up a hectic touring schedule but soon after the release of ‘Go 2’ Andrews left the band (to join League Of Gentleman, and later to co-found Shriekback - see separate post), and was replaced by Dave Gregory (keyboards/synthesisers/guitar).<br /><br />During the first half of ‘79, XTC laboured away in studio to record their third album, ‘Drums And Wires’ (UK#34/OZ#40), the band’s first U.S. release. The lead out single, ‘Life Begins At The Hop’, did reasonable business (UK#54/OZ#94), but it was the quirky follow up single, ‘Making Plans For Nigel’ that promised a major commercial breakthrough for XTC. Penned by, and featuring the lead vocals of bassist Colin Moulding, the song was backed by an eccentric video clip featuring the band members playing in some kind of asylum setting. The combination of music and video worked, pushing ‘Making Plans For Nigel’ to #17 on the British charts (OZ#94). The album wound back on some of the frenzied energy of its predecessors, offering a more cohesive sound, yet one that retained the band’s eccentricity and humour, evidenced by tracks such as ‘Day In Day Out’, ‘Ten Feet Tall’, and the anthemic ‘Roads Girdle The Globe’. In amidst a hectic performance schedule the prolific song writing of Andy Partridge found a vehicle beyond the frontiers of XTC, in the form of the February ‘80 album release ‘Take Away (The Lure Of Salvage)’, released under the unassuming name of Mr. Partridge.<br />
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XTC spent the English summer in doors recording their next album, titled ‘Black Sea’. Although the band had yet to register any commercial recognition in the U.S., the back catalogue release of their earlier work, and a burgeoning legion of fans on college campuses, saw ‘Black Sea’ reach #41 on the U.S. album charts (UK#16/OZ#27). The 1980 released album was less frenetic than earlier chapters of their career, and cast a stylistic haze of nostalgic psychedelia, harbouring hints of an elegiac model Kinks between its covers. Lyrically speaking, ‘Black Sea’ also saw XTC presenting a more overtly socio-political approach. The single ‘Generals And Majors’ marched to #32 in Britain and to #24 here in Australia, and two further single releases, the drum heavy ‘Towers Of London’ (UK#31), and pop-ish ‘Sgt. Rock (Is Going To Help Me)’ (UK#16) further broke down the walls of commercial resistance for XTC.<br /><br />The critically lauded album ‘English Settlement’ (UK#5/ OZ#14/US#48) was released in February of ‘82, and immediately made an impact, thanks in part to the lead out single, 1, 2, 3, 4, 5 ‘Senses Working Overtime’. The track became XTC’s first foray into the British top ten (#10/OZ#12), and was followed up by the single ‘Ball And Chain’ (UK#58/OZ#97) two months later. ‘English Settlement’ was, and has been, regarded as XTC’s finest hour, blending strains of folk rock, exotic rhythm patterns, and cutting edge synthesiser pop, blended through a prism of psychedelic rock - all up a more stylistically complex offering. Furthermore, Andy Partridge’s acerbic wit, and eccentrically challenging lyrics lured the listener to be immersed by each and every track. ‘English Settlement’ was released as a double album in Britain, but (minus four cuts) was reduced to a single album release in the U.S. Like so many British post-punk bands, significant mainstream crossover success in America eluded XTC, but the band’s profile continued to grow on the indie and alternative scenes, via college-radio.<br />
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All signs were pointing to a major commercial breach by XTC, and the band set off on a major world tour, taking in Europe and the U.S. But all was not well within the band, and more specifically with Andy Partridge’s health. The band’s European tour had ended badly with Partridge collapsing on stage in Paris from exhaustion. But he and the band pushed on through the discomfort which bellowed into Partridge suffering a nervous breakdown in California due to intense stage fright, just a few dates into their U.S. tour. XTC abandoned the rest of the tour, and it was announced subsequently that they would never tour again. Partridge took the best part of a year to come to grips with agoraphobia, becoming a virtual shut-in. In the fallout from events, drummer Terry Chambers left the band, and XTC were reduced to the core trio of Partridge, Moulding, and keyboardist Dave Gregory, with drummer Pete Phippes (formerly of Glitter Band) a regular contributor in-studio.<br /><br />An XTC ‘best of’ was released in late ‘82. ‘Waxworks: Some Singles 1977-1982’ (UK#54), also featured a limited edition companion album in the form of ‘Beeswax: Some B-sides 1977-1982’, to keep fans happy until XTC resurfaced once more to charm them with new material.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/RApvaQ0uGTw" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/mfsYSPCNWCw" width="560"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Jr8jEIQKgZI" width="560"></iframe>)A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-51159287794616508612014-03-12T15:00:00.000+11:002014-03-12T15:06:41.930+11:00Diana Ross - Snapshot #2 - The Chemistry Behind A 'Chain Reaction'<div class="separator" style="clear: both; text-align: center;">
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The ‘first lady’ of the Supremes quickly assumed the mantle of the ‘first lady of Motown’ with her first string of singles in 1970. With Ashford and Simpson still in the production booth, Ross released her official debut solo single in early 1970 with ‘Reach Out And Touch (Somebody’s Hand)’ (US#20). In September of ‘70, Diana Ross replaced Edwin Starr’s ‘War’ at US#1 with a cover of the Marvin Gaye-Tammi Terrell hit ‘Ain’t No Mountain High Enough’ (#1 for 3 weeks/UK#6). Her first solo #1 in the U.K. followed in 1971 with ‘I’m Still Waiting’ (#1 for 4 weeks).<br />
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Ross’ next few singles performed modestly, but the singer was turning her attention to a a television special, followed by her Oscar nominated performance playing blues legend Billie Holiday in 1972’s ‘Lady Sings The Blues’. The title track from her 1973 album, ‘Touch Me In The Morning’, touched the top of the U.S. Hot 100 for one week in August of ‘73, replacing ‘The Morning After’ by Maureen McGovern, and in turn replaced by ‘Brother Louie’ by Stories. The UK#9 ‘All Of My Life’ kept the name Diana Ross in the charts early in’74, followed up by ‘Last Time I Saw Him’ (US#14/ OZ#18/UK#35). In 1975, Ross recorded an album of duets with Marvin Gaye, which yielded the UK#5 ‘You Are Everything’. She then returned for her second major movie role in 1976’s ‘Mahogany’, the soundtrack to which yielded another #1 for Diana Ross the singer. ‘Theme From Mahogany (Do You Know Where You’re Going To)’ hit #5 in the UK, but knew where it was going to in the U.S., straight to #1 - replacing ‘I Write The Songs’ by Barry Manilow in early ‘76, and replaced after one week by ‘Love Rollercoaster’ by Ohio Players - see future post). Her second US#1 of the year followed in the guise of ‘Love Hangover’ (UK#10) which replaced ‘Silly Love Songs’ by Wings at #1 in April of ‘76, in turn being supplanted after two weeks by ‘Afternoon Delight’ by Starland Vocal Band - see separate posts).<br />
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Following a lead role as Dorothy in the Motown produced film flop ‘The Wiz’, Ross released two solo albums, 1977’s ‘Baby, It’s Me’, and 1978’s ‘Ross’ neither of which sold well or yielded any hit singles in the disco dominated charts. The 1979 Ashford and Simpson produced album, ‘The Boss’, reclaimed some pop cache along with the US#19 title track. But Diana Ross hadn’t scored a top ten hit in over three years. Perhaps it was time for Ms. Ross to have a stylistic makeover.<br />
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Enter the Chic production/writing team of Nile Rodgers and Bernard Edwards (see separate post). Comprising eight tracks, all written by Rodgers/Edwards, the US#2 album ‘Diana’, yielded three major hit singles, ‘My Old Piano’ (UK#5/OZ#25), ‘I’m Coming Out’ (US#5/ UK#13/OZ#40), and the funk edged dance number ‘Upside Down’. The latter hit #2 in the UK, and became Ross’ biggest post Supremes hit. ‘Upside Down’ hit #1 in Australia during September of 1980, replacing ‘Moscow’ by Genghis Khan - see separate post - and in turn was displaced after 4 weeks by Leo Sayer’s ‘More Than I Can Say’. In the US, ‘Upside Down’ went upside the charts to #1 for 4 weeks, replacing ‘Sailing’ by Christopher Cross, and in turn shot down by Queen’s ‘Another One Bites The Dust’. ‘Upside Down’ was the fifth highest selling single in the U.S. for 1980, and holds the honour of being the #3 biggest selling Motown song of all time. But an even bigger hit was just around the corner.<br />
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In 1981, Diana Ross released the album ‘Why Do Fools Fall In Love’ (US#15). The album yielded the top ten hits ‘Why Do Fools Fall In Love’ (US#7/ UK#4/OZ#15), a cover of the old Frankie Lymon hit, ‘Mirror, Mirror’ (US#8), and ‘Work That Body’ (UK#7), the latter two hits during 1982. But it was a Lionel Richie (see future post) penned ballad that would redefine the profile of Diana Ross’ solo career. ‘Endless Love’ topped charts the world over, well apart from the UK (#7). In Australia, the Ross/Richie duet hit #1 during October of ‘81, replacing ‘You Drive Me Crazy’ by Shakin’ Stevens, and in turn dislodged by Billy Field’s ‘You Weren’t In Love With Me’ - see separate posts. In the U.S., ‘Endless Love’ set up an almost endless reign atop the charts from August of ‘81, displacing Rick Springfield’s ‘Jessie’s Girl’ (see future post), and nine weeks later being finally usurped at #1 by Christopher Cross’ ‘Arthur’s Theme (Best That You Can Do)’, Cross gaining revenge for ‘Upside Down’s pillaging of ‘Sailing’s #1 reign back in 1980. ‘Endless Love’ set record after record. It was the third highest selling single in the U.S. for the 1980s (behind ‘Physical’ by Olivia Newton-John, and ‘Bette Davis Eyes’ by Kim Carnes - see separate post). It was the #1 duet of all time, and the #1 song of all time released on the Motown label. Cue Ross departing from Motown and signing with a new label, RCA - go figure.<br />
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Over the next few years Diana Ross scored a handful of top ten singles, including ‘Muscles’ (US#10/ UK#15) in 1982, written, produced and with backing vocals by Michael Jackson, ‘Missing You’ (US#10) in 1984, and another duet, ‘All Of You’ (OZ#19/UK#43), this time with Julio Iglesias the same year. Diana Ross would not return to the U.S. Top Ten again, but she had several more shots to fire at the UK and Australian charts, including one more foray into the #1 position.<br />
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During the early 80s, Bee Gee Barry Gibb had woven his writing and production management to revive the stalling careers of divas Barbra Streisand, and Dionne Warwick. Since their halcyon days of the late 70s, the Bee Gees career had gone into decline, so it was understandable that they turn their hand to working with other artists. It wasn’t that the Bee Gees had forgotten how to write and produce great music, but their brand had been tarnished somewhat by their association with the doomed disco movement - in time that tarnish would be buffed off and the Bee Gees would rightly return to the top of the charts with ‘You Win Again’ (1987) and ‘Alone’ (1989) - but that’s another tale to tell.<br />
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In 1985, Barry Gibb combined with brother Maurice to pen ten new songs for inclusion on the latest Diana Ross album, ‘Eaten Alive’. The first single, and title track, bombed on the charts (UK#71), but the follow up single ‘Chain Reaction’ released early in ‘86, was to detonate on both the U.K. and Australian charts. The song was a slice of Motown nostalgia meets classic 80s pop, with Barry Gibb’s trademark falsetto backing vocals, and was paired with a stunning promotional video, which inter-cut footage of a prowling seductive Diana Ross, with black and white footage of Ross portraying her ‘Motown era’ self. ‘Chain Reaction’ exploded on to the British charts and hit ground zero, that’s #1, in the U.K. during March of ‘86, displacing Billy Ocean’s ‘When The Going Gets Tough, The Tough Get Going’ (see separate post), and in turn having the pin pulled after 3 weeks by Cliff Richard & The Young Ones with ‘Living Doll’. In Australia, ‘Chain Reaction’ went thermonuclear at #1 also for 3 weeks from April of ‘86, and in a remarkable coincidence, it was book ended by Billy Ocean and Cliff Richard & The Young Ones here as well as Britain. In the U.K., it had been over 14 years between #1 hits for Diana Ross (1971’s ‘I’m Still Waiting’ - she certainly had been made to wait), a record gap to that time. Just as surprising was the fact that neither of those #1 British hits had made much more than a ripple Stateside - ‘Chain Reaction’ bombed at #66 on the U.S. Hot 100, though it did garner some support on the dance floors (#7 on the U.S. Dance charts).<br />
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For Diana Ross, the major hits era in the U.S. had come to a close. She released four more albums from 1987’s ‘Red Hot Rhythm and Blues’, through to 1994’s ‘Forever Diana’, the latter being released on her new label EMI. Though serious chart action continued to elude Ross at home, in the U.K. it was a different story with four major hits there over that period - ‘When You Tell Me That You Love Me’ (UK#2); ‘One Shining Moment’ (UK#10); ‘Your Love’ (UK#14); and ‘Not Over You Yet’ (UK#9) - that last hit being in late ‘99.<br />
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Over the last decade Diana Ross has slipped into virtual retirement with 2007’s ‘I Love You’ her latest release. But doubtless, her lasting legacy to popular music is assured for all time.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/4GtyMeEcPPE" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ul7-BXR3T_s" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/UaYHRx9-v2M" width="420"></iframe>)A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-45340451297974386522014-03-12T14:35:00.001+11:002014-03-12T14:35:45.059+11:00Diana Ross - Snapshot #1 - 'Reflections Of The Supremes'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0SYlHlcMLMxjwsY4KGMR_4-JtzpJgkLCdA9KSRfHtDmzRIzhnYyT64iB2JsDvSJs-tpagvqwADWNEFqtC2P0kYZ3XqONowGmaiCli6EPjGlnczWf3eBeCX_tQ4nZAfp21YuA9q2gCi9PL/s1600/dianarosssupremesgroup2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0SYlHlcMLMxjwsY4KGMR_4-JtzpJgkLCdA9KSRfHtDmzRIzhnYyT64iB2JsDvSJs-tpagvqwADWNEFqtC2P0kYZ3XqONowGmaiCli6EPjGlnczWf3eBeCX_tQ4nZAfp21YuA9q2gCi9PL/s1600/dianarosssupremesgroup2.jpg" /></a>1986 was a significant year in this author’s life. It’s the year I completed high school, and had to consider seriously what new direction I would take, what changes and decisions would help shape my life from there going forward. One thing would remain a constant though, and that was my passion for music, and 1986 offered up plenty of instant classics to indulge that passion. One such slice of pop heaven was the infectious ‘Chain Reaction’ performed by the legendary Diana Ross. But aside from the artist performing the song, there lay another pop prodigy who played an integral part in the song’s radiance. It was a combination of rare talents that propelled the song to the top of the charts here in Australia.<br /><br />The journey to legend status began for Diana Ross in the late 50s. Ross, along with Mary Wilson, Florence Ballard and Barbara Martin formed a group called the Primettes, a female vocal group put together to perform live with the Primes (who would eventually morph into thee Temptations). One time Diana Ross neighbour, Smokey Robinson, introduced The Primettes to Motown mogul Berry Gordy, but as they were still in high school Gordy felt they should wait. After learning their craft some more by hanging around the Motown studios, Gordy finally deemed them ready for a recording contract in January 1961. Now reduced to the trio of Ross, Ballard and Wilson, they changed their name to the Supremes. Their first nine singles failed to chart earning them the nickname ‘the no-hit Supremes’, but the beginning of an association with the gun song writing team of Holland-Dozier-Holland would see their fortunes change dramatically for the better in 1964.<br />
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Single number ten was ‘Where Did Our Love Go’, which went directly to #1 on the U.S. Hot 100 (UK#3/OZ#19) in the summer of ‘64, going on to sell 2 million copies for good measure. ‘Baby Love’ learned how to walk at US#1 for four weeks during October of ‘64 (UK#1/OZ#38), and the Supremes rounded out a stellar 1964 with the US#1 ‘Come See About Me’ late in ‘64. The Supremes sensational streak of #1 singles continued into 1965 with ‘Stop In The Name Of Love’ (US#1/UK#7), ‘Back In My Arms Again’ (US#1), and ‘I Hear A Symphony’ (US#1) late in the year. By this stage they were rivalling the Beatles as the most dominant artist on the U.S. charts.<br />
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During this period the marketing machine behind the Supremes was in overdrive, with the trio appearing regularly on national television, and playing at least one major concert venue each week. But it was on the charts that they continued to dominate. ‘You Can’t Hurry Love’ notched up the Supremes seventh chart topper in September of ‘66 (US#1/UK#3/OZ#14), followed soon after by ‘You Keep Me Hangin’ On’ (US#1/UK#8) to round out the year. All of these songs were to become long time classics of the pop era, and have been covered numerous times over the years by other top line artists. 1967’s ‘Love Is Here And Now You’re Gone’ (US#1), and ‘The Happening’ (US#1/OZ#2/UK#6) kept the Supremes name at the top echelon of the charts, but a change in that name was just around the corner. Ballard left the group during this period and was replaced by Cindy Birdsong. For some time it had been evident that Diana Ross was the focal point of the Supremes. She handled most of the lead vocal duties, and in essence Wilson and Birdsong were backing singers. Motown head Berry Gordy positioned Ross as the clear lead singer, and during 1967 the Supremes became Diana Ross & the Supremes. Around this time the trios association with Holland-Dozier-Holland also came to an end, with the husband and wife team Nick Ashford and Valerie Simpson (see separate post) given a chance to write for the group.<br />
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Despite the changes, the chart toppers continued for Diana Ross & the Supremes, in the form of ‘Reflections’ (US#2/UK#5) in late ‘67, and ‘Love Child’ (US#1/OZ#3/UK#15) in late ‘68 - but the trios halcyon days were slowly fading into pop folklore. They reunited with old friends Eddie Kendrick and Paul Williams (formerly of the Primes) now members of the Temptations. Aside from appearing together in two television specials the two acts released a clutch of singles, including ‘I’m Gonna Make You Love Me’ (US#2/UK#3), and ‘The Rhythm Of Life’ (OZ#5).<br /><br />During 1969, rumours abounded that Diana Ross was going to split from the Supremes to pursue a solo career. In essence she already had, as several singles that had already been released under the banner of Diana Ross & the Supremes, were recorded by Ross with anonymous backing singles. One of those singles, ‘Someday We’ll Be Together’ (US#1), was the Supremes 12th, and final, chart topper. In November of ‘69, it was formerly announced that Ross had parted ways with the Supremes, and her final live performance with the group took place in January of 1970 in Las Vegas. Jean Terrell replaced Ross, and the trio resumed under the banner The Supremes. But post Ross, Motown boss Berry Gordy pulled back support for the group (likely in favour of Ross’ solo career), but despite this The Supremes notched up several top twenty hits over the next couple of years, the biggest of which was ‘Up The Ladder To The Roof’ (US#10/UK#6) in 1970, and ‘Stoned Love’ (US#7/UK#3) in ‘71. Over the next five years the fortunes of The Supremes continued to steadily decline, with the hits drying up, and the line-up changing a number of times, with Wilson the only consistent member. Their last top forty single was ‘I’m Gonna Let My Heart Do The Walking’ (US#40) in 1976, and the trio gave a farewell concert in London during ‘77.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Li5SeswcCp4" width="420"></iframe>)<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/fQ7uXX9K7Sk" width="420"></iframe>)A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-81451055729383851882014-03-10T20:43:00.000+11:002014-03-10T20:43:08.305+11:00Doobie Brothers - Snapshot - 'What A Fool Believes'<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLzmbKlZjD0tEKbPuzmQ2UwB4MMsayCJW8mTC_AxLQ_rNE8Uyj5U8lpGSJ0MpHj7xGUYi2f0jKIzvXym13wrZIMlQaD00o1K_ZnEjKOrVxCgvxmjiTT7Y78_sf9z1onHAf__fsqrymdJB/s1600/doobiebrotherswhatafoolbelieves.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsLzmbKlZjD0tEKbPuzmQ2UwB4MMsayCJW8mTC_AxLQ_rNE8Uyj5U8lpGSJ0MpHj7xGUYi2f0jKIzvXym13wrZIMlQaD00o1K_ZnEjKOrVxCgvxmjiTT7Y78_sf9z1onHAf__fsqrymdJB/s1600/doobiebrotherswhatafoolbelieves.jpg" /></a>Elsewhere on this blog you can access a number of posts chronicling the career of singer/ songwriter Kenny Loggins. In 1978, Loggins released his sophomore solo album, titled ‘Nightwatch’. Within the grooves of said album lay a track that Loggins had composed with good friend Michael McDonald. It was a tale of love lost, or rather love that never really was at all. Loggins included the original version of ‘What A Fool Believes’ on his platinum album, but didn’t release it as a single. McDonald took the song back to his band, the Doobie Brothers, with a view to recording it for their next album in late ‘78. But McDonald saw the song as having greater commercial potential than to be just another album track. As it would turn out ‘What A Fool Believes would realise that potential and much, much, more.<br /><br />The Doobie Brothers formed as a quartet in San Jose during 1970 (taking inspiration for their name from the slang term for a joint). The original line-up comprised Tom Johnston (vocals/guitar), Pat Simmons (guitar/vocals), Dave Shogren (bass), and John Hartman (drums). They started out playing a brand of bar room boogie that drew good crowds. In 1971, they signed to Warner Brothers, and released an eponymous debut album, produced by Ted Templeman, that missed the charts. Bassist Tiran Porter then joined in place of Shogren, and a second drummer was added to the mix in the form of Michael Hossack.<br />
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The Doobie Brothers shifted style to incorporate a West Coast guitar/ harmonies driven rock feel to their sound. This was evidenced on their second album, ‘Toulouse Street’ (US#21/ OZ#57), which went gold and produced the hits ‘Listen To The Music’ (US#11/ OZ#50), and ‘Jesus Is Just Alright’ (US#35). The band struck platinum with their 1973 album, ‘The Captain And Me’ (US#7), which spawned the top ten hit ‘Long Train Runnin’ (US#8/OZ#58), and ‘China Grove’ (US#15/OZ#61). Keith Knudson then joined on drums (in place of Hossack), and a fifth member was added in the form of keyboardist Bill Payne.<br /><br />1974’s ‘What Were Vices Are Now Habits’ (US#4/ UK#19/OZ#24), yielded the Doobie Brothers’ first chart topping single. ‘Black Water’ (OZ#22) debuted on the U.S. charts in December of ‘74, and bubbled to the top of the Hot 100 in March of ‘75. Guitarists Tom Johnston and Pat Simmons handled most of the song writing duties during this part of the band’s tenure. In what was the continuation of a virtual revolving door policy with regards personnel, ex-Steely Dan guitarist Jeff ‘Skunk’ Baxter came on board in place of Payne (on went on to join Little Feat).<br /><br />April ‘75 marked the release of the Doobie Brothers’ fifth studio album, and the last for some time with Tom Johnston in the mix. ‘Stampede’ didn’t exactly cause one among record fans, but it sold in good numbers to reach #4 Stateside (UK#14/OZ#6). It yielded the rollicking ‘Take Me In Your Arms’ as a top 30 single (US#29/OZ#94).<br />
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The band hit the road over the summer of ‘75 in support of the album, but just a few dates in vocalist and guitarist Tom Johnston fell ill with a stomach ailment and had to pull out of the band indefinitely. On Jeff Baxter’s recommendation, Steely Dan session player Michael McDonald was drafted in at short notice to continue the tour commitments. McDonalds R&B/funk roots, powerful falsetto styled baritone vocals, and deft soulful keyboard playing would have a marked effect on the musical direction of the Doobie Brothers.<br /><br />The first ‘McDonald era’ album hit the streets in March of ‘76, in the form of ‘Takin’ It To The Streets’ (US#8/ UK#42/OZ#7), supported by the title track single (US#13 /OZ#94). In addition to having substantial input into the writing of new material, McDonald also oversaw the reworking of old Doobie Brothers’ songs to suit his vocal style, and more polished R&B/funk come AOR (adult oriented rock) sound. In essence he was the key figure in creative control. A ‘best of’ collection was issued in late ‘76, and Johnston attempted a return to the band, but when it was clear McDonald was now in firm control, he opted out again.<br />
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A relatively stable band line-up was in evidence during this period, led by McDonald (vocals/keyboards), Baxter (guitar), Simmons (guitar/vocals), Porter (bass), Hartman (drums), Knudsen (percussion). 1977’s ‘Livin’ On The Fault Line’ (US#10/ OZ#16/UK#25), yielded the hit single ‘Little Darling (I Need You)’ (US#48/OZ#55), but it would be the band’s late ‘78 album release that would yield the biggest hit of the Doobie Brothers’ career.<br />
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Long time producer Ted Templeman was on hand to oversee proceedings on the ‘Minute By Minute’ album (US#1/OZ#6), released in late ‘78. The album comprised ten tracks of which McDonald had a hand in writing seven, with guitarist Pat Simmons taking the lead on the balance. Apparently there had been a good deal of conjecture over whether to release the band’s 1975 chart topper ‘Black Water’ as a single, with it originally being relegated as the B-side to the single ‘Another Park, Another Sunday’. After the B-side got added to every FM radio play list in the country, ‘Black Water’ was released as a single. Producer Ted Templeman recalled to Billboard Magazine that there was no such initial doubt over ‘What A Fool Believes’. The moment McDonald played the demo in studio, it was unanimous that they had a hit on their hands. Co-written by McDonald and Kenny Loggins (see previous posts), ‘What A Fool Believes’ was perfectly suited to McDonald’s rich soulful baritone. The song debuted on the U.S. Hot 100 in February of ‘79, and by April 14 had supplanted the Bee Gees’ ‘Tragedy’ at #1 (OZ#12/UK#31), in turn being replaced a week later by Amii Stewart’s ‘Knock On Wood’ (see previous post) - disco still ruled the airwaves at the time. The emphasis in the mix for ‘What A Fool Believes’ was squarely on McDonald’s keyboard playing and vocal harmonising, with guitarists Pat Simmons and Jeff ‘Skunk’ Baxter left with little to do - in one of the clips for the song, Baxter looks positively bored on the sidelines (maybe one reason why he left the group soon after). Regardless, the song scooped the pools at the ‘79 Grammy Awards - Record of the Year; Song of the Year; whilst McDonald won for Best Arrangement Accompanying Vocalists; and the album ‘Minute By Minute’ was awarded for Best Pop Vocal Performance by a Duo, Group or Chorus. The album, ‘Minute By Minute’, went on to sell over three million copies and also spawned another top twenty single with the title track (US#14). The style and sound of the Doobie Brothers circa ‘79 was barely recognisable compared to their humble beginnings as a country-boogie band, but the sales numbers didn’t lie, and the evolution had paid dues.<br />
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Post ‘What A Fool Believes’ witnessed the first personnel shake up in some time, with the departures of Baxter and Hartman for guitarist John McFee and Chet McCracken (drums) respectively, and the addition of Cornelius Bumpus on saxophone. 1980’s ‘One Step Closer’ (US#3/ OZ#18/UK#53) spawned the top five hit ‘Real Love’ (US#5/OZ#53), but it would prove to be the final Doobie Brothers’ album under Michael McDonald’s stewardship.<br /><br />No new material surfaced over the ensuing eighteen months and in March of ‘82 it was announced that the Doobie Brothers had disbanded. A live album (US#79) was recorded later that year and released in June of ‘83. By this time Michael McDonald was already forging ahead on his solo career.<br />
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The Doobie Brothers, featuring original members Tom Johnston, Pat Simmons, and John Hartman, reformed in mid ‘88 alongside percussionist Bobby LaKind and bassist Tiran Porter, and released an album of all new material a year later. The album ‘Cycles’ (US#17/OZ#45), showed the band had lost none of its 70s vintage verve, and spawned a top ten single with ‘The Doctor’ (US#9/ UK#73/OZ#32), though the 1991 follow up album ‘Brotherhood’ failed to possess the same prescription for success and missed the mark. Undeterred, the Johnston model Doobie Brothers hit the road once more in 1994 for a major summer tour. By 1995, McDonald had rejoined the band’s ranks and was in studio with Johnston for the first time with the album release, ‘Rockin’ Down The Highway’. By 2000, McDonald had departed once more, leaving Johnston, Hossack, Knudsen, McFee and Simmons to release the album ‘Sibling Rivalry’. The Doobie Brothers latest offering was the 2010 set ‘World Gone Crazy’, featuring Johnston, Simmons, Hossack, and McFee with Michael McDonald a guest player on the track ‘Don’t Say Goodbye’.<br /><br />It hadn’t taken Michael McDonald long to fashion himself as a solo act. He released his debut set, ‘If That’s What It Takes’ (US#6/OZ#41), in late ‘82, spawning the hit single ‘I Keep Forgettin’ (Every Time You’re Near)’ (US#4/ OZ#64/UK#43). In 1983, McDonald teamed up with James Ingram on the duet ‘Yah Mo B There’ (US#19/UK#12). His 1985 album featured a harder edged sound, but ‘No Lookin’ Back’ looked forward at #45 on the charts, with its title track single peaking at #34.<br />
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1986 witnessed McDonald return to the top of the U.S. Hot 100, this time in partnership with soul icon Patti LaBelle. Written and produced by the legendary Burt Bacharach and Carole Bayer Sager, ‘On My Own’. The track had originally been intended for LaBelle to sing on her own, but on listening to the playback, Bacharach and Bayer Sager felt certain it should be a duet, with a male vocal needed. Michael McDonald was offered the chance to lay down some vocals. Originally ‘On My Own’ wasn’t slated to be a single release, thereby allowing McDonald to record beyond the bounds of his Warner Brothers contract. The two vocalists laid down their tracks in two different cities but when the finished product was fed through the mixing desk, all concerned knew they had a major hit. ‘On My Own’ peaked at #1 in June of ‘86 (UK#2/OZ#12), replacing Madonna’s ‘Live To Tell’, and maintaining its solitude at the top for three weeks, before Billy Ocean’s ‘There’ll Be Sad Songs’ (see previous post) took over. It was only after the song hit #1 that LaBelle and McDonald met face to face for the first time, performing the song on ‘The Tonight Show’.<br />
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McDonald ran into the US top ten a few months later with the single ‘Sweet Freedom’ (US#7/UK#12), lifted from the soundtrack to the Gregory Hines, Billy Crystal action comedy ‘Running Scared’. McDonald didn’t release another album of solo material until 1990’s ‘Take It To Heart’ (US#110), but did return to the top 20 once more with the 1992 hit duet ‘Ever Changing Times’ with Aretha Franklin (see previous post). His fourth solo album, 1993’s ‘Blink Of An Eye’ proved to be a missed in the blink of an eye effort. After stints back touring with the Doobie Brothers, and involvement with Steely Dan alumnus Donald Fagen’s ‘New York Rock and Soul Revue’, McDonald released his first album in three years with 1997’s ‘Blue Obession’. Over the ensuing decade, McDonald release a number of Motown and Christmas related albums, before returning to his soul roots on 2008’s covers album ‘Soul Speak’.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/kkxWuZZyiLU" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/KsH63qJlIMM" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/-XDZjLAV66A" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/5kl0rAnLvJs" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-64958023798915187922014-03-05T20:41:00.000+11:002014-03-05T20:41:32.002+11:00The Moody Blues - A 'Gemini Dream' & Beyond<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdw7RdAYYNRPQQeNRbyh4EjV-eZ2Y-iE1t4S6i0-dcKkaCHZap55OhGsgFtDtuK2UN2lfZSh7xUfUmPbLPXMw_rDdsZCf0SquvDKDOYGb28SQoevEznWZMUFLCeYZJVzgDkkeOK_RLDas/s1600/moodybluesPOST2group1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqdw7RdAYYNRPQQeNRbyh4EjV-eZ2Y-iE1t4S6i0-dcKkaCHZap55OhGsgFtDtuK2UN2lfZSh7xUfUmPbLPXMw_rDdsZCf0SquvDKDOYGb28SQoevEznWZMUFLCeYZJVzgDkkeOK_RLDas/s1600/moodybluesPOST2group1.jpg" /></a>The five members of the Moody Blues reconvened for business in 1978, and recorded the platinum selling album ‘Octave’ (UK#6/ US#13/ OZ#16), which yielded the hit single ‘Steppin’ In A Slide Zone’ (US#39). But the band had re-emerged into the maelstrom that was disco music, not to mention the tail end of punk, and burgeoning new wave movement. Would they be able to recapture the commercial prosperity of the early 70s?<br /><br />Keyboardist Mike Pinder didn’t hang around to find out as he left the band during their post ‘Octave’ tour, replaced by ex-Yes keyboardist Patrick Moraz. The Moody Blues then kept their heads down once more during 1979 and 1980, perhaps wisely awaiting the departure of disco from the crowded stylistic scene. In 1981, they popped their heads up once more with the album ‘Long Distance Voyager’ (US#1/ UK#7/OZ#7) which topped the U.S. charts and voyaged into top ten territory the world over. In critical terms though the album was lambasted in some quarters as being out dated and lacking any real drive at originality. In my view, the album worked a treat. It was recorded at the band’s own Threshold Studios, and found the band in fine form. ‘The Voice’ was an inspiring piece (US#15/OZ#91), whilst Hayward, Lodge, Thomas, and Edge all contributed worthy tracks to the album. For mine though, the stand out track on the album, and arguably my favourite Moody Blues song, is ‘Gemini Dream’ (US#12/OZ#36). It does have a touch of the E.L.O.s about it, which surely can only be a good thing, but its harmonies and melodic hooks are what work for me.<br /><br />1983’s album, ‘The Present’ (OZ#16/ UK#15/US#26), was a less successful outing. Aside from ‘Sitting At The Wheel’ (US#27), it’s only charting single was ‘Blue World’ (US#62), which deserved to fare considerably better. Some were wondering at that time whether the Moody Blues could rediscover a mainstream audience in the era of glitzy MTV styled acts.<br />
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The answer came in the affirmative with the 1986 top ten hit ‘Your Wildest Dreams’ (US#9/ OZ#20), a Hayward penned song that introduced the Moody Blues to a whole new generation. The song itself was a superbly crafted slice of melodic pop-rock, nostalgic in tone, and was accompanied by one of the finest promotional videos of the year, directed by Brian Grant. It featured the fictitious Mood Six, playing the Moody Blues at a younger age back in the 60s (with a focus on Justin Hayward as the main character), telling the tale of young love, a first love, and the lament of that same love lost, then found again for about ten seconds, then lost again, with a hint of ‘to be continued’. The source album, ‘The Other Side Of Life’ (US#9/ UK#24/OZ#34) revived in part the band’s early 70s sales form.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCP3IvRrBdIXZfivUYON9g1hZEdvgwcT3ERb-0TDuoBoN9ZHwAAUKlafCEPKVBa3R3o4f7eCR7o8u8Vh95uLgxhCgrxxs37PYUm0pT_VdyPO9duY8gv7OzplsVxV29KIYqdUDNY7TShK2N/s1600/moodybluesPOST2group3.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a>But gone were the prolific album a year days, instead the Moody Blues focussing on an extended tour followed by an extended period of writing and recording for their next album. They returned to the world of album releases with 1988’s ‘Sur La Mer’ (UK#21/ OZ#35/US#38 - I purchased the album on CD some years later). The album featured the lead out single, ‘I Know You’re Out There Somewhere’ (US#30/ OZ#38/UK#52), which I purchased on CD single. The song was a stylishly produced companion piece to ‘Your Wildest Dreams’, with the promotional video carrying on the on again, off again, and eventually on again love affair between Hayward and his muse over time. Nostalgia and melodic hooks draw the listener into the story beautifully, and deliver one of the Moody Blues’ more memorable hits. I purchased the follow up single, ‘Here Comes The Weekend’, on vinyl 45, completing a trio of format purchases from just one album.<br /><br />By the early 90s, Moraz had left the band, leaving the core duo of Hayward, Lodge, Thomas, and Edge, to try and carry the story of the Moody Blues forward. 1991’s album, ‘Keys To The Kingdom’, proved to be the band’s lowest selling album to date (UK#54/US#94), but a boost in their touring fortunes arrived the next year with a sell out tour for the 25th anniversary of the ‘Days Of Future Passed’ album. The band was supported by a full orchestra, and the tour was captured and released as ‘A Night At Red Rocks (Live)’ in 1993.<br /><br />Whilst their catalogue of past albums continued to sell in very respectable numbers, the Moody Blues didn’t release another album of new material until 1999’s ‘Strange Times’ (US#93), by which time the musical landscape must have seemed strange indeed to a quartet of musicians having ridden the wave of success for over thirty years. Thomas retired from band duties in 2003, but Hayward, Lodge, and Edge continued to tour well into the 00’s as a trio, with hired hands to back them. But for the Moody Blues, the timeless flight of days passed was limited to thoughts of nostalgia.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/j3QLFFVFpp0" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/kmmPFrkuPq0" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/cjImFYf2Vzc" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-14133854988935369882014-03-04T14:29:00.001+11:002014-03-04T14:29:52.202+11:00The Moody Blues - 'Days Of Future Passed' Revisited<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs_MxUC6JZLpv9eSYHDugIPbSQ_uHoVqcwr6Rh_vIBtxV3_uTSP_kLl4HtP60E1B3ExJw1MKw59zytepa2MYz3vnO9eToSClNVjAqXr3zo5pTTSamOpfHh6OUyHnjulOEBimya2CZSr0Iv/s1600/moodybluesgrouplate1.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs_MxUC6JZLpv9eSYHDugIPbSQ_uHoVqcwr6Rh_vIBtxV3_uTSP_kLl4HtP60E1B3ExJw1MKw59zytepa2MYz3vnO9eToSClNVjAqXr3zo5pTTSamOpfHh6OUyHnjulOEBimya2CZSr0Iv/s1600/moodybluesgrouplate1.gif" height="315" width="320" /></a>The calendar years 1987 and 1988 were unusual in respect to my patterns of music purchasing. I bought my first CD player at the end of 1987 (with the third paycheque from my first fulltime job), and so for the first time dived into the digital world. ‘Brothers In Arms’ by Dire Straits was my very first CD (I doubt I would have been alone in that). But there was a problem - actually two problems with going hog wild on a CD spending spree. The first problem was the limitation of material available on the (still relatively new) format - some titles I would just have to wait for the respective label to release. The second problem was the cost of buying a CD. It was in most cases a prohibitively pricy proposition. On average CD’s cost upwards of $30 - which in the late 80s still represented a reasonable amount of disposable income. So I had to choose carefully as to which titles I would outlay the readies for. For about 18 months I purchased a mix of CD’s, vinyl records, and cassettes. Over time the balance shifted in favour of the digital format as more titles were released and prices slowly came down. One of the albums I recall purchasing in 1988 was a Moody Blues’ ‘greatest hits’. I was very keen on getting a number of songs in particular - but at the time I couldn’t find a Moody Blues’ ‘greatest’ on CD - this was before the age of the internet and being able to simply download music at my leisure wasn’t an option. So, in lieu of a CD purchase, I invested about $12 on a vinyl album. The CD compilation took its place in my collection a couple of years later.<br />
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One of the standout Moody Blues’ tracks that I played over and over was ‘Gemini Dream’ from 1981. It’s worth delving into the world of the Moody Blues to present an overview of their stellar career, and a closer appraisal of ‘Gemini Dream’ and its 1981 source album ‘Long Distance Voyager’.<br /><br />The 60s witnessed an unprecedented explosion of new bands and artists, and the pressure on each to jostle for a position of notoriety must have been immense. Into this musical melting pot came an ingredient by the name of the Moody Blues. The band’s roots lay in the Birmingham blues and R&B scene of the early to mid 60s. The original quintet were Denny Laine (guitar/vocals), Mike Pinder (keyboards/vocals), Ray Thomas (flute, harmonics, vocals), Graeme Edge (drums), and Clint Warwick (bass/vocals), all of who brought considerable craft and experience to the table from previous bands. The band’s name is a combination of blues (as in the style of music they loved), and Moody taken from Mike Pinder’s favourite song - Duke Ellington’s ‘Mood Indigo’.<br /><br />After building up a solid live following with a combination of blues standards, Motown covers and some original material, the Moody Blues came to the attention of talent scouts and were soon signed up to the Decca label. They released the single ‘Go Now!’ in late ‘64, and the song rocketed to #1 in the U.K. (US#10/OZ#14). The band eventually released an album in July of ‘65, modestly titled ‘The Magnificent Moodies’. But the band’s fortunes waned over the ensuing 18 months and by the end of ‘66, both Warwick and Laine had left the scene. Denny Laine went on to be a core member of Paul McCartney’s 70s powerhouse Wings (and would on occasion sing ‘Go Now! During concerts).<br />
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Most groups would have folded completely at the loss of two key members, but the remaining Moody Blues opted to recruit some replacements. In late ‘66, Justin Hayward (guitar/vocals), and John Lodge (bass/vocals) were both hired. Their presence in the Moody Blues would not only radically change the stylistic direction of the band, but also their commercial fortunes. The band signed a new recording contract with Deram and set about rebuilding their brand.<br /><br />In 1967, the Moody Blues joined the wave of bands to become enamoured with the Mellotron (a keyboard able to recreate flute/violin and other instruments - think the Beatles’ ‘Strawberry Fields’). It opened up a whole new suite of possibilities for the band, and soon they shifted away from straight up blues and rock, to a more psychedelic, classical amalgam. They released the landmark album ‘Days Of Future Passed’ (UK#27/ US#3/OZ#18) in 1967, featuring, what would arguably be their signature song, ‘Nights In White Satin’ (UK#19/OZ#8), one of the most emotive songs of its time, or any time for that matter.<br />
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They followed up with a string of three albums in quick succession; ‘In Search Of The Lost Chord’ (UK#5/ US#23); ‘On The Threshold Of A Dream’ (UK#1/US#20 - now on the band’s own Threshold label); and ‘To Our Children’s Children’s Children’ (UK#2/US#14) - all serving to further enhance the band’s commercial fortunes and solidify their place among the pre-eminent British acts at the time (not a million miles away from the evolution of Pink Floyd). Their work during this time had evolved into a hybrid of rock and orchestral pop - they were in essence one of the first progressive rock bands (think Genesis - though arguably more on the commercial pop end of the scale). In interview, Justin Hayward explained that in lieu of music videos (which were yet to evolve into what they are today), the band placed a lot of emphasis on the album’s cover art to evoke a sense of thematics.<br /><br />The 70s started for the Moody Blues where the 60s left off, releasing the album ‘A Question Of Balance’ (UK#1/ US#3/OZ#4), featuring the epic single ‘Question’ (UK#2/ US#21/OZ#36). The orchestral sections of the song have always put me in mind of the title music that might be used for a western - grandiose in scale. By this time, critics of the band were levelling the charge of their music being bombastic and pretentious, with overly elaborate orchestral sections and overly verbose and obtuse lyrics. But my view is the Moody Blues were far from pretentious in their music - they were ambitious and ground breaking in much of what they did. They were one of the first ‘classical-pomp’ groups, that had graduated from playing clubs to filling arena’s and releasing albums almost at whim.<br />
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It would be wrong to categorise the Moody Blues as simply a ‘concept album’s band’, restricted to recording musically elaborate, and lyrically weighty songs. They had the equally adept skill of penning more commercially accessible fare, without compromising the integrity of their work. The early 70s saw the release of two more albums; 1971’s ‘Every Good Boy Deserves Favour’ (UK#1/ US#2/OZ#5 - which spawned the hit single ‘The Story In Your Eyes’ - US#23), and 1972’s ‘Seventh Sojourn’ (UK#5/ US#1/OZ#5) which yielded the hits ‘Isn’t Life Strange’ (UK#12/ US#29/OZ#39 - which is about as introspective as it gets), and the crowd pleasing ‘I’m Just A Singer (In A Rock And Roll Band’ (US#12/ UK#26/OZ#39 - perhaps a thumbing of the nose at critics, as if to say “we can play appealing commercial pop-rock as well as anyone”).<br /><br />Having dominated album charts and established a massive live following over the previous six years, the Moody Blues took the decision in early ‘73 to put the band on hold for an indefinite sabbatical. All five members actively pursued various and sundry solo projects, though Hayward and Lodge spent part of the time away working as a duo called the Blue Jays. During their absence their record label released a best of compilation, and a live set to appease hungry fans.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/9muzyOd4Lh8" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/-wDHvmCVRxU" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-80507317955443217302014-02-28T18:05:00.001+11:002014-02-28T18:05:46.700+11:00Smokey Robinson - Snapshot - 'Being With You'<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNw6TXekJyEOsV4CFG97MgE6f-mpYwurvPIoWXsmZ8TAW7Iyoo4lfP3uwKCmWK5Qw5pEj4RaNUrbuucPQpZpxtSIxkrsb7EHgu3IbozATwQqQwYdS6ZFB7as6aitbD4H-3ICkvVP9X4VtV/s1600/smokeyrobinsonbeingwithyou.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNw6TXekJyEOsV4CFG97MgE6f-mpYwurvPIoWXsmZ8TAW7Iyoo4lfP3uwKCmWK5Qw5pEj4RaNUrbuucPQpZpxtSIxkrsb7EHgu3IbozATwQqQwYdS6ZFB7as6aitbD4H-3ICkvVP9X4VtV/s1600/smokeyrobinsonbeingwithyou.jpg" height="320" width="318" /></a>During 1981, I recall hearing a smooth R&B coated song called ‘Being With You’. The artist was Smokey Robinson, someone who at the time I knew little of except that he had once performed with a backing group called the Miracles, and his voice was sublime. ‘Being With You’ made an impression on me, but made a bigger impression on the charts. So who is Smokey Robinson, and what’s the story surrounding ‘Being With You’? Read on to discover more, no really…it’s a ripping yarn!<br /><br />The year - 1955. The place - Northern High School in Detroit. The vocal group - The Miracles. Comprising William ‘Smokey’ Robinson (lead vocals), Emerson and Bobby Rogers (tenors), Ronnie White (baritone), and Warren ‘Pete’ Moore (bass). Emerson Rogers was replaced by Claudette Rogers in 1956. By 1958 the quintet had recorded for the End label, but were signed soon after by one of Detroit’s leading labels, Tamla-Motown.<br /><br />The Miracles debut on the charts came with 1960’s US#2 ‘Shop Around’. Thirteen (unlucky for some) further top forty incursions occurred over the ensuing five years, including ‘You’ve Really Got A Hold On Me’ (US#8), and ‘The Tracks Of My Tears’ (US#16). As Smokey Robinson had handled all the lead vocals and written a good number of the songs (including for many other leading Motown artists), it was decided in 1967 that he should (officially) become the focal point. And so the Miracles became Smokey Robinson & The Miracles. The new formation scored their first top ten hit in late ‘67 with ‘Second That Emotion’, and eight more top forty hits followed through to the end of ‘69.<br />
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With the dawn of a new decade, Smokey Robinson & The Miracles finally broke through to the zenith of the U.S. charts with a song that had been originally recorded and included on their 1967 album ‘Make It Happen’. ‘The Tears Of A Clown’ got a new lease on life in late 1970, crying all the way to #1 in both the U.S. and U.K. (OZ#7). Strange was it then that soon after scoring their biggest hit as Smokey Robinson & The Miracles, that Smokey Robinson decided to pursue some miracles as a solo artist. The Miracles decided to carry on as a quartet with Billy Griffin on lead vocals. The group had limited success over the course of the 70s but did score big with the 1976 US#1 ‘Love Machine (Part 1)’ (UK#3/OZ#89). They had disbanded by the end of the decade.<br /><br />Meanwhile, Smokey Robinson had continued to churn out the song writing credits for Tamla-Motown, as well as carrying on his official duties as Motown vice-president (a title he had held since 1961 - such was his importance to the fortunes of the label). He released his debut solo album in 1973, imaginatively titled ‘Smokey’ and followed this up the next year with ‘Pure Smokey’ (a finer grade of Smokey). A few minor hits were generated but it wasn’t until his 1979 album, ‘Where There’s Smoke’ (US#17), that Robinson fired up once more on the charts, with the U.S.#4 hit ‘Cruising’ (OZ#70).<br />
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Smokey Robinson would find his biggest solo success during 1981, in the form of the single ‘Being With You’. It was the title track lifted from Robinson’s eleventh studio set (US#10/ UK#17/OZ#71). The song came about as a consequence of another song Robinson had penned over a decade before. The song ‘More Love’ had been a top forty hit (US#23) back in 1967, and it ended up being offered to Kim Carnes (see previous post) to record in 1980. The Kim Carnes version, which climbed to #10, had been produced by George Tobin. Robinson was impressed with the Carnes’ version and, as he so often did, he sent a batch of other songs on to the producer Tobin with a view of Carnes recording them. By that time producer and artist had split company, so in lieu Tobin suggested producing Smokey Robinson himself recording one of the songs on offer - ‘Being With You’.<br />
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‘Being With You’ entered both U.S. and U.K. charts during March of ‘81. The song peaked at pole position on the British charts mid year (for two weeks/ OZ#14), but was held off reaching top spot on the U.S. charts by none other than Kim Carnes with ‘Bette Davis Eyes’ - a tinge of irony in that lot.<br /><br />Over the course of the 80s, Smokey Robinson continued to release a steady stream of new material with varied success. 1982’s ‘Touch The Sky’ (US#50) yielded the minor UK hit ‘Tell Me Tomorrow’ (#51), and a string of moderately selling albums followed. But it was 1987’s ‘One Heartbeat’ album (US#26, #1R&B), that served up a pair of top ten hits Smokey Robinson style. ‘Just To See Her’ was a standout and a logical single release (US#8/ UK#52/OZ#99), and was followed by the title track (US#10). In 1989, Robinson contributed vocals to the song ‘Indestructible’, a U.K. hit (#30) for the Four Tops (see separate post). Robinson had one final album release on the Motown label, with 1990’s ‘Love, Smokey’, effectively signing off after thirty years of recording on the Tamla-Motown roster.<br /><br />A prolific and highly influential artist and writer, Smokey Robinson received due reward for his achievements by being inducted into the Rock and Roll Hall of Fame in 1987. This was followed by his receiving the Grammy Living Legends Award in 1989.<br /><br />Over the ensuing twenty plus years, Smokey Robinson has continued to write and record music on a steady basis, though without the commercial rewards of times gone past. Regardless, his legacy in the realm of popular music is assured for all time.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/0P2a6aLDkkM" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/g5bvjUrVObk" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0tag:blogger.com,1999:blog-6695173880952563325.post-88940320261278312672014-02-23T18:27:00.000+11:002014-02-25T00:52:12.807+11:00Aretha Franklin - Snapshot - 'Freeway Of Love'<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFH8SJ0D-7-q5ONV1PtrWY-B35dbYvQg3Mmegv_dKTnoCGUyUtb9AQQ73LUPNPCRHpGMkKmBTZ8j3OTxjCTufPWchKucsg5f2TD3SbVwc3el0sEJCH3UklgkZdp7_w6uQlGR29uEcPbfX-/s1600/arethafreewayoflove.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFH8SJ0D-7-q5ONV1PtrWY-B35dbYvQg3Mmegv_dKTnoCGUyUtb9AQQ73LUPNPCRHpGMkKmBTZ8j3OTxjCTufPWchKucsg5f2TD3SbVwc3el0sEJCH3UklgkZdp7_w6uQlGR29uEcPbfX-/s1600/arethafreewayoflove.jpg" height="320" width="313" /></a>1985 marked somewhat of a revival in the career of the undisputed ‘Queen of Soul’, Aretha Franklin. And it was a welcome revival, acting as a reminder to all just what a rare talent Ms. Franklin is.<br />
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Aretha Franklin was signed to Columbia Records as an eighteen year old, before switching to what would prove to be a long standing association with the Atlantic label in 1967. Between 1967 and 1976, with the ace production team of Jerry Wexler, Tom Dowd, and Arif Mardin in support, Franklin racked up no fewer than an astonishing 34 top forty hits in the U.S. Some of the best known being ‘Respect’ (that’s R.E.S.P.E.C.T. to you and me), ‘Chain Of Fools’, ‘A Natural Woman (You Make Me Feel Like)’, ‘Think’, ‘Say A Little Prayer’, and ‘Spanish Harlem’. It can’t be overstated the influence Franklin had in shaping soul and R&B music during this period. Her last top forty hit on the Atlantic label came in 1976, with ‘Something He Can Feel’. Aretha Franklin resisted the temptation to dive into the disco pool during the latter half of the 70s, preferring instead to take a break from recording.<br />
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Following an extended hiatus from recording, Aretha Franklin made a memorable appearance in the 1980 cult classic ‘The Blues Brothers’, where she belted out a blazing rendition of ‘Think’. Soon after she signed with the Arista label and resumed her place in the charts with 1982’s ‘Jump To It’ (US#24), but it would be 1985 that would mark the return of the ‘Queen of Soul’ to the upper reaches of the mainstream charts.<br />
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In July of ‘85, Aretha Franklin released the single ‘Freeway Of Love’. The track served to introduce Aretha Franklin’s prodigious vocal talent to a whole new generation of music lovers. ‘Freeway Of Love’ was backed by a fun loving video clip, featuring appearances from saxophonist Clarence Clemons and drummer/producer Narada Michael Walden. ‘Freeway Of Love’ zoomed through the chart traffic to find a parking space at #3 on the U.S. Hot 100 (OZ#6/UK#51). The ‘Queen Of Soul’ was back - I can’t help but think there’s a line of comparison to be drawn between Franklin’s comeback and that of another 60s diva in Tina Turner.<br />
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In October of ‘85, the Eurythmics released the single ‘Sisters Are Doin’ It For Themselves’ from their ‘Be Yourself Tonight’ album. The song was a rollicking duet with none other than Aretha Franklin, and rushed up the world charts (US#18/ OZ#15/UK#9).<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8T3frv96g1KFv_qB4RS0_rcN4Bx7b96VUvPuCZ_HFG1vbBG9FeII8Tqg2d-ixpj6x9mara15Ju93IHEffvkbAXQUrdc2vN76gN7cxtSZLOiiyh9rr-_W8eu9vVBTrU1wqmkM2bsB1ZA7B/s1600/arethasolo1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8T3frv96g1KFv_qB4RS0_rcN4Bx7b96VUvPuCZ_HFG1vbBG9FeII8Tqg2d-ixpj6x9mara15Ju93IHEffvkbAXQUrdc2vN76gN7cxtSZLOiiyh9rr-_W8eu9vVBTrU1wqmkM2bsB1ZA7B/s1600/arethasolo1.jpg" height="320" width="260" /></a></div>
Soon after Franklin released her next solo set, ‘Who’s Zoomin’ Who’ (US#13/ OZ#15/UK#49). The album, produced by Narada Michael Walden, featured guest appearances from Clarence Clemons (see previous post), Dizzy Gillespie, Carlos Santana, Peter Wolf (see J. Geils Band post), and several of Tom Petty’s Heartbreakers. It was the biggest selling album for Franklin since 1972’s ‘Young, Gifted and Black’. It also yielded a top ten hit with the title track (US#7/ OZ#38/UK#11).<br />
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1986 saw the album ‘Aretha’ released, spawning the hit ‘Jumpin’ Jack Flash’ (US#21/ OZ#36/UK#58), a cover of the Stones’ hit, produced by Captain Jack’s Dad, Keith Richards. The album also contained the song ‘I Knew You Were Waiting (For Me). It was a duet that Franklin had recorded with former Wham! member turned solo superstar George Michael. Produced by Narada Michael Walden (and co-written by Simon Climie - see Climie Fisher post), the song was released as a single in early ‘87 and rocketed up the charts worldwide. By February, George and Aretha stood atop the pinnacle of the British charts and held station for 2 weeks - it was the first British chart topper for the ‘Queen of Soul’. The song was recorded in Franklin’s home town of Detroit, and the accompanying promo video shot in part with Michael and Franklin on separate sides of the Atlantic - Franklin had by this time refused to fly. But fly she did on the Australian charts, with ‘I Knew You Were Waiting (For Me)’ holding sway at #1 for four weeks in March. The track also topped the U.S. Hot 100 for two weeks during April. For both Aretha Franklin and George Michael it was a triumph, including earning a Grammy Award for best R&B vocal duet.<br />
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Aretha Franklin continued to release albums and singles well into the 90s, and on occasion beyond, with moderate commercial success, and not quite the level of critical admiration afforded her at the peak of her powers.<br />
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Over the last 15 years Aretha Franklin has largely shied away from the spotlight, save for the occasional live appearance in concert with friends, and on occasion at award ceremonies. Included among those awards, are 15 Grammy Awards, induction into the Rock and Roll Hall of Fame (the first woman to be so), and in 1990 the Grammy Living Legends Award.<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/Ip_pjb5_fgA" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/drGx7JkFSp4" width="420"></iframe><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/fDxzQJaA228" width="420"></iframe>A. FlockOfSeagulls AKA Rhys Joneshttp://www.blogger.com/profile/13863551467328979346noreply@blogger.com0