A batch of Cross Rhythms reviewers consider the merits of 25 mainstream albums
Continued from page 1
1976
Be Bop Deluxe
Modern Music
Caroline
For the uninitiated, Be Bop
Deluxe were a British rock band recording between 1974 and 1978.
Though the span of their career is slight, they managed to release
five studio albums and a live album in that time frame. The band was
driven by the songwriting and axe guitar hero status of its founder
Bill Nelson. Lyrically he mixed a sophisticated romanticism with a
fascination with sci-fi and an ability to create a memorable turn of
phrase. Born in the glam era, Nelson's band often evoked comparisons
with David Bowie but had only a fraction of the commercial success.
Not that the band didn't have a good go at becoming a major act.
1975's "Maid In Heaven" and 1976's "Ships In The Night" provided the
band with minor British hit singles and numerous performances on the
Old Grey Whistle Test and various BBC rock concert programmes meant
they had a fair amount of exposure. Add to this their relentless
schedule of gigging and the groundswell of popularity had developed to
its peak when this album was released in 1976. Of course 1976 was for
many Year Zero for music with the punk revolution breaking out in
London and Manchester. The snarling rejection of established bands was
particularly vehement against groups who were skilled musicians and Be
Bop Deluxe definitely fitted into that category. Nelson's fluid guitar
work is the defining feature of the band's work and in a live setting
his extended guitar workouts were capable of taking the breath away.
Nelson's creativity wasn't just within the context of creating music.
The band's album sleeves were always well considered and in a live
setting the band's light show also included extensive use of film when
such things were not commonplace. The sleeve for 'Modern Music' really
does place them in a pre-punk world where most bands would present
themselves in jeans and T-shirts, the men of Be Bop Deluxe were
smartly turned out in business suits and ties, an image that continued
on stage. It was, in truth, an image as much anti-rock as the punky
ripped clothes and big slogan T shirts that were emerging even as this
album hit the record racks in September 1976. 'Modern Music' was the
third album released in a space of 16 months, following hard on the
heels of 'Futurama" (May 1975) and 'Sunburst Finish' (February 1976).
After numerous changes in personnel the band had finally settled into
a fixed line up that was working well. Nelson was supported by Maori
bass player Charlie Tumahai, drummer Simon Fox and keyboard player
Andy Clark and in a live setting in 1976 was augmented by a second
guitarist. The additional guitarist had become necessary because of
the way Nelson's material had been developing. 'Modern Music' features
more guitar than any previous release with multi-tracked guitar parts
and a myriad of new guitar sounds and hi-tech phasing and other '70s
possibilities. It sounds a bit dated to modern ears but this album
really was 'Modern Music'. Lyrically, the album's pre-occupations were
born of the band's first tour of the United States in March 1976. The
band had headed over to play support to an impressive list of
headliners touring the continent. They opened up for Styx, Barclay
James Harvest, ELO, Wishbone Ash, Thin Lizzy, Patti Smith, The Tubes,
Golden Earing and Slade in an effort to establish themselves
Stateside. For Nelson it was a dream come true as he had been
fascinated by America since childhood and now he had the opportunity
to sample the delights of the USA for himself. However, although the
country glittered with a pallid golden glow, it left Nelson cold and
feeling cynical. The opening lyric of the opening song "Orphans Of
Babylon" finds Nelson singing "Marooned in Babylon, thrill seekers on
the run.," reflecting his state of mind at the time, exiled thousands
of miles from his girlfriend. In the days when vinyl albums and
cassette tapes arrived conveniently split into two sides, the musical
content here was neatly split into two. Side one was a collection of
songs penned on the road in the USA and ranged from the anthemic
"Twilight Capers" to the gorgeous poetic piano ballad "The Bird
Charmers Destiny". There were two songs which were tried as singles,
"Kiss Of Light" and "Bring Back The Spark", but in an era where the
charts were packed with pop pap and critics were beginning to get
caught up in the distractions of the punk scene, neither fared well.
The second side of the album presented the ambitious "Modern Music
Suite" opening with a quick scan along the dial of a radio and taking
in such voices as comedian Tony Hancock and Be Bop Deluxe champion
John Peel (who played the band's early music). It is on the segue of
these five songs that the craziness of the American tour was somehow
distilled and morphed into a sci-fi sounding metaphor for life in
America being like living on a different planet. Mixed into the poetic
lyrics were Nelson's yearning for his girlfriend. Nelson's mind seemed
to have been awash with a million ideas that sprang out into his songs
and although his upbringing and early musical adventures included some
time with an involvement in a church in his hometown of Wakefield,
that influence was never a major one. Nelson still creates music
today, more than 30 years on, as a cottage industry, these days
preferring to record ambient instrumental music and looking back at
songs such as these as the naïve work of his youthful self. For me,
the album represents one of the dying shots of British rock before it
was radiated and killed by the fallout from the punk explosion.
'Modern Music' is a seldom praised classic of the era.
Mike
Rimmer
1973
Roots/Acoustic
Paul Simon
There Goes Rhymin' Simon
Columbia/Warner Brothers
It's not easy to find a
better marriage of words to music than Paul Simon's second solo album.
The relationship of lyrics to rhythm could be the definition of poetry
in motion. Each song invites us to step into another world, another
experience, to feel the emotion of the subjects of the songs.
"Kodachrome" the first song of the set grabs the listener with its
cynicism and fast pace. Although it may be the weakest song on the
album it's still high on the "popular songs in the great scheme of
things" chart, a hit single in the US but not in the UK because of
lack of airplay due to its trademark name. "One Man's Ceiling Is
Another Man's Floor" captures the unsettling apartment block life of
rent-paying tenants to perfection and when the man in the song goes
outside and down the alley of his apartment block, it's scary enough
but when he thinks he hears someone call his name it moves into scary
movie territory, and it is actually scary. The one line piano part
adds to the terror. The music of Paul Simon solo differs to the music
of the famous duo, Simon & Garfunkel, it has more blues in it and
chords that jazz musicians use without it sounding like jazz. The
lyrics hone in on their subject like a heat seeking missile, hitting
the target like a skilled marksman. Yes, you may be honest, but
there's no tenderness beneath your honesty ("Tenderness"). It's a
spiritual lesson taught better than some pastors could preach it.
Honesty is important, right? Yes, it is important, but honesty without
tenderness is like a knife in the wrong hands. The spirituality of
this album is strong, Paul tells us in "Something So Right" that there
is a wall in China to keep foreigners out, he has a wall around him we
can't even see. Some people never say the words "I love you", it's not
their style to be so bold. It's so appealing because we see ourselves
in the songs. When he was a little boy the Devil would call his name,
but he's a consecrated boy, a singer in the Sunday choir, his reply to
the Devil's calling was "who do you think you're fooling?". In
"American Tune", Paul finds that he is dying; his soul rises
unexpectedly but looks back down and smiles reassuringly. "St Judy's
Comet" (which, incidentally, is the song Malcolm And Alwyn sang about
in their song "I Love", covered by Cliff on his 'Small Corners' album)
is a song Paul sings to his son and possibly one of the most beautiful
songs of all time. The mortar holding all these themes together is the
clinically clean yet evocative playing of the famed Muscle Shoals
studio musicians. Jimmy Johnson's guitar playing stands as a rule for
all session musicians who play on artists' albums, inspirational yet
only adding to the song, letting the music breathe but adding
seasoning in just the right amount. Barry Beckett's keyboard and
vibraphone playing is just as important on here as it was on Dylan's
'Slow Train Coming'. The Dixie Hummingbirds use their ethereal vocal
harmonies on "Tenderness" and the gospel flavoured "Loves Me Like A
Rock" while the Swan Silvertones' frontman Rev Claude Jeter sings
quite superb falsetto on "Take Me To The Mardi Gras". It sounds as if
there has been great care taken with the precision of the
instrumentation using many over-dubs and studio techniques, but this
in fact is the opposite of what actually happened in the recording of
this album. They played it right the first time and didn't need studio
tricks to perfect things. This album rates as one of my all time
favourites and one which I never seem to get tired of playing. These
are classic songs; the subtle progression of the chords in the songs
was there in the universe long before Paul Simon summoned them.
Paul Poulton
1973
R&B
Donny Hathaway
Extension Of A Man
Atco
Donny Hathaway grew up in the minor mode. It was the music of choice
if you wanted to express Southern angst, the pain and anxiety of hard
times, those ancient gospel roots. That early, heady mixture of the
Good Book, great music and a gospel loving grandma set the tone.
Perhaps, then, it was inevitable that Hathaway himself would be a
God-chaser. Yet by now, in 1973, with the eclectic 'Extension Of A
Man', Hathaway was trying finally to break out, to work in the major
in all senses of the word; literally, to extend himself. It was
typical of his search for the jubilant, the uplifting, even if his joy
seemed forever tinged with sorrow. Producer Arif Mardin knew only too
well how much this restless spirit needed to stretch his considerable
imagination as an interpreter of the best of R&B. After all,
Hathaway's 'Donny Hathaway' and the seminal 'Everything Is Everything'
studio albums were never going to be enough. To Hathaway, soul was
merely an excuse to continually experiment with new concepts in music,
arrangements and performance. But it is more complex than that: this
time, they gave the man a complete orchestra. It was unheard of in the
genre, but here was a soul artist with unfinished business. The
result? - the sumptuous opening track "I Love The Lord; He Heard My
Cry (Parts 1 & 2)" - and a composer was born. Undoubtedly there
would have been more of its ilk to follow in the coming years. He had
aspirations way beyond soul - with plans to write and conduct
orchestral works and score major films. However, there is a defining
moment some way into this album on which, as far as I'm concerned, the
whole of Hathaway's life pivots. We reach this moment with a growing
sense of awe at the sheer depth of feeling he brings to his music. It
is a break of pure, dangerous silence - enough to makes us consider
for an instant that the song has unexpectedly ended. And therein lies
the metaphor. 'Extension Of A Man' was to be Hathaway's final solo
album. No one could have foreseen the way his torment would ultimately
destroy him. Before the pause - in the smouldering blues ballad "I
Love You More Than You'll Ever Know" - the guitar is crying, the horns
are muted, the sax and keyboards are quietly arguing with each other,
and the strings gently sweep up under Donny as he insists "I will be a
part of you that no one else can see/I've got to hear you say, I've
got to hear you say it's alright"... Then, we wait, hold our breath:
utter silence. When he cuts in, it is with the stark confession - "I'm
only flesh and blood, but I can be anything you demand/I could be king
of everything, or just a tiny grain of sand." He knew his place. The
point is that all through this beautifully crafted album, the "you"
Donny Hathaway is talking about is that ambiguous love object common
to so many sensitive, searching songs. God or lover? The listener has
the choice: in the brassy, ghetto-driven "The Slums", in the innocence
of "Come Little Children", in the equally chart-friendly "Love, Love,
Love", the effortless "Flying Easy". With the rise and fall you can
sense the celebration is short lived, uneasy. "I Love The Lord, He
Heard My Cry" segues, significantly, into the immaculate, poignant
"Some Day We'll All Be Free". Hope and despair. In responding to those
age-old questions of inclusion, innocence lost, peace of mind, the
search for unconditional love, Donny Hathaway was walking that
invisible line between the sacred and the secular - something, if we
are totally honest, we all do. An ambitious album, and all the
stronger for its vulnerability.
Phil Thomson
1973
R&B
The O'Jays
Ship Ahoy
Philadelphia
International
There are few albums that so captivate
that even after 35 years one can vividly remember the time and place
of its first hearing. This is, for me, such an album. As a long time
R&B/soul devotee I'd long been familiar with The O'Jays,
enthusiastically consuming each of the singles EMI's Stateside label
released in the UK for the soul clubbing cognoscente. But nothing had
quite prepared me for 'Ship Ahoy'. I knew soul music was changing. The
symphonic soul arrangements of New York production maestros had made
strings and horns a pre-requisite for sophisticated ears while the
belated discovery of a social conscience in the lyrics of Marvin Gaye
and Temptations producer Norman Whitfield showed that black America
too had plenty to say in the turbulent times of post Vietnam America.
But by '73 Motown's grip on the white pop market was slipping and it
was time for a new kid on the block to hit the top spot. Run by
songwriter/producers Kenny Gamble and Leon Huff for a period in the
'70s, Philadelphia International was THE black-owned record label. So,
there I was in the press office of CBS UK, representing a newly
launched glossy magazine called Black Music and listening for the
first time to The O'Jays' 'Ship Ahoy'. I was transfixed. Here was a
soul music masterpiece of truly epic proportions. By the time of its
close I, as a devoted chronicler of black American music, wanted
nothing more than to go to Philadelphia and get the lowdown on this
thrilling musical movement. (I got my wish and in 1976 Eyre Methuen
published the book The Sound Of Philadelphia by Tony Cummings. but
that's another story.) What was so captivating about 'Ship Ahoy' was
that it worked on so many levels. For a start, it took all the
dazzling arrangements that had made "Love Train" and "Back Stabbers"
such irresistible pop and R&B hits. But with this album Gamble and
Huff added to those soaringly soulful harmonies and Eddie Levert's
churchy lead vocals powerful social messages. The album tackled issues
ranging from air quality, ghetto crime, crass materialism and the
bleak history of slavery. The opener "Put Your Hands Together" with
its love, peace and happiness lyric was, maybe, a bit TOO close to
"Love Train" to stand the test of time but just about everything else
on the album was top-of-the-tree. "Don't Call Me Brother" nailed the
demise of community relations in the ghetto. The epic (it's almost
nine minutes long) track highlighted the hypocrisy of ghetto culture
where ordinary people are under the thumb of the 'hood. The group's
Walter Williams preached it straight, "You don't even have any self
respect/How can you respect somebody/I watch you running around the
neighbourhood/Trying to rip me off." But it's Eddie Levert singing
with all the raw power of a hard gospel quartet frontman who took the
song to its climax. Coming out of a bar he finds his car broken into
only to find the perpetrator standing there unconcerned, spouting
street talk: "And here you come, skinning and grinning/I know you did
it/With the power sign/And talkin' about 'my man, solid on that, my
brotha.'" This withering denouncement of ghetto youth appropriating
the signs and symbols of the black power movement while doing things
in direct opposition to African American political empowerment was
Gable and Huff at their finest. There were two other monumental tracks
on 'Ship Ahoy'. The title song is a chilling depiction of the "middle
passage" when enslaved Africans made their way in the slave ships
across the Atlantic. The song brilliantly personalises the tortured
destiny of the slaves in a song and production of almost cinematic
power. But of all the great Gamble/Huff productions and songs the
greatest of all must surely be the album's masterpiece "For The Love
Of Money". For a start it contains one of the funkiest and most
memorable riffs ever, a classic piece of compulsive rhythm as
instantly recognisable as the clavinet riff on Stevie Wonder's
"Superstition" or the bass groove on the Temptations' "Papa Was A
Rollin' Stone". The delicious, hypnotic synth figure on "For The Love
Of Money" immediately grips the attention before being underpinned by
the group's three voices chanting "money, money, money, money" in a
swirl of reverb. Then, to add to the sublime rhythmic delights, Eddie
Levert, at the height of his secular preacher power, comes in to
denounce the materialism and greed of Western culture. "For the love
of money/People will steal from their own mother/A woman will sell her
precious body/For a small piece of paper/It carries a lot of
weight/For that mean, mean, green/Oh mighty dollar." This soul/dance
classic had subsequently been sampled and covered by various acts but
no one has got near to this definitive denouncement of the
materialistic greed that can blight all our lives. A couple of years
ago I saw the feature film The Fighting Temptations and there was
Eddie Levert and his fellow O'Jays playing the part of gospel-singing
barbers. I know not if Eddie's Christianity was the religious
sentimentality of a gospel-singing youth or a living, vibrant
relationship with Jesus of Nazareth. I hope it is the latter. And
either way, The O'Jays' 'Ship Ahoy' is as good as soul music gets.
Tony Cummings
1973
Rock
Pink Floyd
The Dark Side Of The Moon
Columbia
This is such a historically significant album, it's like the Mona
Lisa, like Beethoven's 5th of Progressive Rock: groundbreaking in
style, experimental with new sounds and textures, slightly
controversial at first, and deeply inspirational for many years after
its release. For the last 35 years it has been the benchmark by which
all other prog rock and concept albums have been judged. It contains
the perfect combination of thoughtful and melodic songwriting,
experimental instrumental passages, interesting sound effects and
spoken clips, and the sublime guitar work of David Gilmour. In a
sense, this album describes the grieving process of a band that lost
their founder and lead singer Syd Barrett due to mental illness caused
by drug abuse. Subject matter (all dealt with very poetically)
includes wasting time, wasting money, saying goodbye, illness, madness
and even death: "The Great Gig In The Sky". That particular track is
the fulcrum of the album and must be the most incredible song without
words in the history of modern music: session singer Clare Torry
cries, howls, soars, oohs and ahhs as if her life depends upon it and
it is such a heartfelt effort from deep within that it will bring the
listener to tears. Use it during an intercessory prayer time when most
attendants won't be familiar with the music and it will spur them on
to another level: it's that powerful! This is one of the few secular
rock albums that, during the extended instrumental passages, can draw
the listener closer to our God the creator of music. Gilmour's soaring
guitar and the saxophone of guest Dick Parry deliver their tomes with
such freedom and emotion that visions of heavenly activities are born
in the hearer's mind. No matter what motives and thoughts the band had
during the recording and writing process, something good was captured
on to tape and vinyl. Please be aware though, that for some who were
non-believers during the mid '70s, this album will be a reminder of a
past lifestyle that would rather be forgotten (and forgiven). Also
there are two instances of four-letter words that you would not want
small children to hear. Otherwise, in the 21st century it is still a
work of great substance that is yet to be surpassed, and one that all
rock musicians and fans need to listen to at least once: preferably
the 30th anniversary SACD in 5.1 surround: one of the greatest
surround sound mixes yet created. Listen and learn. If you had six
months in Abbey Road Studios, what would you come up with?
Andy Cooper
1971
R&B
Marvin Gaye
What's Going On
Tamla
One of the
problems in maintaining a website like Cross Rhythms which endeavours
to cover all kinds of music made by Christians - both ministry and
mainstream - is what to do with "secular" artists who clearly have had
at some point a Christian conversion but aren't currently living a
Christian life. As anyone who read the definitive David Ritz-penned
Marvin Gaye biography A Divided Soul will know, Marvin was a believer
but one who never conquered his inner demons so that, like Donnie
Hathaway, Bobby Womack and, sadly, many more, he lived a life where
sexual promiscuity and drug abuse regularly interrupted anything
recognisably Christian in his lifestyle. Not wanting to enter the
still thwart theological debate between the Calvinistic and Armenian
camps about what are the nature and effects of Christian conversion,
Cross Rhythms' editorial team continually ponder whether such and such
an artist's works have any relevance in a forum and discography like
Cross Rhythms. And so to Marvin and this classic album. Throughout the
'60s Marvin made brilliant singles and lousy albums. His singles were
soul pop gems that like 1963's "Can I Get A Witness" or 1964's "How
Sweet It Is To Be Loved By You" evoked not just the spirit but the
very phraseology of black church. His albums though were often
littered with filler or, even worse, corny show tunes (1965's 'Hello
Broadway This Is Marvin'). But then in 1971 came this jaw-dropping
epic, a lush, orchestral, stream-of-consciousness collage which one
critic described as "Gaye gazing into the ether and pleading for some
kind of redemption for mankind." Addressing such issues as war,
environmental disaster and urban blight it was light years away from
Motown's usual obsession with sugar-coated romance. Time magazine
wrote, "Gaye weaves a vast, melodically deft symphonic pop suite in
which Latin beats, soft soul, scat and Hollywood schmaltz yield
effortlessly to each other. He also praises God and Jesus and blesses
peace, love, children and the poor." The three shining classics on the
album were all to be released as singles - "What's Going On", "Mercy
Mercy Me (The Ecology)" and "Inner City Blues". They are truly
brilliant. But elsewhere on the album Christians found much to
intrigue them. "Right On" offered what Christian critic Steve Turner
would call "a funky version of the Sermon On The Mount" while on "God
Is Love" Marvin soulfully croons that Jesus is his friend who
"forgives all our sins" and "loves us whether or not we know it." If
Marvin's career and life had stopped there no doubt Cross Rhythms
would be eulogising 'What's Going On' as the work of a repentant
prodigal ala Al Green's 'The Lord Will Make A Way'. But what was to
follow for the tortured soul singer/composer/producer was nearly all
bad spiritually if not creatively. 1973's 'Let's Get It On' was on
many levels a brilliant soul album. But it was one, as he freely
admitted, inspired by his lust for an adolescent girlfriend, the
enjoyment of whose pleasures he found in no way incompatible with his
marriage vows. And it was to get worse for Marvin's cocaine-confused
perspective so that shortly before his death he was to blur the sacred
and the profane so utterly that he was to write and record the song
"Sanctified Pussy". But leaving such excess and the tragedy of his
life on one side, few can argue that 'What's Going On' is one of the
greatest albums ever made.
Tony Cummings
1966
Blues
John
Mayall
Blues Breakers With Eric Clapton
Decca
After a decade slogging it out on Britain's blues circuit with the
likes of the Blues Syndicate and the Powerhouse Four, Macclesfield
born bluesman John Mayall struck gold in the mid '60s by employing a
certain up and coming guitarist called Eric Clapton. Clapton had
recently quit The Yardbirds in protest to their material moving away
from the blues influences he held dear and his linking up with the man
they would later call the grandfather of British blues produced one of
the most influential and revered British blues albums of all time. The
timing of their collaboration could not have been better. At the time,
many American blues singers from yesteryear were enjoying a
renaissance in the UK and the genre was experiencing a level of
popularity unheard of in its history - largely thanks to Mayall
himself and bands like the Rolling Stones and the Yardbirds - and the
public was hungry for more. With the aim of replicating the band's
barnstorming live sound in the studio, Mayall set about recording this
12 song collection over a three day period with producer Mike Vernon
at the helm and Hughie Flint (subsequently of McGuinness Flint and
Blues Band fame) and John McVie (founding member of Fleetwood Mac) on
drums and bass respectively. Mayall's talent as a writer and keyboard
player is evident throughout and, whilst his vocals occasionally fall
short of the mark, he carries the listener along on a sizeable wave of
enthusiasm as he belts out self-penned classics such as "Little Girl",
"Have You Heard" and "Key To Love". Elsewhere, he shows his prowess as
a harmonica player in a stripped down version of the old prison work
song "Another Man" and a breakneck cover of Mose Allison's "Parchman
Farm" which all add variety to the proceedings. Whilst Mayall was
undoubtedly the main man, what made him a cut above the rest as a
bandleader was the room he selflessly gave his musicians to express
themselves and ultimately shine in the process. In this instance, it
is Clapton who explodes into view - largely thanks to a revolutionary
decision to marry his Les Paul guitar with a newly designed Marshall
amplifier turned up to the limit - and it is the resultant rich,
distorted guitar sound that became the album's trademark and would add
fuel to the "Clapton is God" claims of adoring fans. From the searing
intro of the opener "All Your Love", an electrifying version of the
Otis Rush classic, to the relentless energy and technical genius of
"Hideaway" and "Steppin' Out", Clapton shapes not only the album but
arguably the whole musical landscape of rock music from that point on,
immediately influencing a certain Jimi Hendrix who, shortly after
hearing the album, bought a Marshall amp to see what he could do with
it. In later years, the likes of Stevie Ray Vaughan, Jeff Healy and
Gary Moore paid homage to the album in their playing styles (the
latter covering faithful versions of "All Your Love" and "Key To Love"
on his blues albums of the early '90s) and guitarists to this day
still refer back to this timeless body of work as a benchmark. The
pairing of Mayall and Clapton was to be short lived - Clapton went on
to form super group Cream whilst Peter Green, later of Fleetwood Mac,
became his replacement - but their work on this album alone was enough
to give them both their rightful place in the annals of music history.
Lins Honeyman
1966
Pop
Beach Boys
Pet Sounds
Capital
By 1965
Brian Wilson had retired from The Beach Boys as a touring band, being
replaced at first by Glen Campbell and then Bruce Johnston. This left
Brian in the one place on earth where he felt truly at home: the
recording studio and here he set out to single-handedly turn back the
"British invasion" by creating the first pop album that had no filler.
Having met Los Angeles copywriter Tony Asher at a party Brian
persuaded him to ask for leave of absence from his day job and supply
the lyrics for this new, grown-up project and then set out to recruit
the very best session musicians to record the backing tracks before
putting in the vocals himself. Eventually the rest of The Beach Boys
were allowed to add their vocals but, essentially, this is a Brian
Wilson solo album. Its theme is love. Not the beach blanket teenage
kicks love that The Beach Boys had made their trademark over the
previous four years but the real thing, as seen by the newlywed Brian.
We start with the excitement of "Wouldn't It Be Nice" and move through
the introspection of "You Still Believe In Me" and "That's Not Me" on
to what may well be the greatest pop song ever, "God Only Knows" in
which Brian's little brother Carl gives the finest performance of his
life, before reaching the realisation that love has to change and grow
if it is not to wither and die with "Caroline No". Every song deserves
comment and the concepts behind every song could illustrate many a
sermon. This is not religious music but it is deeply spiritual. Indeed
Brian and Carl would pray together as they worked on 'Pet Sounds'.
Surely the Holy Ghost was whispering in Brian's one good ear while he
was writing the album. If you doubt me then I urge you to save up and
buy the 4-CD 'The Pet Sounds Sessions' and hear a genius at work.
Steven Whitehead
1965
R&B
Otis Redding
The Great Otis Redding Sings Soul Ballads
Volt
In my teenage years I was a very active member of
a clique of record collectors who had little time for the British
bands offering cover versions of blues and R&B hits, preferring to
shout the praises of the originators and clamouring for each R&B
song that labels like London and Stateside saw fit to release. So,
from the moment I first head the gnarled-yet-exquisitely-tender voice
of this one-time gospel singer from Dawson, Georgia I was a deeply
committed fan. I bought the "Pain In My Heart" single and the
subsequent album. I bought the sublime trio of singles "Security",
"Chained And Bound" and "Mr Pitiful". And by the time the single "I've
Been Loving You Too Long (To Stop Now)" came out in 1965 I was making
a thorough nuisance of myself at Moon's Electronics in Plymouth every
week, asking when an Otis Redding album was due. When belatedly issued
(six months after the US release!) I was in a state of excitement
which turned to sublime intoxication. Here was soul music as deep as
you could get. When Otis purred Jackie Wilson's "A Woman, A Lover, A
Friend" or the Impressions' "For Your Precious Love" he didn't simply
cover R&B hits, he took over the songs to offer definitive
versions of glory and pathos. Everything came together on this album:
a rhythm section (Booker T & The MGs) you'd die for, a horn
section whose staccato riffs added drama to every line, and
songwriting which took lost love songs to new solemn depths. Within
two years of course Otis was dead in a plane crash and by the end of
the '70s southern soul's popularity was waning in favour of newer,
funkier forms of R&B. But even today songs like "That's How Strong
My Love Is" and "Chained And Bound" have the capacity to move the
hardest heart.
Tony Cummings
1961
Blues
Elmore James
Blues After Hours
Fire
In the
same way that Bo Diddley built a whole career on one classic riff,
blues man Elmore James created a riff of such bone-rattling brilliance
that he could record it ad infinitum since it first emerged as "Dust
My Broom" in 1951. As "Dust My Blues" it opens this album with such
swaggering power that all the later blues pretenders like the Stones,
Yordbirds et al who sought to replicate it are on a hammering to
nothing. It must be heard in all its swaggering, bottleneck power that
only this Mississippi maestro could conjure up. After a spell of
retirement Bobby Robinson of Fire Records persuaded Elmore to return
to club gigs in the late '50s and gained Elmore another R&B hit
with "The Sky Is Crying". (To get that song you'll need to get 'The
Best Of Elmore James' or one of the numerous James compilations.)
Sadly, Elmore never enjoyed the accolades of the white blues audience
- he died of a heart attack in 1963 - but in truth he was a giant who
fully deserved his moniker "King of the slide guitar".
Tony
Cummings
1959
R&B
Isley Brothers
Shout!
RCA
The first album I
ever owned and a clear indication that God had implanted in this
Devonshire school boy a deep love of black American church music. Not
that 'Shout!' was a gospel album; it was gospel with God taken out, an
early example of what was to make fortunes for Ray Charles, Aretha
Franklin and dozens more singers who took the sound and spirit of
black church and turned it into soul music/rhythm and blues. Ohio's
Ronald, Rudolph and O'Kelly Isley got their screaming, declamatory
style directly from the classic gospel quartets of the '50s. It was
after signing with RCA Records that the three brothers had their
success (47 in the US pop charts) with the two part "Shout", a song
they had "composed" while improvising call-and-response fervour at a
live performance at Harlem's famed Apollo Theater when singing Ray
Charles' "What'd I Say". It is still a stone classic, Ronald screaming
himself into apoplexy as the group chanted their responses. For
several years pop history wasn't kind to the Isleys. Scotland's LuLu
mangled "Shout" to gain a UK hit a few years later and to add insult
to injury The Beatles recorded a vastly inferior version of the Isley
Brothers' Spanish soul version of "Twist And Shout". But eventually
the never-say-die Isleys gained pop hits on Tamla and T-Neck. But what
of this 1959 album? Apart from a wonderful sleve - three black guys in
baggy white suits leaping in the air - it, like just about all the
long players of the time, is full of filler. There's a version of
their followup single "Respectable", a version of the old spiritual
"He's Got The Whole World in His Hands" and, most bizarrely of all, an
odd version of Bill Hailey's "Rock Around The Clock". But such dubious
delights can't dim that electrifying run through of "Shout!"
Tony Cummings
Absolutely brilliant idea chaps..........top marks!!! And heres to Greg Sammons for actually writing about Hatebreed!!!!!!!!!!! Top marks.....do this more often.....and i think we might get more attention the other way too.....praise God