March 6, 2017

Oasis – (What’s The Story) Morning Glory?

Bear with me on this….

If you search through the racks at Charity/Thrift Shops as I do then you’ll always find an old Oasis CD. It seems that everyone had a few when they were in their pomp and now we’re all digital they are surplus. I bought the first couple when the band arrived in 1994 but didn’t stay the course as they kept churning them out (until eventually Noel couldn’t stand his brother any more and departed to pursue other things and no doubt count his money). However the well wasn’t completely dry after (What’s The Story) Morning Glory? and if you find 2002’s Heathen Chemistry for £1 then I would urge you to pocket it.

It’s with this album and the recent release of the film Supersonic about the origins of Oasis and those tumultuous early years that I thought about this album again. It really is a classic by any standards.

Two lads from humble origins in Manchester and Irish ancestry went on to become huge as a rock act. Liam formed the band in 1991 and Noel eventually joined and wrote the songs. You can work out from that who became the leader. Their second release was (What’s The Story) Morning Glory? in 1995. These young men were creating literal chaos wherever they went but with the song writing and guitar of Noel and the voice and attitude of Liam the world became their oyster.

This album took straight guitar rock and Britpop to the masses. Forget the then prevailing Indie with delicate riffs, anodyne lyrics and usually vocalists who couldn’t hold a tune. These boys could offer tunes, guitars, often heartfelt vocals for an anthem and menace.

This album genuinely contains three of British rocks ‘greatest hits’ – “Wonderwall”, “Don’t Look Back In Anger” and “Champagne Supanova”. The record eventually shipped 22 million units and topped the charts in the UK, Australia, Canada, Ireland, New Zealand, Spain, Sweden, Switzerland and even graced the US Billboard 200 at Number 4. It is one of British rock’s high water marks.

“Wonderwall” is a remarkable ballad that starts acoustically before strings appear. Liam’s vocal has the character to own the song and the lyrics and their slightly strange imagery fit the Gallagher brothers well. The lyrics describe ‘an imaginary friend who’s gonna come and save you from yourself’ according to Noel when asked at the time. “Don’t Look Back In Anger” sees Noel take the vocal and for me is the best Oasis track they ever released. There is an uneasy feeling that whilst original there is every influence that Noel had heard in its structure – you’ll think of Imagine with that piano introduction and then further theft from John Lennon with references to ‘revolution from my bed’. Don’t underestimate the rhythm with the drums that drive it and the piercing guitar solos that populate throughout. “Champagne Supanova” is a sumptuous rock ballad with gibberish words, and that’s not me, that’s Noel speaking. Roll With It is a driving rock song and if you want the spirit of Liam with that slightly hoarse but beautiful roar then this is the one.

March 4, 2017

|Tony Ives

David Bowie – Let’s Dance

When David Bowie left us in 2016 I think it touched the lives of any music lover and not necessarily those who knew his records. Such was the respect and recognition of the quality and breadth of his work. He was a recluse for so many years that his music wasn’t in circulation. However such was his stature that when he did briefly reappear latterly with two albums they scooped awards as if they were going out of fashion. I’m sceptical that these records deserved the accolades but not the man.

When I saw him twice in a week, in Doncaster and then Leeds, in 1973. He had ‘just arrived’ after years of hard work that seems to be a vital ingredient for longevity that is overlooked nowadays. It was Ziggy Stardust and Aladdin Sane that I was playing at home at 33rpm and volume eleven. I continued to be happy with him, over the next decade, as he eventually ditched the rock persona and moved into soul, electronica and then sophisticated 1980’s dance. It was in this phase that he conjured up Let’s Dance, his 1983 masterpiece that went on to ship nearly 11 million copies. The music is exceptional but his imagination to approach the musicians, he did, still amazes me. These were unusual picks given his recent output. In very different genres he selected literal icons to help him.

Let’s start with white Texan Stevie Ray Vaughan. He died in 1990 but is revered as a blues legend with a fluid guitar style and empathy for authentic blues as well being an accomplished technician. He’s not just amongst the many blues icons: he is seen as the one who got away with a criminally short time in the spotlight. Bowie saw this little known guitar player at the 1982 Montreux Jazz Festival and pursued him. Had Bowie ever used such a blues guitarist with a licence to roam before on his recordings? All the glorious electric lead guitar flourishes on the album are Stevie’s and not least the incendiary solos on “Let’s Dance” and “Cat People (Putting Out Fire)”.

Next? Iggy Pop had been part of the Berlin set when Bowie was located there making Low and Heroes. In fact Bowie helped write and produce his two biggest albums – Lust For Life and The Idiot. It comes as a surprise to see that Bowie shares songwriting credits on “China Girl” with one James Osterberg Jnr – Iggy to you and me. (In what was an age of MTV then this was my favourite video form the album).

For production duties Bowie selected Nile Rodgers. Here was and is a soul legend – who boasts a string of hit records with everyone from Chic to Sister Sledge to Diana Ross to Duran Duran. A talented guitarist in his own right but an originator of a commercial funk driven sound – what was Bowie think of by letting him steer the ship? Creating magic of course.

Is this my favourite Bowie album? Probably not, but better than most records by anyone else.

February 26, 2017

|Tony Ives

William Michael Morgan – Vinyl

Well of course I’m serious about my music but there are moments of weakness when the sommelier in me reaches for the cheap bottle of plonk and enjoys it. William Michael Morgan’s September 2016 debut release on Warner Bros, Nashville label is such a thirst quencher.

Not that the album is anything short of excellent but there is no ground breaking here and whilst the best studio talent that Nashville has has been corralled around this young man then you’d have to be suspicious that if another beautiful voice had been lined up with this set up then they would have also rattled toward of top of the Billboard charts.

So the Nashville hit machine has chucked out William Michael Morgan, a 23 year old native of Vicksburg, Mississippi who found his way north to Nashville in his teens to learn his trade. I came across his most successful hit single, “I Met A Girl”, on a round up of the 2016’s best Country singles and was immediately drawn to the rich baritone voice and the picture he paints of this girl.

With this poised and beautiful voice, so classic Country, he works with the cream of Nashville’s songwriters (he only gets one joint writing credit on the 11 tracks) and musicians to produce Vinyl. Lots of me shouldn’t like this album…. the Stetson hat, the trendy topical reference to vinyl LP’s and a song about beer. However, Warner Bros have completely nailed this launch with great songs, poignant lyrics, a faultless band and William’s voice and personality.

So what’s on heavy rotation? I love the single “I Met A Girl” along with the follow up of Missing. However, classic Country compositions about loving and losing are available in Loserville and, as Country music can often do, then topics closer to home are aired and in the gentle “I Know Who He Is” where he sings about a father with dementia and his touching love.

If you like Chris Young, George Strait, or dare I say it, Jim Reeves then queue the needle: this is one for you.

February 18, 2017

Joni Mitchell – Court & Spark

I think there is a generation that heard Joni Mitchell for the first time and from that point onwards she became a friend for life and not least a commentator on your own foibles and inner feelings. I know. I was that soldier.

I first found Joni on frosty car rides between Heaton Moor and Manchester Polytechnic, in the winter of 1974, as I steered the Triumph Herald to the city centre. Neil Smith, my fellow lodger at the digs, had a cassette of this classic.

Joni Mitchell: flower child, poet, observer, singer songwriter (yet a jazz musician) and great sultry beauty had been a commercial success before this album but her arrival was with ‘Blue’, still the favourite of many.  I love nearly all her albums but this is the one that I’m grabbing out of the burning house.

The compositions were suited to acoustic, rock band and jazzy piano. They never failed to be illuminated by her swooping vocals with its wide range which touched subjects such as her poor choice in men, heartbreak at being rejected, loneliness, seeking independence, troubled children and always people watching.

By this time, in her career, she could call on a superstar selection of musicians to help her – Larry Carlton, Joe Sample, Robbie Robertson, David Crosby, Graham Nash and Tom Scott’s L A Express. With this band plus sophisticated compositions, interesting arrangements, occasional odd jazz syncopations, mellifluous singing and beautiful melodies then this is a classic contemporary recording.

Written and issued as she entered her 30’s: then by this time the Canadian native had become a resident on the West Coast and along the way had had a child, which she’d given away for adoption, one failed marriage and many relationships. She had a lot to say.

When Rolling Stone deliberated and published its Top 500 Greatest Albums Of All Time then this clocked in at #113. More importantly it makes my Top 25. In fact Jodi is one of the few artists who was able to produce a catalogue of magic over 30 years. Few artists have such longevity other than those recycling the Blues or Rock.

All tracks are engrossing but ‘Down To You’ will be my Desert Island Disc pick but I’ll play ‘People’s Parties’ and ‘Help Me’ a couple of time to make sure I’m sure before I hand in the list.

February 12, 2017

1975 – I Like It When You Sleep, for You Are So Beautiful yet So Unaware of it

World domination by the Manchester four piece is on schedule with their second album from early in 2016. After having come together at the beginning of the century then it wasn’t until 2013 that they released their eponymous debut.

Attractive to mainstream pop radio then the singles have flowed and extensive touring in the UK and the USA has brought them to a wider audience. Their second album spawned a new logo/look and a pretentious title. However for all that then the album is exceptional and Matt Healy, the songwriter, voice and frontman, has variety in his repertoire and spans a number of styles. His lyrics can often be banal but there are some compositions that are reflective of the world he inhabits (Nana).

With songs ranging between straight pop chart pop (Change Of Heart, She’s American & This Must Be My Dream), instrumental electronica (I Like It When You Sleep, for You Are So Beautiful yet So Unaware of it & Please Be Naked), rock (Lost My Head), 1970’s white soul à la David Bowie’s ‘Fame’ (Love Me), 1980’s synthesiser anthems (Paris & The Sound) and acoustic guitar singer songwriter ballads (She Lays Down). It is an album that you will find something to explore for a long time to come.

It takes considerable talent to produce a convincing selection of different sounds. Not least are the production achievements on the album with some simple arrangements but often weaving multi layered vocals, synths, dance grooves (think Chromeo or Jungle), electric guitars and even a trumpet solo (If I Believe You) something that I worry that many of their current fans might not be able to identify! At the helm again was Healy but also the ubiquitous Mike Crossey who has worked with Wolf Alice, Artic Monkeys, Foals, Keane and Jake Bugg – only a few million downloads between this lot!

The album always engages and provides a platform to move into the heavyweight division of rock artists with a fat catalogue of excellent work behind them. Matt revealed in his Rolling Stone interview that he is a mixed up boy with a lot on his mind but let’s hope that the creative juices keep flowing.

February 7, 2017

Art Blakey and the Jazz Messengers – Moanin’

In early October I went into Leeds for a morning interview. I parked up with time to spare and found myself in a very empty Jumbo Records. One of the original record stores that seems to now have an assured future given the new found popularity in vinyl. They were playing some jazz – hard bop. I like a lot of modern jazz but some of it is too sophisticated for me and I seldom feel much of it is something you can listen to unless you’re completely in the mood.

I was.

As I entered Art Blakey and The Jazz Messengers were climbing into the title track ‘Moanin’. The piano was tinkling the signature. Behind was a tight band playing a melody weaving together their various solos. Art Blakey was on drums – the band leader: he had a career of putting together bands of young talent. This was no exception.

Art had an illustrious career in several bands throughout the 1940’s, 50’s & 60’s. Along the way he converted to Islam and managed to fit in four marriages. Busy boy.

In the line up then Benny Golson is on tenor sax but he also writes most of the compositions and keeps his boss happy with ‘The Drum Thunder Suite’ where Art gets to feature, not by way of tedious solos but various flourishes of different styles and syncopations.

Lee Morgan with a clear and mellifluous tone handles the trumpet. He was only 20 years old when this was recorded in 1958. Sadly he never made it past 33 years old as his then common law wife shot him at a jazz club in New York. Due to heavy snowfall, the ambulance was late in getting to the club and he bled to death before he got to hospital – you can see why Hollywood (La La Land) likes 1950’s jazz: it has a story to tell.

Keys are in the capable hands of another youngster, the 22 year old, Bobby Timmons. His style is sparse but he is the man who gets the chorus but that’s when he’s not soaring along with his own solos. It goes without saying that Bobby succumbed to drug and alcohol addiction before he reached his 39th birthday. 

This album never gets discordant, maintains a melody and bears endless repetition. It may be a plce to start if you are tempted by this era of jazz.

January 28, 2017

Becky Warren – War Surplus

As a boy then one of the buzzes a teenager could get about his latest vinyl discovery was enjoying the fact that you were amongst the first to discover a bright new star. In effect, you were in on the ground floor before the masses discovered your secret find. Inevitably by their second stellar commercial success you had moved onto the next ‘secret’. This is where I am at the moment.

When I heard Becky Warren on this genuinely profound piece of work it was hard to grasp that this Americana artist was not huge. I heard her on the now much lamented but gone Americana Music Show podcast that brought so many unsung legends to my humble abode.

Based in Nashville she’s paid her dues and inspired by her experiences with her former soldier husband and his battle with Post Traumatic Stress Disorder from his service in Iraq. She had the talent, passion and insight to link some hard hitting brutal lyrics to punchy Americana rock. Exceptional tunes accompany each track. Tight rhythm and beautiful guitar that fills the gaps between her vocals.

We begin the journey into Scott and June’s life with his military experiences cutting through their lives like a knife through hot butter. In ways that are reminiscent of Springsteen and his searing and frank word pictures of everyday folk in low rent urban America then her take on the returning damaged trooper are done with exceptional deprecating insights and gallows humour. This makes the story live and you empathise with their lot in life.

The album starts with ‘Call Me Sometime’. He’s returned to Texas and is not the man he was. “Stay Calm, Get Low’ picks up on Scott’s active service and takes you into the soldier’s world of surviving on the front line. Flicking back to ‘Seemed Like A Good Idea At Time’ covers the decision to join up and the time you have to reflect ‘when you are 3,000 miles from a decent beer’. ‘Take Me Back Home’ reflects on the reality that home might not be San Antonio but back on the front line, a place where his skills and temperament fit.

This arrived at the end of 2016 and was an antidote to the horrific quantity of music talent that checked out during the year. With this then I’m hopeful for the future but how many other artists and their wonderful music are out there?

January 23, 2017

B B King – Take It Home

I once woke up in Clarksdale. Mississippi and when the Delta Blues Museum opened I visited the exhibits before throwing my leg across my bike and cycling south. I rode the 65 miles to Indianola where the BB King Museum is sited. I got there in a steady downpour but the ride through Mississippi was flat. A busy and energetic day for the Blues I hear you say. It is a fabulous museum but there may be easier ways to get there.

This pilgrimage was because this legend was worth studying in greater detail, not least in his proverbial back yard. The museum is the best music museum I have been lucky enough to visit.

I’m not sure how I came across this masterpiece in 1979 but it is blend of straight down home Blues and Blues Rock. It was a brilliant introduction and so many of these tracks have become friends forever. BB King has a distinctive and melodic vocal style and the captivating, fluid and often soaring and searing guitar is an irresistible combination.

The team of Will Jennings and Joe sample wrote five of the tracks with Jennings collaborating on the other four. In other work then Joe Sample was a ‘go to’ session keyboard player and Jennings would become well known for working with Stevie Winwood, Eric Clapton, Whitney Houston and writing several soundtrack classics – ‘My Heart Will Go On’ and ‘Up Where We Belong’.

BB King was an early originator who played the US chitlin’ circuit in a time of segregation and prejudice with his band and maybe just about making a living. He started life on a plantation driving a tractor before his escape into music. As regards the ‘story’ every Blues man needs then he was authentic.

Blues music, at the time, in the USA was definitely a race thing and whilst it spawned white Rock n’ Roll then it wasn’t remotely mainstream up until the 1970’s. Eventually white music fans heard from their white Rock heroes about the real Blues men and from here many people who we would now regard as Blues legends – Howlin’ Wolf, Muddy Waters and ‘Blues Boy’ King started to get greater exposure.

BB King issued tens of albums up until his death in 2015 (this was his 26th) and played a major role in bringing the genre of Blues to a wider international audience.

What first caught my ear was the name check of our own Queen in ‘Better Not Look Down’, the mournful and beautiful self pitying of ‘I’ve Always Been Lonely’, the practical courtship analysis going on in ‘Second Hand Woman’ and the tongue in cheek affair of ‘A Story Everybody Knows’.

Bliss and worth the bike ride but maybe not the beg bug bites at the motel afterwards!

January 15, 2017

Miranda Lambert – The Weight Of These Wings

Nashville has long been the centre of a slick production line of artists promoted and supported by the music-making machine. In fact if you can sing, you’ve paid your dues and look the part and then with, granted, a hell of a lot of luck you can be pushed out front with a contemporary Country album with Top 20 hits. Providing you get on the road to work the USA then you’re made.

It’s easier for the boys and the current appetite for bro-country appears insatiable on American Country radio. Only two girls might make the playlist – Carrie Underwood and the Texan Miranda Lambert.

Despite the airbrush photos and PR then Miranda defies the convention and lives her life like many of her songs. Her former husband, the mega Country star, Blake Shelton, described her as ‘complicated’…. I’ll say.

This latest album comes on the back of that turbulent divorce and the general view by many in the Country establishment that Blake was well shot of her. A double album is a difficult project to pull off but there are few clunkers out of 22 tracks. Relationships and her difficult nature are to the fore in the often raw lyrics as she name checks the broken hearts, the highway (‘Highway Vagabond’), its towns, drinks galore and sometime casual sex (‘Vice’). You think that this is probably personally researched despite her co-writing status on nearly most songs.

So why is the record that good? Frankly she’s able to dictate to the record company that she’s not doing a bright and shiny Nashville product and so much of this has a traditional or roots feel like Chris Stapleton’s 2016 Academy of Country Music album of the year – ‘The Traveller’. The arrangements are moody (‘Tin Man’ and ‘Runnin’ Just In Case’) when they need to be and as usual exquisitely delivered. However there is the usual flippant levity that can chuck up a Top 20 hit (‘Pink Sunglasses’). This is an artist putting down her mark as the real deal and not simply reliant on a good set of lungs and a platinum rinse.

Let’s be fair anyone who includes ‘Tush’ by ZZ Top as part of their stage set clearly demonstrates that they had the cajones and independence in place well before they embarked on this defining album.

January 8, 2017

Joe Cocker – With A Little Help From My Friends

So I am the bloke with the odd album, and as they used to say, who has stuff on heavy rotation during most waking hours. I listen to new, old, CD, downloads, vinyl, podcasts, Blues, Pop, Folk, Country, Rock etc. I’ve always believed that there are two types of music – good and bad. I’ve just under 3,000 albums to choose from at the moment and I thought I’d pick the odd gem to talk about as my album of the week. Let’s start with:

Me and Joe go back a along way to the joy of sitting in the Odeon, on The Headrow in Leeds, and watching ‘Woodstock’, the movie, in 1971. For a youngster not really yet steeped in Rock then I’d only recently graduated from The Beatles and pop music to the heavy and good stuff. Hippies rolling around in mud and indulging in free love (what was that?) and wacky backy were a mystery to a 16 year old from Barwick-in -Elmet but the soundtrack sure sounded good.

His tour de force cover of Lennon & McCartney’s Sgt. Pepper’s jovial uptempo song was a revelation as it turned the ditty into a rock soul ballad of gigantic proportions. Anyway Joe had me in his corner from there on in. However, the former Sheffield gas fitter’s output from there on was patchy albeit with a few highlights until he checked out in 2014. (However, his career didn’t go without recognition for his services to music and he received an OBE in 2007; all of which confirms my scepticism about the worthiness of the Honours system!)

The much maligned Music For Pleasure label picked up this selection of tracks and released it at a budget price in 1969 (it seems to be basically virtually nearly all the same tracks he released on various labels internationally at the same time). So as a boy with limited cash to spend I bought this and got some brilliant vocals and an introduction to Bob Dylan (I Shall Be Released, Just Like A Woman & Dear Landlord) and Leonard Cohen (Bird On The Wire) and not least the Beatles classic.

He is one of the important Rock vocalists of the age and I am sure that this vinyl gem will come to a charity shop near you soon. Frankly they are ten a penny but it is still a magnificent listen.