The Stones and Brian Jones

Two days before The Rolling Stones started its umpteenth tour of the U.S.A. in Houston, my friends and I went to see the movie documentary on Brian Jones, the first Stone to leave the band in 1969. The movie started with the comment, "almost nobody remembers him". Looking at the movie, that will not be true for the first generation of fans and certainly not the girls of that generation, although they may remember their fandom with a bit of embarrassment, as they tend to do later in life. Until the moment it has become something to look back fondly on.

Brian Jones had left the band just about the moment when I discovered the band. In the summer of 1969 'Honky Tonk Women' was the first hit for me. I do not have any recollection of the songs before that and several I truly did not get to know until several years later.

What struck me, how popular Brian Jones was, how pretty the girls were he dated (and got pregnant) and that it was not enough for him. The latter is probably the tragedy of it all. Had he been happy with his position as a popular Stone, who was not able to write songs, then he might still have been one. Of course, it may simply be the case he truly did not like what Jagger-Richards were writing but then he could just have left. In the meantime, like Jim Morrison and Janis Joplin, he was burning the candle from all angles at the same time, resulting in becoming a member of a club no one should aspire to joining.

I think that this popularity was what I was not prepared for. It is totally glazed over by the decades that followed and by the current bandmembers that have no use for a faint memory or better a ghost that doesn't age. There was nothing much on Brian Jones in the 'Unzipped' exhibition for example. Had Jones remained alive, who knows he might have been on stage in 2013-15, together with Mick Taylor and so helped towards a higher pension.

By 1968 though the man had turned from a nuisance into a liability and that is what determined the outcome and the memory of the other four band members. That is what makes a person's memory. Ex-bassist Bill Wyman tries hard to do Jones right and shows his contributions to individual songs by pointing to his musicality. The others remain fairly aloof. It is a thin legacy in the end.

Let's face it. What was the band's most popular period? 1968-1972 and by 1968 Brian Jones had already drifted away. The "greatest rock and roll band in the world" is not what he was a part of. Couldn't be, because he had become a liability. There was no way that he could go back on tour with the band in 1969. So, he went and, coincidentally died within weeks after leaving.

What remains after seeing the movie is the memory of someone who was very insecure, desperately seeking his parents' approval. The most memorable and touching moment is a letter his father sent him, found in a box on the attic of one of the girl friends/mothers. A band that continued regardless, just like many others in the movie who were left by the wayside, after having served their purpose as whatever. (And the girls going from one Stone to the other and in the other direction found there.)

What remains is the music. The first six years are not my favourite where the albums are concerned. Most of the singles though are fantastic. And Brian Jones is forever a part of that. The music tells all and that is a legacy that will not be forgotten, transcending the fact that some people do not recognise him in the pictures.

Wout de Natris

2023. Week 20, 10 singles

Week 20 and the sun is finally out, In a week where it was colder during the day on Ascension Day then at midnight on New Year's Eve, I was outside without a coat in mid-winter, we of WoNoBlog present another 10 singles that were released recently. From real favourites, to total newbies and a band that exist over 30 years and is on te blog for the first time. It's all here and perhaps more.Enjoy!

Faithless Lover. Reb Fountain

With 'Iris' behind her, including an international tour of which I was able to see the Amsterdam/Paradiso show, New Zealand singer and songwriter Reb Fountain returns with a new and majestic single. Unsurprisingly so, as majestic must be her middle name. Faithless Lover is a ballad of the kind Ms. Fountain is an expert at but also one that keeps growing in passion and conviction. It starts ever so small. Just her voice and an organ playing long held chords. From there the song is built up, slowly but surely. Drawing the listener in ever closer. Although there is a slight resemblance to Adele's 'James Bond' theme song, it happens to be my favourite Adele song, so double points as far as I'm concerned. Faithless Lover takes another turn in time and grows into an epic, if modest one, ballad. The strings are let loose, digital and real if my ears are not mistaken. In the end it all winds down once again but by then Reb Fountain has long made her point to this faithless person. She has found her words, as she shares them with us. A great new single.

Orbit. Dream Wife

You can find Dream Wife on this blog since the release of the band's first, self-named album in 2018. Orbit is a single from the upcoming album, 'Social Lubrication'. Not that much has changed. Although I'd say that Dream Wife's members have become better players and arrangers. The combination of infectious punkrock and -pop is still there. The band simply makes better use of the options this music offers. Listen to how dynamics are used in the verses. Just bass and drums supporting the singing, joined by a muted guitar sound. The chorus lets it all rip with a great riff and harmony and background shouts.  Icelandic singer Rakel Mjöll really goes at it here, showing the different sides to her voice. Her bandmates Alice Go (guitar) and Bella Podpadec (bass) fill up all (and there must be a hired drummer involved). June 9 the album is released. In the meantime we'll remain in orbit thanks to Orbit.

Let's Talk About It. Angela Tini and Big Sandy

Are you ready for a time machine experience? With Let's Talk About It you are about to undergo one. Angela Tini makes music of the kind they used to make a long, long time ago. As in the kind of music my mother may have listened to in her years in Canada before she got married. Angela Tini and band seem to come straight out of the fifties, from before rock and roll even or at best the kind Pat Boone played. When all that has been said and done, this duet with singer Big Sandy is great fun, if totally outdated for 2023. The pleasure of playing and singing together simply jumps out of the song. The band has this obvious swing, without having to lay it on in a thick manner. It's simply there. The saxophone solo is one out of the Cookie and The Cupcakes songbook. A rolling piano is what provides the icing on the cake. Will I make it through a whole album? Probably not, in the meantime I'm enjoying Let's Talk About It thoroughly.

Killing Time. Reach NYC

From the darkness of an inner hell to a new single. That description serves Killing Time well. Started in 1996 as Reach 454, the band released its first album in 2003, to play its last live show in 2004. Reach NYC circled around better known bands like Linkin Park and Papa Roach but never made it to the same level. Some 20 years later the band, in a partly new line up resurfaces with a potent rock single, like they used to make them a few decades ago. The energy is there and the riffs are convincing. Showing that writing a good rock song has little to do with age. "Taking drugs is how I'm killing time", René Mata sings. Let's hope that playing music is his new way for killing time. It will surely allow Reach NYC to have a chance of making it, with the assistance of a record deal in Germany. Fans of the afore mentioned bands should pay attention.

Alan's Song. Evidence of Struggle

An instrumental. For me at least, this is the hardest to write a review on. Strange in a way, as I do not really pay attention to the lyrics at first and more to the melody. Now let this be where Evidence of Struggle delivers with ease. There's no singing on Alan's Song but there's no doubt what the vocal melody would be here. The guitar leads the way and this amounts to the first impressions I would have had, had there been a singer. Evidence of Struggle is William P. C. Simmons V a.k.a. Rev. Billy Simmons. The multi-instrumentalist plays all on this song himself. Being instrumental and rock the epitaph postrock is usually glued to the music. It's a term that does not help me a lot. Alan's Song, inspired by a conversation Simmons had with a friend called Alan, is a rock song, yet extremely melodic. No one is doing extremely difficult things here. If anything, I would call in progrock as Alan's song has a few distinctive parts and tempo changes. Most importantly, the song rocks.

Monaco. Bianca James

Driving cars down by the Mediterranean always brings to mind the Tony Curtis - Roger Moore series 'The Persuaders' from the early 70s. The reason I bring this up is because Bianca James uses the image  to describe her new single Monaco, the small princedom on the Mediterranean. The description works double, as Monaco does evoke the pop feel coming with the 'The Persuaders' soundtrack. That 60s b-movie music with a little organ and girls dancing to pre-disco beats, in the dancing. Where the sound is concerned Bianca James' single is far more modern. A song could not sound this way in 1966. She catches the vibe of old quite good though. Bianca James dreams big. Coming from Montreal in Canada, Monaco and surroundings is where she would like to be. It will be several months before we are allowed to hear more. Her album is released after the summer. Monaco is a nice, extremely retro-poppy introduction.

The Score. Grian Chatten

A solo album by Fontaines D.C. singer Grian Chatten? Isn't that a bit early in his career with the band going so well? Perhaps. Fact is, if The Score is anything to go by, his solo album 'Chaos For The Fly', out on 30 June, is totally different from his band. The motivation he provides is a sound one. "I have songs that do not fit the direction of our new songs and I do not want to force a direction on the other writers in the band". The Score reminds me in a way of Kaizers Orchestra's singer Janove Ottensen's solo album after three albums into that band's career almost 20 years ago. Far more subdued, singer-songwriter kind of music and not the big band outing. The Score has the same dreamy atmosphere 'Francis' Lonely Nights' has. An acoustic guitar drives the song. Chatten is singing, yes, with his softest voice and together with producer Dan Carey decided what else could fit in there and is, sparsely, used. The result is a track full of modesty, that leads up to a song that is worth paying attention to. If you do not, you could easily miss it coming by. Yes. I'm curious for more.

A Child’s Question, August. PJ Harvey

I missed out on all early and mid albums of Polly Jean Harvey. There was no space where I could relate with them in the 90s and 00s. Something changed with the newer albums and here is the announcement of the optimistically titled (not), 'I Inside the Old Year Dying'. The first single Ms. Harvey releases in 2023 is a mysterious one. Almost as if a ghost found a way to record and release a song. At the same time PJ Harvey sings in a way that I can only call childlike, naive, while daring to go as deep as she is physically capable of. 'I Inside the Old Year Dying' will be her first album since 2016. In the years in between she doubted her will to continue as a musician, getting fed up with the cycle she was caught up in. The inner struggle has led to this mysterious music. A Child's Question, August is ethereal. There's music, there are instruments but besides the drumming, it could be anything that is being played. With that voice soothing and alerting at the same time. I can't tell yet, but this might just become one of the important releases of 2023.

The Chasm. Justine and The Unclean

It's six years ago already that I was introduced to Justine Covault and band. In the mean time she became a record label boss, releasing many-a great band from Boston and beyond. Finally she has found the time to treat us to some more music with The Unclean. Expect some good old garage-powerpop rock. After a soft intro, the band goes at it. There's no stopping the drummer, while the bass player went into the studio with the assumption she's the lead guitarist. Just listen to the fantastic melodies coming out of her amp. One of the great features of The Chasm. Of course there's a real blistering solo as well, reminding me of many great rock solo's from the past. Over it all, Justine Covault only has to do what she's good at, singing a pop-rock song in the style of Blondie at the time of 'Plastic Letters'. The Chasm is a nice warm up for things to come.

After All. Texas

To finish this week, I have a blast from the past. I was still at university when Texas entered my life. Not that I became a fan. The band was usually somewhere at the side of everything I liked. Whether the band released anything since the 1990s, I couldn't even tell you. For 2023 a greatest hits compilation is announced and this single. New, old, remake? It doesn't matter. Sharlene Spiteri is as charming as ever, her voice a little deeper than I remember. After All is a pleasant song with a nice drive. If anything the song reminds me of the better The Pretenders songs. That may be an explanation why I like After All. Spiteri's voice comes close to Chrissie Hynde's in 2023. The musical details in the song give it a nice finish. Little melodies, extra instruments, they are all there demanding attention for a short while. I have not listened to any Texas song, consciously, for at least two decades, but this may become my all time favourite. Who said that miracles no longer exist?

Wout de Natris

2023 week 14, 10 singles

Happy Easter to all who celebrate it. In my country spring is everywhere. Although the nights are still cold, the sun is finally out and the days fresh but very lovely. Musically, this week brings you a very diverse set. From 1950s nostalgia to an instrumental heavy rocker. You will find everything in between as well. So, enjoy your Easter holiday and some good music to go.

Nothing's Free. Angel Olsen

Nothing's Free is the single Angel Olsen released ahead of her new EP 'Forever Means'. The EP is filled with "leftovers" from her 'Big Time' recording sessions. They have a common theme in learning, loving, experiencing and growing and as such belong together. With Nothing's Free she moves even further back in time then on the country inspired 'Big Time'. The song is a 21st century take on the 1950s. Music my mother brought with her from Canada when she moved over here to get married. Music that is somewhere in my deepest unconsciousness. Ingrained somehow in me; before I broke the arm of the little record player and was devoid of music in our home for over four years. A dark piano starts the song over a jazzy, brushed rhythm. Olsen sings like a jazz singer in a smoky bar, oh so slow and as articulate as it is vulnerable. One person who starts talking and the magic all falls apart. This is ultimate beauty but it does make me wonder what she sees as her next step in music. The range is getting pretty stretched if not too wide. In the meantime I'm not complaining. Lay that sax on me again please.

Little Troublemaker. Slamdinistas

No one ever got hurt from some dirty, sleazy rock and roll and Slamdinistas delivers an extra dose from the streets of southern California. Little Troublemaker is a straight up and down rock song played by men of a certain age who still have the fire in them and some heat to share with the world. There's nothing not straightforward here. Dual guitars play a tight rhythm and all the little (and huge) playful accents before both unleash a nice solo lighting the song up some more. The song seems so simple and yet is so effective. It always makes me wonder how it's possible that after 70 years of rock and roll it's still possible to come up with a great rock song like this? Slamdinistas do. It may start off as a little troublemaker, it winds up as a great rock song.

Kick Me. Big Batch

Big Batch is a hardrock band from France with some hints at The Offspring/Green Day kind of punkrock. With Kick Me, the single from its upcoming album 'The Last To Fall', the band makes its debut on this blog. Expect a lot of energy being shared. Big Batch goes for the big effect. This is not the same as going full out the whole time. Kick Me is nicely divided into softer and harder parts, creating the dynamics where the contrasts allow for a far more interesting song. Yes, you will have heard it all before. Don't expect new tricks in the genre. Do expect a strong intro that drops away to a more subtle part, first with a muted guitar part and later with a full force blasting bass. It all ends with an outro bordering on heavy metal for some extra changes. In between the whoa's are all over the chorus. Shouting along is taking care of as well. Nice introduction.

Night Shift. Lucy Dacus

Night Shift is a five years old song but recently Lucy Dacus decided to release it with a video attached. Usually she and a few other related female alternative rockers are the domain of Erwin Zijleman on this blog, today I do the honours. (Also Erwin does not do singles.) Night Shift almost had me fooled in the first minute or so, because nothing much seemed to happen. I decided to do a quick lurch forward and got hooked easily. Night Shift explodes more and more by the minute. From a woman strumming an electric guitar to a huge rock anthem in six minutes. In that sense a lot happens in this song. A musical explosion may be the best description, as that is what happens here. From one person, to elementary band accompaniment to an orgiastic finale. All over it Lucy Dacus sings her story. She obviously has a lot to sing about but most of all she wants to kiss a pair of lips, to know how they feel, if only for a very short while. In the middle there's a change and she wonders what it will be like five years from now .... and here's the video.

Orale. Mozzy Dee

Rock and roll made in 2023? Yes, it still exists and it is not a coincidence Luke Metz is involved. The star however on this song is Mozzy Dee. With her deep voice she leads the whole she-bang of call and response: orale indeed. The song is as 1950s rock and roll as it comes. No, not in the style of the great male rockers of the day. It's closer to rhythm and blues and surf. Expect a guitar playing a walking part the whole time and the high sound of the lead guitar. Perhaps Link Wray style. Chord changes are to be avoided as much as possible. The result is a song that just keeps going and going. Dolores D. Fuentes sings it with Shanda Cisneros Ratto (Shanda & The Howlers) and Frankie Miller responding in the choruses. Orale!. Is there a market for this kind of music in 2023? Who cares, Orale! And with John Fallon co-producing the whole Las Vegas Rum Bar gang is present

Ominous Silence. Lizzy

There's no predicting what Lizzy comes up with next. Of course expect a mix of old fashioned song writing and modern elements in the sound of the individual singles. This is no different for Ominous Silence, the second single from hr upcoming EP 'Every Colour Suits Me ', to be released somewhere this spring. Unless one is John cage, there are no compositions that can claim an ominous silence. The mood of Lizzy's new single does capture a negative or better, a sad feeling. This is all in a minor key and don't we all love to wallow in sad, sad songs every once in a while. Ominous Silence is just the song for such a moment. Lise Reynders is singing this beautifully, with great harmonising, there's a lot of it on this single and all perfect. Producer Joes Brands played 'Sad, Sad Songs' in my living room two weeks ago this weekend with his band The LVE. Here is another sad songs that deserves to be heard far and wide.

High Beams. Captain

The British band Captain is the latest signing of the Rotterdam based label Gentlemen Recordings. The band released its first album in 2006, after which it lost its guitarist Mario Athanasiou to cancer. The dark days are behind the band as it releases a fine alternative pop-rock song somewhere in between Britpop and U.S. powerpop. Apart from the nice bittersweet feel of High Beams, the song excels in the double fronted lead vocals shared by Rik Flynn and Clare Szembek. Somewhere between dreamy and solid, the two sing together in a way that makes the song come totally alive. It took me a few listening sessions to realise that I'm reminded of the Ricky Ross - Lorraine McIntosh Deacon Blue tandem. This is meant as a compliment. I had never heard of the band Captian but this certainly makes me curious for the album that is to follow later this year.

Hazy Shade Of Winter. The Downhauls

Via The Bangles The Downhauls cover Simon & Garfunkel's album track. I doubt whether the famous 1960s duo ever imagined the song could rock this hard. Even The Bangles most likely. The Downhauls really shred the song apart in a fantastic version. The lead guitar really rips the riff apart. It is the drummer however who kicks off the song by pounding away for quite some time. Not giving away anything of course of what is to come for the unsuspecting listener. When the guitar bursts loose there's instant recognition for the pop connoisseurs. This is punk rock, whatever you like to call it, heaven. The Downhauls are working on a new album and kick it off with this fantastic cover. There's an abundance of energy, joy and fun bundled into the track. The love of music comes through in all ways possible. Hazy Shade Of Winter announces spring 2023 in a big way!

Trench Coats. Cold Expectations

Boston alternative rockers return with a banger that could have been a single by a U.K. punk band from the late 1970s anytime. The tempo is there from the very beginning and never lets go. Cold Expectations is back with a nice single and an album, 'Static Reactions'. Trench Coat is the kind of song that does not take a lot of words to describe. Just dance to it, sing along, shout "trench coats, trench coats" and you'll be fine for the evening. And if you can't dance, just move your head up and down to the rhythm and you'll be fine to. Even just sitting in your chair at home!. Trench Coats is pop and punk defined into one.

odèm / yola des goz. néander

We end this week with an instrumental. Of the kind that does not need a vocal. néander unleashes a virtual storm. néander is a post rock band that incorporates hard rock, surf, metal and probably a lot more into its music. In yola des goz it all comes together. A huge sound is created that seems to come from all sides. The song starts out like ships passing each other in a thick fog. Their horns sounding out muffled over the river. That image can be shelved when the band kicks in full force. Man, am I glad I'm not the drummer of néander, Sebastian Grimberg. Most likely you could sweep up from the floor in about half a minute. Neither could I keep up with the guitar shredding. My muscles were not designed to do this. My ears are totally up to it though and that is what counts here. With three guitarist the band has a great line up and that shows. With odèm - yola des goz néander has released a 7" single especially for the tour the band embarks on next month taking them all through Germany, with a t-shirt design after the single sleeve. Better be fast if you want both.

Wout de Natris

Tina. De Tina Turner Musical. Beatrixtheater, Utrecht, vrijdag 8 oktober 2021

Het heeft bijna twee jaar geduurd, maar mijn vriendin heeft eindelijk haar verjaardagscadeau uit 2019 kunnen uitpakken. De programmering van de musical rond de muziek en het leven van Tina Turner heeft nogal wat ingrijpende veranderingen moeten ondergaan, zoals voor vrijwel iedereen het leven anders is gegaan dan mocht worden verwacht in november 2019. Na vele malen van uitstel zijn we dan eindelijk in het Beatrixtheater beland, Karen de fan die Tina Turner in Ahoy heeft gezien tijdens de 'Private Dancer' tour en ik de liefhebbende partner. We gaan het hebben over mijn indrukken, want dit is mijn blog.

Mijn herinneringen aan Tina Turner gaan terug naar 1969 toen 'River Deep, Mountain High' voor de tweede keer een hit werd in Nederland. Ik zal het beslist eerder ook al gehoord hebben, maar heb daar geen actieve herinneringen aan. Het nummer is zo ongelofelijk opzwepend, met Tina als glanzend middelpunt temidden van Phil Spector's Wall of Sound. De volgende is 'Proud Mary', die dampende, opzwepende en verpletterend goede cover van Creedence Clearwater Revival's goede maar o zo brave song. Nog een paar singles volgden, met 'Baby Get It On' als laatste hit van Ike en Tina Turner in Nederland, misschien ook wel twee keer. Ik ben even te lui om het op te zoeken. Ook dat is weer zo'n enorm opzwepend geval, die de chemie die er wel degelijk tussen de twee echtelieden muzikaal bestond echt laat zien. Want wat er verder ook heeft plaatsgevonden, en Tina laat dat in al zijn ellende zien, er is schitterende muziek gemaakt.

Toch ben ik nooit verder gaan zoeken dan die paar singles die mij bevielen. De jaren 80 Tina Turner was niet echt aan mij besteed. Ja, ik kan de meeste hits moeiteloos meezingen, maar ik vind ze niet echt interessant. Er is duidelijk sprake van kwaliteit, maar het is mijn muziek niet echt. (Dat is iets anders dan echt niet.)

De musical is prachtig gemaakt. Tina zit alleen op haar knieën voor een verlichte showtrap. Dat zal naar de stage in Rio, zijn dacht ik. Het moment van de absolute top in haar carriëre. Die soloscène verdwijnt en maakt plaats voor een armoedige kerk, waar haar vader predikant is. Het dorpje Nutbush, Tennessee, ja, van die andere Ike en Tina hit single. Met zevenmijlslaarzen gaan we door de jeugd van Tina heen, waarin iedereen haar verlaat, behalve haar oma, die haar liefdevol opvoedt. De verhuizing naar St. Louis, de kennismaking met de miskende en gefrustreerde en getraumatiseerde rock en roller Ike Turner en de transformatie tot Tina. Anna Mae Bullock is niet meer voor de buitenwereld. Nou ja, iedereen die iets weet van Tina Turner, heeft dit alles al eens gehoord, gelezen of gezien in de film, 'What's Love Got To Do With It', een belangrijk motto in de musical overigens. Ik ga het verder niet herhalen.

Er wordt fantastisch muziek gemaakt tussendoor, in allerlei stijlen. De band, die wij niet te zien krijgen, op het podium wordt enkel stoer geplaybackt, is enorm swingend en kan met alle stijlen moeiteloos uit de weg. De oude hits van Ike en Tina zijn allemaal in het Engels. Dat geldt niet voor de zoetsappige liedjes die het verhaal ondersteunen en precies waarom ik een hekel heb aan musicals. Nou, hekel, hekel, niets op heb met musicals en er niet naar toe ga. Het zijn niet meer dan fraai gestileerde smartlappen. En juist daar breekt het tweede deel van de musical mij op. Alle grote Tina solo hits zijn vertaald naar het Nederlands en dat is zo zonde. Sommige nummers passen "Tina" net iets minder en dat is te merken. In andere is ze niet van echt te onderscheiden. Het typische hum geluid tussendoor van Tina, als er echt uitgehaald mag worden, dan is Nyassa Alberta echt op haar best. Ik snap dat de vertalingen nodig zijn om het verhaal aan de gang te houden, maar het ondergraaft de kracht van sommige nummers in mijn oren.

Echt prachtig is het einde. De trapscène komt terug en is de apotheose en catharsis van Tina Turner in deze musical. Zij is de beste vrouwelijke artieste op Aarde op dat moment en haar populariteit net zo groot als de grote, blanke sterren die haar gesteund hebben door de jaren heen. David Bowie's duet 'Tonight' is echt als gast op gelijke hoogte, niet de ster die een plezier komt doen. Tina is 'Simply The Best', "better than all the rest". Decennia van hard werken betalen zich eindelijk uit. Met de juiste hulp van een paar mensen op het juiste moment, niet in het minst haar nieuwe manager Roger Davis en de liefde van Erwin Bach.

Door deze scène viel het nummer voor mij echt op zijn plaats in het leven van Tina Turner, hoe symbolisch het voor haar geweest moet zijn. En hoe waar, ook al is het mijn muziek niet echt.

De finale met de reprise van de grote hits is natuurlijk geweldig. Iedereen staat op de banken, inclusief ik. De band komt eindelijk naar voren en krijgt de spotlight op zich. Als musical is de avond helemaal geslaagd. En Mijn Lief? Zij heeft enorm genoten.

Een opvallende observatie tot slot. Er speelt een bijna volledige gekleurde cast voor een vrijwel volledig blank publiek, met een blanke band. Dat voelt op een bepaalde manier heel raar, terwijl ik besef dat Tina, in ieder geval in Europa, een blank publiek had. Sterker, met blanke teams werkte, voor daar waar het grote geld zit.

Wout de Natris

(The Hits of) Small Faces

Small Faces was a band that I have quite high on my list of favourite U.K. 60s bands. Although I have never been interested past the band's hitsingles -I can't get through the critically acclaimed 'Ogden's Nut Gone Flake' to be honest. The singles though are excellent for the most part. So like I did with another, more poppy 60s band to be sure, Dave Dee, etc. recently, I'm going to take you through my appreciation for Small Faces.

When I was in London somewhere around the turn of the century I encountered a Small Faces t-shirt in the window of a totally music and clothing unrelated shop. I thought 15 quid a bit steep at the time. I still regret it.

What strikes me is how the band developed from a mod R&B band to a psychedelic powerhouse where everything seemed to go and brains and studios were turned inside out to produce the sounds needed. At the same time the signature ending to a song like 'Stay With Me', Faces' greatest hit, is already well explored in Small Faces hits. Steve Marriott, Ronnie Lane, the two principal songwriters, Ian McLagan and Kenney Jones. The first three are not among us any more. The first hit was with original member Jimmy Winston who was replaced by McLagan in 1966.

Two of the songs below were not hits in The Netherlands but were in the U.K. The rest matches 100%.

Whatcha Gonna Do About It (1965)
This song is a fairly straightforward affair. The two chords go up and down. If it is true that Marriot had never played a guitar before joining the band, he sounds quite proficient already. Jones plays a nice drum pick up before the band joins. Marriott's voice already sounds like he's been tarred all over. The influences of Stax and Motown soul on the band are over obvious. The music fits the singing quite nicely. The lyrics aren't by the band Wikipedia tells me, just like the information that the band's manager assisted the single into the chart by spending thousands of pounds to get it in there. It's not a great song but quite good for a starter and fitting in with bands like The Spencer Davies Group and Steve Winwood's voice.

Sha-La-La-La-Lee (1966)
I got to know this song through taping a radio show on Small Faces somewhere in 1976. Many of the hits were played and one of them was this one. I immediately fell for it. The start is so forceful, the melody so positive and strong. A cowbell has a prominent part as does the organ, McLagan's first recording with the band. They can do miracles it seems. This song is so easy to sing along to. What it also shows is that the songwriting skills grew considerably in a short period of time, were it not that manager Don Arden hired songwriters and producers Kenny Lynch and Mort Shuman to write the song. Apparently the band never liked the song, as being to poppy, but I know a good song when I hear one. In fact there are a few song elements that would find their way into the band's song writing from then on. Just listen to the end, the solo organ part, the guitar that chimes in. So the song was not that bad. Poppier? Yes, for sure, but inspiring for both Marriott and Lane.

Hey Girl (1966)
The last song not to become a hit over here but certainly in the U.K. It was on my tape, now long lost and one that I liked a lot as well. Hey Girl has a vibrant side and a loud rock side. It mixes pop with rock and a spruced up R&B. The band obviously had learned from the Lynch/Shuman outing. Marriott and Lane have come up with a great pop single that I love listening to. The bouncing rhythm makes the song go forever forward without holding back for one second. I can't understand that this song did not make the charts over here, unless it wasn't released as a single. They do not come much better in the first phase of the band.

All Or Nothing (1966)
The big splash came with All Or Nothing. Finally a big (no. 2) hit in NL and a no. 1 in the U.K. All Or Nothing brings Small Faces to another level of songwriting and playing. The band has learned the importance of dynamics and works the concept out in a great way. The warm use of the Hammond organ, the extra thumping on the drums providing great accents, working with the rhythm, the sensual way Marriott sings. I have played the song myself for years and it is a joy to play and sing harmonies. Again there's a drum pick up that's becoming something of a signature thing for the band. It is also the first song by the band that can be described as pure rock. The pop element was chucked out and a much harder element added to the band's sound. In several ways All Or Nothing is a major breakthrough.

My Mind's Eye (1966)
The final single of 1966 spilled into 1967 and again is a departure of what went on before. The first hints at psychedelia move in but also of a kind of pop that many bands explored around that time. Especially over here in the Netherlands. Band's like Sandy Coast, Golden Earrings all played music like this around the time. They must have listened very attentively to this single. I never really liked this song a lot, but listening today I notice that I have changed my mind totally. Why? Because the song has an inner pop feel that is much better than I had heard so far. Just listen how the band members sing together and the changes in the melody. If anything this evening's listening session has opened my ear to My Mind's Eye.

Here Come The Nice (1967)
The first hit of 1967 is not the best of the band's efforts. By then they had a reputation that they could afford a somewhat lesser song in between. It is also an inbetween song of sorts. The pop element is brought back but also a psychedelic sheen is laid over the song. It still is not complete. The band sounds, in hindsight, like it still has to make its mind up whether it is going off the deep end. The result is a nice song but not a great song.

Itchycoo Park (1967)
That greatness is achieved with the next single, another major hit. The band allows itself to go off the deep end and the studio has become an instrument with the flanging of the sound. Whatever and wherever Itchycoo Park is things are too beautiful and the flowers wind up in the air of all while enjoying a substance of whatever sort. At the same time it is a little love song about expanding minds together while laying about in that park. The music isn't even that wild or far out. Except for the psychedelic parts it is a fairly straightforward (love) song, with a typical Small Faces ending.

Tin Soldier (1967)
And then the next level. The intro is the precursor to 'Stay With Me'. A blue print even in my book. Tin Soldier is one of the great songs of the 60s. It combines hard rock and psychedelia with pop and soul. It somehow all blends so organically. The female voice that is added is a total surprise showing the band was expanding ever further. P.P. Arnold is singing her heart out. Marriot had written the song for her but kept it for himself and quite rightly so. It may be his best song. Just the way it starts, the piano then the organ, then the guitar, while the drums override it all at a certain point. Again dynamics are an important part and major strength of the song. The combination of the different parts of the song are simply staggering. It all keeps coming together. I simply love it, there's no other word for it.

Lazy Sunday (1968)
This is the song I remember best from the days as a young boy. This was a big hit and I somehow knew it was. Until I got to know the other songs better, this was always my favourite and in a way still is. Lazy Sunday still sounds so adventurous. The band dared to go all out and bring the psychedelia back in in the strongest of ways. But it's not just the strangeness of it all, no, this is all about the inventiveness of the band. There are so many details in this song, where all the strengths of later 60s come together. Small Faces sucked it all in and produced it's first and only no. 1 hit in The Netherlands. If anything this song always brings a huge smile on my face and has done so for well over 50 years by now. In fact I still discover new things in it. This time how the organ sound changes near the end underneath the bells and bird sounds. Funny isn't it?

The Universal (1968)
The Universal sounds to me like some of the songs on The Doors' 'Waiting For The Sun'. It is elementary and different from all the band did before. There was not much after, as this was the final Small Faces endorsed single. In part it is a home recording, as can be heard through the dog's barking in the background. The Universal is a good song though. The fact that Steve Marriott decided to strip everything down may have been a reaction to the overly psychedelic 'Ogden's Nut ...'. It reflects what the Beatles would come with on 'The Beatles' and The Kinks on 'The Village Green Preservation Society', back to basics. Except that for Small Faces it was the end of the road, for the other bands it was not (yet).

Afterglow Of Your Love (1969)
The record label hastened to release a final single after the band broke and Steve Marriott started Humble Pie with Peter Frampton and Greg Ridley. Afterglow Of Your Love is not the best Small Faces single but it is a befitting goodbye. The song sums up the strengths of the band and brings together what it did before in 'Tin Soldier'. On the whole the song holds some great twists that can only be called signature Small Faces. The B-side is one of the last songs the band recorded and is the loudest rocking Small Faces song I've heard to date. What an energy 'Wham Bam Thank You Man' has. Sounds familiar? Yes, Bowie quotes it.

In the second half of the 70s the band reformed but never got back to this level. I have one of the two albums. I think I have not even played it once as a whole. I am going to keep my eye on second hand albums from the 60s though. There must be more where this came from.

With thanks to Wikipedia for some background information used here.

My top 5:
1. Tin Soldier
2. Lazy Sunday
3. All Or Nothing
4. Hey Girl
5. Sha-La-La-La-Lee

Wo.

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

U Kin B The Sun. Frazey Ford

If anything Frazey Ford manages to hit the right note all over U Kin B The Sun. Anyone in the mood for an album that catches laidbackness in all its glory is recommended to go out and buy this album without bothering to listen first. They do not come much better than this.

Ha, I cheated. The above words closed my review of 'Indian Ocean', just under five years ago. They are so appropriate that I just copied them to start my review of U Kin B The Sun. Without to much trouble I could have copied the whole review and just changed some titles.

You might say that five years of silence is followed only by more of the same. You might, but I suggest you read on any way. Frazey Ford has released another record that is simple such a pleasure to listen to. With her rather harsh sounding voice a world of joy is created with songs that just seem to go forward until all that beautiful little details come forward that is.

Such a detail can be a beautiful change of melody or a little contribution on an instrument able to play some sort of lead line. From bass to Hammond B3 and guitar, they all play their own role. They all shine together, despite being hired to make Frazey Ford shine, they all get their moment to bask in the slight.

Promo photo

The music Frazey Ford excels in is a mix of soulful rhythm & blues. Music that can be heard in records from the 60s onwards, think 'Dusty In Memphis' to name another Caucasian female singer. The horns are missing, U Kin Be The Sun is more elementary in sound. Making it more subtle. On the other hand there's no 'Son Of A Preacher Man' in sight on this album. But that is a league extraordinaire. At the same time Ford regularly hints at some country elements giving her new album some extra depth.

It is the laidback nature of U Kin B The Sun that makes it shine. The kind of album that makes me ready to just listen, to want to do nothing else and just follow every little twist Frazey Ford and her musicians present to me. Following the music is more than enough for a short while.

The basis for the album was laid with her bass player Darren Parris and drummer Leon Power. Jamming in the studio led to the birth of several songs. Together with producer John Raham, Craig McCaul on guitar and Phil Cook's keyboards, the songs were flashed out to what we can hear today. It is a lot. From mellow laidback songs to unexpected bites. U Kin B The Sun is quite the album. 2020, the year starts so nice.

Wo.

You can listen to and buy U Kin B The Sun here:

https://frazeyford.com/


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Full Tilt Boogie. James Scott Bullard

In 2016 I wrote a review of the EP 'Box Of Letters' by James Scott Bullard and the Late Night Sweethearts. A band that I had never heard music from before. It was just a name I had ran into once, because of the label. The post invoked a response from Bullard:

""Netherlands based review of the E.P. ...Not bad at all, but the person who wrote it is damn near a prophet!!! ...Without speaking to me, the label, or my manager personally, they 110% predicted that the E.P. was a departure from my 'softer' side and (without hearing a note of it) that the forthcoming full length record takes a definitive darker, grittier turn at the wheel...No official release date set on that yet, but hang tight folks, you're in for a treat!""

I do not know about being a prophet, though it does seem you are about to find out about that treat, as that release date is finally upon us all: 27 April 2018. This may have been a bit longer than Bullard had hoped for at the time, but the waiting was worth it. Double and then some.

Let's start with the cover. The hippie age has reached the Carolinas it seems. It is in a way provocative but at the same time holds a tongue in cheek element as well, by depicting Bullard in a not too serious drawing. The cover can also be seen as a warning: expect the unexpected. The title in the right hand corner is nothing but a statement, full disclosure. Brace yourself to rock!

And does Full Tilt Boogie? You are about to find out. The very first chords are deep, dark, heavy set guitar chords strummed full on. "Lord, have mercy on me", Bullard sings. Well it seems his prayer has been heard, as this song really rocks out. Shining a light of providence over it all. The deep, dark accents of the distorted guitar paves the way for a fiery slide guitar solo and a warm sounding Hammond organ, placing some fine accents in the deeper layers of the sound.

'Lord Have Mercy', is only the kick off of the album. The boogie really starts in the second song. 'Wicked Ways', no, it's not a cover of the Waylon song (who released a country rock album last week, I haven't had the chance to listen to yet), is full tilt boogie to the max. A rollicking, whopping kind of song as if riding a horse at full speed across the desert. A song about a son living the life his dad lived, against all the warnings of his dear mother. If James Scott Bullard's wicked ways lead to songs like this, there's no need for forgiveness. The lord already has shown his mercy, James. A song like this does nothing then bring huge smiles to the faces of the people listening to it, bringing happiness and joy. If I could write and play songs like these, I wouldn't give those ways up for nothing and nobody, mate.

And that's just where the fun begins. Just listen to that intro of 'All To Pieces'. Something many artist would kill for, and now that would be sinning. Full Tilt Boogie is getting into its groove and is outpacing many albums in its sort I've heard recently as is competing full on with my favourites in the genre. Just listen to that guitar solo going at it. This is as good as the very best songs of The Black Crowes and outpacing anything Lynyrd Skynyrd did in the past 30 years. Better than anything by ZZ Top (o.k., barred 'Tush').

On Full Tilt Boogie a few worlds come together. There certainly is a country/roots element hidden in all the rock. Blues rock comes in strong. Rock and roll takes its part, while the attack of classic rock rears it rocking head. For me its a match made in heaven, to stick to religious metaphors. Bullard chose to make his sound rough and loud. It leads to an album that is made for dancing at shows. Live this has to downright fantastic. Time to come over some time soon, Mr. Bullard. There's a market for your music here.

By using dynamics within the songs and changing the lead instruments between guitar and piano Full Tilt Boogie gets the diversity it deserves and adds another point to the overall score.The only thing a listener has to be afraid of is an overdose of enthusiasm. As it comes in spades on the album.

Yes, there are some easy to spot influences on Full Tilt Boogie. Johnny Cash, some country artists I don't mind not mentioning and even Stevie Ray Vaughan can be spotted here and there in the fiery guitar parts. These influences are only there to tell the story of Full Tilt Boogie and nothing else. To give the album a little extra flavour without giving any of its own unique overtones away. Is it perfect? Perhaps not, but it gets very close. The best in its sort I've heard for years.

Wo.

You can order Full Tilt Boogie here:

https://www.bigmavis.com/discography


Here's the link to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Southern Blood. Gregg Allman

Toen Gregg Allman aan het begin van 2016 begon aan het opnemen van Southern Blood, wist hij waarschijnlijk al wel dat het zijn laatste plaat zou worden.
 
De gezondheid van de muzikant die zo lang furore maakte in The Allman Brothers Band ging hard achteruit en zelfs een levertransplantatie mocht niet meer baten.
 
Uiteindelijk overleed Gregg Allman in mei van dit jaar en ontviel ons wederom een groot muzikant. Southern Blood was toen gelukkig al af en verschijnt nu postuum. 
Gregg Allman wilde een afscheid in stijl en wist voor Southern Blood niet alleen topproducer Don Was, maar ook flink wat muzikanten van naam en faam te strikken.
 
In de fameuze FAME Studios in Muscle Shoals doken onder andere Jackson Browne, Buddy Miller, pedal steel tovenaar Greg Leisz en blazer veelvraat Jay Collins op en uiteraard stonden ook de orgels van Gregg Allman opgesteld.
 
Het maken van een goede afscheidsplaat is maar weinigen gegeven. David Bowie deed het op unieke wijze, Leonard Cohen op een buitengewoon ontroerende manier, terwijl Johnny Cash er in slaagde om een hele stapel goede afscheidsplaten te maken.
 
Wat op Southern Blood opvalt is dat je slechts zeer incidenteel hoort dat je te maken hebt met een muzikant die met zijn laatste project bezig is. Voor de songs op de plaat deed Gregg Allman vrijwel uitsluitend een beroep op songs van anderen, onder wie tijdgenoten als Bob Dylan, Tim Buckley, Jerry Garcia, Lowell George en Jackson Browne. Gregg Allman vertolkt deze songs op gloedvolle wijze.
 
Hij is verrassend goed bij stem (al moesten de gastvocalisten op de plaat af en toe flink bijspringen) en steekt in muzikaal opzicht in een blakende vorm. Don Was heeft Southern Blood voorzien van een volstrekt tijdloos geluid en het is een geluid waarin de invloeden uit de country, folk, R&B, blues en rock uitstekend gedijen.
 
Het is een geluid dat op een of andere manier direct vertrouwd klinkt, maar dat hier en daar ook weet te verrassen, bijvoorbeeld wanneer blazers en pedal steel op bijzonder fraaie wijze samenvloeien.
 
Southern Blood is een plaat die met een beetje fantasie ook een aantal decennia geleden gemaakt had kunnen worden en ook een aantal decennia geleden was het een topplaat geweest. Southern Blood is een plaat van afscheid, maar het is ook een plaat waarop Gregg Allman nog één keer doet waar hij goed in is: muziek maken. Southern Blood heeft hierdoor niet het mystieke, emotionele of breekbare van de hierboven genoemde afscheidsplaten, maar viert het leven met muziek vol passie en soul.
 
Gregg Allman heeft een rijk verleden met The Allman Brothers Band, maar een niet al te imposante solocarrière. Hij maakte in 1973 het geweldige Laid Back, maar hier staan talloze missers tegenover, met het samen met echtgenote Cher gemaakte Two The Hard Way als triest dieptepunt. Met Southern Blood revancheert Gregg Allman zich voor zijn slechte platen en maakt hij een plaat die naast zijn solodebuut mag staan. Het levert een afscheid in stijl op.

Erwin Zijleman

On Air. The Rolling Stones

The Rolling Stones are a band for 55 years in 2017. A life long career in rock music is no longer a hypothetical question. We know it can be long, last a lifetime and be very lucrative for those at the top. Did the band's latest release, 'Blue & Lonesome' give off the suggestion of a time machine with all the fine blues The Rolling Stones played on it, this release is a time machine.

20 Years after it became fashionable to do so finally The Rolling Stones releases its BBC recordings made in the mid 60s. What I hear is the nucleus of the band that grew to monstrous proportions with the climb of the decades. This is what it used to be all about: Have a great song and perform it as a five piece.

This, in part, is Brian Jones' band, the band that played rock and roll and rhythm and blues covers from the U.S. and caught that energy for the babyboomers if the U.K. about to embark on their peace and love adventure. The picture on the cover already shows the true configuration of the band. In my opinion it is no coincidence that this picture shows Mick, Keith and Charlie most in the front. Then Bill Wyman and only then Brian Jones. Almost falling of the picture, semi-faded out already.

That apart, what a joy On Air is. It lets me hear what I wasn't present at, all that passed me by. The Rolling Stones were as raucous as I would have expected them to be. Listening to these recordings it is almost imaginable how dangerous the U.K. establishment must have perceived youngsters who make music like this. The sound is dirty, gritty, Jagger sneers in his singing. He's not as good yet as he'd become, but catches the time with voice and demeanour.

It all starts with the first hit 'Come On' from 1963. A more obscure Chuck Berry song, released by the Stones and made famous forever because of it. We hear a tight band, playing a small song. There is nothing more than there was in these studios where the song were recorded. Some with audiences, some without. Giel Beelen's Speelplaats in the 60s.

This band was good. It had this fired up energy and an interaction between the individual members that made them more than a five piece band. The Stones captured the hearts and minds allowing for a basis that got them where they are now. Rock Gods. If anything On Air shows the process the band went through: from covers, to covers that were slowly reworked into Stones songs and then come their own hits. Many of the songs still are covered by bands right up to this day.

There's is one complaint and it is serious: Why just slab these songs on the record instead of showing the development of the band chronologically? That would have made sense. This isn't the nth hit compilation that needs a reshuffle. This is historical song mining. An inexcusable laps in my opinion, simply because the development the album shows goes somewhat missing.

Whether we had to wait so long, because the band waited for Alan Klein to die, who held the rights to some of these songs (and perhaps these recordings?) or there's another reason, I don't know. Let's just enjoy what we were finally, officially, given.

Wo.

Death Goldbloom. Tim Claridge

Some time before the holidays I received an email from two artists who are connected. Only for me personally and no one else. Both announced new work and I did not have the time to review either before I left. 'Undici' by Bongley Dead was reviewed last week. Now I'm making amends to Tim Claridge.

Those following this blog will have seen the name of this Vancouver, Canada based artist pop up in different guises. This is the first time under his own name. The album is named after his former (?) band. Just to confuse the world some more.

Death Goldbloom is different from what Claridge has released before. The album is basically a solo effort. Tim Claridge, an acoustic guitar and some keyboards, not necessarily unpowered. An electric guitar does show up here and there. This creates a solemn album. Now that is nothing new. All his albums are solemn. What is new is that he can totally convince in such a bare environment.

First there is his voice. Here is a singer, with a capitol S who can vary easily between his higher and lower register. Secondly there is the guitar meister. This man can play guitar in different styles in a great and majestic way. Thirdly Tim Claridge writes great songs, blues infused, with hellhounds on his tail. Darkness and the devil are never far away. Finally the combination of the three spells talented.

When some slide guitar enters the whole thing goes up one notch further. I can imagine Mark Lanegan sing 'Long Time Comin'' one of these days. Now that would be a great way to get Tim's name out there. Chris Isaak might be a candidate for 'Placebo Diablo'.

From this blues we move into some Spanish guitar playing. Now 'Buddhist Casanova' is not something I would have expected to hear on this album. Behind the classical guitar a slide guitar is played, putting things a bit askew. I'm not sure this combination works though.

Death Goldbloom is an album that is top-heavy. I have to admit that I seldom listen to it in one go. When I hear a song like 'Blue Dream' though I am totally back to where I should be with Death Goldbloom. In a day and age where albums do not seem to matter any more for most people this problem is taken away for them. For me, an oldfashioned album appreciator, it is not. This does not mean that I look upon Death Goldbloom negatively. Far from even.

The darkness in several songs is totally convincing. Claridge must be a man who likes to work in the darkness and let that time of the day inspire him. If you listen to 'Torn Apart' I can feel a coldness creeping up on me. And at the same time in my mind I can hear him sing this song with Natalie Ramsay, giving the song a totally different atmosphere as the light and shade would have been balanced. The quality of the song shows that it doesn't take a lot to create a great, impressive song. A voice and an electric guitar, played with total reticence.

As I wrote, it takes patience to find the quality of the songs further on in the album. It pays off though. Tim Claridge's new album contains a whole bunch of great songs. Go over and listen for yourself. And pay something before you download. An artist has to live in order to produce great songs like this.

Wo.

You can (listen to and) buy Death Goldbloom for your preferred price here:

https://timclaridge.bandcamp.com/album/death-goldbloom

A Kind Revolution. Paul Weller

Het is een indrukwekkend en fascinerend oeuvre dat Paul Weller op zijn naam heeft staan.
 
De Brit maakte zeven baanbrekende platen met The Jam (waaronder toch zeker vier klassiekers), minstens drie hele goede platen met The Style Council en een dozijn soloplaten.
 
Tussen zijn twaalf soloplaten zitten maar heel weinig zwakke platen en inmiddels ook een aantal klassiekers, waardoor Paul Weller absoluut gerekend moet worden tot de grootheden uit de geschiedenis van de Britse popmuziek.
 
De afgelopen jaren is de Brit misschien iets minder productief dan in zijn jongere jaren (Paul Weller is inmiddels 59) maar het zijn nog altijd platen van hoog niveau.
 
Zo imponeerde Paul Weller in 2012 met het behoorlijk stevige en venijnige Sonik Kicks, terwijl hij op het twee jaar geleden verschenen Saturn’s Pattern weer wat meer opschoof richting zijn vroegere solowerk.
 
A Kind Revolution is, als ik goed geteld heb, de dertiende soloplaat van Paul Weller en het is weer een hele goede. A Kind Revolution ligt in het verlengde van zijn voorganger en is ver verwijderd van het rauwe Sonik Kicks. Toch is het ook weer een andere plaat dan het goed ontvangen Saturn’s Pattern, dat een wat psychedelisch aandoend geluid liet horen.
 
Op A Kind Revolution laat Paul Weller horen dat hij in meerdere genres uit de voeten kan. De plaat opent met twee tracks die met enige fantasie in het hokje rock passen, maar wanneer in de derde track gas wordt teruggenomen, winnen soul en rhythm & blues verder aan terrein en lijk je af en toe ten luisteren naar een vergeten soulklassieker uit de jaren 70. 

A Kind Revolution is een warme en organisch klinkende plaat, die met zevenmijlslaarzen door de geschiedenis van de Britse en zeker ook de Amerikaanse popmuziek en door het rijke oeuvre van Paul Weller zelf heen stapt.
 
Paul Weller toont zich op zijn nieuwe plaat bijzonder veelzijdig, want naast rock, soul en rhythm & blues, biedt de nieuwe plaat van de Brit ook ruimte aan invloeden uit de jazz, gospel, funk, psychedelica en zelfs Latin. Hiermee zijn we er nog niet, want wanneer tijdgenoot Boy George opduikt voor gastvocalen, zoekt Paul Weller zelfs nadrukkelijk de dansvloer op.
 
Paul Weller dook ooit op als ‘angry young man’, maar straalt op zijn 59e rust uit. A Kind Revolution is een heerlijk ontspannen plaat en het is een plaat die volstrekt tijdloos klinkt. De wat meer soulvolle ballads of de funky tracks hadden net zo makkelijk uit de jaren 70 kunnen komen, maar wanneer Paul Weller op gloedvolle wijze New York eert of samen met Boy George uitpakt met stuwende elektronische dansmuziek, ben je toch opeens weer in het heden beland.
 
Paul Weller is de afgelopen jaren alleen maar beter gaan zingen en maakt op A Kind Revolution indruk met zijn soulvolle zang. Ook in muzikaal opzicht is het genieten, want het broeierige en bij vlagen moddervette geluid knalt uit de speakers. De luxe editie van A Kind Revolution laat alle tracks ook nog eens zonder zang horen en ook dat klinkt verrassend goed.
 
Het moet genoeg zeggen over het vocale en muzikale vuurwerk op de nieuwe plaat van Paul Weller, die nog maar eens een prachtplaat toevoegt aan zijn al zo rijke en imponerende oeuvre.

Erwin Zijleman

Je kunt hier luisteren naar 'Woo Sé Mama'

https://www.youtube.com/watch?v=aElFFCXCvAQ

14 Steps To Harlem. Garland Jeffreys

Garland Jeffreys kende ik lange tijd alleen maar van de twee redelijk succesvolle singles die hij in de jaren 70 (Matador) en jaren 90 (Hail Hail Rock & Roll) uitbracht.
 
Inmiddels ken ik de Amerikaanse singer-songwriter van een prachtig oeuvre, dat in eerste instantie in de jaren 70, 80 en 90 een aantal hele mooie platen heeft opgeleverd (met Ghost Writer uit 1977 als mijn persoonlijke favoriet).
 
Het oeuvre van de singer-songwriter uit New York stopte lange tijd in 1997, maar sinds Garland Jeffreys in 2011 begon aan zijn tweede jeugd presteert hij gelukkig weer op de toppen van zijn kunnen en is hij misschien nog wel productiever dan in zijn jonge jaren.
 
Na The King Of In Between uit 2011 en Truth Serum uit 2013, is 14 Steps To Harlem al weer het derde album uit de tweede jeugd van Garland Jeffreys. Het is wederom een hele sterke plaat, die laat horen dat de inmiddels 72 jaar oude muzikant nog lang niet versleten is.
 
14 Steps To Harlem volgt in grote lijnen vrijwel hetzelfde recept als alle vorige platen van de Amerikaan. De muziek van Garland Jeffreys is verankerd in de rock ’n roll uit de jaren 50, maar sleept er vervolgens van alles bij.
 
De muzikant uit New York is niet vies van soul en blues, maar verloochent ook zijn deels Puerto Ricaanse wortels niet. Wanneer invloeden uit de rhythm & blues domineren schuurt ook 14 Steps To Harlem weer dicht tegen de platen van Van Morrison aan, maar Garland Jeffreys zaagt ook op zijn nieuwe plaat weer nadrukkelijk aan de stoelpoten van de Rolling Stones, raakt af en toe aan de muziek van Springsteen en Southside Johnny, doet wel wat denken aan de geweldige platen van Ian Hunter en heeft, zoals altijd, ook een zonnig klinkend reggae deuntje in de aanbieding.
 
Ook 14 Steps To Harlem is daarom weer een heerlijke muzikale smeltkroes met invloeden uit uiteenlopende genres, maar de songs van Garland Jeffreys vallen ook op door al het gevoel dat de Amerikaan in zijn vocalen legt en door de bijzondere verhalen die hij vertelt.
 
In het verleden waarin dit vaak verhalen waarin misstanden in de Amerikaanse samenleving (en met name racisme) meedogenloos aan de kaak werden gesteld. Op zijn nieuwe plaat blikt Garland Jeffreys vooral terug op zijn leven in New York, op zijn bijzondere muzikale carrière en op alle collega muzikanten die ons inmiddels ontvallen zijn, waaronder Lou Reed, wiens Waiting For The Man een fraaie vertolking krijgt (de beste van de wat overbodige covers op de plaat).
 
Hopelijk kan Garland Jeffreys nog een tijdje mee, want ook 14 Steps To Harlem is weer een plaat die makkelijk overtuigt met tijdloze popsongs vol emotie en urgentie en een instrumentatie vol vakmanschap, die zowel in de wat stevigere songs als in de sfeervolle ballads goed tot zijn recht komt.

Garland Jeffreys is zeker niet de enige ouwe rot die nog uitstekende platen maakt, maar vergeleken met de meeste van zijn leeftijdsgenoten is hij nog verrassend goed bij stem. Het geeft 14 Steps To Heaven hopelijk het zetje in de rug dat nodig is om deze plaat de aandacht te geven die de muziek van Garland Jeffreys zo verdient, want ook 14 Steps To Heaven is weer een grootse plaat.

Erwin Zijleman

Je kunt hier naar '14 Steps To Harlem' luisteren:

https://www.youtube.com/watch?v=4HGNM45L63A