Listen to this track by former member of pub rockers The Motors and power pop proponent in his own right Bram Tchiakovsky, also the name of the band. It’s “Girl Of My Dreams”, a minor hit as featured on his 1979 solo album Strange Man, Changed Man.
The track scored attention on both sides of the Atlantic, with a sort of stylistic reversal at work. By that I mean that Bram Tchaikovsky was a British musician, playing American-style power pop, a style which had been influenced in turn by British musicians in the ’60s.
Influences in rock music had become pretty permeable by the end of the Seventies in that way, with an incredible and seemingly simultaneous shift back to the musical basics on both sides of the pond that made rock music so vital in the first place; hooks, lyrics that spoke to the experiences of an audience, and a simple is best approach to everything, from solos, to arrangements, to production.
All of that can be found here in this unassuming pop song. So where did it come from? Continue reading →
Listen to this track by former Fairport Convention front and paragon of British folk-rock Sandy Denny. It’s “It’ll Take A Long Time”, the opening track to her 1972 album, Sandy, her second solo album.
This record would feature a few of her former bandmates in the Fairports and in Denny’s follow-up band Fotheringay, including her soon-to-be husband Trevor Lucas in the production chair, violinist Dave Swarbrick, and Richard Thompson (who you can hear very prominently on this track) on guitar. All of the mojo that everyone brought to those classic Fairports records of the late 1960s can be found here. Further still, we get Sneaky Pete Kleinow on pedal steel, adding mellifluous texture to this song in particular, and Allen Toussaint who served as an horn arranger elsewhere on the album. That’s quite a supporting cast!
But, no one outdoes Sandy Denny herself on this record which is quoted in many places as being her solo masterpiece. This is particularly true on this song, which has always been one of my favourites. Beyond Denny’s undeniable voice that seems to hold an ocean of feeling under each note as she sings it , there is a lot going on thematically in this song that reveals another of her skill sets. Continue reading →
Listen to this track by Bahamian soul-funkateers and pan-cultural stew-stirrers The Beginning Of The End. It’s their big international hit named after their hometown, “Funky Nassau” as taken from the 1971 album of the same name, Funky Nassau. The record came out on Alston Records, which was a subsidiary of a major label responsible for some of the greatest R&B ever laid down on wax – Atlantic.
The band is made up of the three Munnings brothers; Raphael “Ray” on organ and lead vocals, Roy on guitar, and Frank on drums. The line-up was filled out by Livingston Colebrook on second guitar, and Fred Henfield on bass, and with even more Munnings relatives on horns.
The result was a unit tight enough to reproduce the vital alchemy it takes to pull a tune like this off; a seamless groove with enough muscle to stand up to being taken apart, with each player getting a solo spot. And then, the whole thing comes back together again, as if to prove how durable that groove really is, as if for sheer, joyous, summery bravado.
Listen to this track by smooth pop-soul crooner with the sonorous baritone voice, Brook Benton. It’s “Rainy Night In Georgia”, his biggest hit and something of a return to the top ten for a stretch of time after his prime period from the early 1960s. It appears on the album Brook Benton Today, released in 1970.
The song was written by Tony Joe White in 1962 around the time that Brook Benton was having his greatest successes as a songwriter and singer with material of his own. The song is taken from White’s time as a truck driver for the highway department in the titular state, often finding himself working alone on lonely nights in the days before he found success as a songwriter and performer.
By the time Brook Benton recorded the song, he’d not had a hit for some time. But this one would take him to the top ten on both the pop charts as well as the R&B charts, and become one of his best-known songs.
This could be because of the supreme gravitas of what Benton brings to his performance with a signature baritone voice that blurs the lines between pop and soul. The emotional depth in his voice brings this song to life, suggesting a whole novel’s worth of drama underneath a nocturnal landscape of desolation, and raw human loneliness. And with that, it becomes something more than just a tale of one man’s lonely journey, and approaches something more universal. Continue reading →
There have been many vital legendary musical venues that have helped to shape the destiny of pop music. But, few have the pedigree of the immortal Apollo Theatre in Harlem, New York City.
Since it was founded in 1934, several of the musical acts that now stand as pioneers in jazz, blues, soul, funk, rock, and hip hop got their start in this otherwise humble theatre located at 253 West 125th Street. And while these artists developed from beginners, to practicioners, to exemplars, and onto immortality, the world changed as a result.
Their work helped in breaking down barriers between musical styles, and also between groups of people who had been separated by the oppressive social norms of their times. As these norms were torn down (and good riddance), the music they made has endured, and the lives of music fans everywhere have been enriched.
Listing every artist that came out of the Apollo Theatre, or had career-defining shows there, would make for a very long read, indeed. So, as is my custom here at the Delete Bin, here is a list of 10 that I hope will suggest the wide spectrum of talent they represent. Take a look!
Listen to this track by class of ’77 London punk band and shouty social commentators, X-Ray Spex. It’s “Plastic Bag” as taken from 1978’s Germ Free Adolescents, their debut full-length which would have no US release until the early ’90s, but helped to document their place in the UK punk pantheon.
The band forming at all was down to inspiration that came out of their regular attendance at shows by the Sex Pistols. But, unlike that band, X-Ray Spex incorporated a few changes to the British punk template by the time they’d put out their first single (“Oh Bondage, Up Yours”), and eventually this song and album.
One was the use of a saxophone, played here on this tune by one Rudi Thompson, giving their sound something of an R&B sort of feel. Another was a more ambitious approach to arrangements that includes changes in tempo and in tone, even if the rawness of punk is very much in place.
And perhaps the most important ingredient sprung from its lead singer, who was also the primary songwriter, Poly Styrene (neé Marianne Joan Elliott-Said).
Listen to this track by former Charterhouse school graduates and British progressive rock architects Genesis. It’s “Supper’s Ready”, the seven movement suite and final song from their classic 1972 album Foxtrot.
By the time of this record, the classic line-up that included new drummer and vocalist Phil Collins, and recent recruit Steve Hackett on guitars had already put their first effort together; 1971’s Nursery Cryme. Empowered by their new level of musicianship, that record came complete with longer, seamless pieces, capturing a uniquely English sensibility with a bizarre sense of humour and high potential for the theatrical at the heart of it. And those ideas for longer, more ambitious statements continued in earnest by the next year on Foxtrot.
And “Supper’s Ready” would surpass all of the longer form pieces they’d done to date, in many ways being the culmination of all of the longer pieces they’d done from 1970’s pastoral and atmospheric “Stagnation”, to the vividly disturbing themes found in 1971’s “The Musical Box”. It would hook into some big, sweeping mythological motifs using even more vivid and florid imagery. But unlike their earlier work along the same lines, it would touch on a very personal, and very human set of themes that lies underneath its Biblical scale.