In Appreciation of ... David Essex

David Essex - this guy has done everything.  He rose to fame after trying the pop scene in the 60s through a major role in Godspell! in the West End (alongside a nother new face Jeremy Irons) He had a great pop career from the 1973 "Rock On" through a string of hits via his signing with CBS including "Gonna Make You A Star" and "America" collaborated with the Real Thing to great effect.  Sold out tours (I saw the "All The Fun Of The Fair" tour - a great production lost through the sceaming fans); He was on every cover.  His teeny bopper fame perhaps overrode his musical pedigree in that he wrote a lot of his own stuff and included some unique production from Jeff Wayne and later Essex himself.  He returned the favour to Wayne by appearing on the "War Of The Worlds" album.  At the height of that period he appeared in these two movies about wayward pop icon Jim Maclaine tracing his rise to fame through the rock and roll era with "That'll Be The Day' and about he would continue to rise (and fall) in the 70s in Stardust (also the title of another great single. He wrote and produced the show "Mutiny" starring alongside Sinitta (no great claim to fame there but a name to note).  He signed to Mercury in the later 70's delivering "High Flying Adored" and appearing on the "Evita" Album.  He released a few well received albums including "Imperial Wizard" and "Silver Dream Machine", has continued to appear in TV shows and continue to tour both as a musician and in shows.  In recent years his "All the Fun.." album was turned into a stage show which got good reviews.

A real british talent.

Lots of good comment on 45Cat - Rock On

In Appreciation Of...Bill Withers

I first heard of Bill Withers as the writer of "Ain't No Sunshine" to me (then) a Michael Jackson song.  Soon after I heard "Harlem" - that was a revelation - I had to get the album "Just As I Am" - this was an amazing debut with both of those songs together with a set of personal songs warmly and gently produced ("Grandma's Hands" amongst them.)  Here was a real talent for the here and now - not full of all the hoopla of early 70s rock craziness or the heavily stylised soul artists of the time - a guy, a guitar, small band, wonderful songs - what more could we want?

The second album showed us. Trailed by the (now) standard "Lean On Me" this is a step up from "Just As I am" - same voice, same simplicity of approach but a little bit more in arrangement - a consistency of feel and again - great songs.  "Who Is He (and What Is He To You)" and "Use Me" stand out together with for me one of the greatest love songs ever "Let Me In Your Life" a beautiful pleading song about a man not being let in due to hurt felt because of his predecessor.  This is one of my favourite soul albums of all time from a era when artists of the genre were starting to be given the freedom to deliver a whole package and not just a hit single or two with some filler.  A and M/Sussex invested time (or perhaps not?) and left him alone to do his thing.  I prefer these two first albums and the third "Live At Carnegie Hall" to his later stuff.  The fourth album "+Justments" is worth a listen but is short of this standard.

He moved (or the label did) to Columbia where he had another smash success with "Lovely Day" another standard.  His hit rate is high but not due to just a popularity but due to quality music again and again.

I've never saw him live and last year I read that he was now a stone mason which he loved doing.  Then a month ago I saw reference to a "Still Bill" film documentary which (i think) is yet to be shown in the UK.  previews and trailers on the web show him in the studio and at gigs so now i'm not sure the stone mason story is right.  I hope it's not and he'll arrive here for a tour soon.

There's some good live footage on YouTube (mainly BBC) but you should seek out these two albums and the Live set - there'll be no regrets...

In Appreciation of.... Daryl Hall And John Oates in the 70s

The first time I heard these guys was when UK radio picked up on "She's Gone" in 1973.  I'm a soul fan so I was hooked.  Investigation of the "Abandoned Luncheonette" Album was a joy.  Produced by Arif Mardin for Atlantic - they delivered a classic which has not been given the credit it deserves.  I love "Laughing Boy" and Everytime I Look At You" which ends with an instrumental run through America - from bluegrass violins and banjos to rock guitar.

They moved forward using Todd Rundgren for "War Babies" resulting in more great songs ("Beanie G and The Rose Tattoo"; "Can't Stop The Music") with a little less smooth production - more pop rock than rock n soul.  "No Goodbyes" was their third and last for Atlantic and included some out takes from the earlier sessions - it was seen as a contract filler by the critics.

Their first album "Whole Oats" is also worth finding - it includes "I'm Sorry" which was later covered by Justin Heyward of the Moody Blues and, "Fall In Philadelphia" again good songs all round. 

A move to RCA followed and the self titled (but known as "the silver album") lp was issued showing a progression of the rock n soul sound.  "Back Together Again" an uptempo opener is a great start but the killer for all was "Sara Smile" a number 1 in the USA; prompting Atlantic to re-issue "She's Gone" which made no 7 in 1976.  "Bigger Than Both Of Us" followed that year with "Rich Girl" being their new signature song.  This was really popular in the UK.  My favourite duo were at last breaking ground here.  Thank goodness as that brought them to the UK and I was able to see a blinding show at the Hammersmith Odeon.  They issued "Beauty On A Back Street" in '77 and this was less immediately accessible but they had grown and tracks like "Winged Bull" showed their development.  I particularly love "Bad Habits And Infections" a grower but worth the investment. 

These two have entries on the Lost Record Covers Club.

Same for "AlongThe Red Ledge" which followed, more rock oriented but delivers.

A continuation of the sound followed but with a nod to disco-dance which was king at the that time was included in "X-Static" which also includes a much lost and forgotten "Running From Paradise" and the hit " Wait For Me" - this track is a brilliant song but the live performance on "Rock n Soul part 1" is better in my opinion.  "Portable Radio" was a turntable hit here in Britain but not released as a single in the US - a mistake.

More about the 80's another time - they are seen as eighties hit makers but their career has a legacy in the 70s which deserves attention.

All these albums are available on CD except "No GoodByes" which is listed on Amazon but rarely in stock - if you see a vinyl copy, it's worth a try.

Newly Vintage - Eli "Paperboy" Reed

With the current spate of "new" soul artists around (you know "neo-soul" whatever that means) - your Duffy (Pop princess); Amy Winehouse (go back to the jazz sounds of the first album please); Cee Lo (the Real Thing but in a 70's Groove); Adele (A British Soul Voice if ever I heard one) - I was pleasantly surprised to find that Eli Reed delivers the real thing - play any of the tracks from his latest album or indeed those posted on soundcloud and I'll defy anyone to say that they are a poor imitation of the past - they could be old masters found in some dusty basement.  I added them to a northern soul set for some friends the other day and they wanted to know where i'd found this new/old gem.  Give him a listen for a real trip back in time

In Appreciation Of .... Lewis Taylor

The wonderful Mr Taylor came into my life in 1996 following some great reviews of his debut solo album citing Marvin Gaye, Neo soul, layered harmonies, etc etc.  How would I resist such praise.  The debut self titled album is a set to be worked at but once you hook into the sounds and the feel that this guy produces (much of it with him playing everything) it is sublime. "Lucky" the lead track and released as a single is a good intro but by the time you get to "Bittersweet" with it's slow build and then the breakout Marvin vocal change it's bloody marvellous. 

I love albums that grow from interesting to irresistable and this one is in that catagory. He received a lot of high profile praise from Jools Holland, Elton, Paul Weller and the like together with the music press but I think a white north London guy (and not another pretty teen type but a seasoned musican) singing his own take on harmonies that have a strong nod to black America as much as the Beach Boys and Flying Burritto's - with some added amazing guitar - Island were confused and didn't know how to promote him.  He lost ground and by the time his second "Lewis II" arrived, again different - more introspective, more song based and easing up on the production pedal - they gave up, dropping him later that year.

He resurfaced with his own label, Slow Reality, and released "Stoned" ironically a step forward artistically and commercially, more accessible and potentially what Island would have wanted. Again back to acclaim and a following both via the web and through a few live performances. I saw him at a packed Jazz Cafe in London and was blown away.

"Stoned Part 2" followed with new songs and some reworkings from it's counterpart suggesting the guy is a perfectionist. Later a "Lost Album" appeared with yet more versions of those songs with a more rock bias than soul. All the above are recommended. He gave up his career in 2006 and is still considered by many to be a great loss to the music scene.

He had a song covered by Robbie Williams from which I hope he gets a decent royalty cheque every now and then. I play his albums a lot and often think he would be great in the production seat for various artists.

I recommend you seek out his albums.

In Appreciation Of.... The Duke And The King

Just caught up with this band following the release of the new album "Long Live the Duke And The King" - so many good things were being said about them I wanted to do it properly and follow their story - so I bought the first album "Nothing Gold Can Stay"

"Nothing Gold..." is a quiet contemplative album with songs about leaving the real life behind when fame comes "If I Ever Get Famous"; teenage, formative years and home places "Union Street" and the current war years experience of those that fight and of those who stay behind in "One More American Song".  Simone Felice's plaintive sweet voice serves these songs well with harmonies and accompaniment balanced just right for the delivery of such rich lyrics.  You can hear many influences - vocal harmonies/hippy feel CSNand Y, gospel - Sam Cooke; soul - Marvin. Reminiscent recently of Ray Lamontagne.

"Long Live..." is a bit more uptown (but not much) with stronger vocal trade offs between the three voices of Felice, Bobbie Bird and Simi Stone.  There is a move to progress and build on the first and it really works. "Gloria"  and "Right Now" are the early stand-outs for me but it's early days - I know I'm going to love this album growing on me and delivering it's secrets and beauty (love it when that happens).

I recommend both but would do it in the right order as you can see a bunch of talent growing and delivering so well with no fancy tricks just solid songs and perfectly suited performances.

I Love Fopp!

Here's a great idea.  Let's keep record shops.  Have them stocked with good cross section of catalogues.  Include the obscure at appropriate higher prices but overall be cheap.  Plenty of bargain basement stuff.  Offers for £3, £5, £8.  New (but not mainstream) releases for £10.  Special offers for local events - London Jazz Week - sell some old but classic Columbia jazz sets for £3 in cool vinyl cover copies.  Include books about music, film and anything ... well anything really.  Most of all have staff who want to help, know their stuff and like customers.  Fopp went bust a couple of years ago and was bought out (they say saved) by HMV.  Interesting as Fopp is what i'd like to have seen HMV become.  Ask most HMV staff a not too difficult music question and not only will they not know but will show you they don't really care (my experience granted but there you go).  Compare it to my Covent Garden Favourite and there is no contest.  I will support this store for as long as they support my record buying habit in this way.  Power to the Fopp!

In Appreciation of ....Bobby Womack

I am a fan. Have been since 1972. Used to cut short my cross country running training with my mates to detour to Alan F's gran's house - she'd have his records and the toast on. We'd sit their for a few appreciative minutes listening to "That's the Way I feel about'cha" and "Woman's gotta have it" and then return to the race as it passed the house (back in the pecking order obviously - we didn't want to end up being picked for the school team). " I can understand it" was the subject of an early conversation with Bris - Music was always a safe subject to talk about with girls. BW at the Hammersmith Odeon c1976 was a gig/date burned in my memory and returning there some years later with Bris "large" with child was an appropriate intro for any son into the world of dad music. This clip is from Later with Jools Holland May 2010 - he was on as part of Gorillaz and JH got him to do this - it's short but he's still got it. Please Please Tour Soon.
all you others not so familiar with the Bobby - please don't confuse him with Womack & Womack - there's a connection but the music differentiates him as The Man!