Gotcha!

Wot’s this? Darcy’s serving up some prog rock? Looking at this picture of Jess Roden you might be forgiven for that thought. But don’t be fooled, for what lies in the grooves of this 1974 album is a uniquely soulful and bluesy concoction.

As far as I remembered, I first came across this album in 1979. John (and his lovely wife Valerie), bar managers at a club I used to DJ at, brought it in one night and said "listen to this". I was playing a lot of jazz-funk at the time and John thought Jess’ version of “On Broadway” would go down pretty well with my crowd. He wasn’t wrong. I loved the whole album and recorded it onto a good old TDK SA90 cassette before returning it.

Over the years, that was a tape I often dug out to play in the car. But in all that time I had never seen a copy of the album anywhere. Then, a couple of years ago, in one of my local crate digging haunts, what should I find – TWO copies of said album. I would have bought both, but one had a pretty dodgy looking scratch.

Then just a few months ago, at my parents house, I unearthed a folder full of concert programmes, flyers etc from my teenage days. One of the programmes was from Roxy Music’s 1974 UK tour, and the picture of Jess Roden you see above (obviously from the same photo shoot that provided the front cover of the album) was staring out at me from inside the back page of the programme. So Jess Roden was support for Roxy Music on that tour. I was at the concert (Bristol Colston Hall) but don’t remember Jess! Of course in those days an important part of concert going was getting to the bar to get a drink, and that meant the support act was often overlooked. If that was what I did on this occasion then it was my loss.

And here’s another thing. As I cast around t’internet looking to find out more about Mr. Roden’s career I came across this reference to a John Peel session from August 1974. It rings a bell, in fact the more I think about it the surer I am that I listened to that session on my little blue transistor radio, snuggled under the bed covers.

The strange thing is I don’t recall being aware of my 1974 brushes with Jess Roden when John lent me his album in 1979, or whenever it was.

The even stranger thing is that on the back cover of the Jess Roden album I finally picked up a couple of years ago, written in small letters in blue ink, are the names “John and Valerie”.

(WARNING: most of my musings here maybe a bit garbled, but have a firm basis of truth. The final sentence however is complete tosh! It would have been great if had been true, though).

Jess Roden arrived on the music scene as lead singer with The Alan Bown Set in 1967. His tenure there lasted until the end of that decade. Back in his home town Kidderminster he teamed up with old friends and formed Bronco. Two of those old friends were Kevyn Gammond and Paul Lockey. They had previously rubbed shoulders with Robert Plant and John Bonham in Birmingham UK band The Band Of Joy. After two albums a serious road accident effectively ended Bronco. After a period of session work Jess joined up with ex Doors John Densmore and Robbie Krieger as The Butts Band. America didn’t suit Jess though so he returned to England. On the way back though he stopped off in New Orleans and recorded with Allen Toussaint and The Meters (as you do!). Four of the eight tracks on his 1974 album “Jess Roden” are from that recording session, the rest of the tracks were recorded in London with musicians whose work he enjoyed. Jess recorded as The Jess Roden Band with some success throughout most of the rest of the seventies. Since then it would appear that he has flitted in and out of the music scene. (Apparently he did backing vocals on Grace Jones’ 1981 Nightclubbing).

Lots of name dropping there! And here’s another one – Harry Robinson. Who? He was responsible for the strings on “On Broadway” and another great track on this album “I’m On Your Side”. I'm a sucker for string arrangements such as these. Incidentally, he was also responsible for the hauntingly beautiful strings on Nick Drake’s “River Man”. You can read more about “Harry” here, and see an extensive list of his credits here (I would love to know which track(s) he produced on “Dawning Of A New Era: The Roots Of Skinhead Reggae” – if, of course, it really is the same Harry Robinson). The other track featured here “Feelin’ Easy” is one of the four recorded in New Orleans, and all the NOLA crowd are on it.

Jess Roden – On Broadway 1974
Jess Roden – Feelin’ Easy 1974

The CD of the original album "Jess Roden" can be found here.

Borrowed inventory - part 2 (subtitle: No Say, Jose?)

Here is the second album of borrowed inventory from my colleague’s flat. (I really should call it an apartment, ‘flat’ seems such an ugly word to describe an abode).

As I said in my previous post there is a smattering of soul in this acquired collection – but only a smattering. All the stranger then that one of the few soul representations is “Young And Ready”, an obscure 1980 album of 60s output from The Ohio Players that originally appeared on the Compass and Capitol labels.

Sometime last year I featured The Ohio Players “Here Today And Gone Tomorrow” which was from the same era. That track isn’t on this album but it does feature at least two other killer tracks. “It’s A Crying Shame” was already familiar, as I had picked up the Compass 45 recently. “You Don’t Mean It’ was new to me though, and it certainly made me sit up and pay attention late one night after one final whisky. My colleague had dropped off and was quietly snoring on the other sofa – he’s not a soul fan, but nevertheless I feel it was his loss not to hear this track.

I had made my mind up to post these two tracks about 10 days ago. Since then, with the recent events surrounding my beloved football team, Chelsea, their titles seem perfectly appropriate.

I am still in shock and it’s fair to say at his point I am feeling completely disillusioned. There was always a feeling that we, the fans, were close to living in Playstationland since Abramovich bought the club. Now he has pressed the wrong button on his controller and engineered the exit of one of best football managers in the world, and just about the best thing that ever happened to Chelsea.

The Russian and his cronies have talked a lot about creating a dynasty at the club. Well it seems more like Dallas to me, and Abramovich is certainly the poison dwarf. Right now, while he continues to rule at Stamford Bridge, I have come to the realisation that I no longer care whether they win or lose. After over 40 years as a loyal Chelsea supporter that’s a painful admission to make. It is indeed a crying shame. Abramovich, you don’t mean it, do you? Oh dear, you do don’t you! You want to be the owner AND the manager of your plaything. More expensive galacticos, mid table mediocrity, and the Intertoto Cup are just around the corner.

Sorry. As you can tell I’m a bit upset right now. Let’s just listen to the music.

The Ohio Players – It’s A Crying Shame 1967/8
The Ohio Players – You Don’t Mean It 1967/8

Borrowed inventory - part 1

Regulars around here may have gathered that I spend some time in Germany on business now and then, and that when I do I have been known to end up late at night at an English colleague’s flat drinking whisky and putting his CD collection through its paces.

Well, I was in Germany again last week, my colleague has moved into a new flat, and yes, we were drinking whisky and listening to music into the early hours once again (we did some work during the day too, in case you were wondering!).

His flat is ‘furnished’, and what do you know? – included in the inventory is a circa 1985 (guess) set of hi-fi separates including a turntable (Dual 505 – same as mine!), AND a collection of vinyl albums to go with it! Result!

The vinyl collection turns out to be varied and cosmopolitan. Bits of classical, jazz, folk, rock (plenty of Stones), 80s disco, early rap/hip-hop compilations, rock and roll compilations, heavy metal, Peruvian and many point South American, flamenco, a smattering of soul – it’s all there and more.

I thought of you, dear readers/listeners, and smuggled out a couple of albums to share in this and the next post. Hopefully, baggage handlers willing, I can reunite them with their eclectic friends in one piece next week.

First up is Hugh Masekela on Tamla Motown! A quick bit of research failed to pinpoint this album on the Internet but the label states Holland as the country of release. Year of release was 1971. It was released on Chisa in the US and Rare Earth in the UK. (Chisa was owned by Hugh Masekela and producer Stewart Levine and distibuted by Motown in the US, and Rare Earth was part of the Motown family, so that all makes sense). The “Union Of South Africa” were primarily Hugh Masekela, Jonas Gwnagwa, and Caiphus Semenya, and they were joined by an impressive line up of musicians on this album including most of the Crusaders (Joe Sample, Wayne Henderson, and Wilton Felder). Interestingly Wayne Henderson is playing drums and not his normal instrument, the trombone. Apparently he also played drums on Hugh Masekela’s 1968 hit “Grazing In The Grass”.

The note on the back cover of the album states: “The gentlemen who have created the music contained in this album were born and raised in the Union Of South Africa. Since leaving their homeland in the early 1960’s the country’s name has been changed to the Republic Of South Africa. Due to prevailing government policies, it is doubtful that hey would ever be allowed to return to their place of birth. They remain here in the United States and call themselves the Union Of South Africa.”

Thankfully in the ensuing years conditions in South Africa did change and Hugh Masekela in fact returned to his homeland in 1990.

This album did get a CD release in 1994.

Hugh Masekela & The Union Of South Africa – Ade 1971
Hugh Masekela & The Union Of South Africa – Shebeen 1971

My favourite month

If you’re a regular visitor here you will have noticed my posts have become a little less frequent of late. The fact is lately my life has been so full of general stuff there has been little time left for indulging my passion for vinyl gazing. And looking at the next few weeks there would appear to be plenty more stuff around the corner. I’m not complaining, it’s mostly good stuff: a holiday, long weekends with friends, my job taking me away from home (but with the partial novelty of that being in another country, and working with colleagues I know and respect, that qualifies as a good thing). Then later this month our daughter is off to University so the logistics surrounding that will take up some more time (she has always been a bit of a home bird and it’s going to be very strange not having her around).

This week I had intended to put up a post a couple of days ago but a not so good thing has been consuming all my spare time. My son had been saving up for a fancy new HDTV to "improve his gaming experience". It arrived this week and we have spent just about all our spare time ever since trying to understand the myriad of connection options and picture settings involved in setting it up to a) work at all with his Xbox360, and b) get the picture to look at least as good as our three year old standard no nonsense TV in the lounge. We are gradually winning the battle but it really shouldn’t be this difficult. A case of technology going too far too quick I think, and I can’t help thinking that we’ve been suckered by the hype of the whole HD bandwagon.

I digress, but I needed to get that off my chest. Back to the point I was intending to make at the beginning of this post. It’s not unusual to see a blogger announce a hiatus, and I’ve stumbled across a few who have recently. Whether you go on one or have one I’m not sure. I’m also not sure how long a break in posts has to be before it constitutes a hiatus. I have no intention of taking a break, but just to warn you that posts may continue to be somewhat sporadic over the next few weeks. I’m sure my gaps won’t qualify as a hiatus per se, but let’s just say their infrequency may qualify as a hiatus from the normal beat of things around here.
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I have been reminded that I was going to put up the instrumental version of The Royal Rasses side that I posted a while back. It’s up now.
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That’s the end of the public announcements, now, as they say, on with the show…

September is my favourite month. In the UK we are often graced with calm, sunny and dry weather in September, and it is usually pleasantly warm. There is a beautifully serene feel to the month: a stillness in the air, a mellow almost washed-out quality to the light. The late afternoon shadows seem that bit longer. The sound of a distant motorbike seems muted. The trees and hedgerows are starting to display their autumn wonder. Nature will soon be locking down as the days draw in. I always find myself in reflective mood, there is the feeling of another chapter ending. I love it.

So far this September looks like living up to all my expectations, and after the shocking summer we have had that’s a blessing. It seems that in the excitement of its early appearance in April, rather like an athlete who hadn’t done enough pre-season training, summer tore a muscle and was banished to the treatment table. From May to August summer hardly made an appearance, and only now in September does it appear to be returning for an elegant swansong.

As a Chelsea fan the initials JT mean only one thing to me nowadays – captain fantastic John Terry. Back in the seventies though, indeed before Mr. Terry was even a twinkle in his parent’s eyes, the initials JT for me meant Johnnie Taylor. Here are three tracks from his seventies days. They all graced the Billboard soul charts during September. The lyrics may allude to stormy times but each track possesses a beautifully restrained feel that fits so well with my impression of September. And what do you know? One is even called "It’s September".

Johnnie Taylor – It’s September 1974
Johnnie Taylor – Cheaper To Keep Her 1973
Johnnie Taylor – Stop Doggin’ Me 1972

Buy the Johnnie Taylor Chronicle

Sand between my toes and Shelly in my inbox

Well, here I am, fresh from a chilled out family holiday in sunny Crete. Actually fresh probably isn’t the right word as we are all still adjusting from a sleepness night caused by the 4am pick up from the hotel for the airport. In a few days when I’m back on track I may treat (if that’s the right word!) you to a few musings from said holiday. Then again I may not as not a lot happened, which is as it should be really, it was a holiday after all.

This post represents something of a radical departure from the norm here at Feel It. In my chilled out, quasi zombie state I feel I’m not yet ready to resume normal service and rummage through the vinyl collection, record and scan, research and link. Today you are getting something brand new AND not available on vinyl. Gosh, I’m feeling a bit light headed just thinking about it! :)

Shelly Bhushan dropped me an email while I was away saying she had happened upon this blog and thought I might like to listen to her new CD. Shelly hails from Texas and is making her way in NYC as a singer/songwriter. She has assembled a tight group of musicians around her and just released her first full album length CD “Picking Daisies”. The sound they produce has elements of soul, funk, and rock but is overall genre defying. You can listen to generous snippets from all the tracks here, and a few full tracks on her myspace page. What I have heard so far sounds good to me.

It’s interesting to compare Shelly’s debut album with that of Jean Carn’s, which I featured in my previous entry. Jean’s album was released in 1976 by which time the music scene was very much dominated by the big record companies. Jean had the might of Philadelphia International behind her – heavyweight songwriters, producers and arrangers, and no small amount of marketing muscle. The music on the album itself was lavish and polished. Contrast that with Shelly’s debut. The digital world we live in now is proving liberating for up and coming new musicians wanting to reach a wider audience. Shelly’s foray into the musical world would appear to be largely self publicised, through the Internet and her live shows in NYC. She writes her own songs, the band I believe are the producers and arrangers, and her recordings have an almost live feel to them. Although Shelly’s sound is undoubtedly contemporary her way to market and the production values remind me of a time before the ‘corporate’ 70s – the 60s - when many local and independent record companies existed (in the USA at least), operating on a shoestring. In the 60s local meant a city or State in America, in the 21st Century it seems local means a far flung bunch of like minded music nuts like me sat at a computer (not forgetting of course, in Shelly’s case, her loyal followers on the NYC live circuit). What goes round comes round?

Shelly, I wish you all the best and hope you achieve everything you want to in your musical career.

I’ve ripped a track from Shelly’s myspace page to put up here (hope you don’t mind Shelly) but as mentioned follow the links above to hear more of her work and buy her album.

Shelly Bhushan – Beautiful Me 2007

I can hear the waves gently lapping…

The weather has shown an improvement recently in our neck of the woods but we (as in the family) had already given up hope of a summer in the UK and booked a holiday in the sun a few weeks ago. We will be jetting off to, hopefully, guaranteed sun and warmth in a few days time so things will be a bit quiet around here for a couple of weeks.

In an attempt to fill the void I have put three tracks up today. All three come form Jean Carn’s eponymous 1976 debut album on PIR. Jean was born Sarah Jean Perkins and became Jean Carn when she married the Jazz pianist Doug Carn. Later in her career she added an ‘e’ to her surname although I’m not sure why. By this time I think her and Doug and parted company so maybe this was the reason.


Since her first solo album Jean has always been a favourite of mine, even though I admit some of her more affected jazz tinged vocals do leave me a bit cold sometimes. But if Jean’s vocal turns aren’t exactly to your taste at all times just listen to those Philly arrangements. In 1976 the Philly crew were turning on the sophistication big time.

“You Are All I Need” is the lead track here, and I think it’s stunning. It came to mind initially as the title was a good fit for a post I was considering doing surrounding bubblegum cards of all things. But then I had a sudden flash of memory and the title seemed no longer appropriate – what am I on about? I’ll tell you some other time, and when I have hopefully confirmed my memory wasn’t playing tricks on me.

But anyway, once “You Are All I Need” was spinning around in my head it needed to be posted. On playing it again for the first time in a while is suddenly struck me that the intro is reminiscent of, although predates, MFSB’s “Mysteries Of The World”. That’ll be Dexter Wansel at the controls.

“You Are All I Need” was the B side of “If You Wanna Go Back” which was Jean Carn’s second UK single. That makes it a real quality double header. I’ve put the album track up here because you get an extra minute or so.

And for good measure I’ve included another track form the album a McFadden/Whitehead/Life/Huff penned, Bobby Martin arranged number. The Philly guns were really blazing on this album.








Right, now where are my sunglasses?, Factor 20 OK? Do these trunks still fit?…

Jean Carn – You Are All I Need 1976
Jean Carn – If You Wanna Go Back (1976
Jean Carn – Don’t You Know Love When You See It 1976

Randomizing

I hope you'll forgive me (of course you will), the inclination to spend time putting together a post has deserted me over the last few days. In truth when not in work I’ve been busy taking advantage of the sunshine that has finally visited these shores. If you are from the UK I know you will understand.

Enjoyed a very laid back weekend. The whole family whiled away a pleasant couple of hours in a local wine bar on Saturday. Our children are now in more advanced teenage years and going out as a family is becoming a rare event. We sort of all ended up in the same place after separate local appointments. The impromptu gatherings are often the best. The olds shared a bottle of wine and some feta and olives while the kids (I’ll still call them that) had Smoothies and played Jenga. Quite like old times. Then our daughter drove us all home with our son sat in front and the two of us sat in the back and in fact you realise how fast they are growing up.

Sunday, here, could be described as the only genuine summer’s day we have had so far this year – sunny AND hot (now it’s back to an Autumnal feel). Sat in the garden and did very little. The soundtrack to part of this day was Benji B in The Basement on BBC Radio1Xtra. It has to be the best two hours of music I’ve listened to on the radio in a very long time. The show is available on listen again until the weekend, you need to hear this show.

Here is a random bit of vinyl to go with my random scribblings, a group that needs no introduction I’m sure – which is perfect because in truth I’m feeling too laid back and lazy to write anything about it.

I’ll let the music speak for itself (sorry about the pops at the beginning).

Kool And The Gang – Light Of Worlds 1974

Buy Light Of Worlds