Dexys Midnight Runners - Searching for the Young Soul Rebels (1980)

Searching for the Young Soul Rebels was the 1980 debut album by Birmingham pop-soul band Dexys Midnight Runners. Dexys Midnight Runners, or Dexys for short, on first glance were quite an interesting group and not really a typical 80s band. For starters, they only released three albums during the first half of the decade before separating and then returning again in 2003. Secondly, they played an unusually quirky variant of soul music which in itself was quite unusual for the time in a period dominated by synth pop and new wave acts. And finally their original eight year existence included a revolving door of musicians coming and going like flies in what was seemingly a real life Spinal Tap situation. On paper their line-up appears like that of a philharmonic orchestra with the bands overall membership during this time aside from constant feature and band leader singer-songwriter Kevin Rowland coming to a grand total of thirty-seven members in eight years. Although the lifespan of a Dexys member wasn’t long, especially if you were a trumpeter or saxophonist, the constant line-up changes didn’t prevent them from making quality music and in particular a smashing debut album.

Searching for the Young Soul Rebels would be one of the more distinctive sounding albums of the 80s, a sound which I would describe as pop-soul. This sound is centred on a full horn section which forms the base of most of the tracks on the album and drives these songs along at full tilt. The soulfulness of the horns and organ combine nicely with the pop-punk aggression in Kevin Rowland’s vocals and the backing rhythm section which gives the overall album an intense edge much like that of punk rock. Rowland is clearly the creative force in the band, hence his survival while others have perished, and it is his slightly campish extravagant pop vocals which amazingly fit right in with this massive horn sound. His voice is not your typical soothing soul voice full of range and power think Aretha, think Otis, his style is more quirky and playful and certainly not conventional in a soul sense, which in many respects is the perfect fit for the bands quite extravagant and may I say loud sound. This combination just shouldn’t work, a kind of British brass band horn sound with soul undertones and a quirky pop singer, but it does somehow and it works very well. One influence that can definitely be heard on here is that of Northern soul – a music and dance movement that came out of the north of England in the late-60s, and although this movement isn’t directly aligned to the Dexys, it does share the soul influence of Stax and Motown and an overall ethos that involves producing music that you can dance to.

Throughout the album the music tends to stick to an up-tempo horn driven Motown style of pop-soul with songs like “Tell Me When My Light Turns Green” and “Seven Days Too Long”, the pop song on the album with a very catchy chorus. The band also indulge in what sounds like reggae on “Geno” especially with its bass line and horn parts, a great song which to me even sounds like a pre-curser to the likes of New Zealand’s own Fat Freddy’s Drop and the Black Seeds. Although most of the tracks have an up-tempo feel, there are occasional moments which contain a more down-beat jazz soul vibe, notably during “I’m Just Looking” and “Keep It”. These songs do a good job in just breaking up the intensity of the horn-infused dance tracks and allow the listener to sit and take a breather for a moment, that is if they have been up and dancing as expected.

Searching for the Young Soul Rebels although not a big hit was very well received by critics and many still consider it to be one of the best debuts album of all time. Allmusic described Rowland as having “the unexpected but perfect voice to capture a time and moment in the UK, the return of soul to English rock music at the dawn of Thatcherism”, heavy praise indeed. This sort of sentiment I feel fits perfectly with this album as it was unusual to see a band playing this kind of music, not to mention it was their own personal take on soul and not just a copy of music which had for a while till that point gone out of fashion in England. This album to me is a very interesting and distinctive album and stands apart from other albums of the time as a musical avenue of quirkiness and eccentricity within what was a growing conservatism in the music industry. I can think of only people like Ian Dury who were doing things of a similar ilk at the time in the UK, in an industry which in the past was full of eccentric songwriters such as Lennon, Davies, Bowie and Mercury.  Although it wasn’t a revolutionary album musically and didn’t contribute to any musical movement as such, it achieved what it set out at the time and that was to bring soul back to British music and attract new young soul rebels to welcome in the new soul vision as Rowland boldly proclaims on the albums closing track “There, There, My Dear”. In a decade full of inconsistent returns album wise, this one stands out as one of the best, proving also that there was a lot more musically to this thirty-seven strong band than just Eileen (referring to their hit single “Come on Eileen”). 

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- Sam 

Various Artists - Bossa Nova and the Rise of Brazilian Music in the 1960s (2011)

I am not a huge fan of music compilations. To me “best ofs” or “greatest hits” are often not true representations of an artist’s back catalogue and I find they tend to gloss over a lot of the lesser known and often obscure material that you can find when exploring the original studio releases. However I found myself being pleasantly surprised on listening to this particular compilation of Brazilian bossa nova music.

Bossa Nova and the Rise of Brazilian Music in the 1960s is a two disc compilation of early bossa nova music, a style of music which fused together jazz and samba and that emerged in Brazil in the 1950s. Released on the Soul Jazz Records label, a British label which specialises in releasing mainly compilations of non-western styles of music such as reggae, Latin, and Afro-Cuban, this brilliant compilation offers a good introduction to the origins of bossa nova not just in sound but also visually and historically. The CD package comes with a published booklet complete with some amazing photographs and a well written history of the rise of bossa nova and its social significance in Brazil at the time. As someone who knows very little about original bossa nova but whom is a big fan of the fusion bossa nova that Stan Getz recorded in the early 60s, on reading this booklet I quickly became aware that bossa nova was more than just music and in many ways represented an age of developing modernism and idealism in Brazilian society during the late 50s and early 60s, particularly amongst the youth of the country. Bossa nova was seen to represent everything modern, sophisticated and cool in Brazil at the time and became associated with urbanisation, apartment living and consumer lifestyles. Not something you usually associate with traditional non-western styles of music, but certainly in describing the wider cultural significance of bossa nova it makes you think how cool it would have been to be there at the time.

In terms of the music itself, one of the good things about not knowing most of the artists on here – I was familiar with Sergio Mendes, as well as Joao Gilberto is that I had no pre-conceived expectations of what the music was going to be like, or of the artists themselves. Therefore I could just relax and enjoy the music for what it was as I went through the thirty-four tracks, a good number when a compilation is dealing with an entire genre. The tracks are a mixture of lively fiesta numbers, as well as the more rhythmic jazzier instrumentals and I must say all and all I wasn’t disappointed as I was taken through a broad sweep of the more popular people in bossa nova of the day. Just some of the artists whose sounds I was attracted to more included Elis Regina, Baden Powell and Vinicius de Moraes, Dom Um Romao, and finally Tama Trio but with this said I couldn’t pick a favourite as there was just so much which appealed.

In an ideal world compilations should be designed and packaged to introduce people to the artist or music in question and therefore should offer a broad sample of music which is representative of the entire body of work. Bossa Nova and the Rise of Brazilian Music in the 1960s does a very good job at this and doesn’t just focus on a small section of the performers who were around during the early stages of bossa nova. The fact the music was also accompanied by a very well presented companion to the period and the music itself made it that much better to. Bossa Nova and the Rise of Brazilian Music in the 1960s I feel is a true representation of early bossa nova and is a good one at that, making it one of the better compilations I have listened to.

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- Sam 

Al Green - Let's Stay Together (1972)

To me Al Green was almost the forgotten soul great of the 1970s era. Often overlooked, or indeed simply standing in the shadows of the big names that one associates with 70s soul and R&B such as Marvin Gaye, Stevie Wonder, James Brown and the like. However, if one decided to sit down and listen to Green’s 1972 album Let’s Stay Together, that person would quickly realise that this man deserves to be put alongside his contemporaries in the pantheon of soul.

Let’s Stay Together was the album where (if you would excuse the pun) Al Green got it together musically, releasing a beautifully crafted soul record that would turn out as one of the great vocal albums of the decade. Green’s vocals are the most impressive thing about this record, with the reverend showing off both his dexterity and range as a vocalist. Across the record Green offers to the listener a mixture of crooning, scatting, shouting, falsetto, and some of the funkiest growls you are likely to here. He simply had it all and could change his vocal style depending on the demands of the song and what was commanded by each performance he gave.

In terms of the overall sound of the record, well it was nothing but pure soul – nothing more and nothing less – and aside from Green’s stellar vocals, much of this can be owed to the brilliant session musicians whose playing gave Green a template and base to allow his vocals to shine through. The backing on here musically speaking was mostly in the mould of the southern soul, or Stax Records sound of the 60s and 70s, and it would come as no surprise that the musicians themselves were all from Memphis. The players on this record were members of the session band the Hi Rhythm Section, accompanied also by the Memphis Horns, as well as a trio of backing singers. The sound they produced across the album was very much groove based with more of a rhythm and blues flavour than say the more pop-oriented sound that came out of Motown. There is a strong rhythmic element to the tracks, while the amazing horn section give many of the songs a sense of personality to go with Green’s raw voice.

So what of the songs themselves, well the album opens with Green’s most well-known song the title track “Let’s Stay Together”, a beautiful soul ballad which never gets old and is quite different in that it provided a nice gentle start to the album, something that was not often the norm for a southern soul record. The guts of the album really starts on track three with “So You’re Leaving” which is an R&B groove-laden love song, whose infectious drum beat and pounding horns is everything that makes a great soul track. This is definitely one of the more instrumentally pleasing songs on the album. This is followed by another groovy track “What Is This feeling” which also includes some nice falsetto backing vocals from backing singers Charles Chalmers and the Rhodes Sisters, Donna and Sandra. Side one then comes to an end with “Old Time Lovin”, a soul ballad that brings a bit of gospel to proceedings.

Side two then begins with the funky “I’ve Never Found a Girl”, which as a more up-tempo song is a nice way to break up the slower ballads. I would describe this track as one of the more dance-based tracks on the album that you can really get on down to, while it also features a brilliant horn part. This is followed by a cover of the Bee Gees “How Can You Mend a Broken Heart” which stretches to over six minutes and in my opinion betters the original, especially in terms of its arrangement and overall feel. Greens vocal phrasing on this track is superb, while his delivery comes across as heartfelt and right from the soul ensuring this is one of the album highlights. The album then concludes with the bright and breezy “Judy” and finally the southern soulful blues of “It Ain’t No Fun to Me”, showing that Green could sing the up-tempo blues numbers just as well as the ballads.

Let’s Stay Together as an album is a wonderful mix of soul balladry and funky rhythm and blues, blending nicely between these styles throughout. Green’s vocals abilities stand out right across the album, while he is well accompanied by some incredibly talented Memphis session players who’s playing give the recordings an authentic southern rhythm and blues feel. Let’s Stay Together is nothing short of being a brilliant soul record and represents to me what good soul music is all about. It projects feelings of joy, sadness and happiness, while connects with the body of the listener whether that be in the form of a foot tap, dance, or an emotional response inside. That to me is what music is all about and so I thank you Reverend Green.

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- Sam 

Bruce Springsteen and the E-Street Band - Concert Review (High Hopes Tour 2014)

He came, he performed, and he definitely conquered Auckland’s Mount Smart Stadium on Saturday night. What a show! Bruce Springsteen’s reputation as a live performer like no other has followed him round since his high-octane late-70s shows, shows which often ended with Springsteen collapsing from exhaustion and being dragged off. Thankfully that didn’t happen this time, but “The Boss” as he is known still managed to pull out of the bag a three hour live extravaganza like no other I have ever witnessed.

Walking on stage alone, equipped with just a harmonica and acoustic guitar, Springsteen started the show with an acoustic folk take on Lorde’s “Royals”, continuing this current tour’s tradition of starting the concert with a cover of a local song. Recent shows in Australia included his take on AC/DC’s “Highway to Hell” and The Bee Gees “Staying Alive”, while this earthy harmonica driven version of “Royals” was unique as it was risky, but it so worked and caught the audience a bit of guard when you consider artist’s usually start concerts with big anthemic numbers. If that was surprising, what followed was simply mesmerising to say the least, as Springsteen backed by an eighteen piece line-up of his well travelled backing band the legendary E-Street Band performed songs off ten of his albums that also included a mid-set complete performance of his 1984 smash album “Born in the USA”. Springsteen’s set-lists change every night depending on how the man himself feels at the time and includes the odd-occasion where The Boss will reach into the crowd and collect a sign with a song listed on it of which the E-Street Band will then proceed to play. Nothing in a Springsteen concert follows to script, with anything a possibility. Amazingly enough, apparently the band rehearsed around 120 songs for this tour, a number of songs which most artists don’t even have in an entire back catalogue let alone who are then able to perform at a minute’s notice, of which at times the E-Street Band only have before their off on a completely different direction that was originally planned for the concert.

After a solid start to the show that included rousing versions of “Badlands”, “High Hopes” and a beautiful rendition of the 1980 track “The River”, the concert reached its zenith when Springsteen announced to the crowd that him and his band would be performing the entire “Born in the USA” album, continuing a trend of Springsteen concerts in performing albums in their entirety. One knew you were at a serious concert when the opening keyboard riff of the title track came through the speaker system and the crowd were transported back to the mid-80s in one glorious moment of stadium rock. By this point the crowd would be up and dancing to up-tempo rockers such as “Cover Me” and “Darlington County”, and the rock and roll stomper “Working on the Highway”, while sitting back in the odd moment of reflection with “I’m on Fire” and “My Hometown” in what were a handful of the more tender moments of the show. The album set came to an end with 80s hits “Glory Days” and “Dancing in the Dark”, of which on both songs Springsteen pulled several lucky people out of the audience to sing and dance on stage, something which he traditionally does during the performing of the latter track.

The main set concluded with a powerful rendition of “The Rising”, a Tom Morello guitar fireworks-laden “The Ghost of Tom Joad” which was one of the show’s high points, and a lovely gospel version of “Land of Hope and Dreams” that also included a segue into the classic Impressions track “People Get Ready”. What then followed was a fantastic encore which represented the icing on the cake and continued on the energy that was shown throughout. “Born To Run” sounded as great as ever, Springsteen concert staple “Rosalita” of which Steven Van Zandt gleefully took from a crowd sign as a request had energy and musicianship, while I got to here one of my personal favourites “Tenth Avenue Freeze Out”. The encore then ended with an extended cover of the classic Isley Brothers track “Shout” which had the whole crowd on its feet wanting more. At this point the E-Street band left stage leaving Springsteen alone again with his guitar and harmonica ending the show as he started, but this time he performed an acoustic version of his classic 1975 anthem “Thunder Road” in what was a great way to go out on.

From start to finish this show was absolute value for money, with The Boss and his simply amazing band giving one hundred percent in their performance and then some, while also looking like they were enjoying themselves on stage throughout the concerts duration. Often artists come to New Zealand and appear like they would rather be somewhere else with New Zealand shows often being the last stop of a tour. This can lead to lack-lustre appearances and a case of the fan being robbed. Not Bruce Springsteen, who treats his audiences to the full monty every night. He cares about his fans and goes out of his way to ensure they are having a good time, establishing a connection with the audience very early on in the show, engaging with them, talking to them and smiling throughout. This has to be one of the best shows going around at the moment and based on what I saw on Saturday night in Auckland, justifyingly well deserved of being voted the best live act of 2013 by Rolling Stone Magazine. A must see for anyone into live music. Long live The Boss. 

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- Sam