Neal Schon & Jan Hammer: Untold Passion/Here To Stay

The great jazz/rock pioneers of the early 1970s generally had a very mixed 1980s. But when keyboard genius Jan Hammer left the Mahavishnu Orchestra in 1973, no-one could have predicted that he’d become a bona fide pop star just over ten years later.

Two fascinating albums – originally on CBS, now re-released as a two-fer by BGO – trace Hammer’s early-1980s journey to ‘Miami Vice’, via a collaboration with Journey/Santana guitarist Neal Schon.

Of course Hammer had spent a few years in the late ’70s touring big venues with Jeff Beck and making ever-rockier solo albums. But Schon was probably a more successful musician than Hammer in 1981, if a more anonymous one – his playing has a lot of chops but isn’t particularly distinctive.

The first Schon/Hammer album, 1981’s Untold Passion, has a pleasingly dry, lo-fi quality, recorded solely at Hammer’s home studio in upstate New York, with the Czech genius also playing some great drums and engineering. The musicianship is exemplary and the sound has a real consistency. Unfortunately the same can’t always be said of the material.

Schon’s Phil Lynott-like vocals have some charm, particularly on the excellent ‘Hooked On Love’ and ‘I’m Talking To You’, but predictably it’s the three instrumentals that really do the business. ‘The Ride’ is a super-catchy Schon composition, while Hammer’s ‘On The Beach’ and the title track look forward to ‘Miami Vice’, the latter with a distinct Giorgio Moroder flavour and some kick-ass solos.

The second album, 1982’s Here To Stay, is less successful, adding a cameo from the other members of Journey and lots of stereotypical 1980s production values, and the duo are obviously making a far more concerted effort to get onto MTV. They made it with the crunching ‘No More Lies’, and almost grabbed a minor hit too. The hilariously ill-judged video is well worth a look:

Neither Untold Passion nor Here To Stay were big hits – the former stalled at #117 in the US album charts, the latter sunk without trace, but these are really interesting projects for Hammer fans. When they work, they really work, and there are some great instrumental duels between the two virtuosos.

And you can definitely hear Tubbs’ Cadillac revving up…

Advertisements

Book Review: Small Victories (The True Story Of Faith No More) by Adrian Harte

It’s sometimes forgotten the influence Faith No More had as an alternative rock band. Long before Nirvana, Sonic Youth and Red Hot Chili Peppers’ breakthrough, they were really the first viable, commercial alternative to the hair metal and retro bands of the mid-’80s.

Adrian Harte’s new biography of the band is a fascinating document of a very strange career. They are certainly not your normal rock outfit; that’s made pretty clear when Harte – a trusted friend of the band and founder of newfaithnomore.com – picks up the story of Faith No More’s two co-founders, keyboard player Roddy Bottum and bassist Billy Gould, a couple of music-mad rich kids ‘enjoying’ a Catholic education at a Jesuit grammar school in Los Angeles.

Inspired by the West Coast and London post-punk scenes (I’m pleased to say that one of their formative gig experiences was seeing a double-header of 23 Skidoo and This Heat at the Battersea Arts Centre, of all places…), they quickly pick up a large local following and garner interest from various labels including Adrian Sherwood’s On-U Sound.

Adding drummer Mike Bordin is a huge catalyst, and he rivals Rush’s Neil Peart as one of the more intelligent skin-bashers in modern rock – he studied English literature at UC Berkeley, reporting: ‘My specialities were Middle English like Chaucer and Edmund Spenser, and I even liked Shakespeare a lot. To graduate, I did a thesis on Richard Wright, the African-American novelist.’ Mick Shrimpton he ain’t.

Vocalist/frontman Chuck Mosley is the next key addition, and he emerges as the great pioneer of the scene. Harte doesn’t shy away from the political/racial issues ignited by recruiting a mixed-race frontman, but happily is more interested in what Mosley brings to the table both musically and lyrically – he reports that the band’s ‘meta’ ideas (encapsulated by the tracks ‘We Care A Lot’ and ‘Introduce Yourself’) are mainly Mosley’s contributions. We also learn about the roots of rap/rock, Mosley saying that he was ‘trying to imitate David Bowie, but also there was other stuff I didn’t understand, so I would rant and rap over it. I was black and white, so it was my two worlds together.’

The UK was Faith No More’s first major market, but we learn that their Dingwalls debut in early 1988 was almost terminally scuppered when the keyboard roadie locked Bottum’s synth in its case and left the key back at the hotel across town – Roddy had to get the tube to retrieve it, drawing stares with his newly-shaved head and white paper jumpsuit.

After various incidents and misunderstandings, Mosley was sacked from Faith No More after a 24th May 1988 gig at London’s Town & Country Club, and then the band remembered a young kid from Eureka, California, who had thrust his Mr Bungle demo tape into Gould’s hands the year before. But we learn that Mike Patton certainly wasn’t a shoo-in, with the management far keener than the band to recruit him. Gould says: ‘I was scared we were gonna ruin this kid’s life. He was like Justin Bieber.’ Patton was the all-American kid from who’d never been on a plane before. But after he auditioned, adding his lyrics and melodies to ‘From Out Of Nowhere’, they knew they had their man.

Harte’s analysis of Patton’s contribution to the band is excellent, with particular emphasis on his melodies and lyrics (the latter spawning the beginnings of record-company discontent, producer/Slash Records employee Matt Wallace forcing him to tone down his original words for ‘Underwater Love’). And who knew that ‘Midlife Crisis’ was a first-rate – if somewhat disturbing – song about co-dependency (‘You’re perfect/Yes it’s true/But without me you’re only you/Your menstruating heart/It ain’t bleeding enough for two‘)?

We learn all about the band’s high-profile – and sometimes hilarious – support gigs with rock behemoths Guns N’ Roses and Metallica, and there’s also a gripping account of the Berlin gig during which Patton announced the falling of the Wall. If stats are your bag, Harte provides all the impressive info about the band’s record sales and chart placings, and he also expertly accompanies us through the band’s mid-’90s burnout (even as the quality of their records seemed to be increasing), 2009 reunion tour and subsequent comeback album.

‘Small Victories’ is a real page-turner, highly recommended to long-time fans of the band but also general fans of ’80s/’90s music.

‘Small Victories’ is published now by Jawbone Press.

Prince: The Lovesexy Tour @ 30

I haven’t kept many VHS cassettes: ‘Steve Martin Live’, Japan’s ‘Oil On Canvas’ and King Crimson’s ‘The Noise’ are probably lurking around somewhere, and two vids that definitely won’t be hitting the charity shop any time soon are Prince’s ‘Lovesexy Live: Volumes 1 and 2’ (still unavailable on DVD…).

The Lovesexy tour kicked off 30 years ago this week, on 8th July 1988 at Paris’s Palais Omnisport. The seven-month jaunt, taking in Europe, North America and Japan, was arguably Prince’s greatest ever.

A spectacular in-the-round stage set was designed as a kind of ‘fantasy island’, half a playground and half a dreamscape, with curtains, a mini basketball court, brass bed, swing set and a Ford T-Bird which Prince ‘drove’ around the stage at the start of the show.

The Lovesexy tour band: left to right, Cat Glover, Dr Fink, Boni Boyer, Miko Weaver, Eric Leeds, Prince, Levi Seacer Jr., Matt Blistan, Sheila E

Taped on the last night of the European tour – 9th September 1988, at the Westfalenhalle in Dortmund, Germany – ‘Lovesexy Live’ still makes for a thrilling watch. First, the music: this band could turn on a dime. It’s hard to imagine any other set of musicians from the era pulling off the ‘Adore’/’Jack U Off’/’Sister’ medley. Prince’s guitar playing is at its best, with creamy, delay-drenched distortion and tight, tasty Telecaster.

And of all the ’80s ‘pop’ acts who incorporated jazz into their work, Prince may be the most successful. In collaboration with his superb horn section (Eric Leeds on saxes, Matt Blistan on trumpet), he often went back to the source: Ellington’s ‘Things Ain’t What They Used To Be’ and Charlie Parker’s ‘Billie’s Bounce’ infiltrate ‘Blues In C/If I Had A Harem’, and Blistan occasionally quotes from ‘It Don’t Mean A Thing (If It Ain’t Got That Swing’). Meanwhile Sheila E brings the Bay Area jazz/rock sound so beloved of Prince. Her solo feature is a highlight of his ’80s live work.

Then there’s the ‘story’. The Lovesexy show is structured like one of those old Warner Bros gangster pictures – in the first half (lucky for us), we see an ‘evil’ Prince, seduced by the sins of the flesh and tempted by drugs, money and criminality, giving him an excuse to dust off Black Album standouts ‘Superfunkicalifragisexy’ and ‘Bob George’.

Then there’s punishment, atonement and spiritual conversion. Yes, y’all, the second half of the show is ‘God stuff’. But if you don’t go along with it, the music is enough of a spiritual experience anyway. Anyway, Prince certainly seems genuinely transported during ‘Anna Stesia’ and ‘I Wish U Heaven’.

Europe couldn’t get enough of the tour. There were no less than seven nights at London’s Wembley Arena and a series of famous after-show gigs, particularly at the Camden Palace on 25th July when Mica Paris was picked out from the crowd to sing ‘Just My Imagination’ and Ron Wood joined Prince onstage for a memorable ‘Miss You’ (see below).

Ticket sales were not so good in the States (14th September to 29th November) where apparently Prince struggled to sell out many arenas, despite it being his first major tour there for over three years. But normal service was resumed when the Japan leg kicked off in early February 1989. The last night of the tour on the 13th was apparently an exceptionally emotional one.

When Prince got home to Minneapolis, he commenced work on the ‘Batman’ soundtrack, another project about the duality of man. It’s not hard to see where his head was at as the ’80s drew to a close.

The Redskins: Bring It Down

I first heard The Redskins’ ‘Bring It Down (This Insane Thing)’ circa 1985 on ‘The Max Headroom Show’, but, beyond clocking Alexei Sayle’s performance in the video, I didn’t know what to make of it at the time. It didn’t help that Max was speaking in tongues all over it.

Listening back to the song recently, I was seriously impressed. There are shades of early ’80s punk/funk: Gang Of Four, 23 Skidoo, A Certain Ratio, plus a bit of Dexys/Jo Boxers, and there’s also a superb horn arrangement in a great (or not-so-great, depending on your predilection for horn sections) period for horn sections.

The lyrics seem fairly revelant in a post-Grenfell world (well, they’re probably a bit better than ‘Oh-Jeremy-Corbyn’…) and feature somewhat of a classic first line, parodying Prime Minister Harold Macmillan’s famous 1957 speech: ‘You’ve never had it so good/The favourite phrase of those who’ve always had it better…’

The band’s break-up as announced in the NME – click to enlarge

The band are a solid, funky little unit and I like singer Chris Dean’s chuckling Melle Mel homage and general swagger – it’s a classic ’80s vocal performance. Their Wikipedia entry says that The Style Council’s Steve White plays drums on this but it doesn’t particularly sound like him.

The Redskins burned fairly brightly for four years, starting out as an NME-approved indie act and then graduating to a major-label deal in the classic ’80s style. They split up after their Anti-Apartheid tour of 1986. ‘Bring It Down’ was their one and only UK top 40 single – a fairly poor return when such blue-eyed-soul inanities like The Blow Monkeys’ ‘It Doesn’t Have To Be This Way’ were just around the corner.

Where are they now? Who knows? No reunion. No sell-out. One near-hit.

Stump: A Fierce Pancake 30 Years Old Today

If you read the press blurb about Stump, the general consensus seems to be that they didn’t quite ‘make it’. But rather we should probably be thankful that they got it together for as long as they did.

The Anglo-Irish band made me smile (and continue to do so), released a great mini album (Quirk Out) and one full-length one, A Fierce Pancake. Released 30 years old today, the latter is probably in my ’80s top 10 (and is reportedly one of Faith No More/Mr Bungle frontman Mike Patton’s favourites too).

It was never going to be easy: the drummer (Rob McKahey) sounded like he belonged in Beefheart’s Magic Band or Ornette Coleman’s Prime Time, the fretless bassist (Kev Hopper) was into sampling, Pere Ubu and Brand X, the guitarist (Chris Salmon) sounded like a cross between Hank Marvin and Adrian Belew and brilliant frontman/lyricist (the late Mick Lynch) was more than likely to engage in a bit of onstage belly dancing.

But it somehow works. A Fierce Pancake is dedicated to the life and works of physician/psychoanalyst Wilhelm Reich and writer Flann O’Brien. It was released on Ensign Records, mainly known for breaking Irish acts like Sinead O’Connor and the Waterboys. Recording sessions at Hansa in Berlin were apparently long and difficult – original producer Holger Hiller jumped ship halfway through and then ‘stabilising influence’ engineer Stephen Street got summoned away to work with Morrissey.

But the album’s sometimes hilarious (‘Bone’, ‘Charlton Heston’, ‘Chaos’, ‘Eager Bereaver’), sometimes touching (‘Alcohol’, ‘Boggy Home’) and always musically interesting. I think of it as something like a cross between Viz magazine and XTC. It’s a shame that they couldn’t maintain the John Peel-endorsed momentum of their early days.

Their manager persuaded them to call it a day after a disastrous Camden Electric Ballroom gig supported by The Blue Aeroplanes on 21st December 1988. A Fierce Pancake hadn’t come close to recouping its costs and the Rave scene was in full flow. It was all over, barring a one-off comeback gig in May 2015.

For more on the band, check out this excellent podcast.

Joan Armatrading: The Key 35 Years Old Today

A&M Records, released 28th February 1983

Produced by Steve Lillywhite (except ‘Drop The Pilot’ and ‘What Do Boys Dream?’ produced by Val Garay)

Principally recorded at The Townhouse, Shepherd’s Bush, London

UK Album Chart position: #10
US Album Chart position: #32

Musicians include Adrian Belew, Jerry Marotta, Tony Levin, Stewart Copeland, Daryl Stuermer, Larry Fast, Annie Whitehead, Guy Barker, Tim Pierce