Alternative Version, demo

Just Seventeen

I write this whilst glancing furtively over my shoulder, lest one of the more strong-armed amongst the internet police should apprehend me. You ain’t seem me, right?

Since Prince passed away, bits and pieces of his stellar catalogue have begun peeking around the corner before nestling quietly in some groovy corner of the internet, seemingly far out of reach of the heavies once employed by the wee genius to ensure the world wide web remained totally Prince-free. Quite a task, all things considered, but a task that was strictly adhered to nonetheless. Now that he’s no longer around to crack the whip, it would appear that things are just a wee bit more relaxed when the subject of Prince and his online presence are broached. Which is just dandy for folk like me who are keen to write about the best music whilst providing a non-downloadable soundtrack with which to read by.

 

In 1983, Prince was at the beginning of an incredible creative streak, a purple patch even. His sprawling and eclectic 1999 album, originally released the year previously as a single album, eventually re-released as the double we know and love today, was still riding high in the charts and on the airwaves and was well on its way to becoming a 4-times platinum album.

Never one to stand still in his kitten heels and bask in the glory of success, Prince set to work on 1999’s follow-up, the soundtrack to Purple Rain. A terrible film – the words vanity project spring to mind –  Purple Rain was pardoned thanks to a ubiquitous catch-all soundtrack that genre hopped between funk, rock, soul, electro and perv ballad. The smattering of occassionally filthy lyrics brought it unwanted attention from Tipper Gore, wife of high-profile American politicain Al, and led to Gore creating the PMRC (The Parents’ Music Resource Centre) – the ultra-conservative body who took it upon themselves to lobby for the censorship of ‘inappropriate’ music. Those wee ‘Parental Advisory’ stickers on your Public Enemy albums? That’s Tipper’s doing, that is.

Not that this bothered Prince. He’d go on to record, amongst many, many others, Wonderful Ass and We Can Fuck, tracks that you don’t really need to hear to know how they go. Although, you really should hear them. That’s the beauty of Prince. Disgustingly filthy one moment then pure as the driven Minneapolis snow the next. Tunes flowed from him as freely as water from a tap, most of them brilliant and precious few in the ‘throwaway’ category. He’d be up for days on end, commiting to tape the songs he’d heard in his head minutes before. Band mates were a telephone call away at most and had to be ready anytime for the call. Incredibly productive, it’s no surprise that many of his greatest tracks slipped past almost unknown. Like 17 Days, for example. I was going through some old 7″s a week or so ago and flipped over my crackly old copy of When Doves Cry to listen to its long-forgotten b-side. Thirty-odd years later, it sounds as fresh as the day I first played it as an awkward 14 year old, scared that Prince would reel off a filthy lyric and I’d incur the wrath of my mother, the memory of having to return Dirk Wears White Sox still scarred on my memory.

Prince17 Days (The Rain Will Come Down, Then U Will Have 2 Choose. If U Believe, Look 2 The Dawn And U Shall Never Lose) (b-side to When Doves Cry)

To give it its none-more-Prince full title 17 Days (The Rain Will Come Down, Then U Will Have 2 Choose. If U Believe, Look 2 The Dawn And U Shall Never Lose), 17 Days has the classic Wendy and Lisa call-and-response yang to his four to the floor yin. Rubber band basslines compete for attention with descending keyboard riffs and a brilliant shuffling rhythm, Prince’s vocal placed ideally in the middle. And there’s not a pervy lyric in sight. 17 Days grooves along for four pop-filled minutes, a lost gem sparkling from the corner of a jeweller’s shop window.

The passing of Prince has also meant, somewhat contentiously, that his triple-locked Vault has started leaking a little. Did Prince want this music released at all? Was the fact it was locked in the Vault reason enough to respect his wishes never to let it out in public? The first tantalising drips from his life’s work has just been released as Piano & A Microphone, a title familiar to those who’d got themsleves into a frenzy at the proposed tour just a year before Prince died. Two shows in the one day at Glasgow’s Concert Hall? Oh aye! Damn those secondary ticketing sites for making Prince put the kybosh on that particularly fantastic idea. The ‘new’ album features fragments of familiar songs, the odd Joni Mitchell cover, reworkings of some of his deeper cuts…..and the demo version of 17 Days.

Prince17 Days (piano demo)

Prince vamps all over it (“Good Gawd!”), loose and funky piano to the fore, with a slight emphasis on the off-beat. It’s got none of the pop/funk sheen of the old b-side, but what it does have is ess! oh! you! ell! SOUL, goddammit! Quite how (or why) Prince turned 17 Days from a free-flowing smoky jazz club number into an arena-pleasing danceathon is, like the man himself, a brilliant mystery.

Alternative Version, demo

Canvas The Town And Brush The Backdrop

There was an ancient encased clock, all polished brass and varnished wood, that kept time in the foyer outside the main hall at the old Irvine Royal Aademy. Set into the wall, it was part of the very fabric of the school and when I was a pupil there in the mid 80s it looked as old as the school itself, a building erected in 1901 to replace the original school that had become too small for the growing population of the town. The old clock, they said, had been part of that original school and was moved across as the centrepiece for the new school. Bells rang on the hours it chimed. Exams crawled past in the minutes it ticked. The headmaster’s busy footsteps echoed in time through the hall as each second swung past to and fro on the metronomic pendulum. The old school has long-since closed, converted into turn of the century offices for businesses keen to impress, but I’ll bet the old timepiece still determines when meetings start and finish, when deals are concluded and the working day is over.

The clock, they also said, was the inspiration for Edgar Allan Poe’s The Pit And The Pendulum, his gothic horror story about a prisoner trapped in his cell during the Spanish Inquisition. The pendulum wipes away the minutes of the prisoner’s life as he tries to come to terms with and then escape from his situation. You should probably read it.

Edgar Allan Poe spent time in Irvine and was around when the original school was opened, so I like to think there’s some truth in the ‘they say’ story. If you’re a local or are familiar with the town, Poe stayed in an upstairs room in the building that is now James Irvine’s solicitor’s office at the Cross. Anyway….

The Pit And The Pendulum also makes an appearance as a line in the Beach Boys’ 1971 under-played classic Surf’s Up. From the album of the same name, the title track is a weird and wonky, dark and dense tour de force. The song’s genesis stretches back to Brian Wilson’s troubled period when he composed on a piano inside a sandpit on his living room floor. With music by Wilson and oblique, stream of consciousness lyrics by Van Dyke Parks (it’s about spiritual awakening, they say), it was to be part of the Smile album, but after that album was shelved, Surf’s Up lay unheard for 5 years before being revived as the titular closing track, a title  loaded with inference that the early cars ‘n girls ‘n fun fun fun Beach Boys was very much a thing of the past.

Here’s the Smile demo:

Beach BoysSurf’s Up (piano demo)

…and here’s the finished version that closed the Surf’s Up album; sleigh bells, percussion that sounds like rattling jewellery and stack after stack of those signature rich, thick Beach Boys’ harmonies in the close-out.

Beach BoysSurf’s Up

It’s a good album, Surf’s Up. Save the hokey 12 bar blues Student Demonstration Time that closes the first side, it’s packed full of sad melodies, ahead-of-it’s-time eco-friendly messages and home to one of the finest songs in the Beach Boys’ canon, the Bruce Johnston-led Disney Girls (1957).

Beach Boys Disney Girl’s (1957)

Also worth investiagting if you’ve never heard it before is ‘Til I Die, Brian Wilson’s whimsical, autobiographical address to the state of his health. I’m a cork on the ocean, it goes, floating over the raging sea. How deep is the ocean? I lost my way. It’s soul music, Jim, but not as we know it.

Beach Boys‘Til I Die

Here’s Brian in the middle of a Surf’s Up recording session wearing his pyjamas.

Alternative Version, demo, Gone but not forgotten, Sampled

Factory Record

Walk On The Wild Side is perhaps Lou Reed‘s best-known song.

Lou ReedWalk On The Wild Side

Its languid vocal and lazy shuffle conjurs up images of stifling summer New York heat; sticky tarmac on pavements (or should that be sidewalks?), teenage girls singing with carefree abandon on street corners, a loose-limbed groove that never outstays its welcome. Listen closely though and you’ll hear a tale of the New York underbelly, the New York that was off the beaten track yet a daily experience if you were part of the Warhol ‘Factory’ set; Hustlers hustling. Drugs and dealers. Pimps and prostitutes. Females who were shemales. This is girls who are boys who like boys to be girls long before it was a Britpop soundbite. Not for nothing was its parent album called ‘Transformer‘.

Here’s an early version, with very different lyrics and Lou pointing out the girls’ parts….

The released version is a radically re-written homage to the Factory set; the scenesters and teensters who orbited around Andy Warhol’s Manhattan Studio. There were actually 3 Factories, but that’s another story for another day.

Holly who shaved her legs was Holly Woodlawn, a transgender actress who ran away from home in Florida at the age of 15 and by the act of shaving her legs on the way literally changed from man to woman.

Candy was Candy Darling, also a transgender actress. The subject of the Velvets’ Candy Says, she grew up in Long Island – the island – and was known to perform favours in the back room of Max’s Kansas City, the hipper than hip venue/hangout that was central to the scene. That’s Candy (above) with Andy. It’s her face who’s on the cover of Sheila Take A Bow, The Smiths’ 14th single. But you knew that already.

Little Joe was Joe Dallesandro, Warhol actor best known for his role in Flesh, where he played a teenage hustler. Coincidentally, that’s Joe on the cover of The Smiths’ debut album. But you knew that already too.

The Sugar Plum Fairy was another Flesh reference, this time to the name of a drug-dealing character in the film.

Jackie was Jackie Curtis. To say the least, an interesting person, she performed bizarre cabaret dressed sometimes as a woman and sometimes in drag. With overdone glitter, big lipstick, heavily kholed eyes, brightly dyed hair and ripped stockings, Jackie’s combination of trash and glamour was considered the catalyst for the glam rock movement. Certainly, she wouldn’t have looked out of place in the New York Dolls. At one time, Curtis was mooted to play James Dean in a biopic of Dean’s life. This never came to fruition, hence the thought she was James Dean for a day line. So now you know.

Perhaps not surprisingly, such a parade of characters and subject matter fell foul of the US censors. On the released single, they removed the references to the colored girls and giving head and the record peaked inside the Top 20. In the UK, the lyrics remained as Lou had intended and Walk On The Wild Side peaked at number 10. Make of that what you will.

Walk On The Wild Side was put together by Lou alongside co-producers David Bowie and Mick Ronson.

Walk On The Wild Side – hissy outtake with David Bowie on backing vocals

It’s said that Bowie plays guitar on WOTWS, although no credits exist to back this up. Considering at this point in time (August ’72) Bowie was spreading himself between Ziggy tours, Mott The Hoople handouts and Lou Reed production duties, given his propensity to eschew all form of food for music-related activity, it’s not unlikely to suggest he did play on it. It was quite an era for Bowie when you stop to think about it.

One person who definitely did play on WOTWS was seasoned sessioneer Herbie Flowers. Later to find fame in 70s instrumental prog/jazz group Sky, the fly Flowers played two bass lines on the song, thus ensuring himself twice the fee. He played that great defining slinky rubber band bassline and double tracked it with a more traditional Fender bass part, doubling his fee from the industry standard $17 to a more eye-watering $34. Quite how he must feel these days, now that the record is a radio standard and that his part is instantly recognisable, not to mention that the bassline was liberally sampled to form the hook on A Tribe Called Quest’s Can I Kick It? is anyone’s guess, but I bet he wishes he’d gambled on taking the royalties instead of the session fee.

Alternative Version, Hard-to-find, Live!, New! Now!

Waltz #2

Hailing from Caithness, near John O’ Groats at the very top of Scotland, the furthest outreach on the British Isles, Neon Waltz are as far-removed from any ‘scene’ as possible. The six-piece are an insular unit; self-sufficient, self-reliant and self-absorbed.


The music they make is, if you’re of a certain age, nothing you haven’t heard before, but no less thrilling. In songs such as Dreamers and Heavy Heartless they have that unique way of creating an uplifting melancholy; world-weary vocals carried along by chiming, fizzing guitars and a heavy swell of Hammond organ. You might find comparisons with The Coral, The Charlatans or Teardrop Explodes, bands who know how to brew a heady swirl of guitar and organ that’ll lift you to giddy new heights. Lazy folk might label them ‘indie’. I prefer to call them slightlydelic.

Neon WaltzHeavy Heartless


As befits a band that is so far off the taste radar of hip opinion as to be almost non-existent, they have the freedom to come and go as they please. Regular zig-zagging across the highways and biways of the UK combined with a hermit-like lifestyle in their rehearsal space in an abandoned croft – Music From Big McPink, if y’like, has helped the band forge a sound that led them to Atlantic Records and a deal with Ignition. And a month from now, two years since first being signed, their debut album will be released. It won’t come with much of a fanfare or blustery media hype, but it will come with the guarantee of a melody-rich debut, a record that may well prove to be the year zero for future bands. You can quote me on that when the time comes.

A recent photo session on the Isle of Stroma, halfway between the very north of Scotland and the southerly tip of the Orkneys proved fruitful. Shooting the photos that will presumably appear on all promotional material for the imminent album release, the band chanced upon the long-since abandoned school house. Amazed to find it was accessible, they entered and found an old harmonium, lying dusty, untouched and exactly as it had been left when last used. More amazingly, keyboard player Liam Whittles was able to extract noise from it; eerie, ghost-like and gossamer thin, the old harmonium wheezed into life. A spontaneous version of  Penguin Cafe Orchestra’s ‘Music For A Found Harmonium’ was followed by this beautiful reworking of their own Heavy Heartless. It’s magic; understated, creaky and exactly how a harmonium-enhanced band should sound.

Neon WaltzHeavy Heartless (Stroma Schoolhouse Session)

Neon Waltz go on tour shortly. Their debut album, ‘Strange Hymns‘ is out at the end of July on Ignition Records. It  can be ordered direct from the band here and in all the usual places.

Alternative Version, Cover Versions, Gone but not forgotten

Robber Dub Dub

Back in 1990, when I provided shaky lead guitar and wobbly vocals in a promising local band that would soon cease to be, myself and two of my bandmates, deep in the midst of a songwriters’ block, visited the local market where an old guy sold older records at knock-down prices. We went specifically to look for records no-one had ever heard of in order to rip off a chord change here or a melody there. It would be the nail in the coffin of our creative process and we limped into insignificance shortly after.

Last week I was flicking through my records, looking for something different to play, when I chanced upon one of the albums we’d bought. Quite what ‘Try To Be Mensch‘ by Element Of Crime brought to the world of guitar-based music is anyone’s guess. I’d picked it up after spotting John Cale credited with keyboard duties. Whether or not it’s THE John Cale is open for debate. A quick Google has proven fruitless and the record, if my 27 year-old memory serves me well bore little resemblance to anything like the Velvet Underground. At 99p it proved to be a waste of money. However….

…when I pulled it out to look at it the other day, wedged inside was my copy of Black Market Clash, an album I’d long-since assumed to be lost forever. How The Clash album had managed to find its way inside the sleeve of a record I’ve never ever played all the way through is a mystery, but when it fell out, it was greeted like a long lost pal. And ever since, it’s been spinning on heavy rotation.

I love Black Market Clash. It’s a pot pourri of everything The Clash were; rare mixes, re-recordings and interesting cover versions, all helped along by a generous sprinkling of filling-loosening reggae basslines. It’s as far-removed from the spitting, snarling, rabid dog of punk as is possible. You might go so far as to say that with all their eclecticism, yer Clash were rock’s answer to Brian Wilson; ideas fully realised, gung ho experimentation, risk-taking, rule-breaking, chart-making hits. The full version of Bankrobber/Robber Dub is nothing short of sensational. Crucially, the version on vinyl is a full minute and a half longer than the slightly edited but still superb CD edit. Technology being what it is in my house, you’ll need to make do with the shorter take though…

The ClashBankrobber/Robber Dub (CD edit)

Elsewhere, there’s a version of Booker T‘s Time Is Tight that somehow failed to make the cut on Sandinista! and a faithful reworking of Willi William‘s Armagideon Time that first saw the light of day on the b-side of the London Calling single.

The ClashTime Is Tight

Booker T and the MGsTime Is Tight

The ClashArmagideon Time

Willie WilliamsArmagideon Time

These days you can buy Super Black Market Clash on CD (although it’ll be missing (Armagideon Time as well as the extra 90 or so seconds from Bankrobber) a turbo-charged version of the original 10″ EP/LP, but if it’s a quick fix of eclectic Clash you’re after, that midi-sized slab of vinyl with a police-defying Don Letts on the cover is all you’ll need.

 

Alternative Version, Cover Versions, demo, elliott smith, Gone but not forgotten

Just A Shooting Star

There’s a wee bit of a media-fixated Beatles renaissance going just now, what with Sgt Pepper turning 50 and fortnightly reissues of their back catalogue racked up in the Spar alongside Tank Commander Monthly and Build Your Own Millenium Falcon Weekly. It’s a great time to be discovering them for the first time. Who cares if someone’s first exposure to Hey Bulldog is via De Agostini publishing?

Fast track back to the mid 90s and arguably the first flourish of serious Beatles reappraisal since the demise of the band. With their self-proclaimed monobrowed monopoly on all things Fab you could be forgiven for thinking that Oasis had cornered the market in Beatles-influenced music. Just because they shouted louder and played louder and just were louder in every sense didn’t mean they were the only ones with a fevered fascination for the Fab Four. The louder the gob, the bigger the knob ‘n all that. If you listen closely to their music these days, is it even possible to spot The Beatles’ references? Is it? Well, aye, it is. A wee bit. Some of their less-ballsy records have the ‘feel’ of late-era Beatles – All Around The World‘s universal message sounds like the sort of song a lazy advertiser might come up with if tasked with creating a Beatley tune in an afternoon, and Liam is awfully fond of doing his best Lennon sneer atop a grandly played piano. Many of their harmonies are quite clearly direct second cousins of the real deal, but after that, I’m stumped. There are far better bands who’ve dipped deep into the best back catalogue in popular music and pulled out their own skewed version of Fabness. You’ll have your own favourites.

 

And so to Elliott Smith. If you’ve been visiting Plain Or Pan since the glory days of 2007, you’ll know he’s a big favourite round here. He still is. Indeed, his 4th album, 1998’s XO is currently spinning for ther umpteenth time this week. After years of being out of print on vinyl, it finally made it back onto wax a couple of weeks ago. My eye was off the ball when initial copies went on sale and I missed out on the very limited (500 copies, I think) marbled vinyl version, so I had to settle for the standard black 180 gram edition instead. No big deal really. Really. No, really! I’ve lived with the CD since the day of release, discovered when I was working on the counter of Our Price where it was a ‘Recommended Release‘ that week. I played it three times straight through that afternoon in a fairly empty shop, each subsequent play making my jaw drop a notch closer to the sticky carpet. His voice! Gossamer-light and as fragile as fuck. His playing! Beautifully picked arpeggios one moment, brightly ringing fancy chords the next, no solos but lead breaks that aped the vocal melody – just like Paul McCartney. His arrangements! Double-tracked and beautifully harmonised vocal effects, weird ‘n wonkily off-key pianos, little melodic runs up and down the fretboards and keys….. total Beatles! While the Mancunian magpies were belching loudly about their love for The Beatles, here was Elliott Smith very quietly and unassumingly wearing his obvious love for them, not only on his sleeve, but in the grooves inside the sleeve.

XO is a fantastic album. It was Elliott’s major label debut and followed hot on the heels of Either/Or, the undisputed ace in his back catalogue up until then. Either/Or is also packed full of introspective, whispered songs. Alameda. The Ballad Of Big Nothing. Say Yes. Between The Bars. Angeles. All are what you might loosely call ‘Greatest Hits’, had Elliott been fortunate enough to have had such things. All feature the signature double-tracked vocal (like Lennon), the melody-chasing guitar (like McCartney) and the unassuming resignation of George Harrison; always the bridesmaid, never the bride. Even at the Oscars, when a crumpled and bemused Elliott performed after the Good Will Hunting soundtrack received a nomination, he was the outsider. Celine Dion might’ve beat him to the gong, but who in their right mind would want to play that Titanic song 20 years later? Conversely, Elliott’s music endures.

What Either/Or lacks is clarity and sheen. It’s very lo-fi and indie. Coffee house music for misfits who’ve fallen on hard times and hard drugs. XO has a bright and shiny polish to it, reflected (gettit?) in the fact that much of it was recorded in California and LA.

Opener Sweet Adeline was the clincher for me. Just Elliott and his guitar, with descending riff and wonky chord included, the clouds part at the first chorus and sunlight bursts in in the form of glorious harmonies and barrelhouse piano, the drum sound not a million miles away from something Ringo might’ve strived for around 1967.

Elliott SmithSweet Adeline

I knew there and then that this was an album I was going to love. By the breakdown at the end, the whole thing sounds a wee bit like the breakdown from Sgt Pepper’s Lovely Rita. This is immediately followed by Tomorrow Tomorrow, Elliott singing counter melodies to himself while he plays the most amazing ringing guitar – a 12 string with 4 strings missing, closely miked and double-tracked (again) to sound like a whole orchestra of guitars. The songs that follow on are stellar. Waltz #2 was the album’s near hit; a piano and acoustic guitar fighting for top billing, lilting and waltzing (aye) to a cinematic end with sweeping, swooping strings. And did he really sing about ‘Cathy’s Clown‘ in the first verse? Yes! This was confirmed on the 2nd listen.

Elliott SmithWaltz #2

The only Everly’s reference I’d ever heard in song was McCartney’s ‘Let ‘Em In‘ and here was another. It was a sign. Three songs in and I had discovered an album that remains to this day an essential album, one of my very own Recommended Releases. To paraphrase Brian Clough, I wouldn’t say XO is the best album ever written, but it’s in the top one.

There’s plenty more Beatleisms throughout; Bottle Up And Explode has an ending that George Martin would’ve loved putting together, layer upon layer of vocals and guitars and strings and weird effects and kitchen sinks. It’s very Fab.

Elliott SmithBottle Up And Explode

As is Everybody Cares, Everybody Understands, a song that sounds as if it’s going nowhere until Elliott drops a clanger of a swear word and the whole thing ramps up a gear on the back of it. The ending has a great clash of sighing cellos, sighing backing vocals and a crescendo half-way between The Smiths’ Death Of  A Disco Dancer and a DIY Day In The Life.

Elliott SmithEverybody Cares, Everybody Understands

Bled White is another. Ringing guitars, electric organ and a fantastic (fabstastic?) call and response vocal. This is music made in the studio, deliberately written to sound as good as possible in recorded form.

Elliott SmithBled White

Many acts go for the feel of the music, the spontaneity that a live performance brings. Elliott live was by all accounts a very hit and miss live act, and going by the numerous bootlegs I’ve listened to over the years, this would seem true. No stranger to stopping songs midway through if he wasn’t feeling it, he’d half-heartedly and quite possibly deliberately lead his band through a lumpen car crash of a song one night then play a spellbinding acoustic version the next. Tracks like Bled White could never sound great live. But recorded for posterity on XO, they sparkle immortally.

 

Elsewhere, you’ll find the bedsit Beach Boys harmonies on Oh Well, Okay have the potential to induce real tears. The wee cello swell after a minute or so is your starter for ten.

Elliott SmithOh Well, Okay

Album closer I Didn’t Understand wafts in on a raft of a-cappella vocals, just like Because on Abbey Road – a track Elliott would go on to cover on the aforementioned Good Will Hunting soundtrack, funnily enough.  I could go on and on. Suffice to say, XO is well worth investing in if you’ve never had the pleasure.

To finish, here‘s Elliott doing The Beatles. Reverential and respectful.

Elliott SmithIf I Fell

 

Alternative Version, Cover Versions, Gone but not forgotten

How Does Bob Marley Like His Doughnuts?

Wi’ jam in, obviously.

But everyone knows that.

With an extreme burst of lethargy I managed to stretch for the laptop, determined to commit this week’s musical musings to virtual print, despite my flagging limbs and sweaty heid telling me otherwise. Outside, balls bounce-bounce-bounce to the point of major annoyance. Kids scream with excitement as water is scooshed from someplace unknown. Lawnmowers with engines in various states of poor health noisily scalp my neighbours’ front and back gardens. Not quite what Joni Mitchell had in mind when she was titling one of her albums ‘The Hissing Of Summer Lawns‘ but then, this is (nearly) Irvine, Ayrshire, and not Irvine, California.

This heat! Melting minds, slowing the pace, turning everyone wabbit. Good Scottish word, wabbit. It means extreme tiredness, unable to function, total exhaustion. Everyone though is smiling. Everyone. The good, the bad and the ugly. Out in shirt sleeves and last year’s shorts. Ill-fitting Old Firm tops, freshly inked limbs turning a pinker shade of transparent white in the Ayrshire sun. Taps aff on the building sites and sunburnt shoulders on the hard shoulders on the drive home from work. Big bellies oot and we don’t care. Summers here and the time is right for prancin’ in the street. To quote Van Morrison, wouldn’t it be great if it was like this all the time?

 

Exodus was Bob Marley‘s 9th album. The previous 8 are a fine mixture of occasionally Perry-produced bluebeat ska and herbal-infused political riddims, but album number nine was the big international breakthrough. Recorded in London following an attempt on Marley’s life in Jamaica, it’s the first truly mass-market appeal reggae album. Purists might rightly argue that it’s almost reggae lite, but the tunes therein still pack a filling-loosening bassy punch. The subtle emphasis on the Mayfieldish wah-wah pedal and the decision to push the brass section to the fore lends the album a more soulful feel. The whole thing is very laidback – there’s not a single ‘fast’ track amongst any of the ten – and it makes for a brilliant soundtrack to this heatwave we’re currently experiencing.

Side 2 is where all the big hitters are; Jammin’, Waiting In Vain, Three Little Birds and One Love/People Get Ready were all hit singles on both sides of the Atlantic. The track that gets my vote every time though is Turn Your Lights Down Low, the only track on the second side not to be released as a 45 and along with album opener Natural Mystic, the track most likely to top my non-existent list of favourite Bob Marley tunes.

Bob Marley & The WailersTurn Your Lights Down Low

It’s a cracker, isn’t it?

Bob Marley & The Wailers – Natural Mystic

If you listen carefully to this, you might just hear the scrape-scrape-scraping of Sting’s pencil as he writes out his blueprint for The Police. But don’t let that put you off.

Here’s Lauryn Hill doing one of those ghost duets that was all the rage a few years ago. Soulful, respectful and with added hip-hop flavourings. Lauryn would later go on to partner Rohan Marley, one of Bob’s sons. Broke my heart that did. I had high hopes for me ‘n Lauryn.

Bob Marley & The Wailers with Lauryn HillTurn Your Lights Down Low

To finish off, d’you know how The Wailers like their doughnuts?

 

I’m not sure, but, aye, I hope they like jam in too.

Jah like it? as Bob often said after one pun too many.