Decade Diving (Round 3)
1966
A left-hand piano figure rocks up and down before a bluesy right hand enters, along with drums and bass. It’s cool, it’s groovy, it’s ‘My sweet potato’, the opening cut on And Now!, Booker T & The MG’s third album. But hang on a minute, shouldn’t we be hearing organ? That’s what Booker is famous for isn’t it? Indeed, and after that keyboard warm-up we are back in organ-grinder mode for the soulful gospel of ‘Jericho’ with some fantastic call and response rhythms between the leader and guitarist Steve Cropper. His solo is just so economical and righteously swinging that you wanna jump right over those tumbling walls and boogie with Joshua.
The R&B ‘No matter what shape’ is up next, a pleasant if unremarkable groove, before a song that is a life-checker for me. Not familiar with that term? It’s a song that, when spun, so demands some sort of bodily movement response that if it don’t happen, Jack you dead. ‘One mint julep’ is so infectious, so blues-infused, so almightily rocking and grooving that whatever you are doing right now you should get to a decent stereo to listen, and listen good. Am I preaching? Probably. Sorry. ‘One mint julep’ does that, even without consuming the actual drink*.
Back in pure soul territory with ‘In the midnight hour’ that sways and shimmies and has another bitin’ Steve Cropper solo. Things slow right down for ‘Summertime’ (remember the cover of ‘It ain’t necessarily so’ on The Magnificent Moodies? Porgy and Bess was a great source of material for both jazz and pop in the 60s). You have to be real tight to play real slow. The band delivers; it’s goose-bump good and yet again Cropper’s solo stands out.
That rounds out side one. The flip side is just as good and follows a similar template: some rockin’ soul (‘Working in a coal mine’), R&B sass (‘Don’t mess up a good thing’), and soul jazz (‘Soul jam’).
In other words, it is sweet as a nut and all done in a touch over 35 minutes. For this fan And Now! shades its more famous older sibling, Green Onions. But don’t take my word for it; get ‘em both. You won’t be disappointed.
Not, perhaps, the high-water mark of liner notes, even in 1966
* The mint julep is a mixed alcoholic drink, or cocktail, consisting primarily of bourbon, water, crushed or shaved ice, and fresh mint. As a bourbon-based cocktail, it is associated with the American South and the cuisine of the Southern United States in general, and the Kentucky Derby in particular [Wikepedia]. The song was written by Rudy Toombs and was an early 50s hit for The Clovers. It is alleged to be one of the first hit songs about drinking alcohol.
1996
With a sleeve that instantly evokes the first Black Sabbath album and a photo/dedication to Vincent Crane (Atomic Rooster) on the back cover, it seems pretty obvious what Italian band Standarte are offering. If your guess was dark keyboard driven heavy prog evoking the early 70s, give yourself a prize. Perhaps an upside down crucifix on a silver chain or a black cape.
This is music for those nostalgic for a period where mellotrons wheezed, drums pounded, and organs sent waves of pulsating chords crashing upon your midnight consciousness. In addition to the basic trio (oh, how I love a heavy rock trio) comprising Michel Profeti (organ, mellotron), Daniele Caputo (drums, vocals), and Stefano Gabbani (bass), we have short sections of narration in an educated English voice by Steve Mattews (sic). These sections are suitably fantastical, involving dangerous Spider women, mysterious rivers, Droog-like gang rituals, and so on.
Parts of some songs, such as ‘Tolerance town’ are so powerfully Rooster that you’ll laugh out loud, either with delight at the richness of the homage or astonishment at their bare-faced cheek. Some of the relentless blues-based grooves just as strongly evoke the Sabs. Yet there is plenty of creativity here, including some uncredited guitar that augments the trio textures. With strong vocals (never dominating), lots of variety (including mandatory chanting monks on ‘A war was declared’), well constructed compositions and great playing throughout, if this heavy prog retro-rock is your black velvet bag, you’ll be in heaven. Or hell.
Released on Italian label Black Widow, BWR CD 007-2, CD or vinyl if you are lucky
1986
As this appears to be the organ edition of Decade Digest, let’s round out this trio of keyboard-centred albums with something completely different. After Booker T’s soulful jazz/R&B groove and the heavy sounds of Standarte, the avant-classical work of Peter Michael Hamel is a serious change of tone.
The German composer has been associated with minimalist composition, though Hamel (as performer and teacher) has also emphasised experimentation and ‘being in the moment’. On Organum, his eighth album, he is listed as playing ‘Pipe organ, Vedic conch and Tibetan cymbals’. I’ve misplaced my Vedic conch or I’d challenge him to a duel. Anyway, the definition of the word ‘Organum’, reproduced from The New Grove’s Dictionary of Music and Musicians, explains how it is a kind of medieval polyphony that morphed and changed over time, but retained the essential element of a sustained part (usually tenor) with more ‘mobile’ upper parts.
Peter Michael Hamel – Organum [Kuckuck, 1986]
Sure, it is challenging in parts, but in its entirety, quite magnificent. Transporting, majestic, spiritual; all these words popped into my head while listening. At times Hamel sounds like Martin Luther turned on by Terry Riley, at others like a spaced-out second cousin of JS Bach. But all this is wide of the mark, really. Here is my borrowed conjuring of how Organum felt on the voyages I took this week. The image is by philosopher, observer, artist, and poet Michael Leunig.
vinylconnection.com.au 
Can I jump in the driver’s seat of that Organum? Such an alluring instrument complete with whistles and harmonic coins of Mundi, whatever in the world they are.
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Please take the wheel! I keep my harmonic coins of Mundi safely locked away most of the time. One should never flaunt such wealth.
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I too love a powerful trio – when you can get more from less like that, you’re onto something!
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“Five Great Rock Trios” – Go for it, Geoff! (I’m sure Sarca could come up with something striking!)
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I bet she could make a dynamite collage for such a list!
Speaking of lists, I almost thought of another name/album/artist – there was a Canadian group named Pure, who had a single named Pure, alas from the album Pureafunalia. So close!
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…but no cigar, ha ha.
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Oh! I’m super interested in this Standarte lot. Never heard of them, but I’m officially coloured intrigued! Vinyl, though!!
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There is a school of thought that says their second album, Curses and Invocations, is slightly better. I think I might agree.
Might need deep pockets for the vinyl, though. 🙂
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Not as deep as I feared … but the postage will be the sucker.
Still, they’re not to be confused with Standarte the “neonazi Synth Pop band (Dirk and Stefan) from Duisburg, Germany” who “described their music as “White Techno””. Oooft.
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I love the Standarte cover comparison Bruce, great spot. But I am going to complain to your management- an organ post without Jimmy Smith?!
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I was going to be all sniffy and say that that is exactly the sort of populist pandering that had kept Vinyl Connection at its extremely modest level of success, when the real reason was that Mr Smith didn’t release anything in a six-year (56, 66, 76…). But then I just checked and he did, in 1986. ‘Nother time, then.
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Come on Bruce, we all know you’re no sell-out, otherwise you’d be reviewing One Direction and Adele CDs for the masses.
Scary story, my local vinyl emporium has a rack of very expensive rare LPs by the counter (Uriah Heep 1st editions for £80, that sort of thing) and they have a copy of Spice Girls ‘Spice World’ that they’re trying to get £150 for. Wow.
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Vinyl prices have become borderline obscene. I think that’s why I’m buying more new releases and new re-issues – they’re cheaper than s/hand LPs. Sigh.
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It’ll all die down again when people’s interest fades out on vinyl again in 2 years time – then a lot of folk are going to be a bit embarrassed about some very expensive purchases. I hope.
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So all we have to do is tie a tourniquet around the ‘I want it and I want it NOW’ artery and wait…
Sounds easy.
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I’m Jonesing already!
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A product of my times, I must admit that Steve Cropper will always have a special place for me thanks to his Blues Brothers era. As for Booker T, I won’t take your word for it; I’ll get ’em both!
Of course, the Atomic Rooster comparison and Vincent Crane dedication were going to appeal to me immediately. Standarte seems a likely candidate for further exploration; I see there were reissues on CD of this one and the next one in 2005. I am especially amazed at what these “lead bass” players can do with their instruments, playing those seldom heard heavy chords…
Hamel’s Orangum intrigues and I could see myself getting lost in it but — and please don’t judge me too harshly here — like Phaedra, were I to bring it home at present, I just don’t see myself able to give it the attentive listens it would deserve. I have high hopes for more consistent “calm days when he drifted in peace” in the future, whereupon I expect such music will be just the ticket.
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The ever-changing playlist of our lives…
I most certainly wish you calm days, and sooner rather than later. A dissonance between circumstances and soundtracks might not be peaceful, especially if a more introspective music is overpowered by life noise, so I’ll just let you file those titles for ‘ron. Though your thoughtful response (for which I am, as always, most grateful) does make me think of an album I am anticipating in the post, waiting impatiently, awaiting indeed with bated breath… (am I over-doing this?) that I am imagining sharing…
Watch this space. Or at least watch the growing queue of posts awaiting applied keyboard work.
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