TR-i (The Rundgren-index): Utopia/From Prog To Pop

No.# 3 in a series.

In a rather savvy business move early in his career, Todd Rundgren established himself not only as a working musician, but also as a record producer, overseeing diverse recordings by the likes of Hall & Oates, New York Dolls, The Tubes, Patti Smith, and The Tom Robinson Band to name a few. His most successful endeavors were with the insufferable, but mega-super Meatloaf, the always pleasant, if not derivative Badfinger, the excruciating Grand Funk Railroad, and the off-center, but sublime XTC. Rundgren's keen sensibilities and technical knowhow armed him with the ingredients to give these artists the commercial push they needed to reach a more mainstream audience, all the while maintaining the integrity of their original sound and vision. It was a shrewd maneuver on his part in that essentially, the income derived from his production work allowed him to be as creative and esoteric with his own recordings as he saw fit. Without the need for financial gain from his own records, he was then able to give himself all the headroom he desired to make the music that satisfied himself as an artist, first and foremost. This freedom allowed for the creation of material much like the compositions featured previously in TR-i (The Rundgren-index) : The Experimental Recordings. As long as his records sold (and they did), his label tolerated his indulgences and gave him an on-going platform, something that would never happen in today's record industry. It was only when his material became a bit too enigmatic, that the label begin to balk. He astutely placated them by forming Utopia, a band that served to satisfy their reasonable desire for slightly more accessible music, while giving him yet another creative outlet in which to express himself, a luxury that might have only been conceivable in the 1970's. But perhaps I'm giving Rundgren more credit that he's due on that last one. In all honesty, the initial formation of Utopia may have been simply to translate the complex music he was making in the studio to a live setting. Either scenario seems plausible, but only Rundgren himself can address which is closer to the truth. More than likely, it was a little of both.

There have been three editions of the Utopia band over the years. The first, an extremely short lived quartet with the Sales Brothers (Hunt and Tony, sons of the famed Soupy Sales) and an esoteric Frenchman named, M. Frog Labat. An inaugural tour was begun, but quickly fell apart after only a few dates without either gelling, or recording. The second incarnation was a decidedly progressive rock sextet featuring no less than three keyboardists to handle the multiple synthesizer chores needed for the music that Rundgren wrote exclusively for the band. This second edition did prove commercially viable, releasing two recordings and touring extensively. But as the bombast of progressive rock began to lose favor, Rundgren streamlined the numbers, as well as the sound, creating the most enduring edition of Utopia in the late 70's with Roger Powell, Kasim Sulton, and John Wilcox. This unit held together the longest of the three, producing a more pop-oriented sound, and satisfying the ever increasing demands for hits by the now inflated and profit driven record companies. Those hits came as a result of all four band members contributing to the songwriting, and of course as a result of the accessibility of their toned down material.

Although I have never been a big fan of the Utopia band (despite my regard for Rundgren), when listening to them today, I hear them as a meeting of the operatic sophistication of Queen, with the joyful jangle of Beatlesque pop. Add to that, the sonic density of Boston, with the sweet vocal harmonies of The Beach Boys. Mix in more than a bit of Motown soul and Tin Pan Alley song craft, shake well, and serve chilled over ice. It's a combination of styles and influences that became more pronounced as they evolved through the years, and the mix in this installment of TR-i (The Rundgren-index), traces that evolution from the bands early days as a hard hitting progressive rock unit, to the increasingly concise, radio friendly styling of a pop/rock quartet.

Prog To Rock

1) Freak Parade

2) Freedom Fighters
3) The Wheel
4) The Seven Rays
5) Intro/Mr. Triscuits
6) Something's Coming
7) Love In Action
8) Communion With The Sun
9) Magic Dragon Theater
10) Eternal Love
11) Feel Too Good
12) Hoi Poloi
13) Windows
14) My Angel




Rock To Pop

1) The Marriage Of Heaven And Hell
2) Trapped
3) Love Is The Answer

4) The Road To Utopia
5) Second Nature
6) Caravan
7) Set Me Free
8) Shot In The Dark
9) Love Alone
10) The Very Last Time
11) Lysistrata
12) Swing To The Right
13) One World
14) Feet Don't Fail Me Now
15) Hammer In My Heart
16) I'm Looking At You, But I'm Talking To Myself
17) Mated

To download Part One, click here. For Part Two, here.**

**Due to an oversight, the tracks in these files were not properly numbered to reflect the same running order as the lists above show them to be. You will therefore need to manually arrange the songs in your player, to recreate the playlists as they are intended to be heard. Sorry for the inconvenience.

Inside/Out (Strata-East Records)

Among the music blogs that I visit with regularity, there has been a revitalized interest in the seminal Strata-East record label, an independent jazz imprint founded by trumpeter, Charles Tolliver and pianist, Stanley Cowell. The extraordinary label was active throughout the 1970's, and although it continues to maintain a website today, it appears to be in a questionable state of limbo with extremely limited activity. Although the bulk of the label's powerful catalogue has fallen sadly out of print, a fellow blogger named Ish, has seemingly singlehandedly spearheaded a campaign to spread the Strata-East word to a new generation of jazz listeners and aficionados via his new site, Strata-East Fan Club. Ish already publishes the outstanding music blog Ile Oxumare, a site where many rare finds are waiting to be remembered, or possibly discovered for the first time, depending on your age, taste, and exposure. With Strata-East Fan Club, Ish along with his readers, have lovingly compiled a comprehensive database of online links to long lost Strata-East recordings, gladly made available by web happy music lovers, sharing the label's treasures with the world at large, and spreading its Afro-centric message. With roughly 60 titles in the label's catalogue, it's a rich vein of post-bop and spiritual jazz to mine!

Although many of the musicians who recorded for the label are far from household names, even within the jazz idiom, Strata-East nevertheless possessed a rich spoil of wealth in the caliber of artists who did contribute to its legacy. Artists such as Shamek Farrah and Sonelius Smith, The Mtume Umoja Ensemble, Dick Griffin, The John Betsch Society, Keno Duke, Juju, and The Ensemble Al-Salaam. "Well damn, give me something that I can relate to," you might say. "Someone I've actually heard of!" Then how about The Heath Brothers, Clifford Jordan, Charlie Rouse, Shirley Scott, Cecil McBee, Billy Harper, Charles Sullivan, and the aforementioned Stanley Cowell and Charles Tolliver? Still lost? How about Pharoah Sanders, Gil Scott-Heron and Brian Jackson. No offense, but if you're not at least vaguely familiar with the latter three names, you've got some serious catching up to do, and there's no better place to begin than Strata-East Fan Club.

Despite my own appreciation for the label, I myself have not contributed to the database of links and titles available through the fan club. As much as I would have liked to, the Strata-East recordings that were once a part of my library have been lost to time, and nearly next to impossible to replace, or at least replace without great expense. But as a result of the UK Soul Jazz label, I was able to acquire two compilations that were assembled by the company several years ago, Soul Jazz Loves Strata-East and Strata-2-East, though these too have now unfortunately fallen out of print.

If you're a regular here at Birds With Broken Wings, you'll know that I periodically showcase some of my favorite record labels from my days in jazz radio. I had planned on featuring the two S-E collections in a future mix (honest!), but have now been graciously trumped by Ile Oxumare, S-E Fan Club, and their dedicated readers, where both compilations have already been made available to audition. Despite my having been slow in arriving at the same destination, the material still warrants a thorough listen, as the label released the most remarkable treasure trove of recordings that you've likely never heard. Therefore, you'll find the complete Soul Jazz collections in this week's mix, and if you like what you hear, I then recommend heading over to Strata-East Fan Club to further explore and sample the many complete offerings listed there. The love and passion displayed by Ish for the Strata-East roster is understandable to me, and is to be commended, as I am heartened by the online response that his enthusiasm has generated. It benefits us all and is clearly a testament to the power of the music that Strata-East delivered. But of course, the best thing you can do is to support the remaining active artists who recorded for the imprint by purchasing a current recording or seeing them live, should you have the opportunity. Tell them that you enjoy their work and keep the spreading the good word.

Peace go with you, Brother and Sisters.

Soul Jazz Loves Strata-East

1) Peace Go With You, Brother/Gil Scott-Heron & Brian Jackson
2) Well You Needn't/Larry Ridley
3) Prince Of Peace/Pharoah Sanders
4) Changa Chikuyo/Larry Ridley
5) John Coltrane/Clifford Jordon
6) Hopscotch/Charles Rouse
7) The Bottle/Gil Scott-Heron & Brian Jackson
8) Travelin' Man/Stanley Cowell
9) First Impressions/Shamek Farrah
10) Dance Of The Little Children/Billy Parker's Fourth World
11) Eddie Harris/Clifford Jordan
12) Smiling Billy Suite, Pt. 2/The Heath Brothers

Strata-2-East

1) Too Late, Fall Back Baby/Keno Duke
2) Field Holler/Charles Sullivan
3) Jakubu's Dance/Dick Griffin
4) Travelin' Man/Stanley Cowell
5) Ode To Ethiopia/The John Betsch Society
6) Senor Zamora/Harold Vick
7) Trying To Find A Way/Stanley Cowell
8) Barbara Ann/Piano Choir
9) Turkish Bath/Weldon Irvine
10) Freedom Fighter/Oneness of Juju
11) Get With It/Billy Parker's Fourth World
12) Chick, Chick/The Descendants Of Mike And Phoebe
13) Tulsa Black/Cecil McBee
14) Keep On Movin' On/Shirley Scott
15) Coltrane/The Descendants Of Mike And Phoebe

Download Soul Jazz Loves Strata-East here, and Strata-2-East here.

White Bicycles (The Legacy Of Record Producer Joe Boyd)

Joe Boyd has had the uncanny ability of being in the right places at the right times, unwittingly witnessing, and subsequently altering the course of pop culture and its history. Not that his legacy has been purely happenstance. Boyd has the well developed instincts of a man who is both highly educated and fully aware. A savvy man who is driven by his passions, steering them not only with the intuition of his heart and soul, but with the clarity of a keen mind as well. While some may not be entirely familiar with the breadth of his contributions, 'White Bicycles' is one of many places to develop an understanding. And what a wonderful place it is, for it's rich in imagery and anecdote, insight and wisdom, humor and sadness. And for those already familiar with his place in history, the book provides us with a deeper look into the man who discovered, supported, nurtured, and developed the talents of so many unique and outstanding musicians over the last 40 years. Subtitled, 'Making Music In The 1960's,' his memoir is among the most well written and entertaining glimpses into the oftentimes nefarious business of music, presenting his story with insight, intelligence and candor. Not intended as an expose, 'White Bicycles' is more an insiders remembrance of those extremely heady times and it's colorful participants.

As a protagonist, Boyd served as a conduit in his role as a record producer, mediating in the creation of some of the most original and timeless music in the latter half of the 20th century; from the intense but simultaneously playful Pink Floyd, to the mysterious and magical alchemy of Fairport Convention. Additional highlights in his list of productions include Sandy Denny, The Incredible String Band and thankfully, the remarkably exquisite and ethereal poetry of Nick Drake. Before becoming a producer however, Boyd was instrumental in masterminding the creation of one of the most successful combos of the Greenwich Village folk scene, bringing together four simpatico musicians to form the folk/rock/jug band magic that was to become The Lovin' Spoonful. He was also responsible for introducing the masterful guitar styling of Mike Bloomfield to the Butterfield Blues Band, placing them among the more exciting and dynamic purveyors of Chicago blues in their time. Both of these are remarkable achievements in and of themselves, accomplishments that might satisfy others as having marked their place in the annals of time, but it was only a starting point for Boyd. Shortly thereafter, he launched the infamous UFO club in London, the British counterpart to Bill Graham's early Fillmore dance concerts. There, he gave Pink Floyd a residency and a nurturing forum in which to hone their mythical musical trajectory, sharing the stage with highly adventurous acts such as Soft Machine, Tomorrow, The Move, Arthur Brown, Bonzo Dog Band, Procol Harem, and Pretty Things, just to name but a few. All were virtually unknown at the time, but they managed to catch the ear of Boyd, who gave them a chance and a home. Though most of these names are now considered cult favorites from the era, it almost goes without saying that Pink Floyd went on to super-stardom here on Earth as we know it, and very likely beyond. But of course, you were no doubt already aware of that fact.

In the midst of this intoxicating stew, Boyd galvanized the marriage of rock and British folk music by discovering and developing the likes of The Incredible String Band, Fairport Convention and Sandy Denny, the crème de la crème of the English electric folk scene. And the of course, there was his symbiotic relationship with the fragile, Nick Drake, whose sensitive and hauntingly beautiful music is like the delicate gossamer of angel's wings. When put together, it becomes dizzying array of artists, styles and personalities whose success can be traced directly to their involvement with Boyd.

Beginning his professional career in 1964 as road manager for the European leg of the 'Blues and Gospel Caravan,' Boyd was then hired by promoter, George Wein to shepherd additional tours of the continent featuring the likes of Coleman Hawkins, Miles Davis, Charlie Parker, Roland Kirk and others, resulting in frustrating but humorous results when viewed 40 years later in hindsight. Upon returning home, he was given the post of production manager for the Newport Jazz Festival, also produced by Wein. With a line-up that reads like the entire mid-60's Encyclopedia of Jazz, Boyd could have easily written a book solely on this event alone, the on-hand talent so staggering in its greatness and magnitude. However, excelling in his role that summer, he was subsequently promoted to stage manager for the now historic 1965 Newport Folk Festival which followed later that year, allowing him today to authoritatively set the record straight on the events surrounding the infamous 'plugged-in' Dylan set that has been so mythologized over time.

Moving to England shortly thereafter as a talent scout for Elektra Records brought Boyd a fortuitous confluence of personalities and circumstance that served to provide him with the needed ingredients to find his niche, setting in motion the string of events that create of centerpiece of the book, and of his professional career. Several chapters here are devoted to the tragic Nick Drake, reflections that are heartbreaking in their frankness, and revealing in their insight. And who, other than a family member could be better qualified to reflect on Drake than his mentor and biggest champion, Joe Boyd?

Several years later after establishing his reputation, Boyd received a generous offer from Warner Brothers to produce soundtrack recordings for their film department in Los Angeles. Feeling the need for a new canvas with which to work, Boyd accepted and returned to the States where in a curious twist of fate, he produced his one and only mega-hit; a recording he thought so innocuous and laughable, he didn't bother to even give himself a production credit. The song? Duelling Banjos from the film, Deliverance. Later in the 1980's, Boyd founded Hannibal Records, a tasteful imprint that further exemplified his ear for talent and his burgeoning interest in World music, a term he helped coin to house the plethora of ethnic folk musics that where gaining a larger audience. It's quite an impressive resume, wouldn't you say?

Throughout the pages of his memoir, Boyd makes salient observations on the state of contemporary music and the industry that today discourages, rather than encourages creativity within its participants, yet he never passes judgment, despite the trend essentially pushing producers of his approach and taste out of the game, lest they play by the new rules. In the end however, it's Boyd's wry and lucid remembrance of the years he's detailed within it's pages that make 'White Bicycles' one of the most engaging and thoroughly readable books, not only on the subject of music, but social history as well.

Although the book has been in stores for the better part of two years now, 'White Bicycles, Making Music In The 1960's' remains an essential read for those who appreciate articulate, well written books on the subject of popular music, as Boyd's tome reads as clear and natural sounding as the many records he's produced.

A Few Words About The Music

Although there is an official companion CD to 'White Bicycles,' comprised of Joe Boyd productions exclusively, the selections featured in 'My White Bicycle' were compiled by myself and reflect not only material that Boyd produced, but also selections from artists that are mentioned within his book and with which he had a strong connection. The recordings with Boyd's unique stamp are marked with an asterisk(*), and all others have played prominent roles in his career and lifetime. The sole exception is the inclusion of the Reverend Robert Wilkins. In Boyd's first professional gig with the Blues and Gospel Caravan, he worked, among others, with the Reverend Gary Davis. I had mistakenly thought I had one of Davis' recordings within my collection, only to be reminded that it was the Reverend Robert Wilkins that I possessed. I have taken license in substituting Wilkins for Davis as a representation of the Blues and Gospel Caravan where Boyd got his start. From there, the featured artists remain true to the source and subject, the focal point of the set being the music of Nick Drake, for whom I have the greatest of reverence and is without a doubt, Boyd's greatest discovery and crowning achievement as as record producer and talent scout.

My White Bicycle

1) Jesus Said, If You Go/Reverend Robert Wilkens
2) Shake It, Baby/John Lee Hooker
3) Tam Lin/Fairport Convention*
4) Spirit Beautiful/Mike Heron*
5) My White Bicycle/Tomorrow
6) Arnold Layne/Pink Floyd*
7) Some Other Time/June Tabor*
8) The Man In The Station/John Martyn
9) R.E.M./Old Man Kensey*
10) Shoot Out The Lights/Richard & Linda Thompson*
11) Three Hours*
12) Black-Eyed Dog*
13) At The Chime Of A City Clock/Nick Drake*
14) Next Time Around/Sandy Denny
15) She's Gone/The Soft Machine*
16) Granny Takes A Trip/The Purple Gang*
17) Candy And A Currant Bun/Pink Floyd*
18) East-West/The Paul Butterfield Blues Band
19) The Lord Is In This Place/Fairport Convention*
20) Flowers In The Rain/The Move
21) Chinese White/The Incredible String Band*
22) Darling, Be Home Soon/The Lovin' Spoonful
23) Any Old Time/Maria Muldaur*
24) Horn/Nick Drake*

To download, click here.

For more information on Joe Boyd, please visit his extensive website.

My sincere thanks to the supportive individuals who further encouraged my interest and reflections on Joe Boyd. You know who you are. Thank you for giving this one wings.

5 X 5 (In The Long Form)

'5 X 5 (In The Long Form)' marks the inauguration of yet another series here at Birds With Broken Wings*, wherein I plan to explore the long song form with compositions from all genres of music that at least run, or exceed 10 minutes in length. A simple premise really, but one which must be approached cautiously. Outside of the classical arena, many longer compositions can rapidly dissolve into exercises in tedium, unless they are properly handled by those who know the art of the form, or at the very least have enough relevant things to say within them to prevent the proceedings from slipping into banality. Without either, it simply becomes monotonous and unnecessary posturing, as it might be referred to in polite society. Between you and I, we call it just plain wanking. Guitarists in the rock idiom are especially prone to this affliction, taking 88 bars to say what could easily be stated in 8. This will be avoided at all costs.

You can likely expect a few repeat artists throughout the series, those who excel in the form, such as the first five represented in this initial installment. Some classical pieces will find their way into the mix, but to rely on those would be cheating, as the majority of classics are built around the long form. Jam bands as a whole will be excluded, as they too exploit the form, but there are certainly a few that come to mind who would fit in nicely, and they deserve to be included. I would like to additionally to open the series to suggestions from you, the reader, provided the suggested material is available within my library. Of course, I can't make promises, particularly when your idea of a worthy contribution conflicts with my own view or opinion. In turn, I might expect that you may take issue with some of my own choices, and you are certainly free to express your thoughts in the comments section. All I ask is that you keep your disagreements clean, friendly and intelligent. And now, here are 5 X 5 (In The Long Form).

1) Sue's Changes/Charles Mingus
With George Adams, Jack Walrath, Don Pullen & Danny Richmond
Taken from 'Changes One'/Atlantic Records

Mingus frequently wrote in the extended form, this selection being one of his greatest examples.
Much like Sue's moods, the piece goes through multiple changes, but what makes it all the more
remarkable, is that except for one short segment, the entire song was recorded in only one take!

2) King Kong/The Mothers Of Invention
featuring Frank Zappa, Bunk Gardner, Ian Underwood, 'Motorhead' Sherwood,
Don Preston, Roy Estrada, Jimmy Carl Black, Billy Mundi, Art Tripp & Ray Collins (briefly)
Taken from 'Uncle Meat'/Bizarre Records

Frank Zappa was a champion of the long form, particularly in his stage presentations.
I've chosen a studio version of King Kong however (a centerpiece of early Mothers sets),
primarily because it most accurately captures the variations on a theme
that comprise the composition. There are many wonderful live versions of this song
(mostly available on bootlegs), each uniquely personal, depending on the year, band members
and temperament of the band leader. Only the theme remained consistent and once stated, the piece
could then go in any number of directions.

3) Sindhi-Bhairavi/Ravi Shankar
with N.C. Mullick & Chatur Lal
Taken from 'The Sounds Of India'/Columbia Records

A Master. What more can be said.

4) Spiritual/John Coltrane
with McCoy Tyner, Jimmy Garrison & Elvin Jones
Taken from 'The Complete 1961 Village Vanguard Recordings'/Impulse Records

The further Coltrane pushed himself in his exploration of supreme expression,
the longer his tomes became in the process. Taken from the Complete Village Vanguard
Sessions, this version of Spiritual is one of several recorded across a four night stand
at the infamous club, each one a dialogue between man and his God. Prayers, if you will.

5) In Memory Of Elizabeth Reed/The Allman Brothers Band
featuring Duane Allman, Gregg Allman, Dickie Betts,
Berry Oakley, Jai Johanny Johanson & Butch Trucks
Taken from 'The Allman Brothers Band At Fillmore East/Capricorn Records

I attended the Atlanta Pop Festival, where The Allman Brothers dominated the
secondary stage. Still a local band at the time, I was mesmerized by the sympatico
demonstrated between band members, and was equally blown away to hear such undiscovered
talent! A year or so later, they were stars, and this Fillmore East recording demonstrates why.

To download, click here.

*Other on-going series include, TR-i (The Rundgren-index), Fire Into Music, and Biff! Bang! Pow! (From Beat To Paisley Pop).