August 2006 saw the completion of yet another MUNGO JERRY album, 'NAKED FROM THE HEART', recorded by RAY DORSET with original Mungo double bass player MIKE COLE and drummer BRUCE BRAND. We have taken a look at the making of the album, with the help of Ray, Mike and Bruce, who give us the run down on the thoughts and inspiration behind it. Also, fan club guv'nors DEREK WADESON and ALAN TAYLOR (Derek in brown text, Alan in green) give their track-by-track review after listening to the promo CD in 2006. |
After the official release of what I reckon is the 13th MUNGO JERRY studio album, 'NAKED FROM THE HEART', (or 14th if you count the HORIZON album, 'BOOGIE UP'), we thought we should pick the bones out of the album with the help of the participants, RAY DORSET, MIKE COLE and BRUCE BRAND.I put it to Ray that the 'NAKED FROM THE HEART' album is another ‘earthy, no-bullshit’ recording, and wondered how it came about and what was the thinking behind it? "I really wanted to do some recording with Mike, one, for old times sake, we had some terrific gigs together both before and after 'IN THE SUMMERTIME', some of the most memorable that I have played. It was also, in retrospect, very unfair how he was axed from the band, so we both thought that it would be a therapeutic experience for both of us to again create some music together. Mike is an accomplished musician, and I knew that he would do a good job when put into the situation of recording without previously knowing or rehearsing the songs, same with Bruce, even though we had not played together before, we are like minded in our attitude to the music, plus, Bruce plays drums to the song, creating a sympathetic groove and a vibe, he of course, also plays guitar, bass, keyboards, percussion, sings and writes! That’s on top of his artistic skills". For Mike of course, it was his first involvement with Ray, recording-wise anyway, since his departure from the original band at the end of the first tour of the U.S.A way back in 1970. Some of you will remember that Mike guested at the 2005 get-together up in the Newcastle under-Lyme/Stoke area and looking back, I feel sure that a layman could not have been aware that he hadn’t played on stage with Ray for something like 34 years? "Thanks Alan, very kind of you to say so. If the groove is there, then it works. That weekend was very enjoyable for me and we must do it again sometime - maybe in 2010"?I couldn't put it better myself, a brilliant weekend, and one when once again, we saw many, many MUNGO fans making the pilgrimage to the 'Potteries' to celebrate the 35th year of the band, and of course the Hollywood Music Festival.In an ideal world, there should be a single taken from the album, and as far as I am concerned, ‘I’M A LIAR’ is a must – it’s brilliant!!! It surely would have a chance of airplay with say, Radio 2? Mike said, "I think 'I'M A LIAR' (the politician's song ?) Could be special. I also like the way 'HIPPTY CAT MAMA' moves along. On the whole I'm pleased with the way this album turned out and I hope everyone else involved feels the same". Ray added, "There has been no decision on a single as yet but I was talking to Thomas the owner of Spectre about making something, 'FUNKIN'MUSIC' because of the novelty value, could attract attention because of the misinterpretation". For drummer BRUCE BRAND, who had been a Mungo fan for many a year, it must have been just a ‘little bit’ of a thrill for him to record with Ray I guess? "Why certainly! When I first heard 'IN THE SUMMERTIME' as a lad at a wedding in 1970, I was sold then and there. I was an avid Mungo collector and became addicted to their rootsy sound. I also liked the fact that they didn't (originally) have a drummer! (I didn't actually know what drums were for back then.)" "I'd heard that Ray was still playing as MUNGO JERRY, and first got to see him by accident about 10 years ago on the Isle of Wight, where I was playing with a band called THE CLIQUE", and added. "We heard that THE PRETTY THINGS were playing in the afternoon, and went along for that. Imagine my surprise when Ray and his gang hit the stage. (I seem to remember getting a little over excited, much to the consternation of my chums...) I then caught wind - excuse me - that Ray was playing a solo gig at London's 12-Bar Club, about 4 years ago, so went along armed with a copy of the 'DUTONC' (French covers group I'm in) album, which includes a version of 'ALRIGHT ALRIGHT ALRIGHT' to present to Ray. Having cornered him, I also offered my services as 'Arthole', in case he needed any artwork doing. Within a week he'd got in touch regarding some work in that department, as well as an in-depth discussion about our musical backgrounds and the possibility of playing together arose. It took a while to come to fruition, but it was worth the wait! Obviously, it was a real bonus working with Mike as well". So, MIKE COLE records with MUNGO JERRY for the first time since the U.S.A tour of 1970 and we also see BRUCE BRAND on drums and percussion in what is really, a 'new' MUNGO line-up? Ray explained, "Bruce suggested recording at Toe Rag, THE WHITE STRIPES recorded their No 1 album there; the one that Bruce did the artwork for, it is an eight track analogue, just like the one where we recorded the first MUNGO JERRY album, though nowhere near as large or posh, and uses all retro equipment. Ed (TURNER) was a good engineer to work with, we did not worry about overspill or using headphones to monitor when overdubbing. All part of maintaining the feel I believe". We worked in the same way at Gizzard, which is 16 track, another Ed (DEEGAN) on engineering, he is also the studio owner". There are of course, not many bands where their drummers play keyboards as well? "No, and neither does this one. Actually I played guitar before I started rattling the old traps. My key-hammering efforts are pretty basic and are founded on a few piano lessons I had when I was about 10 years old. I wouldn't call myself 'accomplished' by any stretch of the imagination, but if it's simple enough (and usually with more luck than judgment) I can sometimes get away with it. Let's put it this way: I'm no COLIN 'ELBOWS AKIMBO' EARL". . And are responsible for the sleeve design? "Well, I figured why waste four years at art college? I started doing record covers back in 1979 when a punk group I was in, called THR POP RIVETS released an album off our own backs. It was complete 'do-it-yourself' set-up, and since then, I've been lucky enough to have been on quite a few more, and knocked up most of the sleeves for those too. I also worked for a printer for 13 years, so learned about the technical side, as well. Of course, since the advent of computers, there are far less thumb prints and coffee rings on most of my work". He went on to say, "When THE WHITE STRIPES first toured the UK, about 5 years ago, my current group, THE MASONICS were invited to open for them. We became good friends, and I introduced them to Toe-Rag recording studios, where they ended up recording their 'ELEPHANT' album (featuring HOLLY GOLIGHTLY, who I also play with). As a consequence, I was asked to work on the packaging for that, plus a few singles and also their last album. Somehow or other, I got to do THE DARKNESS first LP too". I really get off on tracks like ‘PLAY THAT FUNKIN' MUSIC’, ‘HIPPTY CAT MAMA’, ‘LET'S GO’, ‘COME ON BABY’ and ‘I WALKED EVERYWHERE’, the steamy, bluesy, rocking numbers that MUNGO JERRY have always performed well, you have a great sound there? "They were fun to do", explained Mike, "and reminded me a bit of the Northcote Arms days. Just like the old days, it was all very spontaneous with minimal rehearsal. I could have used electric bass on some of those tracks and maybe we'll do that next time, but acoustic bass is perfect for rockabilly sound and feel and also for more lyrical numbers. I love playing double bass and use it most of the time because of my involvement with jazz, but I do enjoy playing electric now and again. I have always tended towards acoustic instruments, which I feel are more in tune with human sensitivity. The (mainly) acoustic instrumentation of the original MUNGO JERRY line-up was, I believe, one of its main attractions. Not only did this give it a different sound but also a very distinctive image and stage appearance from most rock/pop groups of the time"."Electronic gear is great of course, but in different ways and especially in conjunction with digital technology which I use myself quite a lot these days (for writing, arranging and practicing) and in my opinion it's an important option and should form part of a musician's armoury - but not all of it. I do feel that mechanical material has become too dominant in popular music and it's sad that so many young people are conditioned to hearing (and liking) only quantized sounds and do not experience the human quality and beauty of great music. As it happens, Ray opted for analogue rather than digital recording on some tracks which leads me to believe that maybe he thinks along similar lines". Bruce said, "Aye. It's helped by being recorded live on good old fashioned tape recorders through valve-powered (in places) equipment. Digital may give a more 'accurate' representation of the sound, but it tends to sound unnaturally clean and takes work to make it actually sound 'good' and 'exciting'. The chaps at Toe-Rag and Gizzard studios instinctively know how to capture the best from a live performance. Obviously there are overdubs, but the basic rhythm section, including most vocals and occasionally harp were all done at the same time". Do you have any personal favorite tracks? "Hmmm... Obviously I like all of 'em", said Bruce diplomatically, "but 'MOTORBIKING', 'FUNKIN' MUSIC' 'LIAR', 'WALKED EVERYWHERE', 'MAKE ME HAPPY' and 'GO TO SLEEP' spring to mind". I asked Ray, what pleased him most about the finished recording and if we could expect to see this line-up playing more gigs together? "To me, the whole vibe was captured, and the album seems to have the organic feel like most of the stuff that turned me on to music in the first place when I was a kid. We had a blast at Mr. Kyps, it would be good to do more if the guys fancy it, I know that they have commitments with other bands. I would like to make another album with the same line up too". At the time of this interview, the album had already been released in Germany, but was it in the plans to see it released further afield? When and where (which countries) is the album going to be released? Ray provided the answer, "The record company is planning to release in the whole of the European territories, and I have to organize placement in the rest of the world". "It is all kind of low key, no hype, no bullshit"! Thanks, Ray, Mike and Bruce. |
MOTOR BIKING I was half expecting a CHRIS SPEDDING song, but instead got a grunge version of BABY JUMP. This is the sort of number I signed up to MUNGO JERRY for all those years ago. Air-guitar heaven! Definitely shades of BABY JUMP here, a real ass-kicker, as our American friends would say, with wailing harp throughout. Good start! |
BALLAD OF A TEENAGE QUEEN From JOHNNY CASH's Sun years, rock'n country combined. Love the backbeat and the sing-a-long vocals. Jaunty, feel-good number that jugs along in the style of the MUNGO of old - with a happy ending! |
MAKE ME HAPPY Sounds so simple and yet every new listen brings something else to the fore. A chorus that has to be joined in with. Like most of the tracks on the album, this re-recording of the CANDY DREAMS track comes over very live sounding. |
COME ON BABY The sort of song you would expect from Ray on stage when he is in one of those, 'get me off here if you dare' sort of moods. Typical, earthy, steamy MUNGO JERRY blues-rock. Would go down great live! |
HEY GYP - DIG THE SLOWNESS THE DOORS revisited, once again some immense guitar and I just love the bass sound. Maybe THE DOORS sound would have been complete with this sort of bass rather than from the keyboard. An old DONOVAN number I think, that has often been part of the stage show. Reminds me of the Processed Pea gigs. |
PLAY THAT FUNKIN' MUSIC The best track on the CD, you actually feel as if you are in the studio with the lads. Full of rhythm and life, 1970 revisited. Bruce on drums just follows the beat. An almost ghostly recording, in as much as it could be the early 70's line-up here, a real throw back to an earlier time. Even that old time MUNGO piano is there somewhere. Spooky! |
GO TO SLEEP From one extreme to another, but that seems to be strength of this set of songs, all are different and yet all gel. SPRINGSTEEN to me is the best exponent of bringing together musical styles in this form. And yet, I don't think I have heard anything so diverse from him in one set. A kind-of MUNGO JERRY sing-a-long lullaby played in a loose country style. Nice one! |
HIPPTY CAT MAMA Rockabilly 'b-sides' revisited as BARRY MURRAY said, "his master is in a league of his own when he bops". Authentic rock'n roll at its best. Agree with Derek totally, if you loved 'THAT'S MY BABY' and 'GIVE ME BOP', you will love this one. If ELVIS was the King Of Rock'n Roll, RAY DORSET must be the King Of Rockabilly. Play it loud! Amazing stuff! |
TEN LITTLE WOMEN 50's style backing vocal and early rock'n roll guitar make this one of the best tracks on offer. Another number that Ray has played occasionally at live shows and one that I often pester him to do so. I've always loved this number! |
EVERYBODY WANTS SOMEONE The more mature style of song that raises its head now and again, and it compliments this CD in the fact that it moves and flows effortlessly from one genre to another. This one reminds me of some of the songs from Ray's 1972 solo album, COLD BLUE EXCURSION, it's in that style. |
I'M A LIAR On first listen, I thought that there were too many effects on the vocal, but on numerous listens, it is probably about right. String bass and light percussion adds to the songs flavour. Reminds me very much of 'LANA' and for this reason, I agree very much with Alan in that it could make a good lead song on a promo release. Quite simply for me, the best track on the album and an absolute must for a single if there is to be one. Cool flamenco sound, shuffling rhythm and, agreeing with Derek (again), a taste of 'LANA'. |
I'VE GOT MY EYE ON YOU MIKE COLE needs complimenting for complimenting the songs, if you get my meaning. The longest number in the set and yet it ends all too soon. Mature sound, but I have to be honest and say that I have a job with this one. Not that there is anything wrong with it, far from it, it's just that it is very hard to describe the song, you will just have to make your own minds up? |
LET'S GO Again, I thought the vocal effects at the beginning had been a tad overdone. But once you are into the guitar and main vocals, that is now quickly forgotten, some great drum rolls from Bruce and the harp is so sharp. Not the b-side of 70's single, 'CAN'T GET OVER LOVING YOU', but a new number which is once again one of those raunchy classic MUNGO 'blues/rock' cuts that Ray does so well. Great driving music I've found. |
WE WILL NEVER BE ALONE I got the shock of my life when I read the titles list on arrival; I thought this song said, 'YOU'LL NEVER WALK ALONE'! (To explain, Derek is an Everton fan and YNWA is the anthem of his arch-rivals, and as a Chelsea fan, mine now) Anyway, once I'd picked myself off the floor, I knew Ray would never do that to me!!! So maybe I was a bit biased about this tune and it took me the longest to get into. I now think it holds the whole thing together in a way that every great song does. Another one that could have come from the 'COLD BLUE EXCURSION' sessions. |
I WALKED EVERYWHERE 'I WALKED EVERYWHERE' and 'loved in the alleys and fought in the streets'. On first listen, you will get my meaning. Recaptures the late 70's live sound. Too short I thought at two minutes exactly but Ray explained that the feeling was that "less is more", it works! I love this track, great guitar break in the middle. |
STAYING AT HOME Successful in Germany earlier this year, this a re-worked version. I defy you not to sing along, which is the MUNGO secret really. I haven't heard the original version (believe it or not) only a snippet on Rob's website, so I had convinced myself that I didn't like it, silly really. I love it! I really do, it's happy sounding, humorous, feel good and a great contrast compared to the rest of the album. |
'NAKED FROM THE HEART' will turn out to be one of the highlights of the vast MUNGO JERRY discography. I can only hope that someone with a love of honest from the heart music takes on 'Naked' and gives it the push it deserves. I can honestly say that I am proud to be associated with a songwriter/singer/performer who can with the help of a talented backing crew put out raw but polished music in this way. DEREK WADESON - AUGUST 2006. Derek is dead right! NAKED FROM THE HEART is a MUNGO classic, capturing for me all the things I love about MUNGO JERRY. The raw, earthy sound that I latched on to in 1970 is alive and well and still sounding fresh in 2006. Amazing songs, expertly played in a variety of styles by a very talented line-up, our old friend MIKE COLE on double bass and our new friend BRUCE BRAND on drums and percussion. Congratulations and thanks to all parties - another MUNGO gem!!! ALAN TAYLOR - AUGUST 2006. |