Brian Auger Re-issues

Elly Roberts reviews

Brian Auger Re-issuesDistributed by
Castle Music

• Released: October/November 2006
• Ratings:
  • Reinforcements: 8/10
  • Live Oblivion: 8/10
  • Search Party: 4/10
  • Here And Now: 8/10
  • Keys To The Heart : 10/10

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Brian Auger(and the Trinity) hit the big time when he collaborated withsinger Julie Driscoll on massive hippy hit This Wheel’s On Fire backin 1968.

In June of the same year he scored a number 12 album with Open, bothhis only chart entries. In the intervening years, the London keyboard wizard(aka Godfather Of Acid Jazz) has released a string of dazzling jazz-funk-rockalbums. His innovative style of fusing genres developed after abandoning hisearly pure jazz roots in 1964. He effectively opened the door for subsequentstars Level 42 and Shakatak in the ’80s.

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These re-issues begin with 1975’s Reinforcements as the OblivionExpress, a sextet, where Auger also embraced the writing skills of his bandmembers. In fact this album came as big surprise to his hardcore fans as hedropped the Santana grooves, with the outfit leaning more in the Average WhiteBand territory.

With a change of direction it did little to embrace or even increase thegroup’s fanbase. Glaring AWB influences, particularly in the vocal departmentby Alex Ligertwood confirm this. That said it’s a solid enough a recordingand indicative of the prevailing ’70s blue-eyed soul movement, though on aless commercial angle. Tracks both instrumental and vocal/instrumental go fromthe 4-8 minute mark.

Released in the same year, 1975, Live Oblivion doesn’t contain anytracks from Reinforcements. Recorded at the famous Whiskey A Go Go on SunsetStrip Hollywood, it consolidates Auger’s live credentials as a suprememusician on his now trademark Hammond B3 organ, with two band line-up changeson bass and drums.

Again, the tracks are lengthy, ranging from 8 minutes –Beginning Again – with its scintillating drum and guitar solos found onDon’t Look Away – to the 14 minutes plus of funky sojourn Don’tLook Away and wildly intoxicating Freedom Jazz Dance.Auger’s keyboard work is mesmerising throughout, with a distinct jam feel.

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Search Party, Auger’s solo album (1981) is more of the same fodder.Keys run riot on Planet Earth Calling with his 11 session musicians astight as ever. Even cacophonous Red Alert is held together by Auger’sdeft finger-work. Smooth, Sea Of Tranquillity is quite sublime andperfectly captures the title’s meaning. I’m Gone is in Santana’sLatino mould – it would have made a great single at the time.

1984’s Here And Now is a more basic, even commercial effort. This is amuch funkier affair across the board with Julius Farmer’s bass the standoutfeature – Call Me is a classic example. By now there are shades ofSteely Dan emerging, particularly in the production. A remix of Night TrainTo Nowhere would now make a brilliant dance hit. There are some weak-spots –bonus tracks 11, 12, 13.

Back with Oblivion Express, Keys To The Heart (1988) there’s lessfunk. It’s a much more measured album, reminiscent of early Level 42 and theDan – in effect, it’s more accessible than earlier offerings, and it’s whenAuger comes of age – best of the collection – a classy album indeed. Besttracks are the sublime Pools and The Stork.

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