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The voice of Ian Moss has modestly purred beneath his searing guitar playing for more than 30 years – but no longer. For his sixth solo album, Soul on West 53rd, Ian’s sweet, soaring vocal is the pivot around which famed American producer Danny Kortchmar has built a rich, soulful sound, drawing on classic songs from the likes of Sam Cooke, Al Green, Otis Redding and Bill Withers.
Unleashing this surge of soul power has unlocked a whole new chapter in Mossy’s performing career, which ironically was triggered by his appearances on the television series It Takes Two that highlighted vocal duets.
“When I put aside the guitar and sang a few soul ballads on that show, people were suddenly listening to me differently. They’d say ‘Yeah, we knew you sang, but we didn’t know you could really sing’. It was both flattering and frustrating. I kept wondering what they thought I’d been doing for past 30 years. It showed that there was a different side of my music that hadn’t really been heard by enough people before.”
The defining factor in this new acceptance of Mossy as a vocalist has been the steadily maturing tone and timbre of his voice – very different to when his vocal prowess first came to the fore as a foil to the piercing wail of Jimmy Barnes in Australia’s premier hard rock band Cold Chisel.
“With that band it was always all about rock, but I’ve never been a rock singer. I’ve always had a bluesy, soulful take on things, although back then it was all about the Robert Plant style – about how powerful and high could you push your voice. That was never my thing. It’s taken all this time to find a niche that showcases the very best of my vocal abilities.”
The vehicle for this expression is Soul on West 53rd, named after Avatar Studios in New York City (previously known as The Power Station) where the album was recorded. Its genesis was a strong rapport between Ian and Danny Kortchmar, who suggested a stunning array of songs that fit neatly with Mossy’s ideas. Working together, they mined a reef of classics – including Standing In The Shadows Of Love by The Four Tops and Shake by Otis Redding – and unearthed forgotten gems that oozed ageless charm. “I’d never even heard Any Day Now by Chuck Jackson until Danny played it to me, but you instantly recognise it as a great song. It’s classic soul that’s still going to sound fresh to an audience’s ears.” They even took a fresh slant on familiar songs, injecting rich soul to BB King’s great blues ballad Hummingbird.
For a week before recording, Ian and Danny honed arrangements in preparation for the superband of iconic soul musicians that Danny assembled for the Soul on West 53rd sessions: Steve Jordan on drums (Blues Brothers Band, Keith Richards), Leon Pendarvis on keyboards (Aretha Franklin, Roberta Flack), Neil Jason on bass (Brecker Brothers, Diana Ross), Hugh McCracken on guitar (BB King, Steely Dan), with horn players Lenny Pickett (Tower of Power) and Earl Gardner, and backing vocalists Curtis King and Dennis Collins.
Taking such experienced players with esteemed soul pedigree into the studio ensured that sessions were highly proficient: main backing tracks were completed in four days, followed by five days of vocal, guitar and horn overdubs. Within two weeks, the album was completed. “I’m always knocked out by American efficiency,” says Ian. “I didn’t even get the chance to have extended conversations with the players Danny had gathered. They were all ready to go by the time I arrived in the studio. We’d played two songs before we even said hello to each other.”
Almost by telepathy, this assembly of musicians had an instinctive feel for the arrangements and the quality of Ian’s voice, producing a silken bed that captured the essence of the vintage soul sound, with lean groove and sumptuous embellishment for lead vocals. “Yeah, it’s definitely a singer’s album,” says Ian. “With a band that good, you focus intently on the song – and this time it was all about interpreting the lyrics, capturing sincerity and the ring of truth in my performances.”
With such a hot band in the studio, Mossy admits it took some discipline for his guitar work to take a back seat while he concentrated on singing. “There’s still a few nice moments on the guitar from me,” he adds, pointing to his raucous workout on a vintage Gretsch to close out Shake, “but this time the voice is the key. When I listen now to the finished work, I know that being so deliberate has paid dividends.” It’s a bold venture that will certainly draw attention to Soul on West 53rd – mainly for projecting the power and excitement of Ian Moss as a vocalist of repute.
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TICKETS
Friday, October 22, 2010
The Tempo Hotel, Brisbane, QLD
Support
Artist/s: Asa Broomhall
Doors - 8.00pm
Ticket Price - $30.00
Tickets from www.Oztix.com.au or 1300 762 545 Saturday, October 23, 2010
The Brewery, Byron Bay, NSW
Support
Artist/s: Asa Broomhall
Doors - 8.00pm
Ticket Price - $30.00
Tickets from the venue – ph (02) 6685 5833 |
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