Although tracks from John Edwards' second Aware album have surfaced, Tin Man compiles them all in one place.
John Edwards - Tin Man: The Unissued Second Aware LP
John Edwards’ early releases, mainly at Aware Records under the tutelage of Floyd Smith, thrilled soul lovers with his consummate vocals and impressed the multi-million selling Spinners enough to hire him to replace their revered vocalist Philippe Wynne.
Edwards’ first Aware hits, such as ‘Stop This Merry-Go-Round’ and ‘Careful Man’, led to his eponymous debut LP. As the label’s major male artist, the company followed up by recording a second album and were probably anticipating a further hit. But Aware collapsed thanks to the label owner’s criminal activities, putting paid to that proposed disc. When the master tapes were uncovered in the ’90s, the tracks were issued on the 1996 Kent CD ‘Careful Man’ and handful of singles were issued to great acclaim.
At last, we have collected the tracks on vinyl and the beauty of ‘Tin Man’, ‘How Can I Go On Without You’ and ‘Cold Hearted Woman’ can be enjoyed as they were originally intended. Modern soul fans will be able to sleep easily again.
You can pre-order a copy of John Edwards' Tin Man LP directly from Ace Records UK right here. It's scheduled to ship on August 1st. Check out a few tracks below.
Singer/songwriter and pianist Elizabeth Shepherd takes a sharp turn from conventional jazz with the self-produced Three Things.
Here's the scoop...
Three weeks before the world went into lockdown, Elizabeth Shepherd had an epiphany. The self-described lone-wolf composer realized that she was, at heart, an improviser. She had invited Jasper Hoiby, a renowned Danish bass player, to spend a week working on music at her home in the Laurentian mountains north of Montreal. The two musicians had never met but an easy friendship was accelerated by the intimate encounter of spending 8-12 hours a day making improvised music together.
Elizabeth Shepherd – Three Things
The experience made Shepherd yearn for more collaborations and she reached out to some of her favourite musicians. That's when the world came to standstill. “I was stuck at home with nobody to create with", says Shepherd. "In Quebec, we couldn’t even leave our homes after dark, let alone travel to meet up with other musicians”.
Shepherd had to find another way to ride her newfound creative wave. So she improvised. She turned to recordings she had made of her sprawling explorations with Hoiby and dissected them.
“I took snippets from our recordings, turned stuff upside down, added layers and synth parts, and came up with these songs. Then I sent them off to musician friends and asked them to add their parts. I ended up with this Frankenstein album that’s very different from what I've done before.”
Different, dense, and daring, Elizabeth Shepherd's self-produced new record Three Things (out February 17th via Pinwheel Music, pre-order it here: https://elizabethshepherd.com/store) is a career highpoint by a confident artist. For the better part of two decades, Shepherd's odd-meter, off-kilter funkiness has set her apart as a songwriter. The rhythmic complexity remains but, on Three Things, she often eschews more conventional verse-chorus structures for a sample-rich, sonic collage sometimes reminiscent of Kendrick Lamar. It's worth remembering that Shepherd once was an aspiring classical pianist who fell in love with jazz - via hip-hop.
What makes Three Things such a fascinating listen is the wealth of sound fragments coming together, sometimes for the briefest of moments, to produce a melody, to conjure meaning, only to fade away back into the ether. The clacking of typewriter keys morphs into a percolating banjo progression, squawking birds commune with a saxophone in full flight. Organic and electronic sounds intertwine seamlessly, sometimes into seismic rumbles and sizzling frequencies that bend and soar out of reach of the human ear. With this sonically saturated work Shepherd has thrown the doors of perception wide open, as if on a mission to show us that music is everywhere. On this, her seventh studio album, she comes across less as a composer and more like a wayfinder able to tear in the cosmic fabric a hole large enough to reveal a song.
Lyrically, the album touches on themes such as self-acceptance, bridging divides, and fraternal love. The title track is taken from a Biblical passage, as Shepherd attempts to distill her own faith-based cosmology; simply put, love is at the core of everything, and nothing else matters.
“I half jokingly refer to this as my gospel album” Shepherd says, aware of the minefield of religious connotations and stylistic references that term carries. Three Things charts a personal faith that uses music to look beyond oneself, to express gratitude and to connect - with the divine and with others.
“During the pandemic, this huge divide emerged, and it made me realize that I needed to safeguard myself from always surrounding myself with people who think like me – to break the echo chamber, if you will. Here’s someone I may never agree with, but ultimately, we all want the same things – shelter, fulfilment, love, what’s best for our kids - so let's start there.” Watch the video for "Time" following by a list of Elizabeth's upcoming tour dates which includes a Toronto album launch at 3030 Dundas West on March 23. Get tickets right here.
