Tabla de contenidos para September 2024 en MOJO

Michael Simmons Author of this month’s Doug Sahm profile (p48), the musician and scribe has been a fan of the late Texas Tornado for over half a century. As a member of Kinky Friedman & The Texas Jewboys, Simmons opened up for Sir Doug several times, usually at the fabled Lone Star Café in New York. Dorian Lynskey Dorian is the author of three books, including Everything Must Go: The Stories We Tell About The End Of The World, which includes a suitably apocalyptic quote from Nick Cave. This month, he talks to the man himself about revelations and transformations of a more personal variety, from p70. Venetia Scott Photographer, fashion stylist and author Venetia, who snapped Nick Cave for this month’s MOJO cover, has worked on magazines such as…

It was February, 1964. I was 11, 12 and not really interested in music. I was living in Memphis, and into football, baseball and the things kids do. I’d heard about The Beatles – I think our next-door neighbour had bought a record – and seen pictures, but I didn’t know who was actually who. So like so many others, we watched The Ed Sullivan Show. I had a sense something big was coming, and I experienced what everybody in that audience did, that screaming experience, except I wasn’t screaming. It was this incredible sensation, a feeling of empowerment, there was almost a comfort in it, in this incredible high. The world stopped, and there was only The Beatles. My brother Jimmy and I became Beatles fanatics immediately. I went…

A PROFESSIONAL SINCE 1978, David Corio has photographed musicians for NME, The Face, Black Echoes, Greensleeves Records and others. Now, re-imagined 25 years on from its original US-only printing, his book The Black Chord collects more than 200 portraits of global stars of soul, reggae, rap and beyond. These include Bob Marley, Nina Simone, Curtis Mayfield, Tina Turner, Bobby Womack, Dennis Brown, Millie Jackson, Ornette Coleman, Lee Perry, Miriam Makeba, Fela Kuti, Augustus Pablo and De La Soul. Illuminating texts by Vivien Goldman – dubbed Roots & Culture, Heart & Soul, Revolution and Explorers – accompanies each thematic chapter, and new images have been added, including Cuban Santeria drummers in the midst of rhythm. “I wanted to try and show via my photographs and Vivien’s words that the various forms…

THE PHONE-CALL HAD BECOME HEATED. Over in Hollywood, movie producer Larry Cohen, red-faced and stammering, tried to get a word in edgeways, to dampen down the blaze he’d just started back in Georgia. On the other end of the line, James Brown’s ire roared out of control. He was a man who rarely heard the word “No”, and who’d never before been told, “Your music is not funky enough.” It was late 1973, the best of times and the worst of times for the Godfather of Soul. Though still a solid box office draw, Brown was slipping in the charts, eclipsed by a younger generation of funk and soul stars. He’d signed a lucrative contract with a new record label, but was being pursued by the IRS over $4.5m in…

PLAY TILL YOU WIN (Cassandra Complex, 2017) Giant Sand-style Americana, George Harrison guitar, Angelo Badalamenti eeriness: there’s lots going on with Jenkins’ idiosyncratic debut album. In the past, she spoke about needing to transcend the Brooklyn indie scene; this album is already in an eccentric zip code of its own. AN OVERVIEW ON PHENOMENAL NATURE (Ba Da Bing, 2021) “Farewell Purple Mountains,” sings Jenkins, saluting the band she was about to join before David Berman’s suicide. His loss shadows this record, but these songs slowly start to embody the healing process, Hard Drive’s saxophone or The Ramble’s Central Park birdsong working away painful knots. CHALE JAANA (Ba Da Bing, 2022) Along with outtakes collection (An Overview On) An Overview On Phenomenal Nature, this live improvisational EP featuring singer and sarangi…

(Warner Bros, 1973) From the neo-classical epiphany of Snow In San Anselmo (those Jef Labes strings!) to the bittersweet life reminiscences of Warm Love and Wild Children, plus “an entire side of songs about falling leaves” (thanks, Lester Bangs), Hard Nose… is flawed yet wonderful, an understated free-recall soul-jazz prologue to Veedon Fleece, Morrison transforming pain and regret into his own autumnal street opera. (Warner Bros, 1974) The double-live album as a statement of artistic perfection. “The Caledonia Soul Orchestra was an ensemble sound,” explains Jef Labes. “Listening to that album is like going to church. You follow the dynamics of the show, where it goes up, where it plunges down. And Van’s not pretending to do it. It’s either happening or it’s not happening. And on those recordings, it’s…

Role: Bass Other CV highlights: The Triffids, Grinderman A Bad Seed since: 1990 “Every album turns out different. Maybe Wild God is a resurgence of the Bad Seeds like you say, but I don’t know. I guess the last few records have been off in some other land – they’ve been about Nick dealing with the awful things that have happened to him. But Nick always writes what he wants to write. There’s no pandering to what’s popular, even in what you might call alternative music. He’s a singular kind of writer. I guess the closest comparison would be someone like Leonard Cohen or Bob Dylan – someone outside of the modern world. There’s always intensity, though. Nick brings that. As a performer, he’s all or nothing. I can remember…

How did this new album get going? “We’ve never been a band that set aside a block of time to get together and write, like, ‘Right, guys, we’ve got four weeks here.’ It’s more a constant process. I like that, because you let the tunes breathe, they’re not hurried. And they’re not required to take any form based on the instruments you have available, or in proximity, in the room. I find touring’s good for that reason, because they’re kind of passed around like folk songs. But there is a point where the album seems to rear its head, seems to emerge with a kind of clear spiritual form. For me, it was around the time I wrote the song In The Modern World. I thought, Ah right, that’s it.…

Meshell Ndegeocello No More Water: The Gospel Of James Baldwin BLUE NOTE. CD/DL/LP STARTING OUT as a teenager on Washington DC’s go-go scene, Meshell Ndegeocello has been bravely pursuing her own independent identity ever since. Her adopted surname means ‘free like a bird’ in Swahili and she’s never been one to be typecast. Launched in the bear pop market of the ’90s, she’s always been profoundly immersed in bass culture both past and present, a black queer woman unafraid to stare down America’s racial and gender inequities while determinedly carving out her own musical space. Now in her mid-fifties, Ndegeocello has clearly found a new head of steam. Last year’s Blue Note debut, The Omnichord Real Book, was her first album of originals in nearly a decade, swiftly followed by…

Why did it feel like the right time to delve back into the archives? Stewart Copeland: “Well, what happened was that The Beatles did a documentary called Get Back. Which changed everything for many groups across the lands, but certainly The Police, because up until that point, we had this policy, which was the only version that shall ever see the light of day is the finished product. Then we saw The Beatles in their underpants. And the realisation dawned that it actually increases the interest in the song to see it in its underpants under development.” Montserrat must have been an idyllic place to make an album. At least in theory? Andy Summers: “Personally, I didn’t like being out in Montserrat. The island was a bit of a diversion.…

Roots Rock Rebels CHERRY RED. CD Cracking 3-disc/54-track account of ‘When Punk Met Reggae 1975-1982’. No boring old farts allowed! BOB MARLEY’S Punky Reggae Party promised “The Damned, The Jam, The Clash” would be there, “Dr Feelgood too”. No sign of the Tuff Gong or most of those invitees here, but The Clash fittingly bring three tracks to a compilation named from one of their lyrics. Hard to quibble, because the remainder of Roots Rock Rebels’ picks are such a comprehensive mix of classics (Dennis Brown; Ruts; Janet Kay; Specials), obscurities (Black Symbol; Talisman) and surprises (Jackie Leven’s Doll By Doll?!). Diligent selector Mike O’Connor – AKA online radio host @ScottishPostPunk – emphasises reggae’s huge impact on black and white Britons alike: thus Aswad and Steel Pulse stand proud amid…

INTERVIEWED BY the news magazine Paris Match for the final time at the end of 2023, Françoise Hardy, the queen of France’s yé-yé generation in the 1960s, talked about the creeping malice of lymphoma, with which she had been diagnosed in 2004. She was asked what readers could wish for her to mark her imminent 80th birthday. “To be able to leave soon and quickly,” she replied, “without too many challenges. ”The singer, who died on June 11, regularly reflected lyrically on such challenges, on pain and sorrow, on her own insecurities and on the injustices served up by the men in her orbit. Yet her story is one not of a victim but of a singer who wrested control of her life and career, smashed glass ceilings and…

“THERE ARE so many newer fans that have kind of come our way of late,” says Ron Mael, Zooming immaculately from Los Angeles. “We feel an obligation, which we always do, to keep the quality high. We’re lovers of pop music, and we think it’s a disservice to pop music to come out with stuff that isn’t cool.” And so, 53 years on from their first record, the wondrous, rewarding and sui generis story of Sparks rolls on. This decade has been a lively one for the Mael brothers, with their Leos Carax-directed musical film Annette and Edgar Wright’s documentary The Sparks Brothers both arriving in 2021; then 2023’s LP The Girl Is Crying In Her Latte became their third consecutive LP to reach the UK Top 10. After last…

WHEN DOUG SAHM RELOCATED TO HIS NATIVE TEXAS IN 1971, he received a vivid reminder of why he’d left in the first place. Sahm, drummer George Rains and mentor J.R. ‘Chat The Cat’ Chatwell were enjoying enchiladas and beer at Rosa’s Mexican café on San Antonio’s Northside when a police officer entered and asked the long-haired Sahm if the Oldsmobile parked outside was his. “Affirmative,” replied the singer. “What’s the problem?” Sahm was asked to accompany the officer outside, where “a small army of police were forming,” according to Rains, who quickly ditched the two wrapped joints he had concealed. Rains and Chatwell were also taken outside, where they watched Sahm getting violently slammed against his car while addressing his assailants as “pig-fucking cocksuckers”. Needless to say, Sahm’s attempts at…

"I first met John in the mid-’60s, and we just hit it off immediately. He was an engineer, but also a taxi driver and a Scientologist – this strange and lovely mixture. We both enjoyed arsing around with sound, and eventually started up a little band, which grew into EXIT, with me, him, Eve Libertine and this guy Jim Clancy. At Isis in 1972, the biggest ever international avant-garde festival, we played with John’s revolutionary eight-speaker setup fixed up in the air around the Roundhouse, so the sound was coming from everywhere. After that, EXIT disbanded and we went our own ways. He moved to Wood Green, and in ’77 we formed Crass. John had created a little studio in the garage in his garden at his mid-terrace house at 10…

NICK AND WARREN were working on the album in London and they called me to pop in. They were thinking about how to make it more open-ended – less hermetic, perhaps. I sat there with my bass and listened to them and tried not to get in the way. If I heard something I liked, I tried to respond to it. I literally lived down the road. And I make good tea. I learned that everything has to start with the words. The music coalesces around the imagery and the language. He’s one of those great songwriters who can be universal and specific. He can drill down to feelings we all share, whether it’s love or frustration or loneliness or despair or anger or passion or humour. He’s very respectful…

Johnny Blue Skies Passage Du Désir HIGH TOP MOUNTAIN. CD/DL/LP THE LAST time MOJO checked in with Sturgill Simpson, in 2021, he was already a man with rock’n’roll suicide on his mind. “I think about David Bowie,” he told Bill DeMain. “That’s a guy who killed Ziggy Stardust and a year-and-a-half later was an R&B singer with a new haircut. That’s the stuff that resonates with me… Once I’m done with something, I drop it and move on.” In other interviews to ostensibly support his seventh solo album, The Ballad Of Dood And Juanita, Simpson was more explicit about what needed to happen next. If his first four records had subverted country music with a little psychedelia, a heap of Stax soul, even ZZ Top-style electroboogie, Simpson’s last three leaned hard…

Flight b741 (P) DOOM RECORDS. CD/DL/LP Album number 26 is their Exile On Main St. FEW BANDS transmogrify so often and with such surety as The Gizz. No Moroder-esque cyborg synths or prog-metal fantasy this time. Instead, we get the vibiest, most joyous country honk and choogle as this telepathic sextet host a raucous studio party. Off-mike whooping is go, as is Old Grey Whistle Test-theme harmonica, and deliciously phat, adorably loose guitar riffage. Flight b741’s passengers seem to include The Meters disguised as the Stones (Sad Pilot), while, back in cattle class, that could conceivably be Molly Hatchet going glam on Le Risque. Raw Feel, meanwhile, is the perfect descriptor for what transpires throughout as The Gizz pass the lead vocal mic, sparking fruitful competition. Flight b741 feels like…

Wilco Hot Sun Cool Shroud EP GIVEN HIS writing skills, Jeff Tweedy makes a decent reviewer of his own new Wilco EP. Hot Sun Cool Shroud, he notes, “starts off pretty hot, like heat during the day, has some instrumentals on it that are a little agitated and uncomfortable and ends with a cooling breeze.” A coda of sorts to 2023’s Cousin LP, of the six tracks only brackish thrummer Hot Sun has been worked on by Cousin’s producer, Cate Le Bon. But while the other five began life prior to Cousin, they’ve been finished here with a similar brittle, experimental spirit to that encouraged by Le Bon. Livid is an immediate eyebrow-raiser – 70 seconds of squalling instrumental hardcore with laser-gun FX. But it’s the subtly-burnished chamber ballads, Ice…

From Where I Stand: The Black Experience In Country Music WARNER MUSIC NASHVILLE. CD/DL Fabled black country compilation gets 4-CD anniversary makeover. A QUARTER century after the original three-disc study of black sicians’ influence on country, From Where I Stand gets updated to show just how much breadth the modern genre has away from the big hat brigade. The original discs remain unchanged and brilliant, from The Mississippi Mudsteppers through The Staple Singers and The Pointer Sisters. The latest addition is, not surprisingly, just as strong and essential. The first two tracks are rightly occupied by Rhiannon Giddens, with Carolina Chocolate Drops and on her none-more-dark solo song At The Purchaser’s Option, continuing through Darius Rucker’s trad country pop, linking with the past via Mavis Staples’ Touch My Heart,…

Definitely Maybe: 30th Anniversary Deluxe Edition BIG BROTHER RECORDINGS. CD/DL/LP/MC One of the all-time greatest debuts, now with a bonus disc excavating its two abandoned early incarnations. DEFINITELY MAYBE was the album that nearly never was. The generational touchstone – that’s two generations now thanks to Liam’s army of Gen Z fans – was recorded twice unsuccessfully, before Johnny Marr’s engineer Owen Morris rescued the ailing project with a spectacular set of new mixes. The 16 bonus tracks here tell the whole-ish story officially for the first time, through eight tracks from the ditched Monnow Valley sessions produced by David Batchelor (bright, clean but missing emotional heft and important guitar detail) and another seven from Sawmills studio, overseen by Noel and Oasis sound engineer Mark Coyle (raggedy-arsed, with multi-layered guitars…

On Shaving Is Boring from Hatfield And The North’s debut album there’s a Goons-like interlude with footsteps running from one channel to the other. On arrival, a door opens, through which we hear a sample of a piece from this very album. Other than The Devil’s Triangle from King Crimson’s In The Wake Of Poseidon, which sampled In The Court Of The Crimson King, are there other bands that have sampled their own work? Tarquin Wood, Ovington, Northumberland MOJO says: Hip-hoppers do it regularly – Beastie Boys’ 1989 track Johnny Ryall uses bits from 1986 album Licensed To Ill. It’s less common in rock, but it happens. There’s an air of eye-browraised, then-and-now significance with some examples: on The Who’s Quadrophenia, The Kids Are Alright can be heard after Helpless…

Julia Holter CHAMBER AMBIENCE A SPECIALITY What music are you currently grooving to? Umm Kulthum, and the James Horner score for The Land Before Time, because it’s beautiful and also my daughter knows the scenes based on the music and talks about what’s happening while we listen, and I find this entertaining. What, if push comes to shove, is your all-time favourite album? Linda Perhacs’ Parallelograms is a classic I always come back to. And the original Alice Coltrane Turiya Sings with the synth organ and strings. Both of these are what I consider “magic music” – it contains new beautiful moments revealed on each listen, profundity, strong emotional complexity, surprises always embedded, imbues my ears with awe. What was the first record you ever bought? And where did you buy…

The Vogue Years (CAMDEN DELUXE, 2001) There’s too much filler to make any of Hardy’s 1962-7 LPs essential, but cherry picking the “mechanical music” brings perspective to her progression from sad folk-pop ingénue to psychedelic existentialist, a course that left most of her peers in her wake and showcased the drive that made her one of a kind. Comment Te Dire Adieu (DISQUES VOGUE, 1968) Hardy says goodbye to both Disques Vogue and the yé-yé years by covering her favourite singer-songwriters – Serge Gainsbourg, Phil Ochs, Leonard Cohen, Antônio Carlos Jobim. In such company, her own songs feel out of place, but the title track, L’Anamour, and Suzanne sound as if she could have penned them herself. La Question (SONOPRESSE, 1971) With good reason, Hardy’s favourite of all her LPs,…

BORN IN 1967, Moon Unit Zappa was the first of four Zappa siblings – Dweezil, Ahmet and Diva duly followed. Her middle name was chosen because father Frank, already a huge counterculture figure, declared the Zappa family was now a ‘unit’. Moon achieved some public notoriety of her own when Frank had her mimic some of the Encino girls at her school for what became a massive 1982 hit, Valley Girl. Now she returns with her own perspective on the Zappa family unit. “My book [Earth To Moon] is for anybody that feels an outsider in their own families, an outsider from the world,” she says, calling in from Los Angeles. “Did you laugh at all?” Moon adds hopefully. “Oh, yes,” replies MOJO. The book is as funny as it…

ACULT HERO in the Anglophone world but a giant in Brazil, at 81 Milton Nascimento is just four months younger than one of his inspirations Paul Mc-Cartney – Abbey Road is a particular favourite, he tells MOJO. Debuting on 33rpm in 1967, his own catalogue is similarly classic-packed. His delightful new album Milton + esperanza, with the now officially lower-case esperanza spalding, not only boasts a sensational version of A Day In The Life, but such stellar guests as Paul Simon, Dianne Reeves, Lianne La Havas and Shabaka Hutchings. From early on Nascimento has attracted jazz and jazz-adjacent A-listers; as myriad stars have found, to hear him is to love him. The respect and affection is mutual. “In my childhood head, only women sang.”MILTON NASCIMENTO “Some of the biggest dreams…

ON SUNDAY, MAY 10, 1964, AT THE Hammersmith Odeon, London, a visiting 22-year-old American, raised in Princeton, New Jersey, decided that Britain was his spiritual home. The event was an all-star package show headlined by Chuck Berry. Joe Boyd was standing in front of the stage, where he’d been taking photographs, surrounded by teenage girls screaming for Chuck. From his vantage point, he spotted John Lee Hooker standing in the wings watching Berry play. Boyd exclaimed, “Oh look, there’s John Lee Hooker!” The girls followed his gaze and all started screaming and calling, “We want John Lee! We want John Lee!” Berry, unsurprisingly, was annoyed by the interruption, but invited Hooker to come out and take a bow. Hooker did so. The girls screamed. These, Boyd saw, were no blues…

ON OCTOBER 13, 2021, AMAZON MOGUL JEFF BEZOS SENT WILLIAM SHATNER TO the final frontier. The trip in the Blue Origin space shuttle was intended as a gift to a childhood hero, but it nearly blew the 90-year-old actor’s mind. Back on earth, the former Captain Kirk spoke of the overwhelming grief he felt at seeing his planet all alone in the darkness of the universe. It’s a recognised syndrome in astronauts: humans, it seems, aren’t meant to see the earth from space. It’s too much beauty, too much terror, too much awe. Too much perspective. It’s called the ‘overview effect’. There’s a track on My Light, My Destroyer, the third album by New York singer-songwriter Cassandra Jenkins, called Shatner’s Theme, an untethered instrumental snippet of radio interference and atmospheric…

The Best Of The Sir Douglas Quintet (Tribe, 1966) Containing The Quintet’s quintessential earliest singles, including hits She’s About A Mover and The Rains Came, this establishes the sound that would launch Doug Sahm’s career – built on Augie Meyers’ sui generis organ-ising that Dylan would later refer to as his “magic Vox”. 1+1+1=4 (Smash/Mercury, 1970) One of Sahm’s best early albums. In The Dark is a Junior Parker jump blues classic. Catch The Man On The Rise is metallic hard rock that shows off the singer’s Hendrixian guitar chops. Recorded in Nashville, Be Real is shitkicker country with lyrics that serve as his plea for authenticity. The Return Of Doug Saldaña (Philips/Mercury, 1971) Returning to Texas from California, Sahm celebrated with this collection of his home state’s eclectica. His…

ON OCTOBER 23, 1973, FOLLOWING THE DISSOLUTION of his 11-piece touring band, an exhausted 29-year-old Van Morrison took a holiday in the Republic Of Ireland. The break was much needed. Formed out of the various musicians who’d appeared on Morrison’s July 1973 LP, Hard Nose The Highway, the Caledonia Soul Orchestra had just completed a gruelling three month tour of the US and Europe, culminating in two nights at London’s Rainbow Theatre. Centred around live strings and horns – arranged by pianist and musical director Jef Labes – the CSO were a compelling mix of the tightly arranged and the freely improvised. Reinterpreting songs from Morrison’s R&B and showband days with The Monarchs and Them, alongside numbers from Morrison’s Astral Weeks, Moon dance, Saint Dominic’s Preview and Hard Nose LPs,…

Fontaines D.C. Romance XL. CD/DL/LP/MC NOTIONS OF romance have always been integral to Fontaines D.C. As cash-strapped music students in Dublin, the band would wander its lanes, reciting poetry, swigging cans of cheap Tesco’s beer and singing their songs for whoever, even if that was only themselves. Their debut Dogrel drew on a critical but celebratory embrace of Ireland and Irishness, drank deep from their city’s outsider musical and literary heritage, then spat out an intense new rock variant: a millennial Thin Lizzy, or The Dubliners jamming with Joy Division. It was nothing if not romantic. Follow-up A Hero’s Death both downplayed the craic and took its title from Brendan Behan, a quintessentially complicated Irish literary hero. 2022’s Skinny Fia viewed their relationship with the auld country from the ambiguous…

A Firmer Hand SO RECORDINGS. CD/DL/LP Less Morrissey and more Machiavelli on Edinburgh songwriter’s third album. PREVIOUSLY, HAMISH Hawk sang of creating something “like Common People sung by Christopher Wren”. Here he approaches the haunted psychosexual drama of Pulp’s This Is Hardcore album. Juliet As Epithet swaps alt-rock guitars for mesmeric vibrato-laden loops: “Death-wise, I wanna be cremated.” Machiavelli’s Room is claustrophobic, sharply homoerotic: “I felt him fit me like a glove… When he shrieks like a siren, I desire him.” There are curses, sickness, storms and uniforms, suggesting the authoritarian South America of Scott Walker’s Tilt album. The huge exhilaration of Hawk’s previous two albums has largely been replaced by more troubled moods – and more stylistic variety – but bravura lyrics remain. On You Can Film Me (“…my…

Tryp Tych Tryo Warsaw Conjunction ON THE CORNER/LANQUIDITY. CD/DL/LP Improvised three-way between Wojtek Mazolewski, Natcyet Wakili-Hick and Tamar Osborn. A double bassist at Polish jazz’s vanguard, Mazolewski has already collaborated with John Zorn, Tomasz Stańko and Pete Wareham (via his jazz-punk outliers Pink Freud). The result of a single improvised session, Warsaw Conjunction puts his skills in thrumming dialogue with inventive ex-Sons Of Kemet drummer Wakili-Hick and the meditations of Collocutor’s multi-reedist Osborn. Offerings oscillate between up-and-at-them boldness (Aries Journey Under The Libra Moon) and spacey shadow play (The Uncertainty Principle), Osborn’s sax wandering freely without ever getting lost, while nimble centrepiece Three Colours Of The Sun plays the disorientation game via bowed bass and mysterious flutes. There are echoes of Sun Ra and Szun Waves as stuttering riffs merge…

Caracoles DAPTONE. CD/DL/LP Third outing for the Cubans putting a modern twist on the mambo. IT’S NOT immediately obvious why this album has been named after the Spanish word for snails – its 10 tracks being aimed squarely at animals with gyrating hips – but the Cuban big band are a glorious throwback to the era when the orquestas gigantes of Beny Moré and Machito competed to dominate the ballrooms of Havana and New York. It’s no facsimile of those groups’ output – the nine-piece horn section contains four sax players (the woodwind instrument was often left out in the golden era, only becoming a sine qua non when salsa shook the Americas) – but with an all-star line-up of percussionists, including Yuya Rodriguez and Roberto ‘Tato’ Vizcaino (just feel…

The Police Synchronicity UMR/POLYDOR. CD/DL/LP DECEMBER 1982 and out there in the wider world, The Police were fast becoming the biggest band on the planet: a string of international hits, two US Top 5 and three UK Number 1 albums, a couple of Grammys, a Brit, fan adulation, the lot. Inside AIR Studios on the Caribbean island of Montserrat, however, as they set about making their fifth album, bitterness and resentment hung heavy in the air between the three members of the group. The main source of disagreement was, of course, creative control. When singer/bassist Gordon ‘Sting’ Sumner and drummer Stewart Copeland had joined forces in early 1977 and drafted in guitarist Andy Summers later that year (replacing original guitarist Henry Padovani), the group’s frontman was a novice relative to…