Gravity has been described as an avant-garde "dance" record that draws on rhythm and dance from folk music across the world. AllMusic called it one of the most important experimental guitar titles from Frith.
During the recording of Henry Cow's sixth album in January 1978, musical differences arose within the group over the prevalence of song-oriented material on the album. Some wanted purely instrumental compositions, while others, including Frith, favoured songs. As a compromise Frith and the band's drummer, Chris Cutler released the songs on an album Hopes and Fears (1978) under the name Art Bears, while the instrumental tracks, plus others recorded later were released on Henry Cow's last album, Western Culture (1979).[2] Art Bears went on to make two more albums of songs.[6]
After Henry Cow broke up, Frith moved to New York City in 1979 where he became involved with a number of musical projects, including a new solo album.[7] To make a more "immediate" record after the intensities of Henry Cow and Art Bears, Frith turned his attention to world folk and dance music. In Hopes and Fears he had "rediscovered the joys of song-form", and it was the song "The Dance" that Frith and Cutler wrote for that album that inspired the making of Gravity.[8] Frith said in a BBC interview:[8]
Working on Chris’ words for "The Dance" made me think a lot about dance music and how different it was in different cultures, and how rigid and standardised disco was in comparison, and I just started exploring and mixing stuff together.
Frith said he researched Gravity on and off for about two years.[9] He had been listening to music from other cultures, particularly Eastern Europe since the mid-1970s. He made no attempt to notate what he heard, but absorbed it and let it find its way later into his own music.[6] On Gravity Frith incorporated elements of this music into his songs, in particular "that contradiction between a kind of seriousness ... and a sense of celebration."[9] He stated, "I didn't ever try to reproduce the ethnic music of anywhere; that would be a singularly pointless exercise ... My intention was to draw on ethnic music and other sources to try to revitalize my approach, to explore new forms."[10]
Frith noted that people used to joke about Henry Cow's music, that you could not dance to it. He found it amusing that with Gravity he had created an album of "dance music", although not the traditional Western dance music in 4 4 with an "enormous beat".[9]
Recording
Gravity was the first of a series of projects Frith did for the Residents's record label Ralph Records.[6] He had recorded with the Residents in the late 1970s and early 1980s, and appeared on several of their albums.[11]
Frith used two backing bands for Gravity, Swedish Rock in Opposition group Samla Mammas Manna and United States progressive rock group the Muffins.[12] He recorded side one of the LP record with Samla Mammas Manna at Norrgården Nyvla in Uppsala, Sweden, with additional recording at Sunrise Studios, Kirchberg, Switzerland in August 1979.[13] Side two of the LP was recorded with the Muffins at Catch-a-Buzz Studio in Rockville, Maryland, United States in November 1979, with additional recording at Sunrise Studios in Switzerland in January 1980.[13] Frith recorded two additional tracks with the Muffins, "Vanity, Vanity" and "Dancing in Sunrise, Switzerland", but they were omitted from the album due to space constraints. They appeared later on the Muffins's 1985 album, Open City.[11]
Many of the tracks on Gravity consist of melodic lines woven into complex rhythmic structures taken from different folk music cultures. The time signatures are not the standard 3 4 or 4 4, but more complex signatures like 15 8.[14] Frith described in an interview how he arrived in Uppsala with his carefully written music sheets, only to find that Samla Mammas Manna could not read music. But when he played the music to them, he was "stunned by their ability to hear the details, especially the rhythmic details, that I had written."[14]
"[Dance is] the victory over gravity, over all that weighs down and oppresses, the change of body into spirit, the elevation of creature into creator, the merging with the infinite, the divine."
The title of the album came from a 1937 quote by Curt Sachs (printed on the back of the album sleeve) in which he described dance as "the victory over gravity".[13]
In his 2019 book Henry Cow: The World Is a Problem, Benjamin Piekut called the title "brilliant".[16] He wrote that after Frith's experiences with Henry Cow's restrictive way of conducting themselves, which Piekut called, "clumsy, slow, inefficient, and inconclusive", the title Gravity refers to the "carefree music therein as well as the ponderous concerns of [Frith's former band] reflected in its rearview mirror."[16]
Music
Frith called Gravity a "dance album",[12] not in the disco/funk sense of its day,[17] but a collection of "dance music" drawn from cultures around the world.[6] The album features an array of rock, folk and jazz instruments, plus field recordings, clapping and "whirling", and has been described as a "musical hybridization" of "Latin percussion, calypso festivity, eastern-tinged percussion [and] Klezmer-like celebration".[18]
"The Boy Beats the Rams" opens Gravity with a burst of laughter followed by some tap dancing, "random" percussion and Frith's "distinctive keening" violin.[17] On "Spring Any Day Now" Frith mixes a bossa nova rhythm with a North African melody. "Don't Cry for Me" features Greek mandolin with heavy metal guitar. "Hands of the Juggler" draws on Middle Eastern folk dance, "Slap Dance" is a Serbian "folk romp", and "Career in Real Estate" is in the tradition of a Scottish fiddle tune.[6]
Frith explained that "Don't Cry for Me" is a hybrid of Greek music, Latin American rhythms and a Caribbean beat. He said, "It has a very strong dancing rhythm, and then every five-and-a-half bars or so the beat changes, leaving you wrong-footed, as it were. You have to readjust, and by the time you've readjusted you have to readjust again. It goes around in a circle like that, all the way through. Fun to watch in discos, not that it'll ever be played in them!"[19]
"Dancing in the Street" is a "de/reconstruction" of Martha and the Vandellas's 1964 hit that includes a "bizarrely harmonised guitar" playing the song's melody over a "boiling mass of feedback" and tape manipulation.[17] According to the album's sleeve notes, this track also includes a recording of "Iranian demonstrators celebrating the capture of American hostages".[13]
"Crack in the Concrete" features an e-bowed guitar over "edgy, dissonant chords" and a "massed kazoo choir of horns" that presages Frith's experimental rock band Massacre he formed in New York City in February 1980.[17] "Norrgården Nyvla" flows into "Year of the Monkey" which ends with a brief sample of the 13th Puerto Rico Summertime Band, "ten seconds of the real thing" according to the LP liner notes.[13]
Critical reception
Contemporary reviews
In a 1980 review in Sounds magazine, John Gill described Gravity as an album of "wonderfully stateless music", a blend of jazz, rock'n'roll, chamber, European ethnic, and New York City soul and Hispanic.[20] With a reference to Frith's former bands, Henry Cow and Art Bears, Gill added "[a]nd this time, folks, you can dance to it!"[20][italics in the source] John Diliberto called Gravity "a whirlwind flight across a cultural landscape where features run into each other with a rush".[21] Writing in a 1981 review in Audio magazine, Diliberto said the album's mood and tempo changes constantly: "a quaint bar mitzvah [becomes] a Middle Eastern waltz"; a climax of "fuzzed" guitars switches to a "light-hearted horse and buggy romp".[22] Diliberto stated that with Henry Cow and Art Bears, Frith's guitar work was "barely traditional", but on his solo albums, it was "totally anarchic", and Gravity was no exception.[22] Bill Milkowski wrote in the January 1983 edition of DownBeat magazine that in contrast to Art Bears's "bleak attitude", Frith's Gravity is a "truly joyous solo LP ... an extremely warm, almost whimsical album".[6]
Thomas Schulte at AllMusic described Gravity as an "entertaining and multicultural pocket folk festival" and said it was "one of the most important guitar-based, experimental guitar titles from the avant-guitarist".[23] In a BBC Online review of Gravity, Peter Marsh called it "Absolutely essential", adding that it "manages to be wildly eclectic yet avoids incoherence".[17] Brandon Wu of Ground and Sky said that despite his "relative indifference" to the album, one of Gravity's great strengths is that it is both accessible and avant-garde.[12]
Nicole V. Gagné wrote in her 1990 book, Sonic Transports: New Frontiers in Our Music that Frith's laughter at the beginning of Gravity permeates the rest of the album. She said the dance music from around the world has "the delight and discovery and fun and energy which dancing releases".[24] Gagné described Frith's cover of "Dancing in the Street" as "a loving stab at American pop", adding that what makes it "uniquely wild" is the way the blend of rock music and tape noise "taps into the charm and exuberance of the song".[25] Gagné called the climax in "The Hands of the Juggler" "one of the high moments of the entire album" that "goes beyond any cultural allusion; it's a celebration of a spirit, a release into the Folk."[26]
Influence
Gravity inspired a 2003 album Spring Any Day Now by David Greenberg and David McGuinness with the Concerto Caledonia.[27] Subtitled "Music of 18th century Scotland and elsewhere", the album includes covers of two tracks from Gravity, "Spring Any Day Now" and "Norrgården Nyvla", plus a track from Frank Zappa's Roxy & Elsewhere (1974), "Echidna's Arf (of You)".[11][28]
Frith continued his exploration of folk and dance music on his next album for Ralph Records, Speechless (1981). As with Gravity, he recorded Speechless with two bands, French Rock in Opposition group Etron Fou Leloublan on one side of the LP, and Frith's New York City group Massacre on the other. The album included extensive tape manipulation, which was an ongoing passion of Frith's at the time.[7]
Live performances
In August 2012 Frith led a performance of Gravity in San Francisco, California entitled "Fred Frith and Friends play Gravity". The performers were Frith, Dominique Leone, Jon Leidecker (Wobbly), Aaron Novik, Ava Mendoza, Jordan Glenn, Kasey Knudsen, Lisa Mezzacappa and Marië Abe.[29] Frith led two more performances of Gravity at Roulette in Brooklyn, New York City on 19 and 20 September 2013, featuring Frith (guitar/electric bass), Leone (keyboards), Leidecker (sampling), Novik (clarinet/bass clarinet), Mendoza (guitar), Abe (accordion), Glenn (drums), Knudsen (alto saxophone), Mezzacappa (bass), Kaethe Hostetter (violin), and William Winant (percussion).[30]
Frith formed the Gravity Band in 2014, comprising Frith (conductor/guitar/bass), Hostetter (violin), Knudsen (saxophone), Novik (clarinet), Abe (accordion), Leidecker (samples), Leone (keyboards), Mendoza (guitar), Mezzacappa (bass), Glenn (drums), Winant (percussion), and Myles Boisen (sound). They performed the album live at the 30th Festival International de Musique Actuelle de Victoriaville in Canada in May 2014,[31] at the Music Meeting in Nijmegen, Netherlands in June 2014,[32] and at the Moers Festival in Germany, also in June 2014.[33]
Track listing
All tracks composed by Fred Frith except where noted.
Track 15 recorded at Sunrise Studios, Kirchberg, Switzerland in July–August 1978, previously unreleased (an outtake from the Henry CowWestern Culture recording sessions)
Track 16 recorded at Kaleidophon, London in March 1978, originally released on Hopes and Fears (1978) by Art Bears, credited here to Henry Cow
Track 17 recorded at Sunrise Studios, Kirchberg, Switzerland in January 1978, originally released on Hopes and Fears (1978) by Art Bears, credited here to Henry Cow
^ abcRamond, Michel; Roussel, Patrice; Vuilleumier, Stephane. "Discography of Fred Frith". New York Downtown Scene and Other Miscellaneous Discographies. Archived from the original on 19 June 2019. Retrieved 29 May 2016.
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