Brian Auger's Oblivion Express - Straight Ahead 1974

Brian Auger arrived on the London scene in the early '60s, right in the thick of the blues and R&B revival that led directly to the British Invasion of 1964. Auger wasn't directly part of that trend, but his swinging, jazzy keyboards remained at the fringes of British rock through the '60s. His roots were in R&B-inflected jazz (a sound identified with the first two-thirds of the '60s), and he thrived during the late '60s and into the '70s by playing adventurous, progressive music, either with his Oblivion Express or as a duet with a rotating group of singers. Auger stayed on this track for decades, swinging between jazz, rock, and R&B, playing regular gigs (either on his own or as support), and recording on occasion. After spending the '60s playing R&B and soul in a variety of combos, including Steampacket and collaborations with Julie Driscoll, Brian Auger assembled a new band to play less commercial jazz-rock in 1970. He facetiously called it the Oblivion Express, since he didn't think it would last; instead, it became his perennial band name. The initial unit was a quartet filled out by guitarist Jim Mullen, bass player Barry Dean, and drummer Robbie McIntosh. Their initial LP, Brian Auger's Oblivion Express, was released in 1971, followed later the same year by A Better Land, but their first U.S. chart LP was Second Wind in June 1972, the album that marked the debut of singer Alex Ligertwood. Personnel changes occurred frequently, but the Oblivion Express continued to figure in the U.S. charts consistently over the next several years with Closer to It! (1973), Straight Ahead (1974), Live Oblivion, Vol. 1 (1974), Reinforcements (1975), and Live Oblivion, Vol. 2 (1976). Meanwhile, Auger had moved to the U.S. in 1975, eventually settling in the San Francisco Bay Area. In the face of declining sales, he switched to Warner Bros. for Happiness Heartaches, which charted in February 1977. Encore, released in April 1978, was a live reunion with Julie Tippetts (née Driscoll) that marked the end of Auger's association with major record labels, after which he dissolved the Oblivion Express and recorded less often. After pursuing solo projects along with a variety of collaborations, including a '90s venture with former Animals singer Eric Burdon, Auger put together a new Oblivion Express in 1995. As of 2000, the lineup consisted of his daughter, Savannah, on vocals, Chris Clermont on guitar, Dan Lutz on bass, and his son Karma on drums. This group issued the album Voices of Other Times on Miramar Records one week before Auger's 61st birthday. Auger continued to play and record regularly through the 2000s and 2010s, highlighted by a 2005 revival of Oblivion Express and the 2012 solo album Language of the Heart, which featured Jeff "Skunk" Baxter. Auger signed a deal with Soul Bank Music in 2022 to release archival material from his catalog. Soul Bank launched the series with Auger Incorporated, a 2023 double-disc set of previously unreleased music from his archive that featured recordings with Steampacket, Sonny Boy Williamson, the Trinity, Julie Driscoll, and Oblivion Express. AMG.

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Brian Auger's Oblivion Express - Straight Ahead 1974

Some would say that is a disappointing release compared to its predecessor, Closer to It. Still, side one kicks off nicely with a typical Auger groove on "Beginning Again," then glides into a smooth, lyrical version of Wes Montgomery's "Bumpin' on Sunset." The album has a nice sound, but the material is inferior to previous Oblivion Express albums. AMG.

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Brian Auger's Oblivion Express - Brian Auger's Oblivion Express 1971

The first outing by Brian Auger's jazz-rock ensemble the Oblivion Express, first issued in 1971, is one of the great masterpieces of jazz-rock fusion. Auger, having just disbanded his longtime band the Trinity in 1970, still had plenty of rock and roll in his system. His yearning for the open frontiers of electric jazz was certainly the driving force -- in the same way that it was for Miles Davis on A Tribute to Jack Johnson, and Lifetime was for Tony Williams -- but it was anchored in the visceral application of rock. With guitarist Jim Mullen, bassist Barry Dean, and drummer Robbie McIntosh, Auger charted into the unknown. This album fits like a glove, each tune moving ever forward into the next. From the opening knotty, rhythmic twists in "Dragon Song," to the subterranean counterpoint in "Total Eclipse," to the band's theme song that closes the album with its pumping bass and guitar interludes, and Auger'sLemmy Kilmister-like vocals, Oblivion Express is a classic in its genre. There is a rawness in passion and intent here that is balanced by wondrously imaginative arrangements for rock band instrumentation, and an aesthetic that is disciplined and visionary. AMG.listen here

RE-POST: Brian Auger's Oblivion Express - A Better Land 1971

Whereas Brian Auger had taken the lion's share of composing responsibility on the deft, labyrinthine, jazz-rock debut album by the Oblivion Express, guitarist Jim Mullen steps up to the plate in a big way here, writing or co-writing seven of A Better Land's nine tracks, and arranging "Marai's Wedding," a traditional tune. Auger wrote just one, "Tomorrow City," and co-wrote two with Mullen. The feel and vibe of the record is almost a mirror image of its predecessor from earlier in 1971. Mullen composed on the guitar, therefore, the languid, sparer approach to harmony is everywhere apparent. But it's the songs themselves, with their lush use of acoustic guitars, country music melodies, and early rock tropes, such as on "Dawn of Another Day," the Band-inspired "Trouble," and the ethereal melody of "Women of the Seasons." There is also a pair of tracks here written with future AWB boss Alan Gorrie. The lilting jazz in the lead is countered with infectious pop hooks. On the Auger tunes, "Fill Your Head With Laughter," and "Tomorrow City," R&B is at their hearts. A Better Land is one of the more enduring pop records from the era, with its ultra-sophisticated compositioning and arrangement skills. It's as if the Oblivion Expresswanted to reveal themselves as capable of anything, which, of course, they were. This is a fantastic place to start any Brian Auger collection. AMG.listen here

RE-POST: Brian Auger's Oblivion Express - Second Wind 1972

1972 saw the first personnel change in the Oblivion Express when Scot guitarist and vocalist Alex Ligertwood joined the quartet. Second Wind was the band's third outing overall, and the first with its new singer. In typical fashion, Brian Auger upped the creative ante once again. Whereas the previous two albums -- the self-titled debut, and A Better Land -- had showcased, respectively, the mirroring jazz and pop sides of the band, Second Wind combines them regally. With Auger being free to arrange and play, his composing skills went through the roof. In addition, Ligertwood added to the compositional depth of the band, as evidenced by his fine work, "Truth," which opens the album with its riff-oriented jazz undercoat and rockist sheen. Ligertwood is an excellent rock vocalist, with his reedy middle-range voice and strained falsetto, he wrings the passion from his lyrics. Auger, here on B3, particularly, and on piano to a lesser degree, is simply dazzling on every track. The funky, jazzy grooves on this set are indicative of the direction Auger would mine on all of his future recordings (a fine example of their early fruit is on the driven, deep funk and roll of "Somebody Help Us.") The centerpiece of the album is the Eddie Harris,Auger, and Ligertwood composition, "Freedom Jazz Dance," covered by everyone from War to theBeastie Boys. Simply put, this track is the pure embodiment of "groove jazz." With its shimmering opening of elongated chords against a tight, rhythmic shuffle, it leaves room for solos, turnabout melodic improvisations, and a melody that is as serpentine as it is infectious. Second Wind is chunky grooves, wondrously complex instrumental interludes, and inspiring performances, all adding up to a solid, adventurous chapter in Oblivion Express' history. AMG.listen here

RE-POST: Brian Auger's Oblivion Express - Closer To It 1973

The strongest studio recording by Brian Auger's Oblivion Express, Closer to It! is Auger's classic. Featuring his best-known composition, "Happiness Is Just Around the Bend," this album soars on the strength of Auger's multiple keyboard attack. Auger himself takes the lead vocal slot for the first time here, and though he relies on multi-tracking to fill out his sound, his vocals fit the music better than former (and later to return) vocalist Alex Ligertwood's did. Side two features covers of jazz classic "Compared to What" and Marvin Gaye's "Inner City Blues," both of which add new depth to the original compositions. Lennox Laington's congas give the music a Santana-type of feel, and the whole album percolates from beginning to end. AMG.listen here

RE-POST: Brian Auger's Oblivion Express - Reinforcements 1975

What a surprise this album was to Brian Auger fans. Leaving behind the Jimmy Smith-meets-Santanagroove the band had been working, Reinforcements finds the Oblivion Express veering onto the Average White Band's turf. Most of the tracks, in fact, sound like they were lifted right off the first couple of AWBalbums. The music is uniformly strong, but the change in direction unfortunately did nothing to increase the band's audience, and may have sounded to some like a too-blatant attempt at commercial acceptance. Auger's electric piano and organ continue to dominate the solo space, and provide the connection to the band's earlier sound. Alex Ligertwood's soulful vocals here are stronger than any previous outing. Although it is unlike any other Oblivion Express recording, Reinforcements provides a tasty glimpse of British blue-eyed soul in the mid-'70s. AMG.listen here

Brian Auger's Oblivion Express - A Better Land 1971

Whereas Brian Auger had taken the lion's share of composing responsibility on the deft, labyrinthine, jazz-rock debut album by the Oblivion Express, guitarist Jim Mullen steps up to the plate in a big way here, writing or co-writing seven of A Better Land's nine tracks, and arranging "Marai's Wedding," a traditional tune. Auger wrote just one, "Tomorrow City," and co-wrote two with Mullen. The feel and vibe of the record is almost a mirror image of its predecessor from earlier in 1971. Mullen composed on the guitar, therefore, the languid, sparer approach to harmony is everywhere apparent. But it's the songs themselves, with their lush use of acoustic guitars, country music melodies, and early rock tropes, such as on "Dawn of Another Day," the Band-inspired "Trouble," and the ethereal melody of "Women of the Seasons." There is also a pair of tracks here written with future AWB boss Alan Gorrie. The lilting jazz in the lead is countered with infectious pop hooks. On the Auger tunes, "Fill Your Head With Laughter," and "Tomorrow City," R&B is at their hearts. A Better Land is one of the more enduring pop records from the era, with its ultra-sophisticated compositioning and arrangement skills. It's as if the Oblivion Express wanted to reveal themselves as capable of anything, which, of course, they were. This is a fantastic place to start any Brian Auger collection. AMG.

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