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Unorthodox Behaviour
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| Unorthodox Behaviour | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 18 June 1976 | |||
| Recorded | September – October 1975 | |||
| Studio | Trident, London | |||
| Genre | ||||
| Length | 41:01 | |||
| Label | Charisma (UK) Passport (US), Jem | |||
| Producer | Brand X, Dennis Mackay | |||
| Brand X chronology | ||||
| ||||
Unorthodox Behaviour is the first album by the British jazz fusion group Brand X. It peaked at No. 191 on the Billboard 200 in 1976, the same year it was released.[1][2][3][4]
The album combines jazz fusion with progressive rock. It shows extensive use of improvisation in the extended pieces, which is common in both genres of music.
Reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [1] |
In a review for AllMusic, Dave Connolly wrote: "Unorthodox Behaviour samples a variety of styles: from melodic to energetic, ethereal to mathematical. Without a standout soloist..., Brand X does run the risk of sounding like a generic fusion jazz outfit, but their compositional skills pick up the slack nicely. Those interested in the band may do well to start with this album."[1]
Track listing
[edit]All Tracks written by Phil Collins, John Goodsall, Robin Lumley and Percy Jones.
| No. | Title | Length |
|---|---|---|
| 1. | "Nuclear Burn" | 6:23 |
| 2. | "Euthanasia Waltz" | 5:42 |
| 3. | "Born Ugly" | 8:18 |
| 4. | "Smacks of Euphoric Hysteria" | 4:30 |
| 5. | "Unorthodox Behavior" | 8:29 |
| 6. | "Running on Three" | 4:38 |
| 7. | "Touch Wood" | 3:03 |
Personnel
[edit]Credits per insert of original album release on Charisma Records.
- Robin Lumley – electric and acoustic pianos, Moog synthesizer, string synthesizer on "Nuclear Burn", Echoplex on "Smacks of Euphoric Hysteria"
- John Goodsall – electric and acoustic guitars
- Percy Jones – electric and acoustic basses, marimba on "Unorthodox Behaviour"
- Phil Collins – drums, percussion, vibraphone on "Euthanasia Waltz"
with:
- Jack Lancaster – soprano saxophone on "Touch Wood"
Production
- Brand X – producers
- Dennis Mackay – producer, engineer, mixing
- Robin Lumley – mixing
- Geoff Leach – tape operator
- Julian Taylor – tape operator
- Steve Taylor – tape operator
- Hipgnosis – sleeve design
- All songs published by Fuse Music/Warner Brothers Music
Release information
[edit]| Year | Type | Label | Catalog # | Country |
|---|---|---|---|---|
| 1976 | LP | Charisma | CAS 1117 | UK |
| 1976 | LP | Passport Records | PB 9819 | US |
| 1976 | LP | Charisma | 6369 977 | Netherlands |
| 1989 | CD | Virgin | CASCD 1117 | UK |
| 1998 | CD | Caroline Blue Plate | CAROL 1387-2 | US |
| 2006 | CD | Toshiba EMI Ltd | VJCP-68782 | Japan |
References
[edit]- ^ a b c Connolly, Dave. "Unorthodox Behaviour". AllMusic. Retrieved 16 March 2013.
- ^ "Brand X: 'Unorthodox Behaviour'". Guitar Nine. Retrieved October 9, 2022.
- ^ "Brand X - Unorthodox Behaviour". Jazz Music Archives. Retrieved October 9, 2022.
- ^ "Brand X - Unorthodox Behaviour". Exposé Online. Retrieved October 9, 2022.
Unorthodox Behaviour
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Background and formation
Band origins
Brand X was formed in London in 1974 from informal jam sessions at Island Studios in Notting Hill involving guitarist John Goodsall, guitarist Pete Bonas, drummer John Dillon, and vocalist/percussionist Phil Spinelli. Goodsall brought experience from his time as a guitarist in Atomic Rooster, where he contributed to their 1973 album Nice 'n' Greasy after joining the band in 1972. Bassist Percy Jones and keyboardist Robin Lumley soon joined the lineup.[6][7][8] The band's rhythm section took further shape when Dillon departed in late 1974 and drummer Phil Collins was recruited on the recommendation of an Island A&R executive after Bill Bruford declined due to commitments following his departure from King Crimson in 1974. Collins, then primarily known as Genesis's drummer, had connected with the group through the progressive rock scene. Lumley, a friend of Collins from shared session work, contributed jazz-influenced arrangements.[9][8][10] These early members bonded through jam sessions beginning in 1974 at Island Studios, where they experimented with complex rhythms and improvisational structures that defined the band's jazz fusion sound. Unlike his more structured role in Genesis, Collins's contributions to Brand X emphasized freer, polyrhythmic drumming that highlighted the group's instrumental focus.[9][11]Album conception
The conception of Unorthodox Behaviour emerged from informal jam sessions in 1974–1975 at Island Studios in London, where core members John Goodsall on guitar, Percy Jones on bass, Robin Lumley on keyboards, and Phil Collins on drums experimented with improvisation to blend jazz, rock, and elements of funk into a fusion sound. These sessions built on the band's foundational lineup, allowing the musicians to explore spontaneous interplay without rigid structures, laying the groundwork for the album's thematic emphasis on technical virtuosity and rhythmic complexity.[9][12] Influenced by contemporary jazz-fusion pioneers such as Weather Report and the Mahavishnu Orchestra, the group sought to incorporate intricate polyrhythms and adventurous harmonies that distinguished their approach from more straightforward rock ensembles. Collins, in particular, viewed Brand X as an outlet to delve into jazzier territory beyond his vocal and compositional role in Genesis, prioritizing instrumental expression to showcase the band's collective instrumental prowess. This decision to forgo vocals solidified after early vocalists like Phil Spinelli departed amid creative differences, enabling a focus on extended improvisational pieces that highlighted each member's skills.[13][14] Prior to formal recording, the band captured early demos during these sessions, including a shelved album recorded in February 1975 for Island Records, emphasizing prolonged jams that evolved into key tracks like "Nuclear Burn," a co-composition capturing their energetic fusion style. These informal recordings, initially leaning toward funk-soul but refined toward experimental jazz-rock, were rejected by Island Records for lacking commercial appeal, prompting the exit of additional members and a stylistic pivot. The demos ultimately attracted interest from Charisma Records through Genesis manager Tony Smith, securing the deal that enabled the album's development and release.[9][12]Recording and production
Studio sessions
The album Unorthodox Behaviour was recorded at Trident Studios in London from September to October 1975, spanning several weeks of sessions.[15][16][14] These sessions focused on live band tracking to preserve the improvisational energy central to the band's conception, with tracks originating from extended jam sessions that were later structured and edited.[14] The process was shaped by key challenges, including Phil Collins balancing his commitments with Genesis, such as preparations for recording their next album A Trick of the Tail, which began shortly after these sessions, necessitating intensive bursts of recording during available windows.[17][18] Guest contributions were incorporated during the sessions, notably Jack Lancaster's soprano saxophone on "Touch Wood," enhancing the track's atmospheric close.[14] The total runtime was finalized at 41:01 through selective editing of the jam-based takes, ensuring a cohesive flow across the seven tracks.[19][20]Production techniques
The production of Unorthodox Behaviour was handled by the band Brand X in collaboration with engineer Dennis Mackay, who also contributed to the engineering at Trident Studios in London.[1][21] Mixing was overseen by Robin Lumley and Dennis Mackay, ensuring a precise and balanced sound that highlighted the album's intricate instrumentation.[22][3] Key production techniques included multi-tracking to build complex layers, particularly for Lumley's keyboards and atmospheric synths, as well as effects on Percy Jones's Wal bass, such as distortion, to achieve the distinctive, aggressive tone central to the band's jazz fusion style.[3][23] The sleeve design was created by the art collective Hipgnosis, incorporating abstract and surreal imagery—a partial face obscured behind bars—to evoke the album's theme of unorthodox expression.[24][25] Publishing for all tracks was managed by Fuse Music and Warner Brothers Music.[24] In post-production, the improvisational jam sessions that formed the basis of the album were edited to tighten the structures while preserving the spontaneous jazz essence, resulting in extended pieces that balanced energy and cohesion.[14][3]Musical style
Genre influences
Unorthodox Behaviour is primarily classified as a jazz fusion album, blending elements of progressive rock, funk, and the Canterbury scene.[4] The album's sound draws from the technical virtuosity of 1970s jazz fusion pioneers, incorporating intricate instrumentation and improvisational structures typical of the genre.[3] Key influences include the high-energy, fusion-driven styles of Return to Forever and the Mahavishnu Orchestra, evident in the album's complex rhythms and virtuosic solos.[3] Guitarist John Goodsall's playing, in particular, reflects the fiery, exploratory approach of John McLaughlin from the Mahavishnu Orchestra, contributing to the track's dynamic energy and melodic intensity.[26] Additionally, atmospheric and improvisational aspects echo Weather Report's ambient jazz explorations, adding layers of subtlety to the fusion framework.[14] The incorporation of funk grooves is highlighted through bassist Percy Jones's innovative fretless bass lines, which provide pulsating, rhythmic foundations with a funky edge, distinguishing the album's groove-oriented sections.[3] Canterbury scene elements manifest in the whimsical, melodic interplay between instruments, fostering a light and airy progressive undercurrent without relying on vocals.[27] Unlike more aggressive fusion contemporaries, Unorthodox Behaviour emphasizes an elegant and soulful jazz-rock aesthetic, characterized by odd time signatures such as 7/8 in select passages, which enhance its unorthodox rhythmic profile while avoiding traditional prog rock vocal structures.[11]Composition and improvisation
Unorthodox Behaviour is an all-instrumental album, with its compositions emerging primarily from extended jam sessions among the band members, capturing themes of raw energy and abstract sonic exploration rather than traditional songwriting structures. The tracks were developed collaboratively by Phil Collins, John Goodsall, Robin Lumley, and Percy Jones, often starting as spontaneous improvisations that were later refined during recording at Trident Studios in London in late 1975. This approach allowed for a fusion of jazz and rock elements, emphasizing technical prowess and collective interplay over rigid forms, as the band had initially impressed record executives with improvised performances that led to their signing.[28][14] Central to the album's sound are complex time signatures and polyrhythms, particularly driven by Collins's dynamic drumming, which provides a propulsive foundation for the ensemble's intricate rhythms. The interplay between Percy Jones's innovative fretless bass lines and John Goodsall's agile guitar work creates a dialogue of counterpoint and tension, with Jones's fast, chirping tones often leading motifs while Goodsall delivers explosive, McLaughlin-inspired solos. Robin Lumley's keyboards offer a harmonic bedrock, blending electric piano and synthesizers to bridge jazz improvisation with rock's textural depth, ensuring cohesion amid the abstract explorations. These elements culminate in tracks that prioritize sonic experimentation and virtuosic display, free from lyrical constraints.[1][3][26] The opener "Nuclear Burn" exemplifies this with its high-energy fusion drive, building from unison bass and drum grooves into layered improvisations that set an intense, abstract tone for the album. "Euthanasia Waltz" contrasts with a waltz-like melody, shifting dynamically from acoustic introspection to electric solos that highlight keyboard-bass dialogue. As an extended fusion showcase, "Born Ugly" unfolds through groovy rhythms evolving into psychedelic interludes, showcasing polyrhythmic complexity and group improvisation. The title track "Unorthodox Behaviour" embodies chaotic yet structured jamming, starting quietly before erupting into fervent guitar-keyboard exchanges and rhythmic builds, underscoring the album's commitment to unbridled creative interplay.[14][11]Release and promotion
Commercial release
Unorthodox Behaviour was released on 18 June 1976 in the United Kingdom by Charisma Records under catalog number CAS 1117.[5] In the United States, the album was distributed by Passport Records with catalog number PB 9819, while Jem Records served as an alternative distributor for the American market.[24] The initial format was a vinyl LP, with subsequent CD reissues appearing in later years through various labels.[1] The album's path to release followed an initial rejection by Island Records, which deemed the recordings lacking commercial appeal and dropped the band.[15] Charisma Records, known for its support of progressive rock acts including Genesis, then acquired the project, aligning with the label's roster of experimental and fusion-oriented artists.[14][29] The international rollout began with the UK edition in June 1976, followed by the US release later that year.[24] The album's cover art, designed by the renowned collective Hipgnosis, featured surreal and abstract imagery that complemented the album's title and unorthodox musical themes.[30]Chart performance and sales
Unorthodox Behaviour achieved modest commercial success upon its release, peaking at No. 191 on the US Billboard 200 chart in 1976.[31] The album did not enter the UK Albums Chart, reflecting the niche appeal of jazz fusion during the mid-1970s.[32] Initial sales were limited, with no certified figures available, though the album benefited from growing interest in drummer Phil Collins's parallel work with Genesis, whose 1976 album A Trick of the Tail elevated his profile.[9] Over time, it has attained cult status among progressive and jazz enthusiasts, supported by reissues and enduring demand rather than mainstream breakthroughs.[31] Promotion centered on targeted efforts within progressive rock and jazz fusion circles through Charisma Records' distribution network, which emphasized the album's ties to the UK prog scene.[14] The band undertook a limited tour in 1976, primarily in the UK, with key dates including performances at London's Roundhouse (February 15 and 21), Marquee Club (May 25 and July 30), and Reading Festival (August 29), alongside a BBC Maida Vale session on February 26.[18] This was extended into 1977 with additional UK and US dates supporting the follow-up Moroccan Roll, though specific Unorthodox Behaviour-focused US shows were sparse. Radio exposure included BBC John Peel sessions (broadcast August 2, 1976) and a live FM broadcast from Ronnie Scott's Jazz Club in London (September 1, 1976), aiding visibility on fusion-oriented outlets.[33][34] Long-term interest has been maintained by vinyl collectors seeking original 1976 Charisma pressings, which remain available through specialty markets, and digital streaming platforms since the early 2000s, contributing to steady, if niche, consumption.[1][35]Reception
Initial critical response
Upon its release in June 1976, Unorthodox Behaviour received positive reviews in the UK music press.[36] Overall, the album garnered acclaim for its debut vitality, averaging around 4/5 stars in progressive rock publications, where Percy Jones's distinctive fretless bass lines were frequently singled out as a highlight for their inventive phrasing and tone.[3] Critics occasionally pointed to the record's inaccessibility, lamenting the scarcity of memorable hooks and drawing unfavorable comparisons to more melodic contemporaries in the fusion genre like Weather Report.[4]Retrospective reviews
In the years following its release, Unorthodox Behaviour has been widely regarded as a cornerstone of British jazz fusion, with retrospective assessments highlighting its innovative blend of technical precision and compositional depth. AllMusic critic Jason Ankeny awarded the album 4.5 out of 5 stars, praising its "bewildering array of styles and textures" and hailing it as a fusion classic that showcases the band's compositional skill and versatility across tracks like "Nuclear Burn" and the title song.[4] This view aligns with modern reappraisals that position the album as emblematic of the 1970s British fusion scene, where Brand X bridged progressive rock intricacies with jazz improvisation, influencing subsequent acts through its rhythmic complexity and instrumental interplay.[11] User-driven platforms have echoed this acclaim while providing aggregated insights into its enduring appeal. Prog Archives assigns an average rating of 4.12 out of 5 based on 427 reviews (as of 2024), with contributors lauding the album's infectious groove, technical prowess—particularly Percy Jones's fretless bass and Phil Collins's dynamic drumming—and its role in shaping later jazz-rock ensembles.[3] Similarly, Rate Your Music rates it 3.68 out of 5 from 2,029 user votes (as of 2024), noting the "un-human" precision of the performances and Collins's pre-fame versatility as a jazz drummer, which added a layer of rhythmic unpredictability to the ensemble's sound.[5] These evaluations often reference the album's foundational status in the Canterbury sound tradition, emphasizing its subtle nods to that scene's whimsical yet intricate aesthetic. Criticisms in retrospective analyses tend to focus on the album's replay value, with some observers arguing that its emphasis on virtuoso display over melodic hooks limits long-term accessibility for casual listeners.[5] Nonetheless, critical overviews reaffirm a consensus that Unorthodox Behaviour remains essential for enthusiasts of the Canterbury sound and 1970s fusion, underscoring its influence on the genre's evolution through reissues and archival discussions.Album content
Track listing
All tracks on Unorthodox Behaviour were written by Brand X members John Goodsall, Percy Jones, Robin Lumley, and Phil Collins.[15] The album was originally issued on vinyl in 1976, divided into Side A (tracks 1–3) and Side B (tracks 4–7), with a total length of 41:01.[15][4]| No. | Title | Length |
|---|---|---|
| 1. | "Nuclear Burn" | 6:23 |
| 2. | "Euthanasia Waltz" | 5:42 |
| 3. | "Born Ugly" | 8:18 |
| 4. | "Smacks of Euphoric Hysteria" | 4:30 |
| 5. | "Unorthodox Behaviour" | 8:29 |
| 6. | "Running on Three" | 4:38 |
| 7. | "Touch Wood" | 3:03 |