JUMPIN.’

dereksmusicblog ♦ April 3, 2012 ♦ 2 Comments

JUMPIN.’

Since 1995, Harmless Records have been releasing an eclectic selection of compilations. This has ranged from their highly successful funk, soul and jazz compilations Pulp Fusion to compilations, to compilations of breakbeats and Latin music. However, over the past few years, Harmless Records have also released a number of quality disco compilations, including their highly successful Disco Discharge series, which they started in 2009. Now, given that I’m a huge fan of disco, and always on the look out for quality disco compilations, I’ve bought every one of these compilations. It seems that in the last few years, Harmless Records have become one of finest purveyors of quality disco delights, loved by disco dilettantes everywhere. Back in 2010, as part of their fifteenth birthday celebrations, Harmless Records released another of their famous disco compilations Jumpin,’ a two-disc set crammed full of quality disco music. This was a combination of some familiar tracks and hidden gems, spread over two discs. In total, there are twenty-four tracks, with tracks from labels that includes Philadelphia International Records, Salsoul, West End Records, Vanguard and Philly World Records. Among the familiar names are the Salsoul Orchestra, Loleatta Holloway, Jean Carn, Skyy, Inner Life, Leroy Burgess, Terri Wells and Harold Melvin and The Blue Notes. Truly, what more can you ask for than two dozen disco delights, from some of the greatest labels and artists of the disco era. Even trying to choose just a few tracks to review won’t be easy, given the quality of music on Jumpin.’ However, after much indecision and thought here are the best tracks from Jumpin.’

DISC ONE.

Disc One of Jumpin’ sees some familiar favorites of the disco era, with seven of the tracks from Salsoul Records. This includes the Dreamin’ by Salsoul Orchestra featuring Loleatta Holloway, Skyy’s First Time Around, Logg’s I Know You Will and  Inner Life’s First Time Around. Vanguard Records provide a trio of tracks, including The Nobles’ Jealousy, Rainbow Brown’s Till You Surrender and Fonda Rae’s Over Like A Fat Rat. The lone track from Philadelphia International Records is Jean Carn’s Was That All It Was, a hugely underrated track from Jean. With so many great tracks from great labels and artists, choosing the highlights wasn’t easy, but here goes.

My first choice from Disc One of Jumpin’ is a track that’s definitely deserving of the word classic, Dreamin’ by the Salsoul Orchestra featuring Loleatta Holloway. Released in 1976 on Salsoul Records, this was a track from Loleatta’s third album, Loleatta, released in 1976. Produced by Baker, Harris, Young this is the original album version of the track. Here, Loleatta delivers a sassy vocal, before vamping her way through the track. With the Salsoul Orchestra accompanying her, everything is in place for a seminal disco track. Cascading, swirling strings, Earl Young’s legendary drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. After this, Loleatta gives a masterclass of a vocal, accompanied by some soulful backing vocalists. Add to all this Vince Montana Jr.’s vibes, plus blazing, dramatic horns that punctuate the track and you’ve the recipe for not just one of the greatest disco tracks of the seventies, but a track with a totally timeless sound.

I’ve always thought that Jean Carn was one of the most underrated vocalists on Philadelphia International. During her time on Philadelphia International she released three albums, with Was That All It Was a track from her 1979 album When I Find You Love. This track was produced by Jerry Butler, with the original 12” mix featuring on Jumpin.’ It features swathes of swirling and sweeping strings that envelop Jean’s impassioned and emotive vocal. This is all to come though, with the track having an understated opening, with just the percussion and drums opening the track, as synths reverberate above the arrangement. The bass enters and the track starts to take shape. Jean’s vocal grows in power and emotion, as the strings enter and the rhythm section help drive the track along. Later, blazing horns enter, completing what is a stunning, dance-floor friendly track from Jean Carn and confirmation if it was needed, of just how good a vocalist Jean Carn was in her Philadelphia International days.

Another track from the Salsoul label is Skyy’s First Time Around. This is form Sykk’s debut album Skyy, released in 19879. First Time Around was released in May 1979 and the version on Jumpin’ is the original 12” mix. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, cascading strings and pounding drums combine. The arrangement is dramatic, with sweet, sensuous vocals drifting in and out of the track. There’s a different sound to this track, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Much as I like various remixes of the track, for me the original is still my favorite.

Inner Life’s Moment of My Life was released on Salsoul Records in 1982. This was a track from Inner Life’s third and final album for Salsoul Inner Life II. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in Leroy’s fantastic arrangement. Of all the tracks on Disc One of Jumpin,’ this is one of the best.

Rainbow Brown’s Till You Surrender is a track originally released on Vanguard Records. This was from the group’s only album Rainbow Brown released in 1981 and featuring the vocals of Fonda Rae. Written, arranged and produced by Patrick Adams, who also plays keyboards on the track, this original twelve inch mix is one of the highlights of Disc One of Jumpin.’ Opening with a glorious myriad of cascading, swirling strings, rhythm section and backing vocals, a flourish of keyboards and punchy, blazing horns give way to Fonda’s vocal and we’re in disco heaven. Fonda’s vocal is sweet, soulful and full of passion, as the strings sweep and swirl behind her, as the arrangement becomes dramatic and punchy. With equally soulful backing vocalists including Lucy Martin, Yvonne Lewis, Christine Wlitshire and Ullande McCullough accompanying Fonda, everything is in place for a classic disco track to unfold. This is indeed the case on a track combines elements of soul and funk, on its way to producing a heavenly slice of delightful disco.

So good was the previous track that featured the vocals of Fonda Rae, that I had to include her track 1982 track Over Like a Fat Rat released on Vanguard Records. This is the original twelve inch mix of track arranged by Leroy Burgess and produced by Bob Blank, and is a quite different track to the Rainbow Brown track. Gone is the big, fuller production style, replaced by a track that allows Fonda to display her diva-esque vocals. As the track opens it’s just a lone bass that you hear, before a drum, piano and handclaps enter. From there, the track begins to reveal its secrets. Keyboards join the mix, then Fonda’s vocal, which is laden with emotion, as she begins to reveal a powerful and impassioned vocal. Here, the tempo is slower than the Rainbow Brown track, just 105 beats per minute. However, one thing stays the same, the quality of Fonda’s vocal and similarly, the quality of the arrangement. It’s what you’d expect from Leroy Burgess, and what you’d expect on a track baring the label Vanguard Records.

Choosing just six tracks from Disc One of Jumpin’ wasn’t an easy exercise. However, I eventually settled on a trio from Salsoul Records, a duo from Vanguard Records and one from Philadelphia International. In choosing these tracks, I had to omit quality tracks from Donna McGhee, Love Committee, The Nobles and Skip Mahoney. That just demonstrates the consistent quality of the music on this disc. It also demonstrates the high standard of disco music that was being released during the late seventies and early eighties. Will I be saying the same about the music on Disc Two of Jumpin’?

DISC TWO.

Whereas Disc One of Jumpin’ featured tracks from some of the biggest names and labels in the history of disco, Disc Two has some hidden gems to reveal alongside a few familiar faces.  Among the familiar faces are Barbara Mason, Leroy Burgess, Loleatta Holloway and Harold Melvin and The Blue Notes. The track by Harold Melvin and The Blue Notes is from their final studio album Talk It Up (Tell Everybody) on Philly World Records, who have a total of five tracks on Disc Two. Salsoul provide two tracks, while West End Records have Barbara Mason’s Another Man on the disc. Apart from these tracks, Yarborough and Peoples and Pennye Ford also feature on this disc. Pennye Ford many people will remember was lead singer in the S.O.S. Band and Snap. Here, her solo hit Dangerous features on Disc Two of Jumpin,’ along with another eleven tracks.

Barbara Mason’s Another Man is my first choice from Disc Two of Jumpin.’ The track was released in 1983, on West End Records and was written, mixed, arranged and produced by Butch Ingram. Opening with just the fattest of bass lines, drums and percussion, the track quickly reveals its delights. When Barbara’s vocal enters, it’s half-spoken and sassy. Then, when her vocal starts off gently, it quickly grows in power and frustration. With soulful female backing vocalists accompanying her, their vocals prove to be the perfect accompaniment to Barbara’s vocal. Meanwhile, the arrangement relies heavily on just the bass, drums and keyboards, as it meanders along. However, this allows Barbara’s vocal to quite rightly take centre-stage, where it belongs, on a classic track from West End Records.

Leroy Burgess released Heartbreaker on Salsoul Records in 1983. Not only did he cowrite the track, but arranged and produced the track. When the track opens, it’s a combination of funky rhythm section, squelchy synths and joyous backing vocalists that combine. They give way to Leroy’s vocal.  His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.  

Loleatta Holloway released Love Sensation, a track written by Dan Hartman in July 1980. Then, nine years later in 1989, Love Sensation would be “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. While both tracks were huge commercial successes, neither can match the Norman Baker produced original, featuring Loleatta Holloway a true disco diva. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.

Released in December 1982, Do It Any Way You Wanna was Cashmere’s debut single, and later would feature on their debut album Let the Music Turn You On in September 1983. The track was co-written by drummer Daryl Burgee, producer Nick Martinelli and Bryan Hudson. Squelchy synths which remind me of many an Italo disco track combine with the funkiest of bass and drums. When Dwight’s vocal enters, a boogie classic reveals its infectious charms. With punchy, backing vocals the combination of synths and rhythm section drive the track along. A searing guitar solo then adds an element of drama, as Dwight’s vocal is powerful and impassioned. By the end of the track, you can’t help but succumb to charms of Cashmere’s seminal boogie classic.

Don’t Give Me Up was a track from Harold Melvin and The Blue Notes final studio album Talk It Up (Tell Everybody), released in 1984 on Philly World Records. The track was co-written by Harold Melvin, McKinley Horton and Michael Forte, who also arranged the track. This track has a very different sound to the group’s previous music, combining boogie with a post disco sound. A combination of synths, drum machines, keyboards and then chiming guitars open the track, before the group enter singing tight harmonies. This gives way to Gil Saunders lead vocal, with his baritone emotive and almost sensuous. Meanwhile, behind him the other four Blue Notes contribute subtle harmonies. The lyric that the group “promise to be better to you…promise to be sweeter this time to you,” strikes a chord. Although sung in the context of a relationship, this could equally apply the group’s long standing fans, after some disappointing albums. Here, Harold Melvin and The Blue Notes sound better, and indeed sweeter, on a track that’s catchy and melodic.

When Terri Wells recorded I’ll Be Around, originally recorded by The Detroit Spinners, she was paying homage to a group she’d previously sung backing vocals for. This was a track from Terri’s 1984 album Just Like Dreamin,’ released on Philly World Records. Here, the track is transformed from a three minute track into a six minute epic. Although I love the original, this is an excellent cover version. It’s a track that combines a great arrangement with a stunning delivery of the lyrics from Terri. After a chiming guitar opens the track, things get even better, with the electronic combination of synths and drums combining with the Fender Rhodes. However, what makes the track is Terri’s vocal which she delivers with a swing, in a sassy, confident style. Not only does Terri sing lead vocal, but she sings backing vocals that echo around. Meanwhile crisp drums and synths combine as her vocal grows in power and passion as the track heads to its brilliant ending. For me, this track is the best track Terri Wells ever recorded. 

Disc Two of Jumpin’ proved to a combination of classics and hidden gems, with familiar faces like Loleatta Holloway, Leroy Burgess, Barbara Mason and Harold Melvin and The Blue Notes all featuring. Here, the compiler eschewed the choice of familiar tracks from Harold Melvin and The Blue Notes, instead digging deep, and choosing tracks from their 1984 Philly World album Talk It Up (Tell Everybody). The inclusion of Terri Wells’ I’ll Be Around gives listeners the opportunity to discover a hidden and vastly underrated track from Terri, that once you’ve heard once, will always cherish. Cashmere’s Do It Any Way You Wanna is a boogie classic, from their 1983 album Let the Music Turn You On and is a worthy of its place on Jumpin. As are the inclusion of Loleatta Holloway’s Love Sensation, Barbara Mason’s Another Man and Leroy Burgess’ Heartbreaker, which are a trio of classics. Among the other tracks that I wasn’t able to mention are The Gap Band’s Big Fun and Yarborough and Peoples’ Don’t Waste Your Time. Like Disc One of Jumpin,’ this demonstrates just how high the standard of music on Disc Two of Jumpin’ truly is. For anyone who loves seventies and eighties disco, then Jumpin’ is a compilation that deserves to find its way into your collection. You get twenty-four delicious disco delights, which are a mixture of familiar tracks and hidden gems. What more could you ask for? Standout Tracks: Loleatta Holloway Dreamin,’ Rainbow Brown Till You Surrender, Cashmere Do It Any Way You Wanna and Terri Wells I’ll Be Around.

JUMPIN.’