GQ-TWO.

dereksmusicblog ♦ June 8, 2012 ♦ Leave a comment

GQ-TWO.

When Sabu and The Soul Survivors were founded in 1968 they were a quartet, but by the early seventies, the group became The Rhythm Makers primarily playing funk. The Rhythm Makers released one album had one Hole In Your Side,  which contained the jazz-funk hit Zone. Then when drummer Kenny Banks left the group, to be replaced by Paul Service, the group changed their name to GQ, which was an acronym of Good Quality. With the lineup now composed of bassist Keith “Sabu” Crier, who’d founded the group in 1968, plus lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane, the group signed to Arista Records. Their debut album 1979s Disco Nights not only reached number two in the US R&B Charts and number thirteen in the US Billboard 200, but contained three top ten US R&B singles, one of which reached number one. Disco Nights (Rock Freak) reached number one in the US R&B Charts and number twelve in the US Billboard, selling over one-million copies in the US alone. I Do Love You, a cover of a Billy Stewart track, reached number five in the US R&B Charts and number forty-ix in the US Billboard. The last single from Disco Nights was Make My Dreams A Reality, which reached number eight in the US R&B Charts. So eleven years after founding as Sabu and The Soul Survivors, GQ had a million selling single and top ten US R&B album under their belt. Would the followup Two, which was released by BBR Records on 4th June 2012 replicate the success of Disco Nights?

After the success of Disco Nights, GQ set about recording their second album which would become GQ. Producing GQ would be Jimmy Simpson, Valerie Simpson’s brother, while Larkin Arnold was the executive producer. Eight of the album’s nine tracks were written by the four members. The exception was Sitting In the Park, which like I Do Love You from their debut album Disco Nights, was written by Billy Stewart. With the material written for the followup to Disco Nights, the next step was to record the album. This would take place at New York’s Sigma Sound Studios.

New York’s Sigma Sound Studios was familiar territory for GQ. This was where much of Disco Nights had been recorded. With Jimmy Simpson producing the album, bassist Keith “Sabu” Crier, lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane laid down the nine tracks on Two. Once Two was recorded, Jimmy Simpson mixed Two. All that was left was for Two to be released. Would it match the success of Disco Nights?

Before the release of Two in March 1980, Standing Ovation was released as a single, reaching number twelve in the US R&B Charts. Then in March 1980, Two was released. It reached number two in the US R&B Charts and number forty-six in the US Billboard 200. The next single released from Two, was Sitting In the Park in April 1980. Although it reached number nine in the US R&B Charts, it narrowly missed out on reaching the US Billboard 100, peaking at number 101. Someday In Your Life was the final single released from Two in June 1980. Sadly, the single failed to chart. While Two hadn’t quite matched the success of Disco Nights, nor had the singles been as successful as the three released from Two there maybe is a simple explanation for this. Suddenly disco wasn’t as popular by 1979. GQ were maybe seen as a disco band, and with the start of the Disco Sucks anti-disco bandwagon underway and bandwagon’s wheels turning quickly, sadly, some great disco music was being overlooked. Was this the case with Two? That’s what I’ll tell you when I tell you about the music on Two.

Opening Two is Standing Ovation, the first single released from the album and proves that there was much more to GQ than disco. This isn’t a disco track, instead, it’s a joyous, uplifting slice of jazz-funk. From the opening bars, GQ take you on a musical roller-coaster, where jazz-funk provides the soundtrack. A pounding rhythm section, chiming guitars and soaring, dramatic vocals give way to cascading strings. Then when Emanuel’ vocal enters, it’s powerful and emotive, accompanied by a tight, sweeping harmonies. Truly, the sound is joyful, with the use of disco strings a masterstroke and tight soaring harmonies, blending seamlessly with the pounding, driving and funky rhythm section. Later, an extended break where the rhythm section and percussion combine, proves that there’s much more to GQ than disco. The accompanying dubbed applause seems a fitting end to a track that’s perfect for any dance-floor.

The dance-floor friendly sound continues, while GQ pose a question, Is It Cool? Once you’ve heard the track, there’s only one answer…yes. There’s more of a disco influence to the track, although it’s sound is firmly rooted in jazz-funk. When the track opens at breakneck speed, there’s not let up in the energy. Keyboards, the rhythm section and punchy, rasping horns get the track underway, with Emanuel delivering his vocal with a similar passion and emotion to the opening track. There’s no space within the track, just funky, hook-laden music, with those growling horns key to the track’s dramatic sound. Quite simply, you can hear that GQ are a tight, polished band, while Jimmy Simpson’s production skills bring the track together, resulting in a storming slice of hook-laden jazz-funk.

A fat, pounding bass line threatens your speakers welfare as Someday (In Your Life) starts to reveal its hidden charms. Light, airy keyboards, chiming, funky guitars and then a heartfelt, impassioned vocal from Emanuel enters. It’s accompanied by some peerless harmonies, which are amongst the best on the album. They’re tight, emotive and reflect Emanuel’s deliver. Meanwhile, the arrangement is quick, with a pounding rhythm section, guitars and washes of keyboards ensuring the track meets GQ funky quota. However, what makes the track, is Emanuel’s vocal and the accompanying harmonies. Why the single never charted seems strange, given the track’s quality.

There’s no let up in the funk on Lies. In fact, it’s as if GQ have turned their funkometer up to eleven as the track gets underway. A combination of a pounding, funky rhythm section, stabs of blazing horns and guitars combine. Having created a funk-drenched backdrop, Emanuel delivers a vocal that’s impassioned, while elegant harmonies cascade behind him. They’re contrasted by bursts of blazing horns, keyboards and of course, GQ’s rhythm section who play a huge part in their sound and success. This is quite definitely the case here, playing with a similar passion to Emanuel’s heartfelt, emotive vocal.

If there’s a track from Two that perfectly describes GQ, it’s GQ Down. This is a fitting description for a band who took the party everywhere, but also bring the party to you. There’s a slightly more understated sound to the track. Here, the rhythm section, guitar and flourishes of keyboards tone down their funky sound, producing a much more soulful sound. This is perfect for Emanuel’s softer vocals, while the harmonies have a subtle, elegant sound. Adding the finishing touch are swathes of strings that sweep in, producing a graceful, elegant sound. Together, they play their part in producing what might have been GQ’s theme tune, GQ Down.

Don’t Stop This Feeling allows GQ to show a much more soulful side to their music. Similarly, it allows lead vocalist Emanuel to show whether disco, funk or soul, he can deliver the lyrics with aplomb. Just subtle guitars, lush strings, piano and a slow rhythm section accompany Emanuel’s vocal. Key to the track are the beautiful piano and meandering bass line, while strings reflect Emanuel’s beautiful, heartfelt delivery. Tender, elegant harmonies glide in, adding to the beauty and allure of what is one of the highlights of GQ.

Normal service is resumed on Reason For the Season a storming slice of jazz-funk. From the get-go, the rhythm section, guitars and keyboards produce a funk-drenched backdrop, while strings provide a contrast. Emanuel’s delivery is quick and powerful, while punchy harmonies augment his vocal. When the track slows down, the strings play a bigger role. Later, a prolonged rap, where GQ take inspiration from Grandmaster Flash and The Furious Five, The Sugarhill Gang et al, is accompanied by soaring harmonies. This results in a fusion of jazz, funk and hip-hop that was designed to fill any early eighties, post disco dance-floor.

Having covered a Billy Stewart track on their debut album Disco Nights, GQ return to Billy’s back-catalogue to cover Sitting In the Park. The result is a soulful, homage to Billy Stewart where GQ up their game, delivering some of their best harmonies. Similarly, Emanuel’s vocal is full of emotion and hugely soulful, delivered against an arrangement that’s bless with an equally soulful, retro sound. It’s just the rhythm section, keyboards and guitars combining to create an arrangement that has a real sixties sound. Key to the arrangement is the prominent, meandering bass line, which is determined to make its presence felt. While the bass plays a vital role, what makes this such a fantastic track are GQ’s considerable vocal talents. Together, they pay homage to Billy Stewart and his music the GQ way.

Closing GQ is It’s Like That, a track where GQ do what they do best, get funky. A combination of guitars, keyboards and rhythm section combine, getting funky one last time. Then when Emanuel’s lead vocal enters, it’s one part power to one part passion, contrasted by the tight, graceful harmonies. Meanwhile the arrangement is fast, funky and dramatic. Later, keyboards and synths combine to produce an extended break. After keyboard player Herb Lane showcases his talents, the track rebuilds. Once the momentum is regained, GQ go on to display their musical talents, producing their trademark funky sound one last time, to end Two on a high.

Although GQ’s second album Two didn’t match the success of its predecessor Disco Nights, this was no reflection on the music on the album. While Disco Nights, as the name suggests, was an album containing disco music, a year later disco wasn’t as popular. By 1979, the Disco Sucks bandwagon was in full flow, with disco albums or albums by groups who were perceived as disco artists not as popular. Two wasn’t a disco album, but maybe, GQ had wrongly been pigeonholed as a disco band. So, while Two reached number two in the US R&B Charts and number forty-six in the US Billboard 200, maybe sales were held back by people believing the album contained disco music. How wrong they would be if they thought this. Instead, Two contains a mixture of funk, jazz-funk and soul, with some disco delights tucked away. Overall, the music on Two is funky with a capital F, while there are two really soulful cuts in Don’t Stop This Feeling and a cover of Billy Stewart’s Sitting In the Park. The other seven tracks demonstrate GQ at their funky best, with their twelve years experience put to good use. With producer Jimmy Simpson, GQ produced Two, an album that’s features some tight, highly accomplished playing, topped off by Emanuel Rahiem LeBlanc’s vocals augmented by some peerless harmonies. Now thirty-two years after its initial release in March 1980, BBR Records have remastered and rereleased Two, complete with two bonus tracks. This allows you to experience the Bronx’s biggest party band GQ, who’ll get any any started when you play Two. Standout Tracks: Standing Ovation, GQ Down, Don’t Stop This Feeling and Sitting In the Park.

GQ-TWO.

http://www.youtube.com/watch?v=qc-jtfVtF9A