THE ORIGINAL MASTERS-DISCO VOLUME 8.
THE ORIGINAL MASTERS-DISCO VOLUME 8.
As many regular readers of this blog will realize, I’m constantly on the lookout for new music to tell you about. With the lack of new releases from both the major and independent record companies, I’m having to dig even deeper looking for new music. That’s meant I’ve been checking out imports, looking at what overseas record labels have been releasing. Recently I’ve been looking at American and Japanese labels, including Fountain Music and Plaza In Crowd’s back-catalogue. The latest label I’ve discovered are Miami bases Milestone Records, who have been releasing music since 2007. From looking at their back-catalogue they’ve been specializing in releasing compilations, including electronic music, funk, soul, Afrobeat, Brazilian music and disco. One of Milestone Records’ first releases, and one of their longest running compilation series is their The Original Masters-Disco series, which started back in 2007. In May 2012, Milestone Records’ released The Original Masters-Disco Volume 8, which features ten tracks, from of Tee Cee, Calender, Pam Todd and Love Exchange, Caress, Vincent Montana Jr. and Paradise Express. After I’ve told you about some of the music The Original Masters-Disco Volume 8, I’ll tell you whether this a compilation to add to your collection.
The track that opens The Original Masters-Disco Volume 8, is Tee Cee’s Ecstasy, released in 1978 on DJM Records. Arranged and produced by Trevor Rabin, a series of crackles give way to faux-sensual groans before thunderous drums, rocky guitars and keyboards are combined with dancing strings which sound slightly harsh. Blazing horns join the arrangement, as the pounding, funky rhythm section, join the rocky guitars, blazing horns and cascading strings, while the vocal, becomes a series of groans and moans. This gives the track a slightly comedic, low-rent sound and somewhat detracts from what is a decent track. Even though I’m not a fan of rock guitars on disco tracks, here it works, adding to the dramatic arrangement. However, I wouldn’t have chosen this track to open the compilation as better tracks await.
Calender were a New Jersey funk band and Hypertension is their best known track. It was released in 1975, and was on their 1976 album It’s A Monster. I’d describe this track as proto-funk. A pulsating, pounding rhythm section create the track’s pulse, while guitars and synths combine before rasping horns and sweeping strings enter. When the vocal enters, it reminiscent of Sly Stone. Indeed, Calender with their fusion of funk, soul and disco, sound as if they’ve been influenced by Sly and The Family Stone. As the vocal drops out, the strings, horns and rhythm section take charge and when the vocal returns, the Sly and The Family Stone is even more noticeable. Having said that, Hypertension is an irresistibly, funky timeless track and thirty-six years still sounds great.
The quality continues with Pam Todd and Love Exchange’s Let’s Get Together which was a track from the 1977 album Let’s Get Together. It was arranged, produced and written by Greg Carmichael, and grabs your attention from the opening bars. A pounding rhythm section, percussion and tight, sweet, harmonies, give way to an impassioned vocal, as braying horns, sweeping, swirling strings quiver and shiver. Soon, the drama builds with the piano leading the arrangement, while guitars are panned, strings dancing and the pounding rhythm section creating the track’s heartbeat. There’s a real innovative, sound to this track, where drama and hooks are in plentiful supply.
Cory Davy’s Green Light was released as a single in 1979, on New York International Records and was also on the album Cory and Me. It isn’t the most comfortable track to listen to, with Its stuttering start. When after thirty-seconds the synths and bass enter, you begin to relax. Then when swathes of guitars enter, things take a turn for the worse. Percussion is added while the track reveals a funky side. Then when a punchy vocal is added, things improve slightly, and this continues later, when a blazing saxophone solo and chiming guitars punctuate the arrangement. However, I almost struggle to the end of this ten-minute track, where elements of funk, rock, disco and boogie are fused. Maybe if the track was more focussed, rather than a melting pot of influences, this would’ve helped make it a better track. Sadly, it isn’t anywhere near as good as the previous two tracks.
When you hear the first few bars of Caress’ Catch the Rhythm, you’re struck by the track’s contemporary sound. It’s hard to believe that it was released in 1979 on Warner Bros. The arrangement is the opposite of the previous one. Everything makes sense and flows along, each part of the arrangement moves you along to the next and there’s a pay off. Gradually, parts drop in, starting with the rhythm section and percussion, before the strings and piano join the mix. This gives the track a timeless, proto-house sound. Even rock-tinged guitars work when they’re added, adding drama and energy. Over eleven-minutes you’re taken on a majestic musical journey. Lush strings dance, as a sprinkling of percussion is added, while the piano and guitars toy with each other. All the time, the rhythm section create the arrangement’s pulsating heartbeat. When this is all combined, the result is one of the highlights of The Original Masters-Disco Volume 8.
Ahzz released New York Movin’ in 1981, on the Land of Hits label. Although post-disco in date, and more towards boogie replacing disco, this is a sumptuous slice of disco, albeit with elements of boogie. Drums pound, combining with handclaps and percussion, before chiming guitars, funky bass and sweeping, swirling strings combine. It’s impossible to resist this track’s charms and it’s infectiously catchy. The rhythm section drive the track along, while the guitars and quivering strings play their part in the track’s sound and success, as eight of the best minutes of The Original Masters-Disco Volume 8 unfolds, sweeping you along and allowing you revel in its delights and charms.
Bob A Rela released their only album Bob A Rela in 1979. One of the four tracks was Spend The Night. The album was produced George Lagios and Pat Deserio with a team of session musicians. While the track has something of a space-age sound as it opens, that’s just a curve ball. Thunderous drums and percussion combine as the track opens at breakneck speed. Funky guitars and bass join the mix, before sassy, punchy vocals are delivered urgently. Synths are used, but work well, as the drama builds, and the track reveals its funky secrets. Having built the drama and energy up, an instrumental break is added, where just the drums and percussion combine. Then you’re anticipating Bob A Rela kicking loose. This they do gradually, using swathes of dark synths and blazing horns before the vocal drops back in and we head to the finish and what’s been a dramatic, fusion of glorious funk, disco and electronic music.
Sea Level’s Fifty Four has a very sound, with jazz-fusion and disco uniting. Confused? Don’t be. This was a track, from their 1978 album On the Edge. There’s more than a hint of The Crusaders during this track, where you hear a tight, really talented group of musicians combining elements of jazz, funk, rock and disco. It’s a really irresistible combination, with Sea Level’s rhythm section producing the track’s dance-floor friendly, pounding heartbeat, while rocky guitars are contrasted by melodic keyboards and percussion. Although very different from most of the tracks on The Original Masters-Disco Volume 8 it’s up their with the very best.
Vincent Montana Jr. left The Salsoul Orchestra in 1978 after a dispute over royalties, and signed to Atlantic Records. His first album on Atlantic was Goody Goody, which featured Bio Rhythms, a track that shows Vince innovating and producing a quite different sound to the music he produced on Salsoul. He combines a rolls of pounding drums with percussion and his vibes before building the arrangement up. Vince drops in a bass, then synths and keyboards. They all help him to build the drama and energy of the track. It’s as if every instrument has been chosen with the utmost care and as a result, the arrangement fits together perfectly, like a musical jigsaw. Sadly, Vince never enjoyed the same commercial success post-Salsoul and Salsoul was a poorer place without him. Having said that, post-Salsoul, Vince continued to innovate and create some stunning, cutting-edge music, like Bio Rhythms.
Paradise Express’ Dance closes The Original Masters-Disco Volume 8. Dance was a track from their 1978 album Paradise Express and is a a track that ends the compilation on a high. Here, disco and funk combine, with the track reminding me of Dan Hartman. Herb Jimmerson’s vocal has a similar sound and the track has a Dan Hartman influence. WIth a driving, funky rhythm section, handclaps and Chic influenced guitars, Herb’s sultry, whispering vocal enters, before backing vocalists join him. They add punchy, soaring harmonies, while the funky rhythm section and keyboards, are then joined by blazing horns and sweeping, swirling strings. Together they accompany Herb, as his teasing, sensuous vocal is combined with a storming, funky arrangement that you just can’t resist. it’s the perfect way to close The Original Masters-Disco Volume 8.
Having started The Original Masters-Disco Volume 8 with a disappointing track in Tee Cee’s Ecstasy, thankfully things quickly improved. From there Calender’s Hypertension and Pam Todd and Love Exchange’s Let’s Get Together made up for the disappointing start, and was a hint of what was still to come. Sadly, things took a disappointing turn on Cory Davy’s Green Light, but improved greatly on Caress’ Catch the Rhythm, which was the polar opposite of the previous track. After that, the final four tracks on The Original Masters-Disco Volume 8 were quality all the way. Ahzz’s New York Movin’ started this quartet, before Sea Level’s Fifty Four was very different, with jazz-fusion and disco uniting seamlessly. Then came Vince Montana Jr. with a track from his first post-Salsoul album Goody Goody, where Vince showed he was still an innovator, creating quality dance-floor friendly music. Closing The Original Masters-Disco Volume 8 was Paradise Express’ Dance, which closed the compilation on a high. Overall, eight of the ten tracks on The Original Masters-Disco Volume 8 really work and there are some hidden gems from the disco era.
However, there are two things I must point out. During a couple of tracks, the sound quality wasn’t the best, especially on the opening track. Whether that’s due to a couple of tracks being remastered from vinyl, or just badly stored master tapes, it’s not clear. While the album cover states each track is remastered, there’s no indication of what from. The other disappointment is the lack of sleeve-notes. As I opened the CD booklet expecting lengthy, detailed notes about each track, all I found were two blank pages. Although these are mid-price albums, I’d expect better than that. So should you buy The Original Masters-Disco Volume 8? I’d say that with eight of the ten tracks real hidden gems from the disco era, I’d recommend you do so, then like me explore more of The Original Masters-Disco series. Standout Tracks: Pam Todd and Love Exchange’s Let’s Get Together, Caress Catch the Rhythm, Vincent Montana Jr. Bio Rhythms and Paradise Express Dance.
THE ORIGINAL MASTERS-DISCO VOLUME 8.
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