JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
By 1979, John Davis and The Monster Orchestra had released three albums between 1976 and 1976. Their debut albums for SAM Records was 1976s Night and Day. 1977s Up Jumped The Devil and 1978s Ain’t That Enough For You followed. These three albums cemented John Davis and The Monster Orchestra’s reputation as one of the most successful disco orchestras of the disco era. For their fourth album, 1979s The Monster Strikes Again, two singles, Love Magic and a cover of Ashford and Simpson’s Bourgie Bourgie saw John Davis and The Monster Orchestra revisit the commercial success of their earlier albums. Considering The Monster Strikes Again proved to be John Davis and The Monster Orchestra’s final album, this seemed a fitting end to their recording career. However, what made The Monster Strikes Again such a successful album? That’s what I’ll now tell you.
For The Monster Strikes Again, John Davis wrote That’s What I Get, and penned Baby I’ve Got It, Holler and Love Magic with Vince Fay. Ron Netsky wrote When It’s Right For Love and the other tracks was a cover of Ashford and Simpson’s Bourgie Bourgie. When it came to recording The Monster Strikes Again, many of the same musicians that had played on previous John Davis and The Monster Orchestra albums were joined by some new faces.
When recording of The Monster Strikes Again began, a mixture of familiar and faces gathered. The rhythm section included guitarists Ronnie James and Craig Snyder, bassist Vince Fay and drummers Grant MacAvoy and Jimmy Young. They were joined by percussionists Larry Washington and David Waker, while Gerson Rosenbloom played synths. Taking charge of strings and horns was Don Renaldo. John Davis played flute, keyboards, synths, saxophone and took charge of vocals. Adding vocals were Billy Harner, Carolyn Mitchel and Vaneese Thomas-White, daughter of Rufus Thomas. Once The Monster Strikes Again was completed, it was released in 1979.
On the release of The Monster Strikes Again in 1979, it was more successful than its predecessor Ain’t That Enough.The two singles, Love Magic and Bourgie Bourgie surpassed this success. Not only were they commercially popular, but gave John Davis and The Monster Orchestra two massive club hits. Considering The Monster Strikes Again would prove to be John Davis and The Monster Orchestra’s final album, this seemed a fitting finale from one of disco’s greatest orchestras, which I’ll now tell you about.
Opening The Monster Strikes Again is Baby I’ve Got It, one of three songs penned by John and Vince Fay. A rocky rhythm section and percussion combine to drive the arrangement along. before synths and chiming guitars enter. When sassy, feisty harmonies enter, they prove to be a game-changer. They prove to be crucial to the track’s success. They’re soulful, but give the track a noticeable Euro Disco influence, joining the pounding rhythm section, synths and searing guitars. By now, elements of soul, disco, Euro Disco have been combined. Unlike earlier John Davis and The Monster Orchestra albums, synths play a bigger role in this track. However, they work well and their sound has aged well. What really makes the track are the choppy, confident and often sassy harmonies. Adding the finishing touch is a growling sax solo, which adds to the drama of this hook-laden slice of disco, where disparate musical genres and influences are seamlessly fused.
Bourgie Bourgie, which was written by Ashford and Simpson, was one of two singles released from The Monster Strikes Again. Not only is this one of John Davis and The Monster Orchestra’s best tracks, but a true disco classic. As the arrangement gradually unfolds, you realize something special is about to reveal its secrets. This is case from the entrance of the pounding drums and percussion. They’re joined by a pensive piano, elegant gliding strings and blazing horns. Everything adds to the sense of anticipation. Heartfelt, soaring harmonies add a sense of urgency, while the rhythm section add bursts of dramatic funk. What then follows is true disco perfection. Everything falls into place at the right time. Elements of soul, funk and drama combine, while drama, beauty and elegance are ever-present. For just over six-minutes, producer John Davis produces a soulful and funky disco Magnus Opus which is truly timeless and worthy of being called a disco classic.
That’s What I Get closes Side One of The Monster Strikes Again. Percussion and the rhythm section join urgent guitars and stabs of keyboards before horns blaze and strings dance. Here, the guitars have a real Chic sound. This is quite unlike previous albums, but works well. The choppy sensual vocals are needy and filled with emotion. The vocals are swept away atop the lushest of strings that quiver and shimmer. By now, the arrangement is combining elements of soul, funk, disco and Euro Disco. However, the Euro Disco influence is much stronger than on earlier albums. It’s really apparent in the strings, harmonies and thunderous drums. in many ways that brings out the emotion and sense of neediness in the lyrics, on what is one of the highlights of The Monster Strikes Again.
Side Two of The Monster Strikes Again opens with When It’s Right For Love. There’s a slight moody, dramatic sound as the arrangement begins reveals its secrets. You can hear this from the entrance of the rhythm section, chiming guitar and swathes of lush strings. When the harmonies enter, they’re veer between tender and impassioned to tight and urgent. One thing never changes, their soulfulness. They’re a perfect foil to the arrangement that takes as its reference points disco and Euro disco. Gradually the drama builds and builds, with horns growling, strings dancing, rocky guitars screaming and Larry Washington adding his trademark percussion. Like the other tracks, producer John Davis brings everything together seamlessly. The arrangement reaches a dramatic crescendo, one that’s melodic, soulful and dance-floor friendly. In short, it’s another classic slice of disco courtesy of John Davis and The Monster Orchestra.
Straight away, you realize Holler has a harder, funkier sound. This is very different to previous tracks. Key to this are the keyboards and rhythm section that drive the arrangement along. The soulful, cascading harmonies and braying horns provide a contrast. They’re the perfect foil to this tougher, funkier sound. Later, the arrangement heads in the direction of Euro Disco, which has been one of the themes of The Monster Strikes Again. Having said that, this was the direction disco was heading by 1979. Many producers had been influenced by the popularity of Euro Disco. Here, John Davis and The Monster Orchestra seamlessly switch from their trademark disco sound to incorporate this harder, funkier sound. In doing so, they demonstrate their versatility as musicians.
Closing The Monster Strikes Again is Love Magic, which sees John Davis and The Monster Orchestra determined to end their fourth album on a high. Chiming guitars and thunderous drums combine before percussion, an uber funky bass and swathes of cascading strings combine. When the harmonies enter, they’re choppy and urgent, and accompanied by dancing strings. Again, there’s a Euro Disco influence to parts of the arrangement, especially the drums, strings and harmonies. Apart from Euro Disco, funk and jazz have influenced other parts of the arrangement. The bass has been influenced by funk, while the keyboards have been influenced by jazz. Mostly, the arrangement has been influenced by Euro Disco, and it’s in that direction it heads. Nearly eight minutes it arrives at its destination, closing The Monster Strikes Again on a dance-floor friendly, funky high.
After just four albums, The Monster Strikes Again brought John Davis and The Monster Orchestra’s career to a close. Granted they released one more 12” single, Hanging Out in 1981, but The Monster Strikes Again was their final album. At least The Monster Strikes Again ended their career with a commercially successful album. Not only that, but The Monster Strikes Again featured two hit singles Love Magic and Bourgie Bourgie. This meant a return to the commercial success and critical acclaim that John Davis and The Monster Orchestra enjoyed earlier in their career. However, by then, their music had changed.
Indeed, what’s noticeable about The Monster Strikes Again is the shift towards Euro Disco. This was a common occurrence among disco producers. Whereas previously American disco producers stuck to the classic American disco sound, they started to move towards the sound favored by European producers. This sound had proved commercially successful for Boris Midney and Giorgio Moroder. While this changed of sound might have prolonged the career of many disco producers, nothing could save disco from what happened on 12th July 1979, Disco Demolition Night.
Disco Demolition Night was the day that the Disco Sucks movement almost destroyed disco. After Disco, disco artists, records and labels were hugely unpopular. So it’s no surprise that John Davis and The Monster Orchestra didn’t release any more albums. Instead they released just four albums of almost flawless disco. The Monster Strikes Again, with its fusion of disco, Euro Disco, funk and Philly Soul, brought John Davis and The Monster Orchestra’s career to a close, with one of their finest albums of their career. Standout Tracks: Bourgie Bourgie That’s What I Get, When It’s Right For Love and Love Magic.
JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
dereksmusicblog
dereksmusicblog 