KRAFTWERK-TRANS-EUROPE EXPRESS.
KRAFTWERK-TRANS-EUROPE EXPRESS.
In the history of electronic music, one of the most important and influential, groups are Kraftwerk. From their formative years, and their eponymous debut album Kraftwerk, released in 1970, they’ve constantly reinvented their music, using the latest technology. In the early years, they were one of first groups to realize the potential of synthesisers, sequencers and drum machines, utilizing them in their music. Later, they’d be one of the first groups to introduce computers into their own recording studio, Kling Klang, where they recorded many of their albums. Throughout their career, Kraftwerk, were ahead of their time, pioneers who were unafraid to experiment musically. Their music has influenced much of the electronic and dance music that would be released during the next four decades.
Kraftwerk’s music has influenced several generations of musicians. This includes electronic groups during the eighties including Depeche Mode, Orchestral Manoeuvres In the Dark and Gary Numan. Post-punk and indie groups like Joy Division and New Order have said that Kraftwerk were a major influence on their music. Later, they influenced new genres of music like hip-hop, electro, house music and drum and bass. It isn’t an exaggeration to say that Krafwerk are one of the most important, influential and innovative groups in the history of music. When they released their 1977 album, Trans-Europe Express, they were determined to continue to be innovative and utilize the potential of the new equipment that they had just acquired, and in the process, they recorded one of the greatest and most influential albums of the 1970s, Trans-Europe Express. Before I tell you what the album sounds like, I’ll tell you the background to Trans-Europe Express which will be rereleased by WEA Japan on 4th February 2014.
When Kraftwerk set about recording Trans-Europe Express they had just received one of the most sophisticated pieces of technology available then. This was the Synthanorma Sequencer which was custom made by the manufacturers for the band. It was a 32-step, 16 channel, analogue synthesizer, custom built by the manufacturers Matten and Wiechers. This allowed them to introduce even more complicated synthesiser lines into their music, that wouldn’t have been possible before. On the album, this synthesizer is used on several of the tracks, including Europe Endless, Frans Schubert and Endless Endless.
Like their previous albums, the music on the album was much more melodic than their earlier material. Gone was improvisational styles, of their earlier albums, which sounded as if it been influenced by free jazz. Similarly, Trans-Europe Express like earlier albums, has several themes. Friends of Kraftwerk had suggested they write songs about a journey on the Trans-Europe Express Railway. Other themes include a celebration of Europe, and the differences and inconsistencies between the reality and image of countries within Europe. So, Trans-Europe Express was an important album, not only musically, but because of the themes that ran through it.
Kraftwerk wrote eight tracks that became Trans-Europe Express. Ralph Hutter wrote the music to seven tracks and cowrote Endlos Endlos with Florian Schenieder. When it came to writing the lyrics to Europa Endlos, Schaufensterpuppen and Endlos Endlos Ralph and Florian cowrote them. They also cowrote Spiegelsaal with Emil Schult. These eight tracks were recorded at Kraftwerk’s legendary Kling Klang studios.
When recording began at Kling Klang Ralph Hutter contributed vocals, played synths, orchestron and synthanorma-sequenzer. Florian Schneider added vocals, vocoder, votrax and played synths. Karl Bartos and Wolfgang Flur added electronic percussion. Ralph and Florian produced Trans-Europe Express which was released in 1977.
Trans-Europe Express was released in March 1977, to critical acclaim. Critics loved the album, immediately, realised that this was a hugely important album. It was hailed a classic. Futuristic, innovative and groundbreaking, electronica came of age. Lush melodic, hypnotic, minimalist and imaginative Trans-Europe Express would’ve a lasting effect on music.
Since then, critics have reappraised Trans-Europe Express. Now they realise how important Trans-Europe Express has been on the development of both electronic and dance music. However, when the album was released, it wasn’t the huge commercial success it should’ve been.
In the US, Trans-Europe Express only reached number 117 in the US Billboard 200. The two singles from the album fared better. Over the Atlantic, Trans-Europe Express stalled at number forty-nine. Even in Kraftwerk’s native Germany, it reached just number thirty-two. Two singles were released Trans-Europe Express and Showroom Dummies. Only Trans-Europe Express entered the US Billboard Hot 100, reaching number sixty-seven. In the UK, both singles charted, and reentered the charts during the eighties, when electronic music became much more popular. Once again Trans-Europe Express is another example of a hugely important and influential album failing to be the huge commercial success it should’ve been. Although the album sold well, it should’ve been a much bigger success. Maybe however, Trans-Europe Express was ahead of its time. Thirty-seven years later, and Trans-Europe Express is perceived as a timeless classic, which I’ll tell you about.
Trans-Europe Express opens with Europe Endless which opens with a repetitive melody, played on a keyboard, the sound slightly sharp. It’s followed momentarily, by a dark broody synth, which gives way to a brighter, glistening sound, which is higher, and cascades high in the mix. Straight away, it seems like Kraftwerk are taking you on a journey using the medium of music, one that sees layer upon layer, of music unfold, and a multitude musical textures reveal themselves to you. The sound is moderne, still contemporary. Even when the inexpressive vocal enters, occasionally transformed by a vocoder, with vocals echoing behind it, the sound remains contemporary. The track chugs along, the rhythm reminding me of a train journey, albeit one with a space age, sonic, soundtrack. Constantly, melodies are repeated, the same themes, appear, disappear and reappear. This repetition leads to familiarity, and when the melodies reappear, it’s like meeting an old friend. Here though, that old friend is courtesy of Kraftwerk’s bank of synths and drums machines.
The Hall of Mirrors opens with synths echoing and reverberating, loud footsteps gradually getting nearer, before a tinkling, crystalline synth plays. The echoey synth sounds like a spaceship circling overhead. Meanwhile a keyboards plays thoughtfully, notes gradually revealing themselves. In the lyrics, Kraftwerk effectively deal with the subject of famous people perceive themselves. Here, the lyrics are cutting, uncomplimentary and delivered with a voice drained of emotion and almost life itself. The combination of the vocal and arrangement which features a constant space-age synth, with a tinkling, metallic sound interjecting occasionally, it’s a potent combination. By now, the arrangement is dark, almost morose sounding, drenched in atmosphere, and thanks to clever repetition of melodies, continues until the track’s end. As the track ends, you can’t help but admire the combination of eery, atmospheric, soundtrack and emotionless lyrics that are a cutting indictment on fame, and how those who achieve it perceive themselves.
When Showroom Dummies begins, it’s immediately apparent how different this track is to the previous one. It opens with a spoken word vocal, then a slow, bright and spacious keyboard plays, before synths sweep in, their sound almost crystalline or ethereal vocals. Later, a window smashes, the lyrics sound somewhat paranoid, as the sound takes a sharper turn. Quickly, normality returns, and the same repetitive melody reappears, complete with that crystalline sound. This is one important feature of the music on Trans-Europe Express, how melodies are constantly, repeated throughout a track. This has a hypnotic effect. It’s as if they’ve decided that having discovered a really good melody, that they’ll exploit it fully. Here they do this brilliantly, with the constant repetition being broken by the interjection of various rhythms, effects and of course the pokerfaced vocal.
The title track Trans-Europe Express begins with what sounds like a train chugging along a track. Here, it’s as if we’re going on a journey, and Kraftwerk will provide the soundtrack. Vocals are manipulated, drum beats replicate the sound of the train and synths sweep in. Their sound varies, one minute sharp, the next bigger, louder, fatter and much more melodic. A vocoder is used to manipulate the vocal, and the lyrics are half-spoken, half-sung, as the destinations for the journey become apparent. During the track, synths and drum machines are used to good effect, recreating quite realistically, a journey through the capitals of Europe. It’s a combination of drum beats, sweeping sometimes, grandiose synth lines, plus a combination of manipulated and expressionless vocals that take us on this masterful and magical musical journey.
Metal On Metal has a similar feel to the previous track. It still seems like we’re on a journey, a train sweeping along. However, it’s a very different journey, one where it’s booming and metallic, like a trip through Europe’s industrial heartland. Drums boom, synths sound metallic and sharp and overall, the sound is much more overpowering. As the song progresses, the similarity between a train journey increases, with Kraftwerk using synths and drum machines to recreate the landscape that you’d have experienced in1977. Again, melodies emerge, and like before, they’re constantly repeated, but in doing so, they recreate the environment you’d have experienced on that journey. Later, a vocal is sung through a vocoder, constantly repeating the “route” Trans-Europe Express. This melts into what is like the sound of the train that’s previously been recreated. Overall, it’s a highly effective track, that succeeds in taking you further on your trip through seventies’ Europe thanks to Kraftwerk.
Franz Schubert is a track that ebbs and flows. Waves of music rise and fall, while a melody is constantly played. Soon, synths sweep in, rising and falling. The repetition and variety created is both intriguing and hypnotic. Here, the arrangement is nether as full nor complex as previous tracks. Despite this, it’s one of the highlights of Trans Europe Express. That’s because of the constant repetition of the melody, and the variety provided by the rise and fall, of the sweeping synths.
Trans-Europe Express closes with a short reprise from the central theme to Europe Endless, entitled Endless, Endless. It’s a mixture of vocals sung through a vocoder accompanied by a synth that produce a sound that’s both dark and bright. Darkness is provided by the vocal sung through the vocoder and the light by the meandering, repetitive synths. Although, it’s just a short reprise of the theme it’s an effective reminder of the melodic beauty and glorious repetition of the album’s opening track.
Just like their two previous albums, 1974s Autobahn and 1975s Radio-Activcity, Trans-Europe Express, is a hugely important, innovative and influential album. Trans-Europe Express demonstrate Kratwerk’s willingness to become musical pioneers, willing to reinvent their music, and use technology to improve, and make even more, complicated music. Like Autobahn, Trans-Europe Express has a theme behind it. In some ways, they’re both like concept albums. Here, they take us on musical a journey on the Trans-Europe Express Railway. During that journey, they celebrate Europe, examining the differences and inconsistencies between the reality and image of European countries. This was a major challenge for any artist or group, but attempting to do so with synths and drum machines was especially brave.
As you listen to Trans-Europe Express which will be rereleased by WEA Japan on 4th February 2014, you go on a very realistic journey, and while on that musical journey, I found myself thinking about the themes on the album. This demonstrates the power of Trans-Europe Express, and the music on it. Not only was the album important as a concept, it was hugely important in the development of electronic and dance music. Kraftwerk’s music was hugely influential in the development of hip-hop, electro, techno and house music. So if you enjoy any of these musical genres, you should give thanks to Kraftwerk, for their music and the influence they had on future generations of musicians. Standout Tracks: Europe Endless, The Hall of Mirrors, Showroom Dummies and Trans-Europe Express.
KRAFTWERK-TRANS-EUROPE EXPRESS.
JETHRO TULL-BENEFIT.
JETHRO TULL-BENEFIT.
If I was to ask what group had nine albums certified gold, and one certified triple-platinum, between 1969 and 1979, how many people would say Jethro Tull? That’s because most people forget how successful Jethro Tull were. They were one of the most successful, groundbreaking and innovative of the prog rock bands in musical history. Several times, Jethro Tull reinvented themselves musically. Jethro Tull weren’t content to stand still. Far from it. In their early years, Jethro Tull were experimenting musically, so they could come up with their trademark sound and style. This saw Jethro Tull become one the most groundbreaking and inventive bands of the prog rock era. Despite having sold over sixty-million albums, Jethro Tull never receive the credit they deserve. Mind you, none of the prog rock bands did.
Nowadays, prog rock has almost been airbrushed from musical history. When it’s mentioned, it’s always a sideways snipe from Napoleonic critics. That means the careers of some of the most talented, innovative and creative musicians are overlooked. Instead, overrated and overhyped musical genres are given undue prominence. These musical genres are seen as more significant and culturally important than prog rock. That’s despite it being some of the most successful and complex released in the last fifty years.
A fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop and psychedelia, prog rock is a melting pot of musical influences and genres. Innovative and groundbreaking, it was a move away from the throwaway pop songs that had dominated music until then. Prog rock was cerebral, intelligent music. Sadly, for many years, prog rock has fallen out of favor. Now, thankfully, the tide is turning, and gradually, prog rock is receiving the credit it deserves. This includes a rerelease of Jethro Tull’s 1970 album Benefit by WEA Japan on 4th February 2014. Before I tell you about the music on Benefit, I’ll tell you about Jethro Tull’s musical career up until then.
The origins of Jethro Tull can be traced to Blackpool, in 1962, That’s when Ian Anderson formed his first group The Blades. Originally a four piece, featuring Ian Anderson on vocals and harmonica, they became a quintet in 1963 and septet in 1964. By that time, they were a blue eyed soul band. After three years, the band decided to head to London.
Having moved to London, the band split-up within a short time. Just Ian Anderson and bassist Glen McCornick were left. This proved a blessing in disguise. They were soon joined by blues guitarist Mick Abrahams and drummer Clive Bunker. This was the lineup that featured on their debut album This Was. That was still to come.
Before that, the band had to settle on a name. Various names were tried. Then someone at a booking agent christened them Jethro Tull, after the eighteenth century agriculturalist. Not long after that, Ian Anderson acquired his first flute.
Up until then, Ian Anderson played just harmonica and was trying to learn to play the guitar. He realized wasn’t a great guitarist though. So, decided the world had enough mediocre guitarists, decided to expand his musical horizons. So he bought his flute. Little did he realize this would be one of Jethro Tull’s trademarks. After a couple of weeks, Ian had picked up the basics of the flute. He was learning as he played. Not long after this, Jethro Tull released their debut single.
Sunshine Day was penned by Mick Abrahams, with Derek Lawrence producing the single. On its release, the single was credited to Jethro Toe. It seemed thing weren’t going right for Jethro Tull. The single wasn’t a commercial success and failed to chart. Despite this disappointment, thing got better when they released their debut album This Was.
Having released their debut album This Was in October 1968, it reached number ten in the UK. Then when This was released in the US in February 1969, it reached just number sixty-two in the US Billboard. Critics praised This Was, which cost just £1,200 to record. Featuring mostly original material, which was penned by members of Jethro Tull, This Was a fusion of blues rock, folk, jazz and prog rock. This Was was a successful start to Jethro Tull’s career, which was about to enter a period where critical acclaim and commercial success were almost ever-present.
Prior to the recording of Stand Up, Jethro Tull’s sophomore album, Mick Abrahams left the band. Mick and Ian Anderson disagreed over the future direction of Jethro Tull. The problem was, Mick wanted Jethro Tull to stick with blues rock. Ian Anderson realised there was no real future in blues rock. He wanted to take Jethro Tull in different directions, exploring a variety of musical genres. So Mick left Jethro Tull and was replaced by Michael Barre. Little did either Mick nor Michael realise that Stand Up marked the start of a period where Jethro Tull sold over sixty-million albums.
Drawing inspiration from everything from blues rock, Celtic, classical, folk and rock work began on Stand Up. With Mick Abraham having left Jethro Tull, Ian Anderson was the primary songwriter. He penned nine of the ten tracks. They became Stand Up, which was released in August 1969 in the UK, where in reached number one. A month later, in September 1969, Stand Up reached number twenty in the US Billboard 200 Charts. This resulted not just in the start of Jethro Tull’s first gold disc, but the beginning of a golden period in their career. The next album in this golden period was Benefit.
For what became Benefit, Ian Anderson had written ten tracks. These ten tracks were recorded at Morgan Studios, London, during December and January 1970. Ian played flute, keyboards, guitar and sang lead vocals. The rest of Jethro Tull included Clive Bunker, who played drums, guitarist Martin Barre and bassist Glen Cornick who also played Hammond organ. John Evan, who’d later become a member of Jethro Tull, played piano and organ. David Palmer took charge of the orchestral arrangements, while Ian Anderson produced Benefit. It was released in April 1970.
Unlike Jethro Tull’s two previous albums, Benefit was released simultaneously in the US and UK and was well received by critics. Upon its release in April 1970, Benefit reached number three in the UK and number eleven in the US Billboard 200 Charts. This meant another gold disc for Jethro Tull. Not only were they were on a roll, but as Benefit shows, continually reinventing their music.
Opening Benefit is With You There to Help Me. Straight away, there’s some studio trickery at work, with a flute played backwards. Then, Jethro Tull remind me somewhat of The Moody Blues. Ian’s earnest, heartfelt vocal is enveloped by harmonies, while searing, scorching guitars answer his call. Soon, we hear a different side to Jethro Tull. They’re rocking, and rocking hard. Driven along by the rhythm section and bursts of scorching, sizzling guitars, while flourishes of flute cascade above the arrangement. They prove a foil for the vocal and guitar, on a track where folk, blues, jazz and rock intertwine seamlessly and mesmerically.
Despite being recorded in 1970, Nothing To Say sounds way ahead of its time. It sounds more like a track recorded around 1973 or 1974. Again musical genres are fused. Rock becomes prog rock and then thanks to Ian’s wistful vocal and the languid arrangement, almost pastoral and then rocky. Then thanks to echo and filters, a lysergic, psychedelic sound can be heard. With Jethro Tull’s rhythm section joining forces with fiery guitars and piano, they provide a fitting backdrop for Ian’s dramatic, hurt-filed and defiant vocal. Shrouded in echo, it takes on an almost mysterious sound. From there, harmonies combine with the band as a timeless track unfolds where Jethro Tull, musical visionaries, showcase their inconsiderable skills.
A piano sets the scene for Ian’s vocal on Alive And Well And Living In. Stabs of piano are matched by the bass before Ian’s vocal enters. It’s deliberate and definite. He seems to be taking care as he articulates the lyrics. Meanwhile flourishes of flute and bursts of guitar are fired off. By now we’re hearing a harder rocking side of Jethro Tull. Then the arrangement is stripped back to the piano and bursts of flute which accompany Ian’s dramatic, powerful vocal. A fusion of blues, orchestral, classical, prog rock and rock it’s a continuation of Jethro Tull’s reinvention.
Son is a stomping, hard rocking number. Here, Ian Anderson reminds me of Alex Harvey, of the Sensational Alex Harvey Band. His vocal is almost a theatrical sneer. Strutting his way through the track, machine gun guitars accompany him, while the rhythm section provide the heartbeat. Midway through the track, it’s all change. The tempo drops and Ian’s vocal becomes pensive, probing and questioning. Then the drama returns as the track heads to its glorious hard rocking crescendo.
Crystalline, chiming guitars join Ian’s tender vocal on For Michael Collins, Jeffrey and Me. The meandering guitars and vocal are a potent partnership. You’re drawn to them. Soon, you’re enchanted. Then with a burst of guitar the tempo picks up and Jethro Tull combine folk, blues, rock, classical and Celtic music. Just like what’s gone before, what follows is enthralling, beguiling and enchanting. It also shows another side to Jethro Tull.
To Cry You A Song sees a return to Jethro Tull’s blues rock sound. Driven along by a powerhouse of a rhythm section and dual guitars, it’s Jethro Tull at their best. Ian’s vocal is a mixture of power and emotion. When it drops out, Jethro Tull concentrate on mixing blues rock with prog rock. A captivating combination the music of the past, present and future collides head on. Later, Ian’s vocal is enveloped by harmonies and bursts of guitar, showcasing Jethro Tull at their hard rocking, bluesy best.
A Time For Everything bursts into life. It’s best described as a fusion of rock, Celtic and folk. Scorching guitars, boron, flute and acoustic guitar create a wall of dramatic, rocky music. As if inspired, Ian launches himself into the lyrics. He becomes a seer or philosopher, as he delivers the lyrics. A wash of feedback envelops a vocal that’s pensive, thoughtful and dramatic. Later, as the track heads towards a sudden and poignant ending Ian’s vocal is akin to an unanswered question. It’s as if he’s asking is there: “A Time For Everything?”
Inside is one of the highlights of Benefit. A rousing, anthemic combination of folk, rock and blues music. Meandering gently, there’s a slight Eastern influence. That’s maybe down to Ian’s flute. His vocal has a folk influence. Tender, veering between wistful and joyously, his vocal is crucial to the song’s success. Behind him, the rest of Jethro Tull combine musical genres on this breezy, joyous and irresistibly catchy track.
The rhythm section are at the heart of this hard rocking, bluesy Play In Time. Ian adds a grizzled vocal and plays the flute. Again, there’s some studio trickery, with the piano and guitars speeded up. This works, adding a psychedelic influence on this driving, dramatic and genre-melting track. Cascading flute, thunderous drums and wizened guitars provide the backdrop for what’s one of Ian’s best vocals. Strident and confident he struts his way through the track, as Jethro Tull kick loose. They’re a tight and talented unit who never miss a beat. As they jam, the earlier psychedelic influence adds the finishing touch.
Sossity You’re A Woman which closes Benefit, is very different from any of the other tracks. It’s like something from an other age. It’s as if Ian Anderson has been transported back in time as has been given the job of entertaining at a medieval feast. Just acoustic guitars accompany him, before later an organ adds an almost gothic sound. Later, the arrangement is a mass of acoustic guitars, tambourine, shakers and organ, before reaching its melancholy, thoughtful ending.
Benefit was just the second album in the most successful and productive period of Jethro Tull’s career. Between 1969 and 1979, nine of Jethro Tull’s albums were certified gold. Aqualung, Jethro Tull’s 1971 Magnus Opus was certified triple-platinum. It seemed Jethro Tull could do no wrong. That was the case. Sadly, Jethro Tull never received the recognition they deserved.
After the advent of punk, critics and music lovers shied away from prog rock. Confessing to liking prog rock wasn’t the done thing. No. It wasn’t fashionable. Critics who previously, had championed prog rock, referred to prog rock groups like Jethro Tull as dinosaurs. Despite that, Jethro Tull gold discs kept coming Jethro Tull’s way. Right through to 1979s Stormwatch, Jethro Tull were hugely successful. The reason for that was their music never stood still. It constantly evolved. Jethro Tull’s music was groundbreaking, genre-melting and innovative. That’s why Jethro Tull enjoyed so much critical acclaim and commercial success.
Having released their debut album This Was in 1968, Jethro Tull went on to release another twenty studio albums. Their final album was 2003s The Jethro Tull Christmas Card. Over five decades, where they released twenty-one albums, Jethro Tull were more successful in the US than the UK. Ten of their albums were certified gold and one triple-platinum. Over in the UK, five of Jethro Tull’s albums were certified silver. Worldwide, Jethro Tull sold over sixty-million albums, making them one of the most successful prog rock bands ever. Despite that, Jethro Tull haven’t received the critical acclaim and recognition their music deserves.
Hopefully, that’s starting to change, especially with the rerelease of Jethro Tull’s third album Benefit, which will be rereleased by WEA Japan on 4th February 2014. Benefit is the perfect introduction to Jethro Tull’s music. Along with Benefit, I’d recommend EMI’s 2011 rerelease of Aqualung. They’re the perfect starting point to Jethro Tull, one of the most innovative, groundbreaking, commercially successful and critically acclaimed prog rock bands of all time, whose music is truly timeless. Standout Tracks: With You There to Help Me, To Cry You A Song, A Time For Everything and Play In Time.
JETHRO TULL-BENEFIT.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
Back in 2012, The Souljazz Orchestra celebrated their tenth anniversary with the release of their fifth album Solidarity. Less than two later, The Souljazz Orchestra will release their sixth album inner Fire on 24th February 2014. Just like their previous albums, Inner Fire is a compelling fusion of musical influences and genres. That’s no surprise.
The Souljazz Orchestra absorb influences like a sponge. This is apparent on Inner Fire, and there’s a reason for this. Since the release of Solidarity, The Souljazz Orchestra have continued their musical voyage of discovery. Members of The Souljazz Orchestra have worked with some of the most talented musicians in Cuba, Haiti, Nigeria and Rwanda. These master musicians have influenced The Souljazz Orchestra. Their influence can be heard on the ten tracks that comprise Inner Fire. Add to this Afro-beat, Egyptian jazz, Latin and spiritual music. This results in a musical melting pot. Once it’s given a stir by The Souljazz Orchestra. it’s a tantalising tasting dish, best tasted often. before I tell you about Inner Fire, I’ll tell you about the background to the album.
Inner Fire features ten tracks nine of which were written by The Souljazz Orchestra. Celestial Bluese is the exception. It was written by Gary Bartz. The tracks were recorded at The Souljazz Orchestra’s studio in Ottawa. This is no ordinary studio. No. It’s an analogue studio full of what’s described as an eclectic selection of instruments. Many of these are instruments are long lost, sometimes unloved junk shop finds. A transistor organ, cheap guitars, reverb and echo units, an electric piano rescued from a dumpster and the crowning glory, an old eight-track Tascam tape machine, that was bought at a yard sale by the Royal Canadian Mounted Police. Incredibly, the ten tracks on Inner Fire were recorded on this old eight-track Tascam, which is described by The Souljazz Orchestra as temperamental. This gives Solidarity a really raw lo-fi, analogue sound. At their Ottawa studio, the familiar lineup of The Souljazz Orchestra got to work.
This included keyboardist Pierre Chretien, tenor saxophonist Steve Patterson, baritone saxophonist Ray Murray and drummer and conguero Philippe Lafreniere. Zakari Frantz plays flute and alto saxophone and Marielle Rivard percussion. That’s the personnel that played on The Souljazz Orchestra’s forthcoming album Inner Fire, which I’ll now tell you about.
Initiation which opens Inner Fire is best described as a curveball. It’s a tantalising taste of what The Souljazz Orchestra are capable of. Braying, blazing, sultry horns combine and reach a dramatic crescendo. Then after seventy-five seconds the track is over. Dramatic, emotive and evocative describes this cinematic sounding track.
A piano opens Kingdom Come before a glorious melange of growling horns, pounding drums and percussion combine. It’s an irresistible call to dance. What follows is a delicious example of Afro-beat. Other influences include the North African big bands, jazz and New Orleans’ R&B. The arrangement flows along joyously, with pregnant pauses, thunderous drums and vibes adding to the drama of this melodic stomper.
One Life To Live is a track with an important message, seize the day. We’re only here for a visit, so enjoy yourself. The Souljazz Orchestra do just that. Drawing inspiration from highlife, rasping horns, percussion, driving guitar and drums join forces. Soon, a flute solo helps drive the arrangement along. It’s then replaced by joyful vocal who remind you you’ve only: “One Life To Live.” As they do this, a searing saxophone solo cuts through the arrangement. Accompanied by the horns, percussion and drums the track becomes a celebration of life. Then when a vocal warns: “tomorrow may be your last,” this comes as a wakeup call. Variously, haunting, celebratory and joyous, The Souljazz Orchestra are at their very best as they remind us we’ve: “One Life To Live.”
As The Crow Flies sees a change in style to bossa nova. This allows The Souljazz Orchestra to showcase their versatility. With a shuffling beat, horn drive the cinematic arrangement along. Harmonies drift above the arrangement whilst drums, percussion and horns add an element of drama. Then a sultry saxophone solo emerges. It’s played with power, passion and accuracy. The rest of the band feed off this solo. Spurred on, they reach even greater heights, as they take you on another musical journey to a place where the music is glorious and irresistible.
Black Orchid has a pensive, thoughtful sound. Just vibes, piano and bas combine, before growling horns join in. Still the track has a wistful sound. However, it’s also melancholy. That’s the best way to describe this wistful and beautiful slice of soul-jazz, where The Souljazz Orchestra showcase their ability to seamlessly, flit between musical genres. That’s not easy and demonstrates just how talented they are.
You sense that Agoya is about to burst into life. It does. What follows is an explosive and irresistible slice of salsa. A fusion of braying horns, percussion, drums and bursts of vocals combine. Then a flute escapes from the arrangement, while a rasping saxophone helps drive the arrangement along. By then, you’ll have realised it’s impossible to keep still. It’s as if The Souljazz Orchestra are taunting you, saying dance. The only option is to submit to its charms and dance like you’ve never danced before.
East Flows The River is described as a ritual chant. Harmonies float above the arrangement while the rhythm section and percussion provide the track’s heartbeat. This results in a hypnotic, mesmeric and spiritual sound. It’s irresistible. It envelops you, and quickly, wins you over. Then things get even better when a saxophone solo is unleashes. It’s akin to a cathartic cleansing of a the soul and is the finishing touch to what’s the highlight of Inner Fire.
Sommet En Sommet is an Afro jazz track where the time signature changes. Rather than the usual 4/4, the time signature is 12/8. Again this shows that The Souljazz Orchestra are versatile and talented musicians. They’re just as comfortable playing in 12/8 as 4/4. What follows is four minutes of musical magic. Dramatic and jaunty describes the start of the arrangement. Then braying horns, percussion and the rhythm section join forces. They create a broody, dramatic backdrop. Adding to the drama and beauty is a heart-achingly beautiful alto saxophone solo. It gives way to a piano, while the rest of the band combine drama, emotion and beauty.
Celestial Blues is a track many people will be familiar with. Its the title-track from Gary Bartz’s 1971 album. Here, percussion Marielle Rivard steps forward and sings lead vocal. Her jazz tinged vocal suits the song. Horns answer her call, while the drums and piano provide the backdrop. Jazz tinged describes the piano and horns, while the drums are hypnotic. When all this is combined, The Souljazz Orchestra pay homage to Gary Bartz with a blistering version of Celestial Blues.
Closing Inner Fire is Completion. It’s just a short track that bookends the album. Vibes, piano, standup bass and drums played with brushes combine to create a wistful, melancholy track. This bookends Inner Fire perfectly, closing the album as it began.
Without a doubt, Inner Fire is the best album The Souljazz Orchestra have ever released. I’ll go even further than that. Inner Fire which will be released on 24th February 2014 will be one of the best albums of 2014. That’s how good Inner Fire is. It’s The Souljazz Orchestra’s Magnus Opus. They’ve come of age. Everything that’s gone before has been leading up to this moment.
During the last twelve years, The Souljazz Orchestra have come a long way, with their compelling fusion of musical influences and genres. Having released their debut album Uprooted in 2005, three further albums were released in the next five years. Freedom Must Die was released in 2007, with Manifesto following in 2008 and Rising Sun in 2010. For their fifth album, The Souljazz Orchestra have changed direction from the acoustic style of Rising Sun to an electric, vocal driven style on Solidarity. Then after a gruelling touring schedule, The Souljazz Orchestra returned to their beloved analogue studio in Ottawa and recorded Inner Fire.
Inner Fire should be the album that sees The Souljazz Orchestra music reach a much wider audience. They’re guaranteed to get any party started. No wonder. With its fusion of Afro-beat, Afro-jazz, bossa nova, Egyptian jazz, funk, jazz, Latin, samba and soul jazz Inner Life is The Souljazz Orchestra’s finest moment. It’s variously celebratory, irresistible, joyous, melancholy, melodic, pensive, thoughtful and wistful. Just like previous Souljazz Orchestra albums, Inner Fire is akin to a journey on a musical roller coaster.
Having climbed onboard The Souljazz Orchestra’s musical roller coaster, they introduce you to music that’s celebratory, joyous and irresistibly catchy. Other times, it’s melancholy, wistful and spiritual. Always, the music on Inner Fire is a reflection of the music that’s influenced The Souljazz Orchestra.
Since their last album Solidarity, members of The Souljazz Orchestra have been lucky enough to work with some of the most talented musicians in Cuba, Haiti, Nigeria and Rwanda. These master musicians have influenced The Souljazz Orchestra. Their influence can be heard on the ten tracks that comprise Inner Fire. They’ve played their part in what’s essentially a musical melting pot of influences and genres. Once it’s given a stir by The Souljazz Orchestra, Inner Fire is a tantalising tasting dish, best tasted often. Standout Tracks: Kingdom Come, One Life To Live, Black Orchid and Sommet En Sommet.
THE SOULJAZZ ORCHESTRA-INNER FIRE.
THE BEATLES-RUBBER SOUL.
THE BEATLES-RUBBER SOUL.
It was fifty years ago, The Beatles made a breakthrough in America. This was when they released Introducing…The Beatles on 20th January 1963. It reached number two in the US Billboard 200. The Beatles had arrived. Ironically, Introducing…The Beatles proved to be the least successful album The Beatles released in America. After that, everything they touched turned to either gold or platinum.
1964 was a huge year for The Beatles. They released a quartet of albums that reinforced them as the world’s most successful band. Just over a year after the release of Introducing…The Beatles, The Beatles’ Second Album was released in April 1964. It reached number one in the US Billboard 200 and was certified double platinum. Two months later, A Hard Day’s Night was released in 1964. It reached number one and was certified four times platinum. A month later, Something New was released in July 1964. Reaching number two in the US Billboard 200 charts resulted in the album being certified double platinum. The Beatles could do no wrong. Proof of this was Beatles ’65. On its release in December 1964, it reached number one in the US Billboard 200 and was certified triple platinum. That meant The Beatles had released four albums during 1964 and sold over eleven-million albums. There was only one problem for The Beatles, how do you better 1964? That was going to be hard. After all, The Beatles set the bar high? However, they’d release a landmark album in December 1965, the US version of Rubber Soul. It was recently rereleased by UMC and features the mono and stereo versions of this classic album.
Before The Beatles released Rubber Soul, they released two further albums. Beatles VI was released in June 1965. It reached number one and was certified platinum. Help was released in August 1965, and reached number one in the US Billboard 200 charts. It was certified double platinum. Good as that was, it would be dwarfed by the sales of The Beatles’ next album Rubber Soul, which marked a change in direction from The Beatles.
Rubber Soul was the first album that The Beatles recorded during one recording session. Recording took place between 12th October to 11th November 1965. This was unlike previous albums. They’d been recorded quickly during a number of sessions. Not Rubber Soul. The new approach worked and resulted in a much more focused album which flowed. Another change was the music.
On Rubber Soul, The Beatles moved away from the three-chord pop of their previous albums. Everything from doo wop, folk-rock, garage, Indian rock, pop, psychedelia, soul-influenced Rubber Soul. It was a much more sophisticated and grow- up album of eclectic music. In some ways, Rubber Soul marked a coming of age for The Beatles. Some of the songs on Rubber Soul prove this.
Previously, many of The Beatles’ songs had been simplistic love songs, along the lines of boy meets girl and lives happily ever after. This changed on Rubber Soul. The songs are much more complex and have a depth that was previously lacking. Slick, sophisticated, pensive, wistful and xmelancholy describes these songs. Norwegian Wood is proof of the grownup Beatles. It’s an evocative, melancholy and mysterious tale of love gone wrong. There’s also nostalgia for simpler times on In My Life. Maybe by the time they recorded Rubber Soul John Lennon, who wrote the song, realised life would never be the same again. Rubber Soul also showcases a negativity that hadn’t been heard before. For some people, this wasn’t something they liked. For them, The Beatles were escapism from reality. However, Rubber Soul marked a coming of age for the Beatles.
Just like their previous albums, most of the songs were penned by Lennon and McCartney. The exception was Think For Yourself, which George Harrison wrote and sang. The other vocals were split between John and Paul. They shared the lead vocal on The Word, In My Life and Wait when recording took place at Abbey Road studios, London.
At Abbey Road, George Martin produced Rubber Soul and played piano on In My Life and harmonium on The Word. Mel Evans played Hammond organ on You Won’t See Me. Paul played bass, lead and acoustic guitar plus piano. John played rhythm and acoustic guitar and piano. George played bass, sitar and acoustic guitar. Ringo played drums, percussion and Hammond organ. Together, they recorded the twelve songs that became Rubber Soul. It was released just in time for Christmas 1965.
On its release in December 1965, Rubber Soul proved to be The Beatles’ most successful album. In the first nine days since its release in the US, Rubber Soul sold over 1.2 million copies. It’s no surprise that Rubber Soul reached number one in the UK and US. Rubber Soul stayed at number one in the US for six weeks and has sold six million copies. The new grownup Beatles were even more popular than before. Proof of this was Rubber Soul, which I’ll tell you about.
I’ve Just Seen A Face which opens Rubber Soul, has a slight country sound. It’s an uptempo track that’s driven along by acoustic guitars. Paul takes charge of the lead vocal, delivering the lyrics with a sense of urgency. The lyrics are essentially rhyming couplets. However, they ensnare you. Their sheer simplicity has you captivated. Ringo plays the snare drum with brushes. Meanwhile the rest of The Beatles add harmonies. It’s as if they’ve been inspired by the Beach Boys, and their harmonies are tighter and sweeter than ever.
Norwegian Wood (The Bird Has Flown) showcases the new Beatles. The lyrics John Lennon said, were autobiographical and about an affair he was having. He delivers the lyrics and his vocal was double-tracked. The lyrics veer between descriptive, evocative and surreal. There’s a strong Indian influence in the song. That comes courtesy of George’s sitar, while percussion, acoustic guitar, bass and harmonies accompany him. They’re the perfect backdrop for John’s pensive, melancholy vocal as folk, Indian rock, pop and psychedelia unite. This results in one of the highlights of Rubber Soul.
While You Won’t See Me was credited to Lennon and McCartney, it was later claimed that Paul penned this track. It’s about problems he was having in his relationship. His girlfriend wasn’t answering his phone calls and letters. There’s a vulnerability and bitterness in the lyrics. With the lyrics being personal, he makes them come to life. A chugging rhythm section, jangly piano and cooing harmonies accompany Paul. Confusion, sadness and bitterness fills his voice as hooks and heartbreak sit side-by-side.
Think For Yourself has a rockier, psychedelic sound. Lysergic describes the track. George sings lead vocal. His vocal his lazy, lysergic and dreamy as he warns against listening to people telling you lies. He’s taking a swipe at governments and authority figures. A double-tracked fuzzy bass, drums and shakers are accompanied by piano. Then there’s The Beatles’ trademark harmonies. They accompany George on this innovative, genre-melting track where pop, psychedelia and rock combine seamlessly.
The Word might be a love song, but is very different to the girl meets boy songs they used to pen. This is a much more sophisticated, grownup track. The lyrics are abstract, with love equating to freedom. Jangling Byrdsian guitars, close harmonies, piano and the rhythm section combine to create a choppy arrangement. John and Paul who cowrote the track, share the lead vocals as The Beatles music moves in a new direction. This is one of the tracks that marked The Beatles’ coming of age.
Michelle won a Grammy Award for the best song in 1967. No wonder. It’s a timeless classic. Ironically, the song is simplicity itself. With an understated arrangement. The rhythm section and sweeping harmonies accompany Paul’s needy, heartfelt vocal. Sincere, soulful and impassioned, he even delivers part of this beautiful paean in French. Quite simply, this is one of the best songs The Beatles ever wrote and reinforced the fact that they were growing and maturing as a band.
Although Rubber Soul was released in December 1965, the introduction to It’s Only Love is reminiscent of their early work. That’s the case with much of the song. The lyrics are simplistic rhyming couplets. John Lennon later described the lyrics as “abysmal.” Paul too, realised this wasn’t their finest hour. Granted they’re not the greatest lyrics they wrote, but John seems determined to make the lyrics work. His vocal is a mixture of power and passion. Even that doesn’t stop the track rising above average.
After the disappointment of It’s Only Love, Girl more than makes up for it. The arrangement is melancholy and wistful. Acoustic guitars are at the heart of the arrangement, which has a Greek influence. John’s vocal takes centre-stage, as he delivers some of the finest lyrics on Rubber Soul. This includes: “was she told when she was young that pain would lead to pleasure” and “that a man must break his back to earn his day of leisure.” John Lennon later said this was a comment about Christianity. With lyrics that are cerebral, scathing and full of social comment, plus cooing, swooping harmonies, this is a mini musical masterpiece.
I’m Looking Through You is another relationship song. The lyrics were written by Paul and again, were personal. They dealt with his failing relationship and how his partner had changed and this he wasn’t happy about this. Acoustic guitars, handclaps and harmonies accompany Paul’s vocal. Power, frustration, sadness and anger shine through as he unleashes a cathartic, cleansing vocal.
In My Life finds The Beatles in a reflective mood. At first glance, they sound not unlike their earlier albums. However, listen carefully and the music is much more sophisticated. Paul and John share the vocal, remembering “people and places.” Cooing harmonies accompany their vocals. Sometimes, they’re wistful as if thinking things were simpler. The instrument bridge is a game changer. Listen carefully and the piano solo sounds like a harpsichord. It’s played by George Martin and has a Bach influence. This sets the song up for its wistful finale, which poses more questions than it answers.
Wait was originally meant to have been on the Help soundtrack. It didn’t make the cut, but was used as a makeweight on Rubber Soul. The Beatles were one track short for Rubber Soul. Overdubbing was used so that the song would flow with the rest of the album. The lyrics are about a couple being apart. This is a familiar theme for Lennon and McCartney. Their lyrics bring to life the longing, loneliness and temptation. This is apparent when they sing: “I’ve been good, good as I can be.” Whilst not originally written for Rubber Soul, this track works, just, and doesn’t interrupt the flow of Rubber Soul.
Run For Your Life closes Rubber Soul, and is a track John Lennon regretted writing. Partly, this is because of the lyrics. This includes: “I’d rather see you dead, little girl, than to be with another man.” There’s an edge to John’s voice. It’s almost menacing. He’s accompanied by the rhythm section, while Byrdsian guitars jangle. Harmonies provide a foil for John’s vocal, as jealous and frustration oozes out of John’s every pore.
I’ve always thought that there are two chapters to The Beatles recording career. The second chapter begins with Rubber Soul which was rereleased by UMC on 20th January 2014. This is the US version of the album. Rubber Soul features a much more sophisticated and grownup Beatles. Gone was the three chord pop of their previous albums. Everything from classical, country, doo wop, folk rock, garage, Greek, Indian rock, pop, psychedelia, raga rock and soul influenced Rubber Soul. It was a coming of age for The Beatles. They’d returned from a tour of North America inspired.
During their time in North America, The Beatles had heard Bob Dylan and The Byrds’ unique brand of folk rock. They’d also heard the Beach Boys, who many people perceived as The Beatles rivals. A rivalry existed between both groups, but there would only be one winner…The Beatles. Both groups would influence each other. Indeed, The Beach Boys’ harmonies would influence The Beatles. This shines though on Rubber Soul. So can Eastern influences, including the raga and Indian rock which would from Rubber Soul. Both would infuse The Beatles’ music for the rest of their career. The Beatles were introduced to these Eastern influences by courtesy David Crosby of The Byrds and Ravi Shankar. However, The Beatles weren’t the first British group to pioneer an Eastern influences. That was The Kinks. They used guitars to create a droning sound that can be heard on some of their mid-sixties’ albums. All these new influences made Rubber Soul a very different Beatles album.
Listening to the album that preceded Rubber Soul, Help, which was released in July 1965, it’s like listening to two different groups. Rubber Soul was a much more sophisticated and grown up album of eclectic music. In some ways, Rubber Soul marked a coming of age for The Beatles. That’s no bad thing. After all, if The Beatles had continued to release the same type of music, they’d quickly have become irrelevant. With their music beginning to evolve, there was never any chance that would happen. Not at all. From Rubber Soul onwards, The Beatles become one of the most innovative and progressive groups in musical history. Their career took off.
Yesterday and Today was released in June 1966 and reached number one in the US Billboard 200 Charts. This resulted in the album being certified double platinum. Then Revolver was released in August 1966, reaching number one in the US Billboard 200 and sold over five million copies. This was nothing. 1967 was going to be the most successful career in The Beatles’ career so far.
Sgt. Pepper’s Lonely Heart’s Club Band was released in June 1967. It reached number one in the US Billboard 200 and became The Beatles’ most successful album. Eventually, it sold eleven million copies. Five months later, in November 1967, Magical Mystery reached number one in the US Billboard 200 and was certified six time platinum. Good as 1967 had been, 1968 was even better.
When The Beatles was released in November 1968, what became known as The White Album reached number one and sold over nineteen million copies. This was unheard of. The Beatles would never surpass this.
During 1969, The Beatles released a trio of albums. Yellow Submarine was released in January and “only” reached number two. It was certified platinum. Normal service was resumed with Abbey Road. Not only did it reach number one, but was certified platinum twelve times. Then in May 1970, The Beatles released their swan-song, Let It Be. Their career ended on a high, with a number one album that sold four million copies. This brought to an end a run of innovative and influential albums that began with 1965s Rubber Soul.
Rubber Soul is quite simply one of the finest albums The Beatles recorded. That’s saying something given the quality of music they released. Their American career began in 1963 and lasted until 1970. However, Rubber Soul saw The Beatles come of age. The music on Rubber Soul is slick, sophisticated, pensive, wistful and melancholy. This marked the start of the second chapter in The Beatles career. During the next five years, they released the best music of their career. From Rubber Soul, The Beatles went on to release classic albums like Revolver, Sgt. Peppers Lonely Heart’s Club Band and The White Album. However, without Rubber Soul, The Beatles would never have released these albums. Rubber Soul was a stepping stone in their career and is one of the most important, innovative and influential albums of The Beatles career. Standout Tracks: Norwegian Wood (The Bird Has Flown), Michelle, Girl and In My Life.
THE BEATLES-RUBBER SOUL.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
BBE Music’s latest release sees two of the rarest albums make their CD debut. For years, both of Breakaway’s two albums have been prized assets among record collectors. Copies have exchanged hands for ever increasing sums of money. Despite this, no record company decided to take the plunge and release the two albums Breakaway released in the late-seventies. Their 1977 debut was Breakaway, with Straight To The Top following in 1978. Two years later, Breakaway split-up. The two albums they’d released represented their entire discography and will be rereleased on one album by BBE Music on 27th January 2014. Now another generation have the opportunity to discover Breakaway.
For some people, the name Breakaway will ring a bell. There’s a reason for this. Breakaway featured on the two compilations of blue eyed soul BBE Music have released. Americana-Rock Your Soul was released back in 2011, with Americana 2 released in 2013. Both compilations featured a whole host or rarities and hidden gems. Previously, many of these tracks, including the two from Breakaway would’ve passed most people by. Not any more.
Partly, that’s to do with the internet. Nowadays, due the the advent of the internet, a whole generation of music lovers are discovering long-lost albums. As a result, a whole industry has grown up reissuing music. Now albums that never found an audience the first time round, are being released. Belatedly, these albums are receiving the attention and plaudits they deserved. Sometimes, careers have been relaunched and artists rescued from the 9-5 grind. For other artists and groups, they’re content to be vindicated that the music they released thirty or forty years ago was variously innovative, influential, ahead of its time or timeless. Is that the case with the two albums Breakaway released?
The story behind Breakaway began back in the early seventies in The Turquoise Lounge, Portland, Oregon. That’s where David L. Taylor David L. Taylor and Bill Montgomery met Dale Sweetland. Having heard Dale play, David and Bill decided to draft him into their band. This wasn’t easy. It took a year of phone calls before Dale joined the band in 1972. However, this lead to the trio forming a new band in late 1972.
There was a reason for this. Their new manager wanted them to form a Las Vegas Show band and play on the lucrative club circuit. Now a seven-piece band, they rehearsed in Las Vegas, before heading out on the road. The lineup included David L. Taylor, Bill Montgomery, Dale Sweetland, and Terry McCoy from South Carolina. This lineup lasted a year. Then they returned to Vegas and formed a new band with Terry Richards.
Terry had been a member of Chase, a band from Cleveland, Ohio, who’d enjoyed some commercial success. The tragedy struck. Chase were involved in a plane crash and the only survivor was Terry. For the next year Terry was a member of the band. That’s until he was replaced by Corky Blake, a native of St. Louis. Now the group was a six piece. However, this would’t be the final change in the lineup.
No. Kathy Newbry-Taylor a native of Las Vegas was recommended by to the band by their manager Joe Zito. This was the lineup that lasted right through until 1976. Then there was another change. Manager Joe Zito was replaced and the band became a quartet who called themselves Breakaway. It had taken over four years, but at last, Breakaway was born.
Having settled on the name Breakaway, the nascent band moved to St Louis. That’s where Breakaway met Art Risavy. He owned a record shop in Collinsville, Illinois. Art assured them that he could provide them with enough work in the Midwest for Breakaway to base themselves in Collinsville. Now they begin work on their debut album. However, they didn’t have a record contract. So, they had to play live to pay for the recording sessions for what became their debut album Breakaway.
BREAKAWAY.
Most of Breakaway was written by David L. Taylor. He wrote four tracks and cowrote Understudy DJ and Love My Eyes with Kathy Newbry-Taylor. She also penned There’s A New Group In Town. These seven tracks became Breakaway. It was recorded at Technosonic Studios, St. Louis by a lineup featuring David L. Taylor, Bill Montgomery, Dale Sweetland and Kathy Newbry-Taylor. Producing Breakaway was Bill Schulenberg and Breakaway. Once Breakaway was recorded, it was released later in 1977.
Breakaway was released in 1977, on the band’s own label Breakaway Records. However, they didn’t have a sufficient promotional budget, and Breakaway wasn’t a commercial success. Sadly, despite the undoubted quality of the music, Breakaway didn’t even trouble the charts. A genre-melting mixture blue eyed soul, disco, funk, soul and even rock, Breakaway deserved a better fate. You’ll realise that when I tell you about the highlights of Breakaway.
Understudy DJ, which opens Breakaway is one of Breakaway’s best known tracks. It’s an underground anthem. A funky, dance-floor friendly arrangement grabs your attention, The rhythm section are at the heart of the action before Kathy struts centre-stage. Urgent, punchy and powerful, her sassy vocal is enveloped by a funk masterclass from Breakaway’s rhythm section
Love My Eyes sees a very different side to Breakaway. They drop the tempo on this slow, beautiful ballad. Kathy’s vocal is accompanied by keyboards, strings and a subtle rhythm section. Her vocal is tender and heartfelt. Meanwhile, a jazz guitar and strings provide the backdrop to her soul-baring vocal on this beautiful paean.
Who Was It This Time begins slowly, and gradually reveals its secrets. Breakaway combine musical genres. Elements of blue eyed soul, disco, funk and jazz shine through. The rhythm section keep things funky, while disco strings and a jazzy guitar combine. Kathy’s vocal is a mixture of power and passion. It’s drops out an is replaced by a jazz-tinged keyboard solo. This demonstrates Breakaway’s versatility before Kathy returns and picks up where she left off, playing a starring role.
Everybody Loves The Singer sees another change in direction. It’s a fusion of country, funk, rock and soul. The arrangement is driven along by the rhythm section and guitars. Kathy delivers one of her best vocals. It soars above the arrangement, a mixture of power and soulfulness. She’s accompanied by cooing harmonies. They’re the perfect accompaniment to her vocal powerhouse, as Breakaway demonstrate their versatility.
Funky, soulful and rock-tinged describes Everything’s Been Said About You. The rhythm section provide the funk, while rocky guitars and a soulful, vocal powerhouse from Kathy combine. She uses her full vocal range. Searing, chiming guitars and harmonies accompany her, as we hear another side of Breakaway.
My Symphony is another ballad. It has an understated, piano lead arrangement. This allows Kathy’s vocal to take centre-stage. Gradually, the arrangement builds and grows, enveloping Kathy’s emotive vocal. She’s accompanied by sweeping harmonies. They compliment Kathy’s heartfelt, impassioned vocal, which is one of the highlights of Breakaway.
There’s A New Group In Town closes Breakaway. It’s one of Breakaway’s best known tracks and reminds me somewhat of Sister Sledge. It’s dramatic and urgent. A pounding, funky and rocky rhythm section give way to soaring harmonies. Then Kathy delivers a strutting, diva-esque vocal. She combines drama, sass and power. Handclaps, rocky guitars, washes of synths and the funky rhythm section unite, ensuring Breakaway ends on a high.
Breakaway is best described as a journey through musical genres. You never know what direction the album is heading. Everything from blue eyed soul, country, disco, funk, R&B, rock and soul is combined. Listeners are kept on their toes. Quickly, you learn to expect the unexpected. Ballads and dance tracks side-by-side. One minute Kathy’s laying bare her soul, the next she’s a strutting diva. The rest of Breakaway take this in their stride. It doesn’t seem to matter what type of music they’re asked to play, they carry it of. You want funk, soul or country, Breakaway can play it. Maybe this is a remnant to their days as a showband?
With music that was variously, funky, dance-floor friendly, hook-laden, slick and soulful, Breakaway should’ve been a commercial success. Sadly, it wasn’t. That’s not a surprise. Breakaway was independently released. Without a decent budget, the album never even dented the Billboard Charts. This meant a return to playing live. That’s until they had enough money to record their sophomore album Straight To The Top.
STRAIGHT TO THE TOP.
After the disappointment of Breakaway, the band returned to playing live. Art had guaranteed that he could provide them enough live work. This meant that it would be worth their while basing themselves in Collinsville. He was as good as his word. Breakaway continued to be busy with live work. This allowed them to finance the recording of their sophomore album Straight To The Top.
Again, Breakaway wrote the eight tracks on that became Straight To The Top. Producing Breakaway was Bill Schulenberg and Breakaway. Once Straight To The Top was recorded, it was released later in 1978 on their own label Breakaway Records.
Just like their debut album Breakaway, Straight To The Top wasn’t a commercial success. Another similarity was that Straight To The Top was a fusion of musical genres. There was everything from blue eyed soul, disco, funk, rock and soul on the seven tracks. Soulful, funky, dance-floor friendly and not short of hooks, Straight To The Top didn’t head Straight To The Top. Maybe if it had been released on a bigger label, it might have been commercial success. Sadly, it wasn’t to be. Instead, Straight To The Top was Breakaway’s swan-song, which I’ll tell you about.
Straight To The Top opens with the title-track. Lone drums give way to a disco-tinged arrangement. Bubbling synths, funky rhythm section and Kathy’s seductive vocal combine. Searing guitars and buzzing synths join in as disco, Euro Disco and rock combine. It’s a potent and heady brew, with genres and hooks becoming one.
Empty Love is another disco track. Driven along by percussion, rhythm section and keyboards, the arrangement is a fusion of disco, drama and jazz. Kathy’s tender, needy vocal is soulful and jazz-tinged. Harmonies accompany her as she delivers an emotive and dramatic vocal.
It seems Straight To The Top was Breakaway’s disco album. Back ’N’ Forth sees the disco influence continue. It’s a fusion of disco, Euro Disco and funk. Squeaky, synths play an important part in the arrangement, while hypnotic, pounding drums provide the backdrop for Kathy’s coquettish vocal. It delivers the simple, but infectiously catchy lyrics.
You Are Love sees the tempo drop. It’s the first ballad on the album. Just like other tracks, synths play an important part in the arrangement. What plays the most important part, is Kathy’s vocal. Tender, heartfelt and ethereal, it’s captivating. You’re truly spellbound by its emotion and beauty.
Straight away, you realise Breakaway is one of the highlights of Straight To The Top. That’s because of Kathy’s powerhouse of a vocal. It’s a mixture of power, passion and emotion. She’s accompanied by blistering, rocky guitars, keyboards and percussion. Providing the heartbeat is the rhythm section. They play their part in this track’s dramatic sound.
Oh Darlin’ Oh Baby sees Breakway return to the ballads they do so well. With an understated, thoughtful late-seventies arrangement, Kathy delivers a vocal that veers between tender and powerful. It’s thoughtful, emotive and needy. Meanwhile, keyboards, percussion and a meandering rhythm section provide the backdrop to what’s easily the highlight of Straight To The Top.
Work With The Music bursts into life, a fusion of rock and funk. Driving the arrangement along is the rhythm section, while bubbling, searing synths and sneering guitars join forces. Kathy’s vocal is urgent, rocky and powerful. Later, the track takes on an experimental, sci-fi sound. After that, it’s funky, rock-tinged, urgent and dance-floor friendly.
Closing Straight To The Top is A New Tree In The Forest. The understated arrangement meanders into being. Just washes of synths, pensive drums and piano combine as Kathy’s tender, beautiful vocal slowly delivers the vocal. Gradually, the arrangement reveals its secrets and subtleties. It grows in power. So does Kathy’s vocal. She demonstrates how versatile a vocalist she is. She has the ability to make lyrics come to life, breathing meaning and emotion into them. That’s what she does here, closing the album on a beautiful high.
Straight To The Top, Breakaway’s sophomore album is both different and similar to their eponymous debut album. The main difference is that there’s more disco tracks on Straight To The Top. Breakaway seem to have decided make the album even more dance-floor friendly. Four of the tracks see Breakaway fuse disco and sometimes, Euro Disco. There’s also a funky influence in these tracks. This was the case on their debut album. It’s more apparent on Straight To The Top. That’s not surprising, given disco was at the height of its popularity. Maybe Breakaway felt this would lead to the commercial breakthrough their music deserved. Straight To The Top, like Breakaway, was another eclectic album.
Apart from the four dance tracks, Breakaway included three ballads and Work With The Music, a fusion of funk and rock. However, on Breakaway, there was everything from blue eyed soul, country, disco, funk, R&B, rock and soul. It was a real fusion of influences and genres. Straight To The Top was essentially, an album where blue eyed soul, disco, funk, rock and soul combined. Breakaway were at their best on the dance tracks and ballads. Indeed, Kathy comes alive during the ballads. Good as she is on the other tracks, she’s transformed during the ballads. She’s very much Breakaway’s secret weapon.
While the rest of Breakaway provided the backdrop for her vocals on Breakaway and then Straight To The Top, Kathy veered between diva to soul-baring balladeer. They were a perfect match. If only Breakaway had been signed to a major label. instead, the financed their own albums and released them on Breakaway Records. This meant they were always behind the black ball. Breakaway Records didn’t have the budget needed to promote either Breakaway or Straight To The Top. As a result, both album failed commercially. This wasn’t because of the music. No. It was all down to economics.
Two years after the release of Straight To The Top, Breakaway split up. Straight To The Top was their final album. In the post-disco musical landscape gigs were hard to come by in St. Louis. Especially, when the economy was going through a downturn. Breakaway went their separate ways. David and Kathy, however, spent fifteen years as a duo and enjoyed a successful career touring and writing. In the following thirty-six years, Breakaway’s two albums were fondly remembered by discerning record collectors.
Both Breakaway and Straight To The Top became collectors items. They began changing hands for ever increasing sums of money. Despite this, neither Breakaway nor Straight To The Top found their way on to CD. Tracks did find their way onto the occasional compilation, including BBE Music’s Americana-Rock Your Soul which was released back in 2011, and Americana 2 released in 2013. Then just a few weeks ago, BBE Music announced they would release both Breakaway and Straight To The Top on 27th January 2014. For the first time, these two collector’s albums will be available on CD. Now these two hidden gems, Breakaway and Straight To The Top are within the budget of record buyers everywhere. No longer will you need a second mortgage to buy a copy of Breakaway or Straight To The Top. No. These hidden gems are at last, affordable and will allow everyone to hear a band who could’ve and should’ve enjoyed a successful career, Breakaway.
BREAKAWAY-BREAKAWAY AND STRAIGHT TO THE TOP.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
Whilst Traxx and DJ International dominated Chicago house in the mid-eighties, a whole host of smaller labels were being founded. Some of these labels were releasing innovative and influential music. One of these labels was Dance Mania Records. It was founded in 1986 by Ray Barney and offered an innovative alternative to the Chicago house being released by other labels. This was ghetto house. It was raw, raunchy and understated. This was very different to the music other labels were releasing. That’s why, for fifteen years, Dance Mania Records was one of the most influential and innovative house labels.
So it’s no surprise that Strut Records will release a compilation of tracks released by Dance Mania Records. Hardcore Traxx: Dance Mania Records 1986-1997. This is no ordinary compilation though. No. This is one of the most comprehensive retrospectives of the music released by Dance Mania Records. It features twenty-four tracks on two discs, three LPs or digital download. These twenty-four tracks are akin to a who’s who of the music released by Dance Mania Records. This includes tracks from Hercules, Vincent Floyd, Tyree, Strong Souls, Rhythm II Rhythm, DJ Funk, Paul Johnson, DJ Deeon, Robert Armani and Top Cat. This makes Hardcore Traxx: Dance Mania Records 1986-1997 the perfect introduction to Dance Mania Records. Whether you’re a veteran of Dance Mania Records, or a newcomer to one of the most innovative and influential labels in the history of Chicago House. The story of Dance Mania Records begins in 1986, when Ray Barney founded Dance Mania Records. However, the story starts back in the early sixties.
That’s when a twenty-five year old Willie J. Barney founded Barney’s Record Shop. This was the ideal time to found a record shop. After all, soul has hugely popular. So, Willie had a captive audience. Then in the early sixties, Willie J. Barney expanded his business. He founded a distribution business One Stop Records and opened another shop. Now Willie was able to not distribute records to all the smaller record shops in the Chicago area. The only thing Willie didn’t have within his empire was a record label. That was all about to change.
In 1965, Willie founded a record label, Four Brothers Production with one of his employees Jack Daniels. The nascent label enjoyed a number ten US R&B hit with C.L. Crockett’s It’s A Man Down There. Another record company Bright Star was founded, but within two years, both labels were wound up. This was the last label the company wound found until Willie J. Barney’s family were working in the business.
Willie always encouraged his sons to work with the business. Then in 1980, having graduated from Bradley University, Illinois with a degree in business studios, Willie’s son Ray took over the management of the distribution company. He was only twenty-two and was taking over a company who distributed mostly throughout the Midwest, but much further afield. One Stop Records were now distribution throughout America. Six years later, Ray decided the time was right for the family business to reenter the record business.
It was in 1986 when Ray Barney founded Dance Mania Records in Chicago. Back then, Chicago house was providing the soundtrack to dance-floors not just in Chicago, but worldwide. House was now a musical phenomenon. Two labels, Traxx Records and DJ International Records were already dominating house music. However, there was plenty room within the market. Especially with various sub-genres of house music evolving. Dance Mania Records would forever be synonymous with one sub-genre of house music, ghetto house.
Described as raw, raunchy and lean, ghetto house proved an alternative to the type of music most labels were releasing. This is apparent when you listen to the two discs that comprise Hardcore Traxx: Dance Mania Records 1986-1997. From their first release Dance Mania Records were a pioneering label. You’ll realise this when I tell you about some of the highlights from Hardcore Traxx: Dance Mania Records 1986-1997.
DISC ONE.
Dance Mania Records’ first release was from one of Chicago house’s pioneers Duane Buford. This was Duane and Co’s J.B. Traxx. It features on disc One of Hardcore Traxx: Dance Mania Records 1986-1997. Suddenly, there was an alternative the music that was dominating dance-floors. With its raw, raunchy and lean sound, this grabbed the attention of dancers and discerning record buyers. The same can be said of Hercules’ 7 Ways. Produced by Marshall Jefferson, who cowrote the track with Hercules this was a landmark release which marked the evolution of Chicago house. So does The House Master Boyz and The Rude Boy Of House’s House Nation. It was a worldwide hit and helped spread the Dance Mania Records gospel. These three tracks helped establish Dance Mania Records’ reputation as an innovative and influential labels.
Proof of this was one of the tracks Dance Mania Records released in 1988. This was Lil Louis’ The Original Radio Clash. Quite simply, The Original Radio Clash is a classic track. It’s one of the most innovative and influential tracks in the history of dance music. Sadly, it doesn’t feature on Hardcore Traxx: Dance Mania Records 1986-1997. However, another track released by Dance Mania Records in 1988 was Victor Romeo featuring Leatrice Brown’s Love Will Find A Way. It has a leaner, meaner arrangement. That’s before the soulful vocal enters. Together they play their part in the evolution of Dance Mania Records’ music.
Three years after releasing their first single, Dance Mania Records released Da Posse featuring Martell’s Searchin’ Hard. Produced by Hula and K. Fingers, it has a sultry, jazz-tinged and understated sound. This is quite different from the label’s early releases. I’d suggest it has a much more commercial sound. However, Dance Mania Records never latched onto musical trends. No. They were more interested in starting musical trends, than following them.
Rhythm II Rhythm – A Touch Of Jazz demonstrates this. It was released in 1991 and mixed by Victor Romeo, who played a huge part in the rise and rise of Dance Mania Records. He played an important role in the label’s constant reinvention. With a jazz-tinged sound, a myriad of beeps, squeaks and washes of vocals drift in and out of this track. Add to this maundering jazzy keyboards and the result is one of the finest tracks Dance Mania Records released in the early nineties.
By 1994, when Club Style released Crazy Wild and Jammin’ The House Gerald released Black Women Dance Mania Records’ releases continued to evolve. They seemed to have realised the secret to longevity was not standing still. So, they constantly sought to keep ahead of musical trends. Club Style’s Crazy Wild demonstrates this. It’s hypnotic and mesmeric thanks to the pounding beats, while a myriad of percussion and Eastern influences play their part in the track’s success. It’s no wonder Dance Mania Records had established a reputation as a successful and pioneering label.
DISC TWO.
Between 1991 and 1997, Dance Mania Records was a prolific label. This six year period saw Dance Mania Records reinforce their reputation as innovators. The label was influencing another generation of producers and record buyers. They also provided the soundtrack to many dance-floors. That’s obvious on disc two of Hardcore Traxx: Dance Mania Records 1986-1997 which I’ll pick the highlights of.
Ambulance was Robert Armani’s sophomore single. It was released in 1991 and was the followup to 1990s Armani Trax. This was the start of Robert Woods career. He went on to release seven albums, six of which were released on ACV. His debut album was the aptly titled Muzik Man. The Muzik Man’s career began at Dance Mania Records, where he released influential tracks like Armani Trax and Ambulance.
Tim Harper’s debut single was Toxic Waste. It was released on Dance Mania Records in 1992. Produced by Glen Underground and Tim Harper the drama builds before the arrangement unfolds. Crisp beats percussion and washes of disco-tinged strings sweep in. There’s only one city this captivating track could’ve been recorded in…Chicago.
In 1993 DJ Funk released his debut single House the Groove. This was the start of a long and successful career. It’s a hypnotic, jacking track. Despite this, House the Groove didn’t feature on DJ Funk’s 1995 debut album Pumpin’ The Trax. It was released on Dance Mania Records and is the only album DJ Funk released. That year, DJ Funk released The Original Video Clash E.P. A fusion of Acid House, ghetto house and techno, this showcased DJ Funk’s considerable talents.
1994 was one of Dance Mania Records’ most productive years. That year, Parris Mitchell released Parris Mitchell Presents Life On Th Underground E.P. It featured twelve tracks, including Ghetto Shout Out. Wax Master featured on this track that showed the direction ghetto house was heading. Full of hooks the lyrics were uncompromising as ghetto house meets hip hop and funk.
The same year Ghetto Shout Out was released, DJ Deeon released the Funk City. It features Da Bomb and House-O-Matic. Both see a return to the eighties. Especially House-O-Manic, which is full of beeps and squeaks. It’s akin to a homage to classic Chicago house. As for Da Bomb, it’s hypnotic and references early Chicago house and Kraftwerk.
Traxmen and Eric Martin’s Hit It From The Back is my final choice from disc two of Hardcore Traxx: Dance Mania Records 1986-1997. This is a track from an E.P. released in 1994. 1994s House Trax’s Volume 1 features six tracks. A fusion of ghetto house and techno. One of the highlights was the hypnotic, retro sounding Hit It From The Back. It too, sounds as if it’s a track release in the eighties and sounds as if Traxmen and Eric Martin have sought inspiration from the past.
Although I’ve only mentioned fourteen of the twenty-four tracks on Hardcore Traxx: Dance Mania Records 1986-1997, there’s much more to discover on the compilation. This includes contributions from Vincent Floyd, Strong Souls, 326 and Top Cat. These tracks are indicative of the quality of music that features on Hardcore Traxx: Dance Mania Records 1986-1997. Throughout the two discs, the quality of music is consistent, as you’re taken on a musical journey through the history of Dance Mania Records.
Over this eleven year period, the music Dance Mania Records released never stood still. Instead, it constantly evolved. Just like any innovative label, Dance Mania Records with their unique brand of ghetto house were determined to constantly reinvent themselves. That’s apparent throughout the two discs. They’re like a voyage of musical discovery.
Everything from Acid House, disco, electronica, experimental, Krautrock and techno has influenced the music on Hardcore Traxx: Dance Mania Records 1986-1997, which will be released on 10th February 2014. Known as ghetto house, this was the music that Dance Mania Records became known for. Dance Mania Records became synonymous with ghetto house. Ironically, whilst the music was commercially successful, Dance Mania Records didn’t follow musical trends. Instead, they were trendsetters and trailblazers. They lead the way. Other labels followed in their wake. That’s why when the history of house music is written, Dance Mania Records name will loom large. Proof of this is the music on Hardcore Traxx: Dance Mania Records 1986-1997.
HARDCORE TRAXX: DANCE MANIA RECORDS 1986-1997.
MOGWAI-RAVE TAPES BOX SET.
MOGWAI-RAVE TAPES BOX SET.
Nowadays, it’s a common occurrence for bands to release their new albums in a variety of formats. Usually, this includes CD, vinyl and MP3. Sometimes, there’s also a box set available. This is the case with Mogwai’s eighth studio album Rave Tapes. It’s a limited edition of 4,000 which was released on 20th January 2014 on Rock Action Records. Quite simply, is one of the best box sets I’ve come across.
I realised this when I first opened up the Rave Tapes box set. Included is a heavyweight vinyl album, CD and cassette version of Rave Tapes. A download code of Rave Tapes is also included in the box set. Then there’s twelve inch single and seven inch singles. Both feature tracks not on Rave Tapes. This includes Bad Magician 3 and Die 1 Dislike! on the twelve inch single and Tell Everybody That I Love Them on the seven inch single. There’s three 12″x12″ artwork art prints. They’re printed on 400 grams matt art paper and will look fantastic framed. Finally, there’s a forty page buckram wrap 12″x12″ hardback photograph book. It has a silver foil blocked cover design featuring exclusive images. They’re printed on 170 grams art paper. These photographs are taken by the legendary rock photographer, Steve Gullick, during the Rave Tapes album sessions in 2013. Essentially, the best way to describe the Rave Tapes box set is luxurious and lovingly compiled. However, what about the music on the Rave Tapes?
Rave Tapes features ten tracks, which were written by Mogwai. Recording took place at Castle Of Doom Studios, Glasgow. Producing Rave Tapes was ex-Delgado Paul Savage. He’s produced previous Mogwai albums and knew how the band worked. This was important, given Mogwai were at last, enjoying the critical acclaim and commercial success their music deserved. Work began on Rave Tapes back on the 28th August 2013.
This was like the first day back at school. Mogwai were ready to begin recording what was their eighth studio album. The lineup of Mogwai has been settled for a few years. This included a rhythm section of bassist and guitarist Dominic Aitchison, drummer Martin Bulloch and guitarists Stuart Braithwaite and John Cummings who also played piano. Barry Burns plays organ, piano and guitar at Castle Of Doom Studios, Glasgow, Mogwai recorded the ten tracks that became Rave Tapes, which was released on 20th January 2014.
Rave Tapes was one of the most anticipated albums of recent months. The big question was, what direction Mogwai’s music would head? After all, Mogwai’s music never stands still. It’s in a constant state of evolution. That’s no bad thing. Standing still is akin to going backwards in Mogwai’s book. On Rave Tapes, Mogwai’s music continues to evolve. Musical genres and influences melt into one. One of the most prominent influences was Krautrock. Add to this ambient, avant-garde, electronica, experimental, indie rock and rock. We hear different sides to Mogwai on Rave Tapes. Whether it’s fuzzy soundscapes or kicking out the jams, Mogwai don’t disappoint on Rave Tapes, which I’ll tell you about.
Heard About You Last Night opens Rave Tapes. It has an ambient sound, with keyboards and broody bass prowling along. The keyboards remind me of a setting in Ableton 9. Then as the bass and keyboard meander along, sneering guitars take centre-stage. Along with the drums, this transforms the track. Post rock, ambient and indie combine. Guitars reverberate, washes of synths sweep in and the bass pulsates, as the drama grows and builds. After reaching a crescendo, the arrangement takes on an understated sound as Mogwai settle into a groove. They’ve picked up where they left off on Les Revenants, by producing music that’s variously atmospheric, dramatic and ethereal.
Simon Ferocious sees a change in style. It’s best described as a fusion of post rock, electronica and Krautrock. Buzzing synths, pounding rhythm section and chiming, snarling guitars combine. The synths are at the heart of the arrangement, while everything revolves around them. Mogwai dig deep, drawing inspiration from Can, Harmonia, Neu and Kraftwerk. There’s also a nod to classic sixties and seventies rock when Mogwai kick loose on this genre-melting track. Mogwai are inspired by the music of the past, to create the music of the future
Remurdered is a track that gradually reveals its secrets. Mogwai throw a few curveballs in the process. An understated ethereal synth and pulsating bass are joined by keyboards before it’s all change. Having built up the drama, Mogwai take the track in the direction of post rock. There’s still a Krautrock influence in the groove. A combination of blistering post rock guitars and Krautrock drums and synths prove a potent combination. Especially with the electro influence. It gives the track an early eighties New York sound. That’s before Mogwai kick out the jams as they showcase their versatility and ability to constantly innovate and reinvent themselves and their music.
Briefly, Hexon Bogon has a nineties guitar sound. That’s before Mowai join forces and jam. Their rhythm section are at the heart of the track’s success. They’re augmented by keyboards and drive the arrangement along, fusing classic rock and post rock. It’s a glorious combination. Mogwai prove their doubters wrong by proving they were born to rock.
Repelish is one of the most captivating tracks on Rave Tapes. Against a moody, broody and eerie backdrop a speech by the Reverend Lee Cohen is played. This is the perfect foil for the dramatic backdrop of washes of synths, drums and guitars. They play their part in a haunting, menacing and dramatic soundscape which finds Mogwai experimenting and pushing musical boundaries.
Master Card is four minutes of swaggering rock. It’s as if Mogwai are paying their own unique homage to groups like the New York Dolls and Led Zeppelin. However, they’re doing it their way. Blistering, sneering guitar solos, washes of Krautrock synths and pounding drums combine. Later, machine guitars are unleashed. All the time, synths add drama and darkness. Right up until the track reaches its dramatic and rocktastic crescendo.
Deesh sees the tempo drop and Mogwai combine post rock, electronica and Krautrock. Driven along by the hypnotic rhythm section, banks of keyboards add drama and darkness. They’re aided and abetted by blistering guitars. This results in a soundscape that’s variously dark and dramatic, but also hypnotic, mesmeric and sometimes, ethereal.
Blues Hour has a mysterious, understated introduction. You wonder which direction it’s heading? What follows is a beautiful, wistful soundscape. Just a lone piano and acoustic guitar accompany Stuart’s vocal. It’s melancholy and accompanied by harmonies as the arrangement grows. Having reached a crescendo, the understated sound returns. This results in a wistful, melancholy fusion of ambient, electronica and post rock.
No Medicine For Regret has a Neo Gothic introduction. Played on an organ, this not only is dramatic but grabs your attention. Having gotten your attention, Mogwai don’t let go. Guitars, keyboard and rhythm section play their part in this track’s dramatic, cinematic sound.
Closing Rave Tapes is The Lord Is Out Of Control. Keyboards and guitars combine before a vocoder makes its entrance. This is really effective. In the wrong hands, i.e. Daft Punk, a vocoder can be annoying. Used properly and sparingly it can transform a track. Here, it adds drama and body to this soundscape. It’s a vital part of Mogwai’s futuristic orchestral sound. Just like so many tracks on Rave Tapes this reinforces that Mogwai are still one of the most innovative bands in music.
Rave Tapes is best described as a groundbreaking, genre-melting musical journey from Mogwai. They’ve been together for nineteen years and still, are creating music that’s influential, innovative and inventive. This is what they’ve been doing since 1997, when they released their debut album Mogwai Young Team. Sixteen years later, Mowai are still striving to reinvent their music. They’re not content to stand still. After all, what would the fun in that that be? Mogwai leave that to stadium rock groups and has-been remixers. They’re not the future. Mowai are. Why?
Well, Mogwai have just released Rave Tapes, another album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During a ten track journey through ambient, avant garde, classic rock, electronica, experimental, indie rock and Krautrock, Mogwai push musical boundaries to their limits and beyond. During these ten tracks, the music constantly changes. You never know what’s about to happen. The only thing you can expect, is the unexpected. That’s no bad thing though. After all, we’d be complaining if Rave Tapes was full of predictable music. It’s not. Far from it.
Throughout Rave Tapes, Mowai’s music constantly changes. Sometimes, it’s hard to believe it’s the same band. The music veers between wistful, melancholy and pensive, to dark, dramatic and disturbing. It’s also eerie and moody. Sometimes, it’s beautiful and melancholy. The music on Rave Tapes is always ambitious, bold, challenging, influential and innovative as Mogwai take you on a genre-hopping musical journey that is Rave Tapes. It was released on Rock Action Records on 20th January 2014 and is a must have album. However, which version should you buy?
Having looked at all the versions of Rave Tapes, my suggestion is, if you can afford it, buy the box set. It’s a luxurious and lovingly compiled limited edition box set. No expense has been spared. The very best in materials has been used. There’s vinyl, CD and cassette version of Rave Tapes, plus a download code in the box. Then there’s the twelve inch and seven inch. Both feature tracks not on Rave Tapes. There are three art prints included in the box set. They feature Rave Tapes’ artwork and will look fantastic framed. Finally, there’s a forty page hardback photograph book. The photographs are taken by the legendary rock photographer, Steve Gullick, during the Rave Tapes album sessions in 2013. It’s the icing on Mogwai’s cake.
Quite simply, the best way to describe the Rave Tapes box set is luxurious and lovingly compiled. It’s worth every penny and is the way to buy the Mogwai’s eighth album Rave Tapes. However, you’ll need to be quick, as Mogwai decided the box set would be a limited edition of 4,000 Rave Tapes box sets and they’re selling fast. Standout Tracks: Heard About You Last Night, Remurdered, Deesh and Blues Hour.
MOGWAI-RAVE TAPES-BOX SET.
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
It was back in early in 2012 during a tour of Angola, that Boddhi Satva first came across Game Walla. Djeff Afrozilla, a producer friend of Boddhi’s, recommended that he have a listen to Game Walla. Boddhi wasn’t disappointed. Far from it. Game Walla is one of the top Kuduro musicians in Angola. That’s apparent on his Boddhi Satva’s latest E.P. for Offering Recordings, Apaga O Fogo, which will soon be released on Offering Records. Apaga O Fogo, features the vocal prowess of Game Walla.
Apaga O Fogo, which translates as Stop The Fire, is a heartfelt plea for social awakening. Game Walla addresses his plea not just to his fellow Angolans, but the whole of Africa. The lyrics to Apaga O Fogo, were written by Game Walla. They’re intelligent and full of social comment. They were inspired the effects of globalisation, where the superpowers and the stronger countries survive and the smaller, weaker countries are left behind. Some of the countries left behind, include part of Africa. Things could be very different though. Especially if there was the social awakening Game Walla sings about on Apaga O Fogo.
Having been introduced to Game Walla by Djeff Afrozilla, Boddhi decided to record the vocal to Apaga O Follo in Angola. Recording took place in the Kazukuta Studio Facility in Luanda. Accompanying Game Walla was guitarist Alex Samba. Boddhi Satva arranged and produced Apaga O Fogo, which will soon be released by Offering Recordings.
Apaga O Fogo, which is Game Walla’s debut E.P. features seven tracks. This includes the Main Mix and Radio Edit. There are also five other remixes of Apaga O Fogo. The remixes include the Instrumental Mix plus the Ancestral Dub and Ancestrumental versions. Two of the remixes are from one of South Africa’s top remixers, Uhuru. He contributes the Uhuru Remix and the Uhuru Instrumental. These five remixes bring something new to the original track. You’ll realise that, when I tell you about the Apaga O Fogo, E.P.
On the Main Mix of Apaga O Fog, drums are panned right to left, their powerful and deliberate sound grabbing your attention. They’re joined by shakers, before a heartfelt, impassioned and dramatic vocal enters. It pleads for the social awakening Game Walla believes Africa needs. Soon, the drama builds. Banks of keyboards, searing, blistering guitars and drums that crack combine. As for Game Walla’s vocal, it grows in power and passion. Frustration, sincerity and hope fill his vocal as he delivers lyrics full of poignant social comment. During five minutes, not only to we hear a plea for social awakening, but the debut of Game Walla who we’ll hear a lot more of.
Unlike the Main Mix, The Radio Mix of Apaga O Fogo is only three minutes long. Losing two minutes, doesn’t detract from the song. Instead, Game Walla is able to get his message across succinctly. He’s enthusiastic and passionate about social awakening. Game Walla is a man with a mission. This Radio Edit will help him get across his plea for a social awaking to a wider audience. The result is a track that’s both powerful and poignant.
Although the vocal plays a huge part in the success of Apaga O Fogo the Instrumental Mix still works. Based around the drums, instruments are dropped in at just the right time and create a hypnotic and mesmeric mix.
The Ancestral Dub Mix is one of my favourite mixes. It too has a hypnotic sound, before joyously bursting into life. It’s a call to dance. Dance-floor friendly and hooky, the vocal arrangement are like ying and yang and play their part in the track’s celebratory sound.
Gradually, the Ancestrumental Dub reveals its charms. You’re teased and tantalised as the mix unfolds. Thunderous drums dominate the mix, while bursts of vocal are constantly repeated. They give the track a hypnotic quality. Then midway through the track, the arrangement is stripped bare, before rebuilding and once again, revealing its hidden secrets.
Getting Uhuru one of South Africa’s top producers to remix Apaga O Fogo was something of a coup. It doesn’t take long before you realise why Uhuru’s talents are in such demand. The Uhuru Remix breathes new life and meaning into the track. He adds a myriad of percussion, harmonies and horns. No longer do the synths play such an important role. Uhuru adds to the Afro-beat influence. Quite simply, his remix is a revelation. The same can be said of Uhuru’s instrumental remix. Even without the vocal Uhuru transforms the track. It becomes hypnotic, mesmeric and irresistible.
Boddhi Satva’s latest E.P. Apaga O Fogo is a truly compelling project. The basic premise is simplicity itself. Take the one of Africa’s most talented vocalists, record a track, then remix it, and in doing so, transform it. It’s like a musical makeovers, where one track is transformed into five new tracks. Each one is unique, bringing something new and innovative to the track. It’s comparable to a musical journey, that soon, becomes an adventure, an adventure where anything’s possible and can happen. Not only is it compelling, but captivating. Sometimes, you wonder where a track is heading, then just at the right moment, a curveball is thrown. This curveball not only sees the track take on new life and energy, but new direction.
Comparing the five remixes of Apaga O Fogo to the original version is fascinating. You hear something new in each remix. Subtleties, secrets and surprises are sprung. These five remixes breath new life, meaning and energy into Apaga O Fogo, which reinforces the fact that Boddhi Satva is one of the most innovative producers around. It’s also the perfect introduction to Game Walla.
Apaga O Fogo which introduces the wider world to Game Walla, one of the top Kuduro musicians in Angola, is a tantalising taste of one of music’s best kept secrets. A huge star in Angola, Game Walla’s music is yet to find an audience elsewhere. Hopefully, with the help of Boddhi Satva, one of the most talented and innovative producers, a whole new audience will discover Game Walla’s music, and he’ll no longer be one of African music’s best kept secrets. His music deserves to be heard by a much wider audience. After all, he’s a hugely talented singer and songwriter. An example of this is Apaga O Fogo. Game Walla wrote the lyrics and delivers them with real passion. His lyrics are cerebral and full of social comment. I just hope that we’ll hear much more from Boddhi Satva and Game Walla. Who knows, maybe Apaga O Fogo E.P. will be the start of a long and fruitful relationship between Boddhi Satva and Game Walla?
BODDHI SATVA FEATURING GAME WALLA-APAGA O FOGO.
KRAFTWERK-AUTOBAHN.
KRAFTWERK-AUTOBAHN.
Formed in 1970 by Ralf Hutter and Florian Schneider, Kraftwerk went on to become one of the most innovative, influential and groundbreaking groups in musical history. Kraftwerk have gone on to influence several generation of musicians. Without Kraftwerk, musical history would’ve been very different. However, still, many people struggle to describe Kraftwerk’s music. It’s best described as a fusion of musical genres. Everything from ambient, avant-garde, electronic, experimental, industrial and rock music is combined. However, who are Kraftwerk?
They’re an electronic band, whose sound features strong, prominent and repetitive, rhythms plus infectiously catchy melodies. Their sound has a western style of melody, that is augmented by an array of electronic instruments, producing a minimalist sound. Lyrics are sung through electronic instruments like vocoders, and now speech recognition software. Kraftwerk were innovative, they were pioneers who were way ahead of their time. Kraftwerk were one of the first groups to see the potential in electronic instruments and computers in music. This was the case since their 1974 album Autobahn, which will be rereleased by WEA Japan on 4th February 2014. Before that, I’ll tell you about Kraftwerk.
Ralf Hutter and Florian Schneider met whilst studying at the Robert Schmann Academy, in Dusseldorf, during the late 1960s. Both were part of the German experimental art and music seen that was thriving during that time. The Bristish musical press always wanting to categorize music, came up with the name Krautrock for this type of music. This has stuck, and forty years later this term is still in use. During this period, Hutter and Schneider were both part of a group, the Organisation. The Organisation released one album Tone Float, on RCA Records. However, after the album was released the group split up. That was to be a new beginning for Hutter and Schneider, and the start of Kraftwerk.
During the period 1970-1974, the members of Kraftwerk chopped and changed. Around seven different musicians played on the first three albums, and during the group’s live performances. The only members who remained were Ralph Hutter and Florian Schneider. They played an important part in Kraftwerk’s eponymous album.
In 1970 Kraftwerk released a self-titled album Kraftwerk. It has a much more traditional sound. Kraftwerk deploy dual drummers as they fuse art rock, avant-garde, experimental, industrial and rock music. This type of music later, became known as Krautrock. On the release of Kraftwerk in 1970, critics complimented Kraftwerk on releasing such an ambitious and groundbreaking debut. However, it wasn’t a commercial success. Maybe it was a case of the music being too innovative? Kraftwerk, it seemed, were ahead of their time. This wouldn’t be the last time this was said of Kraftwerk.
1972 saw Kraftwerk release their sophomore album Kraftwerk 2. It marked an evolution in Kraftwerk’s music. They didn’t use a drummer on Kraftwerk 2. Instead, they used a drum machine. This was the first Kraftwerk album to feature electronic instruments. Mostly, though, Kraftwerk used traditional instruments, including guitars, bass, violin and flute. Kraftwerk 2 saw Kraftwerk’s music evolving. Whilst critics recognised this was a groundbreaking fusion of traditional and futuristic music, Kraftwerk 2 wasn’t a commercial success. Maybe their third album Ralf Und Florian would see Kraftwerk make a commercial breakthrough?
Ralf Und Florian marked the debut of what became known as the classic lineup of Kraftwerk. The group were now just a duo, featuring Ralf Hutter and Florian Schneider. Again, Ralf Und Florian showcased Kraftwerk’s fusion of free-form and experimental rock music. This did not feature the discipline and hooks that is found in their later work. Just like their first two albums, Kraftwerk and Kraftwerk 2, Ralf Und Florian features traditional musical instruments. Effects were used to change and distort the sound, in the production stage. On these albums, Kraftwerk’s music was like a free-form jam, with the musicians exploring what their instruments can do. On their fourth album Autobahn, Kraftwerk showcase what became their trademark sound.
Having released three albums, Kraftwerk’s music continued to evolve. Ralf and Florian were beginning to move towards the sound that would bring them commercial success. On their third album Ralf und Florian, Kraftwerk started to usee drum machines and synthesisers. This album is almost entirely, an instrumental album, although vocoders are used sparingly on the album. This is something that Krafwerk would become synonymous with.
One man who was to have a huge influence on Kratwerk, and their sound was Konrad “Conny” Plank, a producer and engineer. he had previously worked with some of Germany’s finest and best known electronic groups, including Neu!, Can, Harmonia and Cluster. He was responsible for shaping the Kraftwerk sound, and teaching Hutter and Schneider about production techniques. The first for albums were co-produced by Plank and Kraftwerk, at his studio near Cologne.
Kraftwerk’s fourth album was Autobahn, which was released in 1974. Autobahn saw Kraftwerk move away from the sound of the first three albums. The group had decided to invest in some of the newer technology that was available at this time. One of the things Kraftwerk invested in, was a Minimoog. This allowed the group to develop a much more innovative and disciplined sound on Autobahn. Konrad “Conny” Plank was brought in to engineer this album, and the resulting success of Autobahn, allowed the group to invest in newer technology for their studio.
In Conny Plank’s studio, Kraftwerk recorded the five tracks that became Autobahn. Ralph and Florian wrote four of these tracks, Kometenmelodie 1 (Comet Melody 1), Kometenmelodie 2 (Comet Melody 2), Mitternacht (Midnight) and Morgenspaziergang (Morning Walk).They also cowrote Autobahn (Motorway) with Emil Schult. When it came to recording Autobahn, Kraftwerk were essentially a two man band. Ralph took charge of vocals, electronics, synths, organ, drum machine, piano and guitar. Florian added vocals, vocoder, electronics, drum machine and flute. The only other musicians were violinist and guitarist Klause Roder and percussionist Wolfgang Flur who added drum machine on Kometenmelodie 1 and 2. Once the five tracks were recorded, Autobahn was released in 1974.
On the release of Autobahn in November 1974, critics hailed the album a classic. It was fourth, not third time lucky for Kraftwerk. They’d just released a groundbreaking, timeless, classic album. Even better, it was a commercial success. Autobahn reached number 140 in the US Billboard 200, number four in the UK and number seven in Germany. Across Europe the album was a hit. So was the title-track. It reached number twenty-five in the US Billboard 100, number eleven in the UK and number nine in Germany. More importantly, it would influence a future generation of producers. However, unlike most bands, Kraftwerk decided to invest the money they made from Autobahn on their future. This paid off.
Due the success of Autobahn, Phonogram their US label, financed a mini-tour of the album. On this tour of the USA, Canada and the UK, Kraftwerk played as a quartet. This was the beginning of a much more stable line-up for Kraftwerk. Both Ralph Hutter and Florian Schneider played keyboards during the tour, using synthesisers to do this. The Mimimoog was joined by the APR Odyssey on the tour. For the first time in their history, the vocals were sung by both Ralph and Florian during a live performance. Another instrument that was to play an important part in the Kraftwerk story, also made an appearance on the tour.
The vocoder was used by Florian and the two new members, Wolfgang Flur and Karl Bartos, contributed to the sound, by using electronic instruments that they had made themselves. Karl Bartos used a Deagan Vibraphone during the performances. An instrument Kraftwerk that Kraftwerk had previously relied heavily upon, the flute, began to play less of a part in their music. This marked a changing of the guard for Kraftwerk, which started with the landmark album Autobahn, which I’ll tell you about.
Autobahn is an album that tells a story. The easiest way to review the album is to tell the story of the music on the album. Autobahn, the title track is meant to capture the feeling one has when on a long journey in a car, traveling through the countryside and urban vistas. On the journey, one must imagine that you are driving a car in the fast lane of the motorway. To pass the time, and relieve the boredom one will experience, whilst driving, the track has the sound and feel of even the driver re-tuning the radio.
This journey is based on driving on the A555 between Koln and Bonn, the first ever Autobahn built, between 1929-1932. Listen carefully to this track, and you will hear various instruments that were new and innovative at this time. Featured on this track, and the rest of the album, are the Minimog, electronic drums, vocoder, the ARP Odyssey and the EMS Synthi AKS. These instruments, and ones that they built themselves, all go towards making this track.
Opening Autobahn, is the title-track. It begins with a car engine being turned on, and a car horn being sounded. Thereafter, the track takes you on an atmospheric and hypnotic journey. This is something that anyone who has ever driven a long and monotonous journey on a motorway. Autobahn, the track, draws you in, you find yourself listening carefully, pondering what will happen next. When I first listened to this album, I found myself entranced, trying to anticipate what would happen next, much like you do when driving down a busy motorway. Like all of Krafwerk’s music, this track has, on it, some glorious and catchy hooks.
The next two tracks Kometenmelodie 1 (Comet Melody 1) and Kometenmelodie 2 (Comet Melody 2), are two parts of the same song. At the start of Kometenmelodie 1, there is the introduction, then comes the main track. These tracks have a theme, and are based upon the theme of the night. With a moody and atmospheric introduction, the track begins quietly and has a minimalist feel to it. The track wanders, with various instruments coming into, and leaving the track. This is what one would hear on a long car journey on the motorway, a multitude of varying sounds entering and exiting your personal space. During the track the tempo and sound increases, as the speed of a car would increase and surrounding noise would increase, for example, moving from the countryside to an urban area.
Kometenmelodie 2 has a different sound to Kometenmelodie 1. The sound on this track is louder and the tempo quicker. Here it really does feel as if you are in a car in the fast lane of the Autobahn, the track makes you feel and think that. Kraftwerk have been creative in the sounds used to make this track. They have succeeded in coming up with a track that, to me, sounds like a good musical representation of what it feels and sounds like to drive a car, at speed, along the fast lane of the motorway, during the night. This to me, is the best track on the album.
Throughout both Kometenmelodie 1 and Kometenmelodie 2, the tracks have the feel of the night, and are a good musical representation of the night. Krafwerk have used their various instruments well, to do this. This was not an easy thing to do back in 1974. Kraftwerk did not have the technology that is available to musicians and producers today.
Many people have said that Mitternacht (Midnight) has an ominous sound and feel to it. I agree with that. There is a darkness to this track, a really broody sound. It’s a track that challenges you, makes you focus, think about what the track is about. To me, this is a track that only Kraftwerk could have produced, only they would have had the imagination and inventiveness to make such a track.
The final track on Autobahn, Morgenspaziergang (Morning Stroll), begins with the sound of the dawn chorus birdsong. Kraftwerk used electronics to recreate this sound. At the end of the track this sound is used again, this time for longer, with the phrase Autobahn heard at the start of the album, repeated time and again, in differing ways. he track plods along, sounds spray out, and there is almost a sinister sound to the start of the track. After the introduction, the track starts to build, and you hear what sounds like birds singing, a flute plays gently and what sounds like water running. This has the effect of holding your attention and is a good way to finish the album.
After Autobahn, Kraftwerk went on to release a number of albums. The Kraftwer albums I would recommend to someone who has not heard their music before, are the albums they released from 1974-1978. These are 1974s Autobahn, 1975s Radio-Activity, 1977s Trans-Europe Express and 1978s The Man-Machin. These feature Kraftwerk at their innovative and pioneering best. Having said that, Kraftwerk released albums throughout the next three decades. They have never been a prolific band, and there is sometimes huge gaps between their releases. For example, they released The Mix in 1991, and then nothing until Tour de France Soundtracks in 2003. Throughout a career spanning nearly five decades, Kraftwerk have only released twelve albums. That backs up my earlier statement that they are not a prolific band. However, what they are, are a band who have released some classic albums, which have gone on to influence generations of new musicians and producers.
The first classic albums Kraftwerk released was 1974s Autobahn. Innovative, inventive and influential, Autobahn epitomises everything that’s good about Kraftwerk. They began the next chapter of their areer as they meant to go on, That’s by creating music that was pioneering and groundbreaking. Autobahn is one of the most important and influential albums in the history of not just Krautrock, but music per se. Quite simply, Autobahn’s importance can’t be underestimated. It went on to influence everyone from Brian Eno, Iggy Pop and Brian Eno right through to Primal Scream and Radiohead. Even forty after the release of Autobahn, it’s still cited as album that influenced the latest generation of musicians and producers.
Kraftwerk have also influenced several generations of electronic and dance music producers. Would dance music have developed without Kraftwerk? Personally, I think not. Many techno producers quote Kraftwerk as a huge influence. It is not only electronic and dance musicians that have been influenced by Kraftwerk. Many other musicians say that Kraftwerk had a huge influence on their musical development. That’s why I said we can’t underestimate Kraftwerk’s influence on music. Their influence began with their 1974 album Autobahn, which will be rereleased by WEA Japan on 4th February 2014. For the newcomer to Kraftwerk’s music Autobahn is essential listening.
If you have never heard either Kraftwerk’s music or Autobahn, I urge you to consider buying this album. Autobahn is one of Kraftwerk’s finest albums. There may only be five tracks on the album, but they are five tracks that demonstrate how Kraftwerk were musical pioneers, leading the way, for future generations of musicians. If you are someone who is a fan of electronic or dance music, and have never heard this album, it is almost part of your musical education to listen to it. This will demonstrate to you, that what many electronic and dance music artists have been doing, is nothing new, this type of music has been around for a long time. Should you wish to explore Kraftwerk’s music further, I would recommend another three of their albums, Radio-Activity, Trans-Europe Express and The Man-Machine. Standout Tracks: Autobahn, Kometenmelodie and Morgenspaziergang.
KRAFTWERK-AUTOBAHN.
KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
Imagine this scenario. You’re part of a band whose just released your debut album which fails to chart. A year later, you release the followup which not only reaches number one in the US R&B Charts and is certified triple-platinum, but features two singles that reach number one in the US Billboard 100 and US R&B Charts. Although this sounds somewhat far-fetched, and not unlike the scrip for a low-budget movie, it really happened back in 1975. The band were KC and The Sunshine Band.
Their debut album, Do It Good was released back in 1974, but failed to chart. Then when KC and The Sunshine Band released Get Down Tonight in April 1975, the single reached number one in the US Billboard 100 and US R&B Charts. Three months later in July 1975, KC and The Sunshine Band released their second album KC and The Sunshine Band. It reached number four in the US Billboard 200 and number one in the US R&B Charts. By now, KC and The Sunshine Band were one of the biggest bands of 1975, but in August 1975 they’d release a track that since then, has become synonymous with them That’s the Way (I Like It). This single replicated the success of Get Down Tonight, reaching number one in the US Billboard 100 and US R&B Charts. However, KC and The Sunshine Band which will be rereleased on 4th February 2014 on WEA Japan was just the start of a four year period when KC and The Sunshine Band became one of the biggest funk bands in America. Once I’ve told you about the making of KC and The Sunshine Band, I’ll tell you why the album KC and The Sunshine Band was so successful.
After the disappointment of the commercial failure of their debut album Do It Good, Harry “Wayne” Casey and Richard Finch the two original members of KC and The Sunshine Band set about writing new material for their next album. They cowrote eight tracks, plus chose to cover a track they cowrite for George McCrae’s Rock Your Baby album, I Get Lifted. The eight new tracks were heavy on hooks, and sometimes, are unkindly referred to as “bubblegum funk.” While it’s true the music isn’t the heavier funky sound of P-Funk, that’s doing KC and The Sunshine Band a disservice. They fuse funk with soul and disco, succeeding in turning many people onto funk, something James Brown and George Clinton had tried to do for many years.
Recording of the album took place at TK’s Miami Studios. After the disappointment of the commercial failure of their debut album Do It Good, Harry “Wayne” Casey and Richard Finch were joined by the other band members. While Harry sang lead vocal, Richard played bass, drums and percussion, with guitarist Jerome Smith and drummer Robert Johnson key to the band’s sound. Together with a horn section and backing vocalists, the nine tracks were recorded, with Harry and Richard arranging and producing the nine tracks that became KC and The Sunshine Band. Soon, the lives of the members of KC and The Sunshine Band would be transformed, when the first single was released from KC and The Sunshine Band.
Get Down Tonight was chosen as the first single to be released from KC and The Sunshine Band. It was released in April 1975, reaching number one in the US Billboard 100 and US R&B Charts. This bode well for the release of KC and The Sunshine Band. On its release in July 1975, it reached number four in the US Billboard 200 and number one in the US R&B Charts, resulting in the album being certified triple platinum in the US and platinum in Canada. KC and The Sunshine Band’s success continued apace, when they released the second single from KC and The Sunshine. That’s the Way (I Like It) was released in August 1975, replicating the success of Get Down Tonight, reaching number one in the US Billboard 100 and US R&B Charts in September 1975. One further single, Boogie Shoes was released in February 1978, reaching number thirty-five in the US Billboard 100 and number twenty-nine in the US R&B Charts. While this was slightly disappointing, given the success of the two previous singles and the album KC and The Sunshine Band, the lives of the members of KC and The Sunshine Band had been changed forever. However, what made KC and The Sunshine Band such a successful album? That’s what I’ll now tell you.
Opening KC and The Sunshine Band is Let It Go (Part One), where percussion and pounding drums give way to Harry’s vocal which signals the track bursting into life. The track heads in the direction of funk, with blazing horns, percussion and the rhythm section driving the track along. Harry’s like a cheerleader, encouraging the band on. Having expended so much energy, KC and The Sunshine Band regroup during a breakdown, before rebuilding and driving the track along to its close. This whets your appetite nicely, for what’s about to unfold.
You don’t have long to wait for something really special to unfold, with a track that’s since become synonymous with KC and The Sunshine Band That’s the Way (I Like It) bursting joyously into life. Suddenly, it’s late summer of 1975 again, with KC and The Sunshine Band providing the soundtrack. The familiar strains of the backing vocalists soaring above the massed ranks of the rhythm section percussion and rasping horns. Then comes Harry’s impassioned vocal, made even better by the continued presence of the backing vocals. Layers of backing vocals, a buzzing bass and punchy horns all play their part in the track’s success and sound. It’s impossible not to get caught up in the song’s hook-laden, good-time, joyful Miami sound as KC and The Sunshine Band fuse funk, soul and disco seamlessly.
How do you follow a classic track like the previous one, is something I’ve always wondered. Although Harry and Richard never knew how successful That’s the Way (I Like It) would be, they must have had an inkling. So whatever track follows has a hard act to follow. Here, Get Down Tonight sees KC and The Sunshine Band combine elements of funk and soul. There’s plenty of punchy, rasping horns that are key to sound, that are accompanied by a pounding, funky rhythm section. Harry’s vocal drifts in and out the track, not unlike Let It Go (Part One). However, it’s the band that take centre-stage, producing a track that although isn’t as hooky as the previous track, is catchy, good-time funk and far from the “bubblegum funk,” that KC and The Sunshine Band were unkindly accused of producing.
Boogie Shoes was the third and final single released from KC and The Sunshine Band and closed Side One of the original album. Like That’s the Way (I Like It), this is another track that demonstrates what made KC and The Sunshine Band’s music so successful. From the opening bars, they have you’re attention with the combination of rhythm section and growling horns. The lyrics are simple, memorable and have a feel-good sound. Importantly, the whole track is dance-floor friendly. Harry’s vocal is full of joy, all hollers and happiness, with the horns ever-present throughout the track, while the rhythm section and percussion provide the track’s heartbeat. Similar to the other two singles, Harry and Richard ensure the track isn’t short of hooks, and has a real feel-good sound that’s dance-floor friendly.
Ain’t Nothing Wrong was the track that opened Side Two of KC and The Sunshine Band. You can imaging having listened to Side One, flipping the record over and wondering can it match the quality of Side One. Instantly, you’re aware of a more laid-back sound wafting out of your speakers. There’s still rasping horns, but the track is much more soulful. Just the rhythm section, piano and backing vocalists accompany Harry’s gentle, heartfelt vocal. The track along meanders, with flourishes of piano, guitars and growling horns key to the track’s sound and success. Meanwhile Harry spreads his message of love, while demonstrating a much mellower, soulful side of KC and The Sunshine Band.
I’m So Crazy (About You) sees a driving, pounding rhythm section open the track, before being joined by punchy, braying horns. Harry’s vocal is soft, tender and contrasts with the rest of the arrangement. This makes you focus on his vocal and the lyrics. The punchy arrangement suits the song, and is another example of Harry “Wayne” Casey and Richard Finch’s ability to write songs with catchy, memorable lyrics. There’s a poppy quality to the lyrics and the arrangement, even though the band are fusing funk and soul. Although this is an example of a good pop song, it’s tracks like this that lead to unkind accusations of KC and The Sunshine Band producing “bubblegum funk.” Mind you, many of these barbed arrows came from less successful funkateers, jealous of the band’s success.
What Makes You Happy sees another change in style from the band. The tempo drops way down, with guitars and the rhythm section producing a track with a sixties sound. The addition of the Hammond organ and Harry’s vocal adds to this. Gone is the joyous vocal from Harry, replaced by a more thoughtful delivery. He’s accompanied by growling horns, while the rhythm section take the arrangement in a direction where rock and funk combine. This is a very different song from other tracks, and rebuts the accusations of KC and The Sunshine Band producing “bubblegum funk.
I Get Lifted was a track that Harry and Richard cowrote for George McCrae’s debut album Rock Your Baby. KC and The Sunshine Band ‘s cover version gives new meaning to the track. Harry uses his vocal to produce a sultry exploration of the lyrics subtleties and nuances. Similarly, the rest of the band take the song in a new direction. There’s space to the arrangement, which the rhythm section and guitars leave. Chiming, crystalline guitars, a buzzing bass and percussion provide the backdrop for Harry’s sensual, joyful vamping vocal. Together with the rest of the band their interpretation of this song brings new life and meaning to it.
Closing KC and The Sunshine Band is Let It Go (Part Two), which is a perfect two minute reminder of the track that started the album. My theory is that it’s designed to remind you how good the track is and that you’ll flip the record over and listen again. Nowadays we don’t even need to do that, just press play again.
KC and The Sunshine Band was just the first of four KC and The Sunshine Band’s albums that would be certified platinum. When KC and The Sunshine Band released their next album The Sound of Sunshine failed it to chart. Thankfully, this was just a temporary hitch, explained by the fact It was an instrumental album, credited to just the Sunshine Band. Normal service was resumed with 1976s Part 3, which was also certified triple platinum. Two years later in 1978, Who Do Ya (Love) was certified platinum, as was 1979s Do You Wanna Go Party. Following Do You Wanna Go Party KC and The Sunshine Band never enjoyed the same commercial success.
Seven further albums followed, with 2007s Yummy the last of these. For five years, KC and The Sunshine Band were one of the biggest funk bands around, fusing their unique brand of funk, soul and disco. The album that started it was 1975s KC and The Sunshine Band. This was a long way from their 1974 debut album Do It Good, which failed to chart. However, any album that featured three singles of the quality of Get Down Tonight, That’s the Way (I Like It) and the brilliant Boogie Shoes was destined for greatness in 1975. Having said that, there’s more to the album KC and The Sunshine Band than just three tracks. Let It Go (Part One), Get Down Tonight, Ain’t Nothing Wrong and I’m So Crazy (About You) are proof of this. For me, KC and The Sunshine Band, which will be rereleased by WEA Japan on 4th February 2014, and its mixture of funk, disco and sunshine soul is the perfect soundtrack to the long summer nights that lie ahead. KC and The Sunshine Band is guaranteed to get any party started and have everyone looking for their Boogie Shoes. Standout Tracks: Get Down Tonight, That’s the Way (I Like It), Boogie Shoes and Ain’t Nothing Wrong.
KC AND THE SUNSHINE BAND-KC AND THE SUNSHINE BAND.
MAJOR HARRIS-HOW DO YOU TAKE YOUR LOVE.
MAJOR HARRIS-HOW DO YOU TAKE YOUR LOVE.
Two years after the release of his 1976 sophomore album Jealousy, Major Harris returned with How Do You Take Your Love, which was rereleased by Funkytown Grooves on 21st January 2014. How Do You Take Your Love found Major Harris’ career at a crossroads.
His 1975 debut album My Way reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. No wonder. My Way featured a Philly Soul classic and a song that became synonymous with Major Harris, Love Won’t Let Me Wait. The success of My Way vindicated Major Harris’ decision to leave The Delfonics in 1974. However, the commercial success and critical acclaim of My Way wasn’t replicated by the followup, Jealousy.
When Jealousy was released, the same personnel that worked on My Way reconvened. This included many members of The Salsoul Orchestra. They arranged, produced, wrote and played on Jealousy. Despite this, Jealousy reached number 153 in the US Billboard 200 and number thirty-three in the US R&B Charts in 1976. Jealousy had failed to match the success of My Way. This was a huge disappointment. After all, there was nothing wrong with the music on Jealousy.
Part of the problem was that musical fashions were changing quickly. Disco had became the most popular musical genre. For soul singers like Major Harris, this presented a problem. Granted some of the songs on Jealousy are dance-floor friendly, but that didn’t help make Jealousy the commercial success it deserved to be. Atlantic Records realising that music was changing, decided that Jealousy was the last album Major Harris they’d release. So, Major Harris founded himself without a record label.
Having left Atlantic Records, Major Harris signed to RCA in 1978. They decided a change of tack was needed to rejuvenate Major Harris’ career. They decided the way to rejuvenate Major Harris career was to record an album in New York. This is ironic, given Philly was still one of the music capitals of America. Other record companies were still sending artists to Philly to record with some of the best arrangers, producers, songwriters and musicians. Not RCA. They decided to record what was essentially an album of Philly Soul in New York.
In New York, Major Harris would work with another Philly native, Jerry Ragavoy. He was born in Philly, but moved to New York as a child. Jerry would produce and write much of How Do You Take Your Love. This includes I Wanna Dance With You, Lucky Day, How Do You Take Your Love and Night Moods. Jerry cowrote Pretty Red Lips (Kiss My Blues Away) and You’re So Good You’re Bad with Aaron Schroeder. The other three tracks included Ted Daryll’s This Is Forever and two tracks that Chris Palmaro cowrote. Chris cowrote Your Sweet Song with Ken Bloom and Let Me Take You There with Joey Levine. These nine tracks were recorded at Counterpoint Recording Studios, New York.
When recording of How Do You Take Your Love began at Counterpoint Recording Studios, New York, different musicians were drafted in to play on different tracks. The rhythm section included drummers Leo Adamian Steve Jordan, bassists Will Lee and Wilbur Bascomb while guitarists included Jeff Layton, Joe Caro and Jeff Mironov. They were joined by percussionist Sammy Figueroa and pianists Cliff Carter and Paul Shaffer. Backing vocalists included Diva Gray, David Lasley, Gordon Grody, Phillip D. Ballou, Alfa Anderson and Luther Vandross. Once How Do You Take Your Love was finished, it was released later in 1978. On the release of How Do You Take Your Love in 1978 it sank without trace. It didn’t come close to troubling the charts. Since then, How Do You Take Your Love has never been released. It’s lain in RCA’s vaults So, is How Do You Take Your Love another hidden gem in Major Harris’ back-catalogue? That’s what I’ll tell you.
I Wanna Dance With You opens How Do You Take Your Love. Straight away, the Philly Soul influence is apparent from the opening bars. Lush strings sweep, while the bass prowls guitars weep and join keyboards in setting the scene for Major Harris. His vocal is tender, needy and seductive. Harmonies answer his call, proving a perfect foil for his vocal. Meanwhile, the rhythm section provide the heartbeat, horns rasp and strings sweep. They provide a Philly Soul back drop to Major Harris as he reminds us what he’s capable of. However, one question needs to be asked. Why if RCA wanted a Philly Soul album, did they send Major Harris to New York?
Lucky Day is another track where the Philly Soul influence shines through. Strings dance, horns rasp and the rhythm section provide the heartbeat to this mid-tempo dance track. Major Harris rolls back the years. His sassy vocal is accompanied by punching, soaring harmonies, grizzled horns and the dancing strings. With cooing harmonies for company Major Harris combines Philly Soul, jazz and disco to create a hook-laden dance track.
Pretty Red Lips (Kiss My Blues Away) sees the tempo and a dramatic, emotive ballad unfold. It’s reminiscent of the type of music coming out of Philly between 1972 and 1978. Having said that, the one difference is the quality. Chiming guitars and wistful strings combine before dramatic drums set the scene for Major Harris. His vocal is heartfelt and emotive. Meanwhile the band build the drama and emotion, as Major Harris unleashes a powerful, pleading vocal. Horns growl, strings sweep and the drums provide the heartbeat to what’s best described this slice sensual Philly Soul.
How Do You Take Your Love is a slow sensual ballad written by Jerry Ragavoy. Again, Major Harris delivers a seductive, sultry vocal. Swathes of strings, keyboards, rhythm section and blazing horns join urgent harmonies. My only criticism rogue funky guitar. Apart from that Jerry’s arrangement works well. As fort Major Harris shows he breathes life and meaning into this paean.
The first time I heard Night Mood I was struck by how similar the melody was to Marvin Gate’s What’s Going On. If you can imagine What’s Going On speeded up, you’ll realise where I’m coming from. I’d describe it as a mid-tempo fusion of disco, funk, jazz, Latin and soul. With a light and airy arrangement, the track breezes along, taking on a summery sound. Major Harris is accompanied by the rhythm section, percussion and swathes of strings. later rasping horns and sultry harmonies join, as we hear a very different side to Major Harris.
Just drums, piano and moody bass set the scene for Major Harris’ sultry, half-spoken vamp on You’re So Good You’re Bad. He’s joined by sassy harmonies before the song unfolds. Soon, Major Harris’ is mixing power and passion against a pulsating arrangement. Swathes of strings, piano and cooing harmonies join rasping horns. They’re the perfect foil for Major Harris as he unleashes a needy vocals. The result is a track that’s not just funky and soulful, but sassy and sultry.
Just a lone piano opens You’re Sweet Song, before it bursts into life and heads in the direction of disco. Major Harris holds on for his life. Thunderous drums, funky bass, sweeping swirling strings and braying horns join forces. They provide the backdrop for Major Harris. However, the arrangement dominates his vocal. He’s accompanied by soaring harmonies. Just like the vocal, they’re dwarfed by the rest of the arrangement. That’s a pity, because everything was place for a good track.
This Is Forever sees another change in style. Major Harris return to the ballads he delivers so well. Accompanied by crystalline guitars, lush strings and a deliberate rhythm section Major Harris delivers a vocal masterclass. It’s seductive, soulful and sincere. He throws himself into the song, making the lyrics come alive. Drums pound and horns blaze adding to the drama, while swathes of strings add to seductive backdrop. The result is one of the highlights of How Do You Take Your Love.
Closing How Do You Take Your Love is Let Me Take You There. Just like so many of the tracks on the album, it has a Philly Soul influence. It’s another mid-tempo track. Swathes of strings sweep, swirl and dance, while cooing harmonies and answer Major Harris’ call as the track heads in the direction of disco. A lone horn and rock-tinged guitar play their part in a fusion of Philly Soul, funk and disco.
How Do You Take Your Love, Major Harris showed how quickly an artist’s fortunes could change. The album sank without trace. It was the least successful album in Major Harris’ career so far. It had all been so different in 1975.
That’s when Major Harris enjoyed a number one US R&B single with Love Won’t Let Me Wait. It was taken from his 1975 debut solo album My Way, which reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. Its success vindicated Major Harris’ decision to leave The Delfonics. A year later, in 1976, Major Harris’ sophomore album Jealousy failed to replicate the success of My Way, reaching number 153 in the US Billboard 200 and number thirty-three in the US R&B Charts. That wasn’t good enough for Atlantic Records. They dropped Major Harris. Without a record company Major Harris’ career was at a crossroads. However, RCA rode to the rescue.
The way RCA went about rejuvenating Major Harris’ career surprised many people. They didn’t record what became How Do You Take Your Love in Philly. Neither did they involve any of the arrangers, producers, songwriters, musicians and backing vocalists who Major Harris had worked with. This included Norman Harris, Major Harris’ cousin. He’d established a reputation as one of Philly’s top producers. Getting Norman Harris onboard meant getting access to the arrangers, producers, songwriters, musicians and backing vocalists who worked with him. RCA decided that wasn’t the way to go. That’s ironic, given they recorded what’s essentially a Philly Soul album in New York.
Jerry Ragavoy was chosen to produce How Do You Take Your Love. He wrote four tracks and cowrote two other tracks. Along with three other tracks, this became How Do You Take Your Love. For the recording session in New York, producer Jerry Ragavoy put together a band consisting of session musicians and backing vocalists. Good as they were, they weren’t as good as the musicians who played on Major Harris first two albums. No wonder. They were the original version of M.F.S.B, who were now The Salsoul Orchestra. M.F.S.B. had been one of the architects of Philly Soul. The musicians who played on How Do You Take Your Love were talented session players, but had their own sound. Asking the to recreate Philly Soul seems strange. Why not make it a whole lot easier and hire the real thing? Having said all that, there are a few memorable moments on How Do You Take Your Love.
I Wanna Dance With You and Lucky Day are essentially Philly Soul tracks. Pretty Red Lips (Kiss My Blues Away is a disappointing track. I’d describe it as Philly Soul lite. Things brighten up on the title-track, a ballad where Major Harris can showcase his inconsiderable skills. Indeed, it’s the ballads on How Do You Take Your Love. when Major Harris is at his best. Poof of this is You’re So Good You’re Bad and This Is Forever. Night Mood is a breezy track with a summery sound. You’re Sweet Song sees things go slightly awry, when the arrangement dwarfs the vocal. Then on closing track Let Me Take You There sees Philly Soul and disco combine. That’s quite appropriate.
After all, disco had replaced Philly Soul as the most popular musical genre. Soul singers like Major Harris were struggling. So he was encouraged to jump onboard the disco bandwagon. This gamble didn’t pay off. How Do You Take Your Love with its fusion of Philly Soul and disco wasn’t a commercial success. Since then, it’s never been rereleased. That’s until now.
Funkytown Grooves rereleased How Do You Take Your Love on 21st January 2014. Slow jams and dance tracks sit side-by-side on this fusion of Philly Soul and Philly Disco. How Do You Take Your Love sees Major Harris take you on a musical roller coaster journey. He’s capable of provoking a whole range of emotions, from sadness to joy, and everything in between. One minute Major Harris tugs at your heartstrings, the next, he comes up with a hook-laden tracks. That’s why for anyone who enjoys Philly Soul will welcome the rerelease of How Do You Take Your Love.
MAJOR HARRIS-HOW DO YOU TAKE YOUR LOVE.
DOUG PAISLEY-STRONG FEELINGS.
DOUG PAISLEY-STRONG FEELINGS.
For anyone yet to discover Doug Paisley’s music, you’ve been missing out on one of the most talented singer-songwriters of his generation. Born in Toronto, Canada, Doug has just released his third album Strong Feelings on No Quarter Records. Strong Feelings is a fusion of alternative country, Americana and folk. The album contains well crafted songs that bring to mind songwriters like Bob Dylan, Neil Young, Gordon Lightfoot, Gram Parsons and John Martyn. Listening to Strong Feelings is like a trip back In time, to the seventies, which for many people, was the golden age of the singer-songwriter. Doug Paisley it seems, is the keeper of the flame for the singer songwriter. He has been since 2008, when he released his eponymous debut album.
It was in November 2008, that Doug released his debut album Doug Paisley. Released on No Quarter Records, critics hailed Doug’s fusion of alternative country, Americana and folk. Comparisons were drawn with the classic singer-songwriters of the seventies. One of the artists Doug was compared to, was Neil Young, circa Harvest. Other album I’d compare Doug Paisley to, are Bob Dylan’s trio of John Wesley Harding, Nashville Skyline and even the overlooked New Morning. These influences can be heard on Doug Paisley, which launched the career of Canada’s latest troubadour.
Two years after his eponymous debut album, Doug returned with his sophomore album Constant Companion in 2010. During the two previous years, Doug had been busy touring and honing his sound. This didn’t affect the quality of music on Constant Companion. Just like his debut album, Constant Companion was a melange of alternative country, Americana and folk. Doug was still flying the flag for the singer-songwriter. Critics approved of this. They recognised that Doug had a big future ahead of him. His music seemed to have matured. He was essentially a storyteller, who captivated his listeners. Soon, word was spreading about Doug Paisley. Surely, he was on the cusp of a breakthrough commercially?
After a gap of nearly four years, Doug released his third album Strong Feelings on 20th January 2014. It was released to critical acclaim. Critics forecasted that Strong Feelings would be the album that saw Doug Paisley make a commercial breakthrough.
Strong Feelings features ten songs written by Doug Paisley, who played guitar and produced the album with Stew Crookes. Doug’s band featured a rhythm section of bassists Brazil Donavon and Darcy Yates, drummer Rob Drake and Gary Craig plus guitarist Emmett Kelly. Gareth Hudson, Robbie Grunwald and Jason Sniderman played keyboards, while Colin Stetson played horns and Jay Anderson and Stew Crooks played tambourine. Backing vocals include Mary Margaret O’Hara, Tamara Linderman and Alfie Junvaren. This was the band that played on what’s meant to be Doug Paisley’s breakthrough album Strange Feelings? However, are the critics right and Strange Feelings is the album that’ll see Doug Paisley make a commercial breakthrough? That’s what I’ll tell you.
Radio Girl opens Strong Feelings and sees Doug throw a curveball. That curveball is the melancholy piano. It drops out, giving way to a alt-country arrangement. Crystalline guitars, reminiscent of Wilco and The Jayhawks join the rhythm section. They set the scene for Doug’s lived-in, wistful vocal. It’s accompanied by tender backing vocals, piano and keyboards, while the guitars and rhythm section are ever-present, as Doug forever the storyteller, paints pictures with his melancholy lyrics.
Song My Love Can Sing has a much more traditional country sound. That’s apart from the washes of Hammond organ. It fills out the arrangement, proving a perfect foil. Just a strummed guitar chimes, as a thoughtful, pensive Doug remembers a time and place, when happiness was within his grasp. That was long ago. Now older and wiser, he realises what he had. As if emotion gets the better of him, his vocal drops out. This allows his band to showcase their inconsiderable talent, as they combine country’s past and present. Then when Doug’s vocal returns, he years for what he had and lost, all these years ago. Emotive, wistful and beautiful, it’s a song many people will be able to relate to.
Just a lone guitar opes It’s Not Too Late (To Say Goodbye) before the rhythm section and crystalline guitars join forces with Doug’s vocal. He sounds not unlike Michael Stipe of R.E.M. as alt-country, folk and indie rock combine. Later, Doug’s joined by baking vocalist Tamara Linderman. They prove a potent partnership, mixing emotion and passion. Then comes the breakdown, where the band enjoy their moment in the spotlight. When Doug’s vocal returns, you’re reminded why this one of the highlights of Strange Feeling. There’s no shortage of hooks during this anthemic track which would make a great single. It’ll also prove a festival favourite during the summer.
Our Love features a much more subdued Doug on a track that’s a mixture of traditional and alt-country. The rhythm section provide an understated backdrop, while guitars reverberate and keyboards drift in and out. As Doug sings: “it’s just you and me, My Love” you wonder what he’s feeling. Is it love or regret? Joy and happiness seem absent. Is Doug trapped in a relationship that’s gone wrong?
The combination of a lone guitar that’s joined by a piano provide the perfect backdrop for Doug on What’s Up is Down. Confusion surrounds Doug. This is evident when he sings “What’s Up is Down, what’s wrong is right.” It’s a cathartic laying bare of his soul. Accompanying him is Alfie Jurvanen. She matches Doug every step of the way for sincerity and emotion. A rasping horn and rambling piano add the finishing touches to what’s one of the most beautiful paeans I’ve heard in a long, long time.
Old Times sounds totally unlike a 21st Century song. It sounds more like a song recorded in the early seventies, the heyday of the singer-songwriter. That’s how good Doug Paisley is. His vocal is tender and wistful, as he delivers a heartfelt, needy vocal. You sense he means it, as he sings “I’m going to wait for you.” Washes of Hammond organ, chiming guitar and understated rhythm section accompany Doug, as he paints pictures with his lyrics. They’re evocative and have a cinematic quality. This proves that the singer-songwriter is still alive and well.
Growing Souls is slow, spacious song, which is atmospheric. Doug sounds not unlike Jackson Browne. His vocal is slow, thoughtful and deliberate. Behind him, washes of Hammond organ, guitars and probing bass combine. Elements of alt-country, country, folk and indie combine. Later, the track takes on a lo-fi sound, thanks to the keyboards. Even that works. It’s used as a stepping stone as Doug unleashes an impassioned, gut-wrenching vocal, while Hammond organ and harmonies accompany him. Bookended by vintage guitars, Growing Souls shows another side of Doug Paisley.
To and Fro opens with some of the best guitar licks on the album. Crystalline, they head in a rocky direction as Doug and his band draw inspiration from the classic rock of the sixties and seventies. Doug though, draws inspiration from country music. What follows is reminiscent of the patron saint of Canadian music Neil Young. Accompanied by a myriad of searing, blistering guitar licks and the rhythm section, this seems to inspire Doug, as he fuses classic rock and country seamlessly.
As Where the Light Takes You meanders into being, its inconsiderable charms worm their way into your consciousness. Hooks certainly haven’t been rationed, on this slice of alt-country. Accompanied by the rhythm section, searing guitars, Hammond organ and harmonies Doug delivers an emotive vocal. He’s happy and it shows. Accompanied by backing vocalists, he sings about having found love, and the realisation his partner is a free spirit. Doug’s afraid she won’t stay long in the same place. When he sings: “you’ll go Where the Light Takes You, he wonders if this relationship won’t last? Then he feels guilty, as if holding her back. He feels bad for hoping she stays with him. A hook-laden, emotion roller coaster, with a sing-along quality, it doesn’t get much better than this.
Closing Strong Feelings is Because I Love You. With just his trusty guitar for company, Doug returns to his country roots and delivers a tender vocal. He’s accompanied by Margaret Mary O’Hara and they sing the song as a duet. The result is a quite beautiful song that’s a reminder of what music used to sound like.
There’s no doubt about it, Doug Paisley is a seriously talented singer-songwriter. He’s a reminder that there are still musicians who can write their own songs. Proof of that is Strong Feelings. Then when he sings the ten songs on Strong Feelings, they come alive. They’re like ten short stories. Tales of betrayal, love and love gone wrong, you can picture these scenarios unfolding. Many of the songs have a cinematic quality. Close your eyes and the scenes unfold in front of your eyes. Not many contemporary singers can do that. Doug Paisley can. That’s why listening to Doug’s third album Strange Feelings is like a return to the golden age of the singer-songwriter. Strong Feelings is also a coming of age for Doug Paisley.
Strong Feelings is the album where Doug Paisley’s music should attract a much wider audience. He’s come of age and deserves to be heard by a record buying public starved of quality new music. From the opening bars of Radio Girl, right through to the closing bars of Because I Love You, Doug Paisley has you captivated. It’s music that’s absorbing, beautiful, cathartic, cinematic, emotive, enthralling and heart-wrenching. That’s why Doug Paisley deserves to make a commercial breakthrough after five years of trying.
During that period, Doug Paisley has spent time honing his sound and recording two albums. Just like Strong Feelings, they showcase a talented singer, songwriter, musician and now producer. Doug has been influenced by the music of the late-sixties and early-seventies. That’s no bad thing though, given how much important music was recorded then. However, there’s much more to Doug Paisley’s music than that. There’s the Atl Country of the nineties, plus traditional country music, Americana, folk, indie and rock. He’s taken this eclectic selection of influences and genres, then given them his own twist. The result is Doug Paisley’s third album Strong Feelings, a refreshingly eclectic album where each track offers something different and new. That’s why I’d describe Doug Paisley’s Strong Feelings as a classic in-waiting. Standout Tracks: Radio Girl, Song My Love Can Sing, It’s Not Too Late (To Say Goodbye) and What’s Up is Down.
DOUG PAISLEY-STRONG FEELINGS.
T-CONNECTION-T-CONNECTION.
T-CONNECTION-T-CONNECTION.
By December 1978, disco was at the peak of its popularity. So should T-Connection. They should’ve been riding the crest of the disco wave. They weren’t. That age old problem, the difficult second album had tripped them up. Their had career started so well. Magic released in April 1977 reached number 109 in the US Billboard 200 and number thirty-two in the US R&B Charts. It featured two hit singles, including Do What You Wanna, which reached number one in the US Disco Charts. Then came the difficult second album On Fire.
On Fire proved to be a somewhat ironic title for T-Connection’s sophomore album. T-Connection weren’t On Fire. Released in 1978, On Fire stalled at number 139 in the US Billboard 200 and number forty in the US R&B Charts. They’d failed to build on the momentum of Magic. Instead, they’d changed direction musically. Whereas Magic was a delicious fusion of disco, funk and soul, full of social comment and love songs, T-Connection was a much more lightweight, commercial album. Here, was another case of second album syndrome. T-Connection’s career was at a crossroads. Their third album T-Connection, which will be rereleased by WEA Japan on 4th February 2014, could make or break the band. Which was it?
For T-Connection, the band’s founder Theophilus T. Oakley wrote four songs and cowrote three songs. He penned Coming Back For More, Funky Lady, Saturday Night and Love Supreme. Guitarist David Mackey and Theophilus cowrote At Midnight and Midnight Train, while Theophilus and Montgomery Kemp wrote Funkannection. Kurt Oakley contributed Don’t The Stop The Music, the other track on T-Connection. These eight tracks were recorded at Studio Sound Center Recordings in Miami, Florida.
At Studio Sound Center Recordings T-Connection were joined by producer Cory Wade. Theophilus T. Oakley sang lead vocals and played keyboards. He was joined by the rest of T-Connection. This included the rhythm section of bassist Kurt Oakley, drummer Berkeley Van Byrd and guitarists Monty Brown and David Mackey. Tony Flowers the other member of T-Connection added percussion. Strings and horns were arranged by Bert Dovo. Once the eight songs were recorded, T-Connection was released in December 1978. Would T-Connection revive the group’s ailing fortunes?
When T-Connection was released in December 1978, it reached number fifty-one in the US Billboard 200 and number twenty in the US R&B Charts. Chosen as the lead single was At Midnight. Released in December 1978, it reached number fifty-six in the US Billboard 100, number thirty-two in the US R&B Charts and number three in the US Disco Charts. In the UK, At Midnight reached just number fifty-three. Saturday Night was then released as a single in February 1979. It reached number twenty-eight in the US R&B Charts and number forty-one in the UK. T-Connection had transformed the group’s career. Not only was it their most successful album, but featured two hit singles in the US and UK. What made T-Connection such a successful album? That’s what I’ll now tell you.
Opening T-Connection is the mid-tempo, uber funky Funkannection. It’s similar to a couple of tracks on Magic. There’s P-Funk and proto-rap influences to the track. Here, T-Connection’s rhythm section get busy. Along with chiming guitars, they produce the funkiest of licks. Theophilus’ vocal veers between proto-rap and a sultry vamp. Urgent bursts of harmonies and handclaps accompany him. As searing guitars, slap bass and keyboards provide the backdrop, to this slice of good time funky music.
Coming Back For More is the first of four tracks Theophilus T. Oakley wrote. Driven along by a bounding, bubbling bass line, funk and soul meet head on. This is what T-Connection do so well. Their rhythm section, keyboards and percussion provide a funky backdrop for Theophilus’ sultry, soulful vamp. He sings call and response. Soaring, soulful harmonies accompany him. As he struts his way through this tale of love gone wrong, you’d think he hadn’t a care in the world.
Funky Lady sees T-Connection up the ante. This track surpasses everything that’s gone before. Tough and funk, T-Connection showcase their inconsiderable skills. Referencing Parliament, Funkadelic, The Temptations and Isley Brothers a vintage slice of funk unfolds. As usual, the rhythm section are at the heart of the action. They up the funk factor to eleven. Joining them are chiming guitars, clavinet and bursts of blazing horns which punctuate the arrangement. As for Theophilus, he struts his way through the track. His vocal is feisty and sassy, as soulful, sweeping and sometimes sassy harmonies respond to his call. When all this is combined, it’s one of the funkiest ladies you’ll met.
Don’t Stop The Music picks up where Funky Lady left off. Driven along by the bass, stabs of growling horns, chiming guitars and piano provide the backdrop to Theophilus’ vocal. This is his best vocal so far. He seems to sing within himself. His vocal is heartfelt and soulful. So too are the harmonies, which are reminiscent of The Temptations. They’re smooth and soar above the arrangement. Stabs of horns, piano and the funky rhythm section join forces, bringing back memories of The Commodores, Isley Brothers and Earth Wind and Fire at their best.
Saturday Night sees Kirkwood Oakley unleash a peerless slap bass solo before Chic style guitars and the lushes of disco strings sweep in. They too, have a Chic “sound.” At last, T-Connection are revisiting the disco of Magic. As Theophilus delivers a vocal that’s full of sass and bravado, a bubbling bass provides the heartbeat. Stabs of braying horns, quivering strings and bursts of harmonies accompany him. Later, cooing, oohing harmonies add an unforgettable reminder of the heady, hedonistic days of disco.
At Midnight is another slice of Disco Magic from T-Connection. It literally bursts into life. Disco strings and urgent bursts of rasping horns are joined by a pulsating, funky heartbeat. Add to that a sprinkling of percussion and Theophilus’ emotive vocal. Mixing power and passion, he vamps his way through the track. Providing a perfect foil are sweeping, soaring harmonies. They rise like a phoenix from the ashes. During a breakdown the arrangement is pared back to just the percussion and rhythm section. From there, the arrangement rebuilds. Later, the arrangement is stripped bare again. Just the rhythm section and piano deliver a funk masterclass, before this opus heads to its dramatic crescendo.
Midnight Train is a fusion of musical genres. Everything from funk, pop, soul and disco combine. It’s a track that’s more in common with On Fire than Magic. Having said that, it’s not short of poppy hooks. Driven along by Kirkwood Oakley’s bass, drums pound and swathes of lush strings sweep and swirl. Theophilus’ vocal is tender and pensive, referencing soul and pop. As for the arrangement, it’s a fusion of disco and funk. Dance-floor friendly, poppy and soulful, hooks certainly aren’t in short-supply.
Closing T-Connection is Love Supreme, the only ballad on the album. This is a shame, as T-Connection do ballads really well. Just melancholy keyboards are joined by lush strings, crystalline guitars and the rhythm section. They set the scene for Theophilus’ tender, impassioned vocal. Accompanied by tight, heartfelt harmonies, T-Connection sounding not unlike Earth, Wind and Fire, close T-Connection on a soulful high. Indeed, so good is this track, that I’d say it’s the highlight of the album.
Having started their career on a high with Magic, T-Connection’s career stalled with their second album. Sophomore albums are notoriously hard. The temptation is to try something new. That’s what T-Connection did. It didn’t work. Whereas Magic was a delicious fusion of disco, funk and soul On Fire was a much more commercial sounding album. A collection of pop, rock, disco and soul, On Fire smoldered its way to number 139 in the US Billboard 200 and number forty in the US R&B Charts. For T-Connection, this was a disaster. They were left looking like another one trick pony. Their career was at the crossroads. If their third album flopped, it was game over for T-Connection.
Luckily for T-Connection, they returned to what they did so well. They fused disco, funk and soul. Of the eight tracks, there’s three funk and three disco tracks. Midnight Train is a fusion of musical genres. Love Supreme which closes T-Connection, is a beautiful ballad, one of the best the group recorded. Drawing inspiration from Chic, Funkadelic, Parliament, The Temptations and Earth Wind and Fire T-Connection released the most successful album of their career so far. Then there was the small matter of two hit singles in the US and UK. T-Connection’s comeback was complete. They weren’t out of the woods yet.
Just seven months later, the disco bubble burst. Suddenly, disco was as welcome as rattlesnake in a lucky dip. For a group who part of their success was down to disco, things weren’t looking good for T-Connection. However, T-Connection didn’t crash and burn. Instead, they adapted and released four further albums. Sadly, they never scaled the heights that T-Connection, which will be rereleased by WEA Japan on 4th February 2014 reached. T-Connection was T-Connection’s most successful album. Along with their debut album Magic, T-Connection finds T-Connection On Fire. Standout Tracks: Don’t Stop The Music, Saturday Night, At Midnight and Love Supreme.
T-CONNECTION-T-CONNECTION.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
The maxim that Good Things Don’t Last Forever proved to be true for Ecstasy, Passion and Pain. They released just one album, Ecstasy, Passion and Pain in 1974. Featuring just ten songs, Ecstasy, Passion and Pain was a tantalizing taste of what might have become for Barbara Roy’s group. The lineup featured a rhythm section of guitarist Jimmy Clark, bassist Joseph Williams and drummer Althea “Cookie” Smith, plus percussionist Carl Jordan and keyboardist Ronnie Foster. Barbara Roy sang lead vocals and was the voice of Ecstasy, Passion and Pain. On the release of their debut album Ecstasy, Passion and Pain, which will be rereleased by WEA Japan on 4th February 2014, they looked to have a great future ahead of them. With Philly Soul and disco about to dominate the seventies, their 1974 debut album couldn’t have been released at a better time.
Joining Ecstasy, Passion and Pain for the recording of their debut album, would be some of the most talented musicians of the time. The result would be Ecstasy, Passion and Pain, the one and only album from Barbara Roy’s innovative supergroup.
Barbara Roy’s first introduction to the music business was recording a series of singles with her niece Brenda Gaskins, as Barbara and Brenda. The released singles that included 1963s Let’s Get Together released on Avanti, plus 1967s If I’m Hurt You’ll Feel the Pain and Never Love A Robin on Dynamo Records. After her niece Brenda retired from music, Barbara played guitar for Inez and Charlie Fox. Barbara played on their biggest hit single, Mockingbird. Session work and songwriting was how Barbara earned a living. That was until 1973, when Ecstasy, Passion and Pain were formed in 1973.
Having formed Ecstasy, Passion and Pain, Barbara’s manager Phil Braxton got the group a recording contract with Roulette Records. Now that the deal was signed, work began on Ecstasy, Passion and Pain’s debut album, Ecstasy, Passion and Pain. For Ecstasy, Passion and Pain, Barbara penned seven of the ten songs under her real name, Barbara Gaskins. These were Ask Me, Let’s Love. I Wouldn’t Give You Up, I’ll Take The Blame, Try To Believe Me, Don’t Burn Your Bridges Behind You and Born To Lose You. The songwriting team of Norman Harris, Allan Felder and Bunny Sigler penned two tracks, Somebody’s Loving You and Good Things Don’t Last Forever. I’ll Do Anything For You was written by Melvin and Mervin Steals, fresh from the success of their million-selling single Could It Be I’m Falling In Love, which gave The Detroit Spinners a number one single. These tent tracks became Ecstasy, Passion and Pain, which was recorded at Philly’s Sigma Sound Studios, with an all-star band.
Accompanying Ecstasy, Passion and Pain for the recording of Ecstasy, Passion and Pain at Philly’s Sigma Sound Studios were the classic lineup Philadelphia International Records’ legendary house-band M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and Roland Chambers. Vince Montana Jr, played vibes, Larry Washington percussion and keyboards came courtesy of Lenny Pakula and Ron “Have Mercy” Kersey. They were joined by Don Renaldo’s Strings and Horns, plus backing vocalists The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton. Arranging, conducting and producing Ecstasy, Passion and Pain was the legendary Bobby Martin. Once the recording of Ecstasy, Passion and Pain was completed, it was released in 1974.
On the release of Ecstasy, Passion and Pain in 1974, the album reached number thirty-eight in the US R&B Charts. I Wouldn’t Give You Up was the lead single, released in 1974, reaching number seventeen in the US R&B Charts. Ask Me then reached number fifty-two in the US Billboard 100, number nineteen in the US R&B Charts, number four in the US Disco Singles Charts and number two in the US Dance Music/Club Play Charts. Ecstasy, Passion and Pain’s debut album Ecstasy, Passion and Pain had proved a commercial success. However, little did anyone realize that there would be no followup to Ecstasy, Passion and Pain. This would be a missed opportunity, as you’ll realize, when I tell you about Ecstasy, Passion and Pain.
Opening Ecstasy, Passion and Pain is Ask Me, one of six tracks lead singer Barbara Roy wrote, under her real name Barbara Gaskins. Just a moody Baker, Harris, Young rhythm section give way to swathes of lush strings, growling horns and Hammond organ. Straight away, Barbara’s strident, joyous vocal takes charge Power and passion are combined, while The Sweethearts of Sigma urgently answer her call. Meanwhile, Baker, Harris, Young provide the track’s pulsating heartbeat. Ron Baker’s bass helps drive the arrangement along, as strings dance and horns growl. Throughout the track, Barbara’s powerful, pleading vocal is at the heart of the track’s success, holding you in its spell.
The tempo drops on Let’s Love. Just an understated rhythm section, Vince Montana Jr’s vibes and lush strings sweep slowly. When Barbara’s vocal enters, it’s tender and thoughtful. Immediately, the arrangement and vocal become one. Cooing, sweeping harmonies from The Sweethearts accompany her. Later, they grow in power, urgency and soulfulness, matching Barbara every step of the way. They taking their signal from Baker, Harris, Young. The Sweethearts of Sigma and M.F.S.B. provide the perfect accompaniment for Barbara, as she delivers a tender, beautiful and emotive vocal Magnus Opus.
I Wouldn’t Give You Up sees Ecstasy, Passion and Pain and M.F.S.B. kick loose. The tempo increases from the get-go. Larry Washington’s percussion and congas are joined by Baker, Harris, Young, growling horns, keyboards and cascading strings. Together, they ensure the arrangement bursts into life. Soon, Barbara climbs onboard. Her vocal is urgent, defiant and confident, with The Sweethearts of Sigma adding soaring harmonies. Meanwhile, Norman Harris’ chiming guitar, Earl Young’s pounding drums and Don Renaldo’s dancing strings combine to create an arrangement that straddles the sixties and seventies in sound and influence. Having said that, it’s a hook-laden track, driving, dance-floor friendly track.
Just Ron Baker’s bass and sweeping swirling strings combine as I’ll Take The Blame unfolds. A burst of Earl Young’s drums injects a sense of urgency. It also acts as your signal to pay attention, as Barbara unleashes a soul-baring vocal. Her voice fills with emotion and hurt, as tender harmonies from The Sweethearts of Sigma enter. They’re joined by sweeping, swirling strings, bursts of dramatic drums and a prowling bass. An added bonus is melancholy guitar line. The longer the track progresses, the better Barbara’s vocal and The Sweethearts of Sigma’s sweeping, cooing harmonies get. Filled with emotion, sadness and heartache, they drive each other to greater heights, resulting in a heartachingly beautiful, soul-baring song.
Try To Believe Me closes Side One of Ecstasy, Passion and Pain. It has a tougher sound. Barbara’s vocal is fiery, sassy and powerful, while The Sweethearts of Sigma add cascading, gospel-tinged harmonies. For their part, M.F.S.B. combine elements of funk, Philly Soul and jazz. This means blazing horns, searing guitars and a sometimes, dramatic Baker, Harris, Young rhythm section. Both The Sweethearts of Sigma and M.F.S.B. play their part in setting the scene for Barbara’s fiery, sassy and strident vocal, which when it grabs your attention, just won’t let go.
I’ll Do Anything For You was written by Melvin and Mervin Steals, who had recently written the million selling Could It Be I’m Falling In Love for The Detroit Spinners. It seems the Steals’ brothers were on a roll. Straight away, two things strike you. This track has Philly Sound written all over it. The other is just how hook-laden a song it is. It’s like a slice of musical sunshine. The Baker, Harris, Young rhythm section join the lushest of dancing strings and keyboards, producing the mainstay of the arrangement. Barbara scats and The Sweethearts of Sigma add the sweetest, tenderest of harmonies. From there, the arrangement allows Barbara and The Sweethearts of Sigma to take centre-stage. Spurring each other on, they drive, cajole and encourage each other to deliver some of the most heartbeat, impassioned and emotive vocals and harmonies on Ecstasy, Passion and Pain.
Waves of atmospheric Hammond organ, percussion and a broody bass open Don’t Burn Your Bridges Behind You. They join Barbara’s half-spoken sincere vocal. Then she scats, her vocal soulfully soaring, with just an understated arrangement accompanying her. Just Baker, Harris, Young with slow, lush strings and Vince Montana Jr’s vibes. Norman Harris’ adds a pensive guitar solo, while pizzicato strings and emotive, heartfelt harmonies from The Sweethearts of Sigma. By now, Barbara’s husky vocal is filled with emotion, veering towards gospel in her delivery. So moving, emotive and soulful is Barbara’s vocal, you’re spellbound and captivated.
Somebody’s Loving You is the first of two Norman Harris, Allan Felder and Bunny Sigler penned tracks. Piano and Baker, Harris, Young combine with rasping horns and dancing strings to drive the arrangement along. Barbara’s vocal is urgent and filled with hurt and heartache. Sensing this is one of Barbara’s best vocals, The Sweethearts of Sigma add dramatic, urgent soaring harmonies. Lush strings float above the arrangement, while the rhythm section, keyboards and harmonies inject urgency and drama. While Barbara displays her considerable vocal prowess, Norman Harris, Allan Felder and Bunny Sigler demonstrate just how talented a songwriting team they were.
Born To Lose You is the last of seven tracks Barbara wrote for Ecstasy, Passion and Pain. It’s another slow song, with an understated arrangement. Just a meandering bass, atmospheric Hammond organ and bursts of dramatic drums combine. They set the scene for Barbara’s heartbroken, hurt-filled vocal. She lays bare her hurt, sounding rueful, wistful and melancholy. The Sweethearts of Sigma add tender, sweeping harmonies, as if wanting to sooth Barbara’s hurt. Meanwhile, the arrangement veers between understated to dramatic. String frantically sweep and swirl, drums pound and horns rasp. This is the perfect accompaniment for one of Barbara’s most moving, emotive and hurt-filled vocals.
Good Things Don’t Last Forever, closes Ecstasy, Passion and Pain. It’s the second Norman Harris, Allan Felder and Bunny Sigler penned track. Just like I’ll Do Anything For You, this delicious slice of Philly Soul grabs your attention and won’t let go. From the opening bars, the track bursts into life. Strings cascade, their lush sound accompanied by growling horns, chiming guitars and Baker, Harris, Young who provide the track’s pulsating heartbeat. Spurred on By M.F.S.B, Barbara unleashes a wistful vocal, where power and passion combine. Matching her every step of the way are The Sweethearts of Sigma. They add soaring, cascading vocals. By now, Ecstasy, Passion and Pain, M.F.S.B. and The Sweethearts of Sigma are in the groove, determined to bring Ecstasy, Passion and Pain to a memorable high. This they do, mixing Philly Soul and disco seamlessly.
Released in 1974, Ecstasy, Passion and Pain sees Ecstasy, Passion and Pain fuse Philly Soul and disco, with elements of jazz and funk Over ten tracks, seven penned by lead singer Barbara Roy. In some ways, Ecstasy, Passion and Pain is a tantalizing taste of what might have been. Ecstasy, Passion and Pain was their only album. Granted they released a few more singles and enjoyed chart success during the seventies. Singles like 1975s One Beautiful Day and 1976s Touch and Go gave Ecstasy, Passion and Pain top ten singles in the US Disco Charts. Further singles were released on Roulette, including 1976s Passion and 1977s Dance The Night Away. By then, the lineup of Ecstasy, Passion and Pain had changed. One constant was Barbara Roy. Ecstasy, Passion and Pain was her group after all.
Following 1977s Dance The Night Away, 1981 saw the release of If You Want Me on Barbara’s Roy B Records. By then, disco was no longer King. It was the post-disco age, after all. Disco had to evolve and reinvent itself, with boogie picking up the baton from disco. However, during the disco age, Ecstasy, Passion and Pain were one of the genre’s success stories. Similarly, so was their only album, 1974s Ecstasy, Passion and Pain which will be rereleased by WEA Japan on 4th February 2014.
Sadly, Ecstasy, Passion and Pain was the only album Ecstasy, Passion and Pain released. Who knows what might have happened if they’d released further albums? Listening to Ecstasy, Passion and Pain, they weren’t wanting when it came to talent. Especially with M.F.S.B. providing the musical backdrop, The Sweethearts of Sigma adding their deliciously soulful harmonies and of course, Bobby Martin arranging and producing Ecstasy, Passion and Pain. Although Ecstasy, Passion and Pain contained just ten songs, from the opening bars to the closing notes, it’s a deliciously soulful and often, dance-floor friendly album, with Barbara Roy’s vocal key to Ecstasy, Passion and Pain’s sound and success. For anyone yet to discover the Philly Soul and disco of Ecstasy, Passion and Pain, then a veritable musical treat is in-store for you. Standout Tracks: Let’s Love, I’ll Take The Blame, I’ll Do Anything For You and Somebody’s Loving You.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
Having signed Loleatta Holloway to Gold Mind Records in 1976, Loleatta’s producer and mentor Norman Harris set about giving Loleatta a makeover. He started transforming the Southern Soul singer in the a disco diva on her debut album Loleatta. After her Sasloul debut Loleatta was released, Loleatta Holloway’s makeover to disco diva and the Undisputed Queen of Salsoul was underway. On Loleatta’s second album Queen of The Night, Loleatta’s transformation would be completed. Soon, Loleatta Holloway would be one disco’s greatest divas. However, Norman Harris’ role in Loleata’s makeover shouldn’t be underestimated. He transformed Loleatta Holloway from a Southern Soul singer, not just to the disco diva that can be heard on the four albums Loleatta released for Salsoul Records, but the the real Queen of Disco.
Along with some of the greatest musicians of the seventies, Norman Harris set about transforming Loleatta’s career on 1977s Loleatta, her first album for Salsoul. Having started this transformation from Southern Soul singer to the undisputed Queen of Salsoul, on 1977s Loleatta, Loleatta Holloway and her mentor at Salsoul, Norman Harris set about recording the followup album Queen of The Night which was rereleased by BBR Records. Together, Loleatta and Norman Harris would complete Loleatta’s transformation, resulting in her becoming the undisputed Queen of Disco after Queen of The Night was released in 1978. Before I tell you about the music on Queen of The Night, I’ll tell you about how Norman Harris, with the help of everyone at Salsoul, completed Loleatta’s transformation to disco diva and ultimately, the rightful heir to disco’s crown.
After the success of the singles released from Loleatta, especially Hit and Run, which sold 300,000 copies when remixed by Walter Gibbons, Loleatta and her mentor at Salsoul set about recording the followup Queen of The Night. For Queen of The Night, eight tracks were chosen. Norman Harris cowrote two tracks, Catch Me On the Rebound and Good, Good Feeling with Ron Tyson, who also cowrote Two Sides To Every Story with Edward Moore. Bunny Sigler wrote two tracks, I May Not Be There When You Want Me (But I’m Right On Time) and Only You, which he produced and adds guest vocals on. The other three tracks were written by non-Salsoul personnel, and included cover versions of Bobby Womack’s I’m In Love and Joe Brooks classic You Light Up My Life. These tracks would be recorded at Sigma Sound Studios in Philadelphia and New York, with The Salsoul Orchestra accompanying Loleatta.
By the time Loleatta came to record Queen of The Night, she was accompanied by many of the classic lineup of The Salsoul Orchestra. Sadly, one man was absent, vibes virtuoso Vince Montana Jr. He’d split with The Salsoul Orchestra, after a dispute about money. While Vince played a hugely important part in The Salsoul Orchestra’s sound, three other men played an equally important part ,the legendary Baker, Harris, Young rhythm section. Among the other familiar faces were guitarist T.J. Tindall, bassist Jimmy Williams and drummer Scotty Miller, along with percussionist and conga player Larry Washington and keyboard players Ron “Have Mercy” Kersey and Bunny Sigler. Adding backing vocals were the The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson. It seemed things were changing at Salsoul, with people leaving and new faces joining the label. This included some new faces, who’d play a part in the production of Queen of The Night.
Norman Harris, who’d played such an important part on Loleatta, produced four of the tracks on Queen of The Night. Bunny Sigler and Ron Tyson, who both played an important role in the sound and success of Loleatta both produced tracks. They were all familiar Salsoul faces. So was Jack Faith, who arranged three tracks on Queen of The Night. Floyd Smith and Arthur Jenkins produced the Bobby Womack penned I’m In Love. The other track You Light Up My Life was mixed and produced by Tom Moulton. This was one of Tom Moulton’s first production jobs for Salsoul. He’d later go on to play an influential role, as would Thor Baldursson who arranged You Light Up My Life. Times were indeed changing at Salsoul. Hopefully this wouldn’t affect the success of Loleatta Holloway’s second album for Salsoul Queen of The Night?
When Queen of The Night was released in 1978, the album failed to chart. Two of the singles fared much better, one of them giving Loleatta Holloway her biggest chart hit single. Catch Me On the Rebound reaching number sixteen in the US Dance Charts. I May Not Be There When You Want Me (But I’m Right On Time) was then released as a single, but failed to chart. Then when Only You, featuring Bunny Sigler was released as a single, it reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. While things were changing at Salsoul, so was Loleatta Holloway and on Queen of The Night, her transformation from Southern Soul singer to disco diva was complete, as you’ll realize when I tell you about the music on Queen of The Night.
Opening Queen of The Night is Catch Me on the Rebound, arranged and produced by Norman Harris, who cowrote the track with Ron Tyson. The track literally bursts into life, with the chugging Baker, Harris, Young rhythm combining with blazing horns and sweeping, swirling strings. When Loleatta’s vocal enters, it’s a mixture of power, passion and sassiness. Norman Harris arrangement is peerless. He combines a backdrop that has made in Philly stamped all over it, with Loleatta’s sassy vamp. Her vocal soars above the arrangement, feisty and fiery. She starts off Queen of The Night where she left off on Loleatta. As the strings cascade, horns growl and flourishes of keyboards, the Sweethearts of Sigma add equally powerful, impassioned harmonies. All the time, Earl Young’s drums, Ron Baker’s bass and Norman Harris guitar provide the track’s pounding dynamic heartbeat. By the end of this classic track, Loleatta, transformation to disco diva by Norman Harris is complete.
Only You gave Loleatta her most successful single in the US Billboard 100 and US R&B Charts. She returns to her soulful roots, with Bunny Sigler joining her on vocal. It’s a very different track from the previous track, bristling with chemistry between Loleatta and Bunny. Just a piano, the lushest of strings and a sprinkling of percussion combine with Norman Harris jazz-tinged guitar. With a burst of Earl Young’s drums, Loleatta kicks loose. Her vocal is soulful and heartfelt, with Bunny matching her every step of the way. The Baker, Harris, Young rhythm section and braying horns provide the track’s dramatic sound, while lush strings add to the emotion and beauty thanks to Jack Faith’s arrangement. For over six minutes, Loleatta and Bunny give a quite beautiful, romantic and soulful masterclass, while Loleatta shows she wasn’t going to forget her soulful roots in a hurry.
Good, Good Feeling is another of the uptempo, dance tracks on Queen of The Night. It’s the second track that Ron Tyson and Norman Harris, who produced the track cowrote. This is a track that would prove influential to a new generation of house producers and has such a timeless sound, that it’s hard to believe it was recorded over thirty years ago. With a punchy, driving Baker, Harris, Young rhythm section, strings dance while horns rasp and Loleatta embarks upon one of her trademark vamps. Her vocal is a mixture of controlled power and raw emotion, as the Sweethearts of Sigma add tight, testifying harmonies. They’re harmonies are crucial to the track’s sound and without them, Loleatta’s impassioned vocal wouldn’t be as effective. Norman Harris jazz-tinged guitar is contrasted by rocky guitars, as The Salsoul Orchestra give a peerless performance, as if spurred on by the energetic and dynamic performance of Loleatta and of the Sweethearts of Sigma.
Mama Won’t, Papa Won’t produced by Norman Harris closes Side One of Queen of the Night. It’s another track that could only have been produced in Philly. With its combination of sweeping, swirling strings, growling horns, pounding Baker, Harris Young rhythm section and percussion from Larry Washington, Loleatta produces another gut wrenching vocal. Her vocal’s full of hurt, emotion and frustration while the Sweethearts of Sigma add soaring harmonies. Ron Baker’s bass and Earl Young’s drums provide the tracks pounding, pulsating heartbeat, as Loleatta unleashes one of her most emotive, powerful vocals. Tracks like this prove just why Loleatta Holloway is the true and rightful heir to disco’s crown, someone whose music we “Never Can Say Goodbye” to.
I May Not Be There When You Want Me (But I’m Right On Time) was another of the singles released from Queen Of The Night. It was written by Bunny Sigler, arranged by Jack Faith and produced by Norman Harris. Tom Moulton was given the job of mixing the track. Here Loleatta’s vocal is a mixture gospel, Southern Soul and disco. These three genres meet head on, with Jack Faith’s arrangement having a real Philly influence. The track bursts into life, sweeping you along atop the cascading strings, blazing horns and pounding piano and rhythm section. Loleatta testifies her way through the track with the Sweethearts of Sigma adding equally impressive and powerful soaring harmonies. When the glorious combination of strings, horns and the Baker, Harris Young rhythm section is added to the fusion of gospel, Southern Soul and disco this is a hugely powerful and moving piece of music, and quite definitely, an underrated track from Loleatta’s back-catalogue.
You Light Up My Life is a cover of the Joe Brooks standard, with Tom Moulton mixing and producing a track which Thor Baldursson arranged. The track is slowed way down, maybe too much even, and given a real Southern Soul and bluesy makeover by Tom and Thor. Tom Moulton places the piano at the track, gradually building the track up. He drops in the rhythm section, Hammond organ as Loleatta throws herself headlong into the track. She delivers the ballad with a mixture of power, passion and emotion, while slow, lush strings and the Sweethearts of Sigma accompany her, adding gloriously soulful harmonies. With the Sweethearts of Sigma’s help Loleatta transforms an old standard, bringing out the beauty and emotion of the track’s lyrics.
Two Sides To Every Story sees ex-Temptation Ron Tyson take over the producer’s chair, while Jack Faith arranges the track. It’s an uptempo dance track, with Loleatta delivering the lyrics in a way that makes you believe she’d lived them. The Salsoul Orchestra kick loose, producing the perfect backdrop for Loleatta. As the track opens, the Baker, Harris, Young rhythm section combine with cascading strings, blazing horns and piano. Loleatta’s vocal is full of anger and frustration with the Sweethearts of Sigma adding punchy, soaring backing vocals, that are crucial to the track’s success. Later, a sultry saxophone solo is added at just the right time, and towards the end of the track, Loleatta embarks on an angry, fiery vamp, at her wandering husband. That’s just the finishing touch to a track that shows Loleatta at her sassy, vampish best.
Closing Queen of The Night is a cover of the Bobby Womack penned I’m In Love, produced by Floyd Smith and Gordon Edwards. Of all the Bobby Womack tracks that could’ve been chosen, this is perfect for Loleatta. It allows her to showcase her considerable vocal talents. The arrangement is quite different, much looser and more spacious. Here lush strings, growling horns and piano accompany the rhythm section, who leave space for Loleatta’s joyous vocal. Backing vocalists accompany Loleatta, as her vocal grows in power and joy, while horns punctuate the arrangement effectively. Although quite different from other tracks on Queen of The Night, it demonstrates Loleatta Holloway’s versatility and ability to interpret a track in such a way that she makes it her own.
Queen of The Night sees Loleatta Holloway picking up where she left off on Loleatta. Queen of The Night bursts into life with a true classic from Loleatta’s back-catalogue, Catch Me on the Rebound. From there, Loleatta variously combines power, passion and her feisty sassiness with emotion, beauty and gut wrenching soulfulness. She continues this throughout the other seven tracks on Queen of The Night. Loleatta makes tracks like Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time) her own. These tracks were produced by Norman Harris, Loleatta’s mentor. Norman seemed to bring out the best in Loleatta, spurring her on to greater heights. During these tracks, Norman combines Loleatta’s soulful roots with disco. On other tracks some familiar faces join forces with Loleatta.
Only You sees Loleatta joined by another Salsoul stalwart, Bunny Sigler, and together, they create a track bristling with chemistry. On Queen of The Night, Loleatta is introduced to Tom Moulton who produced and mixes You Light Up My Life and mixes I May Not Be There When You Want Me (But I’m Right On Time). This is the start of a changing of the guard at Salsoul Records. Tom was joined by Thor Baldursson, who arranged You Light Up My Life. While both men would go on to play bigger roles at Salsoul, Vince Montana Jr. had left Salsoul over a dispute with royalties. Vince signed a contract with Atlantic Records in 1978, and given how important a role he played at Salsoul, was sorely missed. Even The Salsoul Orchestra were changing, with new faces joining the lineup. Thankfully, with musicians like the Baker, Harris, Young rhythm section, percussionist Larry Washington and of course, The Sweethearts of Sigma all featuring on Queen of The Night, these changes didn’t affect the quality of music.
Along with her mentor Norman Harris, who guided her through this transformation, Loleatta Holloway became one of biggest stars of Salsoul Records. After the release of Queen of The Night, Loleatta Holloway’s transformation from Southern Soul singer to the Undisputed Queen of Salsoul, and in my opinion, the true and rightful heir to disco’s crown was complete. Following Queen of The Night, Loleatta Holloway was crowned the new Queen of Disco. Standout Tracks: Catch Me On the Rebound, Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time).
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
THE THREE DEGREES-MAYBE.
THE THREE DEGREES-MAYBE.
Way before Gamble and Huff sprinkled their magic over The Three Degrees, they were signed to Roulette Records, where they a series of singles and their 1970 album Maybe. Then, five years later, when The Three Degrees were at the height of their popularity, Roulette released So Much Love, a collection of tracks which had been recorded between 1971 and 1973. With covers of Bill Withers’ Who Is She (and What Is She To You), Jimmy Webb’s If You Must Leave My Life and the Stephen Stills’ classic Love the One You’re With, this showcased The Three Degrees vocal talents. Since the release of Maybe and So Much Love, neither album has been rereleased. Now WEA Japan will rectify this, rereleasing Maybe which will be rereleased on 4th February 2014. Maybe marks the start of The Three Degrees journey to one on the most successful female groups of the seventies. The story start at Roulette Records in 1970.
By the time that The Three Degrees signed to Roulette Records in 1970, they were already an established and accomplished group, who’d already honed their vocal style.They’d previously been signed to Swan Records, where Richard Barrett started guiding their career. He was a veteran of the music business, who’d produced and managed artists and groups. A years after forming in 1963, The Three Degrees released singles Gee Baby (I’m Sorry) in 1964, which gave them a minor pop hit, reaching number eighty in the US Billboard 100. Look In My Eyes was then released in 1965. Again, it gave The Three Degrees a minor pop hit, reaching number ninety-seven in the US Billboard 100. Just a year later, Swan folded and was dissolved in 1966. This left The Three Degrees without a label. With Richard Barrett guiding them, The Three Degrees went in search of a new label.
Over the next few years, The Three Degrees released singles for various labels. One of these was Kenny Gamble’s Neptune Records. It released What I See in 1969. Other labels released singles by The Three Degrees, including Bellaphon Records. They released You’re the Fool in 1970, but like What I See, failed to chart. Then in 1970, The Three Degrees landed a contract with Roulette Records.
Now signed to Roulette Records in 1970, there was a minor problem for The Three Degrees. Janet Harmon left just the group. Her replacement was Valerie Holiday. Unfortunately for Janet, it would be her replacement Valerie Holiday who’d enjoy their commercial success three years down the line. Guiding them to success would be Richard Barrett, who would prove a demanding taskmaster. Anything less than perfection wouldn’t do.
With The Three Degrees signed to Roulette Records, Sheila Ferguson, Fayette Pinkney and new member Valerie Holiday began recording material for their new label. The result of these sessions would be their 1970 album Maybe, which features on covers of familiar tracks, including Jimmy Webb’s MacArthur Park, Lynn Anderson’s Rose Garden, and Collage which Joe Walsh cowrote. There was also the Hoagy Carmichael classic Stardust. Another cover was a song made famous by The Chantels, Maybe. The Three Degrees version of Maybe would give them their biggest hit so far.
When a new version of Maybe was released as a single, it reached number twenty-four in the US Billboard 100 and number four in the US R&B Charts. Then when their debut album was released, also entitled Maybe, it reached number 136 in the US R&B Charts and number sixteen in the US R&B Charts. It seemed The Three Degrees’ career after seven years of trying, was at last, going places. This was the case, with You’re the One reaching number seventy-seven in the US R&B Charts and number nineteen in the US R&B Charts. The only blip was that Melting Pot failed to chart when released as a single. However, listening to Maybe forty-two years later, it’s no surprise it fared so well. Why was that?
Maybe allows listeners to hear a glimpse of what was still to come from The Three Degrees. The album is a mixture of beautiful ballads and more uptempo numbers. Of the ballads, The Three Degrees version of Stardust is quite simply, breathtakingly beautiful. Their reading of MacArthur Park complete with birdsong and an understated arrangement showcases their considerable vocal talents, with the tightest of heartfelt harmonies. So too does Sugar On Sunday, which The Three Degrees breathe life, meaning and beauty into. Other tracks on Maybe are quite different.
Collage which opens Maybe, has an almost psychedelic sound. It’s quite unlike what you’d expect from The Three Degrees. Then there’s You’re the One. It’s a much more uptempo track with blazing horns accompanying punchy harmonies and later, an almost rapped vocal. Following a similar pattern, but with more drama is You’re the Fool. Growling horns combine with the tight, dramatic harmonies that soar powerfully and effectively.
The Three Degrees’ cover of Lynn Anderson’s Rose Garden is a revelation. They reinvent the track, resulting in it losing its twee, MOR sound. This is much more like it. Urgent three-part harmonies, rasping horns, wah-wah guitar and even a touch of sass from The Three Degrees. Truly, Maybe features an eclectic selection of quality music, that shows different sides to The Three Degrees. Given the quality of music, it’s neither a surprise that Maybe proved so successful, nor that The Three Degrees reached the heights of critical acclaim and commercial success that they did. However, after the success of Maybe the hits kept coming for The Three Degrees.
The following year, 1971, The Three Degrees were back with a new single Do I Take You. It have The Three Degrees another hit single, reaching number forty-eight in the US Billboard 100 and number seven in the US R&B Charts. There’s So Much Love All Around Me was The Three Degrees next single, but it didn’t fare so well, stalling at number ninety-eight in the US Billboard 100 and number thirty-three in the US R&B Charts. Ebb Tide, which had been covered by The Righteous Brothers. was The Three Degrees only single of 1971 that failed to chart. Despite that, they were making progress. This progress included making a guest appearance in the movie The French Connection, where they appeared as themselves. Indeed, things were looking up for The Three Degrees. Little did they know, that they’d only spend one more year on a smaller label. After that, their fortunes would be transformed.
1972 would be The Three Degrees final full year with Roulette. Two of the singles they released in 1972 included I Wanna Be Your Baby and I Won’t Let You Go. Neither of these singles charted, nor did Roulette get The Three Degrees to record their second album. The reason for this was that Roulette were very much a label who released singles. Given that it’s less expensive and not as time consuming, this makes sense. This must have frustrated The Three Degrees. So when The Three Degrees contract with Roulette ended a year later in 1973, they signed to a label in their home town of Philly, Philadelphia International Records.
Having signed to Philadelphia International Records in 1973, The Three Degrees had a number one single later that year with M.F.S.B. They were Philadelphia International Records’ legendary house band and a successful group in their own right. The number one single was T.S.O.P. (The Sound of Philadelphia). M.F.S.B. would accompany The Three Degrees on classics like Dirty Ole Man, Year of Decision and When Will I See You Again. During their spell with Philadelphia International Records, The Three Degrees released two successful albums. These were 1973s The Three Degrees, which reached number twenty-eight in the US Billboard 200 and number thirty-three in the US R&B Charts. Two years later, in 1975, came International, which reached number ninety-nine in the US Billboard 200 and number thirty-one in the US R&B Charts. It was when The Three Degrees released International, that Roulette Records sprung a surprise.
As if attempting to cash-in on the success of The Three Degrees, Roulette released So Much Love. This was an album of The Three Degrees’ music from their time Roulette. It was never meant to be an album. Rather it was a collection of singles, B-sides and unissued tracks. It wasn’t a commercial success and failed to chart in the US. In the UK, So Much Love was released as With Love. Elsewhere, Roulette released So Much Love in an attempt to piggyback on the success of International. Having two albums out at the same time, might have confused record buyers and affected sales of International, which didn’t sell as well as The Three Degrees. People who bought So Much Love, were in for another album like Maybe, where ballads and uptempo tracks sat side by side. Although So Much Love was a good album, it didn’t quite match the quality of Maybe. Similarly,
Maybe is a it’s a collection of tracks that sit together well. They’re a taste of what was to come from The Three Degrees. Whether it was delivering ballads or more uptempo tracks, they were equally at home. Listening to Maybe, the album shows a group that over the past few years had matured. Through hard work and persistence, The Three Degrees had honed their style. What’s more they’d found what was the classic lineup. Everything was in place for The Three Degrees to enjoy commercial success and critical acclaim.
Looking back at Maybe, it’s no surprise that The Three Degrees would go on to enjoy the success they did. They were ready to make the next step. That meant signing to Philadelphia International Records, where they released the two best and most successful albums of their career, The Three Degrees and International. Gamble and Huff, like they’d done with so many acts that struggled to make a commercial breakthrough, transformed The Three Degrees’ career. Critical acclaim and commercial success worldwide had come their way and they were now enjoying the fruits of their labor, struggle and effort. Maybe which will be rereleased by WEA Japan on 4th February 2014, showcases a group on the verge of greatness, commercial success and critical acclaim.
THE THREE DEGREES-MAYBE.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
Having been discovered by bandleader Xavier Cugat Maria del Rosario Mercedes Pilar Martinez Molina Baeza, or Charo as she became, went on to become one of the highest paid performers in America during the early seventies. Reputedly, actress, singer and guitarist Charo was paid as much as Rat Pack members Frank Sinatra, Dean Martin or Sammy Davis Jr. Charo made her debut on American television on The Today Show, before becoming a regular on shows like The Love Boat, The Mike Douglas Show and a variety of chat shows. It was during this time that Charo’s catchphrase cuchi cuchi was first heard. By 1976, Charo signed to Salsoul Records and would release her debut album Cuchi-Cuchi which was recently rereleased by BBR Records.
Cuchi Cuchi was a collaboration with the legendary Salsoul Orchestra and the first of three albums Charo recorded for Salsoul. Ole Ole was then released in 1978 with Dancing With Charo following in 1981. However, the album that launched Charo’s career was Cuch-Cuchi by Charo and The Salsoul Orchestra, which features The Salsoul Orchestra at the peak of their powers.
By the time Charo signed to Salsoul, she’d established herself as a talented singer and flamenco guitarist. For her debut she couldn’t have picked a better label than Salsoul, as some of the most talented songwriters, arrangers, producers and musicians called Salsoul home. This included Vince Montana Jr., who’d write two of the tracks on Cuchi-Cuchi and cowrote three other tracks. The two tracks Vince Montana Jr, wrote would become synonymous with Charo, Dance A Little Bit Closer and You’re Just the Right Size. Vince cowrote More of You and Only You (Can Make My Life Worthwhile) with Ronnie James and the title-track Cuchi-Cuchi with Ronnie Walker. The other five tracks were cover versions, including a cover of the Rolling Stone’s Let’s Spend the Night Together and Speedy Gonzales, originally recorded by Pat Boone. Charo and The Salsoul Orchestra would transform these tracks at Philadelphia’s Sigma Sound Studios.
When Charo and The Salsoul Orchestra headed to Philly’s Sigma Sound Studios, it was with some of the Americas best musicians. This included drummer Earl Young of Baker, Harris, Young rhythm section, bassist Michael “Sugar Bear” Foreman and guitarists Bobby “Electronic” Eli and T.J. Tindall. Ron “Have Mercy” Kersey and Cotton Kent played keyboards and Bill O’Brian played synths. Vibes supremo Vince Montana Jr, also played tympani, chimes, bells, vibraharp and marimba, while Larry Washington and Crusher Bennet played congas, timbales and bongos. Among the woodwind section was Jack Faith, playing flute and piccolo, while violist Don Renaldo was part of the string section. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Arranging, conducting and producing Cuchi-Cuchi was Vince Montana Jr. Given how multi-talented the personnel accompanying Charo on Cuchi-Cuchi, would the album be a commercial success?
On the release of Charo and The Salsoul Orchestra’s Cuchi-Cuchi, the album reached number 100 in the US Billboard 200. Dance A Little Bit Closer was released as a single, reaching number eighteen in the US Dance Charts and number forty-four in the UK and in the process, becoming something of a Salsoul classic. However, what are the rest of the songs on Cuchi-Cuchi like? That’s what I’ll now tell you, when I tell you about the music on Cuchi-Cuchi.
Cuchi-Cuchi opens with one of the songs that have become synonymous with Charo’s time on Salsoul. Drums pound, before keyboards, a pounding bass line, lush strings and growling horns signal the arrival of Charo’s breathy vocal. She’s accompanied by blazing horns, vibes and swathes of lush strings that glide elegantly into the arrangement. Earl Young’s drums provide the track’s heartbeat, while backing vocalists accompany Charo. Later, her vocal becomes much more flamboyant, as disco and Latin music are fused seamlessly. By the end of this irresistible track, you realize a little Charo will brighten up your life.
On Let’s Spend the Night Together, Charo and The Salsoul Orchestra transform the old Rolling Stones track into something very different. There’s an easy listening feel to the arrangement, with congas, rasping horns and the rhythm section combining with Charo’s slow, sultry vocal. The Sweethearts of Sigma add tender backing vocals, as Latin percussion, jazz-tinged guitars and the lushest of strings combine. Earl Young’s drums add bursts of drama, as a myriad of Latin percussion is added to the arrangement. As easy listening and Latin music unite, and The Salsoul Orchestra are transformed into a lounge band, Charo’s delivers a breathless, sultry and needy vocal, that makes the track.
Borriquito see Charo and The Salsoul Orchestra combine flamenco and disco. As strings sweep and swirl, horns growl and the rhythm section provide the track’s Latin heartbeat, percussion and backing vocalists accompany Charo. She delivers an enthusiastic and rousing vocal in her native Spanish. This is uplifting and catchy, and something of a curveball after the previous two tracks.
More of You is one of two tracks Vince Montana Jr. and Ronnie James cowrote. It sees Cuchi-Cuchi head back to more familiar territory. The tempo is slower as strings cascade, while guitars, bongos, congas and a punchy rhythm section combine with rasping horns. Charo’s vocal is sassy and emotive, with The Sweethearts of Sigma adding tight, soulful harmonies. Meanwhile, a pounding rhythm section, swathes of quivering strings and braying horns provide the backdrop for Charo. This is a much better track than Borriquito, with Charo and The Salsoul Orchestra combining to create one of Cuchi-Cuchi’s highlights.
El Reloj (The Clock) sees Charo deliver a heartfelt, impassioned vocal, against a dramatic, string-drenched backdrop from The Salsoul Orchestra. Charo’s vocal is tinged with sadness and regret, at the thought of being parted from the man she loves. Providing the perfect backdrop, The Salsoul Orchestra combine percussion, piano and congas with the rhythm section, rasping horns and strings. This emotive arrangement works beautifully with Charo’s heartfelt, impassioned and emotive vocal on this moving, melancholy ballad.
Speedy Gonzales was previously recorded by Pat Boone, but not this way. Charo and The Salsoul Orchestra combine vibes and percussion with a punchy, pounding rhythm section. Together, they make the track swing, adding flourishes of dancing strings and soaring backing vocalists that are just the finishing touches to the Vince Montana Jr.‘s arrangement. Although this is just a throwaway slice of bubblegum pop, you can’t help but enjoy it, and anyway, it puts a smile on your face.
So good was Chora’s catchphrase, they named it twice and Vince Montana Jr. and Ronnie Walker wrote a song named after it, Cutchi-Cutchi. Earl Young’s pounding drums open the track, before strings sweep and swirl, horns growl and Spanish guitars combine. Chora’s dramatic, punchy vocal is joined by woodwind, percussion and tight, soaring harmonies from the Sweethearts of Sigma. By now The Salsoul Orchestra is in full flight, mixing disco, funk and Latin music. It’s an impressive sight and sound, with Charo’s vocal drifting in and out of the track, as horns blaze and strings cascade. Key to the track’s success is Vince Montana Jr,‘s arrangement and The Salsoul Orchestra’s performance.
Cookie Jar is another track that’s best described as throwaway bubblegum pop. The lyrics are probably the weakest track on Cuchi-Cuchi, but the track is saved by The Salsoul Orchestra’s performance. They provide a backdrop where strings dance, horns rasp and growl, while the pounding rhythm section and cooing harmonies from the Sweethearts of Sigma accompany Charo sultry, vampish vocal.
You’re Just the Right Size was written, arranged and produced by Vince Montana Jr. and gets the album back on track. Charo is at her sultry, sensuous best, accompanied the pounding, dramatic rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have klcked loose and are in full flight, showing why they were the best house-band of the seventies. The bass anchors the track, as swathes of the lushest strings, keyboards and blazing horns provide the backdrop to Charo’s sensual, sultry vamp. This results in one of Charo’s best ever Salsoul recordings.
Closing Cuchi-Cuchi is Only You (Can Make My Life Worthwhile), written by Vince Monatan Jr, and Ronnie Walker. Layers of sad strings sweep and swirl, while congas, bongos and percussion combine with the dramatic rhythm section and Charo’s emotive, heartfelt vocal. As strings quiver and shiver, bursts of blazing horns, Spanish guitars and the Sweethearts of Sigma accompany what is Charo’s most moving and emotive vocals. It’s the perfect way to end Cuchi-Cuchi, where drama, emotion and beauty combine.
Cuchi-Cuchi, with its combination of disco, easy listening and Latin music, is an album that’s one that’s guaranteed to brighten your life. The Salsoul Orchestra don’t disappoint, weren’t in the habit of recording bad albums. Hearing The Salsoul Orchestra in full flight, like you do on Cuchi-Cuchi is a joy to behold. With their combination of the tightest of rhythm sections, blazing horns, lush dancing strings, Vince Montana Jr.’s vibes and guitarists like Bobby “Electronic” Eli T.J. Tindall you get the chance to hear the greatest house-band of the disco era. Add to this the Sweethearts of Sigma accompanying Charo and it’s no wonder that Cuchi-Cuchi is such an enjoyable album. Having said that, Cuchi-Cuchi will never be seen as a Salsoul classic.
Cuchi-Cuchi is a good album, but not a great album. Among the highlights of Cuchi-Cuchi are Dance A Little Closer, More of You, Cutchi-Cutchi, You’re Just the Right Size and the beautiful Only You (Can Make My Life Worthwhile) which closes Cuchi-Cuchi. After Cuchi-Cuchi Charo would release other albums, but Cuchi-Cuchi was the highlight of her career and features two songs that would become synonymous with Charo Dance A Little Closer and You’re Just the Right Size. For anyone who hasn’t heard Charo and The Salsoul Orchestra’s Cuchi-Cuchi, then it’s an album that’s quite different from much of the music Salsoul were releasing at this time, but is an album that contains some great music. Take my advice, Cuchi-Cuchi and a little Charo will brighten up your life. Standout Tracks: Dance A Little Closer, More of You, Cutchi-Cutchi and You’re Just the Right Size.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
CANDI STATON-YOUNG HEARTS RUN FREE.
CANDI STATON-YOUNG HEARTS RUN FREE.
Having released a trio of albums of Southern Soul for Rick Hall’s Fame Records, Candi Staton signed to Warner Bros,where she released a song that’s become synonymous with her, Young Hearts Run Free. Released in 1976, Young Hearts Run Free saw Candi Staton transformed into a disco diva. This was very different to the Southern Soul Candi had recorded at Fame. This saw her establish a reputation as one of the finest Southern Soul singers. This had been the case since her 1969 debut album, I’m Just A Prisoner.
It epitomised what Southern Soul was all about. Its hybrid of blues, country and R&B struck a chord, reaching number thirty-seven in the US R&B Charts. Two years later, Candi would enjoy the most successful album of her career, Stand By Your Man. Released in 1971, Stand By Your Man reached number 188 in the US Billboard 200 and number twelve in the US R&B Charts. The partnership of producer Rick Hall and Candi Staton was proving a successful one. Her third album Candi Staton reached number seventy in the US R&B Charts. Following the release of Candi Staton, Candi signed to Warner Bros, where she was reinvented.
Having signed to Warner Bros. Candi released her Warner Bros. debut in 1974. This was Candi, which was another album of Southern Soul which reached number fifty-four in the US R&B Charts. Candi also featured the biggest single of Candi Staton’s career. A Little Taste Of Love reached number fifty-one in the US Billboard 100 and number nine in the US R&B Charts. However, commercial success and critical acclaim wasn’t far away for Candi Staton.
Two years later, in 1976, Candi Staton was transformed. That’s when she released her fifth album Young Hearts Run Free, which will be rereleased by WEA Japan on 4th February 2014. The title-track, Young Hearts Run Free, transformed Candi int a disco diva and is a a song that’s become synonymous with her. However, there’s more to Young Hearts Run Free than just one song. You’ll realise that when I tell you about Young Hearts Run Free.
For Young Hearts Run Free, which was Candi’s fith album, some of the best songwriters of the day were brought onboard. This included Dave Crawford who penned five tracks, Run To Me, Destiny, What A Feeling, Young Hearts Run Free and I Know. Kenny O’Dell contributed You Bet Your Sweet Sweet Love and Ollie E. Brown wrote Summer Time With You. The other track was a cover of Al Green’s Living For You. These eight tracks became Young Hearts Run Free, which was recorded at Sound City Studios, Los Angeles.
When recording of Young Hearts Run Free began at Sound City Studios, Los Angeles there was no sign of the Muscle Shoals Rhythm Section. However, the band still contained some top class session players. This included a rhythm section of drummer Ollie E. Brown, basist Scott Edwards and guitarists Jay Graydon and Ray Parker Jr. Congas came courtesy of Eddie Bongo, Jack Ashford added percussion, Monty Clark played synths, Victor Feldman vibes and Michael Boddicker, Sonny Burke and Sylvester Rivers keyboards. Backing vocalists included Jim Gilstrap, Angie Johnson, June D. Williams, Fleming Williams, Lonnie Groves and Rochelle Runnells. Producing Young Hearts Run Free was Dave Crawford. This was the first time a Candi Staton album hadn’t been produced by Rick Hall? Would this affect the success of Young Hearts Run Free?
Before the release of the title-track was released as a single. It reached number twenty in the US Billboard 200 and number one in the US R&B Charts. Over the Atlantic, the single reached number two. The only other single was Run To Me, which reached twenty-six in the US R&B Charts. On the release of the album, it failed to chart. However, did Young Hearts Run Free deserve to fare better? Is Young Hearts Run Free something of a hidden gem in Candi Staton’s back-catalogue? That’s what I’ll tell you.
Run To Me which opens Young Hearts Run Free sounds not unlike the title-track. That’s no surprise, given it was written by Dave Crawford. Having said that, it’s an hook-laden track. Dave Crawford doesn’t spare the hooks. His all-star band provide the heartbeat, while disco strings dance and horns rasp. Next comes Candi’s vocal. It veers between feisty, sassy and needy. Meanwhile, harmonies sweep in, guitars chime, horns blaze and a myriad of percussion punctuates the arrangement. What holds your attention is Candi’s vocal, especially when she sings call and response with her backing vocals. Her Southern Soul roots shine through on this
Again, Destiny sounds similar to Young Hearts Run Free. Four of the songs written by Dave Crawford, it’s written in the key of F. They all sound generic. This was also the case with George Mcrae’s album Rock Your Baby. The songs are a variation on a theme. That’s one reason why disco had so many critics. Despite the similarities to other tracks, Destiny is almost anthemic. Dave it seems, realises the importance of a hook. Literally, the track bursts into life, the rhythm section, braying horns and disco strings sweeping Candi Staton disco diva along. She delivers a vocal powerhouse, whilst harmonies, percussion and synths accompany her as she struts her way through the song. Clever chord changes add to the impact and drama. So do the stabs of horns. Although slightly generic in sound, it’s hard to resist the song’s charms.
What A Feeling sees a change in style and key. As the tempo drops, the key changes to C. Candi makes a return to her soulful roots. Accompanied by Ray Parker Jr’s wah-wah guitar, lush strings and drums Candi delivers a tender, heartfelt vocal. It becomes sultry and seductive, while swathes of strings prove a perfect accompaniment to her vocal. They seem more suitable than the guitar. Later, as guitars chime, strings sweep and guitars wah-wah Candi unleashes a vocal powerhouse. Her signal to do so, is a sudden chord change. It’s a poignant reminder of Candi’s Southern Soul roots.
As You Bet Your Sweet Sweet Love opens, bursts of horns signal the arrival of Candi’s heartfelt vocal. Behind her, drums crack, horns rasp and harmonies sweep in. As the rhythm section drive the arrangement along, Candi, delivers a vocal masterclass. She breathes life, meaning and emotion into the lyrics. Backing vocalists provide a perfect foil for Candi during this beautiful paean.
Without doubt, Young Hearts Run Free is the highlight of the album. It sees Candi transformed into a disco diva. Horns blaze, strings sweep and swirl and the rhythm section create a pulsating heartbeat. Add to this a myriad percussion and bongos and the scene is set for Candi Staton disco diva. She struts and swaggers her way through the lyrics. Her vocal enveloped of by punchy rasping horns, percussion, swathes of lush strings and harmonies. Along with Candi’s diva-esque vocal, they’re key to track’s success. Does disco get better than this?
Living For You was originally a hit for Al Green. Here, Candi Staton decides to reinvent the song. Just the rhythm section, keyboards and melancholy horns set the scene for Candi’s vocal. It veers between husky tender and powerful. Candi’s vocal is variously melancholy, dreamy, hopeful and heartbroken. It’s a cathartic outpouring of emotion, made all the better by gospel-tinged harmonies and horns. All this makes this one of the highlights of Young Hearts Run Free.
Sultry and sensual describes Candi’s half-spoken vocal on Summer Time With You. Then when her vocal becomes coquettish and later, a sultry vamp. Behind her, the band provide a dance-floor friendly backdrop. This includes a pounding rhythm section providing the heartbeat. Crystalline guitar, swathes of sweeping, swirling strings and rasping horns accompany cooing harmonies. They play their part in this attempt to further reinvent Candi Staton.
Closing Young Hearts Run Free is I Know. It’s written by Dave Crawford and has a tough, funky, dance-floor friendly sound. Dancing strings, a funky rhythm section, blazing horns and punchy harmonies accompany Candi. She delivers a sassy, soulful vocal. The combination of Candi’s vocal and an arrangement that’s funky and dance-floor friendly proves a potent partnership and closes the album on something of a high.
Earlier I wondered if Young Hearts Run Free was something of a hidden gem in Candi Staton’s back-catalogue? The answer to that is yes and no. That might seem like I’m avoiding answering the question I posed earlier. I’m not. There are a few hidden gems on Young Hearts Run Free. One of the real hidden gems, is Candi’s interpretation of Al Green’s Living For You. Then there’s You Bet Your Sweet Sweet Love, which is a beautiful love song. What A Feeling is a welcome return to Candi’s Southern Soul roots. Run To Me and Destiny may not be short of hooks, but both sound not unlike Young Hearts Run Free. This is obvious from the opening bars. They’re rather generic sounding. Obviously, the highlight of Young Hearts Run Free is the title-track. However, some tracks are disappoint.
While Run To Me and Destiny may not be short of hooks, but both sound not unlike Young Hearts Run Free. That’s wasn’t unusual during the disco era. An example is George McRae’s Rock Your Baby album. Writers found a successful formula and stuck to it. Having said these two tracks had a generic sound, neither are short of hooks. That’s their saving grace. Summer Time With You may have been a decent dance track, but it tried to transform Candi into something she wasn’t. Her vocal is restrained and sometimes, isn’t recognisable. The coquettish style doesn’t suit Candi. It’s just another reason why Young Hearts Run Free isn’t a hidden gem in Candi Staton’s back-catalogue. It comes close, but no cigar.
Don’t get me wrong, Young Hearts Run Free isn’t a bad album. No. Far from it. It’s just not a cohesive album.That’s not Candi’s fault. She could only sing what she was told to. Her record company were looking for hits and weren’t going to say no to a hook-laden track, even if it sounds like two other tracks on Young Hearts Run Free. That’s why I’d suggest that Young Hearts Run Free was two tracks away from being a very good album. That could’ve and would’ve made all the difference. Who knows, maybe Young Hearts Run Free would’ve been the most successful album of Candi Staton’s career? Instead, 1971s Stand By Your Man was Candi’s most successful album. Why?
Producing Stand By Your Man was Rick Hall. He was the man with Midas touch. He’d produced Candi’s first four albums and made Candi the Queen of Southern Soul. However, Dave Crawford replaced Rick for Young Hearts Run Free. Maybe Warner Bros. though Rick Hall couldn’t produce an album that was on message. By that, I mean disco. Rick Hall wasn’t a one trick pony though. He proved that time and time again. The absence of Rick Hall meant The Memphis Shoals Rhythm Section and some of the most talented songwriters of the sixties and seventies were absent. They’d proved their worth on Candi’s 1974 album. By 1975, when Young Hearts Run Free was being recorded, they were nowhere to be seen. Young Hearts Run Free was very much the Dave Crawford show.
Dave had established a career as a successful songwriter and producer. He proved this by writing Young Hearts Run Free. A stonewall disco classic, it gave Candi the biggest hit single of her career. However, the album Young Hearts Run Free failed to chart. This was a first for Candi Staton. It must have come as a huge surprise, given the success of the single Young Hearts Run Free. Since then, that single, Young Hearts Run Free has become synonymous with Candi Staton. However, there’s much more to Candi Staton than Young Hearts Run Free. Much more.
This includes the three album Candi recorded for Fame Records. 1969s I’m Just A Prisoner, 1971s Stand By Your Man and 1972s Candi feature the best music Candi Staton ever recorded. Back then, way before Young Hearts Run Free which will be rereleased by WEA Records on 4th February 2014, transformed Candi Staton into a disco diva, she was Queen of Southern Soul. Proof of this are these three albums. They’re the perfect introduction to the real Candi Staton. After that, Candi and then Young Hearts Run Free are the best of the six albums Candi Staton recorded for Warner Bros. These five albums are all you’ve ever wanted to know about Candi Staton, but were afraid to ask.
CANDI STATON-YOUNG HEARTS RUN FREE.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
Without doubt, one of the best compilations of 2013 was Analog Africa’s Afrobeat Airways Return Flight To Ghana 1974-1983. It was the perfect introduction to Ghanaian music and featured thirteen slices of Afrobeat and highlife. This was music that’s irresistible. Uplifting, joyous, spiritual and infectiously catchy, it’s also funky, jazz-tinged, soulful and lysergic. It’s music that has a foot in three decades. It’s influenced by fifties and sixties jazz, sixties psychedelia plus seventies funk. There’s also a twist of rock, gospel and soul. All these influences play their part in some glorious music, music that truly deserves a wider audience. That’s why I decided to Afro-Beat Airways-West African Shock Waves 1972-1978.
Released back in 2010, Afro-Beat Airways-West African Shock Waves 1972-1978 features fourteen tracks. This includes music from not just Ghana, but Togo. Among the artists on Afro-Beat Airways-West African Shock Waves 1972-1978 are Uppers International, K. Frimpong And His Cubanos Fiestas, Ebo Taylor And The Sweet Beans, Itadi, The Apagya Show Band, De Frank Professionals and African Brothers Band. With familiar faces sitting side-by-side with hidden gems, Afro-Beat Airways-West African Shock Waves 1972-1978 is something of a musical treasure trove of West African music. What’s more, Afro-Beat Airways-West African Shock Waves 1972-1978 sets the standard for compilations.
Just like Analog Africa’s previous other compilations, Afro-Beat Airways-West African Shock Waves 1972-1978 is a lovingly compiled compilation. It’s obvious that the compilations Analog Africa release are a labour of love for Sammy Ben Redjeb. The best way to describe Afro-Beat Airways-West African Shock Waves 1972-1978 is a luxurious and lovingly compiled compilation. It’s contained in a heavyweight cardboard slipcase. Within it are a forty-four page book and separate slipcase which contains the CD. Everything about Afro-Beat Airways-West African Shock Waves 1972-1978 oozes quality. Why though?
Within the forty-four page compilation that accompanies Afro-Beat Airways-West African Shock Waves 1972-1978, there are detailed biographies of the artists. These essays are informative and tell you everything you could ever want to know about the artists. Then there’s an interview with Gerard Akueson, who founded Akue, Togo’s biggest record label. He gives a detailed history of Togo’s musical scene, especially between 1972 and 1978. The other thing that makes the sleeve-notes stand out, are the photographs. They’re evocative and give you a sense of the people behind the music. These essays and photographs are part of what makes Analog Africa one of the best reissue companies. Their way of producing compilations should become industry standard. Similarly, Analog Africa dig deeper than other reissue companies. Proof of this is the music on Afro-Beat Airways-West African Shock Waves 1972-1978, which I’ll tEll you about.
Opening Afro-Beat Airways-West African Shock Waves 1972-1978 is a familiar face to anyone whose familiar with Analog Africa’s releases, Uppers International. They’re from Bolgatanga in Ghana, and originally, were a covers band. Then gradually, they began to explore Ghanian regional music. Eventually, they were singing in the Dagbani, Huasa and Gurundi dialects. By 1973, Uppers International signed to Polydor, where they released their best known single Dankasa. Both Dankasa and the B-Side Neribe Lanchina feature on the compilation. Dankasa is an Afro-beat classic. It features the vocal of bandleader Chester Adams, waves of Ray Hayford’s Hammond organ, percussion and harmonies. The result is a track that’s funky, jazz-tinged, soulful and dance-floor friendly.
The Apagya Showband were innovators. So much so, that they were so far ahead of their time. People didn’t understand their unique brand of Ghana-Funk. Two examples of this feature on Afro-Beat Airways-West African Shock Waves 1972-1978. They’re Ma Nserew Me and Mumunde. Both tracks were recorded between 1973 and 1974. The best of the two tracks is Ma Nserew Me. It’s a slice of organ driven funk, with a vampish, James Brown influenced vocal. During four minutes of uber funky music, The Apagya Showband throw elements of funk, soul and psychedelia into the mix. Forty years after they recorded their lost album, The Apagya Showband’s music is finding the audience it deserves.
K. Frimpong And His Cubanos Fiestas recorded two albums. Both were entitled K. Frimpong And His Cubanos Fiestas. Neither album features Me Yee Owu Den. It’s a glorious fusion of highlife, Afro-Cuban, funk and jazz. That’s no surprise. Sometimes, it’s reminiscent of a track from a Blaxploitation soundtrack. The guitars lead to this comparison. Then there’s the blazing, braying horns. They assail you and drive this nine-minute epic along. Along with the vocal and a myriad of percussive delights, this hidden gem reveals its delights.
Marijata were a Ghanian band. I’d describe them as a power trio. That’s the case on Break Through, a track from their 1970 debut album This Is Marijata. Released on Gapaphone Records, Break Through features some of the best guitar playing on the compilation. Then there’s the horns and vocal. Along with the rhythm section, they drive this fusion of Afro-beat, funk, jazz, rock and soul along. It’s joyous, uplifting and hook-laden music that’s one of the highlights Afro-Beat Airways-West African Shock Waves 1972-1978.
Ebo Taylor isn’t just a giant of Ghanian music, but African music. On Afro-Beat Airways-West African Shock Waves 1972-1978 there’s contributions from two bands he played with. The first is Odofo Nyi Akiyiri Biara from Ebo Taylor and The Sweet Beans. It’s a delicious, dramatic and pulsating fusion of Afro-beat, funk, jazz and rock. His other contribution is Ebo Taylor and The Pelicans’ Come Along. This is a track from their eponymous album. Released on the Abookyi label, it funky, soulful and dramatic, as it unfolds in waves. Sometimes, there’s even a similarity in the vocal to Bob Marley. Both have a similar heartfelt delivery.
Orchestre Abass released three singles in Togo during the early seventies. One of them was Awula Bo Fee Ene. It’s a fusion of Afro-beat, funk, jazz and soul. Driven along by the rhythm section and Hammond organ, this is the perfect backdrop for an impassioned, vampish vocal. This is an irresistible combination and is typical of the music being released in Togo during the seventies. Why? Back then, Togo was part of the Islamic funk belt. Sadly, after the release of this track, disaster struck for Orchestre Abass. Members of the band were involved in a car crash, where lead singer Iddy died. However, their legacy is the glorious music they recorded.
Live In Other World was the title-track to Itadi’s 1977 album. It’s quite different from other tracks. It has a much more understated sound. That allows the funky wah-wah guitars to take centre-stage. They’re joined by percussion and Hammond organ and drive the arrangement along. Later, a tender, heartfelt and needy vocal enters. Combined with funky, pulsating arrangement, this a heady brew that shows another side to Togolese music.
More, which is a track from Rob (With Mag-2), could easily be a track from a Blaxploitation soundtrack. That’s ironic, because Mag-2 were the army band of Takoradi’s second battalion. They play their part in the track’s funky, cinematic sound. Similarities can be drawn with James Brown, when the vampish, ad libbed vocal enters. Stabs of braying, blazing horns join the wah-wah guitars and percussion, playing their part in one of the funkiest arrangements on Afro-Beat Airways-West African Shock Waves 1972-1978.
Cos-Ber-Zam released their single Ne Noya in 1973. It was released on the Editions Makossa label and was a huge hit in Togo. No wonder. It’ a real fusion of musical influences and genres, including funk, soul, Afro-beat and even reggae. This was also the only release from Cos-Ber-Zam. Following the success of Ne Noya, Quenum Kokou emigrated to Germany and has never been heard of since.
De Frank Professionals released a trio of albums between 1976 and 1978. Afe Ato Yen Bio is a track from their eponymous third album. Released in 1978, it’s one of the highlights of Afro-Beat Airways-West African Shock Waves 1972-1978. With a grinding, funky arrangement and soulful, impassioned vocal, this proves a potent partnership.
The only other track I’ve still to tell you about on Afro-Beat Airways-West African Shock Waves 1972-1978 is African Brothers Band’s Ngyegye No So. Formed in 1963, they’ve just celebrated their fiftieth anniversary. No wonder. One listen to the irresistibly catchy Ngyegye No So and you’ll realise why the African Brothers Band have enjoyed such longevity. They’re also one of the most successful Ghanian groups, releasing over thirty albums.
So that’s the story of Afro-Beat Airways-West African Shock Waves 1972-1978. Fourteen tracks from Islamic funk belt of Togo and Ghana. This includes contributions from familiar fames like the African Brothers Band, Ebo Taylor and De Frank Professionals. Then there’s hidden gems from Marijata, Orchestre Abass, Itadi and Rob (With Mag-2), the funkiest army band in history. Never before has an army band sounded so funky. It’s one of fourteen reasons why this irresistible genre-melting melange of music deserves a place in your record collection.
Everything from funk, gospel, jazz, psychedelia, rock and soul melts into one on Afro-Beat Airways-West African Shock Waves 1972-1978. The result is fourteen delicious and irresistible slices of Afrobeat and highlife. This is music that’s uplifting, joyous, spiritual and infectiously catchy. It’s also funky, jazz-tinged, soulful and lysergic. All these influences play their part in some glorious music, music that truly deserves a wider audience.
Thankfully, reissue labels like Analog Africa are doing everything they can to bring African music to a wider audience. This time, it’s West African music and specically, the music of Ghana and Togo. These fourteen tracks are just the tip of the iceberg. There’s so much more music awaiting discovery. That includes the thirteen tracks on Afrobeat Airways Return Flight To Ghana 1974-1983, which was one of the best compilations of 2013. The same can be said of Afro-Beat Airways-West African Shock Waves 1972-1978, which was released in 2010.
Analog Africa never let their standards slip. No. Each if their fifteen releases are of the highest quality. Lovingly compiled and luxurious, this is the standard all reissue labels should aspire to. These releases are a labour of love and do justice to the music that Analog Africa’s founder Sammy Ben Redjeb is so passionate about. That shines through on Afro-Beat Airways-West African Shock Waves 1972-1978, which along with Afrobeat Airways Return Flight To Ghana 1974-1983 are the perfect introduction to West African music. Standout Tracks: Uppers International Kankasa, Ebo Taylor and The Sweet Beans Odofo Nyi Akiyiri Biara, Orchestre Abass Awula Bo Fee Ene and De Frank Professionals Afe Ato Yen Bio.
AFRO-BEAT AIRWAYS-WEST AFRICAN SHOCK WAVES 1972-1978.
MOGWAI-LES REVENANTS.
MOGWAI-LES REVENANTS.
Next week, Glasgow’s very own Mogwai will release their eighth studio album Rave Tapes. This will be their first album in three years, since the release of Hardcore Will Never Die, But You Will. However, during that three year period, Mogwai have been busy. They contributed the soundtrack to the French television series Les Revenants. This wasn’t the first soundtrack Mogwai had written. No. Quite the opposite.
Previously, Mogwai provided the soundtrack to the 2006 movie Zidane: A 21st Century Soundtrack. The same year, Mogwai collaborated with Clint Mansell on the soundtrack to The Fountain. Les Revenants was just latest project Mogwai had been involved with during their nineteen year career. So, before I tell you about Les Revenants, I’ll tell you about one of Scotland’s biggest and best bands Mogwai.
Mogwai’s roots can be traced to Glasgow in April 1991. That’s where guitarist Stuart Braithwaite and Dominic Aitchison first met. Four years later, they met drummer Martin Bulloch and formed Mogwai, which film buffs will remember, is a character from the movie Gremlins. Mogwai was always meant as a temporary name, but it stuck and was on the label of their 1996 debut single Tuner. It was released to critical acclaim and the NME awarded it their single of the week award. Two other singles were released during 1996 Angels v. Aliens and Summer. By then Mogwai were a quartet.
Guitarist John Cummings joined the band in 1995. He’s also something of a maestro when it comes to all things technical and is described as playing “guitar and laptop.” He was part of one of the hottest bands of the late nineties, Mogwai who released two more singles in 1997.
These two singes were New Paths To Helicon Pt. 1 and Club Beatroot. Just like their debut single Tuner, New Paths To Helicon Pt. 1 was won NME’s single of the week award. This was the perfect time for Mogwai to record their debut album, Mogwai Young Team.
For Mogwai Young Team, Mogwai brought onboard Brendan O’Hare the Teenage Fanclub’s drummer. Another guest artist was Aidan Moffat of Falkirk based band Arab Strap. He added the vocal to R U Still In 2 It. The rest of Mogwai Young Team consisted of instrumentals. Mogwai Young Team was recorded at Chem 19 studios and produced by ex-Delgado Paul Savage and Andy Miller, one of Scotland’s top producers. Once Mogwai Young Team was completed, it was released on Scotland’s biggest record label, Chemikal Underground.
On its release in October 1997, critics were one over by Mogwai Young Team. Mogwai were hailed Mogwai as a band with a big future. Mogwai Young Team was a groundbreaking album of post-rock, which sold over 30,000 copies and reached number seventy-five in the UK. The Mogwai Young Team were on their way. However, a few changes were about to take place.
A year later, Mogwai were back in the studio recording their sophomore album Come On Die Young. Much had changed. A new member had joined the band. Barry Burns a flautist and sometimes pianist, had played a few gigs with the band. They then asked him to become the fifth member of Mogwai. Violinst Luke Sutherland joined Mogwai, but not on a full-time basis. This wasn’t the only change.
Recording was split between New York and Glasgow. This time, they’d forsaken Chem 19 in Blantyre and recorded parts of the album in Tarbox Road Studios, New York. Some sessions took place in Glasgow’s Cava Studios. Producing Come On Die Young was Dave Fridman. Some critics felt his production style resulted in a much more orthodox sounding album. However, I’d argue that Come On Die Young was part of Mogwai discovering their “sound” and direction. Come On Die Young is a much more understated, but also ambient, experimental, multi-textured and melodic. There’s a fusion of ambient, grunge and post rock on Come On Die Young, which was released in March 1999. It reached number twenty-nine in the UK. Mogwai it seemed were now on their way to finding their sound and fulfilling the potential evident on their debut album.
Mogwai’s music continued to evolve on their third album 2001s Rock Action. More use was made of electronics on Rock Action. This was part of a process that would continue over the next few albums. There were even more layers and textures on Rock Action. It was as if Mogwai had expanded their palette. Seven of the songs were instrumentals, while Dial Revenge featured Gruff Rhys of Super Furry Animals.
Again, Rock Action was produced by Dave Fridman, while recording took place in New York and at Glasgow’s Cava Studios. Once Rock Action was completed, it became Mogwai’s first album to be released on Play It Again Sam.
Rock Action was released in April 2001, and proved to be Mogwai’s most successful album. It reached number twenty-three in the UK. Critics remarked upon how Rock Action wasn’t as dark an album as its predecessors. That didn’t mean that Mogwai’s view of the world had changed. They were still worldweary. Soon, they’d be happy people writing happy songs and making a breakthrough into the American market.
Happy Songs For Happy People was released in 2003. Mogwai’s evolution continued. Their music continued further down the electronic road. Yes, electric guitars and a drummer were used, but synths were playing a more important role in Mogwai’s music. So were the addition of strings and a piano. They played their part in what was a much more understated album. Part of this change in style was a change of producer.
Tony Doogan was brought onboard as producer. He replaced Dave Fridman. Gone were transatlantic recording sessions. Happy Songs For Happy People was recorded at Cava Sound Studios, Glasgow. On its release in June 2003, Happy Songs For Happy People was well received by critics. They welcomed the change in style. So did record buyers. While Happy Songs For Happy People only reached number forty-seven in the UK, it spent a week in the American charts, reaching number 182 in the US Billboard 200. After four albums, Mogwai had broken into the American market. Happy Songs For Happy People it seemed, was a landmark album.
Having made inroads into the lucrative American market, Mogwai didn’t rush their fifth album. It was released three years after Happy Songs For Happy People. There’s a reason for this. They were working on tree separate projects. The first was their fifth album Mr. Beast. Then there was the first soundtrack they’d written and recorded. This was for the 2006 movie Zidane: A 21st Century Soundtrack. Mogwai also collaborated with Clint Mansell on the soundtrack to The Fountain. Although soundtracks were a nice sideline for Mogwai, their fifth album Mr. Beast was of huge importance. Especially, if it was a commercial success in America.
Mr. Beast was released in March 2006. It had been recorded at Mogwai’s new studio, Castle Of Doom Studios in Glasgow. Recording took place between April and October 2005, with Tony Doogan and Mogwai producing Mr. Beast. On its release, it was mostly, to critical acclaim. Critics were fascinated at how Mogwai’s music continued to evolve. For Mogwai, standing still was going backwards. Ever the innovaors, they were rewarded by an album that reached number thirty-one in the UK and number 128 in the US Billboard 200. Mogwai were now one of Scotland’s most successful musical exports. They were certainly Scotland’s most innovative band. This was a title they weren’t going to give up without a fight.
To ensure they kept their title of Scotland’s most innovative bands, Mogwai returned to the studio where it all began, Chem 19 in Blantyre. Andy Miller who’d co-produced Mogwai Young Team, Mogwai’s debut album was chosen to produce what became The Hawk Is Howling. This was Mogwai’s sixth album and marked a first. It was Mogwai’s first album to consist of just instrumentals. Once The Hawk Is Howling was recorded, Garth Jones mixed the album at Castle Of Doom Studios in Glasgow. After that, The Hawk Is Howling was ready for release.
The Hawk Is Howling was released in September 2008. Critics were won over by The Hawk Is Howling. There were no dissenting voices. This was one of Mogwai’s best albums. So, it’s no surprise it sold well in the UK and America, reaching number thirty-five in the UK and number ninety-seven in the US Billboard 200. It seemed with each album, Mogwai’s music evolved and matured. This resulted in even more success coming their way. Would this continue with Hardcore Will Never Die, But You Will?
For their seventh album, Mogwai returned to Chem 19 Studios in Blantyre, where they hooked up with ex-Delgado Paul Savage. Since he’d produced Mogwai’s debut album, Mogwai Young Team Paul had established a reputation as one of Scotland’s best producers. He’d worked with everyone from Franz Ferdinand, Admiral Fallow and Camera Obscura to R.M. Hubbert. However, it was a very different Mogwai Paul encountered. They were very different to the band who recorded Mogwai Young Team. Their music had evolved and was continuing to do so. They’d matured as musicians and embraced the new technology. Hardcore Will Never Die, But You Will was proof of this.
Here was an album of groundbreaking, genre-melting post-rock with attitude. Hardcore Will Never Die, But You Will was also an album not short on humour. Especially, with tracks about poppy soulster Lionel Ritchie and Scotland’s nemesis Margaret Thatcher. With a combination of pioneering, post rock music crammed full of hooks, humour and attitude, surely Hardcore Will Never Die, But You Will couldn’t fail?
Yet again, Mogwai had won over critics with Hardcore Will Never Die, But You Will. It reached number thirty-five in the UK and number ninety-seven in the US Billboard 200. For Mogwai, they were now into their third decade as band and had just enjoyed their biggest album to date. What next?
The answer to that was Les Revenants, a soundtrack to a French television series. Les Revenants or The Returned is essentially a television program about zombies. Unlike similar programs, when the “undead” return to the town they lived in, it’s as they were, not how most films portray zombies. Another difference was the way Mogwai were commissioned.
Usually, someone writing a soundtrack can see the film they’re writing music to. Not Mogwai. They were just shown a few scripts. Then they were given an overview of what the series was about. From there, Mogwai wrote thirteen tracks. The other track they chose was What Are They Doing In Heaven Today, which was written by Charles Elbert Tilney. These fourteen tracks were recorded by Mogwai, who produced Les Revenants with Neil MacMenamin. Once Les Revenants was finished, it was released in February 2013.
Before Les Revenants was released an E.P. was released. It featured four tracks. That was a tantalising taster of what was to come. After all, Mogwai would approach a soundtrack like Les Revenants in a different manner. They wouldn’t do anything predictable. Les Revenants was a case of expect the unexpected. Critics loved Les Revenants and hailed the album as one of the best albums Mogwai had released. However, why was that?
Earlier, I described Mogwai’s music as multi-textured. That’s the case on Les Revenants. It’s an album of constantly shifting moods, full of nuances, subtleties and surprises. I’d also describe the music as dramatic and disturbing, right through to melancholy and menacing. Having said that, it’s also music that has a warmth and is ethereal. Another important way to describe Les Revenants is cinematic.
Here is music that paints pictures. Close your eyes, allow your imagination to run riot and Les Revenants appear before your eyes. This is the case from the moody drama of Hungry Face. It’s a fusion of ambient, electronica, indie rock and post rock. You can imagine the opening titles to Les Revenants rolling as the tension and drama builds. This drama continues on Jaguar. It builds and grows, washes of synths and piano joining a pulsating beat. It’s moody, dark and most importantly dramatic.
The Huts is very different to the previous tracks. It has a much more understated, spacious sound. Just pensive, tender driven post rock guitar and melancholy piano play their part in an ethereal, cinematic track. Kill Jester is another understated track. It’s a piano driven track, that builds and grows. Again it has an ethereal and melancholy quality. Then later, the track takes on a celestial quality.
There’s a change in style on This Messiah Needs Watching. Menacing, moody and dramatic, it’s a track that builds. Feedback is sprayed across the arrangement while a meandering piano and keyboards combine. Searing guitars add to the tension. One wonders what scene this accompanies, given the tension that’s building?
Thoughtful and spacious describes Whisky Time. It’s one of the shortest tracks on Les Revenants and has a pensive and contemplative quality. So does Special N. That’s partly because of the melancholy strings and chiming guitar. Drums provide a thoughtful heartbeat before the drama and tension builds. Still it’s a beautiful, ethereal track. Just like Whisky Time, Relative Hysteria is another track that’s slow, spacious and thoughtful. Just chiming guitars, keyboards and beats combine, before shimmering guitars glisten. They play their part in an atmospheric, evocative soundscape. Minimalist and moody describes Fridge Magic. Percussion, synths and cinematic string create a multilayered arrangement. It meanders dramatically along proving captivating. The cinematic synths make a reappearance on Portugal. So do droning synths and a keyboards. Soon, the track veers between understated to dramatic and disturbing, but is always cinematic.
Eagle Tax is played on a Fender Rhodes, producing a wistful introduction. Soon, guitars reverberate, reminding me of the soundtrack to a Wim Wenders film. That can only mean two men, Ry Cooder or Irmin Schmidt of Can. There’s even a similarity to Angelo Badalamenti’s Twin Peaks’ soundtrack. Soon, the Fender Rhodes and guitar are joined by drums as one of the most evocative, atmospheric and dramatic tracks unfolds.
Modern is totally unlike anything that’s gone before. Buzzing, droning synths and searing guitars join forces, while melancholy strings and meandering keyboards compete for your attention. Somehow, the track is dramatic, understated and ethereal simultaneously.
There’s a country sound to What Are They Doing In Heaven Today? Just a piano, guitars and steady beat provide the backdrop for a melancholy, pensive vocal. It’s tender, emotive and full of pain and frustration. This results in a truly beautiful, soul-searching song.
Wizard Motor closes Les Revenants and sees Mogwai throw another curveball. After the droning, dramatic and then melancholy introduction, drums pound and scorching, machine gun guitars are unleashed. Mogwai decide now’s the time to combine post-rock, grunge and indie rock as they close Les Revenants on a high. Seamlessly, the fuse musical genres and drama. There’s even avant-garde, electronica, experimental and folk thrown into the mix, as Mogwai, forever the innovators close Les Revenants on a dramatic, rocky high.
Ever since they released their debut album Mogwai Young Team in 1996, Mogwai have established a reputation as one of the most innovative groups of the past thirty years. During this period, Mogwai had sought to constantly reinvent themselves. Standing still it seems, isn’t an option. As a result, with each album Mogwai’s music evolves. Sometimes, it’s as if you’re listening to another band. That’s the case on Les Revenants.
Les Revenants is best described as a cinematic Magnus Opus. It’s an album of ambitious, bold, challenging, influential and innovative music. This is music full of nuances, subtleties and surprises. During fourteen tracks the mood constantly shifts. One minute, the music is wistful, melancholy and pensive, the next dark, disturbing, eerie and moody. By the same token, Les Revenants is sometimes, beautiful and melancholy. The music on Les Revenants tugs at your heartstrings, poses questions and paints pictures. The music is also ambitious, bold, challenging, influential and innovative. Quite simply, Mogwai take you on genre-hopping musical journey.
Over fourteen tracks, Mogwai combine everything from ambient, avant-garde, classical, experimental, folk, grunge, indie-rock and post-rock. This resulted in a genre-melting album, Les Revenants. It’s a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between dramatic, dreamy, surreal and trippy, to beautiful, pensive, understated and melancholy Other times the music is dramatic, moody and broody. One thing the music never is, is boring.
Not at all. Certainly not with Mogwai providing the soundtrack to Les Revenants. Subtleties and surprises are sprung, while Mogwai aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, the Mogwai Young Team perform a volte face. That’s what makes Les Revenants such a captivating and refreshing soundtrack. Les Revenants is also one of the best albums Mogwai have recorded. However, that may change soon, when Mogwai release their ninth album Rave Tapes on 20th January 2014. Until then, enjoy Mogwai at their innovative best on Les Revenants. Standout Tracks: The Huts, Whisky Time, Eagle Tax and What Are They Doing In Heaven Today?
MOGWAI-LES REVENANTS.
dereksmusicblog
dereksmusicblog 