THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 3.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 3.
HALL OF FAME VOLUME 2.
Without doubt, one of the most influential record labels in the history of Southern Soul is Fame Records. It released some of the most important music in the history of not just Southern Soul, but soul music. Then there’e the music recorded at Fame Recording Studios, Muscle Shoals. The artists who recorded at Fame Recording Studios, Muscle Shoals with the legendary Muscle Shoals Rhythm Section, reads like a who’s who of soul music. Everyone from Arthur Alexander, Arthur Conley, Candi Staton, Etta James, Otis Redding and Wilson Pickett. That’s just a few of the names who recorded at Fame Recording Studios, Muscle Shoals. What about Clarence Carter, George Jackson, Joe Simon, Otis Clay and Prince Phillip Mitchell, who all feature on Hall Of Fame Volume 2, which was released by Kent Soul, a subsidiary of Ace Records.
Featuring twenty-four tracks, Hall Of Fame Volume 2 is a glimpse of the music recorded at Fame Recording Studios, Muscle Shoals. Twenty of the tracks have never been released before and are a tantalising glimpse of what might have been. Some of the tracks, the quality is indisputable. You wonder why the songs never saw the light of day? That’s not the only thing they have in common.
The other is they were recorded at Fame Recording Studios, Muscle Shoals. Backed by some of the greatest session musicians of all time, they were responsible for a string of hit singles. Then there’s all the other sessions they played on. Not every session they played on, resulted in a single or album. So, there’s no end of hidden gems awaiting discover in Fame Records‘ vaults. This includes those on Hall Of Fame Volume 2. Given its quality, hopefully, further volumes of this Hall Of Fame series will be released by Kent Soul, a subsidiary of Ace Records. Let’s hope they’ll continue to released compilations like Hall Of Fame Volume 2, which cherry picks the hidden gems tucked away in Fame Records’ vaults.
JEROME DERRADJ PRESENTS: BANG THE BOX! THE (LOST) STORY OF AKA DANCE MUSIC, CHICAGO 1987-88.
Having cofounded Sunset Records in Chicago, in 1985, Matt Warren spent the next two years transforming the label into one of Chicago house’s most progressive and innovative labels. Then in 1987, Matt decided to part company with Sunset Records. A couple of months later, Matt decided to found his own label, AKA Dance Music. Just like Sunset Records, AKA Dance Music continued to release groundbreaking Chicago house. A favorite of dancers and DJs, sadly, AKA Dance Music didn’t enjoy the longevity of Trax, DJ International or even Sunset Records. It was in business for little over a year. Despite this, the music AKA Dance Music released is fondly remembered by discerning dancers and connoisseurs of Chicago music. That’s why Still Music’s latest compilation Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 was one of the most hotly anticipated of 2013.
Released in October 2013, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the followup to Still Music’s Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. Just like its predecessor, it’s a double-album featuring not just classics, but a disc of previously unreleased tracks. Twenty-six tracks are spread over the two discs. This includes contributions from Michaelangelo, Nexus 6, Team, BnC, Michael Griffin, Modern Mechanical Music and Matt Warren. Included are a variety of mixes, including many that have never been released before. For veterans of Chicago house, Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music is the perfect companion to Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89.
For just over a year, AKA Dance Music rose to the top of Chicago house, with their inimitable brand of Chicago house. The reason for this is simple. AKA Dance Music’s artists and producers were some of the most talented, innovative and influential producers in the first wave of Chicago house. AKA Dance Music may have been short-lived, but punched well above its weight and left a lasting impression on discerning dancers and connoisseurs of Chicago house music. One listen to the innovative, groundbreaking and timeless music on Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music, Chicago 1987-88 and you’ll realise why.
JERROME DERRADJI PRESENTS: KILL YOURSELF DANCING-THE STORY OF SUNSET RECORDS INC.1985-1988.
During 2013, a number of Chicago House compilations were released. Still Music released two of the best. This included Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. It features twenty-one tracks spread over two discs. This includes some of the most innovative Chicago house music released between 1985 and 1989. There’s contributions from Ben Mays, Master Plan, Matt Warren, Michaelangelo, Razz and Ralphi Rosario. These tracks are a reminder of the golden age of Chicago House. Back then, many small labels sprung up. This includes the pioneering Sunset Records Inc.
Sunset Records Inc. released pioneering and timeless music. It was music that pushed boundaries and challenged norms. Having watched the birth of house music from the sidelines, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who had watched and learnt, learnt from the experiences and failures of others. By 1985, they’d waited long enough. Realising they could do if not as well, if not even better, they approached Alex and Robert Rojo. Joining forces with two legends of Chicago’s party and music scene made sense. Through their Sunset Mobile Disco, Alex and Robert Rojo knew their way around Chicago’s music scene. For the producers in waiting, here was a musical marriage made in heaven.
That proved to be the case. Sunset Records Inc.released innovative and influential music. Sunset Records Inc’s artists were determined to push musical boundaries. This was house, but with a twist. Fusing disco, funk, industrial, new wave and post-industrial, Sunset Records Inc. forged their own unique sound. Inimitable, it was different from other labels. They punched above their weight. That’s no surprise. The cream always rises to the top. Sunset Records Inc’s artists were some of the most talented and pioneering producers in the first wave of Chicago house. Listen to the music on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 and you’ll soon realise why. The music is timeless and still sounds innovative, imaginative and influential.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
Ever since John Morales released The M&M Mixes Volume 2 in March 2011 on BBE Music, one of the greatest remixers in modern dance music has been working on the followup. Believe me, this has been two years John well spent. John Morales Presents The M&M Mixes Volume 3 is a three-disc box set, which features twenty-four brand new remixes from John. It was released by BBE Music on 29th April 2013. Featuring remixes of Marvin Gaye, Barry White, Teddy Pendergrass, The Dramatics, The John Davis Monster Orchestra, Loleatta Holloway and The Salsoul Orchestra. The twenty-four tracks on John Morales Presents The M&M Mixes Volume 3 encompass Philly Soul, Salsoul, classic soul, funk and disco. Quite simply, John Morales Presents The M&M Mixes Volume 3 is the best instalment of The M&M Mixes.
So good is the music on John Morales Presents The M&M Mixes Volume 3, that this is a possible contender for compilation of the year. John’s choice of music and remixing skills are flawless. John breathes new life and meaning into familiar tracks. Over the three discs that comprise John Morales Presents The M&M Mixes Volume 3 John take you on twenty-four compelling and captivating musical journey. These journeys are soulful, funky, jazz-tinged and dance-floor friendly. Occasionally, he throws a series of curveballs, taking you in a direction you never expected. By the end of the track everything falls into place. Seamlessly, everything makes sense. Not many remixers can do this, but John Morales can. However, that’s what you’d expect from a veteran remixer whose life has revolved around music. Proof of this is John Morales Presents The M&M Mixes Volume 3. Somehow, John Morales Presents The M&M Mixes Volume 3 manages to surpass the quality of the two previous instalments in this series.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
Compilations of John Morales’ remixes were a bit like London buses this year. You wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3-Instrumentals. Both were released by BBE Music in April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3-Instrumentals.
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Many of the tracks feature a truly compelling vocal. When you listen to theses track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Not any more. John Morales released a compilation of instrumental version of seventeen songs on John Morales Presents The M&M Mixes Volume 3. The result was one of the biggest challenges of John’s career.
By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to go wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals. It demonstrates just why John Morales is one of the greatest remixers of his generation. He’s head and shoulders above other remixers. They’re pretenders to John’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 3.
Earlier this year BBE Music released Keb Darge and Little Edith’s Legendary Wild Rockers 3. It was hard to believe a year had passed since Keb and Little Edith released their critically acclaimed compilation Keb Darge and Little Edith’s Legendary Wild Rockers 2. It was a must-have compilation. Incredibly, having set the bar so high with Keb Darge and Little Edith’s Legendary Wild Rockers 2, so was Keb Darge and Little Edith’s Legendary Wild Rockers 3.It featured twenty-one slices of the rarest rockabilly and surf music from the fifties and sixtes.
Having set the bar high, Keb Darge and Little Edith’s Legendary Wild Rockers 3 surpasses the quality of the two previous volumes. This is testament to KBE’s encyclopedic knowledge of music. Quite simply, he knows where to dig for hidden gems. Keb knows where there are a few musical treats lying undiscovered. Many of the twenty-one slices of surf music and rockabilly that feature on Keb Darge and Little Edith’s Legendary Wild Rockers. It seems that Keb Darge and Little Edith haven’t exhausted their supply of hidden gems. Not at all. Keb Darge and Little Edith’s Legendary Wild Rockers 3 features another twenty-one glistening rockabilly and surf gems for your enjoyment. 
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
Kenya Special is a two disc box set, which features thirty-two tracks recorded during the seventies and eighties. The two discs are enclosed in a sturdy, cardboard box which holds the two discs and a forty-page booklet. Unlike inferior compilations, the discs don’t rattle about the box. Instead, there’s a made-to-measure quality to it. Each disc is enclosed in what resembles the inner sleeve to an old vinyl record, with facsimiles of old record labels on each side. Then there’s Doug Paterson’s sleeve-notes. They’re lengthy, informative and in-depth. As an added bonus, there’s the story behind each track. For lovers of African music, this is Nirvana. Where Kenya Special also differs, is the music. The thirty-two tracks, spread across the two discs don’t just focus on one specific musical genre. Instead, Kenya Special draws inspiration from Ghana Special and Nigeria Special.
Throughout the seventies and eighties, across the length and breadth of Kenya, in the various regions, artists and bands were producing new and innovative music. Recorded in various dialects, this was music that was funky, soulful and dance-floor friendly. It was music that provided a showcase for Kenyan music, benga and rumba in particular. Benga and rumba were influenced by the music of Kenya’s neighbours Congo and Tanzania. It was also influenced by Western music, including disco, jazz, funk, soul, R&B and rock. Influenced by an eclectic and disparate selection of musical genres and influences, not only did the music that features on Kenya Special provide the soundtrack to much of Eastern Africa, but made stars out of many of the artists on the compilation. Selling ten-thousand or more copies, many of the artists on Kenya Special became legends of Kenyan music. Revered not just in Kenya, but much further afield are Simon Kihara, D.O. Misiani, Nashil Pichen and Sophia Ben, true legends of the Kenyan music scene. They’re responsible for some of the innovative, influential and timeless music that features on Kenya Special, the latest compilation from Soundway Records.
KEV BEADLE PRESENTS PRIVATE COLLECTION.
BBE Music’s first compilation of 2013 was Kev Beadle Presents Private Collection. This was a very special compilation. It was Kev’s first compilation for sixteen long years. That’s far too long for someone with such an enviable record collection as Kev Beadle. Indeed, it’s twenty years since Kev was last asked to delve into his record collection, and compile a collection of rarities from yesteryear. For Kev, the twelve tracks on Kev Beadle Presents Private Collection are very personal for him. They represent a journey back in time, to when his career as a record collector and DJ began. Since then, he’s established a reputation as one of the top DJs with an enviable record collection. Kev Beadle Presents Private Collection is a tantalising taste of Kev’s record collection.
After an absence of sixteen years from compiling compilations, Kev Beadle certainly hasn’t lost his Midas touch. Quite the opposite. The jazz-tinged walk down memory lane that is Kev Beadle Presents Private Collection, is one that’s filled with memorable moments aplenty. Every track is a winner, chosen carefully from Kev’s ever expanding record collection. He’s delved deep into his collection, dusting off rarities and hidden gems. Generously, Kev is happy to share his music with a much wider audience, especially anyone who loves jazz music. For anyone who loves jazz music, Kev Beadle Presents Private Collection is part of your musical education. Kev Beadle Presents Private Collection is a compilation they’ll enjoy and cherish. Not only that, but Kev Beadle Presents Private Collection is the first step on a musical journey of exploration, into the world of rarities and hidden jazzy gems.
LIBERATION MUSIC-THE SPIRITUAL JAZZ AND THE ART OF PROTEST ON FLYING DUTCHMAN RECORDS 1969-1974.
Looking back at the roster of artists Flying Dutchman Records amassed during the first five years of its existence, one can’t help but be impressed. After all, between 1969 and 1974, Flying Dutchman Records couldn’t just boast true jazz legends, but pioneers of jazz music. Obviously, Flying Dutchman Records is best known for Gil Scott-Heron, and seminal releases like The Revolution Won’t Be Televised and The Bottle. However, as BGP Records’ recent release Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 demonstrates, there’s much more to Flying Dutchman Records that Gil Scott-Heron. Artists like Leon Thomas, Ornette Coleman, Chico Hamilton, Louis Armstrong and Lonnie Liston Smith and The Cosmic Echoes also called Flying Dutchman Records home. They feature on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 are the perfect primer for newcomers to Flying Dutchman Records, a pioneering jazz label, but one with a social conscience.
Flying Dutchman Records wasn’t shy about protesting about life’s injustices. While other labels would’ve flinched at releasing albums by Gil Scott-Heron and Oliver Nelson, Flying Dutchman felt duty-bound to help right the wrongs their music railed against. So, in many ways, it was the perfect home for artists like Gil Scott-Heron, Leon Thomas, Ornette Coleman, Chico Hamilton, Oliver Nelson and Lonnie Liston Smith and The Cosmic Echoes. They feature on an eclectic compilation of the familiar and lesser known tracks released on Flying Dutchman Records. For veteran jazz fans, Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 will be a welcome reminder of what was, one of jazz’s real innovative labels.
During the first five years of its existence between 1969 and 1974, Flying Dutchman Records released the most important, critically acclaimed and pioneering jazz music of that time. This is music that can be found on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974. It’s music that’s stood the test of time. To use Gil Scott-Heron as an example, his music is equally relevant and socially important over forty years after its original release. That proves how far-sighted Bob Thiele was when choosing the artists he signed to Flying Dutchman Records. Mavericks, pioneers and innovators all called Flying Dutchman Records home, as BGP Records’ recent compilation Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 proves. Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 is also the perfect starting point for a long and enjoyable musical journey through Flying Dutchman Records illustrious back-catalogue.
LIPSTICK, POWDER AND PAINT! THE NEW YORK DOLLS HEARD THEM HERE FIRST.
It’s no exaggeration to say, that the New York Dolls have been one of the most influential and innovative bands in music history. What people don’t realise, is that the original and classic lineup, only released two albums. They were a tantalising glimpse of a group whose music had a huge and long-lasting effect on music. Forty-two years later, the New York Dolls are still cited by new bands as an inspiration. None of these bands have the same effect as the New York Dolls did. That’s why Ace Records have released a compilation of music that inspired the New York Dolls. Lipstick, Powder and Paint! The New York Dolls Heard Them Here First features the music that inspired the New York Dolls. This includes Bo Diddley, Otis Redding, Muddy Waters, Eddie Cochran, Chuck Berry, Elvis Presley, Wilson Pickett, The Kinks, Erma Franklin and Big Joe Turner. In total, there are twenty-four tracks on Lipstick, Powder and Paint! The New York Dolls Heard Them Here First which us truly eclectic.
I’d go as far as say that Lipstick, Powder and Paint! The New York Dolls Heard Them Here First is refreshingly eclectic compilation of tracks that inspired the New York Dolls. Classics and hidden gems sit side-by-side. There’s contributions from musical legends, including some leftfield choices. After all, would you have chosen Elvis’ Crawfish or Wilson Pickett’s International Playboy? Or how about Bo Diddley’s Pills or The Kinks’ Alcohol? Compilers Ian Johnston and Mick Patrick do, and it works. Too often compilers are scared to take a chance. Ian and Mick do, and pull it off.
Then there’s familiar favourites from Otis Redding, Eddie Cochran, Muddy Waters, Chuck Berry and Erma Franklin. Although they’re tracks we’ve heard before, you never tire of music this good. Sometimes, compilers overlook tracks like The Four Tops’ Reach Out I’ll be There and Eddie Cochran’s Something Else. The reason they do this is to be contrary. Not here. Ian and Mick realise that all that matters is the quality of the music. If it’s good, it’s included on Lipstick, Powder and Paint! The New York Dolls Heard Them Here First. Every one’s a winner and every track influenced the New York Dolls.
Forty years after the release of their debut album, the New York Dolls are still seen as one of the most innovative and influential bands of the seventies. They released two classic albums in the space of two years. Then the New York Dolls split for the first time in 1975. By 1977, the New York Dolls were history. The original and greatest lineup of the New York Dolls recorded just two albums in two years. Rather than fade away like the Rolling Stones or The Who, the New York Dolls burnt out. They split up amidst acrimonious circumstances. Arguments, alcohol and drug abuse saw the New York Dolls scattered to the wind. That’s why when anyone mentions the New York Dolls, they’ll forever be remembered as the five swaggering gunslingers that feature on the cover of their debut album New York Dolls and Lipstick, Powder and Paint! The New York Dolls Heard Them Here First.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 4.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 4.
LOUISIANA SATURDAY NIGHT REVISITED.
Ace Records waited an amazing twenty-three years to release the followup Another Saturday Night, which was released back in 1990. Released to critical acclaim and an appreciative audience, Another Saturday Night was one of the compilations of 1990. Everyone expected a followup to be released in 1991. That wasn’t the case. 1992 then 1993 came and went. As the years went by, it looked like there wouldn’t be a followup to Another Saturday Night. So much time passed, a new millennia dawned. Into the second decade of the new millennia, hopes of a followup to Another Saturday Night were long gone. Then earlier this year, Louisiana Saturday Night Revisited was released.
Featuring twenty-four tracks, Louisiana Saturday Night Revisited has been well worth the twenty-three year wait. Compiler Ian Saddler has made sure of that. Every one is a winner. That’s no exaggeration. There’s strictly no musical mistakes, just quality music all the way on Louisiana Saturday Night Revisited. A musical journey through Louisiana music circa 2013, you’ll hear everything from swamp pop, Cajun, zydeco or rockabilly. Many of the artists you hear, will be new to you. I’m sure it won’t be the last you’ll want hear of them. Hopefully, Ace Records, who released Louisiana Saturday Night Revisited, will consider a followup? Let’s just hope the followup to Louisiana Saturday Night Revisited won’t be another twenty-three years in the making.
MUSIC FOR DANCEFLOORS-THE KPM MUSIC LIBRARY.
Ever since the dawn of hip hop, library music has proved a source of inspiration for sample-hungry hip hop producers and crate-digging DJs alike. Library music has also proven popular with music lovers with discerning musical tastes. Little did the founders of Chappell, Bosworth and KPM Music realise the lasting effects the music of mainly anonymous, young composers would have. It’s been heard by children growing up in the seventies, weaned on cartoons, viewers of TV quizzes and current affairs programs . Later, hip hop producers Jay-Z, Doom and Guilty Simpson, plus film producers including Quentin Tarantino and cutting-edge DJs discovered library music. It has influenced so many people’s lives. Given how wide library music’s influence is, you’d think everyone would have of this musical secret? Well, if you answered yes, you’re wrong. However, that began to change in April 2013, when Strut Records rereleased a deluxe edition of Music For Dancefloors-The KPM Music Library.
Unlike the 1999 edition of Music For Dancefloors-The KPM Music Library, the Deluxe Edition is a double album. Disc One features twenty classic tracks from KPM’s back-catalogue. On Disc Two, which is an exclusive bonus disc, where many of KPM’s original composers and musicians were reunited and London’s prestigious Jazz Cafe, for a one-off concert. Fittingly, they were billed as The KPM All-Stars. That concert was recorded, with The KPM All-Stars revisiting fourteen KPM classics. On disc one of Music For Dancefloors-The KPM Music Library are twenty library classics.
For anyone yet to discover library music, then Music For Dancefloors-The KPM Music Library, is the place to start. It’s a tantalising taste of KPM Music’s illustrious back-catalogue. These tracks could take you on a voyage of discovery. After hearing these track, you’re bound to want to dig deeper into the KPM Music Library. No wonder. There’s so much music that is just awaiting discovery. Much of this music is from composers and musicians who many people won’t yet be aware of. Granted you may have heard some of the music on television shows or sampled by hip hop producers. However, you may not be aware of John Cameron, Alan Hawkshaw or Keith Mansfield. That’s until now. After hearing the twenty tracks on Music For Dancefloors-The KPM Music Library, you’ll want to hear more of their groundbreaking. innovative and timeless music.
NEW ORLEANS FUNK VOLUME 3.
From the moment you put on Soul Jazz Records’ recent compilation New Orleans Funk Volume 3, you’re transported to the Big Easy. It’s the Mardi Gras and Bourbon Street is full of tourists desperate to experience the sights and sounds of one of America’s musical capitals. Filling the air, is a soundtrack that includes Dixieland jazz, R&B, funk, Zydeco, Afro Cuban and the brass bands that are part and parcel of New Orleans’ rich musical heritage. It’s an irresistible fusion of musical influences and genres. This is the real sound of New Orleans. It’s what the tourists listen to, whilst enjoying beignets, gumbo, jambalaya and po-boys. Just as authentic a representation of New Orleans, is the music on New Orleans Funk Volume 3, which showcases New Orleans’ rich musical heritage.
For anyone new to Soul Jazz Records’ New Orleans Funk compilation, then my suggestion is treat yourself to all three volumes. New Orleans Funk Volume 3 picks up where New Orleans Funk Volume 2 left off. The quality remains, with familiar faces, old friends and hidden gems sitting side-by-side. Each of the fourteen artists who feature on New Orleans Funk Volume 3 are part of New Orleans’ rich musical history. Among them are Allen Toussaint, Professor Longhair, Lee Dorsey and Eldridge Holmes. Then there’s contributions from Willie West, Betty Harris, The Explosions, Dirty Dozen Brass Band and Diamond Joe. Their music ranges from Dixieland jazz, R&B, funk, Zydeco, jazz, soul and the brass bands. In many ways, it’s like a walk down Bourbon Street during Mardi Gras. You’re assailed by smells and sound. This is all part of the Big Easy experience. New Orleans Funk Volume 3 is a tantalising taste of New Orleans musical heritage.
One of the musical capitals of America, it’s musical heritage goes back to the eighteenth century. Then in the 1950s, music become an important part of New Orleans’ economy. As the sixties dawned, this increased. A whole host of new labels sprung up, including labels who introduced us to some of the artists on New Orleans Funk Volume 3. Since then, music has been intertwined with New Orleans’ musical heritage. After all, who goes to New Orleans and doesn’t head down Bourbon Street? Not many. New Orleans with its diverse, eclectic and rich musical heritage, has a myriad of musical delights awaiting discovery. Many of them can be found on New Orleans Funk Volume 3, which is a perfect introduction to the music of the Big Easy, and the perfect prelude to a walk down Bourbon Street during Mardi Gras.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
The Orchestre Poly-Rythmo De Cotonou are among Analog Africa’s favorite sons. Indeed, Samy Ben Radjeb’s Analog Africa label have previously, dedicated two compilations to the funk-laden music of the Orchestre Poly-Rythmo De Cotonou. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Now, Analog Africa have returned to the Orchestre Poly-Rythmo De Cotonou’s back-catalogue for fourteen further tracks, which comprise The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. This includes some of the funkiest music the Orchestre Poly-Rythmo De Cotonou ever recorded during their career.
When Analog Africa founder Samy Ben Radjeb was compiling The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, first stop was his vast collection of African music. His collection is crammed full of records he’d collected during his previous career, which was working for a German airline. This allowed Samy to seek out and discover, countless hidden gems of African music during his monthly trips to Africa. Finding their way into Samy’s enviable record collection, were the 500 songs that The Orchestre Poly-Rythmo De Cotonou recorded between 1969 and 1983.
Fourteen of these tracks feature on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, where you hear many sides to The Orchestre Poly-Rythmo De Cotonou’s music. Seamlessly, they veer between musical genres and rhythms. Everything from funk, soul, jazz, rock, Latin, Cuban and Afro-beat is combined over the fourteen tracks. It’s impossible to categorise The Orchestre Poly-Rythmo De Cotonou. Granted, you could refer to it as Afro-beat, but there’s much more to it than that. However, the fourteen tracks could be broken down into ten sub-genres. These are the various rhythmic styles. They range from voudoun, jerk fon, sato, pop fon and pachange. For many groups, changing rhythmic styles would present a challenge. Not for The Orchestre Poly-Rythmo De Cotonou. They relish the challenge, enjoying the opportunity to showcase their considerable musical prowess. Seamlessly, one rhythm style gives way to another. All the time, they’re drawing inspiration from Western, Cuban and Latin music. Quite simply, The Orchestre Poly-Rythmo De Cotonou were hugely talented musicians, musicians who were innovative and versatile. Not only that, but The Orchestre Poly-Rythmo De Cotonou enjoyed longevity and were prolific, releasing over 500 songs.
Despite their prolificacy, The Orchestre Poly-Rythmo De Cotonou remain something of a musical secret, outside of Benin. Thankfully, independent record labels, including Analog Africa, run by Samy Ben Radjeb are rectifying this. He has already released two compilations of The Orchestre Poly-Rythmo De Cotonou’s music. Recently, that number rose to three, when Analog Africa released The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, Of the three compilations, The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 finds The Orchestre Poly-Rythmo De Cotonou not just at their funkiest, but seamlessly switching between musical genres and rhythms. For anyone whose still unfamiliar with African music’s best kept secret, then The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is the place to start.
OVERDOSE OF THE HOLY GHOST-COMPILED BY DAVID HILL.
Sometimes, compilations can be anodyne affairs, with record labels and compilers scared to release compilations of innovative, left-field music. This results in labels playing it safe and releasing compilations that although not innovative, will pay the bills. Thankfully, there are some labels out their willing to release innovative compilations of music. This includes musical genres that are overlooked. One musical genre that’s often overlooked is gospel music. It’s been a long time since a record company released a quality gospel compilation. Thankfully, ZR Records rectified this earlier this year, when they released Overdose Of The Holy Ghost, which was compiled by David Hill. It’s very different from what you’d expect a gospel compilation to sound like.
Overdose Of The Holy Ghost is best described as an eclectic and groundbreaking compilation of quality gospel music. It features the different sub-genres that make up gospel. These sub-genres have been influenced by many musical genres and influences. There’s every influence from boogie, disco, funk, house, jazz and soul on Overdose Of The Holy Ghost. This proves that it’s impossible to pigeonhole gospel music. It’s very different to what people expect gospel music to sound like.
Indeed, as Overdose Of The Holy Ghost proves, there’s much more to gospel than meets the eye. Best described as eclectic and innovative compilation, maybe Overdose Of The Holy Ghost will change people’s minds about gospel music. After all, much of the music on Overdose Of The Holy Ghost is soulful, funky, dance-floor friendly and hook-laden. What more could you ask for?
PAL JOEY PRESENTS HOT MUSIC.
There aren’t many producers that have enjoyed the longevity that Joey Luongo has. As Pal Joey, he’s been producing cutting-edge, innovative music since 1990. That’s quite a feat. After all, Pal Joey has had to keep ahead of the musical curve. He’s succeeded in doing that producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed. That’s what Pal Joey’s been doing for four decades, producing groundbreaking music. His productions have influenced a generation of producers. Much of the music Pal Joey released was on his own labels, Cabaret, Footstompin’ and Loop d’ Loop label.
It’s on Pal Joey’s Loop d’ Loop label that he released some of the most successful and critically acclaimed music of his career. Founded in 1990, Loop d’ Loop documents the life and times of Pal Joey. To celebrate the career of Pal Joey, BBE Music released Pal Joey Presents Hot Music in October 2013. Featuring seventeen tracks, Pal Joey Presents Hot Music was the most comprehensive retrospective of Pal Joey’s career.
Part of Pal Joey’s longevity, is his ability to reinvent himself. He’s done that several times. That’s apparent by the music on Pal Joey Presents Hot Music. If Pal Joey hadn’t reinvented himself musically, he wouldn’t have enjoyed the longevity he has. There’s a reason for this though. He’s succeeded in producing music that’s unique and groundbreaking. Pal Joey hasn’t just produced one musical genre. No. Quite the opposite. His music has evolved and progressed.
Over the past four decades, Pal Joey’s produced everything from hip hop, house, garage and even acid jazz. As for house, this includes several types of house music. This includes disco, deep, electro or garage house. He’s even headed towards the techy side of house. By not restricting himself to one musical genre, Pal Joey has enjoyed the longevity that not many producers have enjoyed. Through constantly reinventing himself and striving to innovate, Pal Joey established a reputation as an influential and groundbreaking producer.
That’s why Pal Joey’s music was heard in some of the most fashionable clubs by some of the most influential people in music. They were hearing tomorrows music today. That music, including the seventeen tracks on Pal Joey Presents Hot Music, is truly timeless. Twenty years after some of the music on Pal Joey Presents Hot Music was released it sounds just as good as the day it was released. That’s no surprise. After all, what do you expect from one Pal Joey, who released music hat’s been described as innovative, influential, joyous, mesmeric, uplifting and timeless?
PERU MARAVILLOSO: VINTAGE LATIN, TROPICAL AND CUMBIA.
As the sixties unfolded, British and American music was on the cusp of a revolution. This began in 1962, when The Beatles released Love Me Do. Soon, the sixties were swinging. Over the Atlantic in America, the British Invasion proved a game-changer. For the first time, British music was influencing American music. Then as the second half of the sixties took shape, another revolution took place, a psychedelic revolution. It’s documented on Peru Maravilloso: Vintage Latin, Tropical and Cumbia, which was recently released by Tiger’s Milk Records, an imprint of Strut Records.
No longer was music gradually evolving, like it previously had. Far from it. Instead, it was revolution not evolution. It wasn’t just in Britain and America that this psychedelic revolution took place. No, it was throughout the world. This includes Peru, which was in the midst of political turmoil. Whilst psychedelia and rock music was influencing Peruvian music, Cuban communists inspired their Peruvian comrades. They used guerrilla tactics to try and win political power. With two revolutions taking place simultaneously, both Peruvian politics and music would change throughout the sixties and seventies.
Peru Maravilloso: Vintage Latin, Tropical and Cumbia is glimpse of Peru’s psychedelic revolution that unfolded during the sixties and seventies. Some of the tracks are a reflection of the political turmoil the country underwent. This is no different to what happened in the sixties in America. Back then, groups like Country Joe and The Fish became the voice of a generation. However, there’s more to Peru Maravilloso: Vintage Latin, Tropical and Cumbia than politics. Much more.
What you’ll also find on Peru Maravilloso: Vintage Latin, Tropical and Cumbia demonstrate, is a truly eclectic compilation. It reflects Peru had a rich and vibrant music scene. There’s elements of jazz, sunshine pop, psychedelia, folk and rock. Add to that cumbia, huayno, guaracha, African, Andean, Cuban, Latin and Spanish music. Musical genres seamlessly melt into one on this musical tapestry. Featuring genre-melting, eclectic and infectiously catchy music, Peru Maravilloso: Vintage Latin, Tropical and Cumbia is lysergic, magical mystery tour with surprises aplenty in store.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-VINYL EDITION.
Just a year after the release of Philadelphia Classics-The Tom Moulton Remixes, now lovers of vinyl will be able to purchase a copy of what was one of the most anticipated box sets of 2012. While the version of Philadelphia Classics-The Tom Moulton Remixes that was released in March 2012, this new vinyl version, which will be released on 25th March 2013, features eight heavyweight albums. For lovers of Philadelphia International Records and Tom Moulton’s remixes, then you’re in for a treat. Thirty-one remixes by Tom Moulton, including what were last year, seventeen brand new remixes. Truly, the music is stunning.
Just like Philadelphia Classics-The Tom Moulton Remixes, the vinyl edition is a combination of classics and new tracks. Quite simply, the music is of the highest quality. With the new tracks, Tom’s remixes are just as good as his older remixes, demonstrating that he’s still a hugely talented remixer. In fact, listening to these tracks, there much better than anything the new generation of remixers are producing. Compare these tracks, and its like master and pupil, with Tom’s remixes are streets ahead. Proof of this is the vinyl edition of Philadelphia Classics-The Tom Moulton Remixes. It was released by Harmless Records in March 2013, and is a reminder of what Tom Moulton, inventor of the remix, twelve inch single and remixer extraordinaire is capable of.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first instalment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. One of the best releases of 2010, fans of Philly Soul waited with bated breath to see if a second installment would follow? It did. Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. That whetted our appetite for further instalments in the series.
2012 came and went with no sign of Volume 3. Nearly two years passed before Harmless Records announced the release of Volume 3. Unlike the first two volumes, Philly ReGrooved 3: The Tom Moulton Remixes would be a double-album. Released in June 2013, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury, Volume 3 was crammed full of Philly Soul classics. Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan, critics hailed Volume 3 as the best in the series. Plaudits, praise and critical acclaim came Tom Moulton and Harmless Records’ way for this two-disc opus. The only criticism of Volume 3 was, that it wasn’t available on vinyl. That is, until now, when Harmless Records will released another vinyl Magnus Opus.
It’s not just Philly ReGrooved 3: The Tom Moulton Remixes that can be found on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. No. There’s much, much more than that.The three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track eight-album box set. Released in October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was a must-have for Philly Soul fans. Limited to just four-hundred box sets, this follows in the footsteps of limited edition vinyl box set of Philadelphia International Classics: The Tom Moulton Remixes, which was released by Harmless Records earlier this year.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was released by Harmless Records on 28th October 2013. A luxurious and lovingly compiled compilation, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition features some of the best Philly Soul to fill airwaves and dance-floors. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition isn’t just an incredible compilation, but a thing of beauty. That’s almost one of the great understatements. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of the best box sets of 2013.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
Philly Re-Grooved 3-Tom Moulton Remixes, features nineteen brand new remixes from Tom, plus sleeve-notes from myself. Long awaited, but well worth the wait, Philly Re-Grooved 3-Tom Moulton Remixes is a surefire bet to be one of the best compilations of 2013. After all, a Tom Moulton remix is still quite rightly perceived as a sign of quality. The nineteen tracks on Philly Re-Grooved 3-Tom Moulton Remixes are proof of this. These remixes see Tom cast his net much wider than in the first two volumes of Philly Re-Grooved.
On Philly Re-Grooved 3: The Tom Moulton Remixes Tom delves into the back-catalogues of Atlantic Records, Atco, Buddah Records, Chelsea, Columbia and Roxbury. They prove to be a veritable treasure trove for Tom. He was absolutely spoiled for choice. Eventually, he settled on nineteen tracks. This included tracks by The Spinners, The Trammps, Blue Magic, Bettye Swann, Melba Moore and Philly Devotions. Tom takes these tracks and totally transforms them.
The remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes are the result of five decades experience and work. It takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly Re-Grooved Volume 3-Tom Moulton Remixes. Compare these tracks to the other remixers and there’s no comparison.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 5.
THE A-Z OF THE BEST COMPILATIONS OF 2013-PART 5.
PIED PIPER PRESENTS A NEW CONCEPT IN DETROIT SOUL,
When the definitive history of soul music is written, several cities will loom large in the story. A triumvirate in particular, have played a hugely important part in the development of soul. This triumvirate are Memphis, Philadelphia and Detroit. Some of the best soul music ever released, came out of these three cities. They however, are the gift that keeps on giving. Why? Well, hidden in the vaults of the record companies that called these cities home are a whole host of unreleased tracks. This includes the twelve unreleased tracks that featured on Pied Piper Presents A New Concept In Detroit Soul, which was released on Kent Soul, a subsidiary of Ace Records, earlier this year. They’re not just any unreleased tracks.
No. The unreleased tracks on Pied Piper Presents A New Concept In Detroit Soul are some of the most exciting Detroit and Northern Soul tracks to be discovered in recent years. Quite simply, this is sixties soul gold. These unreleased tracks feature plus contributions from Lorraine Chandler, Nancy Wilcox, The Cavaliers and Willie Kendrick. Of the other twelve tracks, they were released on labels like Giant, Kapp, Karate, Musicor, Ruby and Wand. Each of these tracks have one thing in common, they feature the magic words: “A Pied Piper Production.” That means quality is guaranteed.
When Kent Soul, a subsidiary of Ace Records released Pied Piper Presents A New Concept In Detroit Soul, it was one of the most anticipated compilations of 2013. After all, Pied Piper Productions were know for the quality of their productions. They’d high standards. Jack Ashford and Mike Terry, just like the man who hired them Sheldon “Shelley” Haines, had high standards. Theirs was a quest for musical perfection. Nothing else was good enough. That’s obvious here. Even the tracks that have lain unreleased for over forty years are the highest quality. That’s testament to Jack Ashford and Mike Terry. It’s also credit to compiler Ady Croasdell, who compiled Pied Piper Presents A New Concept In Detroit Soul.
Ady’s brought together twenty-four tracks that showcases Pied Piper Productions. Jack Ashford and Mike Terry, two former Funk Brothers, discovered that there was life after Motown. Their time at Pied Piper Productions was the first step in what would be long and successful careers. At Pied Piper Productions, they worked with Lorraine Chandler, Nancy Wilcox, The Cavaliers, September Jones and Willie Kendrick. Artists were discover, careers were rejuvenated and stars were born. Sheldon “Shelley” Haines’ decision to bring Jack Ashford and Mike Terry to Pied Piper Productions was vindicated. For a few short years, they were a potent and successful partnership. Proof of this is the music on Pied Piper Presents A New Concept In Detroit Soul. For anyone with an interest in either soul music, soul music recorded in Detroit or Northern Soul, then Pied Piper Presents A New Concept In Detroit Soul is a compilation that belongs in your record collection. One listen to Pied Piper Presents A New Concept In Detroit Soul, and you’ll realise why.
PROG ROCKS!
Although many musical genres divide opinion, some musical genres that tend to divide opinion way more than others. Everyone can think of their own example, but for me, three immediately spring to mind. These are disco, punk and prog rock. Of these three musical genres, when it comes to opinions, not many people tend to occupy the middle ground. You’re either for or against each of these musical genres. Prog rock, however, tends to divide the opinion the most. Even forty years after the genre’s birth, the merits or otherwise of prog rock are still debated. For prog rock’s accusers, they perceive the music as overblown, overindulgent and pompous. To them, prog rock is a musical genre that belongs in firmly in the past. That however, only tells one side of the story.
Proponents of prog rock point to a musical genre that’s inventive, innovative and complex. Influenced by art rock, jazz and classical music, prog rock drew inspiration from a many other influences.It eschews traditional time signatures, song structures, rhythms, instruments and influences. In many ways, prog rock was an innovative genre, one that railed against the blues’ influence in rock music. Groups like Pink Floyd, Soft Machine, Jethro Tull, Emerson, Lake and Palmer, Genesis, Yes and Gong were among prog rock’s pioneers. They lead the way, and now, four decades later, new generations of prog rock groups are following in their footsteps, during the latest resurgence in prog rock’s popularity. To mark this resurgence in prog rock’s popularity, a new five-disc compilation Prog Rocks has recently been released by EMI.
Having spent some time immersed in the five discs that comprise Prog Rocks! I’ve come to the conclusion that it’s not just people who enjoy prog rock that’ll enjoy this box set. After all, not every track on Prog Rocks! can be categorized as prog rock. Indeed, many tracks could just as easily be categorized as rock, folk, psychedelia, garage or rock. However, I often think we spend too much time putting music into categories. That’s often an unhealthy obsession that gets in the way of what’s important, discovering new and old music. For many people, there’s so much great music awaiting discovery on Prog Rocks! Indeed, there are seventy-two tracks over five discs awaiting discovery on Prog Rocks!
What I do hope that Prog Rocks! does, is change people’s perception of prog rock. After all, prog rock far too often, gets a bad press. Sometimes, prog rock is the butt of cheap jibes and sarcastic comments. Hopefully once people have heard the music on Prog Rocks! they’ll change their opinion on prog rock. Maybe then they’ll realize that it’s an innovative and inventive musical genre, one that’s been Influenced by art rock, jazz and classical music. Prog rock drew inspiration from a many other influences. It eschews traditional time signatures, song structures, rhythms, instruments and influences. That’s what makes prog rock and the music on Prog Rocks! unique, innovative and groundbreaking.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism and totally smitten by the music. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Sunrise. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more On Disc Two, the tracks are seamlessly mixed by Psychemagik. These tracks showcase Psychemagik’s passion for crate-digging. With such an eclectic collection of music, finding the tracks must prove problematic? Not for Psychemagik.
Psychemagik are passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that Psychemagik Presents Magik Sunrise oozes quality.
As you’ll have realized by now, I was hugely impressed by Psychemagik Presents Magik Sunrise. I’d go as far as to say it’s one of the best compilations I’ve heard this year. There are several reasons for this. Of course one of these is the sheer eclecticism of the compilation. There’s everything from cosmic disco, psychedelic funk, Balearica and Middle Eastern beats right through to rock, Latin, jazz and even prog rock. Describing the compilation as eclectic, is almost an understatement.
It seems Psychemagik no crates have been left unexplored by Psychemagik, in their quest for not just quality music, but outstanding music. Most of the tracks on Psychemagik Presents Magik Sunrise will be new to most people, even the most devoted and persistent crate-digger. Unlike other inferior compilations, neither is there any filler or poor tracks. All killer and no filler describes Psychemagik Presents Magik Sunrise. That’s a tribute to Psychemagik’s crate-digging skills and their discerning taste in music. As an added bonus, Disc Two features each of the twelve tracks seamlessly mixed by Psychemagik. So for anyone who likes their music eclectic and loves discovering new music then Psychemagik Presents Magik Sunrise is a must-have compilation.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
Sometimes, when it comes to compilations, sequels don’t quite live up the first volume in a series. Often, the first volume in a series has exhausted the supply of seminal music. So, when the eagerly awaited sequel is released, there’s often a sense of disappointment. Too often, the musical memory of the first volume ends up tainted by a disappointing sequel. The lesson to be learnt, is that once you’ve released one or two successful compilations, quit while you’re ahead. Sadly, often record companies realising that there’s an audience for their compilation series, let greed and avarice get in the way of common sense. After all, with some musical genres, there’s often a limited supply of quality music. Conversely, other musical genres have a plentiful supply of quality music awaiting discovery by enthusiastic and knowledgeable compilers. This includes what’s become known as Krautrock, which has become musical shorthand for a fusion of musical genres. Mining this plentiful supply of music have been Soul Jazz Records, for their compilation Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, which was released in February 2013.
For those yet to discover Krautrock, this musical genre is a melting pot of influences. Indeed, there’s everything from rock, prog rock, jazz, psychedelia, folk and electronic music. While many people will have heard the music of Kraftwerk, Neu, Can and Faust, there’s much more to Krautrock than this. So, for anyone looking to discover Krautrock, then Soul Jazz Records’ latest release, Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, is the perfect starting point. On the two discs are twenty-seven tracks released between 1971 and 1983. They’re described as “experimental German rock and electronic musik.” This is the perfect description of the Krautrock. Together with the 2010s Soul Jazz Records Presents: Deutsche Elektronische Muzik, this is the perfect primer for the newcomer to Krautrock.
Not only does it feature tracks from some of the genres giants, including Can, Neu and Faust, but hidden gems like Niagara S.U.B’s and Electric Sandwich’s China. Having said that, there’s so much more to discover on Soul Jazz Records Presents: Deutsche Elektronische Muzik 2. These tracks are inspired by an eclectic variety of musical genres and influences. This includes rock, prog rock, jazz-rock, psychedelia, jazz and avant garde classical music. To that, I’d add electronic, industrial, ambient and funk. Krautrock was inspired by all these genres and was a musical melting pot. Since then, Krautrock has inspired a new generation of musicians and producers. Sadly, despite this, Krautrock is often portrayed negatively in the musical press. That’s quite unfair, given how much quality music is awaiting discovery. There’s much more to Krautrock than just the music of Kraftwerk, Can, Neu and Faust. Not only will Soul Jazz Records Presents: Deutsche Elektronische Muzik 2 act as a primer to anyone looking to discover the delights of Krautrock, but will lead them on a voyage of musical discovery, which could last a lifetime.
STUDIO ONE SKA FEVER!
Ska was born in Jamaica during the late-fifties. At first Jamaican musicians seemed determined to replicate the sound of American R&B. Both the beat and tempo were similar. Then having tired of copying their American counterparts, Jamaican musicians decided to give this new musical genre a Jamaican twist. So, Caribbean and Jamaican musical genres, including calypso, rhumba, merengue and mento found their way into what became known as ska. Soon, Ska became Jamaica’s most popular musical genre. It was replicating the success of R&B in America. Quickly, labels were born and bands were born, and a whole host of records released. One of these labels was founded by Coxsone Dodd, one of the legends of Jamaican music.
It was in October 1963, that Coxsone Dodd founded the Jamaica Recording and Publishing Studio, at 13 Brentford Road, Kingston. What was a former jazz club The End, became a one-stop musical shop. Musicians could head to what became known as Studio One, to write and record music. They could meet with other songwriters and musicians, and this musical meeting point, was where some of the biggest names in Jamaican music recorded some of the finest music of their career. This included the music on Soul Jazz Records’ recent compilation Studio One Ska Fever!
If you’re a newcomer to ska, wanting to hear some of the legends of Jamaican music, then Studio One Ska Fever is a good place to start. Lee Perry, The Wailers, Jackie Mittoo, The Ethiopians and The Skatalites all feature on Studio One Ska Fever. These eighteen tracks are a delicious taste of ska. So good is Studio One Ska Fever, that I’m sure it won’t be the last reggae compilation you buy. A good starting point is Soul Jazz Records’ back-catalogue. Just like Studio One Ska Fever, they’re lovingly compiled and feature some of the best music in the history of Jamaican music.
SWEET DREAMS: WHERE COUNTRY MEETS SOUL VOLUME 2.
Ever since the fifties, country music has influenced soul music. That’s no surprise. After all, many soul singers grew up in the southern states, listening to the country music coming out of Nashville, Memphis and Muscle Shoals. Back then, country music was King. There was no alternative to the country music being played on radio states in the South. All there was, was country music. Ruling the airwaves were Hank Williams, George Jones, Webb Pierce, Patsy Cline and Merle Haggard. They provided the soundtrack to the lives of those living in the southern states. This just so happened to include a generation of soul singers. Their voices, delivery and style were influenced by country music. As such, country and soul music became inextricably linked. Proof of this is the latest compilation of country soul from Kent Soul, Sweet Dreams: Where Country Music Meets Soul Volume 2, which was released in May 2013.
Just like Behind Closed Doors: When Country Meets Soul, which was released in June 2012, the songs that feature on Sweet Dreams: Where Country Music Meets Soul Volume 2 were originally recorded by country singers. For many aspiring soul singers living in southern states, they must have heard several of the tracks that feature on Sweet Dreams: Where Country Music Meets Soul Volume 2 when they were growing up. For all we know they could have influenced their musical careers? Whether that’s the case or not, many years later, these artists were now covering the songs they’d heard growing up.
Where Country Music Meets Soul Volume 2 is crammed full of contributions from soul music royalty. This includes Queens of Country Soul Etta James, Bettye Swann, Esther Phillips and The Sweet Inspirations. Among the rivals for the title of King of Country Soul are Oits Redding, James Carr, Bobby “Blue” Bland, Joe Simon, ex-Temptation David Ruffin and Johnny Taylor. There’s also contributions from Hank Ballard, Eddie James and Millie Jackson. Most of the music on Sweet Dreams: Where Country Music Meets Soul Volume 2 was released between 1962 and 1976. The exception are James Carr’s Tell Me My Lying Eyes Are Wrong and Orquestra Was Featuring Sweet Pea Atkinson’s Forever’s A Long Time. They’d weren’t released until 1995 and 1996. Both are hidden gems, worthy of their place on Sweet Dreams: Where Country Music Meets Soul Volume 2.
The music on Sweet Dreams: Where Country Music Meets Soul Volume 2, covers the period between 1962-1976. This allows you to hear how country soul evolves. By 1976, the traditional country soul sound, has been replaced by a much more fuller, orchestral arrangement. With lush strings key to the sound, this is reminiscent of Philly Soul. This works. Most tracks feature that unmistakable country soul sound. This is a delicious fusion of musical genres. Occasionally there’s a welcome addition of gospel harmonies. This includes The Sweet Inspirations’ But You Know I Love You, which is one of the real highlights of Sweet Dreams: Where Country Music Meets Soul Volume 2. That was the perfect way to open Sweet Dreams: Where Country Music Meets Soul Volume 2. After that the quality kept on coming. Indeed, the quality continued for another twenty-two tracks. Quite simply, there’s neither faux pas nor filler on Sweet Dreams: Where Country Music Meets Soul Volume 2 just quality country soul.
THE GET DOWN BOOGIE SOUND.
After disco’s demise in 1979, dance music had to change. No longer were record companies willing to throw money at dance music. Budgets were cut as music began to evolve. Disco was almost a dirty word, and was no longer filling dance-floors. Instead, boogie became a favourite of dancers and DJs. Boogie was a lo-fi, low-budget alternative to disco. Despite that, it’s still a hugely popular musical genre. Compilations of boogie are still being released, including BGP’s recent compilation, The Get Down Boogie Sound.
The Get Down Boogie Sound is a thirteen track compilation, which features tracks from the back-catalogues of Vanguard, Fantasy and Posse. Among the artists that feature on The Get Down Boogie Sound are Carol Williams, Sylvester, The Mynks, Convertion, Marlon McClain and Shock. Released between 1981 and 1983. For newcomers to boogie,The Get Down Boogie Sound, is the perfect primer to boogie.
All killer, no filler describes The Get Down Boogie Sound. That’s unusual. Usually, there’s the odd musical faux pas along the way. Not here. Compiler Julian Johan has chosen well. He’s chosen a mixture of old friends and new faces. Along the way we hear from some familiar faces, including Carol Williams, Sylvester, Convertion, Shock and Marlon McClain. There’s also hidden gems from Mynks, Ritz and Rare Essence. The Get Down Boogie Sound is a thirteen song musical journey. It’s a journey where we hear references to disco, funk, Go-Go, jazz, Latin and soul music. All these genres can be heard on The Get Down Boogie Sound. These songs are quite different from disco, which preceded boogie.
Boogie is very different from disco. The tempo was slower, usually between 90 and 110 beats per minutes. Gone were lavish arrangements. They were a thing of the past. Strings and horns were no more. Synths and drum machines took their place. Despite all theses changes, boogie quickly found favour amongst discerning dancers and DJs. Just like disco, there’s no let up in our love affair with boogie. Thirty years later, and boogie is just as popular. That’s why there’s so many boogie compilations released. Very few are as good as The Get Down Boogie Sound, which is one of the best boogie compilations I’ve heard not just this year, but in recent years. That’s why I’d recommend that you get down with The Get Down Boogie Sound.
THE MUGGSY STORY.
Although Johnny De Mairo’s name is synonymous with Henry Street Records, the label he founded with Tommy Musto in 1993, that wasn’t the only label he founded. Not at all. Once Henry Street Records was an established label, and had forged a reputation as one of the most innovative and influential labels in house music, Johnny D decided to found a new label. There was a good reason for this. Henry Street Records had established a reputation for specialising in releasing soulful house that had been influenced by disco. Johnny wanted to release a much more eclectic selection of music. So, a few years after founding Henry Street Records, Johnny D founded Muggsy Records.
Originally, Johnny planned to release music with a more tribal sound on Muggsy Records. This tribal sound would launch Johnny D’s nascent label. The problem was, finding the right track. That wasn’t going to be easy. Then fate, luck or the musical gods intervened. Chris “TKC” Staropoii approached Johnny D with a track entitled Black Jack. It was the perfect track, with the sound Johnny was looking for. Not only was it tribal, but had a harder sound and was innovative. Without hesitation, Johnny D signed Chris “TKC” Staropoii to Muggsy Records. Black Jack became the first single released on Johnny D’s newly founded Muggsy Records. Soon, Muggsy Records were releasing tracks by some of house music’s luminaries, including Chicago’s Robbie Rivera and Ralphi Rosario, Miami’s Mike “Da Mooch” Mucci and New York’s Kenny Dope and Johnick, Kenny D’s studio partnership with Nick Palermo. Tracks from each of these innovative producers feature on The Muggsy Story, which was released by BBE Music in May 2013.
The ten tracks on The Muggsy Story are the perfect introduction to Johnny De Mairo’s “other” label. While most people remember Johnny D for Henry Street Records, overlooking Muggsy Records is something they should do at their peril. After all, Muggsy Records was a label that was synonymous with innovative, influential and eclectic music. Indeed, one of Johnny D’s reasons for founding Muggsy Records, was to release a much more eclectic selection of music. This was music that Henry Street Records might not release. Given Johnny D’s reputation within the music industry, he’d soon, some luminaries of house music beating a path to his new label’s door. With producers of the standard of Kenny “Dope” Gonzalez, Robbie Rivera, Ralphi Rosario, Mike “Da Mooch” Mucci, Brutal Bill and JohNick on their roster, Muggsy Records concentrated on quality not quantity. Better to release ten great tracks than twenty average tracks seems to be Johnny D’s thinking. So, while Muggsy Records may not have been one of the most prolific record labels, their releases had one thing in common…their quality. Proof of this are the ten tracks on The Muggsy Story.
TRAX BOX.
There are some labels whose music epitomises everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax. Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in the eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records in September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music music that’s timeless and groundbreaking. That certainly is a good way to describe the music on Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
UNDER THE INFLUENCE VOLUME 3-A COLLECTION OF RARE SOUL AND DISCO.
When ZR Records released Under The Influence Volume 1 back in 2011, Red Greg was the compiler. He chose twenty-four slices of rare soul and disco, many of which he edited. Given the quality of Under The Influence Volume 1, I eagerly awaited the next instalment. Sadly, Under The Influence Volume 2 saw a change of compiler. Paul Phillips replaced Red Greg. The music also changed. There was a much more boogie influence. It wasn’t just the music that changed. So too had the quality. Volume 2 just wasn’t as good. So when Under The Influence Volume 3 was released in June 2013, again, there was a change of compiler. That was no bad thing. After all, a change of compiler was what I felt was needed to rejuvenate the series. The DJ chosen to do this, was James Glass.
From what had been one of the compilations of 2011, the Under The Influence compilation series was at a crossroads. I felt that Under The Influence Volume 3 would be crucial. It would either make or break what could be a long-running and successful compilation series.
Under The Influence Volume 3 is the comeback kid. That’s thanks to James Glass’ crate-digging and musical choice. His choice of music was innovative, imaginative and intriguing. Mostly killer with little filler, what was a make or break instalment of Under The Influence saved the “brand’s” future. After all, it’s hard for any compilation series to recover from consecutive flops. That wasn’t the case with the Under The Influence compilation series. Thankfully, Under The Influence Volume 2 was merely a blip. Under The Influence Volume 3 the latest instalment in the Under The Influence series, is very much a return to form and sees the series get back on track.
Choosing my fifty best compilations of 2013 wasn’t easy. I was spoiled for choice. This year has been a vintage year for compilations. In what’s a fiercely competitive market, record companies have raised their game. They’ve released compilations of every musical genre. This includes compilations from the four corners of the globe, featuring every musical genre known to man. Since January, I’ve listened to a mountain of compilations. The fifty I’ve mentioned are the creme de la creme. They feature everything from Acid House, Afro-beat, blues, Chicago House, electronica, funk, jazz, Latin, Philly Soul, prog rock, psychedelia, reggae, rock, Southern Soul and zydeco.
If I was to sum up the compilations released during 2013 using one word, it would be eclectic. That describes the compilations on my list of fifty best compilations of 2013. So whatever your musical taste, there’s something for you. My list of the fifty best compilations reflects how eclectic a year 2013 has been. It features some of the best compilations released during 2013. Cutting-edge, groundbreaking, innovative and pioneering, whether it’s old or new music, each of the fifty compilations I’ve mentioned feature one thing in common, their quality. So good have the compilations been that were released during 2013, that already I’m looking forward to 2014, and doing this all again in a year’s time.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 1.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 1.
With 2013 drawing to a close, and a new musical year beckoning, it’s time to look back at the best music released during the year. Over the next few days, I’ll look back at the best compilation, reissues and new releases. Before that, I’ll pick what I think have been the best box sets of 2013. Now this is something of a labor of love for me. Why? Well, I can’t resist the delights of box sets. Over the years, I’ve bought more box sets than I’m willing to admit to. I just can resist a box set. During 2013, I’ve reviewed many box sets. However, during 2013, I’ve noticed the definition of a box set is changing.
Previously, box sets were lavish affairs. They featured six or eight discs. Not any more. Now what I’d refer to as double albums, are referred of as box sets. Even single discs contained in lavish packaging, is referred to as a “box set.” This is all part of the reinvention of the music industry. After all, with every year that passes, the reissue market becomes ever more lucrative. That’s why many of the same albums are constantly reissued. With every major anniversary, there’s a reissue of these albums. Some of them will find themselves on my list of best box sets of 2013. So without further ado, here’s my A to Z of my best box sets of 2013. In-depth reviews of most of them can be found elsewhere in my blog.
ACID-MYSTERONS INVADE THE JACKIN’ ZONE: CHICAGO ACID AND EXPERIMENTAL HOUSE 1986-93.
Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is no ordinary compilation. Quite the opposite. Instead, it’s a luxurious double-album, from Soul Jazz Records that’s housed in substantial box. Within the box, are the two discs plus a couple of bonus items. There’s a a limited edition set of postcards and a graphic novel by Paolo Parish, entitled Mysterons Invade The Jackin’ Zone, which is set in Chicago in 1986. All that’s just a bonus, what really matters is the music on Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93.
For newcomers to Chicago House, it’s much more than an introduction to the music. It’s an introduction to some of the pioneers of Chicago House. Without the technology and software producers take for granted, pioneers like Mr. Fingers, Virgo, Adonis and J.M. Silk. These are the people who were there at the dawn of a musical revolution. Since then, house music has continued to evolve, with numerous sub-genres have been born. That’s ensured that house music neither becomes stale nor complacent. Born out of disco and boogie, house music has become one of the most important musical genres in the history of music. It’s enjoyed a longevity that few people would’ve forecast. Mind you with several generations of musical innovators breathing new life and energy into house music, then that longevity isn’t a surprise. As house music approaches its thirtieth birthday, then Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is an important reminder of house music’s roots.
ACID RAIN: DEFINITIVE ORIGINAL ACID AND DEEP HOUSE 1985-1991.
Acid Rain: Definitive Original Acid and Deep House 1985-1991 was released by Harmless Records in August 2013. Compiled by Terry Farley, it features sixty-one tracks spread over five discs. The six year period Acid Rain: Definitive Original Acid and Deep House 1985-1991 covers is the golden age of house music. Born in Chicago, in the early eighties, this period marked the birth of a new, innovative and revolutionary musical genre which celebrated its twenty-fifth birthday.
The release of Acid Rain: Definitive Original Acid and Deep House 1985-1991 is the perfect way to celebrate the 25th anniversary of the Second Summer Of Love. To celebrate this illustrious anniversary, what was needed was a lovingly compiled, box set, that was a reminder of those heady, hedonistic days of 1988. That’s what we got, thanks to Terry Farley. He’s chosen well, and has dug deep, deeper than he’s dug before. Terry Farley chose sixty-one tracks which include old favourites, classics and hidden gems. Most of the tracks are innovative and groundbreaking. This includes contributions from pioneering producers.
Despite the lack of a large budget, recording contract or recording studio, producers were able to record music that was revolutionary, music that was imaginative, innovative and went on to influence further generations of producers. Some of that music is nearly thirty-years old, but has aged well. Indeed, I’d go as far as describe the music as timeless. That certainly is a good way to describe much of the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991. Timeless, innovative and influential describes the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991, which is a glorious reminder of the heady, hedonistic days of the Second Summer Of Love.
AFROBEAT AIRWAYS 2-RETURN FLIGHT TO GHANA 1974-1983.
The best way to describe Afrobeat Airways 2-Return Flight To Ghana 1974-1983, 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 Afrobeat Airways 2-Return Flight To Ghana 1974-1983 reeks of quality. Other reissue companies should look at what Analog Africa do and make this the industry standard. After all, many people, myself included, want a quality product. Many people also want to know more about the music and the people who made it.
Describing the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983 as extensive and informative seems an understatement. It’s a labor of love. There are ten essays in the sleeve-notes to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Nine of the interviews are by Vikran Sohonie, who deserves the utmost credit for his contribution. His love of Ghanian music shines through and his enthusiasm is almost infectious. It’s well worth taking the time to read and absorb the sleeve-notes. It helps you to understand the music. Ironically, to do the sleeve-notes justice, it takes longer to read them than listen to Afrobeat Airways 2-Return Flight To Ghana 1974-1983. Having said that, it takes several listens to even come close to appreciating the subtleties and nuances of what is some of the best music to come out of Ghana between 1974 and 1983.
On Afrobeat Airways 2-Return Flight To Ghana 1974-1983, everything from funk, gospel, jazz, psychedelia, rock and soul combined. The result is thirteen delicious slices of Afrobeat and highlife. Uplifting, joyous, spiritual and infectiously catchy, it’s also funky, jazz-tinged, soulful and lysergic. It’s music that has a foot in four decades. Influenced by fifties and sixties jazz, sixties psychedelia sits next to seventies funk and Blaxploitation. 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.
pANGOLA SOUNDTRACK 2.
For too long, Angolan music has been overlooked. While we’re familiar with the music of Nigeria, Kenya, South Africa and Ghana, record companies have overlooked Angola’s musical past. Not any more. Samy Ben Redjeb’s Analog Africa released their first compilation of Angolan music in 2010. Three years later, comes the much anticipated followup, Angola Soundtrack 2. Featuring twenty-one tracks, Angola Soundtrack 2 is of the quality I’ve come to expect from Analog Africa.
Analog Africa’s approach to compilations is to concentrate on quality, not quantity. Angola Soundtrack 2 is only their fifteenth compilation. Rather than releasing new compilations each month, Analog Africa take time and care, producing lovingly complied and lavish compilations. Angola Soundtrack 2 is proof of this. Featuring in-depth sleeve-notes, full of interviews with some of the musicians that featured on Angola Soundtrack 2, this sets the standard for compilations. It’s obvious time and effort has gone into the making of Angola Soundtrack 2, an eclectic collection of tracks.
There’s everything from Afro-beat, funk, jazz, Latin, merengue and soul. Musical influences and genres melt into one. Joyous, uplifting, irresistible and infectiously catchy describes the music on Angola Soundtrack 2. So does soulful, heartfelt and impassioned. Full of subtleties, surprises and hidden secrets, Angola Soundtrack 2 is the perfect introduction to Angolan music. It’s also the perfect followup to Angola Soundtrack. Just like Angola Soundtrack, Angola Soundtrack 2 is a tantalising taste of Angola rich and vibrant musical legacy courtesy of Analog Africa.
BELLE AND SEBASTIAN- THE THIRD EYE CENTRE.
Often, when a group released a compilation of B-Sides, rarities and non-album tracks, they’re cash-ins filled with third rate music. That’s not the case with Belle and Sebastian, They don’t release third-rate music. No way. Their compilation, The Third Eye Centre, which was released earlier this year is proof of this.
Instead, The Third Eye Centre is a tantalising glimpse of Belle and Sebastian. It’s also a delicious glimpse of what we’re missing. If they could only produce albums on a more regular basis. Mind you, maybe they’d lose some of their unmistakable charm? Belle and Sebastian are capable of producing captivating, bewitching and beautiful music. Sometimes, they lay bare their soul, while articulating their hopes, fears, frustrations and dreams. Articulating this range of emotions, are Glasgow’s purveyors of pop perfection Belle and Sebastian. Their music despite being quintessentially Scottish, transcends geographical boundaries. For anyone whose lived, lost and lost love, Belle and Sebastian’s music will speak to them and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again.
Belle and Sebastian’s music, including the music on their recently released The Third Eye Centre compilation, is deeply soulful, beautiful and emotive. That’s why Belle and Sebastian are one of the best bands to come out of Scotland in the last thirty years. It’s also why every self respecting record collection must feature a Belle and Sebastian album. A good place to start is Tigermilk, The Boy With The Arab Strap and to give you a taste of what happened next, The Third Eye Centre. These three albums, are sure to make a Belle and Sebastian fan out of you.
CAN YOU JACK? CHICAGO HOUSE AND EXPERIMENTAL HOUSE 1985-1995.
Can You Jack?Chicago House and Experimental House 1985-1995 isn’t a new compilation. Not at all. It was originally released way back in 2005. Now eight years later, just as the Chicago House is about to celebrate its thirtieth anniversary, Soul Jazz Records have decided to rerelease Can You Jack?Chicago House and Experimental House 1985-1995. That’s no bad thing though. It’s a reminder of the heady, hedonistic, glory days of Chicago House and beyond.
Rather than limiting the music from 1985-1989, which were the golden years of Chicago House, extending this to 1995 worked well. It allowed the compiler to include music from the second wave of producers. This new generation of producers took Chicago House in a new direction. Sometimes, this meant a more experimental direction. This meant Chicago House enjoyed a longevity that few forecast it would. They doubted whether it would survive beyond a few years. Mind you, look at the pioneering producers were working during this period.
Looking through the track-listing of Can You Jack? Chicago House and Experimental House 1985-1995, it’s certainly not short of Chicago House legends. There’s contributions from some of the pioneers of Chicago House. This includes contributions from Sweat Boyz, Virgo, Mr. Fingers, Phuture and Roy Davis. There are also contributions from Maurice, Tyree and Fresh. They played their part in making Chicago House’s history.
As Chicago House approaches its thirtieth anniversary, there’s been a resurgence in interest in the music’s roots and history. One way to find about Chicago House’s roots and history is by buying Can You Jack? It was released in April 2013 and features a lengthy and informative fifty-two page booklet. Can You Jack? Chicago House and Experimental House 1985-1995 also features some of the greatest, most influential and innovative music in the history of Chicago House.
DAMON- SON OF A GYPSY.
For any collector of psychedelia, if they’re lucky enough to find a copy of Damon’s Son Of A Gypsy, it becomes one of their most prized possessions. Finding a copy is another thing. Copies are rarer than hen’s teeth and are changing hands for large sums of money. Recently, copies have changed hands for thousands of dollars. Son Of A Gypsy, which was recently released on Now Again, you’ll realize is no ordinary album.
Son Of A Gypsy was a lost psychedelic classic. With copies changing hands for several thousand dollars, very few people were able to hear Son Of A Gypsy. Even previous rereleases on CD were rarities. So, when Now Again Records decided to rerelease Son Of A Gypsy, it was a welcome rerelease. Best described as a lovingly compiled and lavish rereleased, Now Again’s rerelease of Son Of A Gypsy, is like a mini hardback book. Featuring in-depth sleeve-notes, including an interview with Damon, it’s one of the most lavish rereleases of 2013. As for the sound quality, it’s exquisite. Time has been taken and money spent on getting the sound on Son Of A Gypsy, as Damon originally intended. This is a fitting makeover for Son Of A Gypsy.
After all, Son Of A Gypsy is an innovative, genre-melting, boundary pushing album. For anyone whose interested in psychedelia, then Son Of A Gypsy is a must-have album. Everything from blues, folk, funk, psychedelia, rock and soul can be heard on Son Of A Gypsy. With its lysergic, ethereal and dreamy sound Son Of A Gypsy is now within the budget of music lovers everywhere, who now can hear this lost psychedelic classic in all its glory for the first time.
DEVIL’S JUMP: INDIE LABEL BLUES 1946-1957.
In March 2013, British reissue label JSP released Devil’s Jump: Indie Label Blues 1947-1597. Compiled by Neil Slaven, Devil’s Jump: Indie Label Blues 1947-1597 is a four-CD box set which focuses on the blues music released by King Records, and its sister label Queen Records, during the eleven year period between 1946 and 1957. Queen Records was part of Syd Nathan’s musical empire and released some of the best blues music of that era.
Devil’s Jump: Indie Label Blues 1947-1957 is a musical journey that’s four discs and 100 tracks long. Lasting an eleven year period between 1946 and 1957, there are contributions from some giants of blues music and some less familiar faces. This means that Devil’s Jump: Indie Label Blues 1947-1957 will appeal to veterans of many a blues compilation, plus relative newcomers to blues music. For blues veterans, Devil’s Jump: Indie Label Blues 1947-1957’s U.S.P. is the twenty unreleased tracks. For completists, this makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase.
What makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase is emotion and potency of the music. That many of the tracks have a raw, almost primitive sound just adds to this. It makes Devil’s Jump: Indie Label Blues 1947-1957 one of the most captivating and compelling box sets of 2013 so far. In many ways, Devil’s Jump: Indie Label Blues 1947-1957 is just a tantalising taster of the hidden delights of King and Queen Records’ rich and illustrious back-catalogue.
DONNY HATHAWAY-NEVER MY LOVE: THE ANTHOLOGY.
Described by some as a musical genius, Donny Hathaway never got the opportunity to fulfill his potential. No. Tragedy intervened in Donny Hathaway’s life, when his career was cut shot in January 1979. Donny was just thirty-four. He’d released just a trio of solo albums between 1970 and 1973. His debut album was 1970s Everything Is Everything, followed by 1971s Donny Hathaway and 1973s Extension Of A Man. In between Donny Hathaway and Extension Of A Man, Donny contributed the soundtrack to Come Back Charleston Blue and an album of duets with Roberta Flack.
Entitled Roberta Flack and Donny Hathaway, it was released in 1972 and was certified gold. It featured the number one US R&B single Where Is The Love. Five years later, in 1978, the pair enjoyed another number one US R&B single with The Closer I Get To You. Just like Where Is The Love, it was certified gold. Both of these tracks, feature on the recently released Donny Hathaway box set Never My Love: The Anthology. It was released on Rhino and is best described as a celebration of Donny Hathaway’s career over four discs.
During Donny Hathaway-Never My Love: The Anthology, Donny’s takes you on a musical journey. It’s best described as captivating, enthralling, mesmeric, soulful spiritual and uplifting. Donny’s fuses elements of soul, jazz, funk and gospel music. You’re transfixed, awaiting the next song with anticipation, listening to every subtlety and nuance. When one song ends, you await the next hungrily, especially, the previously unreleased tracks. You find yourself pressing repeat, listening again, just in case you missed anything the last time. Then there’s the tracks from Donny’s back-catalogue. They’re like old friends, who you’ve know all your life. These tracks are a tantalising taste of Donny Hathaway in his prime, when he looked like becoming one of the giants of soul. Tragically, that wasn’t to be. Fate intervened and robbed us of Donny Hathaway. He died aged thirty-four. That day in 1979, soul music lost one of its most talented sons. A poignant reminder of this is Donny Hathaway-Never My Love: The Anthology. Over four discs, Donny Hathaway-Never My Love: The Anthology is a celebration of Donny Hathaway’s musical career and is a reminder of a musical colossus who during the seventies, looked like he was on his way to becoming one of the biggest names in soul music.
DUKE ELLINGTON-THE COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION 1951-1958.
For Duke Ellington, one of the most productive and critically acclaimed period of his sixty-year career was at Columbia Records, between 1951 and 1958. During this period, Duke’s music was innovative, inventive, eclectic, and would influence a new generation of musicians. Recently, nine of the albums Duke Ellington released during this period were released as The Complete Columbia Studio Albums Collection 1951-1958. This collection starts with 1951s Masterpieces By Ellington and closes with 1958s innovative The Cosmic Scene. Not only does The Complete Columbia Studio Albums Collection 1951-1958 feature the original albums, which have been remastered, but each of the discs feature bonus tracks.
Featuring nine albums, the box set shows different sides to the Duke’s music. He truly was an innovative musician and bandleader. The Complete Columbia Studio Albums Collection 1951-1958 begins with 1951s Masterpieces By Ellington, 1952s Ellington Uptown, 1956s Blue Rose and A Drum Is A Woman, 1957s Sweet Sweet Thunder, 1958s Ellington Indigos, Black, Brown, Beige and the intriguing At The Bal Masque. The last last album on The Complete Columbia Studio Albums Collection 1951-1958 is Duke Ellington’s Spacemen The Cosmic Scene. It was inspired by satellites orbiting the earth. A truly groundbreaking album, it shows yet another side of the Duke.
For anyone new to the music of one of the greatest band leaders, composers and musicians, then The Complete Columbia Studio Albums Collection 1951-1958 is the perfect introduction to the music of Duke Ellington. Not many artists enjoy the longevity that Duke Ellington enjoyed. His career stretched sixty years and saw him win twelve Grammy Awards. Not only was he a legend of jazz music, but one of the great American songwriters. While the box set covers the period between 1951 and 1958, the post-war years hadn’t been kind to Duke Ellington. So the fifties were a period of reinvention for Duke Ellington and his music. He was a prolific artist, who released several albums each year. Some of his most innovative, inventive and influential albums of the fifties feature in The Complete Columbia Studio Albums Collection 1951-1958.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 2.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 2.
ELLA FITZGERALD-DEARLY BELOVED.
Ella Fitzgerald enjoyed a fifty-nine year career that saw her crowned The Queen of Jazz and The First Lady of Song. With a three-octave vocal range, Lady Ella became one of the most influential and revered singers in the history of jazz music. Ella Fitzgerald influenced, and continues to influence, a new generation of singers. Famed for delivery, with peerless diction, phrasing and intonation, it’s no surprise that, during her career, she won thirteen Grammy Awards. She recorded for some of the biggest record labels of the day. Decca, Verve, Capitol and Columbia were all home for The Queen of Jazz. Similarly, Lady Ella worked with some of the greatest songwriters in American music, including George Gershwin, Cole Porter, Irving Berlin, Jerome Kern and Johnny Mercer. Duke Ellington, Count Basie, Oscar Peterson and Billie Holliday all worked with The First Lady of Song.
After Ella’s death in 1996, she left behind one of the richest musical legacies behind, in the shape of her discography. For anyone yet to discover Lady Ella’s music, there’s a veritable treasure trove of music awaiting their discovery. All this choice can prove confusing. Newcomers to Ella’s music wonder where the best place to start? This choice has recently gotten a whole lot easier. Proper Records recently released Dearly Beloved, a four-disc box set, which whether you’re a newcomer to, f Lady Ella’s music is a treasure trove of some of Ella’s greatest recordings. For veterans of Ella’s music, this lovingly compiled compilation, carefully remastered box set, contains some of the most in-depth, informative sleeve-notes I’ve come across recently. Joop Viser’s sleeve-notes to Dearly Beloved, are a true labor of love and are a fitting homage to Ella Fitzgerald, The First Lady of Song.
For anyone looking for an introduction to Ella Fitzgerald, look no further than Proper Records’ four-disc box set Dearly Beloved. It covers the end of her period at Decca and the beginning of her time at Verve. Staring with songs from Ella’s Decca album Songs In A Mellow Mood, we head into Ella’s time at Verve. There’s ten tracks from Ella’s collaboration with Louis Armstrong, a selection of tracks from four of the greatest American songwriters. Starting with songs from Ella Fitzgerald Sings The Cole Porter Songbook, through Ella Fitzgerald Sings The Cole Porter Songbook, Ella Fitzgerald SIngs The Rogers and Hart Songbook and then Ella Fitzgerald SIngs The Duke Ellington Songbook, this is the perfect introduction to Lady Ella. Granted there are tracks from other sessions, including a trio of live tracks. Add to this Joop Viser’s sleeve-notes. His essay is a fitting homage to Ella Fitzgerald. They’re an example of what sleeve-notes should be like. Together with the four discs that comprise Dearly Beloved, Proper Records have released the not just the perfect introduction to Ella Fitzgerald, The Queen of Jazz, but one veterans of Ella’s music will cherish too.
J.J. CALE-CLASSIC ALBUM SELECTION.
One of the most underrated singer, songwriter and guitarists was J.J. Cale, who died earlier this year. His career began back in the late fifties as Johnny Cale. However, it wasn’t until 1972 that J.J. Cale released his debut album Naturally. Naturally featured a track that would become synonymous with J.J. and would introduce his music to a much wider audience. This track was After Midnight, which Eric Clapton had covered in 1970.
At the time Eric Clapton covered After Midnight, J.J. Cale was struggling to pay his bills working as a musician, so the royalties from After Midnight were like manna from heaven. Unknown to him, Eric had covered After Midnight. When it gave Eric one of the biggest hits of his career, J.J. Cale’s problems were suddenly solved. The royalties he received from After Midnight allowed J.J. Cale to pay his bills and somewhat belatedly, record his debut album Naturally. It’s one of five albums that feature in the recently released J.J. Cale-Classic Album Selection. Other albums include 1976s Troubadour, 1981s Shades, 1982s Grasshopper and 1983s Number 8. These five album are the perfect introduction to one of the most enigmatic, languid and laid-back musicians of a generation… J.J. Cale.
Throughout his career, J.J. Cale eschewed the limelight. Despite that, he was without doubt one of the most underrated singer, songwriter and guitarists of his generation. He’s seen as the guitarists guitarist. However, his unwillingness to change his music meant he failed to attract the critical acclaim and commercial success his undeniable talent deserved. The five albums that comprise J.J. Cale-Classic Album Selection are proof, if any of this. They’re also proof that the laid-back, languid and understated sound of J.J. Cale matches and often, surpasses many guitarists his era. During the five album in J.J. Cale-Classic Album Selection, J.J. demonstrates that he’s both one of the greatest and most underrated guitarists of a generation.
JETHRO TULL-BENEFIT.
Recently, Jethro Tull’s third album Benefit was rereleased by PLG. This was no ordinary rerelease of Benefit. Far from it. Instead, it was released a Collector’s Edition box set. This box set is best described as luxurious, lavish and lovingly put together. No effort has been spared. Disc one features Stephen Wilson’s 2013 Stereo Mix plus five bonus tracks. On disc two there’s sixteen “Associated Recordings 1969-1970. Then disc three is a DVD which contains the contents of discs one and two in 5.1 surround sound. As you’ll realise, this is what a remastered album should sound like. This is no budget priced needle drop. No way. It’s a fitting homage to Jethro Tull’s third album Benefit.
The best way to describe Benefit is fusion of art rock, avant-garde, baroque, classical, folk, free jazz, jazz, pop psychedelia and prog rock. It’s 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. One of the most successful groups of the prog rock era were Jethro Tull.
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. One of the most groundbreaking group of the prog rock era, Jethro Tull’s back-catalogue is a musical treasure trove. Proof of this is Benefit, a genre-sprawling album which comes to life surrounding and assailing you with its secrets and subtleties.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
Ever since John Morales released The M&M Mixes Volume 2 in March 2011 on BBE Music, one of the greatest remixers in modern dance music has been working on the followup. Believe me, this has been two years John well spent. John Morales Presents The M&M Mixes Volume 3 is a three-disc box set, which features twenty-four brand new remixes from John. It was released by BBE Music on 29th April 2013. Featuring remixes of Marvin Gaye, Barry White, Teddy Pendergrass, The Dramatics, The John Davis Monster Orchestra, Loleatta Holloway and The Salsoul Orchestra. The twenty-four tracks on John Morales Presents The M&M Mixes Volume 3 encompass Philly Soul, Salsoul, classic soul, funk and disco. Quite simply, John Morales Presents The M&M Mixes Volume 3 is the best instalment of The M&M Mixes.
So good is the music on John Morales Presents The M&M Mixes Volume 3, that this is a possible contender for compilation of the year. John’s choice of music and remixing skills are flawless. John breathes new life and meaning into familiar tracks. Over the three discs that comprise John Morales Presents The M&M Mixes Volume 3 John take you on twenty-four compelling and captivating musical journey. These journeys are soulful, funky, jazz-tinged and dance-floor friendly. Occasionally, he throws a series of curveballs, taking you in a direction you never expected. By the end of the track everything falls into place. Seamlessly, everything makes sense. Not many remixers can do this, but John Morales can. However, that’s what you’d expect from a veteran remixer whose life has revolved around music. Proof of this is John Morales Presents The M&M Mixes Volume 3. Somehow, John Morales Presents The M&M Mixes Volume 3 manages to surpass the quality of the two previous instalments in this series.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
Compilations of John Morales’ remixes were a bit like London buses this year. You wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3-Instrumentals. Both were released by BBE Music in April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3-Instrumentals.
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Many of the tracks feature a truly compelling vocal. When you listen to theses track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Not any more. John Morales released a compilation of instrumental version of seventeen songs on John Morales Presents The M&M Mixes Volume 3. The result was one of the biggest challenges of John’s career.
By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to go wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals. It demonstrates just why John Morales is one of the greatest remixers of his generation. He’s head and shoulders above other remixers. They’re pretenders to John’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3.
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
Kenya Special is a two disc box set, which features thirty-two tracks recorded during the seventies and eighties. The two discs are enclosed in a sturdy, cardboard box which holds the two discs and a forty-page booklet. Unlike inferior compilations, the discs don’t rattle about the box. Instead, there’s a made-to-measure quality to it. Each disc is enclosed in what resembles the inner sleeve to an old vinyl record, with facsimiles of old record labels on each side. Then there’s Doug Paterson’s sleeve-notes. They’re lengthy, informative and in-depth. As an added bonus, there’s the story behind each track. For lovers of African music, this is Nirvana. Where Kenya Special also differs, is the music. The thirty-two tracks, spread across the two discs don’t just focus on one specific musical genre. Instead, Kenya Special draws inspiration from Ghana Special and Nigeria Special.
Throughout the seventies and eighties, across the length and breadth of Kenya, in the various regions, artists and bands were producing new and innovative music. Recorded in various dialects, this was music that was funky, soulful and dance-floor friendly. It was music that provided a showcase for Kenyan music, benga and rumba in particular. Benga and rumba were influenced by the music of Kenya’s neighbours Congo and Tanzania. It was also influenced by Western music, including disco, jazz, funk, soul, R&B and rock. Influenced by an eclectic and disparate selection of musical genres and influences, not only did the music that features on Kenya Special provide the soundtrack to much of Eastern Africa, but made stars out of many of the artists on the compilation. Selling ten-thousand or more copies, many of the artists on Kenya Special became legends of Kenyan music. Revered not just in Kenya, but much further afield are Simon Kihara, D.O. Misiani, Nashil Pichen and Sophia Ben, true legends of the Kenyan music scene. They’re responsible for some of the innovative, influential and timeless music that features on Kenya Special, the latest compilation from Soundway Records.
MARVIN GAYE-TROUBLE MAN.
What’s Going On, released on 20th May 1971, marked the second chapter in Marvin Gaye’s career. For many people, What’s Going On marked the start of Marvin Gaye’s career as a serious artist. Indeed, What’s Going On, was far removed from the poppy soul Marvin Gaye had previously been a purveyor of. Not only did What’s Going On, mark a coming of age as an artist for Marvin Gaye, but was the start of a series of critically acclaimed and commercially successful albums he’d release between 1971 and 1978. During this seven year period, Marvin Gaye released six albums. Three of these albums reached number one in the US R&B Charts, but only What’s Going On was certified gold. Given the quality of these six albums, that’s a remarkable statistic.
The followup to What’s Going On, was Trouble Man, which saw Marvin follow in the footsteps of Isaac Hayes, Curtis Mayfield and Bobby Womack, in composing the soundtrack to a Blaxploitation movie. To mark the fortieth anniversary of the release of Trouble Man, Hip-O Select.com somewhat belatedly, released a luxurious and lovingly compiled double album on 31st January 2013. Disc One features the original album version of Trouble Man, plus nine bonus tracks entitled The T Sessions. On Disc Two of Trouble Man, are the nineteen tracks that comprised the Original Film Score, plus a bonus track, T At The Cross, which, like the nine bonus tracks on Disc One, were mixed by DJ John Morales. So for anyone who is either a fan of Marvin Gaye, or Blaxploitation movies, this should be a must-have?
While the rerelease of original version of Trouble Man would be a cause for celebration, then the rerelease of the Original Film Score is a cause to rejoice. For John Morales, this was a labor of love. Good as the nine bonus tracks the comprised The “T” Sessions were, they were after all, only outtakes and alternate mixes. There was nothing to rival the thirteen original tracks on the original version of Trouble Man. John could only work with the material he was presented with. He really surpasses himself on Disc Two. It’s as if this was a project that was deeply personal for him, one that was part of his musical legacy. He mixes the nineteen tracks on Original Film Score and the bonus track “T” On The Cross. Not only is this the icing on the musical cake that is Trouble Man, but the cherry on the top. John should be proud of his efforts and realise that these three years were well spent. It allows the listener to sit down, and enjoy two versions of the album. Granted several tracks on the original version of Trouble Man feature on Original Film Score, but there’s much more to explore and enjoy. By the time you’ve listened to the original version of Trouble Man and the Original Film Score, then you’ll have come to the conclusion that Marvin Gaye, like Isaac Hayes, could’ve enjoyed a career composing movie soundtracks.
Sadly, that wasn’t to be. Trouble Man was his only soundtrack. The followup to Trouble Man, while not a soundtrack, was a stonewall classic, Let’s Get It On. It marked the next chapter in his career, and was the third of six critically acclaimed and commercially successful albums Marvin Gaye released during the seventies. During the period between 1971 and 1978, Marvin Gaye only released one composed one soundtrack, Trouble Man. Mind you, if you’re only going to release one soundtrack, make it one that’s becomes a Blaxploitation classic, like Trouble Man.
MIKE OLDFIELD-FIVE MILES OUT.
Nine years after releasing his debut album, Mike Oldfield decided his music had to change. His albums were no longer selling as many copies. Success in America seemed to elude Mike. If it hadn’t been for excerpts from Tubular Bells being played in The Shining, his debut album might never have reached the heights it did. After that, America proved a hard nut to crack. Even at home, in the UK, his albums last three albums hadn’t even reached the top ten. Each album slipped that further bit down the charts. There was a reason for this, music was changing. Music was in a constant state of flux. Fashion changed quickly. During 1981, when Mike started recording Five Miles Out, boogie and synth pop were just two of the musical flavors of the month. For a new generation of record buyers, Mike Oldfield was the music of their parents. When they thought of Mike, they thought of grandiose, symphonic music, music that’s mystical and of course, prog rock. That was the problem.
People’s perception of Mike was problematic. Although his music was much more eclectic than that, that was how people perceived him. Little did people realize his music had never stood still. He’d been determined to push musical boundaries. This is what he’d do with Five Miles Out. If he didn’t do something to address the problem, he risked becoming irrelevant. So, Mike decided to change direction.
This was something he’d done and embraced his whole career. No two Mike Oldfield albums are the same. Each album is a but different. When Mike could’ve released Tubular Bells II, he released Hergest Ridge. Mike didn’t stand still. His career saw his music constantly evolving. On Five Miles Out, Mike fully embraced technology. Using the Fairlight CMI, was part of the reinvention of Mike Oldfield. Without throwing out what had resulted in Mike enjoying a successful career, Five Miles Out saw a series of subtle changes.
Side one of Five Miles Out was for his old fans. A twenty-four minute Magnus Opus, it’s Mike Oldfield at his very best. Then on Side two, three of the four songs are shorter, with a slick, poppy sound. Mike doesn’t spare the hooks. He even joins Maggie Reilly on vocal duties. Fusing everything from prog rock, pop, electronica, rock, Celtic and classical music, Mike returned with his most successful album since 1975. Not since Ommadawn, in 1975, had Mike Oldfield enjoyed such a high chart placing. Reaching number seven in the UK, plus two hit singles saw Mike’s decision to reinvent himself vindicated.
It would’ve been easy for him to keep churning out album after album of similar material. Mostly likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. Mike also wanted to embrace the new technology. Throughout his career he’d been an innovator, always wanting to push musical boundaries. This is what Mike Oldfield did on Five Miles Out, which was recently rereleased as a Deluxe Edition by Mercury Records. Featuring three discs, Five Miles Out is what a Deluxe Edition should look like. Disc two features a recording of a concert in Cologne from the Five Miles Out tour. Then on Disc three, there’s Mike Oldfield’s 5.1 Surround Mix. This is a very welcome addition and brings new life and meaning to Five Miles Out, Mike Oldfield’s comeback album. The 5.1 Surround Mix showcases Mike Oldfield at his innovative an inventive best on Five Miles Out, which features the rebirth and reinvention of Mike Oldfield.
ORCHESTRE POLY-RYTHMO DE COTONOU-VOLUME 3 THE SKELETAL ESSENCES OF AFRO FUNK 1969-1980.
The Orchestre Poly-Rythmo De Cotonou are among Analog Africa’s favorite sons. Indeed, Samy Ben Radjeb’s Analog Africa label have previously, dedicated two compilations to the funk-laden music of the Orchestre Poly-Rythmo De Cotonou. This started with 2008s The Vodoun Effect and 2009s Echoes Hypnotiques-Volume 2 From The Vaults of Albarika Store 1969-1979. Then in 2011, Analog Africa rereleased the Orchestre Poly-Rythmo De Cotonou’s 1973 debut album, entitled The 1st Album. Now, Analog Africa have returned to the Orchestre Poly-Rythmo De Cotonou’s back-catalogue for fourteen further tracks, which comprise The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980. This includes some of the funkiest music the Orchestre Poly-Rythmo De Cotonou ever recorded during their career.
When Analog Africa founder Samy Ben Radjeb was compiling The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, first stop was his vast collection of African music. His collection is crammed full of records he’d collected during his previous career, which was working for a German airline. This allowed Samy to seek out and discover, countless hidden gems of African music during his monthly trips to Africa. Finding their way into Samy’s enviable record collection, were the 500 songs that The Orchestre Poly-Rythmo De Cotonou recorded between 1969 and 1983.
Fourteen of these tracks feature on The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, where you hear many sides to The Orchestre Poly-Rythmo De Cotonou’s music. Seamlessly, they veer between musical genres and rhythms. Everything from funk, soul, jazz, rock, Latin, Cuban and Afro-beat is combined over the fourteen tracks. It’s impossible to categorise The Orchestre Poly-Rythmo De Cotonou. Granted, you could refer to it as Afro-beat, but there’s much more to it than that. However, the fourteen tracks could be broken down into ten sub-genres. These are the various rhythmic styles. They range from voudoun, jerk fon, sato, pop fon and pachange. For many groups, changing rhythmic styles would present a challenge. Not for The Orchestre Poly-Rythmo De Cotonou. They relish the challenge, enjoying the opportunity to showcase their considerable musical prowess. Seamlessly, one rhythm style gives way to another. All the time, they’re drawing inspiration from Western, Cuban and Latin music. Quite simply, The Orchestre Poly-Rythmo De Cotonou were hugely talented musicians, musicians who were innovative and versatile. Not only that, but The Orchestre Poly-Rythmo De Cotonou enjoyed longevity and were prolific, releasing over 500 songs.
Despite their prolificacy, The Orchestre Poly-Rythmo De Cotonou remain something of a musical secret, outside of Benin. Thankfully, independent record labels, including Analog Africa, run by Samy Ben Radjeb are rectifying this. He has already released two compilations of The Orchestre Poly-Rythmo De Cotonou’s music. Recently, that number rose to three, when Analog Africa released The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980, Of the three compilations, The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 finds The Orchestre Poly-Rythmo De Cotonou not just at their funkiest, but seamlessly switching between musical genres and rhythms. For anyone whose still unfamiliar with African music’s best kept secret, then The Orchestre Poly-Rythmo De Cotonou-Volume 3 The Skeletal Essences Of Afro Funk 1969-1980 is the place to start.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-VINYL EDITION.
Just a year after the release of Philadelphia Classics-The Tom Moulton Remixes, now lovers of vinyl will be able to purchase a copy of what was one of the most anticipated box sets of 2012. While the version of Philadelphia Classics-The Tom Moulton Remixes that was released in March 2012, this new vinyl version, which will be released on 25th March 2013, features eight heavyweight albums. For lovers of Philadelphia International Records and Tom Moulton’s remixes, then you’re in for a treat. Thirty-one remixes by Tom Moulton, including what were last year, seventeen brand new remixes. Truly, the music is stunning.
Just like Philadelphia Classics-The Tom Moulton Remixes, the vinyl edition is a combination of classics and new tracks. Quite simply, the music is of the highest quality. With the new tracks, Tom’s remixes are just as good as his older remixes, demonstrating that he’s still a hugely talented remixer. In fact, listening to these tracks, there much better than anything the new generation of remixers are producing. Compare these tracks, and its like master and pupil, with Tom’s remixes are streets ahead. Proof of this is the vinyl edition of Philadelphia Classics-The Tom Moulton Remixes. It was released by Harmless Records in March 2013, and is a reminder of what Tom Moulton, inventor of the remix, twelve inch single and remixer extraordinaire is capable of.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 3.
THE A-Z OF THE BEST BOX SETS OF 2013-PART 3.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first instalment in the Philly ReGrooved compilation series. Featuring twelve remixes of tracks from the Philly Grooved back-catalogue Philly ReGrooved: The Tom Moulton Remixes was released to critical acclaim. One of the best releases of 2010, fans of Philly Soul waited with bated breath to see if a second installment would follow? It did. Less that a year later, Philly ReGrooved 2: The Tom Moulton Remixes was released in May 2011. With another eleven remixes from the Godfather of the remix, Philly ReGrooved 2: The Tom Moulton Remixes enjoyed the same commercial success and critical acclaim of its predecessor. That whetted our appetite for further instalments in the series.
2012 came and went with no sign of Volume 3. Nearly two years passed before Harmless Records announced the release of Volume 3. Unlike the first two volumes, Philly ReGrooved 3: The Tom Moulton Remixes would be a double-album. Released in June 2013, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury, Volume 3 was crammed full of Philly Soul classics. Blue Magic, The Spinners, The Trammps, New York City and William DeVaughan, critics hailed Volume 3 as the best in the series. Plaudits, praise and critical acclaim came Tom Moulton and Harmless Records’ way for this two-disc opus. The only criticism of Volume 3 was, that it wasn’t available on vinyl. That is, until now, when Harmless Records will released another vinyl Magnus Opus.
It’s not just Philly ReGrooved 3: The Tom Moulton Remixes that can be found on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. No. There’s much, much more than that.The three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track eight-album box set. Released in October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was a must-have for Philly Soul fans. Limited to just four-hundred box sets, this follows in the footsteps of limited edition vinyl box set of Philadelphia International Classics: The Tom Moulton Remixes, which was released by Harmless Records earlier this year.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition was released by Harmless Records on 28th October 2013. A luxurious and lovingly compiled compilation, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition features some of the best Philly Soul to fill airwaves and dance-floors. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition isn’t just an incredible compilation, but a thing of beauty. That’s almost one of the great understatements. Quite simply, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of the best box sets of 2013.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
Philly Re-Grooved 3-Tom Moulton Remixes, features nineteen brand new remixes from Tom, plus sleeve-notes from myself. Long awaited, but well worth the wait, Philly Re-Grooved 3-Tom Moulton Remixes is a surefire bet to be one of the best compilations of 2013. After all, a Tom Moulton remix is still quite rightly perceived as a sign of quality. The nineteen tracks on Philly Re-Grooved 3-Tom Moulton Remixes are proof of this. These remixes see Tom cast his net much wider than in the first two volumes of Philly Re-Grooved.
On Philly Re-Grooved 3: The Tom Moulton Remixes Tom delves into the back-catalogues of Atlantic Records, Atco, Buddah Records, Chelsea, Columbia and Roxbury. They prove to be a veritable treasure trove for Tom. He was absolutely spoiled for choice. Eventually, he settled on nineteen tracks. This included tracks by The Spinners, The Trammps, Blue Magic, Bettye Swann, Melba Moore and Philly Devotions. Tom takes these tracks and totally transforms them.
The remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes are the result of five decades experience and work. It takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly Re-Grooved Volume 3-Tom Moulton Remixes. Compare these tracks to the other remixers and there’s no comparison.
PROG ROCKS!
Although many musical genres divide opinion, some musical genres that tend to divide opinion way more than others. Everyone can think of their own example, but for me, three immediately spring to mind. These are disco, punk and prog rock. Of these three musical genres, when it comes to opinions, not many people tend to occupy the middle ground. You’re either for or against each of these musical genres. Prog rock, however, tends to divide the opinion the most. Even forty years after the genre’s birth, the merits or otherwise of prog rock are still debated. For prog rock’s accusers, they perceive the music as overblown, overindulgent and pompous. To them, prog rock is a musical genre that belongs in firmly in the past. That however, only tells one side of the story.
Proponents of prog rock point to a musical genre that’s inventive, innovative and complex. Influenced by art rock, jazz and classical music, prog rock drew inspiration from a many other influences.It eschews traditional time signatures, song structures, rhythms, instruments and influences. In many ways, prog rock was an innovative genre, one that railed against the blues’ influence in rock music. Groups like Pink Floyd, Soft Machine, Jethro Tull, Emerson, Lake and Palmer, Genesis, Yes and Gong were among prog rock’s pioneers. They lead the way, and now, four decades later, new generations of prog rock groups are following in their footsteps, during the latest resurgence in prog rock’s popularity. To mark this resurgence in prog rock’s popularity, a new five-disc compilation Prog Rocks has recently been released by EMI.
Having spent some time immersed in the five discs that comprise Prog Rocks! I’ve come to the conclusion that it’s not just people who enjoy prog rock that’ll enjoy this box set. After all, not every track on Prog Rocks! can be categorized as prog rock. Indeed, many tracks could just as easily be categorized as rock, folk, psychedelia, garage or rock. However, I often think we spend too much time putting music into categories. That’s often an unhealthy obsession that gets in the way of what’s important, discovering new and old music. For many people, there’s so much great music awaiting discovery on Prog Rocks! Indeed, there are seventy-two tracks over five discs awaiting discovery on Prog Rocks!
What I do hope that Prog Rocks! does, is change people’s perception of prog rock. After all, prog rock far too often, gets a bad press. Sometimes, prog rock is the butt of cheap jibes and sarcastic comments. Hopefully once people have heard the music on Prog Rocks! they’ll change their opinion on prog rock. Maybe then they’ll realize that it’s an innovative and inventive musical genre, one that’s been Influenced by art rock, jazz and classical music. Prog rock drew inspiration from a many other influences. It eschews traditional time signatures, song structures, rhythms, instruments and influences. That’s what makes prog rock and the music on Prog Rocks! unique, innovative and groundbreaking.
PSYCHEMAGIK PRESENTS MAGIK SUNRISE.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism and totally smitten by the music. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Sunrise. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more On Disc Two, the tracks are seamlessly mixed by Psychemagik. These tracks showcase Psychemagik’s passion for crate-digging. With such an eclectic collection of music, finding the tracks must prove problematic? Not for Psychemagik.
Psychemagik are passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that Psychemagik Presents Magik Sunrise oozes quality.
As you’ll have realized by now, I was hugely impressed by Psychemagik Presents Magik Sunrise. I’d go as far as to say it’s one of the best compilations I’ve heard this year. There are several reasons for this. Of course one of these is the sheer eclecticism of the compilation. There’s everything from cosmic disco, psychedelic funk, Balearica and Middle Eastern beats right through to rock, Latin, jazz and even prog rock. Describing the compilation as eclectic, is almost an understatement.
It seems Psychemagik no crates have been left unexplored by Psychemagik, in their quest for not just quality music, but outstanding music. Most of the tracks on Psychemagik Presents Magik Sunrise will be new to most people, even the most devoted and persistent crate-digger. Unlike other inferior compilations, neither is there any filler or poor tracks. All killer and no filler describes Psychemagik Presents Magik Sunrise. That’s a tribute to Psychemagik’s crate-digging skills and their discerning taste in music. As an added bonus, Disc Two features each of the twelve tracks seamlessly mixed by Psychemagik. So for anyone who likes their music eclectic and loves discovering new music then Psychemagik Presents Magik Sunrise is a must-have compilation.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
Two years in the making, Sly and The Family Stone released There’s A Riot Goin’ On was released in November 1971. It was the followup to 1969s Stand, Sly and The Family Stone’s fourth album. Released to critical acclaim, Stand was Sly and The Family Stone’s breakthrough album. Reaching number thirteen in the US Billboard 200 and number three in the US R&B Charts, Stand was Sly and The Family Stone’s most successful album. That was, until the release of There’s A Riot Goin’ On, which was rereleased by Get On Down in July 2013. This is no ordinary rerelease. It’s a luxurious, lavish box set. That’s quite fitting. After all, There’s A Riot Goin’ On is no ordinary album. Far from it. It’s psychedelic, genre-melting album full of biting social comment, There’s A Riot Goin’ On was instantly hailed a classic album. That’s despite the turmoil that surrounded a band lead by the charismatic Sly Stone.
Ever since the release of Stand, chaos and controversy had surrounded one of the most flamboyant bandleaders of the sixties and the seventies, Sly Stone. There were tales of large scale drug usage, possible changes in personnel and involvement with gangsters. Then there’s the infamous violin full of drugs which accompanied Sly Stone everywhere. That There’s A Riot Goin’ On ever got made is a musical miracle. Much had changed in the world of Sly and The Family Stone.
At this time, relationships within the band were at an all time low, especially among The Stone brothers Sly and Freddie, and bassist Larry Graham. Tense doesn’t come close to describe their relationship. Ironically, Larry’s bass playing would be crucial to the success of what became There’s A Riot Goin’ On. It provided the heartbeat to the album. Sadly, the tension between the band members wasn’t the only problem surrounding Sly and The Family Stone. The other problem was that drug use was rife within the band. Stories emerged that Sly Stone allegedly, carried a violin case full of drugs everywhere the band went. Drug use had worsened when the band had relocated to California. PCP and cocaine were now the drugs of choice for the band. This started to affect the recoding schedule and tours. Sly’s moods changed One minute he was upbeat and happy, then suddenly he was moody. His behaviour started to become erratic. Between concerts, it was reported that he spent much of his time taking drugs. For a band who’d just enjoyed two hugely successful albums, Sly and The Family Stone were shooting themselves in their foot at every turn. Despite that, they recorded a classic album… There’s A Riot Goin’ On.
Against insurmountable odds, Sly and The Family Stone recorded the greatest album of their career. Somehow, they overcame influence of drugs, gangsters and The Black Panthers. There was internecine warfare between members of the band. This lead to drummer Greg Errico leaving the band. Up against it, Sly and The Family Stone dug deep. Fusing blues, funk, jazz, pop, psychedelia and rock musical genres and influences combine. Influenced by Miles Davis, Jimi Hendrix, John Coltrane, Muddy Waters, Sun Ra and The Beach Boys, Sly and The Family Stone recorded an eleven-song opus There’s A Riot Goin’ On.
Surrounded by a group of hugely talented musicians, they provided the genre-melting backdrop to his vocals. Veering between languid and lazy, to a rasping, grizzly, growl, sometimes his vocal is slightly muffled. Despite this, charisma oozes out of Sly Stone, the proverbial showman. A flamboyant showman, he was lead singer, multi-instrumentalist and producer.
Produced by Sly Stone, he used multitrack recording to its fullest. Like a 20th century shaman, Sly locked himself in the studio and began work on his masterpiece. He recorded layer upon layer of music during long nights spent recording. Often he was on his own. This meant he’d no-one to challenge his decisions and authority. A perfectionist, much of the music was rerecorded. Overdubbing was used widely. Although it adds to depth and density to the music, it can detract from the sound quality. On There’s A Riot Goin’ On it adds to the album’s depth, darkness, charm and success. Certified platinum, and featuring the dual number one single Family Affair, which was certified gold, There’s A Riot Goin’ On was their fifth album, and an album that wouldn’t be better. That’s why it’s included in the Rolling Stone magazine’s list of the 500 best albums of all time. Sly and The Family Stone had recorded a stonewall classic. Up against unsurmountable odds, somehow, Sly pulled off the impossible and delivered an album that he’d never better.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
Sometimes, when it comes to compilations, sequels don’t quite live up the first volume in a series. Often, the first volume in a series has exhausted the supply of seminal music. So, when the eagerly awaited sequel is released, there’s often a sense of disappointment. Too often, the musical memory of the first volume ends up tainted by a disappointing sequel. The lesson to be learnt, is that once you’ve released one or two successful compilations, quit while you’re ahead. Sadly, often record companies realising that there’s an audience for their compilation series, let greed and avarice get in the way of common sense. After all, with some musical genres, there’s often a limited supply of quality music. Conversely, other musical genres have a plentiful supply of quality music awaiting discovery by enthusiastic and knowledgeable compilers. This includes what’s become known as Krautrock, which has become musical shorthand for a fusion of musical genres. Mining this plentiful supply of music have been Soul Jazz Records, for their compilation Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, which was released on 25th February 2013.
For those yet to discover Krautrock, this musical genre is a melting pot of influences. Indeed, there’s everything from rock, prog rock, jazz, psychedelia, folk and electronic music. While many people will have heard the music of Kraftwerk, Neu, Can and Faust, there’s much more to Krautrock than this. So, for anyone looking to discover Krautrock, then Soul Jazz Records’ latest release, Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, is the perfect starting point. On the two discs are twenty-seven tracks released between 1971 and 1983. They’re described as “experimental German rock and electronic musik.” This is the perfect description of the Krautrock. Together with the 2010s Soul Jazz Records Presents: Deutsche Elektronische Muzik, this is the perfect primer for the newcomer to Krautrock.
Not only does it feature tracks from some of the genres giants, including Can, Neu and Faust, but hidden gems like Niagara S.U.B’s and Electric Sandwich’s China. Having said that, there’s so much more to discover on Soul Jazz Records Presents: Deutsche Elektronische Muzik 2. These tracks are inspired by an eclectic variety of musical genres and influences. This includes rock, prog rock, jazz-rock, psychedelia, jazz and avant garde classical music. To that, I’d add electronic, industrial, ambient and funk. Krautrock was inspired by all these genres and was a musical melting pot. Since then, Krautrock has inspired a new generation of musicians and producers. Sadly, despite this, Krautrock is often portrayed negatively in the musical press. That’s quite unfair, given how much quality music is awaiting discovery. There’s much more to Krautrock than just the music of Kraftwerk, Can, Neu and Faust. Not only will Soul Jazz Records Presents: Deutsche Elektronische Muzik 2 act as a primer to anyone looking to discover the delights of Krautrock, but will lead them on a voyage of musical discovery, which could last a lifetime.
THE BETA BAND-THE REGAL YEARS 1997-2004.
Although The Beta Band were only together eight years, their music made a huge impact on music. Formed in 1996, The Beta Band split-up in 2004. In the intervening eight years, they’d released a trio of E.P.s and albums. The music on these E.P.s and albums influenced a generation of musicians. Innovative, influential and groundbreaking describes The Beta Band’s music. It’s best described as a fusion of influences and genres. The Beta Band fused everything from electronic, experimental, folk, trip hop and rock. This musical melange was known as folktronica, and saw The Beta Band achieve cult status in the UK, Europe and US.
Soon, commercial success and critical acclaim came The Beta Band’s way. Hailed as one of the best bands of their generation, a great future was forecast for The Beta Band. Sadly, after the release of their third album 2004s Heroes To Zeroes, The Beta Band split-up. It was a case of what might have been. Listening to the recently released the six disc box set, The Beta Band-The Regal Years 1997-2004, which was recently released by Regal Records, only reinforces that. Who knows what heights The Beta Band might have reached if they’d stayed together. Would they have reached the heights groups like Radiohead, Arcade Fire and Flaming Lips reached? We’ll never know. What I do know, is that The Beta Band have left behind a rich musical legacy, which is documented on The Beta Band-The Regal Years 1997-2004.
For seven years, The Beta Band released a series of groundbreaking recordings. This included three E.P.s and a trio of albums. They all feature on The Beta Band-The Regal Years 1997-2004, a six disc box set. Throughout the six discs, innovative, influential and groundbreaking describes The Beta Band’s music. It’s best described as a fusion of influences and genres. Everything from electronic, experimental, folk, trip hop and rock melts into one. Here’s music that’s totally different from everything else being released. It’s exciting, bold, ambitious and totally unique. That’s why this musical melange was known as folktronica. After all, no existing musical genre could describe The Beta Band’s music?
From their debut 1998 E.P. Champion Versions, right through to their third album 2004s Heroes To Zeroes, The Beta Band’s raison d’etre was creating music that was ambitious, bold, challenging, influential and innovative. It was music that was ahead of its time. By the time other bands cottoned on to what The Beta Band were doing, their music was evolving again. Their music was a living, breathing thing. To breath, it had to change direction. Standing still wasn’t an option. No way. If The Beta Band stood still, they’d lose their edge and advantage. That wasn’t going to happen. The Beta Band prided themselves on being innovators.
Pioneering and revolutionary describes The Beta Band’s music perfectly. They became know for creating cutting-edge, swashbuckling music. That’s why The Beta Band enjoyed commercial success, critical acclaim and cult status. Each E.P. and album was a musical tapestry. Full of nuances and subtleties, The Beta Band created exciting, inventive and genre-melting music. The Beta Band took listeners on a musical journey that challenging and exciting them with music that was way ahead of the competition. Sadly, after the release of their third album 2004s Heroes To Zeroes, The Beta Band split-up. It was a case of what might have been. Who knows what heights The Beta Band might have reached if they’d stayed together. Would they have reached the heights groups like Radiohead, Arcade Fire and Flaming Lips reached? That might have been the case. However, we’ll never know. What we do know, is that The Beta Band’s influence is still being felt nine years after they split-up. Who knows when we’ll see their likes again?
THE KINKS-MUSWELL HILLBILLIES.
By the time The Kinks released Muswell Hillbillies in November 1971, they were no longer as successful in Britain. Their last three albums had failed to chart. The last Kinks album to chart in Britain was 1967 Something Else By The Kinks. It had reached number thirty-five. After that, 1968s The Kinks Are The Village Green Preservation Society, 1969s Arthur (Or The Decline Of The British Empire) and Lola Versus Powerman and The Moneygoround, Part One had all failed to chart. At least their singles were much more successful. Fifteen of their singles had reached the top ten in Britain. Over the Atlantic, The Kinks were enjoying much more success in America.
Since their 1964 debut Kinks, only The Kinks Are The Village Green Preservation Society had failed to chart. Every other Kinks album had charted. This made The Kinks one of the most commercially successful British bands. They enjoyed a longevity and commercial success that very few other British bands enjoyed. That’s not surprising. Unlike so many bands of The Kinks’ generation, The Kinks eschewed throwaway pop music.
Instead, they created cerebral music. It was intelligent, thoughtful, satirical and thought-provoking music. Proof of this was their last three albums. Kinks Are The Village Green Preservation Society, Arthur (Or The Decline Of The British Empire) and Lola Versus Powerman and The Moneygoround were all concept albums written by Ray Davies. Each album was released to critical acclaim. While music critics “got” these albums, they passed record British buyers by. In America, which had more of an album culture, The Kinks enjoyed both commercial success and critical acclaim. They were one of Britain’s most successful musical exports. While this must have pleased The Kinks, deep down, they must have hoped their music would be more successful back home in Britain.
Muswell Hillbillies which was recently rerelease by Universal Marketing as a Deluxe Edition, marked the start of a new era for The Kinks. It was their first album for their new record label RCA. Their previous albums had been released on Pye in Britain and Reprise in the US. However, with The Kinks no longer enjoying the success they used to, Pye didn’t offer them a new contract. So, having left Pye which had been their home for eight studio albums, Muswell Hillbillies marked the start of a new era.
Sadly, this new era didn’t begin with a commercial success album. Commercial success eluded Muswell Hillbillies, when it was released in 1971. Forty-two years later, the album is just as relevant. The themes of poverty is still as relevant. So too, is the way that working class people have been affected. Their communities continue to be devastated. People who have lived in these communities are displaced, forced to live in badly built houses. Meanwhile their old communities are gentrified and property developers prosper. This is seen as progress. It’s not.
Still these people are suffering from alcoholism, poverty and mental illness. Many of these people still feel as if they don’t belong. Just like in Twentieth Century Man and Complicated Life, they feel as if they can’t cope with modern living. Ray Davies lyrics bring all these subjects and problems to life. He was like a seer, a visionary, who forecasted the breakdown of traditional communities. The cause of this was supposed progress. Sadly, as the last four decades have shown, that’s not always the case. Despite being full of cerebral, thoughtful, satirical and thought-provoking music, Muswell Hillbillies wasn’t a commercial success. However, since then, critics have reevaluated Muswell Hillbillies.
Since them, critics have realised that Muswell Hillbillies featuresThe Kinks at their best. During the ten tracks on Muswell Hillbillies, Ray Davies introduces us to a whole host of characters. Some of the are angry and frustrated, others are troubled, despairing or resigned to their fate. Heartbreak, hurt and joy feature on Muswell Hillbillies. Full of pathos and nuances, it’s a literate, cerebral album. While the songs are full of social comment, sometimes, like on Have A Cuppa Tea, features Ray’s trademark humour. Forty-two years later, the music on Muswell Hillbillies, a true hidden gem in The Kinks’ back-catalogue, is just as relevant as it was in 1971.
TRAX BOX.
There are some labels whose music epitomises everything that’s good about a musical genre. Think of Stax Records and Southern Soul, Blue Note and jazz, Chess Records and Chicago blues, Salsoul Records and disco or between 1972 and 1975, Philadelphia International Records and Philly Soul. Each of these labels produced some of the best music in the history of modern music. To that list, I’d add Trax Records. Trax Records were one of the most influential and innovative Chicago house labels.
Founded in 1983, Trax Records enjoyed a longevity that few other house labels enjoyed. Trax were responsible for releasing some of the most important releases in the history of house music. Think of just about any of the Chicago house classics, and most likely, it’ll have been released on Trax Records. Along with DJ International, Trax Records dominated house music. Indeed, when it comes to Chicago house, its history can be divided into to periods. B.T, before Trax, and A.T. after Trax.
Trax as you can see, was hugely important in the development and growth of Chicago house music. Would house music have become as popular as it has, without Trax. Similarly, would house music have enjoyed the longevity it has without Trax? In some ways, with Trax helped spread the Chicago house gospel far and wide. However, in the eyes of some people, Trax wasn’t a benevolent benefactor.
No. Then again who is? Controversy and allegations surrounds some of its business practices. The same can be said of many labels. In the case of Trax, whether there’s any truth in these rumors, who knows? What I can say, is that it’s become part of the myth and aura that surrounds Chicago house music’s biggest label, who in 2013, celebrate their thirtieth anniversary. However, their clubbing days are far from over. No. Trax are reliving the heady, hedonistic days of Chicago house’s heyday with the release of Trax Box.
Released by Harmless Records in September 2013, Trax Box is no ordinary box set. Far from it. It’s a sixteen-disc box set that features Trax Records’ first seventy-five releases. This includes the A and B sides. There are many a glittering hidden gem awaiting discovery during the sixteen discs. A voyage of discovery awaits the diligent crate-digger. It’s well worth spending the time listening to each disc. To do this, set aside two days. Do what I did, and immerse yourself in some of the finest Chicago house ever released between 1985 and 1989, which the Trax Box covers. Relive the music music that’s timeless and groundbreaking. That certainly is a good way to describe the music on Trax Box, which is a glorious reminder of Chicago house’s premier label, Trax Records.
VAN MORRISON-MOONDANCE.
Van Morrison was only twenty-five when he released his third album, Moondance in February 1970. Moondance had been two years in the making and was an introduction to Van’s Caledonian soul. It had taken Van ten months to write the lyrics to Moondance. The lyrics were written at Van’s mountaintop home, not far from Woodstock village, in upstate New York. For some time, Van had been living in Woodstock, which was now home for him and his wife. This was the perfect place to write a classic album, Moondance hich was recently rereleased by Warner Bros.
Inspired by his surroundings, family and memories, Van set about writing the lyrics to Moondance. They are poetic, evocative and mystical. Like an artist used his palette to create pictures, Van used words. He takes you on a series of journeys. On And It Stoned Me, Van takes you back to the Belfast of his youth, while Caravan conjurs up images of living life as a gypsy. You can imagine the pictures unfolding before your eyes. These were the lyrics that Van took into A&R Studios, in New York.
For the recording of Moondance, Van recruited his band from musicians based in Woodstock. They headed along to A&R Studios, in New York. When they got there, they discovered that Van hadn’t written the music to Moondance. No. The music and the arrangements existed in his head along. Somehow, Van had managed to make his band understated what he was hearing in his head. That’s no surprise. Van had recruited a crack band of musicians.
Van Morrison’s lyrics are on Moondance are poetic, evocative and mystical. Van’s songs takes you on a series of journeys. Full of imagery, he conjurs up images. These pictures unfold vividly before your eyes. Using inspiration from his life and everyday life, you’re introduced to a cast of characters and scenarios. Other tracks feature lyrics that are almost mystical and surreal. Then there’s songs about love, and love gone wrong. This includes Crazy Love and Come Running. Brand New Day is Van’s spiritual awakening. Of course, there’s the classic title-track, Moondance, which since 1970, has been a staple of radio stations everywhere. It’s one of the best known songs Van Morrison wrote, while Moondance is perceived as Van’s finest album.
Think of that. Van Morrison wrote Moondance, the best album of his career when he was just twenty-five. Moondance was just Van’s third album. After that, he’d go on to release another twenty-nine albums. While many of them were critically acclaimed and commercially successful, they never quite matched the quality of Moondance. Following Moondance, Van was constantly trying to replicate such a groundbreaking, critically acclaimed and commercially successful album. There were times when we heard tantalising glimpses of the quality of music on Moondance, which was recently rereleased as a double album by Warner Bros.
Quite simply, the music comes alive on the newly remastered version of Moondance. You hear subtleties and nuances you’ve never heard before. They clarity of music is much better than previous CD versions. It assails you and surrounds you. There’s a depth to the music. Layer upon layer of music reveal themselves. You can’t help but let the music wash over you and revel in is ethereal, emotive and spiritual beauty. As the music washes over you, Van Morrison’s unique brand of Caledonian Soul comes alive on Moondance. Genres melted into one on Moondance. Blues, country, jazz, R&B, rock and soul combined with Van’s Celtic roots. The result was Moondance, a cerebral, challenging and genre-melting album which showcased Van’s Morrison’s poetic genius. Moondance, like its predecessor Astral Weeks, featured Van Morrison at the height of his powers. That’s why Moondance is worthy of being referred to as a classic, which belongs in the record collection of anyone remotely interested or passionate about music.
During 2013, I’ve reviewed many box sets. The thirty I’ve mentioned are among the highlights. They’re an eclectic selection. There’s everything from Acid House, blues, Chicago, disco, funk, jazz, Philly Soul, prog rock, psychedelia and soul. Among them are lavish reissues of classic albums, including Sly and The Family Stone’s There’s A Riot Goin’ On and Van Morrison’s Moondance. Then there’s hidden psychedelic gems like Damon’s Son Of A Gypsy. Whether it’s classic albums, or hidden gems there’s something for everyone on my list of best box sets of 2013. Similarly, of you like your music dance-floor friendly, jazz tinged, funky or soulful, then there’s something here for you. There’s box sets with everything from one and fifteen discs. Most of them are lovingly compiled and lavish affairs. Each of them feature some of the best music released during 2013 and belong in any record collection.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
Described as an album of gonzo soul from a true musical maverick, Total Destruction Of Your Mind was the debut album from Swamp Dogg. Released in 1970, Total Destruction Of Your Mind saw Swamp Dogg draw inspiration from everyone from Frank Zappa, Van Morrison and Sly Stone. Everything from soul, funk, R&B and rock was thrown into the mix. So were songs about war, peace, love, rednecks, cheaters and politics. Controversial, and known for speaking what he be believed to be the truth, Swamp Dogg even managed to make it onto disgraced President Nixon’s infamous enemies list. Swamp Dogg it seemed, was doing something right. That included making music that was downright funky, rock tinged and deeply soulful. Total Destruction Of Your Mind his debut album, which was recently released by Alive Records is proof of this.
Jerry Williams, A.K.A. Swamp Dogg, was twenty-eight when he began work on Total Destruction Of Your Mind. Born in March 1942, in Portsmouth Virginia, Swamp Dogg was a singer, songwriter, multi-instrumentalist and producer. He’d left home as soon as he was old enough. His parents weaned the young Swamp Dogg on country music. Country music would influence Swamp Dogg’s debut album Total Destruction Of Your Mind, which marked a change of direction of Swamp Dogg.
During the sixties, Jerry Williams was for most part, a regular guy. He was a successful singer, songwriter and producer. Mostly, Jerry was content to help other people become stars. He wrote songs, played on their albums and produced their music. Then, as the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience.
“The Doors of Perception,” as Aldous Huxley said, had been opened. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. So he adopted an alter ego Swamp Dogg. He was obsessed by sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Often, politicians felt the wrath of Swamp Dogg. For the newly enlightened Jerry Williams, Total Destruction Of Your Mind introduced the world to Swamp Dogg.
For his debut album, Total Destruction Of Your Mind, Swamp Dogg penned five tracks, Total Destruction Of Your Mind, Synthetic World, If I Die Tomorrow (I’ve Lived Tonight), Sal-A-Faster and The Baby Is Mine. Jerry cowrote four other tracks. With Gary U.S. Bond, he cowrote Dust Your Head Color Red, Everything You’ll Ever Need and Mama’s Baby, Daddy’s Maybe with Gary U.S. Bonds. Jerry and Dee Erwin wrote I Was Born Blue. Joe South wrote Redneck and These Are Not My People, while Bobby Goldsboro wrote The World Beyond. These twelve tracks became Total Destruction Of Your Mind, which Swamp Dogg recorded with a crack band of session musicians.
To record Total Destruction Of Your Mind, Swamp Dogg headed to Capricorn Studios, in Macon, Georgia, where with a crack band in tow, recording began. The band included a rhythm section of drummer Johnny Sandlin, bassist Robert Popwell and guitarist Pete Carr. Paul Hornsby played organ and piano, while the Jackie Avery Singers added backing vocals and The Maconites added horns. As for Swamp Dogg, he played piano on Total Destruction Of Your Mind, which was released in 1970.
On the release of Total Destruction Of Your Mind in 1970, the album failed to chart. It may have been that people didn’t quite get Swamp Dogg’s unique brand of gonzo soul. At least when Mama’s Baby, Daddy’s Maybe was released as a single, it reached number thirty-three in the US R&B Charts. This was a small crumb of comfort. Sadly, most people had overlooked a groundbreaking album. Total Destruction Of Your Mind finds Swamp Dogg at his most creative. His only real rival in the terms of creativity and innovation stakes was Sly Stone. You’ll realise that, once I tell you about Total Destruction Of Your Mind.
Opening Total Destruction Of Your Mind is the title-track. It’s a driving fusion of funk, rock and soul. Swamp Dogg’s piano, washes of Hammond organ and the rhythm section drive the arrangement along. Swamp Dogg’s vocal is powerful and joyous, as he celebrates his new found hedonism. His lyrics are surreal and lysergic. Proof of this are the opening lines: “sitting on a cornflake, riding on a roller-skate” are lysergic. Bursts of braying horns, stabs of piano and a vocal that’s inspired by Little Richard find the newly enlightened Swamp Dogg at his most creative. Mixing hooks and lysergic, surreal lyrics, this is a heady, potent brew.
Washes of Bruce Hornsby’s Hammond organ open Synthetic World, while the rhythm section mark time. It’s a very different song to the previous one. Swamp Dogg’s vocal is thoughtful, full of sadness and anger. There’s a reason for this. It’s the Synthetic World that surrounds him. “My patience is growing thin, at this Synthetic World we’re living in.” Soulful and rueful describes Swamp Dogg’s vocal, while his lyrics are full of social comment.
Southern Soul, gospel and blues influence Dust Your Head Color Red. It’s a slow, sad song, with Swamp Dogg’s vocal needy and pleading. Just the Hammond organ, piano, rhythm section and stabs of horns accompanying his vocal. The horns add to the emotion, while Swamp Dogg delivers a soul-baring vocal during this paean.
Redneck literally bursts into life. Horns, piano and rhythm section drive the arrangement along. Funk, blues and soul combines, while Swamp Dogg’s vocal is a throaty vamp. Again, he seems to draw inspiration from Little Richard and Jerry Lee Lewis. Showboating his way through the track, Swamp Dogg demonstrates his versatility, as he introduces you to a Redneck you’d like to meet.
Straight away, If I Die Tomorrow has a country soul influence. Crystalline guitars, stabs of piano and the rhythm section provide the backdrop for Swamp Dogg’s impassioned, soulful vocal. He delivers the lyrics with power and emotion. As Swamp Dogg vamps and testifies, horns blaze and piano accompany Swamp Dogg’s heartfelt vocal.
I Was Born Blue sees the tempo drop, as an understated Southern Soul arrangement unfolds. Just the Hammond organ and drums combine, while Swamp Dogg vocal is a combination of power and passion. Guitars chime, horns rasp and drums provide the backdrop for Swamp Dogg. Anger, frustration and sadness fill his voice as he sings about racism, and the unfairness of being judged purely because of the colour of his skin. There’s a sense of resignation in his voice, as if he wonders if things will ever improve? This results in a poignant and moving track.
Sal-A-Faster has a dramatic, cinematic and funky sound. The rhythm section join chiming guitars and piano create a spacious, moody backdrop. It’s against that backdrop that Swamp Dogg vamps. He sings about being the magical properties of Sal-A-Faster, a magical cure-all. Just like the title-track, the lyrics are lysergic, surreal and have a sixties influence. As for the arrangement, funky and dramatic describes it.
The World Beyond sees a late-sixties psychedelic influence combined with gospel and Southern Soul. The piano is panned hard left, while the vocal is panned hard right, with filters added to the vocal. This results in a trippy sound. Then when the vocal takes centre-stage, it becomes deeply soulful. Especially with the Hammond organ, piano and drums accompanying the vocal. Occasionally, there are brief excursions into psychedelia, but mostly, the Swamp Dogg keeps things soulful and almost spiritual on this anthemic track.
These Are Not My People is one of two tracks written by Joe South. It doesn’t take long to realize that this track is more than a little special. Swamp Dogg scats before the track bursts into life. He drops his vocal, delivering it quickly. Meanwhile, horns growl and the rhythm section provide the heartbeat. As the drama builds, cymbals crash, guitars chime, horns bray and the piano helps drive the arrangement along. Everything from pop, soul, funk and Latin music are thrown into the melting pot. Add plenty of poppy hooks, and the result is an irresistible track.
Wistful. That describes the introduction to Everything You’ll Ever Need. Just the piano and drums combine as Swamp Dogg delivers an impassioned and needy vocal. Bluesy horns growl, crystalline guitars and jazzy piano combine as Swamp Dogg reassures that: “I’ll be Everything You’ll Ever Need.”
Slow, thoughtful and with a melancholy sound The Baby Is Mine is another of the ballads on Total Destruction To Your Mind. Swamp Dogg’s vocal brings the lyrics to life. It’s if he’s lived and experienced what he’s singing about when he sings. Clever chord changes add to the drama and emotion. So do bursts of dramatic horns, rolls of drums and piano, on this mini-soap opera that comes to life in the hands of Swamp Dogg.
Closing Total Destruction Of Your Mind is the gloriously bluesy Mama’s Baby, Daddy’s Maybe. A B.B. King-esque guitar gives way to a pounding piano. They’re joined by the rhythm section and chiming guitars. Full of hurt and confusion, Swamp Dogg lives the lyrics. Feeding off his band, who are giving one of their best performances on the album, Swamp Dogg mixes drama, emotion and even a twist of his trademark humor, closing Total Destruction To Your Mind on a high.
Total Destruction Of Your Mind was just the start of Swamp Dogg’s career. It marked the enlightenment of Jerry Williams. Before taking on his Swamp Dogg persona, he’d been plain old Jerry Williams, ever since his 1964 debut single I’m The Lover Man. Then, as the sixties drew to a close, Jerry Williams dropped acid. It was a life changing experience.
It lead to The Doors of Perception opening. Jerry Williams changed. Psychedelics became his drug of choice. This stimulated his creativity. However, he desperately needed an outlet for this heightened creativity. He adopted an alter ego Swamp Dogg. Soon, his music was full of references to sex, drugs, politics, culture and class. All these subjects came out in his music. His music was funny, prickly, gritty, acerbic and angry. Full of humour and social comment, Swamp Dogg became the spokesman for a newly enlightened generation.
Often, politicians felt the wrath of Swamp Dogg. What he said was often controversial. He soon established a reputation for speaking what he be believed to be the truth. This lead to Swamp Dogg making it onto disgraced President Nixon’s infamous enemies list. His were songs about war, peace, love, rednecks, cheaters and politics had touched a nerve. Sadly, although those in power heard about Swamp Dogg’s music, Total Destruction To Your Mind wasn’t a commercial success.
When it was released in 1970, Total Destruction Of Your Mind didn’t sell well. The album was well received, but sales were poor. Maybe the problem was that Canyon Records was only a small record company with a small budget. Sly Stone, who Swamp Dogg is often compared to, was signed to a major label. His music was hugely successful. However, Sly’s label had a bigger budget with a larger staff. This made a huge difference. Gold and platinum discs came Sly’s way. Sadly, for Swamp Dogg, commercial success eluded Total Destruction Of Your Mind, which was recently released by Alive Records.
Despite commercial success eluding Total Destruction OF Your Mind, it’s seen as a lost classic. It features the reinvention of Swamp Dogg, one of the most innovative and creative musicians of his generation. No wonder. Total Destruction Of Your Mind marked the blossoming of Swamp Dogg, when he was embarking upon his career as a musical pioneer and innovator. After that, Swamp Dogg released a series of groundbreaking albums. The first of these was Total Destruction OF Your Mind, which introduced the world to one of music’s pioneers, Swamp Dogg. Standout Tracks: Dust Your Head Color Red, If I Die Tomorrow, These Are Not My People and Mama’s Baby, Daddy’s Maybe.
SWAMP DOGG-TOTAL DESTRUCTION OF YOUR MIND.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
December 1978 found Rocky Sharpe and The Replays enjoying an unexpected hit single. They’d covered The Astors’ Rama Lama Ding Dong, which reached number seventeen in the UK. This was the first of series of hit singles Rocky Sharpe and The Replays released between 1978 and 1982. However, commercial success nearly eluded Rocky Sharpe and The Replays.
The original band, Rocky Sharpe and The Razors, were formed in 1974 by Rocky Sharpe. He’d recently graduated from drama school. He co-founded the group with a group of friends. This was just a temporary measure though. Long term, Rocky wanted to become an actor. For the time being, he was happy being in a band. During the next two years, they struggled to make a living. They were only a semi-professional band. So members were juggling work and family commitments. Then in 1976, frustrated with this, some members of Rocky Sharpe and The Razors decided to leave the band. They joined the rhythm section of the John Drummer Blues Band and became The Darts. Soon, they were enjoying commercial success. This left just Rocky Sharpe and his brother Jan (Johnny Stud).
Down but not out, Rocky and Jan decided to put together a new lineup of what would become Rocky Sharpe and The Replays. This was the lineup of the group that recorded Rama Lama Ding Dong. A stomping slice of vintage party music, Rama Lama Ding Dong reached number seventeen in the UK. This was just the start of a string of hit singles that Rocky Sharpe and The Replays released between 1978 and 1982. They feature on If You Want To Be Happy-The Polydor and RAK Masters and More, which was recently released by Chiswick Records, a subsidiary of Ace Records.
If You Want To Be Happy-The Polydor and RAK Masters and More features twenty-six tracks. Twenty-three were recorded Rocky Sharpe and The Replays, two by The Boogie Man and one by Rocky Sharpe. Of the Rocky Sharpe and The Replays tracks, seven have never been released before. This makes If You Want To Be Happy-The Polydor and RAK Masters and More the most comprehensive compilation of music by Rocky Sharpe and The Replays, which I’ll tell you about.
For anyone who doesn’t remember Rocky Sharpe and The Replays, they sounded as if they belonged in another era. Rather than London in 1978, they sounded as if they were an American band from the late-fifties and early-sixties. Their music is best described as veering between doo wop, pop, rock ‘n’ roll and R&B. This was totally unlike the music that was commercially successful when Rocky Sharpe and The Replays enjoyed their debut single Rama Lama Ding Dong.
Having lost most of its members Rocky Sharpe and The Replays rebuilt. Rocky Sharpe and his brother Jan (Johnny Stud) brought in two new members. Just like Rocky and Jan, they adopted a new persona. Helen Blizard became Helen Highwater, while Mike Vernon became Eric Rondo. The new lineup of Rocky Sharpe and The Replays released their first single late in 1978. Rama Lama Ding Dong was a cover of a track originally recorded by The Edsels. In the hands of Rocky Sharpe and The Replays, it became a stomper, reaching number seventeen in the UK Charts. Rocky Sharpe and The Replays were on their way.
Following their first hit single, Rocky Sharpe and The Replays released their second single, Imagination, in March 1979. Although it didn’t replicate the success of Rama Lama Ding Dong, it reached number thirty-nine in the UK. Imagination was a track from Rocky Sharpe and The Replays debut album, Rama Lama, which like the singles, was released on Chiswick Records. This was despite the band recently signing to RAK Records. For their third single, Love Will Make You Fail In School. It reached just number sixty in the UK in August 1979. This didn’t mark the end of Rocky Sharpe and The Replays’ success though.
In 1980, Rocky Sharpe and The Replays released their sophomore album, Rock It To Mars. Released in 1980, Martian Hop was the only successful single on Rock It To Mars. Even then, it stalled at number fifty-five. This was disappointing. Worse however, was to come.
Things got worse when their next two albums weren’t a commercial success. Neither 1981s Come On Let’s Go, nor 1982s Shout Shout, which were released in 1981, were a commercial success. At least the single Shout Shout (Knock Yourself Out) reached number nineteen. This was all very good, but albums were where the money was made. For everyone concerned, the album’s lack of success was a worrying development. Despite the lack of chart success, Rocky Sharpe and The Replays were always in demand overseas. They were a popular live act in Europe. However, in 1982, Rocky Sharpe and The Replays encountered more problems.
In 1982, RAK Records decided it was time to end Rocky Sharpe and The Replays’ four year association with Chiswick Records. Things had started well, but it was a long time since the group had a hit single. It was two years since Martian Hop stalled at number fifty-five. Then another problem arose. Helen decided to leave the group. She was replaced by Carole Forbes, whose persona was Gloria Sunshine. This marked the start of the next chapter in the Rocky Sharpe and The Replays’ story.
Having ended their association with Chiswick Records, Mickie Most, founder of RAK Records, decided that Rocky Sharpe and The Replays should record a cover of Clap Your Hands. On the B-Side was Twenty-Four Hours. Both tracks feature on If You Want To Be Happy-The Polydor and RAK Masters and More. Originally recorded by The Beaumarks, a Canadian group, this was perceived as the perfect comeback for Rocky Sharpe and The Replays. Clap Your Hands a storming, hook-laden track. It reached number fifty-four in the UK charts in 1982. Although it wasn’t a huge success, Rocky Sharpe and The Replays were back. So work began on the followup.
Following the success of Clap Your Hands, Rocky Sharpe and The Replays started work on the followup. They recorded Nicky Chin and Mitch Murray’s First Crush. The group felt this would make a good single. Mickie Most rejected the idea. So, manager David Walker negotiated Rocky Sharpe and The Replays’ release from RAK. A new chapter of their career was about to unfold at Polydor.
At Polydor, work began on Rocky Sharpe and The Replays fifth album. This was Stop! Please Stop! The group were allowed to choose the material for Stop! Please Stop! They decided upon a mixture of new material and cover versions. Among the cover versions were Let’s Twist Again, La Bamba (Parts 1 & 2) and Heart And Soul. Original tracks included Nicky Chin and Mitch Murray’s First Crush, which had been rejected by RAK. This was indeed a missed opportunity. Here was vintage slice of doo wop given an eighties makeover. It was a reminder of another era. That was the case with much of the album which features in its entirety on If You Want To Be Happy-The Polydor and RAK Masters and More. Would Stop! Please Stop! revive the fortunes of Rocky Sharpe and The Replays?
On the release of Stop! Please Stop! in 1983, towards the end of 1983. Despite being promoted by Polydor and the band’s management, it passed almost unnoticed. It hardly garnered a review and wasn’t a commercial success. For the band, this was disappointing. They felt Stop! Please Stop! featured some of their best work. Worse was to come. If You Want To Be Happy was released as a single, and sunk without trace. Ironically, when Rocky Sharpe and The Replays they were still proving to be a successful band. The only problem was, they weren’t selling any records. Something had to give.
During the next year or so, Rocky Sharpe and The Replays continued touring. Then when Rocky Sharpe and The Replays contract with Polydor was up, it wasn’t renewed. They resigned to Chiswick Records, which had been home for them for four years. They released a number of singles, but they weren’t commercially successful. After that, Rocky Sharpe and The Replays called it a day. They’d enjoyed a five hit singles and had released five albums. They’d toured the world and enjoyed six years of relative success. A reminder of this sucess can be found on If You Want To Be Happy-The Polydor and RAK Masters and More, which is available from Chiswick Records, a subsidiary of Ace Records.
If You Want To Be Happy-The Polydor and RAK Masters and More is a reminder of Rocky Sharpe and The Replays. They were a group who were a reminder of another musical era. Undoubtably talented, they could’ve enjoyed more commercial success if they’d recorded music that was commercial. Instead, they went their own way, playing and recording the music that they loved. For that, Rocky Sharpe and The Replays deserve our admiration. They stuck to their principles. Inspired by doo wop, pop, rock ‘n’ roll and R&B, they sounded as if they were an American band from the late-fifties and early-sixties. Rocky Sharpe and The Replays’ fusion of doo wop, pop, rock ‘n’ roll and R&B is given a makeover.
Featuring the vocal talents of Rocky Sharpe and harmonies courtesy of The Replays, If You Want To Be Happy-The Polydor and RAK Masters and More is like a musical journey back in time. During twenty-six tracks, you hear singles like Clap Your Hands, the whole of their fifth album Stop! Please Stop! plus seven tracks that have never been released before. Then there’s two tracks from The Boogie Man and a single from Rocky Sharp. That’s why If You Want To Be Happy-The Polydor and RAK Masters and More, is the most comprehensive compilation of music by Rocky Sharpe and The Replays ever released.
ROCKY SHARPE AND THE REPLAYS-IF YOU WANNA BE HAPPY-THE POLYDOR AND RAK MASTERS AND MORE.
AL GREEN-THE BELLE ALBUM.
AL GREEN-THE BELLE ALBUM.
When Al Green released The Belle Album, it was a very different album to those that preceded it for several reasons. Belle reflected the changes that were happening in Al’s personal life. For several years, religion had played an important part in his life. During that period, he’d struggled to come to terms with its influence. It was difficult for him to reconcile his professional life with his newfound spirituality. His problem was, how could he sing about love and the pleasure of love, when deep down, he felt he should be singing about God. This had an effect on his success.
Between 1972s Let’s Stay Together and 1974s Al Green Explores Your Mind, Al released five albums. Four of them, 1972s Let’s Stay Together, 1973s Call Me and Livin’ For You then 1974s Al Green Explores Your Mind were all certified gold. 1972s I’m Still In Love With You sold over one-million, resulting in a platinum disc. Then despite Al Green Is Love reaching number twenty-eight in the US Billboard 200 and number one in the US R&B Charts, it wasn’t even certified gold. Al’s golden period was over. Neither 1976s Full Of Fire nor Have A Good Time recaptured the success that Al Green had enjoyed. However, by 1977, Al Green had resolved the problems.
By 1977, when Belle was released he’d managed to resolve these problems, and Belle was the first album from the new Al Green, and was a celebration of something new, his feelings about religion and God. The Belle Album which was recently rereleased by Fat Possum Records, was also the first album Al recorded without Willie Mitchell and the Hi house band.
Al’s split with Willie Mitchell wasn’t acrimonious, because Willie felt he wasn’t qualified to work on what would be a contemporary gospel influenced album. So without Willie Mitchell, Al became songwriter, bandleader, producer and even lead guitarist of his own band.
For The Belle Album, Al cowrote the eight the eight tracks with Fred Jordan and Reuben Fairfax Jr. The Belle Album was recorded at the American Recording Studio. Using musicians he’d previously worked with eight songs were recorded. Al’s band included a rhythm section of bassist Reuben Fairfax Jr, drummer Ardis Hardin and guitarist James Bass. Leon Thomas played clavinet and Fender Rhodes, while Johnny Brown played piano and Fender Rhodes. Fred Jordan played Fender Rhodes, Roland String ensemble, trumpet and flugelhorn and John Toney played drums and syndrum. Just like other Al Green albums, a horn section and backing vocalists were part of Al’s trademark sound. Unlike previous album, the Memphis Horns were missing. Backing vocalists Rhodes, Chalmers, Rhodes were also missing. The Belle Album was the start of a new era for Al Green in more than one way. Would it be a successful era?
The Belle Album was released in December 1977. Although the album was well received, with critics praising Al’s vocals, the album didn’t sell well. It stalled at number 103 in the US Billboard 200 and number twenty-nine in the US R&B Charts. This was his least successful album since his 1967 debut album Back Up Train. Although Al’s last few albums, hadn’t sold well, The Belle Album was the least successful. Even the singles didn’t sell well. Belle stalled at number eighty-three in the US Billboard 100 but reached number nine in the US R&B Charts. I Feel Good then failed to chart, reaching number 103 in the US Billboard 100 and number thirty-six in the US R&B Charts. Al however, wasn’t alone.
It wasn’t just Al Green’s albums that weren’t selling well, many formerly successful soul singers were experiencing the same problems, with disco now the most popular musical genre. Since the release of Belle, the album is now seen as one of Al best, and most important albums. This was one of the last secular albums Al recorded, after this, he recorded gospel albums. Thirty-four years since the album’s release, the big question is, how good an album was The Belle Album?
Opening The Belle Album is the title-track Belle, probably the best know song from the album. Belle has a lovely gentle and melodic introduction, with piano, keyboards, rhythm section and guitar combining before Al sings. Like his band, Al sings gently, but with passion, his delivery of the lyrics heartfelt and sincere. As the song progresses, his voice strengthens, laden in passion and sincerity as he gives thanks to God. Behind him, the arrangement is beautiful, with strings lushly sweeping, keyboards and piano combining melodically, while drums provide the track’s heartbeat. The arrangement has an understated quality, with Al’s vocal and the lyrics taking centre-stage. When you listen to the lyrics, Al’s spiritual awakening is apparent, and you can’t help admire his heartfelt and sincere delivery of some deeply spiritual, yet beautiful lyrics. Quite simply, it’s the best track on the album.
Loving You opens with Al’s vocal loud and clear, accompanied by the rhythm section, piano and guitars. Straight away, Al gives thanks to God for what he has done for him. Quickly, the track mixes elements of Southern Soul, gospel and even funk. Horns soulful and funky, punctuate the track. Backing vocalists almost rejoice, take their influence from gospel music, and strings with the Hi sound sweep tenderly in the background. Al meanwhile, is delivering a joyful vocal, one that sees him use his full vocal range. Although his music was moving away from secular music, it’s still sung with passion and feeling. The backing singers contribution is huge, really lifting the song, when they joyfully unite. By the end of the track, Al has given an outstanding vocal, rolling back the years. Together with a really soulful, joyous arrangement, it seems Al’s back.
When Feels Like Summer begins, it has a very different sound and feel to the previous track. The arrangement is much subtler than the previous track, with the a strong bas line opening the track, accompanied by drums, piano and guitar. Al’s vocal is much more restrained as the track begins, but still his delivery is loud, clear and heartfelt. Throughout the track, the bass is prominent, at the front of the mix, while strings, piano, guitars and drums combine. Al’s vocal grows in power and passion, as hollers, shrieks and roars his way through the track. It’s as if after years of torment Al’s reconciled his music to his religion. The lyrics and the happiness he sings of, reflects this. Although different to the two previous tracks, Al’s happiness is almost infectious.
Georgia Boy is sees a funky rhythm section combine with gospel infused backing vocals before Al sings. When he sings, there is a slight roughness in his voice, which when mixed with a whooping joyful delivery of the lyrics demonstrates that on Belle, Al’s vocals were some of his best. During the track, the rhythm section, guitars and piano combine to produce a masterful mixture of funk and country soul. Meanwhile, Al’s vocal has a loose sound, as he sometimes ad-libs and scats his way through the lyrics, constantly accompanied by handclaps, whoops and hollers. Throughout the track, Rueben Fairfax Jr on bass and John Toney on drums provide the funkiest of backdrops for Al. He really loosen up, and lets himself go, and in the process, shows a very different side to Al Green
Al has another surprise up his sleeve on I Feel Good. It opens with blazing horns, the rhythm section, synths and guitars driving the song along, mixing funk, soul and even disco. This track is very different, and it’s as if it’s Al response to disco’s popularity. It’s funk with a capital F, thanks to the rhythm section, horns and guitar, but the additional of sweeping synths, brings to mind the disco sound that was really popular back then. Al gives a really joyous, impassioned vocal. Here, backing vocalists play a huge part in the track, accompanying Al throughout the track, with their vocals helping the track to stray into disco territory. I wonder what Willie Mitchell said when he first heard the track?
All ‘N’ All sees Al return to a much more traditional sound, one that takes elements of soul, funk and gospel. It’s another track about his spiritual awakening and opens with the rhythm section playing quietly, but gradually the tempo and sound grows. The arrangement is tinged in funk, thanks to the rhythm section. Al’s vocal is a mixture of soul and gospel as he sings about asking God for help with his problems. When the backing vocalists enter, they unite sweetly, giving thanks, taking gospel music as their influence. Later horns rejoice brightly, as Al gives thanks, clapping his hands, whooping and shrieking joyously. During the track, it’s a joyous feel-good sound that emerges, with Al, his band and backing singers combining brilliantly, to produce a track, that’s not just spiritual, but joyous and so catchy it’s almost infectious
It’s a dramatic and somewhat hectic mixture of the rhythm section, guitars and piano that opens Chariots of Fire. However, Al’s just messing, and on the count of four, the track starts for real. What follows is one of the most passionate vocals and uber funky arrangements on Belle. Al’s vocal is power personified. He’s roaring and nearly screaming, but with a heartfelt joyousness as he sings the lyrics. Behind him, his band match his passion, with horns blazing, the rhythm section turning up the funk, guitars chime and soar while keyboards fill the gaps. Together with Al’s vocal, it’s a mixture some of the funkiest music you’ll hear on an Al Green album, combined with Al’s celebratory and euphoric vocal. In the end, it’s a potent and brilliant combination, from one of Southern Soul’s most famous voices.
Closing The Belle Album is Dream, a lovely tender song. Al’s accompanied by guitars, piano and rhythm section. Here, his voice is much quieter and thoughtful, as he sings some quite beautiful lyrics. Backing vocalists and strings, sweep in, with the backing vocalists complimenting his voice beautifully. Meanwhile, lush strings sit at the back of the arrangement, as drums veer between providing the track’s heartbeat and adding drama. Adding the drama are the guitar solos. When all this is combined, the result is a near eight-minute epic. It’s easily one of the best tracks on The Belle Album. Al and this backing vocalists unite. They feed off one another, taking the other to new heights of soulfulness as the arrangement builds and builds, reaching a dramatic crescendo. Quite simply, it’s the perfect way to end The Belle Album.
Although The Belle Album wasn’t a huge commercial success, it’s an album that features some wonderful music from Al Green. This was his first album without Willie Mitchell arranging and producing the album. It was also Al’s first album without the Hi house band backing him. So Al produced the album, with Fred Jordan and Reuben Fairfax Jr associate producers. Together they produced an album that was quite different to previous albums. Here, the music reflected his newfound spiritual awakening, with various songs celebrating this. Another difference was the style of music on the album.
The Belle Album wasn’t just an album of Southern Soul. No. It features Southern Soul, funk, gospel and even disco. On The Belle Album, these influences can be heard. Throughout the album, one thing is constant, and that’s Al Green’s passionate delivery of each song. He delivers each song with passion, his delivery ranging from heartfelt and sincere, to soulful and funky. During the album, Al demonstrated all this and more, singing songs he’d co-written with Fred Jordan and Reuben Fairfax Jr. This was the first time he’d recorded an album of his own material. These songs were perfect for his voice, and where he was in his life back then. They were a mixture of secular and spiritual, and demonstrated Al’s talent as a songwriter. Sadly, The Belle Album which was recently rereleased by Fat Possum Records, wasn’t a commercial success.
Indeed, The Belle Album is one of the hidden gems of Al Green’s back-catalogue. Most people will only be familiar with the single Belle. However, there’s much more to The Belle Album than just one track. The Belle Album is an opportunity to hear Al Green at his most versatile. He shows there’s much more to Al Green than Southern Soul. Much more. It also finds him much happier.
Relaxed and happy at having reconciled the dichotomy that haunted him for several, Al Green began a new chapter in his long career. Sadly, despite the quality of music The Belle Album didn’t match the commercial success of his golden period between 1972s Let’s Stay Together and 1974s Al Green Explores Your Mind. During that run of five critically acclaimed albums Al Green was King of Southern Soul. Now three years later, the King of Southern Soul had regained his crown with The Belle Album, a hidden gem in Al’s back-catalogue. Standout Tracks: Belle, Feels Like Summer, All ‘N All and Dream.
AL GREEN-THE BELLE ALBUM.
YOU TOOK IT ALL FEATURING YAZMINE AZAIEZ-NUTRITIOUS DELICIOUS REMIX.
YOU TOOK IT ALL FEATURING YAZMINE AZAIEZ-NUTRITIOUS DELICIOUS REMIX.
Over the last few years, Nutritious has forged a reputation as one of the best remixers and producers in New York. Considering the fierce competition, that’s quite an achievement. Anyone who heard Nutritious’ remixes or productions will know that he’s got a big future ahead of him. That’s why Nutritious’ reputation and fan-base is quickly growing. Not only that, but he’s received the backing of Soul Clap and Boddhi Satva. With critical acclaim from his peers, you realise that Nutritious is a man to watch. He’s also a man with several strings to his musical bow.
Apart from remixes and production, Nutritious is one of New York’s top DJs. He throws some of the best parties in his hometown. Then there’s SpinSpin NYC, Nutritious’ record label. Based in Brooklyn, SpinSpin NYC has gained a reputation as a record company who release innovative music. This includes Nutritious Presents Duke Williams and The Extremes, Internal Device’s Life In Stereo and Cubez’s Skams. Away from SpinSpin NYC Nutritious is forging a career as one of the premier remixers. Proof of this is Nutritious latest remix of You Took It All, which is available from Nurvous Records.
Recently, Nutritious was asked to remix You Took It All which features Yazmine Azaiez. This is the latest release for D-Compost and Sophia Chumburindze. It’s given a musical makeover by New York’s top remixer and producer Nutritious. Best described as a fusion of indie dance, Nu Disco, electro, pop and house Nutritious draws inspiration from the past to make the music of the future.
From the opening bars of You Took It All, it’s apparent that not only is Nutritious back, but back with a bang. He uses the music of the past to reinvent the track. It has a rocky, raucous sound. This is good time party music. Drums pound and crack, joining searing guitars and stabs of synths. They create an irresistible and hypnotic backdrop for Yazmine’s vocal. She seems to draw inspiration from early Madonna. Enveloped by a mesmeric arrangement that’s 120 beats per minutes, Jazmine’s vocal is almost devoid of emotion. Deliberate and defiant, she struts her way through the track. Diva-esque describes her performance, while buzzing, synths, pounding drums and percussion play supporting role to Yazmine’s vocal. Nutritious ensures that Yazmine plays a starring role in this delicious and irresistible genre-melting remix.
You Took It All further reinforces that Nutritious is the go-to-guy for anyone looking for a top class remix. D-Compost and Sophia Chumburindze couldn’t have picked a better man for the job. Nutritious is quickly establishing a reputation as New York’s premier remixers. He reinvents tracks. In his hands, good tracks become great and great tracks become classics in waiting. Quite simply, Nutritious is a master at work. He’s a Picasso among producers. Other remixer haven’t quite got what he has. They’re mere pretenders. Proof of this is You Took It All, which is guaranteed to get any party started. Featuring a dive-esque vocal from Yazmine Azaiez, it’s joyous, good-time, party music. Mind you, that’s not surprising.
Whether it’s as remixer or producer, Nutritious only makes good music. Nutritious makes music that’s guaranteed to fill dance-floors from New York to Newark. The latest floor-filler from Nutritious is the irresistible, hypnotic and genre-melting You Took It All. In the hands of Nutritious, an innovative and pioneering producer and remixer, this track takes on new life.
You Took It All which is available on Nurvous Records, marks the start of another chapter in the life and times of Nutritious. DJ, remixer, producer and purveyor of parties to the great and good of New York, that’s Nutritious‘ raison d’etre. One listen to You Took It All, a joyous and irresistible slice of good-time, party music and you’ll realise Nutritious has done it again.
YOU TOOK IT ALL FEATURING YAZMINE AZAIEZ-NUTRITIOUS DELICIOUS REMIX.
THE STAINED GLASS-A SCENE IN BETWEEN 1965-1967.
THE STAINED GLASS-A SCENE IN BETWEEN 1965-1967.
Sometimes, despite their undoubtable talent, a group fails to make the impact their talent and music deserves. It’s only years later, that people realise how innovative a group they were. That was the case with The Stained Glass, who started life as The Trolls. Quite simply, The Stained Glass were ahead of their time. People neither understood, nor appreciated what they were doing. As a result, The Stained Glass split. Their recording career lasted just three years, and is celebrated in Big Beat’s latest compilation A Scene In Between 1965-1967.
Featuring six tracks from their early years, when The Stained Glass were known as The Trolls, plus eighteen other tracks, A Scene In Between 1965-1967 is truly comprehensive celebration of one of San Francisco’s seminal lost group’s. After listening to A Scene In Between 1965-1967, only then do you realise just how pioneering a group The Stained Glass. So will you, when I tell you about their career.
The Stained Glass’ story begins in San Jose in 1964. Rodger Hedge had just started at San Jose University. He’d arrived from Southern California, where he’d played bass and guitar in the Sen-Sa-Shuns. They were a successful band, who’d supported the Righteous Brothers and Beach Boys. Opening for the Beach Boys must have been ironic, as Rodger had auditioned as their bass player. That wasn’t to be. He enjoyed a successful period in the Sen-Sa-Shuns. That gave him a taste of what a career as a musician would be like. So, on arrival at University, Rodger decided to form a band. He advertised locally, and straight away, Jim McPherson answered the advert.
Jim was a native of Chicago, and was studying radio and television journalism at San Jose University. Originally, he was a bassist, but when he realised how good Rodger was, switched to rhythm guitar. The next member to join the band was drummer Dennis Carrasco.
Dennis was recommended by Barry Wineroth of The Jaguars. He tipped Rodger and Dennis off about this musical prodigy. Unlike Rodger and Jim, Dennis was a native of San Francisco, but had lived in San Jose since 1960. He was younger than his prospective bandmates. In fact, he was still at Blackford High School. The age gap didn’t matter. As a drummer, Dennis was one of the best in San Jose. He’d started off playing in marching bands and after that, was working with The Stratatones and Blue Flames. With the Blue Fames, Dennis recorded some sessions. None of them were ever released. Now his luck looked like changing. Before that, they needed another member.
Although Rodger Hedge was a good guitarist, the band felt they needed another guitarist to play lead guitar. There were two candidates. One was John Sharkey, of the local group Syndicate Of Sound. The other was Bob Rominger, who’d recently moved to San Jose from Albuquerque, Mexico. He was a talented player, capable of unleashing some flashy licks. There was a problem though. Bob had only played in pickup bands. Despite that, he got the gig as lead guitarist. The band was complete. All they needed was a name. They hit upon The Trolls.
From their early days, The Trolls found work easy to come by. Originally, The Trolls played around the San Francisco area. Having established a reputation as a talented and popular band, they started playing further afield. Their performances featured mostly cover versions, with Rodger and Jim sharing lead vocal duties. Then after a while, The Trolls started adding their own original material.
Jim McPherson was The Trolls’ songwriter. He was influenced by the British invasion groups. The Kinks, Beatles, Animals, Rolling Stones and Zombies inspired Jim as a songwriter. So did Paul McCartney, who Jim admired, for the way he structured songs. This seemed to rub off on Jim. However, Jim’s songwriting style is more like Bob Dylan. Perceptive, descriptive, surreal and left-field describes Jim’s songwriter. He was part poet and philosopher. Occasionally, Rodger pitched in with a song, Mostly, it was Jim who wrote The Trolls’ songs. This includes the first songs they recorded.
Such Good Friends and She’s Not Right were the first songs The Trolls recorded. They originally featured on an acetate that was sent to local labels. Eventually, The Trolls released Such Good Friends and She’s Not Right, which has a strong British influence. On both tracks, The Trolls could easily be mistaken for one of the British Invasion groups. Not longer after The Trolls recorded their first two tracks, they released their first single.
The two songs chosen were the ballad How Do You Expect Me To Trust You and the harmonica driven Walkin’ Shoes, with its surreal, enigmatic lyrics. There’s still a British Invasion influence, on Walkin’ Shoes. With lyrics that sound like a homage to The Kinks, a bluesy Rolling Stone sound, especially with the harmonica, The Trolls seemed to have decided if you can’t beat the British Invasion groups, join them. However, apart from some radio play on local radio, The Trolls debut single passed almost unnoticed.
Despite their single failing commercially, The Trolls were one of the most popular live bands. They’d captured people’s imaginations and were winning them over with their mixture of covers and new songs. Despite their popularity, when The Trolls played in the Bay Area Battle of The Bands, it was to a disappointingly small audience. However, there was one man in the audience that would play a part in The Trolls’ future, Rene Cardenas.
Until Rene Cardenas saw The Trolls at The Battle of The Bands, he’d been publishing manager for Trident Productions. Having seen The Trolls live, he decided to form his own company, Jackson Square Productions. The date was 25th April 1966. That day, Rene Cardenas promised to get The Trolls signed to a label. Two weeks later, The Trolls were on their way to Columbia’s Sunset Boulevard Studios, where they’d work with respected arranger Bernie Krause.
At Sunset Boulevard Studios, Bernie Krause helped the band hone their material. He made a number of suggestions, including changing some of the lyrics to Broken Man, a fusion of pop, psychedelia and blues. The other tracks recorded were Second Day and Lonely Am I, which was penned by Bob Rominger. However, the version of Second Day on A Scene In Between 1965-1967 is demo version, recorded at Bob Rominger’s parent’s home. There are two other demos on A Scene In Between 1965-1967 Too Fit To Be Tied and Dollar Sign Friends, which showcase a pioneering psychedelic pop sound. Following the sessions at Sunset Boulevard Studios, The Trolls made a decision that could’ve had a huge impact on their career. They changed their name.
The Trolls were now called The Stained Glass Window. That proved somewhat cumbersome, so they became The Stained Glass. However, that was a result of the word Window being left off the group’s paperwork. Ironically, this mistake worked in their favor. Given the enigmatic nature of the group’s lyrics, this added to the mystery that surrounded the group. The only problem was, would people realize that The Trolls and The Stained Glass were one and the same?
Even after the change of name, The Stained Glass were busy. The Bay Area had many venues, all of which were on the look out for popular bands. A popular band meant a full venue and profitable night. Gradually, The Stained Glass found themselves playing to an older audience. Granted they were still playing to younger people, but mostly, their audiences were older. This suited their baroque infused fusion of pop and psychedelia. The Stained Glass were opening for bigger bands and it looked like a breakthrough was imminent. It wasn’t. The deal with Columbia wasn’t going to happen.
When Columbia passed on The Stained Glass, their manager Rene Cardenas started looking elsewhere. He used his contacts, and The Stained Glass were signed to RCA Victor by the second week in June 1966. Everything looked as it was going well. Then Rene and the RCA Victor producer assigned to The Stained Glass, said they had to record a cover of If I Needed Someone. Written by George Harrison and taken from The Beatles’ Rubber Soul album, this seemed strange. After all, hadn’t Rene been a fan of The Stained Glass’ own songs? Maybe RCA Victor and Rene thought a cover of a Beatles song equalled a hit single. On the B-Side was a remake of The Trolls’ How Do You Expect Me To Trust You? Just before If I Needed Someone was released, it featured on the B-Side of The Beatles’ Yesterday and Today. Despite The Beatles’ version being released first, The Stained Glass’ single was a success in the Bay Area. This resulted in a tour round the East Coast, before The Stained Glass recorded their second single for RCA Victor.
At RCA Victor’s New York studio, The Stained Glass recorded My Buddy Sin. Best described as a baroque tinged track, it’s an example of Jim McPherson’s songwriting skills. The band’s songwriter in chief had done it again. Vanity Fair, The B-Side, is an underrated track. Influenced by The Kinks and Beatles, pop and psychedelia combine on a three minute slice of pop perfection. So good is this track, it could’ve come from the pen of Ray Davies. When the single was being recorded, the group didn’t like My Buddy Sin. They felt the addition of the harmonica spoilt the track. It, they felt, took the edge of the song. On its release, in September 1966, My Buddy Sin failed to chart. It would be another five months before The Stained Glass entered the studio.
When The Stained Glass entered the studios in February 1967, they realized what being signed to a record company entailed. RCA Victor wanted them to record songs by other songwriters. None of them were suitable. Then they hit upon We Got A Long Way To Go, which was penned by Barry Mann and Cynthia Weil. It was totally different to the type of songs the group usually recorded. During recording effects were used to create feedback and sustain. This is very different from previous singles. There’s still a psychedelic sound as pop and rock combine. Full of hooks, would this be The Stained Glass breakthrough single?
On the release of A Long Way To Go, with Corduroy Joy on the B-Side, it didn’t result in the elusive hit single for The Stained Glass. Not long after this, with the lack of success frustrating the band, Rodger Hedge, who’d founded the band was asked to leave. This marked the beginning of the end for The Stained Glass.
Their final single was Mediocre Me, with The Beatles’ inspired A Scene In-Between on the B-Side. Both were penned by Jim McPherson. Sadly, the single failed to chart nationally, but reached number six on KDON’s chart. That’s a small crumb of comfort for one of San Francisco’s most innovative and pioneering groups. Not long after Mediocre Me’s release RCA Victor didn’t renew The Stained Glass’ contract.
This proved to be a blessing in disguise. The Stained Glass signed to Capitol Records and released two critically acclaimed albums, Crazy Horse Roads in 1968. Just before the album was finished, Bob Rominger left the band. The times and lineup was changing.
Joining were keyboardist and guitarist Lance Libby, percussionist Louie Schiavo. In 1969, southpaw guitarist Tom Bryant joined and was a member of The Stained Glass when they recorded their sophomore album Aurora. It was released to critical acclaim in 1969 but failed commercially. After that, The Stained Glass changed their name to Christian Rapid and spent the next three years touring. They never recorded another album. Aurora marked the end of the The Stained Glass’ story.
He was replaced by southpaw guitarist Tom Bryant who With two replacement members, keyboardist and guitarist Lance Libby and percussionist Louie Schiavo The Stained Glass recorded their sophomore album Aurora. It was released in 1969. After that The Stained Glass changed their name to Christian Rapid and spent the next three years touring. They never recorded another album. Aurora marked the end of the The Stained Glass’ story.
The story of The Stained Glass is a familiar one. They were a talented, innovative and pioneering group, but their music was way ahead of its time. That was the case with The Stained Glass, who started life as The Trolls. Quite simply, The Stained Glass were ahead of their time. People neither understood, nor appreciated what they were doing. Sadly, their music failed to make the impact it should’ve. It’s only years later, that people realise how innovative a group The Stained Glass were. From their early days as The Trolls, their music was ahead of the musical curve. Influenced by the British Invasion, The Kinks, Beatles, Animals, Rolling Stones and Zombies inspired The Trolls and The Stained Glass. The other thing that made The Trolls and The Stained Glass standout were their lyrics.
Many of the songs were written by the enigmatic poet philosopher Jim McPherson. He too was influenced by the British Invasion groups. His lyrics are pensive, perceptive, descriptive, surreal and cryptic. Influenced by Ray Davies, Paul McCartney and Bob Dylan, Jim could’ve and should’ve been a hugely successful songwriter. Sadly, just like The Trolls and The Stained Glass, Jim McPherson’s talents went unnoticed for too long. Now a new generation have discovered the music of The Trolls and The Stained Glass.
A Scene In Between 1965-1967, which was recently released by Big Beat, a subsidiary of Ace Records, features twenty-four tracks. This includes six tracks from their early years, when The Stained Glass were known as The Trolls. Then there’s eighteen other tracks, from when The Trolls became The Stained Glass. This includes sixteen tracks that have never been on CD before. Among them are demos and live tracks. This is why A Scene In Between 1965-1967 is the most comprehensive celebration of one of San Francisco’s most innovative lost group’s, The Stained Glass.
For anyone whose a fan of pop-psych, then A Scene In Between 1965-1967 is essential listening. After even one listen, you’ll wonder why The Stained Glass’ unique fusion of blues, pop, psychedelia and rock wasn’t a huge commercial success. Unfortunately, The Stained Glass were ahead of their time. They also signed to the wrong label, RCA Victor, who tried to make them something they weren’t. On another label, The Stained Glass might have prospered and become the success story they deserved to be. At least, somewhat belatedly, The Stained Glass’ seminal music is being heard by a much wider, and appreciative audience on the recently released A Scene In Between 1965-1967. Standout Tracks: Walkin’ Shoes, Broken Man, Vanity Fair and A Scene In Between.
THE STAINED GLASS-A SCENE IN BETWEEN 1965-1967.
DUST MY RHYTHM AND BLUES-THE FLAIR RECORDS R&B STORY 1953-1955.
DUST MY RHYTHM AND BLUES-THE FLAIR RECORDS R&B STORY 1953-1955.
Despite only being around for just three years, Flair Records released some of the best R&B and blues of that period. Formed in 1953, Flair Records became the second subsidiary of Modern Records. RPM was Modern Records’ first subsidiary, Flair Records the second. It was the idea of Jules Bihari, who with his brothers, co-founded Modern Records. Jules was also the head of A&R at Modern Records. He realised that music was changing and Modern Records’ roster was expanding. Modern Records was releasing different types of music. That Jules reckoned, wasn’t right. Surely different labels should release different types of music? An example of this would be Flair Records. For its first ten releases, it only released hillbilly and country and western music. After these ten singles, Flair Records roster changed.
For its next seventy releases, Flair Records established a reputation as one of the best R&B and blues label. Despite the quality of its music, none of the singles Flair Records released became a hit. They were however, successful in California, which was home to Flair Records. Then in 1955, Flair Records closed its doors. Since then, the eighty singles Flair Records released have become hugely collectable. Now sixty years after Flair Records released its first single, their releases are changing hands for ever increasing sums of money. So for fans of none of Flair Records, Ace Records’ recent release Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, will come as a welcome release.
Featuring fifty tracks spread over two discs, Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, almost half of the tracks have never been released before. Sitting alongside the singles, are alternate takes. For Flair Records completists, this makes Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 essential listening. Especially when there’s contributions from Elmore James, Johnny Ace, Big Duke, The Flairs, Bobby Relk, Matt Cockrell and Blink Allen. This makes Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 a musical treasure trove, which I’ll pick my highlights of.
DISC ONE.
Little Johnny Jones’ Dirty By The Dozen (Sweet Little Woman) opens Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 with Dirty By The Dozen (Sweet Little Woman). Released in 1953, Little Johnny Jones was a blues’ pianist who backed legends like Muddy Waters. Here, Little Johnny Jones steps out of the shadow and takes centre-stage. What follows is on this delicious slice of blues, that’s best described as timeless. Sadly, it’s the only contribution from Little Johnny Jones.
There’s a quartet of Elmore James singles on disc one. Early In The Morning is the first and was released in 1953. It epitomises everything that’s good about blues music. Driven along by the guitar, horns and piano introduce Elmore’s worldweary vocal. It sounds as if it’s been honed on cigarettes and whiskey. The second single is Can’t Stop Lovin’ which was released in 1953. Its much more understated arrangement showcases Elmore’s guitar playing and that unmistakable vocal. Just like Strange Kinda Feeling, which was released in 1954, blues and R&B unite. It’s another song that swings. Elmore keeps the best until last. Sho’ Nuff I Do is a well known track. Released in 1954, it’s a tale of betrayal. Disbelief fills Elmore’s vocal on this classic track and is a tantalising taste of Elmore James, a true giant of blues music.
Duke Henderson career began back in the forties. Since then, he’d recorded for a number of labels, including Apollo, United Artists and Globe. By 1953, when Duke released Hello Baby as a single, he was known as Big Duke. He was also an experienced musician. A fusion of blues, jazz and R&B, Hello Baby is one of four tracks on disc one. The other single is Night Howler, released in 1954, which features a heartbroken, needy vocal. His other contributions are alternate takes of Beggin’ and Pleadin’ and Baby Beat It, which is Big Duke’s best known single. Sadly, the talented Big Duke was lost to music, when he found religion in 1957. After that, he became a successful gospel DJ and then a minister.
James Reed has two tracks on disc one. You Better Hold Me is an alternate take and My Mama Told Me was released as a single in 1954. Slow and bluesy, James languid vocal and chiming guitar make a potent combination. A tale of a mistreating woman, James is captivated. So are you. Bluesy horns and a seemingly never ending guitar solo have you spellbound. It’s a true hidden gem.
Saunders King and His Orchestra’s My Close Friend has a real late night sound. You can imagine this being played late at night, in a Los Angeles nightclub. The track has a really evocative, cinematic sound. Blues and jazz combine on this previously unreleased alternate track. With a vocal oozing heartache, it’s the perfect track for the newly heartbroken.
Although I’ve only mentioned eleven of the twenty-five tracks on Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, I could’ve just as easily mentioned any number of other tracks. This includes contributions from The Flairs, Johnny Ace, Matt Cockrell and The Royal Hawk and His Orchestra. Quite simply, Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 is a quality compilation. The unreleased tracks feature more than a few hidden gems. For anyone interested in Flair Records, this makes disc one of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 essential listening. Will this be the case with disc two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955?
DISC TWO.
On Disc Two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, we meet old friends like Elmore James, The Flairs, Shirley Gunter and Ike Turner and His Orchestra. Then there’s contributions from Anna Marie, Blinky Allen, Bobby Relf and Richard Berry. Disc Two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 is a veritable treasure trove of twenty-five tracks, which I’ll pick the highlights of.
Blinky Allen’s Chop House opens disc two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955. This isn’t the original version of this saxophone driven instrumental. No. It’s an alternate take. Quite simply it’s an irresistible scorcher, and is one of the highlights of the compilation.
Richard Berry has five tracks on disc two. Three of them are singles. This includes The Big Break, released in 1954. Dramatic and theatrical, it’s a genre-melting track. Elements of R&B combine with pop. The same can be said of the 1955 single Oh! Oh! Get Out Of The Car. It’s a poppy slice of R&B. Then there’s three unreleased alternate tracks. Together has Elmore James’ style guitars, while Daddy Daddy is a fusion of R&B, doo wop and R&B. Next Time has a tougher, harder edge. With a bluesy arrangement, Richard’s vocal is sassy and feisty, as we hear another side to his music.
Blues pianist Mercy Dee Walton was already an established artist when he signed to Flair Records in the summer 1955. During what was the final few months of Flair Records’ “lifetime” Mercy Dee released a trio of singles. They showcases Mercy Dee’s piano playing. The first of these is Stubborn Woman. Slow, bluesy and featuring a despairing vocal, it’s the first of three hidden gems. Oh, Oh, Please is a needy, jazz-tinged uptempo track. Lasting ninety seconds, it’s another tale of love gone wrong, delivered in Mercy Dee’s unique way. Have You Ever is the final contribution from Mercy Dee. Again, it’s a slow, moody and broody track, Mercy Dee lays bare his soul. Sadly, seven years after Mercy Dee released these three tracks, Mercy died in 1962, aged just forty-seven. That day, blues music lost a hugely talented pianist and singer.
The Carroll County Boys only contribution on disc two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 is Dizzy. This isn’t the original version. Instead it’s an alternate track. Featuring a guitar masterclass from Pee Wee Crayton, the addition of braying horns is just the finishing touch to what’s the musical equivalent of pieces of eight.
My final choices from disc two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 come from Shirley Gunter. She also featured on disc one. On disc two she contributes two tracks. Both are alternate versions. The first is Oop Shoop. Ipsy Opsie Ooh is the best of the two. Best described as a fusion of doo wop and R&B, it’s a beautiful, heartfelt and soulful track. Once again, this track proves that Flair Records’ back-catalogue is a veritable treasure trove.
Again, I’ve only mentioned twelve tracks from disc two of Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955. I could just as easily have mentioned three tracks from Elmore James, two tracks from Bobby Rey or tracks from The Chimes, Johnny Fuller and Ike Turner and His Orchestra. Once again, compiler Tony Rounce has chosen well. He’s uncovered some hidden musical gems. This includes some of the ten alternate takes that feature on disc two. They ensure that Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 is an essential purchase for Flair Records’ completists. After all, where else will you find most of these alternate tracks? The good news is that Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, which was released byAce Records, will cost you a fraction of the price of some of the Flair Records’ releases.
Featuring fifty tracks spread over two discs, Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955 documents the three years when Flair Records were in business. During that three year period, Flair Records released some of the best blues and R&B music of that era. Despite its undoubtable quality, the singles released by Flair Records weren’t a commercial success nationwide. Instead, they were only successful within California, which was home to Flair Records. So it’s no surprise that after three years where its music wasn’t commercially successful, Flair Records closed its doors. However, Flair Records’ left behind a rich musical legacy.
That legacy is Flair Records’ back-catalogue. It includes eighty singles, plus a whole host of alternate takes. A tantalising taste of Flair Records’ back-catalogue features on Dust My Rhythm and Blues-The Flair Records R&B Story 1953-1955, which is a veritable treasure trove that features fifty tracks. Standout Tracks: Little Johnny Jones Dirty By The Dozen (Sweet Little Woman), Elmore James Early In The Morning, Blinky Allen Chop House and The Carroll County Boys Dizzy.
DUST MY RHYTHM AND BLUES-THE FLAIR RECORDS R&B STORY 1953-1955.
HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
Wake Up Everybody marked the end of an era for Harold Melvin and The Blue Notes. Not only was To Be True the last Harold Melvin and The Blue Notes’ album to feature Teddy Pendergrass, but it was their last album to be released on Philadelphia International Records. It was the end of an era for a band that started back in 1954.
Harold Melvin and The Blue Notes had originally been formed back in the early fifties, as The Charlemagnes, and became The Blue Notes in 1954. Two years later, Harold Melvin and The Blue Notes released their debut single If You Love Me (Really Love Me) in 1956. Since then, they’d toured and released singles, but struggled to make a living. Harold Melvin and The Blue Notes had struggled for success on the supper club circuit for fourteen years. They were no overnight success story. It was only when Harold Melvin brought Teddy Pendergrass onboard that their fortunes improved. Originally the drummer, the charismatic baritone became lead singer. Teddy Pendergrass was an unknown quantity, but Harold Melvin took a chance on him. Sadly and ultimately, Harold’s generosity wasn’t rewarded.
Between 1972 and 1975, Harold Melvin and The Blue Notes released a quartet of albums. This included two number one US R&B albums and four number one US R&B singles. By the time Harold Melvin and The Blue Notes released Wake Up Everybody in November 1975, Teddy Pendergrass felt he deserved star billing. That’s despite the group being billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass from the release of Wake Up Everybody, their fourth album. Teddy believed the success of the group was down to him. What he forgets in the Blue Notes’ trademark harmonies. Then in 1976, Teddy Pendergrass quit the group over money.
Gamble and Huff who founded Philadelphia International Records, offered Teddy a recording contract. However, Teddy was only willing to sign the contract if Harold Melvin and The Blue Notes weren’t signed to Philadelphia International Records. So forgetting how Harold Melvin and The Blue Notes helped transform Philadelphia International Records, from a small unknown label into one of the biggest soul labels, Teddy Pendergrass got his way. Harold Melvin and The Blue Notes found themselves without a label.
Then in 1977, Harold Melvin and The Blue Notes signed to ABC Records. Their debut album for ABC Records was Reaching For The World, which was recently released by PTG Records. This was the start of a new era for Harold Melvin and The Blue Notes. Their lineup was transformed. Three new members joined the group. Replacing Teddy Pendergrass was David Ebo, while Dwight Johnson and William Spratley replaced Blue Notes Bernard Wilson and Jerry Cummings. It was this new lineup that featured on Reaching For The World. Before I tell you about Reaching For The World, I’ll tell you about their career since they joined Philadelphia International Records.
It was in 1970, that Teddy Pendergrass joined Harold Melvin and The Blue Notes. Two years later, they were signed to Philadelphia International Records. During 1972, Harold Melvin and The Blue Notes enjoyed their first taste of chart success. I Miss You (Part 1) reached number fifty-eight in the US Billboard 100 and number seven in the US R&B Charts. Then If You Don’t Know Me By Now, reached number three in the US Billboard 100 and number one in the US R&B Charts. Harold Melvin and The Blue Notes. were on the way to becoming one of the label’s biggest acts.
In August 1972, that the group released their debut album, originally entitled I Miss You. However, after the success of If You Don’t Know Me By Now, the second single released from the album, Philadelphia International Records decided to repackage the album, giving it a new cover and title, Harold Melvin and The Blue Notes. The now entitled Harold Melvin and The Blue Notes, reached number fifty-three in the US Billboard 200 and four in the US R&B Charts. This was a more than satisfactory outcome for what many people perceive is the classic line up of the group. This was Teddy Pendergrass singing lead vocal, with Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson singing harmonies and backing vocals.
After this, the group embarked on its most successful period, with Black and Blue their second album, released in September 1973, reaching number twenty-seven in the US Billboard 200 and five in the US R&B Charts. It featured one of their most successful singles, The Love I Lost (Part 1), which reached number seven in the US Billboard 100 and number one in the US R&B Charts. Soon, Harold Melvin and The Blue Notes were rivaling The O’Jays for the title as Philadelphia International Records’ most successful group.
1975 saw the group’s popularity soar, with them releasing two hugely successful albums. The first was To Be True, which was released in February 1975. It reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. It became the group’s first album to be certified gold. Things were about to get even better.
Later that year, in November 1975, To Be True’s success was surpassed by Wake Up Everybody. It reached number nine in the US Billboard 200 and number one in the US R&B Charts. Not only that, but it was certified platinum, have sold over one million copies. As if that wasn’t enough, Wake Up Everybody (Part 1), the first single released from the album reached number twelve in the US Billboard 100 and number one in the US R&B Charts. Harold Melvin and The Blue Notes were enjoying the most successful period of their career. What could go wrong?
Then in 1976, Teddy Pendergrass, left the group after an argument over money. Teddy seemed to think he was bigger than the group. He wanted top billing, so Harold Melvin agreed to group being billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. From the release of Wake Up Everybody, this was how the group were billed. That wasn’t enough for Teddy. So, he quit the group and signed to Gamble and Huff’s Philadelphia International Records.
Ironically, 1975 proved to be the end of an era for Philadelphia International Records. The label lost many of the founding members of its legendary studio band M.F.S.B. They’d been involved in a lengthy dispute with Gamble and Huff over money. When it couldn’t be resolved, many of the best musicians in M.F.S.B. left the label. This included Baker, Harris, Young and Vince Montana Jr. They were much more than musicians. Indeed, they were arrangers, producers and songwriters. This hugely affected Philadelphia International Records, who never enjoyed the same commercial success. Apart from The O’Jays and Teddy Pendergrass, Philadelphia International Records was never enjoyed the same commercial success as they were between 1972 and 1975. After that commercial success was sporadic. That was the golden period. So were Harold Melvin and The Blue Notes leaving at the right time?
When Gamble and Huff offered Teddy a recording contract as a solo artist, he said he’d only sign on one condition. That was that Harold Melvin and The Blue Notes weren’t signed to Philadelphia International Records. It was an ultimatum. Gamble and Huff forgetting how Harold Melvin and The Blue Notes helped transform Philadelphia International Records, from a small unknown label into one of the biggest soul labels, agreed. At a stroke, Harold Melvin and The Blue Notes found themselves without a label. The unknown drummer and singer they’d rescued from obscurity, had made sure they were without a record label.
Then in 1977, Harold Melvin and The Blue Notes signed to ABC Records. Their debut album for ABC Records was Reaching For The World, which was recently released by PTG Records. This new era for Harold Melvin and The Blue Notes began with their fifth album Reaching For The World.
For Reaching For The World, Harold Melvin penned He Loves You And I Do Too and Big Singing Star. Harold cowrote two other tracks He wrote Where There’s A Will, There’s A Way with Melvin and Mervin Steals, then cowrote After You Love Me, Why Do You Leave Me with Kenny Gamble. Hubert V. Yarborough wrote Sandman and Hostage Part 1&2. Derek Floyd wrote the title-track, while MacFadden and Whitehead cowrote Stay Together with Victor Castarphen. These eight tracks became Reaching For The World.
Recording of Reaching For The World took place at Joe Tarsia’s Sigma Sound Studio, in Philly. This was where all the Harold Melvin and The Blue Notes had been recorded. Producing Reaching For The World was Harold Melvin. Once Reaching For The World was finished, it was released in 1977.
On the release of Reaching For The World in 1977, it reached just number fifty-six in the US Billboard 200 and number fifteen in the US R&B Charts. The lead single was Reaching For The World, which reached number seventy-four in the US Billboard 100 and number six in the US R&B Charts. Then After You Love Me, Why Do You Leave Me, which featured Sharon Paige reached number 102 in the US Billboard 100 and number fifteen in the US R&B Charts. Hostage Parts 1&2 was chosen as the final single, but failed to chart. Although Reaching For The World hadn’t matched the heights of their four album for Philadelphia International Records, their was life after Teddy Pendergrass. Indeed, some people on hearing David Ebo said Teddy who? Is that the case or was Teddy missed on Reaching For The World?
Opening Reaching For The World is the title-track. Swathes of the lushest strings sweep and swirl, horns rasp usher in David Ebo’s vocal. Straight away, you’re hooked. David’s worldweary vocal is full of emotion, sadness and regret. He brings the lyrics to life. It’s as if he’s lived the torment he’s singing about. Meanwhile, the rhythm section and percussion provide the pulsating heartbeat, while stabs of growling horns add drama. The Blue Notes add soaring heartfelt, harmonies and strings sweep on this delicious dance-floor friendly track that introduces us to David Ebo.
Melancholy horns bray while drums mark the time on Where There’s A Will, There’s A Way. Then after dramatic bursts of drums and stabs of piano, impassioned, soul-searching harmonies sweep in atop the lushest of strings. With Vince Montana Jr’s vibes for company, they set the scene for David Ebo on his first ballad. He unleashes an emotive powerhouse, vamping his way through the lyrics. His vocal oozes emotion and drama. Matching him for drama are the drums. They play a huge part in the arrangement. So do the harmonies. Then when the vocal changes hands, there’s no weak links. It’s as if the new Blue Notes are determined to prove their worth. This they do and then some. As for David, his soul-baring vocal oozes emotion and hurt.
After You Love Me, Why Do You Leave Me has a jazzy introduction. Horns blaze, strings sweep and the rhythm section roll back the years to another musical era. Propelled along by the bass, an school jazz track unfolds. Sharon Paige takes charge of the lead vocal. Her vocal veers between tender, feisty and sassy, while the Blue Notes add questioning, hurt-filled harmonies. As Sharon’s vocal drops out, David takes centre-stage. He drops his vocal. It’s much more tender, but wistful. Harmonies from The Sweethearts Of Sigma sweep in, before drums pound, horns blaze and strings dance. Then David and Sharon feed off each, driving each other to greater heights of soulfulness. All the time, The Sweethearts Of Sigma sweep in, adding harmonies on this hook-laden, jazz-tinged track.
Strings cascade as Sandman shares his secrets. With a jaunty arrangement the rhythm section provide the heartbeat, while strings dance and The Sweethearts Of Sigma add tender, wistful harmonies. They set the scene for David, whose vocal is heartfelt and tender. Delivered with sincerity, he shows that he’s a versatile frontman. He’s equally comfortable delivering a powerhouse of a vocal as he is a tender, gentle vocal. Drums pound adding dramas, harmonies sweep in. Their beauty caress your ears and are the perfect foil for David’s vocal. Needy, sincere and joyous he pleads: “don’t wake me from my dreams, I might never have this dream again.”
Hostage Part 1&2 bursts into life, Philly Soul and funk colliding head on. The band are given the opportunity to stretch their legs. Driven along by the rhythm section, horns growl, string swirl and Larry Washington adds congas. David’s vocal begins as a vamp, before become a Pendergrass-esque powerhouse. It’s an impressive sound. Especially, when accompanied by some of Philly’s finest musicians in full flight. Stabs of piano, percussion, horns and strings all play their as David vamps and testifies. Quite simply, this is one of the highlights of Reaching For The World and a forgotten gem in Harold Melvin and The Blue Notes back-catalogue.
A soaring, soul-searching falsetto opens He Loves You and I Do Too. It gives way to the harmonies, before the falsetto returns. An outpouring of emotion, it’s accompanied by an understated arrangement. Just the rhythm section, piano, Vince Montana Jr’s vibes and lush strings combine. Then drums pound and David’s vocal enters. He delivers his vocal with power and emotion, proving the perfect foil for the falsetto. When it drops out, The Blue Notes’ harmonies fill the spaces. Their harmonies are poignant and melancholy, adding the finishing touch to this tug of love.
Big Singing Star was the second track written by Harold Melvin. Not only does it show that Harold is a talented songwriter, but a talented producer on this epic fusion of funk and Philly Soul. Despite his undoubted talent, it’s seems strange that Gamble and Huff didn’t allow Harold to write or produce his own music. At ABC Records he had a fresh start and was coming into his own. This is obvious from the opening bars. Against a myriad of growling horns, thunderous drums and dancing strings, David vamps his way through the arrangement. Stabs of piano and urgent harmonies add to the drama of this epic track that sees Harold Melvin blossom as a songwriter and producer. As for David Ebo, he’s comfortably settling into the role of frontman and seems to be relishing the role.
Closing Reaching For The World is Stay Together, which was written by McFadden and Whitehead with Victor Castarphen. Horns rasp, strings cascade, strings chime and the rhythm section provides the heartbeat. They set the scene for needy, tender harmonies from the Blue Notes. As strings quiver, David’s vocal is needy, almost pleading: “let’s forget about the past… we can Stay Together.” As his vocal drops out, the an equally needy falsetto sweeps in. Adding the finishing touch are harmonies. They add to the drama and emotion, all the time encouraging them to “Stay Together.”
Reaching For The World is a truly underrated album in Harold Melvin and The Blue Notes’ back-catalogue. It’s proof that Harold Melvin and The Blue Notes career didn’t end when Teddy Pendergrass left. There’s no question that there was life after Teddy Pendergrass and Philadelphia International Records. The loss of Teddy Pendergrass hurt Harold Melvin and The Blue Notes, but was not a fatal blow. It definitely, affected the group as a commercial entity and couldn’t have come at a worse time.
When Teddy left Harold Melvin and The Blue Notes in 1976, they’d they’d just released their most successful album Wake Up Everybody. ironically, Teddy left over an argument over money. Who knows what heights and riches they’d have enjoyed if they’d stayed together. Harold Melvin and The Blue Notes this must have been hugely disappointing. For Harold Melvin, who rescued Teddy from obscurity, this must have been akin to an act of betrayal. However, Harold had a secret weapon…David Ebo. He was one of three new members of Harold Melvin and The Blue Notes.
On Reaching For The World, David brings the music to life. He grabs songs and makes them work. Whether it’s ballads, dance-tracks or funky vamps, he makes the song his own. He’s no Teddy clone. No. Far from it. David is his own man with his own unique style. On the slower songs, he doesn’t over-sing the songs. He’s not like some soul singers, whose style is almost a parody of a soul singer. That’s not David’s style. Then on the uptempo tracks, David unleashes a series of vocal powerhouses. He vamps his way through songs as Philly Soul and funk becomes one. There’s even an opportunity for David to demonstrate his versatility on the jazzy After You Love Me, Why Do You Leave Me. For David Ebo, Reaching For The World saw him fill Teddy’s shoes for the first time. As for Harold Melvin, he blossomed having left Philadelphia International Records.
Having signed to ABC Harold Melvin got the chance to show he was a talented songwriter and producer. He wrote two tracks and cowrote two others. This was very different to Philadelphia International Records. Despite his undoubted talent, Gamble and Huff didn’t allow Harold to write or produce his own music. At ABC Records Harold Melvin, just like David Ebo had a fresh start and was coming into his own.
Sadly, Harold Melvin and David Ebo’s fresh start wasn’t the commercial success it deserved to be. Reaching For The World reached just number fifty-six in the US Billboard 200 and number fifteen in the US R&B Charts. When the title-track was released as a single, it gave Harold Melvin and The Blue Notes the final hit single in the US Billboard 100. Despite not matching the success of their four previous albums, Reaching For The World is a full of slick arrangements and music that’s infectiously catchy, hook-laden and dance-floor friendly. Then there’s funky tracks and gorgeous, heartfelt ballads. That’s why Reaching For The World, which was released by PTG Records, is a hidden gem in Harold Melvin and The Blue Notes back-catalogue. Reaching For The World also proved there was life after Teddy Pendergrass. Standout Tracks: Reaching For The World, Where There’s A Will There’s A Way, Hostage Part 1&2 and Big Singing Star.
HAROLD MELVIN AND THE BLUE NOTES-REACHING FOR THE WORLD.
SKADEDYR-KONGEKRABBE.
SKADEDYR-KONGEKRABBE.
Recently, Skadedyr have been establishing a reputation as one of Norway’s most exciting up-and-coming bands. Skadedyr however, are no ordinary band. Far from it. Described as an anarchist/democratic band, Skadedyr feature twelve members. These twelve musicians play an eclectic selection of instruments. This includes a brass, string and rhythm section. Even their rhythm section is unlike most other bands. Skadedyr’s rhythm section features two drummers. Then there’s guitars, keyboards and even an accordion. As you can see, Skadedyr aren’t more like other bands.
Instead, Skadedyr are more like pioneering collective of avant-garde musicians. They’ve just recorded their debut album Kongekrabbe, which will be released by Hubro Music on 13th January 2014. Kongekrabbe is no ordinary album. That’s what I’d expection from a pioneering group like Skadedyr, who I’ll tell you about.
Skadedyr were founded by Heida Karine Johannesdottir Mobeck and Anja Lauvdal. They were previously, members of Your Headlights Are On, who released their eponymous debut album in 2011. It was well a received debut album. A great future was forecast for Your Headlights Are On. Sadly, that wasn’t to be. Your Headlights Are On, spilt-up. From the ashes of Your Headlights Are On, came Skadedyr, which Heida and Anja are determined to make a success of. They’re very much the driving force to Skadedyr. They’ve also acted as talent spotters.
Since founding Your Headlights Are On, Heida and Anja have brought together members of some of Norway’s best bands. Among them are Broen Osk, Karokh, Moskus, Skrap and Hullyboo. The result is another Norwegian supergroup which features twelve pioneering, innovative musicians. Harnessing this amount of creativity might sound difficult? That’s turned out not to be the case though. Skadedyr are very much a democracy, which meant recording their debut album Kongekrabbe went smoothly.
When it came to recording Kongekrabbe, Skadedyr recorded four songs that Heida and Anja cowrote four songs. The other track Partylus, was penned Ivar Aasen. These songs had been honed in lengthy practice sessions. So, by the time Kongekrabbe entered the studio, they were ready to go. Everything had been worked out beforehand. This included the arrangements to the five tracks on Kongekrabbe. Every member of the band’s point of view was listened to. It’s very much a democratic decision. Rather than have everything written down, it’s was all what Skadedyr hear and feel. This is music as it used to be made.
On the five tracks on Kongekrabbe, Skadedyr use this eclectic selection of instruments like an artist uses their palette. They paint pictures, musical pictures on Kongekrabbe. Incredibly, Skadedyr recorded Kongekrabbe in just one day. This is a really refreshing. Far too often, bands spend months, even years recording an album. When this happens, too often, the result is a bland, overproduced album. This isn’t the case on Kongekrabbe. Not at all.
Kongekrabbe features five tracks which are best described as unyielding, innovative, energetic and enthralling. You’re captivated by this melting pot of musical influences. Psychedelia, rock, Krautrock, prog rock and jazz are some of the musical influences that shine through. That’s why Kongekrabbe is an album that will appeal to an eclectic selection of music lovers. You’ll realize that when I tell you about Kongekrabbe.
Intro Linselus opens Kongekrabbe. An eerie, haunting and chilling the twenty-second intro grabs your attention. After a silent interlude, the track heads in the direction of avant-garde, experimental, free jazz and industrial. Short bursts of grizzled horns, chilling strings, percussion and an accordion join forces as the track reaches an eerie, discordant ending. Following another silent interlude, synths buzz, strings shriek, horns growl and an accordion wails. It’s akin to the musical equivalent of Primal Scream Therapy. A cathartic outpouring of emotion, it’s enthralling, experimental, dramatic and thought provoking.
Linselus/Due has a much more understated sound. Tender, ethereal and jazz-tinged female vocals are accompanied by a standup bass. It propels the arrangement along, while free jazz horns meander in and out. It’s a case of opposites attract. Then the arrangement literally explodes into life. A frenzied combination of scatted vocals, percussion and bursts of braying, blazing horns. They signal the rest of Skadedyr to join this fusion free jazz, rock, experimental and industrial. Boundaries are pushed to their limits, sometimes, even beyonds. Skadedyr seem determined to explore sonically. Then just as quickly as the drama and energy came into being, it disappears, becoming an ambient soundscape. Eno-esque, it has an ethereal quality. You revel in it. It’s as if you’ve strayed onto a lost excerpt from Music For Airports. There’s even a hint of Sigur Ros on what’s best described as four minutes of ethereal beauty.
The title-track Kongekrabbe, unfolds in waves. Again the music is understated and ethereal sound. There’s also a cinematic sound to this fusion of ambient and jazz. It’s as if Skadedyr draw inspiration from Brian Eno’s ambient classics, Harold Budd, Sigur Ros, Liz Fraser of the Cocteau Twins and Ry Cooder’s Paris Texas. That’s just for the moment. Who knows what curveball Skadedyr may deliver. Any minute, they could spring any number of surprises. They do. Horns are dark, pensive, moody and hopeful, before becoming urgent. Guitars are crystalline, sing-song harmonies joyous and ethereal. The plink plonk piano has an experimental, ambient sound. Later, the track heads in the direction of rock, growing in power and drama. Influences melt into one. Everything from avant-garde, ambient, experimental, free jazz and rock can be heard. The result is mesmeric, as an eclectic musical tapestry takes shape before you. It’s woven by Skadedyr, in their own unmistakable style.
As Partylus unfolds, it’s like journeying back in time. Suddenly, you’re in an old jazz club in New Orleans. It only lasts ten seconds. Then Skadedyr are pushing musical boundaries. The unmistakable snap, crackle and pop of old vinyl ushers in an arrangement that’s inspired by ambient, experimental and jazz. A genre-melting pot pourri of musical influences, you’re captivated. You never know what’s coming next. There’s even a tantalizing cover of Bob Dylan’s Rolling Stone. All to quickly, it gives way to old style jazz. Next a heartfelt, vocal gives way then machine gun guitar licks. The vocal is almost punk in style. Raw and raucous, it’s the just the next part in this musical roller coaster journey where surprises aplenty are in-store for the unsuspecting listener. Best to climb onboard and enjoy the ride.
Lakselus closes Kongekrabbe, Skadedyr’s debut album. Gradually, the arrangement unfolds. It rumbles ominously in the distance. Strings quiver, producing a spine-tingling chilling sound. A myriad of beeps and squeaks are added and the track takes on a space-age sound. Instruments drift in and out. They make their presence felt, but only briefly, and in an unorthodox way. Experimental, industrial and free jazz are the inspiration for Skadedyr. What follows is akin to a chilling, eerie soundscape. Later the drama builds, before the track blossoms, revealing its ethereal beauty. That comes courtesy of strings, piano and ethereal, angelic harmonies. This haunting, cinematic track proves the perfect way to close Kongekrabbe and leaves you wanting to hear more from Skadedyr.
Featuring just five songs, and lasting thirty-six minutes long, Skadedy’s debut album Kongekrabbe is a tantalizing taste of one of Norway’s most exciting up-and-coming bands. Featuring twelve talented and innovative musicians, they’re determined to make music their way. This means with everyone having a say in how the album is made. That’s musical democracy. As for the recording process, Skadedyr don’t waste time. They recorded in just one day. That’s refreshing and resulted in a musical tapestry.
Kongekrabbe is best described as a pot pourri of influences. Ambient, experimental, electronica, industrial, free jazz, Krautrock and rock can all be heard on Kongekrabbe. They’re part of the five atmospheric, dramatic, ethereal and evocative soundscapes. It’s bold, brave and inventive music that paints pictures in your mind’s eye. There’s a cinematic quality to the innovative and imaginative music on Kongekrabbe. I’d also describe Kongekrabbe as cerebral cinematic soundscapes. Sometimes, they’re understated and pensive, while other times they range from dramatic, challenging and futuristic, to moody and broody. Then seamlessly, the music can become crystalline and ethereal, as influences and genres melt into one. All the time the music on Kongekrabbe is articulate and intelligent. One thing Kongekrabbe never are, is boring. No way. This is music that’s guaranteed to pique your imagination and keep you interested. Indeed captivating describes Kongekrabbe perfectly. Kongekrabbe which will be released by Hubro Music on 13th January 2014 is also an innovative, inventive and genre-melting album from Norwegian musical pioneers Skadedyr.
SKADEDYR-KONGEKRABBE.
CAKEWALK-TRANSFIXED.
CAKEWALK-TRANSFIXED.
It was May 2012, when Cakewalk released their genre-melting debut album Wired. Released to critical acclaim, Wired featured intense, mesmeric music. Featuring three experienced and talented musicians, Cakewalk became one. Each member of Cakewalk seemed to have know exactly what the other was about to do. The interaction between them was peerless. They fed off each other, and seamlessly, Cakewalk fused musical genres. Krautrock, experimental, electronica, free jazz and punk all melted into one. The result was music that veered between lively and vibrant, right through to frantic and frenzied. Influences included David Bowie’s Berlin trilogy, plus the Krautrock of Neu and Can. Wired was akin to a musical tapestry, full of nuances, surprises and subtleties. Critics who were won over by Cakewalk, hungrily awaited the followup to Wired. Thankfully, they’ve not had to wait long. No. Transfixed, Cakewalk’s sophomore album, will be released by Hubro Music on 6th January 2014. Before I tell you about Transfixed, I’ll tell you about Cakewalk.
For anyone whose yet to discover Cakewalk, they’re best described as a supergroup of three innovative Norwegian musicians. Their lineup includes Stepan Meidell, Oystein Skar and Ivar Loe Bjornstad. Since they formed, Cakewalk have established a reputation as a groundbreaking group. Their music is melting pot of seventies psychedelia, Krautrock, industrial, experimental, electronica and noise rock. That’s partly because of the three members of Cakewalk’s different musical backgrounds.
Away from Cakewalk, Stepan Meidell is a member of The Sweetest Thrill. He plays bass, guitar, boxes and tape machines. Previously, Stepan was a member of jazz group Mr. Eart, and played on their 2007 album Facts In The Case Of The Mysterious Pop Machine. Two years later, in 2009, Stepan was a member of Vanilla Riot, who fused jazz and electronica. They released their only album Stitch in 2009. Since then, Stepan has been a member of The Sweetest Thrill and Cakewalk.
Oystein Skar, who plays synths, in Cakewalk is a member of two Norwegian groups, Highasakite and Sacred Harp. He played on Sacred Harp’s 2009 eponymous E.P. Then in 2012, Highasakite released their debut album All That Floats Will Rain. Best described as indie rock, ll That Floats Will Rain was well received.
The final member of Cakewalk is drummer Ivar Loe Bjornstad. He’s also a member of The Hedvig Mollestad Trio. They’ve released two albums, 2011s Shoot and 2013s All Of Them Witches. As you can see, the three members of Cakewalk have very different musical backgrounds. This shines through on Transfixed, where Cakewalk change direction.
In some ways, it’s no surprise that on Transfixed, Cakewalk have decided to change direction musically. After all, Cakewalk feature three innovative, groundbreaking musicians. They’re mavericks, and the thought of standing still musically, wouldn’t appeal. Cakewalk want to continue to push musical boundaries. This they do on Transfixed. Gone are short songs of Wired. Replacing them are longer, darker songs. Transfixed is also a bigger album. It’s Cakewalk’s experimental Magnus Opus. That’s not changed, the music on Transfixed is still improvised.
The music on Transfixed were recorded at Cakewalk’s Bergen studios. During the recording sessions, Cakewalk focused on experimenting. They jammed, sometimes for hours. Through these jam sessions, ideas for songs came about. Sometimes it was just riffs. Other times, it was melodies. If they were lucky, Cakewalk found the structure for a song. They were following a well trodden path. Groups like Can had been here before. So, Cakewalk are keeping the improvisational flame alive. Once a song has evolved, that doesn’t mean they’re finished. No. Cakewalk continue to improvise, honing the song until it’s the finished articles. Cakewalk sculpt songs, resulting in mini modernist works of art. Six of these feature on Transfixed.
For recording of Transfixed, the three members of Cakewalk wrote the six songs. Stepan Meidell played bass, guitar, boxes and tape machines, Oystein Skar plays synths and drummer Ivar Loe Bjornstad. They were joined by guest artist Espen Sommer Eide, who plays modular synthesizer on Transfixed, which I’ll tell you about.
Ghosts opens Transfixed, Cakewalk’s sophomore album. Immediately, genres unite. Quickly, the drama builds. It’s ever-present, as jazz, experimental, Krautrock, psychedelia and rock melt into one. Drums provide the hypnotic heartbeat. They’re joined by shredded, machine guitars and a myriad of synths. Cakewalk are in groove and are determined to exploit it fully. As synths add space-age sound effects, others drone and a wall of sound assails you. Best described as a soundscape, it marches towards you, marching to the beat of Cakewalk’s drum. Dramatic, melodic, grandiose and dark describes this track. So does ethereal, explosive and enthralling.
At first glance, Bells sees Cakewalk pay homage to Krautrock Kings Can. However, there’s much more to Bells then that. It’s a fusion of jazz, Krautrock, ambient, funk, experimental, electronica and psychedelia. Cakewalk’s rhythm section lock into a groove. The mesmeric drums drive the arrangement along, while Stephan’s bass adds some funky licks. With the rhythm section providing the foundation, Cakewalk develop this soundscape. It flowers and blossoms. Subtleties, surprises and nuances unfold. This includes Bells that ring, washes of synths and pizzicato strings. All the time, layers of music reveal themselves. The result is music that’s captivating, enchanting and full of surprises aplenty.
Transfixed has an experimental, space-age sound. Cinematic and haunting best describes this track. It would make the perfect soundtrack to a dark, gothic novel. Cakewalk do what they do so well. That’s combine musical genres. Electronica, experimental, industrial, Krautrock and rock combine. As the rhythm section, synths and sound effects lock horns, they make eerie, disturbing, overbearing and gothic music. A six-minute cinematic Magnus Opus, Cakewalk supply the music, you supply the script.
Just a gently strummed, spacious guitar opens Swarm. Then from the distance, guitars Swarm and charge in. They’ve a sense of urgency. This is replicated by the banks of keyboards. They’re almost prog rock in style. Dramatic sound effects, like sonic fireworks are launched, assailing and surrounding you. That’s the signal for Cakewalk to kick loose and find their inner rock god. Searing, scorching, shredding guitars join the rhythm section. As usual, the rhythm section have locked into the tightest of grooves. Joining them are banks of synths and keyboards. You can’t help but be impressed by Cakewalk in full flight. Drawing inspiration from classic rock, psychedelia and noise rock, Cakewalk pay a fitting homage to everyone from Brian Eno, Can, Jimi Hendrix and Led Zeppelin.
Synths drone, as the meander and provide a moody backdrop to Dive. It’s an understated, experimental soundscape. A myriad of eerie beeps and squeaks provide the backdrop to what sounds like someone asleep. Sometimes, the sounds veer grow in power, becoming dramatic, discordant and challenging. However, you never lose interest. You always wonder what’s about to happen? Are Cakewalk about to spring a surprise? What follows is an eerie 21st Century experimental soundscape, which again, has a cinematic sound. Think The Blair Witch Project set in Bergen and you’re halfway there.
Dunes closes Transfixed. Drums provide a dramatic heartbeat. It’s as if we’re on a voyage of discovery. Cakewalk paint pictures. It’s as if we’re heading deep into the jungle. Synths and sound effects escape from the arrangement. They ring out and reverberate, adding to the drama. Influences include Can, Afro-beat, experimental, jazz and rock. Dramatic, grandiose and cinematic, Dunes has an evocative and atmospheric, as it assails and surrounds you and proves a fitting finale to Transfixed that has you Transfixed.
Just under two years after the release of their debut album Wired, Cakewalk return with their sophomore album Transfixed. It’ll be released on Hubro Music on 6th January 2014. Transfixed is aptly titled. It’s an album that has you Transfixed from the opening bars of Ghosts to the closing notes of Dunes. During the six tracks, the music is variously atmospheric, cinematic, dark, dramatic, eerie, ethereal, evocative, experimental, gothic and haunting. Subtleties, surprises and nuances unfold. Soundscapes flower and blossom as genres and influences melt into one.
Everything from ambient, experimental, electronica, free jazz,funk, jazz, Krautrock, prog rock, psychedelia and rock. Influences include Brian Eno, Can, Jimi Hendrix, Kraftwerk, Led Zeppelin, Neu and Pink Floyd can be heard on Transfixed. One of the most obvious influences is Can. Just like Can, Cakewalk improvised on Transfixed. Cakewalk are keeping the improvisational flame alive Transfixed. They hone and sculpt a song until they’re mini modernist works of art. The other way to describe Transfixed, is a cinematic Magnus Opus, where Cakewalk continue to push musical boundaries to their limit and beyond.
CAKEWALK-TRANSFIXED.
PLEASURE-SPECIAL THINGS.
PLEASURE-SPECIAL THINGS.
Having spent spent several years honing their style and sound, Pleasure were “discovered” by Wayne Henderson of The Crusaders. Pleasure’s persistence had paid off. Pleasure had worked hard at improving and honing their style. They’d also made sure any band that swung through Portland, were handed a copy of Pleasure’s demo. Grover Washington Jr. received a copy. He liked the band, and realised they had talent. So Grover told Wayne Henderson of The Crusaders about Pleasure.
Pleasure were formed in 1972, after a merger of two high school bands, Franchise and The Soul Masters. Franchise were led by guitarist and vocalist Marlon McClain. Their music was a fusion of disco and rock. The Soul Masters, whose music was jazz-tinged and soulful, were led by Donald Hepburn. These two groups became one, who they named Pleasure.
For two years, Pleasure played around the Portland area. They soon attracted a loyal following locally. Word started to spread further afield, about this Portland band called Pleasure. No wonder. They were good. Very good. Every band who swung through Portland were handed a copy of Pleasure’s demo. Grover Washington Jr. received a copy. Liking what he heard, he told Wayne Henderson of The Crusaders about Pleasure.
So, Wayne Henderson headed to a club in Portland, where he heard Pleasure. Immediately, he realised Pleasure were a band with a big future. Wayne recommended Pleasure to Fantasy Records, a forward thinking and successful label. Fantasy always keen to sign talented artists and groups. Pleasure were certainly talented and keen to sign to the label, groups like The Blackbyrds called home.
Now signed to Fantasy Records, Pleasure released six albums between their 1975 debut Dust Yourself Off and 1980s Special Things. Their final album for Fantasy Records, 1980s Special Things, which was recently released by BGP, a subsidiary of Ace Records, marked the end of an era for Pleasure.
Having signed to Fantasy Records, they hooked up with The Crusaders’ trombonist Wayne Henderson. Wayne would produce their first four albums. Their debut album was 1975s Dust Yourself Off. Most of Dust Yourself Off, was written by Pleasure. The exception was Midnight At The Oasis, which was given an uber funky makeover. On its release in July 1975,Dust Yourself Off reached just number fifty-four in the US R&B Charts. For a debut album, this was a positive start to Pleasure’s career.
Pleasure’s sophomore album was 1976s Accept No Substitutes, which reached number 162 in the US Billboard 200 and number thirty-two in the US R&B Charts. Accept No Substitutes featured Pleasure’s first hit single. Ghettos of The Mind reached number seventy-one in the US R&B Charts. It seemed Pleasure’s music was reaching a wider audience.
This proved to be the case with Pleasure’s third album Joyous, released in 1977. Not only did Joyous reach number 113 in the US Billboard 200 and number thirty-four in the US R&B Charts, but featured an anthemic track. This was the title-track Joyous, which reached number thirty-five in the US R&B Charts. Since then, this anthemic track has been a dance-floor favourite. Having released their most successful single and album, the future looked bright for Pleasure.
That wasn’t the case. 1978s Get To The Feeling was the last album produced by Wayne Henderson. Rather than building on the momentum of previous albums, it stalled at number 119 in the US Billboard 200 and number forty-two in the US R&B Charts. Get To The Feeling didn’t even feature a hit single. Pleasure had a problem. Their music seemed to have stood still while music changed. Maybe Pleasure and Wayne Henderson’s partnership having run its course? Either that or they’d run out of ideas. Regardless of what the problem was, changes were made.
Out went producer Wayne Henderson. Replacing him was Phil Kaffel, who co-produced their fifth album Future Now with Pleasure’s guitarist Marlon McLain. This marked not just the beginning of a new chapter in Pleasure’s career, but the most successful album of their career. Future Now.
When Future Now was released in 1979, it reached number sixty-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts. Future Now featured two hit singles. The title-track reached number seventy-five in the US R&B Charts. The Glide gave Pleasure the biggest single of their career, reaching number fifty-five in the US Billboard 200 and number ten in the US R&B Charts. Having enjoyed the most successful album of their career, Pleasure would only release one more album for Fantasy Records, Special Things.
For their sixth album, Special Things, Pleasure wrote the eight tracks. Nathaniel Phillips penned the title-track, Marlon McClain wrote Law Of The Raw and Michael Hepburn contributed You Are My Star. Michael cowrote Living Without You with Fred Reed. Donald and Michael Hepburn cowrote Now You Choose Me with Nathaniel Phillips, while Nathaniel and Donald wrote Take A Chance. Marlon McClain and Donald Hepburn penned Yearnin’ Burnin.’ The other track was Spread That Feelin’ All Around, a collaboration between Michael, Nathaniel and guitarist Doug Lewis. These eight tracks became Special Things.
Recording of Special Things took place at Fantasy Studios, Berkeley, California. Producing Future Now was Phil Kaffel and Marlon McLain. The lineup of Pleasure featured a rhythm section of drummer Bruce Carter, bassist Nathaniel Phillips and guitarists Marlon McLain and Doug Lewis. Donald and Michael Hepburn played keyboards, Bruce Smith percussion, Denis Springer soprano and tenor saxophone and Tony Collins flugelhorn and trumpet. They were joined by session musicians. This included Jerry Hey on flugelhorn and trumpet,alto saxophonist Larry Williams and Tim Gorman added synths. The Waters Sisters and Marti McCall sang backing vocals. Once Special Things was recorded, it was released in 1980.
On the release of Special Things in 1980, it reached number ninety-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts. Two singles were released from Special Things. Real Thing reached number sixty-five in the US R&B Charts. Yearnin’ Burnin’ then reached number thirty in the US R&B Charts. Neither Special Things, nor the singles matched the commercial success of Future Now, despite being heavily promoted by Fantasy Records. They wanted to build on the success of Future Now. To do this, Pleasure returned to the formula that made Future Now a success. Soul, funk and dance music were combined by Pleasure over Special Things’ eight tracks. It didn’t match the commercial success of its predecessor though. Why was that? That’s what I’ll tell you, once I’ve told you about the music on Special Things.
Now You Choose Me opens Special Things, what was Pleasure’s final album for Fantasy Records. Stabs of urgent, blazing horns, washes of synths and a gloriously funky bass join drums that crack. The drums have a real eighties sound. That ensures Pleasure have your attention. Now Sherman Davis delivers a powerful, impassioned vocal. It’s delivered with feeling as harmonies soar soulfully above the arrangement. Pleasure it seems, have picked up where they left off on Future Now, combining soul and uber funky, dance-floor friendly grooves.
Thoughtful, pensive keyboards open Special Things. Synths usher in Nathaniel Phillips’ bass. Just like the previous track, he plays an important role in the arrangement. Funky, soulful, dreamy and spacious describes the arrangement. It’s the perfect backdrop for Sherman’s vocal. He unleashes a tender, heartfelt vocal. As the band play around his vocal, thoughtful harmonies, keyboards and synthetic strings sweep. Later, the arrangement heads in the direction of jazz. So does Sherman’s vocal. All this plays it’s part in a quite beautiful, dreamy and genre-melting track that should’ve been a single.
Yearnin’ Burnin’ is a tough, funky track. Pleasure lock into a tight, funky groove, Nathaniel’s bass and the chiming guitars become one. They’re augmented by keyboards. As for the vocal, it changes hands. One minute it’s tough and edgy, the next it’s a tender, sassy falsetto. All the time, Pleasure keep things tough and funky. Their rhythm section are at the heart of the action, before stabs of grizzled horns add to this slice of sassy funk.
Law Of The Raw sees a rock, funk and electronica join forces. Searing rocky guitars, keyboards, synths and the rhythm section create a tough, dramatic arrangement. Cymbals crash, drums roll and pound. Machine gun guitars and banks of keyboards see genre melt into one. Pleasure seem to be enjoying jamming, feeding off each other and seeing what the result is. Towards the end of the track, sizzling rock guitars are added. It’s as if you’ve strayed on to a Van Halen album. That’s not the case. It’s Pleasure, but as you’ve never heard them before. During this instrumental, you realise how good musicians they were.
Bursts of braying horns open Take A Chance. Then washes of synths, chiming guitars, pounding drums and hissing hi-hats join forces with Nathaniel’s bass. They keep things funky as Sherman’s tender, punchy vocal enters. It’s urgent and needy. Meanwhile, there’s a sense of urgency to the arrangement. That comes courtesy of the rhythm section, keyboards and bursts of flugelhorn. Soon, harmonies and horns interject. They play their part in providing the backdrop for Sherman’s vocal. Urgent, sensual and needy it’s one of his most emotive and one of the Special Things on the album.
Living Without You sees the tempo drop. The rhythm section create a slow, floaty and spacious arrangement. Sherman’s vocal is full of heartache, hurt and confusion, as jazz, soul and funk combine. Percussion, melancholy horns and keyboards combine, before a pensive rhythm section are joined by harmonies. Nearly everything falls into place at the right time. That’s apart from some rogue percussion. This is one of Nathaniel, Michael Hepburn and Phil Kaffel’s best productions. Just like on the title-track, Pleasure are at their best when things are soulful.
The drums set the scene on Spend That Feelin’ All Around. Then the bass, stabs of horns and keyboards enter. Gradually, the arrangement’s revealing its secrets. Next comes the vocal and harmonies. One wonders what’ll happen next? What follows, is a joyous, hooky track. It’s as if Pleasure have sought inspiration from The Jacksons. They dig deep and mix soul, funk and jazz horns. There’s even some rocky guitars thrown in for good measure on this delicious and joyous dance track.
Closing Special Things and Pleasure’s time at Fantasy Records, is You Are My Star. Space-age synths meander along. They add a melancholy sound, while the bass, guitar and flugelhorn add to the atmospheric sound. Jazz and funk are combined to create a wistful, melancholy farewell from Pleasure, that showed the direction their music could’ve moved towards.
Special Things represented the end of an era for Pleasure. It was their final album for Fantasy Records. They picked up where they left on Future Now. It marked a change in sound and style. There was still funk, soul, jazz and rock. However, on Future Now, Pleasure’s music took on a space-age, experimental sound. To some extent Special Things featured more of the same. That’s no bad things.
Sadly, Special Things didn’t see Pleasure leave on a high. Neither Special Things, nor the singles matched the commercial success of Future Now. That’s despite Special Things being heavily promoted by Fantasy Records. They wanted to build on the success of Future Now. To do this, Pleasure returned to the formula that made Future Now a success. Soul, funk and dance music were combined by Pleasure on Special Things’ eight tracks. It didn’t match the commercial success of its predecessor though. There’s a reason for that.
Music had changed in the last year. Disco had died and there had been a huge backlash against anything remotely connected to disco. This was affecting sales of soul and funk music too. Special Things despite its quality, was caught in the crossfire. The musical environment had changed. Soon, another musical genre would replace disco. In the meantime, music was at a crossroads. So were Pleasure. What the Future Now held for them was still to be decided.
Having left Fantasy Records after the release of Special Things, which was recently released by BGP, a subsidiary of Ace Records, Pleasure released just one more album. That was Give It Up in 1981. It reached a disappointing number 164 in the US Billboard 200 and number thirty in the US R&B Charts. That was the last album Pleasure released. Looking back, the best music of Pleasure’s seven album career was the music they released at Fantasy Records. This started with their 1975 debut Dust Yourself Off, and finished with 1980s Special Things. Standout Tracks: Special Things, Take A Chance, Living Without You and You Are My Star.
PLEASURE-SPECIAL THINGS.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
By 1978, when The Detroit Emeralds released their final album, Let’s Get Together, much had happened to them. The last few years had been eventful, and marked a change in the The Detroit Emeralds’ fortunes. For their first three albums, The Detroit Emeralds it seemed they could do wrong. Their three albums charted and The Detroit Emeralds enjoyed ten hit singles. Then in 1974, The Detroit Emeralds were in chaos. The group was on the verge of splitting up. Indeed, there were two versions of The Detroit Emeralds touring. The end looked neigh for The Detroit Emeralds. Somehow, they came back from the brink.
After three years away from the recording studio, The Detroit Emeralds recorded their fourth album Feel The Need. On its release, it became The Detroit Emeralds’ first album not to chart. At least the title-track reached number twenty-two in the US R&B Charts. However, The Detroit Emeralds were at a crossroads. For a group whose music had been part of the soundtrack the seventies, things weren’t looking good. Their next album would be crucial. It had to be a commercial success. Would The Detroit Emeralds’ fifth album, Let’s Get Together, which was recently released by Ace Records, mark a revival in their fortunes? That’s what I’ll tell you, once I’ve told you about The Detroit Emeralds’ career.
Originally, The Detroit Emeralds were formed in the sixties, they were just called The Emeralds. They were formed by the four Tilmon brothers from Little Rock, Arkansas. The original lineup featured Ivory, Abrim, Raymond and Cleophus Tilmon. Then when The Emeralds headed to Detroit, there were some changes afoot.
Raymond and Cleophus decided they didn’t want to relocate to Detroit. So, Ivory and Abrim were joined by their friend James Mitchell. The other change was the name. No longer were group called The Emeralds. No. Now based in Detroit, they became The Detroit Emeralds. This just happened to coincide with their first hit single.
Show Time was released in 1968, on the Ric Tic label. It reached number twenty-two in the US R&B Charts. This was the first of a trio of singles The Detroit Emeralds released for Ric Tic. Shades Down and (I’m An Ordinary Man) Take Me The Way I Am. These three tracks marked the start of a ten year musical journey for The Detroit Emeralds. Two years later, The Detroit Emeralds’ career began in earnest. Before that, their career stalled.
Having released three singles for Ric Tic, suddenly, the label was taken over by Motown. For The Detroit Emeralds, that was a disaster. Like so many other artists, The Detroit Emeralds were lost in the Motown machine. So they decided to sign to a newly formed label. At least they were wanted there.
Armen Baladian had just founded Westbound Records, when The Detroit Emeralds signed to the new label. This would prove to be a home from home for The Detroit Emeralds. They recorded the best music of their career at Westbound. During the next few years, The Detroit Emeralds were a hit-making machine. This started in 1970, in Memphis.
When The Detroit Emeralds were on tour in 1970, the tour swung through Memphis. So, they took the opportunity to start recording some demos. With Willie Mitchell, a few rhythm tracks were laid down at United Sound. The Detroit Emeralds were given a Hi sound makeover.Then when The Detroit Emeralds were back home in Detroit, their vocals and strings were over-dubbed. This approach worked, resulting in two hit singles and for The Detroit Emeralds.
If I Lose Your Love was released as a single in 1970, on Westbound Records, who The Detroit Emeralds had signed to. It reached number thirty-two in the US R&B Charts. Then I Can’t See Myself Doing Without You reached number forty-one in the US R&B Charts later in 1970. The following year, The Detroit Emeralds enjoyed one of the most successful years of their ten year recording career.
Do Me Right was The Detroit Emeralds’ debut album. Released in 1971, Do Me Right reached number 151 in the US Billboard 200 and number twenty-three in the US R&B Charts. The Detroit Emeralds enjoyed two hit singles. This included the title-track, which reached number forty-three in the US Billboard 100 and number seven in the US R&B Charts. Wear This Ring (With Love) then reached number ninety-one in the US Billboard 100 and number eighteen in the US R&B Charts. The Detroit Emeralds career at Westbound had started well. It would soon get even better.
1972 saw The Detroit Emeralds release their sophomore album You Want It, You Got It. It surpassed the success of number seventy-eight in the US Billboard 200 and number thirty-seven in the US R&B Charts. The title-track reached number thirty-six in the US Billboard 100 and number five in the US R&B Charts. Then Baby Let Me Take You (In My Arms) reached number twenty-four in the US Billboard 100 and number four in the US R&B Charts. The final single of 1972s Feel The Need In Me, reached just 110 in the US Billboard 100 and number twenty-two in the US R&B Charts. Little did The Detroit Emeralds realize, that they’d just enjoyed the most successful year of their career.
After enjoying the most successful album of their career, plus a trio of hit singles, The Detroit Emeralds’ third album I’m In Love, failed to replicate the success of its predecessors. It stalled at number 181 in the US Billboard 200, but reached number twenty-seven in the US R&B Charts in 1973. The singles didn’t fare as well as previous ones. Things started well when You’re Gettin’ A Little Too Smart reached number ten in the US R&B Charts. A reissue of You Want It, You Got and then I Think Of You failed to chart. At least Lee reached number seventy-nine in the US R&B Charts. After that, The Detroit Emeralds almost split-up.
Things started to go wrong in late 1973, when Abrim Tilmon left The Detroit Emeralds to pursue a solo career. He released two singles as A.C. Tilmon and The Detroit Emeralds. Meanwhile Ivory Tilmon and James Mitchell decided to form a new group. They added Carl Johnson of Chapter Eight. However, they couldn’t use The Detroit Emeralds name. It had been copyrighted by Westbound, who now owned the name. So, Ivory, James and Carl signed to Fee Records as Now. However, neither Abrim nor Now were enjoying much in the way of success. Given disco was now a huge commercial success this was a lost opportunity.
As 1976 dawned, disco was the most popular musical genre. Disco was providing the soundtrack to American life. The Detroit Emeralds who could’ve and should’ve been disco Kings were the forgotten men of music. Then out of nowhere, The Detroit Emeralds’ career was kickstarted.
Remixes were now the flavor of the months. Remixers, who often, weren’t musicians or even musically trained, were forging careers by giving tracks a musical makeover. Breaks were extended and songs became much more dance-floor friendly. The Detroit Emeralds’ Feel The Need In Me was remixed, and transformed into a seven minute epic. Suddenly, The Detroit Emeralds were back in the public eye.
Woody Wilson, who owned Fee Records, urged the members of The Detroit Emeralds to put their differences aside. So, Abrim Tilmon made amends with Ivory Timmon and James Mitchell. Abrim was now ready to become part of The Detroit Emeralds again. However, there was a problem. The Detroit Emeralds were signed to Fee Records. To allow the group to record, Woody leant Ivory Timmon, James Mitchell and Marvin Willis to Westbound. Now four years after the release of their third album, The Detroit Emeralds released the followup Feel The Need.
On its released in 1977, Feel The Need failed to chart. This was a first. Never before had an album by The Detroit Emeralds failed to chart. For everyone involved that worked so hard to make the album happen, this must have been disappointing. However, The Detroit Emeralds had been away for four years. Music had changed a lot since their previous album. Maybe the followup to Feel The Need, Let’s Get Together would chart?
As work began on Let’s Get Together, The Detroit Emeralds must have known it was make or break. Eight songs were chosen for Let’s Get Together. Abrim Tilmon cowrote and co-produced five tracks. In total, seven tracks were written by members of the band. Only Call Me (Traveling Lady) wasn’t written by the band. These eight tracks were recorded by The Detroit Emeralds at various studios, including Ardent Recording Studios, Memphis.
Recording of Let’s Get Together saw The Detroit Emeralds accompanied by a rhythm section that featured bassists Eddie Watkins and Roderick Chandler, drummers Jerry Jones and Michael Calhoun plus guitarists Dennis Coffey and Bruce Nazarian. The Detroit Symphony Orchestra added strings and woodwind, Brandye contributed backing vocals and Lorenzo Brown played percussion. Production was split between members of the band. Let’s Get Together saw The Detroit Emeralds pulling together. It was as if they realized their future career was at stake.
On the release of Let’s Get Together in 1978, the album failed to chart. Despite being a “Tom Moulton Mix,” the album failed commercially. The Detroit Emeralds career was all but over. They’d released their last album. That was Let’s Get Together, which I’ll tell you about.
Let’s Get Together opens with the title-track. It was written by McKinley Cunningham, James Mitchell and Marvin Willis. Bursts of blazing horns join cascading, dancing strings and a pounding, funky rhythm section. Along with sweeping harmonies, this sets the scene for the lead vocal. Helped along by harmonies, James Mitchell struts and vamps his way confidently through the track. Behind him, some of Detroit’s session musicians seamlessly fuse soul, funk and disco.
Turn On Lady like the first three tracks, was produced by James Mitchell, Mike Theodore and Marvin Willis. Brandye supply breathy, sassy harmonies while swathes of strings sweep and swirl. Horns bray and rasp, while punchy harmonies give way to The Detroit Emeralds. Urgent and soulful, the baton passes to James. He feeds off the harmonies and they urge each other to greater heights. It’s as if they realise the seriousness of the situation. Failure wasn’t an option. Having swept along, a breakdown sees the arrangement stripped back. Latin and funk combine, as The Detroit Emeralds vamp their way through the arrangement. Then the arrangement builds back up and heads towards its dramatic, dance-floor friendly high.
Traveling Man has a much more understated sound. Flourishes of harpsichord give way to a dark, cinematic sound. That comes courtesy of the strings. They provide the backdrop for James half-spoken vocal. It gives way to a heartfelt and heartbreakingly beautiful vocal. He becomes the “Traveling Man.” He wants to fill his partner’s life: “with beautiful things” and “treat her like a Queen.” What follows is quite simply, one of the best songs on Let’s Get Together. James vocal brings the lyrics to life. So much so, they seem real. The harmonies compliment his vocal and feature The Detroit Emeralds at their best.
I Can’t Seem To Forget sees the tempo rising. Immediately, you realise The Detroit Emeralds haven’t spared the hooks. No way. Lush, dancing string, rasping horns and soulful from Brandye are joined by a pounding disco beat. This is the backdrop The Detroit Emeralds deliver their joyous vocals to. Harmonies trade licks with James lead vocal, before each member showcases their vocal prowess. Later, joy turns to be betrayal and heartbreak. Despite this, you’re still swept along atop lush, dancing strings, rasping horns and harmonies. Add to this a pounding disco beat, and the result is a track from The Detroit Emeralds that “I Can’t Seem To Forget.”
Thunderous drums, soaring, defiant harmonies and dancing strings join blazing horns on What’s The Deal. Sassy, feisty and defiant, there’s a tougher edge to this track. The Detroit Emeralds are almost confrontational as funk and soul combine with disco strings. Add to that rocky guitars and stabs of growling horns. The horns add to the drama as The Detroit Emeralds wonder “What’s The Deal?”
Cleveland Horne, Anthony Jones and Abrim Tilmon penned Treat Her Like A Lady. It’s an uber funky track, where The Detroit Emeralds veer between tough, vampish vocals to a much more soulful, then urgent style. This they do against an arrangement where wah-wah guitars join a funky rhythm section, braying horns and cascading strings. For four minutes, The Detroit Emeralds seem to be inspired by The Temptations, circa the early seventies. Soulful, funky, slick, edgy and tough describe this track perfectly.
Chiming guitars and flourishes of strings open I Just Don’t Know About This Girl Of Mine. Heartfelt, wistful harmonies are accompanied by the rhythm section and keyboards. Bursts of grizzled horns and strings provide the backdrop for James vocal. Confusion, frustration, suspicion torment him, while cooing harmonies join the lush strings in accompanying him. This results in a track that’s dramatic, heartfelt, soulful and sometimes, sassy.
Have A Good Day closes Let’s Get Together. Horns blaze, strings sweep and the rhythm section drive the arrangement along. James vocal is like a rap, before the harmonies strut in. They’re in the groove, just like the rhythm section. As James struts his confidently through the song, strings dance and the bass buzzes. Harmonies sweep in and out. James vamps and raps. All the time, the rest of The Detroit Emeralds sing: “Have A Good Day” as disco, soul and funk unite one last time.
Let’s Get Together was make or break for The Detroit Emeralds. Their career rested on the commercial success of Let’s Get Together. Their fourth album Feel The Need, had failed to chart. This was a first. Never before, had a Detroit Emeralds failed commercially. There was, as they say, a first time for everything. Then lightning struck twice in the same place, when Let’s Get Together failed commercially. After that, The Detroit Emeralds called it a day. They went their own way. Part of the problem was, music had changed in the four years they’d been away.
Between The Detroit Emeralds’ third album, 1973s I’m In Love and 1977s Feel The Need, music changed. Disco became a musical phenomenon. The Detroit Emeralds had previously been a soul and funk band, but decided to jump on the disco bandwagon. For some groups, this rejuvenated their career. Not even the much vaunted “Tom Moulton Mix” rejuvenated The Detroit Emeralds career. No. It’s because the disco roller coaster was about to come off the rails. A year later, disco had died. Maybe, if Let’s Get Together had been released a year earlier, it would’ve been a commercial success? Instead, Let’s Get Together was the wrong album at the wrong time. Let’s Get Together failed to rejuvenate The Detroit Emeralds career.
Ironically, the highlight of Let’s Get Together, which was recently released by Ace Records, was the soulful delights of Traveling Man. Sadly, it was the only slow song on Let’s Get Together. It’s easily the highlight of Let’s Get Together. Maybe if Let’s Get Together had featured more soulful songs like Traveling Man, the album would’ve been a bigger success? Who knows, maybe a side of soul and a side of dance-floor friendly tracks would’ve resulted in an album that rejuvenated The Detroit Emeralds career. Sadly, that wasn’t to be.
Let’s Get Together proved to be The Detroit Emeralds’ final album. After that, they went their own ways. At least it saw them end their career with an album of quality music. During the eight tracks on Let’s Get Together, disco, funk and soul were combined by The Detroit Emeralds, as they took their musical bow on Let’s Get Together. Standout Tracks: Let’s Get Together, Traveling Man, I Can’t Seem To Forget and I Just Don’t Know About This Girl Of Mine.
THE DETROIT EMERALDS-LET’S GET TOGETHER.
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 3.
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 3.
Prolific. That’s the best way to describe George Jackson. As a songwriter, he wrote over three-hundred songs. This includes penning tracks for James Carr, Wilson Pickett, Eddie Floyd, Clarence Carter, Z.Z. Hill, Candi Staton, Bettye Swann, Ann Peebles, The Osmonds, Bobby Womack and Bob Seger. George first started writing songs as a teenager, when he recored his debut single.
George was only eighteen when he recorded his first single.This came about after he introduced himself to Ike Turner in 1963. So impressed was Ike, that he took George Jackson to New Orleans and the studio of Cosimo Matassa to record Nobody Wants To Cha Cha With Me. It was released on Ike’s Prann label, but failed to chart. This marked the start of George Jackson’s career as a singer. However, it was at Fame Records that George Jackson’s career took shape.
Having cofounded The Ovations, been rejected by Stax and briefly recorded for Hi Records, producer Billy Sherrill suggested George should get in touch with Rick Hall at Fame Records. At Fame, George was a staff songwriter and enjoyed a parallel career as a singer. However, when success eluded him, George Jackson decided to concentrate on his songwriting career. That was Southern Soul’s loss. A reminder of this is Kent Soul’s recently released George Jackson-Old Friend-The Fame Recordings Volume 3. It’s a poignant reminder of George Jackson, who sadly, passed away in April 2013. Before I tell you about George Jackson-Old Friend-The Fame Recordings Volume 3, I’ll tell you about George’s career.
It was in March 1945, that George Jackson was born. Until he was five, his family lived in Indianola, Mississippi. Then when he was five, his family moved to Greenville, in Washington County. From an early age, it was apparent that George would become a singer or songwriter. He was already writing songs when he was just a teenager. Then when he was eighteen, he met a famous producer.
This was Ike Turner. The encounter took place in 1963. George was just eighteen. Despite his youth, George found the confidence to introduce himself to Ike Turner. George told Ike about his music and showed him some songs. So impressed was Ike, that he took George Jackson to New Orleans, to Cosimo Matassa’s studio. They recorded Nobody Wants To Cha Cha With Me. It was released on Ike’s Prann label, but wasn’t a commercial success. This however, marked the start of George’s career
Two years later, in 1965, George recorded Rufus Come and Get Your Dog for Doro. The same year, he released Blinkity Blink for Dot Records. Neither single gave George the commercial success he was wanting. He wasn’t going to give up though.
After that, George headed to Memphis, which was home to Stax Records. George auditioned for Stax, but they passed him over. Little did they realize they’d missed out on a prolific and talented singer and songwriter. Next stop for George was Goldwax, where he cofounded The Ovations with Louis Williams. George penned and sang on their 1965 classic, It’s Wonderful To Be In Love. It reached number twenty-two in the US R&B Chart, while reaching number sixty-one in the US Billboard 100. For George Jackson, this was his first hit single.
Soon, he was writing for other artists on Goldwax’s roster. Spencer Wiggins and James Carr were beneficiaries of George’s songwriting skills. George also teamed up with Dan Greer, forming the duo George and Greer. They recorded for Goldwax, but never released any singles. Then in 1968, The Ovations were no more. They split-up. That marked the end of George’s time at Goldwax.
Having left Goldwax, George enjoyed a brief spell at Hi Records. He recorded for them, but this never came to anything. Neither did the recordings he made for Decca, Mercury or Capitol. The Decca recordings were released using the alias Bart Jackson. Whether it was George or Bart, success eluded George as a solo artist. Then producer Billy Sherrill suggested George should get in touch with Rick Hall at Fame Records.
Fame Records at Muscle Shoals, was what George Jackson was looking for. It was like a homecoming of sorts. He felt as if he belonged. Soon, he was writing for some of Fame’s biggest stars. Among them were Candi Staton, Clarence Carter and Wilson Picket. George enjoyed instant success, when Clarence Carter’s Too Weak To Fight became a huge hit. It reached number thirteen in the US Billboard 100 and number three in the US R&B Charts. Buoyed by this success, George penned a string of hits for Fame’s artists. This included Candi Staton’s I’d Rather Be An Old Man’s Sweetheart (Than A Young Man’s Fool), I’m Just A Prisoner (Of Your Good Lovin’) and Never In Public. Then in 1970, George wrote the biggest single of his career so far.
Originally, George had written with One Bad Apple with The Jacksons in mind. Then in 1970, The Osmonds visited Fame Studios. When they heard One Bad Apple immediately, they liked the song. They decided to record it and it gave them the first hit of their career. Not only did it reach number one in the US Billboard 200, but number six in the US R&B Charts. For any songwriter, including George Jackson, this was the ultimate accolade. Despite writing a number single, George hadn’t given up hope of becoming a successful single.
Over the next couple of years, George divided his time between songwriting and singing. He continued to be a prolific and successful songwriter. As a singer, he was noted for his versatility and ability to make lyrics come to life. If lyrics needed hurt, heartache or joy, George could deliver that. Despite this, commercial success eluded him. Right up until George left Fame in 1972, he was more successful as a songwriter than singer. This must have frustrated George. After all, he was blessed a hugely, soulful, emotive, expressive and mesmeric voice. Anyone whose heard any of George’s music will agree with that. The twenty-four tracks on George Jackson-Old Friend-The Fame Recordings Volume 3 reinforce that.
None of the songs on George Jackson-Old Friend-The Fame Recordings Volume 3 have ever been released before. Twenty-three of them have lain in Fame Records’ vaults until compiler Tony Rounce discovered them. The other track is a home demo of George’s debut Nobody Wants To Cha Cha With Me. These twenty-four tracks are a poignant reminder of George Jackson the singer and songwriter. I’ll now pick the highlights of George Jackson-Old Friend-The Fame Recordings Volume 3.
Opening George Jackson-Old Friend-The Fame Recordings Volume 3 is It’s Up To His Woman. This explosive slice of Southern Soul was written by Osbie Burnett McClinton. Bursts of urgent blazing horns usher in George’s vocal as he sings about the power of a woman. Braying horns envelope a vocal that’s emotive, and sometimes feisty and sassy. Other times it’s full of confusion. Then when George sings: “It’s Up To His Woman,” it’s as if he can’t believe how his friend has changed. Accompanied by a sultry, Southern Soul arrangement George vamps his way through song wondering what happened to the man he used to know?
Straight away, you wonder why I’m In The Middle Of A Good Thing was never released as a single? It was written by George with Raymond Moore and Claude Williams. They certainly didn’t spare the hooks. The legendary Muscle Shoals Rhythm Section seem determined to make this song work. As they drive the arrangement along, George’s vocal is joyous and full of disbelief: “at the way my baby is loving me.” Quite simply, this glittering, hook-laden, hidden gem is one of the highlights of George Jackson-Old Friend-The Fame Recordings Volume 3.
Dan Greer, who George collaborated with at Goldwax, wrote Don’t Let A Good Thing Go To Waste. Here, George demonstrates his versatility. While the Hammond organ is at the heart of the arrangement, his vocal is delivered in urgent bursts. Then power and passion gives way to a loose, languid vocal. When George leaves space, drums pound, then George yelps and vamps, mixing elements of Southern Soul and funk seamlessly.
Just Another Day which was written by George, Earl Cage and Ronald Townsend, sees the tempo drop. Washes of Hammond organ provide the backdrop to the piano and George’s heartfelt, soul-baring vocal. Needy, he pleads: ”can I have just one more day?” You can share and feel his hurt. Guitars chime, drums mark time and stabs of piano add to the drama, as George delivers a heartbreaking paean to the one he loves and looks like losing. A truly captivating and beautiful song.
On You Got To Make A Decision, which George and Ralph Brown cowrote, we hear another side of George. His vocal’s a mixture of anger, frustration, defiance and despair as he delivers his ultimatum. “You Got To Make A Decision” he tells his two-timing woman. Defiantly, he tells her:“decide who do you want, you can’t love him and me too.” Behind him, the Muscle Shoals Rhythm Section match him every step of the way, mixing Southern Soul and funk, as George delivers his ultimatum. However, the only thing is, we never discover who she chose?
Bad Case Of You is another tale of love gone wrong. It was written by George and Raymond Moore. A mid-tempo track, it features a heartbroken vocal. George has loved, lost and is struggling to get over his loss. His vocal is akin to a cathartic outpouring of emotion. Driven along by the piano, George’s pain and hurt is very real, as he brings the lyrics to life. So realistic is George’s portrayal of the lyrics, it’s as if he’s loved, lost love and survived to tell the tale.
All He Can Do Is Love You, which George wrote, is another of the slower tracks on George Jackson-Old Friend-The Fame Recordings Volume 3. Again, the Hammond organ provides an atmospheric backdrop. It’s accompanied by hypnotic drums and chiming guitars. Meanwhile, George digs deep, delivering an impassioned vocal. His vocal oozes emotion, sadness and regret. He regrets not being able to offer his former the material things other men can. However, he cares for her still, and worries that she’s being treated properly. This outpouring of concern, emotion and love results in one of the most moving and beautiful songs George on the compilation.
Add A Little Sunshine is a breezy, uptempo track written by George. The Muscle Shoals Rhythm Section provide the heartbeat as George unleashes a joyous vocal. Having found love, he’s finding his way in life. Suddenly, everything seems right. He gives thanks, his vocal joyous, sincere and thankful, on what’s essentially a three minute fusion of soul and pop perfection.
Without doubt, Jimmy Webb is one of the great American songwriters. He cowrote Old Friend (You Ask Me If I Miss Her). It’s a heartbreaking tale of love lost. Here, producer Rick Hall is responsible for a mini-masterpiece. A harmonica adds a heartbreaking backdrop for George’s vocal. It’s tender and full of heartache and hurt. It’s accompanied by cooing harmonies, lush strings and rasping horns. Later, the harmonica adds the finishing touch to this lost country soul gem.
My final choice is That From The Heart, which features an arrangement that has Southern Soul written all over it. At the heart of the arrangement are The Muscle Shoals Rhythm Section. They provide a slow, melancholy heartbeat. Meanwhile, a piano accompanies George’s vocal. As he delivers the lyrics he wrote, he seems to draw inspiration from Sam Cooke and Otis Redding. His vocal is a mixture of emotion, passion, sadness and joy as the track reaches it dramatic, emotive crescendo.
During his time at Fame Records, George Jackson was better known for his songwriting skills. Accompanied by The Muscle Shoals Rhythm Section, who included some of the best session players in the South, George had the ability to bring songs to life. Whether it was heartache, hurt or happiness a song needed, George could bring all that and more to a song. Blessed with a voice that can inject emotion, meaning, and energy into a song, lyrics come alive. It only takes one listen to George Jackson-Old Friend-The Fame Recordings Volume 3 to realise this. Whether its sadness or joy, hurt, heartbreak and happiness George can deliver this and more. Love songs, breakup songs and makeup songs George delivers them with feeling. Grabbing the song by the scruff of its neck, he can makes songs come to life. Despite being able to do this, George Jackson never enjoyed the success his talent deserved.
While George Jackson was a successful songwriter, commercial success eluded him as a singer. He was one of Southern Soul’s nearly men. That will be hard to believe when you listen to George Jackson-Old Friend-The Fame Recordings Volume 3, which was recently released by Kent Soul, an imprint of Ace Records. George was certainly not lacking in talent. Far from it. One listen to George Jackson-Old Friend-The Fame Recordings Volume 3 and you’ll realise that. The problem was Lady Luck never shawn on him. George never got the break his career needed. As a result, he ended up writing songs, not singing them.
At least George enjoyed a tantalising taste of commercial success when he was a member of The Ovations. Back in 1965, commercial success made a fleeting visit. Having enjoyed a tantalising taste of commercial success, George Jackson never enjoyed its delights during his time at Fame Records. That’s why he’ll be forever remembered as one of Southern Soul’s nearly men. That’s a great shame, but not unknown.
Often, when talented songwriters who just happen to be singers, sign to a record label, those running the label are more concerned with getting them to write songs, not record them. After all, it takes time and money to develop an artist’s career. That would’ve been the case with George Jackson. That time, maybe people thought, could be better spent writing songs. After all, that was what George was good at. So, in many ways, George’s success as a songwriter was a double-edged sword. The more success he enjoyed, the less chance he had of becoming a successful singer. That must have been frustrating. He wanted to be a star, not the star-maker. Sadly, that never happened. However, it should’ve happened.
George Jackson had the talent and desire to be a successful singer. George Jackson-Old Friend-The Fame Recordings Volume 3 is proof of this. Featuring twenty-four previously unreleased tracks, produced by Rick Hall and featuring The Muscle Shoals Rhythm Section, George Jackson-Old Friend-The Fame Recordings Volume 3 feature one of Southern Soul’s best kept secrets at its best.
George Jackson-Old Friend-The Fame Recordings Volume 3 is also a poignant reminder of a talented singer and songwriter who died in April 2013, aged just sixty-eight. That day, Southern Soul lost one of its most talented sons, and one of the men who made Fame Records one of the greatest labels in the history of Southern Soul. Standout Tracks:and Old Friend (You Ask Me If I Miss Her).
GEORGE JACKSON-OLD FRIEND-THE FAME RECORDINGS VOLUME 3.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
Whether your preference is for country, crossover, deep, modern, Northern, Philly or Southern Soul, everyone will have their favourite group soul single. It may be an old favourite or hidden gem, however, for you, it epitomises everything that’s good about group soul. For three minutes, that single tugs at your heartstrings. You’re won over by that slice of musical perfection. You can’t resist the charms of the impassioned, heartfelt, harmonies. Resistance is impossible. You’ve fallen hook, line and sinker for what, to you is, a group soul classic. Betrayal, heartbreak, hurt and joy shine through, on what are often like a short story or kitchen sink drama. That’s the case on Kent Soul’s latest compilation Soul In Harmony-Vocal Groups 1965-1977.
Soul In Harmony-Vocal Groups 1965-1977 features twenty-four soulful soap operas. This includes mini soap operas that are gritty examples of life gone wrong. You’re listen as someone’s life unravels. They’ve been betrayed, and are heartbroken. Harmonies full of hurt bring the lyrics to life. This becomes like a cathartic outpouring of grief. The result is deeply moving and powerful. That’s the case on other tracks, where joy and jubilation shine through.
Harmonies give thanks, thanks for finding someone special, someone to love. Four or five voices become one, and in unison, bring lyrics to life. They tell the story with emotion and passion. So much so, that it becomes very real. That’s group soul at its best. So is Soul In Harmony-Vocal Groups 1965-1977.
For Soul In Harmony-Vocal Groups 1965-1977, compilers Ady Croasdell and Tony Rounce have dug deep. Rather than just pick the a selection of the best known group soul singles, Ady and Tony have compiled familiar tracks and hidden gems. This includes contributions from The Imaginations, The Dramatics, The Webb People, The Pretenders, The Mad Lads, The Love Experience, The Magnificent 7 and The Mark-Keys. These tracks were released on labels like Spring, Volt, Carnival, Dial, Boo and Colossus. Twenty-two of the tracks on Soul In Harmony-Vocal Groups 1965-1977 are new to CD, while six have never been released before. For anyone whose a fan of group soul, Soul In Harmony-Vocal Groups 1965-1977 will be a welcome release, which I’ll pick the highlights of.
Opening Soul In Harmony-Vocal Groups 1965-1977, is The Imaginations’ Strange Voice. This was the second single The Imaginations released on Fraternity. Released in 1968, it was a cover of a track originally recorded by Gene McDaniels in 1963. Produced by Ray Allen and arranged by Rod Bedenbaugh, the single wasn’t a commercial success. That’s despite The Imaginations’ harmonies being an outpouring of betrayal, emotion and hurt. Tinged withe desperation and disbelief, they sing” “she left me.” This heartache seems very real. So much so, that they play their part in a hidden gem
Often the reason a single or album is a commercial failure is nothing to do with the music. That’s the case with The Dynamic Soul Machine’s Boom-A-Rang. It was released as a single in 1975, on Respect, an imprint of Stax Records. Unfortunately, Stax was on the verge of insolvency. With no budget for promotion, the single passed music lovers by. For the quartet from Birmingham, Alabama, that was the end of their musical dream and they never released any further singles. That’s a great shame, because The Dynamic Soul Machine were hugely talented. Slow, sensual and sultry it’s a beautiful slice of soulful perfection.
When The Dramatics released their debut single Bingo, they were signed Wingate. Four years later, they were signed to Volt, a subsidiary of Stax. Their Volt debut was 1969s Your Love Is Strange, which failed to chart. Tucked away on the B-Side, is Since I’ve Been In Love. Written by Fred Bridges, Bobby Eaton and Richard Knight, and produced by Don Davis, it’s very different from The Dramatics’ best known singles Whatcha See Is Whatcha Get and The Rain. Featuring a tender lead vocal, tight, soaring harmonies and cascading strings, it’s truly beautiful, and one of the highlights of Soul In Harmony-Vocal Groups 1965-1977.
We Can Make It Baby was one of two tracks recorded by The Reputations for Carnival Records. It was written by Marvin Gaye and James Nyx, and originally, recorded by The Originals. The other track was a cover of The Delfonics’ I Gave To You. These tracks were never released. Instead, thet lay in the vaults of Carnival Records. That’s a great shame. Music lovers missed hearing a track that features needy, reassuring and hopeful harmonies.
During their time on Carnival Records, The Pretenders released six singles. They’ve one thing in common, their quality. This was the second lineup of The Pretenders, with Pat Tandy replacing Valerie in the quartet. One listen to Just You Wait And See and you’ll realize that. Written by Kenneth Ruffin and produced by Joe Evans, this heartbreakingly beautiful ballad was released in 1974. A tale of heartbreak, defiantly, The Pretenders promise: “Just You Wait And See” to their departing lover. There’s a strong Philly Soul influence on this slick, emotive and dramatic tale of love lost.
Don’t Have To Shop Around was recorded by The Mad Lads for Volt, but never released. That’s despite The Mad Lads releasing a trio of albums for Volt between 1965 and 1973. This track demonstrates why The Mad Lads are perceived as one of Memphis’ best soul groups. With an understated arrangement, The Mad Lads’ harmonies take centre-stage. They shine like a beacon. Tender, heartfelt and impassioned, The Mad Lads sweet harmonies are truly irresistible.
Dramatic. That describes the introduction to The Love Experience’s Waiting For Your Love. Penned by Warren Foster and James Greene, it was produced by George Benz and released as the B-Side to Are You Together. It was released on the little-known Cherry Red label in 1971. Best described as uber rare, original copies of this track change hands for ever increasing sums of money. No wonder. As the arrangement unfolds, you realize something special is happening. Oozing emotion and sincerity, tight, tender and heartfelt harmonies and rasping horns accompany the lead vocal. The result is a track that’s best described as beautiful and, heartfelt outpouring of emotion. That’s why copies of this single change hands for £1,200.
Flourishes of lush, cascading strings open The Festivals’ Take Your Time. Written by Woody Price, it was the B-Side of Baby Show It, which was released on Colossus in 1971. Baby Show It reached number twenty-nine in the US R&B Charts. For anyone whose heard the track, that’s no surprise. Produced by Jerry Ross, a sometime collaborator of Gamble and Huff, there’s a Philly Soul influence to this needy, pleading ballad. Sadly, Baby Show It was the extent of the commercial success The Festivals enjoyed. They never fulfilled their potential and remain the nearly men of Philly Soul.
David Blake and Bert Keyes’ decision to stick with The Radiations’ falsetto lead vocal was vindicated on Love Be Not A Stranger. It was released in 1972, on Valise Records. Written and produced by David Blake and arranged by Bert Keyes, the lead vocal stops you in your tracks. It takes centre-stage after a meandering guitar and cooing harmonies set the scene. Delivered with feeling and sincerity, the falsetto lead vocal is at the heart of the track’s success. Harmonies and strings play a supporting role as the arrangement heads towards its dramatic, emotive crescendo.
Closing Soul In Harmony-Vocal Groups 1965-1977 is The Lovettes’ I’ll Be Waiting. The group were named after Blue Lovett of The Manhattans. He advised The Lovettes to sign for Carnival Records. They released a trio of singles for Carnival, Little Miss Soul, I Need A Guy and Crush. I’ll Be Waiting should’ve been their fourth single. A tender, heartfelt ballad, it’s as good, if not better, than anything The Lovettes ever released. Who knows what they have achieved if this soulful delight had been released?
The ten tracks I’ve mentioned are just some of the highlights of Soul In Harmony-Vocal Groups 1965-1977. There’s much more awaiting discovery. I could just have easily have picked any of the twenty-four tracks. Quite simply, it’s quality all the way on Soul In Harmony-Vocal Groups 1965-1977. Familiar tracks that are like old friends, rub shoulders with hidden gems you may never have heard before. It’s a voyage of musical discovery, where delicious soulful delights are part of a musical feast. During that musical feast singles and B-Sides tug at your heartstrings. You’re won over by their delights. You can’t resist the charms of the impassioned, heartfelt, harmonies and lead vocals oozing with emotion. Resistance is impossible. Betrayal, heartbreak, hurt and joy shine through, on what’s essentially musical theatre.
Soul In Harmony-Vocal Groups 1965-1977, which was recently released by Kent Soul, a subsidiary of Ace Records features twenty-four soulful dramas. They’re full of heartache, hurt and love gone wrong. You’re listen as someone’s life unravels. They’ve been betrayed, and are heartbroken. Lyrics come to life and take on a cinematic quality. You can imagine the scenes unfolding before you. Especially, on the tales of heartache, where the vocals are akin to a cathartic outpouring of grief. The result is deeply moving and powerful, like so much of Soul In Harmony-Vocal Groups 1965-1977.
On other tracks on Soul In Harmony-Vocal Groups 1965-1977, joy and jubilation shine through. Rhe lyrics are a celebration, where they’re give thanks, thanks for finding someone special, someone to love and share their life with. During these songs, four or five voices become one, and in unison, bring lyrics to life. They tell the story with emotion and passion. So much so, that it becomes very real.
By the time you’ve heard Soul In Harmony-Vocal Groups 1965-1977, you’ve experienced a roller coaster of emotions. You empathise, sympathise and feel saddened, frustrated and angry at the plight of the characters on Soul In Harmony-Vocal Groups 1965-1977. That’s testament to the quality of music on Soul In Harmony-Vocal Groups 1965-1977, that the songs come to life. That’s why I’ve compared them variously to short stories, soap operas and theatre. Essentially, the music on Soul In Harmony-Vocal Groups 1965-1977 are mini works of art. These mini works if art epitomise everything that’s good about group soul music. Don’t just take my word for it. No. Taste the musical feast that’s Soul In Harmony-Vocal Groups 1965-1977 for yourself. Standout Tracks: The Dynamic Soul Machine Boom-A-Rang, The Pretenders Just You Wait And See, The Festivals Take Your Time and The Radiations Love Be Not A Stranger.
SOUL IN HARMONY-VOCAL GROUPS 1965-1977.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
From an early age, Chico Hamilton looked destined to become a jazz drummer. Born in Los Angeles in September 1921, Chico was already a talented drummer by the time he reached high school. Away from school, he was playing alongside some of the greatest jazz musicians of his generation. Chico could hold is own alongside Charlie Mingus, Illinois Jacquet and Dexter Gordon. After high school, Chico was a member of Lionel Hampton’s band, where he played alongside fellow Los Angeles’ native Dexter Gordon. Not long after that, Chico made his recording debut, as Slim Gaillard’s drummer. During that period, where Chico was the resident drummer in Billy Berg’s nightclub. Unfortunately, just as Chico Hamilton’s career was taking off, he had to spend four years in the US Navy.
Between 1942 and 1946, Chico Hamilton has to spend four years in the US Navy. Like so many musicians, their careers were interrupted by the war years. These were four years they’d never get back. So when Chico came out the Navy, it was a case of making up for lost time. That’s when Chico’s career began. Within a few years, Chico Hamilton went from sideman to bandleader at Pacific Jazz. That’s where he recorded the tracks that can be found on Chico Hamilton With Paul Horn, which was recently released by Boplicity, a subsidiary of Ace Records. Before I tell you about Chico Hamilton With Paul Horn, I’ll tell you about Chico’s career.
After leaving the Navy, Chico played alongside Count Basie and was a member of Lester Young’s studio band. Not long after that, Chico joined forces with Charlie Mingus and Dexter Gordon. They knew each other well and were a potent partnership. Soon, Chico was getting calls to work with some of the biggest names in music, including Wardell Grey, Nat King Cole, Lena Horne, Sammy Davis Jr. Then as the forties drew to a close, and a new decade dawned, music changed.
Miles Davis’ seminal classic Birth Of The Cool, which was released in 1949, proved a game-changer. It heralded the birth of West Coast Jazz. Featuring a band that included saxophonist Gerry Mulligan, Birth Of The Cool’s importance can’t be understated. The effect it had, sent shockwaves through music. By the early fifties, bebop was no longer King. Replacing it, was the West Coast Jazz. This would prove a crucial development in Chico’s career.
In 1952, saxophonist Gerry Mulligan hired Chico as a member of the Gerry Mulligan Quartet. Featuring trumpeter Chet Baker, bassist Carson Smith, saxophonist Gerry Mulligan and Chico on drums. They recorded for two of the newly founded labels, Pacific Jazz and Fantasy. For the next few years, the Gerry Mulligan Quartet were one of the finest purveyors of West Coast Jazz. Chico’s performances were lauded. So it’s no surprise that Chico went from sideman to bandleader in 1955.
Chico Hamilton Quintet was released in 1955, on Pacific Jazz. It featured a rhythm section of Chico on drums, bassist Carson Smith and guitarist Jim. Fred Katz played cello and Buddy Collette clarinet, flute, trumpet and alto saxophone. Critical acclaim, plaudits and praise accompanied the release of Chico Hamilton Quintet. Later in 1955, Chico released another album. Billed as the Chico Hamilton Trio, their eponymous album was released on Pacific Jazz. With the Cool School at the peak of its popularity, Chico was riding the crest of a wave.
During 1956, Chico was just as busy. He was working as a sideman and released two albums. There was also another album from the Chico Hamilton Trio. Then the Chico Hamilton Quintet released their sophomore albums. The Chico Hamilton Quintet In Hi-Fi. By then, there had been changes in the lineup.
Musicians like Paul Horn, Eric Dolphy and Howard Roberts all came and went. Despite the changes in lineup, the quality never suffered. Still, Chico was one of the golden boys of the Cool School. The eight tracks on Chico Hamilton With Paul Horn were recorded during this period. When West Coast jazz was no longer the musical flavor of the month, Pacific Jazz sold a number of unreleased tracks to Modern Records. Chico Hamilton With Paul Horn was released in 1963, on Modern Records’ Crown Records imprint. That was still to come. Chico had one more year left at Pacific Jazz.
1957 saw Chico working just as hard. He accompanied Tony Bennett, Fred Katz, John Lewis and Corky Hale. The Chico Hamilton Quintet released their third album, Pacific Jazz Presents. It was released on Pacific Jazz, and would be the last album he’d release for West Coast. Between the release of Pacific Jazz Presents and Chico Hamilton With Paul Horn in 1963, Chico would drift from label to label.
During the next five years, the Chico Hamilton Quintet released albums on World Pacific, Warner Bros, Columbia and Impulse, where Chico recorded some of the finest music of his career. The Chico Hamilton Quintet made a brief return to Pacific Jazz, releasing The Spectacular in 1962. As for the Chico Hamilton Trio, they released one more album on World Pacific. Chico hadn’t lost his appetite for making music. Whether it was as a bandleader or sideman, Chico was still one of the hardest working musicians in jazz. In 1963, he was about to enter one of the most productive periods of his career at Impulse. The first was at Pacific Jazz, where he recorded the eight tracks that became Chico Hamilton With Paul Horn.
Chico Hamilton With Paul Horn features eight songs were recorded over several sessions. This includes a quartet of tracks penned by Fred Katz, Pluck It, Katz Up, Crazy Cats a.k.a. Classical Katz and Lord Randell. Bassist George Duviver wrote Porch Light and Autumn Landscape. Lolly Pop was written by Chico and Gerald Hamilton with Gerald Wiggins. These tracks became Chico Hamilton With Paul Horn.
Very little is known album the lineup that appeared on Chico Hamilton With Paul Horn. Paul Horn only plays on the final four tracks. Bassist George Duviver is joined by either Jim Hall or Howard Robbins on guitar. They’re joined by Chico on drums. Chico Hamilton With Paul Horn is an enthralling insight into the music of Chico Hamilton, one of jazz’s finest drummers, which I’ll tell you about.
Opening Chico Hamilton With Paul Horn is Porch Light. Chico’s drums and George Duviver’s bass drive the arrangement along. George leaves spaces, Chico fills them. Above them is a cinematic guitar solo. Shakers are ever-present adding an atmospheric sound. Soon, it’s time for the solos. Everyone gets the chance to showcase their skills. It’s George’s bass and the guitar that steal the show. If I’d to choose between the two, the mesmeric guitar solo comes out on top. If only we knew who they were?
Autumn Landscape has a pensive, wistful sound. The guitar is at the heart of the arrangement. It provides a melancholy sound, one whose beauty tugs at your heartstrings. Rolls of bold, dramatic drums from Chico open the track. Then when the guitar enters, it’s very different from the previous track. Played with power and aggression, experimental and free jazz shine through. Then it’s all change. The band veer between a more traditional and experimental sound. It’s as if Chico and his band are pushing musical boundaries. Dramatic, bold, melodic, avant-garde and thunderous, are ways to describe this track.
Lolly Pop bursts into life. The rhythm section join forces with the guitar. It’s played at breathtaking speed. Fluid and accurate, you’re enthralled by this mesmeric solo. Somehow, Chico manages to keep up. He plays with brushes, adding crashing cymbals and drum rolls as he adds drama and flamboyance, as he goes head to head with the guitar. Good as Chico’s playing is, he’s overshadowed by some of the best guitar playing on Chico Hamilton With Paul Horn.
Paul Horn makes his debut on Pluck It. He plays clarinet, as the track unfolds in short, sharp and urgent bursts. He joins the bass, which propels the arrangement along. The guitar playing is muted, almost subdued. Later, it’s more like the sound of earlier tracks. Chico meanwhile, is content to let other people take centre-stage. Here, it’s bassist George Duviver and Paul Horn. Their playing veers between urgent, abrupt and fluid on an enthralling track.
Katz Up is the quite different to anything that’s gone before. That’s down to the cello, which ensures the arrangement swings along. It has a scratchy lo-fi sound. Then there’s the clarinet that’s played fluidly. The rhythm section provide the heartbeat, aided and abetted by the guitar. Together they create a swinging track, that occasionally and briefly, heads in the direction of avant-garde and free jazz.
Crazy Cats a.k.a. Classical Katz is a fusion of jazz and classical music. Paul Horn produces his best performance on Chico Hamilton With Paul Horn. He plays a soul-searching solo. Accompanied by a cello, which adds a classical influence, they prove a potent partnership. They force each other to greater heights. Inspiring each other, they play their part in what’s one of the album’s highlights.
Closing Chico Hamilton With Paul Horn is Lord Randall. Heartbreaking, emotive and dramatic describes this track. It has a cinematic quality. That’s down to the cello and flute. They play starring roles, painting pictures. You can imagine Lord Randell preparing to head off to fight in a war. The sombre tones supplied by the cello could well be some tragedy that’s befallen him. The guitar, it adds a melancholy quality, while the bass sounds like an army marching into battle. For over seven magical minutes, Chico and his band create what’s best described as an epic example of musical theatre.
Chico Hamilton With Paul Horn featured eight tracks Chico recorded for Pacific Jazz. Once West Coast jazz was no longer as popular, and the Cool School was out, Pacific Jazz sold a whole host of unreleased tracks to Modern Records. They were released on Modern Records’ Crown Records imprint in 1963. Sadly, Chico Hamilton With Paul Horn wasn’t a commercial success. By then jazz had moved on and Chico was now signed to Impulse, where he’d enjoy one of the most successful periods of his career. However, Chico Hamilton With Paul Horn is an important musical document.
Featuring music that’s variously dramatic, bold, challenging, melodic, melancholy and cinematic, Chico Hamilton With Paul Horn is full of subtleties and surprises. Sometimes, the music briefly heads in the direction of avant-garde, bebop, experimental and free jazz and. Other times the Cool School is back in business. Then on the seven-minute cinematic opus Lord Randall classical music has influenced Chico. Quite simply, Lord Randall is the highlight of Chico Hamilton With Paul Horn. If you close your eyes, Chico and Paul paint pictures. Lord Randall becomes a story waiting to be told or a film to be made. Crazy Cats a.k.a. Classical Katz is another track where there’s a classical influence. It sees jazz and classical music unite seamlessly. These two tracks are just two reasons why Chico Hamilton With Paul Horn which was recently released by Boplicity, a subsidiary of Ace Records is well worth discovering.
Whether you’re a fan of Chico Hamilton, Paul Horn, West Coast jazz or just jazz music in general, then Chico Hamilton With Paul Horn will be a welcome addition to your record collection. Why? Well, Chico Hamilton With Paul Horn features some hidden gems from Pacific Jazz’s back-catalogue and features music from one of the most successful period in Chico Hamilton’s career. During his time at Pacific Jazz, Chico Hamilton had established a career as a pioneering musician who pushed musical boundaries. The eight tracks on Chico Hamilton With Paul Horn are proof of that. Standout Tracks: Porch Light, Autumn Landscape, Crazy Cats a.k.a. Classical Katz and Lord Randal.
CHICO HAMILTON WITH PAUL HORN-CHICO HAMILTON WITH PAUL HORN.
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