DUES PAID-THE BLUESTIME STORY.
DUES PAID-THE BLUESTIME STORY.
After eight years running Impulse, one of jazz’s premier labels, Bob Thiele found himself at loggerheads with Larry Newton, the head of ABC Records. It looked as if Bob’s time at ABC was coming to an end. Given what he’d done for ABC, he was going to be sorely missed. Not only had he been responsible for producing seminal albums like John Coltrane’s A Love, but was responsible for reviving blues legend B.B. King’s career.
This came about when ABC launched a new blues imprint Bluesway. The nascent label’s debut album was B.B. King’s Blues Is King, which was produced by Bob Thiele. Blues Is King was the first of four consecutive B.B. King albums to reach the US R&B top twenty. When ABC what saw their was still an audience for blues music, they signed artists like Jimmy Reed, T-Bone Walker and John Lee Hooker. Bob Thiele, a huge blues fan, was really supportive of the project.
Not only was Bob signing many of the artists, but he produced most of them. Eddie “Cleanhead” Vinson, Otis Spann and George “Harmonica” Smith all had albums produced by Bob. He was dividing his time between Bluesway and Impulse, helping rejuvenate the career of blues veterans and at Impulse, producing groundbreaking music. However, behind the scenes, there was about to be a parting of the way between Bob Thiele and ABC Records.
On 29th April 1969, it was announced that Bob Thiele was leaving ABC Records. He was about to found not just one, but three labels. Flying Dutchman would release some of the most ambitious and inventive jazz, psychedelia, rock and electronic music. Amsterdam, Bob’s second label was responsible for releasing adult oriented pop. The final label was BluesTime, a blues label, which would rival ABC Records’ Bluesway. BluesTime would sign some of the giants of electric blues, including Eddie “Cleanhead” Vinson, Otis Spann, T-Bone Walker, Big Joe Turner. These artists are among the ten artists that feature on Ace Records recently released compilation Dues Paid-The BluesTime Story. It features fifteen tracks from BluesTime’s back-catalogue. Before I tell you about the music on Dues Paid-The BluesTime Story, I’ll tell you about Bob Thiele’s career in music.
Bob Thiele was born in Sheepshead Bay, Brooklyn in 1922, and from an early age, immersed himself in music. Aged fourteen, Bob got his first job in music, hosting a jazz radio show. At the same time, Bob an accomplished clarinet player, was a member of a jazz band. Then when he left school, aged seventeen, Bob Thiele founded his own label Signature Records.
After founding Signature Records in 1939, Bob signed musicians who’d become legends of jazz. This included Donald Byrd, Lester Young and Errol Gardner. One of the biggest signing came in 1943, when Signature signed Coleman Hawkins. Five years later, in 1948, Signature became insolvent. Bob wasn’t out of music long though. He was soon working with Decca Records.
Having started work for Decca Records, Bob Thiele found himself running its imprint Coral Records. It was at Decca, Bob met his future wife, Teresa Brewer, a singer who he was producing. Having established his reputation at Decca, where he spent most of the fifties, in 1961, an opportunity arose to become head of A&R at one of jazz’s most influential labels, Impulse Records.
Creed Taylor, left Impulse to run Verve Records. This left a massive void needing filled. Bob Thiele was the man to do this. He’d established a reputation as a talented and forward-thinking producer. This was perfect for Impulse. Over the next eight years, their roster included John Coltrane, Charles Mingus, Archie Shepp, Albert Ayler, Max Roach, Chico Hamilton, Dizzy Gillespie, Sonny Rollins and Louis Armstrong.
Bob started work at Impulse 1961 and spent eight years there. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. Ironically, Bob’s most successful production was Louis Armstrong’s What A Wonderful World. Not all of Bob Thiele’s production’s were as successful. Innovative music didn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realized that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate like they’d like.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. At the same time, Bob was rejuvenating the career of some of the giants of blues music.
ABC Records founded Bluesway in 1967. Their first release was B.B. King’s Blues Is King. Produced by Bob Thiele, Blues Is King was the first of four consecutive B.B. King albums to reach the US R&B top twenty. When ABC what saw their was still an audience for blues music, they signed artists like Jimmy Reed, T-Bone Walker, John Lee Hooker, Eddie “Cleanhead” Vinson and Otis Spann. Over the next two years, all these artists had albums produced by Bob Thiele. By 1969, despite Bob’s success at Impulse and BluesTime, Bob’s relationship with ABC Records was at breaking point. Something had to give.
Proving there’s no sentiment in music, Bob Thiele was the victim of a musical coup d’tat. Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded three new labels, Flying Dutchman Productions, Amsterdam and BluesTime. Flying Dutchman would release some of the most ambitious and inventive jazz, psychedelia, rock and electronic music. Amsterdam, Bob’s second label would go on to release adult oriented pop. The final label was BluesTime, a blues label, which would rival ABC Records’ Bluesway.
For the newly founded BluesTime, Bob continued to sign true blues legends. Eddie “Cleanhead” Vinson, Otis Spann, T-Bone Walker, Big Joe Turner, Big Mama Thornton and Harmonica Slim. Bob then found material that would allow these blues greats to shine. After that, he took them into the studio, where they were accompanied by some of the top session musicians. For BluesTime’s first release Bob didn’t turn to a blues legend. No. Instead, he turned to The Plaster Caster Blues Band, who are one of ten artists to feature on Ace Records’ Dues Paid-The BluesTime Story, which I’ll tell you about.
Rather than release an album by a high-profile blues player, Bob Thiele decided The Plaster Caster Blues Band’s eponymous debut album should be BluesTime’s first release. Released in 1969, the album includes Chicago Charva Chapter which features on Dues Paid-The BluesTime Story. Featuring mostly jazz musicians, including Bobby Bryant, Gildo Mahone and drummer Max Hardy, Chicago Charva Chapter is a languid, laid-back track, where jazz, easy-listening and even funk unite. That’s until Harmonica Smith blows his blues harp. This transforms the track, resulting in a glorious genre-melting, blues-tinged track.
Harmonica Slim blues apprenticeship began when he joined Lowell Fulson’s band as an eighteen year old. Heading out on tour, he honed his sound and four years later, released his debut single You Better Believe It. It have him a minor hit and resulted in him working alongside some of the biggest names in blues music. He also released singles on labels like Aladdin, Spry and Vita Records. One thing he’d never done, was release an album. Then in 1969, Harmonica Slim released his debut album The Return Of harmonica Slim, which included Love and That’s Alright. Love epitomizes everything that’s good about electric blues. From the crystalline guitar, rasping horns and gut-wrenching vocal, this is electric blues at its best. As for That’s Alright, soulful, bluesy, full of hooks and heartache describes what is a tantalizing of Harmonica Slim at his best.
Before Big Joe Turner signed to BluesTime, he’d worked with Bob Thiele at Bluesway, ABC Records’ imprint. So it’s no surprise that when Bob founded his new blues’ label, one of his first signings was Big Joe Turner, a true legend and blues veteran. His second album for BluesTime was Real Boss Of The Blues, released in 1969. It featured Shake, Rattle And Roll and Plastic Man. The best of these two tracks is Big Joe Turner’s version of the Carl Butler penned Shake, Rattle And Roll. Arranged by Gene Page and produced by Bob Thiele, it was released as a single. No wonder. During three minutes, Big Joe Turner is every inch the showman, vamps and struts his way through the track, fusing electric blues, jazz, R&B and rock ‘n’ roll. For anyone whose never heard Big Joe Turner before, then these two tracks are a tantalizing taste of what you’ve been missing.
Otis Spann was another member of the blues supergroup that featured on Super Black Blues in 1969. He also released his solo album Sweet Giant Of The Blues in August 1969. Produced by Bob Thiele, it features I’m A Dues Payin’ Man and I Wonder Why. These two tracks are the perfect introduction to Otis Spann. I’m A Dues Payin’ Man features virtuoso performances from Otis on piano and tenor saxophonist Tom Scott. A blistering, rocking blues, the finishing touch is Otis’ vocal. It’s a fusion of emotion and power. As for I Wonder Why, it’s quite different. It starts off slower, but soon Otis and his band fuse blues, R&B, boogie woogie and funk. Otis become a blues shouter, he’s almost distraught, his vocal full of hurt and heartache. The addition of wah-wah guitars is a masterstroke, resulting in an innovative and inventive track, where electric blues gets a makeover, ensuring it remains relevant.
T-Bone Walker released his first recording in 1929. Forty years later, T-Bone was seen as one of the most innovative and important musicians in the history of music. He was the first guitarist to popularize the electric guitar. Despite being a true pioneer, T-Bone Walker found himself without a recording contract. Bob Thiele, who had worked with T-Bone before at Bluesway, signed the veteran bluesman, who became part of a blues supergroup. Along with Otis Spann and Big Joe Turner, they recorded Super Black Blues in 1969, an album of live blues jams. The followup 1970s Super Black Blues: Volume II was another live album. It featured Sail On, which allows you to hear T-Bone and his all-star band locking into the tightest of grooves and jamming. It’s an impressive sound, this band of blues greats in full flight.
There are two other tracks from T-Bone Walker on Dues Paid-The Bluestime Story. Every Day I Have The Blues and For B.B. King featured on a 1973 BluesTime compilation Blue Rocks. For B.B. King is slow, moody and has a late night, bluesy sound. T-Bone Walker unleashes a peerless, crystalline guitar solo. It seems never ending, and for that, you’re eternally grateful. Then on Every Day I Have The Blues, T-Bone Walker showcases both his vocal prowess and guitar playing. They prove a potent combination. Throaty and full of hurt and heartache, it’s the perfect accompaniment to T-Bone Walker’s guitar playing, which demonstrates just why he’s one of the most innovative and pioneering guitarists in the history of blues music.
Although Eddie “Cleanhead” Vinson released over twenty albums, he remains one of blues’ best kept musical secrets. His 1957 debut album was Cleanhead’s Back In Town. After that, he released albums for various labels, including the Bob Thiele produced Cherry Red, for Bluesway. In 1970, he released The Original Cleanhead for BluesTime. It features the soul-baring I Needs To Be Be’d Wid. Best described as bluesy, soulful and jazz-tinged, emotion, drama and heartbreak unite. For anyone whose yet to discover Eddie “Cleanhead” Vinson, this is the perfect starting place.
Malcolm and Chris only ever released one album, Just The Blues. Produced by B.B. King, he brought the album to BluesTime. They released in 1970. It featured the harmonica driven Something So Bright. It’s a track with a country blues sound. Listen carefully, and you’ll hear a track most blues fans will be familiar with. The song has been inspired by the riff from Sonny Boy Williamson’s old blues classic Help Me. It’s as if Malcolm and Chris were brought up on a diet of Chess’ blues classics. This is apparent of Something So Bright, a harmonica driven hidden gem, which features the combined talents of Malcolm Gibson and Chris Keehan.
The Super Black Blues Band were a blues supergroup that featured T-Bone Walker, Otis Spann and Big Joe Turner. They recorded two albums. Super Black Blues, recorded and released in 1969, was their debut album. It featured Paris Blues, a fourteen minute Magnus Opus. This is a peerless blues jam. Mind you, what do you expect when you bring together some of the greatest musicians in the history of blues music?
Leon Thomas’s Disillusion Blues closes Dues Paid-The BluesTime Story. It’s a track from Super Black Blues: Volume 2. Recorded live, with an all-star band accompanying him, a flourishes of bluesy piano and standup bass accompany Leon. Gone is his usual style. Instead, he’s transformed into a blues shouter. His vocal is a mixture of emotion, drama and humor, on a track which shows another side to Leon Thomas.
A previously unreleased live version of Big Mama Thornton’s Hound Dog is the other track Dues Paid-The BluesTime Story. Back in 1952, Hound Dog gave Big Mama Thornton the biggest hit of her career. It spent seven weeks at number one in the US R&B Charts and sold nearly two million copies. Written by Leiber and Stoller, Big Mama Thronton’s version was perceived as the definitive version, until Elvis recorded it. After that, many people have overlooked her version. That’s a great shame, given the way she breathed life, meaning and energy into the song. She does that again on this live version. Feisty, powerful and sassy describes her take of this classic track.
Featuring fifteen tracks from some of the biggest names in blues music, Dues Paid-The BluesTime Story is one of the best blues compilation of 2013. No wonder. It includes T-Bone Walker, Otis Spann, Eddie “Cleanhead” Vinson and Harmonica Slim. These artists had enjoyed long and successful careers. However, by 1969, when Bob Thiele founded BluesTime, blues music was no longer as popular. It’s popularity had been overtaken by pop, rock and soul. Blues was perceived as the music of yesteryear. That’s despite the groups like the Rolling Stones, Cream and The Animals flying the flag for blues music. Even this didn’t help rejuvenate blues music’s popularity.
So, some of the artists on Dues Paid-The BluesTime Story were almost forgotten. Bob Thiele, who had worked with some of them, decided to try and rejuvenate their career. He paired them with the right material and some of the best session musicians he could find. The result was some of the best music these musicians had recorded in some time. They were rejuvenated and their career enjoyed a brief Indian Summer. Sadly, that Indian Summer lasted as long as BluesTime.
BluesTime was a short-lived label. It lasted little over a year. While it might not have been Bob Thiele’s most successful musical venture, it was music he loved and believed in. He got behind the music and tried to revive the career of blues legends. Sadly, many of the albums BluesTime released have never been released on CD before. They’ve lain unloved for over forty years. Thankfully, Ace Records has delved into BluesTime’s back-catalogue and chosen fifteen tracks from them. They became Dues Paid-The BluesTime Story, which was recently released by Ace Records. Hopefully, Ace Records who released Dues Paid-The BluesTime Story will release some of the albums BluesTime released. As Dues Paid-The BluesTime Story shows, BluesTime is a musical treasure trove awaiting discovery. Standout Tracks: Otis Spann I’m A Dues Payin’ Man, Eddie “Cleanhead” Vinson I Needs To Be Be’d Wid, Big Joe Turner Shake, Rattle And Roll and T-Bone Walker For B.B. King.
DUES PAID-THE BLUESTIME STORY.
NEW YORK DOLLS-NEW YORK DOLLS.
NEW YORK DOLLS-NEW YORK DOLLS.
No other group epitomises the rock ‘n’ roll lifestyle like the New York Dolls. Drink, drugs and death touched the New York Dolls. Despite this, the Dolls continued to court controversy, with a disaster always just a heartbeat away. Just like a game of daring do, the egged each other to fly close to the sun. This was all part of the myth that surrounds the New York Dolls. Here was another case of flawed genius. A firecracker combination of talents and personalities, they could’ve and should’ve been one of the biggest bands in musical history. Fuelled by a diet of alcohol, pills and powders, the New York Dolls first two albums were the best they ever recorded.
Their 1973 eponymous debut album New York Dolls, which was recently released by Universal Music, was a swaggering, strutting introduction to the New York Dolls. A year later, came their sophomore album, Too Much Too Soon. A fuelled up Dolls, courted controversy and chaos, continued to strut and swagger their way through life. On both of these albums, the New York Dolls out-rocked the opposition. Other bands, including the Rolling Stones, enviously looked on. Here was a band who were the real thing. They were living the rock ‘n’ lifestyle and living it hard. With what seemed like an appetite for destruction, somehow the New York Dolls recorded two classic albums within the space of a year. The first of these was their debut album New York Dolls, which I’ll tell you about.
Although the New York Dolls were formed in 1971, the bands origins can be traced to 1967. That’s when Sylvain Sylvain and Billy Murcia, two school friends, started playing in a band called The Pox. Then when the lead singer left, the band split up. To make ends meet, Sylvain and Billy worked various dead end jobs.
First of all, the pair started a clothes shop called Truth and Soul. After that, Billy worked in another clothes shop, A Different Drummer. Situated across from the New York Dolls’ hospital, rumour has it, that this is how their future band got its name. Then in 1970, after a couple of years working dead end jobs, Sylvain and Billy decided it was time they formed a new band. They’d eventually, become members of the New York Dolls.
Formed in 1971, the New York Dolls arose, like a Phoenix from the ashes out of Actress. Four members of Actress, guitarist Johnny Thunders and Rick Rivets, drummer Billy Murcia and bassist Arthur Kane would form the backbone of the New York Dolls. Johnny Thunders was originally the lead singer, but soon decided he wasn’t cut out to be a frontman. David Johansen was. So, he joined the band and Johnny originally a bassist, was converted into a guitarist. Then when Rick Rivets quit the band, Sylvain Sylvain replaced him. Before the Dolls had made their debut they’d been through several lineups. While this isn’t unusual in a band’s early days, the Dolls lineup was constantly changing. This was essentially Mk. 1 of the New York Dolls.
Having settled with vocalist David Johansen, guitarists Johnny Thunders, bassist Arthur Kane, drummer Billy Murcia and Sylvain Sylvain on guitar, bass and piano, the Dolls were ready to make their debut. They made their live debut on Christmas Eve 1971, at one of the most unlikely music venues. This was the Endicott Hotel, a homeless centre in New York. After that, the New York Dolls got themselves a manager, Soon, word was spreading of their unique swaggering sound and style.
Word got as far as Rod Stewart, who decided the Dolls were the perfect group to open for him in London. This looked like the perfect start to the New York Dolls’ career. Opening for Rod Stewart increased the New York Dolls profile. They were making inroads into the American and British markets. Then disaster struck.
Not long after the Dolls opened for Rod Stewart, drummer Billy Murcia tragically drowned during their UK tour. High on drink and drugs, he passed out and accidentally drowned. This was devastating news for the Dolls. They’d lost the man who gave the group its heartbeat. Despite the loss of a key member, the show had to go on. Drummers were auditioned and eventually, Jerry Nolan was selected as Billy’s replacement. Not long after that, Mercury Records signed the New York Dolls and work began on their eponymous debut album.
For what became New York Dolls, the Dolls’ debut album, David Johansen wrote Vietnamese Baby and formed a successful partnership with Johnny Thunders. They cowrote Personality Crisis, Looking For A Kiss, Lonely Planet Boy, Bad Girl, Subway Train and Jet Boy. David Johansen and Sylvain Sylvain penned Frankenstein and Trash, while David and Arthur Kane contributed Private World. The other track was a cover of Bo Diddley’s Pills. These eleven tracks became New York Dolls.
When recording of New York Dolls began at the Record Plant in April 1973, New York, Todd Rungren was chosen as producer. For many people, this was a strange choice of producer. Here, was a brash, innovative group. They were the future, with their intensity, energy and showmanship. Todd Rungren was the ghost of rock’s past. Formerly a member of Nazz, even the band didn’t seem impressed. He was used to a slicker, more sophisticated sound. The rawness and energy of the Dolls was the antithesis of everything Todd Rungren believed in. It seemed this was the case of the wrong producer for the wrong album? David Johansen disparagingly referred to Todd Rundgren as: “an expert in second rate rock ‘n’ roll.” As for Todd Rundgren’s approach to production, he mixed the album in half a day. In doing so, the edge was taken of Jerry Nolan’s drums. Did this mean that rather than trying to capture the band’s energy and intensity, part of the New York Dolls trademark sound was lost? That’s what I’ll tell you, when I tell you about New York Dolls?
Personality Crisis explodes into being, opening New York Dolls in style. Fiery, machine gun guitars, flourishes of boogie woogie piano and a driving rhythm section set the scene for David’s proto punk vocal. Raw and edgy, describes his vocal, while behind him, the Dolls manage to be both tight and sloppy simultaneously. The Dolls are better musicians than many people give them credit for. They provided the template for the Rolling Stones and Primal Scream, amongst a thousand other impersonators. An intense explosion of energy, this is timeless good time rock ‘n’ roll, what a way to introduce the Dolls.
Drawing on inspiration from Eddie Cochran, David every inch the charismatic frontman, struts his way through Looking For A Kiss. Low slung guitars trade licks, while the rhythm section provide the pulsating heartbeat. As for David, feisty, sassy and oozing an air of danger, describes his performance as proto punk, glam rock and rock ‘n’ rock unite majestically.
A gong chimes, before the New York Dolls throw launch into the rocky Vietnamese Baby, an ant-Vietnam War song. Driven along by scorching, searing guitars, drums pound and David’s vocal seems to have matured. This is much more like how he sounds on their sophomore album Too Much Too Soon. It’s as if he’s enjoying the role of frontman. There’s a swagger in his vocal. He spurs the band on. They trade glistening guitar licks, playing with a freedom and swagger, as if realising that this it what they were born to do.
Lonely Planet Boy has much more understated sound. Just guitars and thoughtful rhythm section accompany David’s whispery, theatrical vocal. Bursts of jazzy horns drift above the arrangement, as the Dolls look to the past for inspiration. Drawing inspiration from sixties R&B, jazz, pop and doo wop harmonies, we hear another side to the New York Dolls, one which I’d like to have heard more of.
Three years after New York Dolls released their debut album, and punk was born, tracks like Frankenstein provided the template for this new musical genre. You can hear where Johnny Rotten comes from. Having said that, the Dolls were ten times the musicians than the Sex Pistols ever were. They were hype, the Dolls were the real thing. Here, a snarling, angry vocal is accompanied by a raw, raucous arrangement. Key to that are the driving rhythm section and machine gun guitars. Combined this explosion of energy, intensity and raw power, resulted in a thousand impersonators, none of which came close.
Trash is a combination of garage, grunge, proto-punk and rock. It’s as if the Dolls are hyperactive and Trash is an outpouring of energy. Like a five Duracell bunnies, the Dolls become an explosive unit. They play as if their lives depended on it. Playing with power and passion, they never miss a beat. Neither does David. His vocal is an outpouring of frustration, while cooing harmonies provide a contrast.
Bad Girl sees a no frills approach from the Dolls. It’s as if the producer just called a wrap, warts and all. This gives a taste of what the New York Dolls live were like. Jackhammer guitars join drums which aren’t so much played, but punished. Then there’s David’s vocal. He roars, as if this is cathartic. Surely, he must have been hoarse by the time he’d laid down this vocal? As for the guitars, they’re mesmeric. Chiming, soaring, searing, their crystalline sound, feedback and all, plays a huge part in the Dolls at their best.
Subway Train sees the New York Dolls play within themselves. They’re much more restrained. Rather than an explosion of energy and intensity, they produce a much more laid-back performance. David’s vocal is more restrained, but just as effective. He’s not roaring, his delivery drawling and languid. Guitars riff, scream and screech, trading licks. Like a musical shoot out between guitar gunslingers. At the end, everyone’s left standing. The Dolls swagger into the sunset, catching a Subway Train everyone needs to catch a ride on, once in their life.
Bluesy harmonica and an explosion of searing guitars open Pills, an old Bo Diddley song. It had never been played liked this before. Given the Dolls background, this should’ve been their theme tune. They seem to realize this, seamlessly mixing blues, glam rock and rock ‘n’ roll. In between blowing his blues harp, David struts his way through the lyrics. Accompanied by a wall of guitars, thunderous rhythm section and harmonies, rock ‘n’ roll’s hardest living band deliver a paean to hedonism.
A probing bass opens Private World, before the rest of the New York Dolls kick loose. Veering between gloriously sloppy and tight, the were the envy of rock ‘n’ roll rivals and pretenders. They’re in the tightest of grooves, a stomping beat, percussion and dueling guitars providing a raucous, good time backdrop. Stabs and flourishes of piano add to the good time sound. David vamps his way through the track. He revels in being the frontman for a group as good as the Dolls, who in 1973, were rock ‘n’ roll royalty.
Jet Boy closes New York Dolls. Does it close the album on a high? From the opening bars, the Dolls unleash their machine gun guitars, cooing harmonies and pounding rhythm section. Soon, rock, proto-punk and glam rock have been combined. The Dolls are at their hard rocking best. David’s struts and swaggers, while harmonies and handclaps accompany him. Then there’s the guitars, which include some of the best playing on the album. That’s saying something. Riffing, dueling and feeding off each other, the New York Dolls guitar heroes ensure that New York Dolls ends on an explosive high.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Ironically, during the forty years since its release, critics who called New York Dolls “mock rock” have changed their mind. These lisping rock critics have now changed their mind about the New York Dolls. Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
Raw, intense and full or energy describes New York Dolls. It’s as close you’ll get to hearing what the New York Dolls sounded like live. This was a no frills album. Sleazy, sassy and raunchy, New York Dolls is lo-fi, good time music. It’s no wonder Todd Rundgren only spent half a day mixing New York Dolls. Although he was a strange choice for the Dolls, he harnesses their energy and enthusiasm. Maybe the Dolls should’ve called the album Raw Power? Apart from a few occasions where Todd Rundgren’s overdubbing goes too far, he strikes the right balance for a debut album. He doesn’t overproduce New York Dolls. Having said that, he was the wrong man for Too Much Too Soon.
That’s where Shadow Morton came in. He produced Too Much Too Soon, a much more polished album. Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more.
Despite reforming, the New York Dolls never reached the same heights. New York Dolls and Too Much Too Soon are the best albums the New York Dolls ever released. Nothing else comes close to these two iconic albums, which have recently released by Universal Music. These two albums, New York Dolls and Too Much Too Soon provided the template for punk and spawned a thousand impersonators. Not one comes close to the New York Dolls. Standout Tracks: Personality Crisis, Lonely Planet Boy, Trash and Subway Train.
NEW YORK DOLLS-NEW YORK DOLLS.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
The sonic landscape that is Astro Sonic’s debut album Come Closer and I’ll Tell You, isn’t like most other albums. Far from it. Recorded during these three days at the Svenska Grammofon Studios in Gothenburg, Sweden, Astro Sonic use their musical palette to push musical boundaries. Seamlessly, musical genres melt into eleven sonic landscapes. Mostly improvised, Astro Sonic look to the past to create the music of the future. Drawing inspiration from ambient, avant-garde, electronica, Krautrock, synth impro and free jazz, seamlessly, musical genres unite during eleven sonic landscapes. These sonic soundscapes paint evocative pictures.
Astro Sonic sound as if they’ve sought inspiration for Come Closer and I’ll Tell You from the rugged Scandanavian landscape. Close your eyes, and you head off on a musical journey. Ethereal beauty becomes haunting, broody, moody and magnificent. Sometimes, Come Closer and I’ll Tell You is spellbinding and breathtaking. Always, it’s compelling and has you spellbound. Considering Come Closer and I’ll Tell You is Astro Sonic’s debut album, which will be released on 2nd December 2013, on Hubro Music, that’s quite remarkable. However, in other ways, it’s not surprising, given the amount of time the members of Astro Sonic have been working together.
It was back in 2008, when Astro Sonic was formed. Before that, its three members Erlend Slettevoll, Rune Nergaard and Gard Nillssen had been collaborating. Astro Sonic was made of three of Norway’s best musicians. This included Erlend Slettevoll, who played synths in both Grand Central and The Core. Then there’s Rune Nergaard, the bassist from Norwegian guitar trio Marvel Machine. The third and final member, Gard Nillssen, is the drummer for Susanne Soundfor. Rune and Gard knew each other. For ten years, they’d been Bushman’s Revenge’s rhythm section. In 2008, they became Astro Sonic’s engine room. When Erlend Slettevoll’s inventive synth playing was added to the equation, then Astro Sonic became a potent musical force.
Since 2008, Astro Sonic have been constantly honing their sound. They’ve also been pushing musical boundaries and fusing musical genres. They’ve played live, but until now, haven’t released a debut album. Recently they decided to rectify this.
For what became Come Closer and I’ll Tell You, Astro Sonic cowrote nine tracks. The exceptions are 437,7 Days which Rune wrote and Analog Karma, which Erlend penned. These eleven tracks became Astro Sonic’s debut album Come Closer and I’ll Tell You.
Heading to Svenska Grammofon Studios in Gothenburg, Sweden, recording of Come Closer and I’ll Tell You took just three days. Between the 10th to 12th November 2011, eleven tracks were recorded in Gothenberg. Each of the group are multi-instrumentalists, brought something new to what became Come Closer and I’ll Tell You. Erlend plays Fender Rhodes, Moog Voyager and Prophet 5. Rune takes care of bass, electronics and drum machines. As for Gard, drums, tablamachine, gongs, bow, vibes and electronics are his forte. Then to complete Come Closer and I’ll Tell You Astro Sonic spent two days in August 2012, completing their debut album. Now just over a year later, Hubro Music will release Come Closer and I’ll Tell You on December 2013. Come Closer and I’ll Tell You will introduce the world to the ambitious, innovative and groundbreaking music of Astro Sonic, which I’ll tell you about.
Retrodynamics, a fifty-three second musical amuse bouche opens Come Closer and I’ll Tell You. Droning, Hendrix-sque synths sound as if they’re guiding a ship through thick fog. They’re not. With hissing ho-hats for company, instead, their raison d’etre is to ensure Astro Sonic have your attention as this musical adventure unfolds.
Distant, thoughtful and dramatic describes the opening bars to Orbiter. It’s a futuristic sonic landscape, that brings to mind distant galaxies. Melancholy and wistful, footsteps come towards you. Meanwhile the Fender Rhodes adds a melancholy contrast to the drama that’s unfolding. By now, Orbiter sounds like the soundtrack to an outbreak of intergalactic warfare.
A myriad of eerie, sci-fi sounds opens The Electric Airbag Police. Its title seems to be a nod towards two tracks from Radiohead’s OK Computer. Ambient, experimental and synth wave gives way to a rock inspired track. Astro Sonic’s rhythm section provide the heartbeat while stabs of synths join beeps, squeaks and crackles aplenty. Locking into a groove, Rune’s bass and Gard’s drums power the track along. As they drop out, what sounds like a crackly radio and sci-fi sounds take centre-stage. It’s easy to imagine this post rock, jazz-tinged track being the soundtrack to spacecraft taking off, heading to an unknown, mysterious destination. A genre-sprawling track, Astro Sonic paint evocative pictures that unfold within your mind’s eye.
Mysterious. That describes 437,7 Days, another one minute track. Again, it conjurs up pictures of outer space and science fiction novels. It sounds as if a U.F.O. is landing. Dramatic and moody, it’s as if it’s hovering above you. This sends shivers down your spine, as you wonder what’ll happen next? Spine-tingling and mysterious. That’s a powerful combination.
Magnavox, another short track, is a fusion of genres and influences. Rock, Krautrock, psychedelia, postindustrial and free jazz join a myriad of sci-fi sounds and sound effects. The result is an ambitious and groundbreaking track.
Rolls of rocky drums, prog rock keyboards and drum and bass’ drums open The Shell Falls Rapidly And Splashes Into The Sea. Then there’s sci-fi synths and futuristic, sound effects. In the space of one minute, Astro Sonic fuse numerous musical genres and influences. Not only do they push musical boundaries, but throw away the musical rulebook. Anything is possible it seems in Astro Sonic’s world. They become Norway’s answer to Jimi Hendrix, their talent, energy and innovation creating a mind-blowing, lysergic track.
Lander sees Astro Sonic Rune’s bass and Gard’s drums create the backdrop for jagged, futuristic synths. It’s a compelling combination. Elements of rock, ambient and psychedelia unite. They create a poignant, wistful combination. Eventually, it drifts into the distance, leaving its question unanswered.
EDM, rock, industrial and experimental combines on No Satisfaction At All. Powered along by Gard’s drums, space-age synths and sound effects float above the arrangement. They shimmer, quiver and quake, while hi-hats hiss. After meandering along, the arrangement bursts into life, heading towards its dramatic and sudden crescendo.
From the opening bars, it’s obvious Analogue Karma is more than a little special. It sounds as if it belongs on an seventies Pink Floyd album. Slow, spacious drums, vibes, synths and sound effects combine creating an innovative, futuristic sound. Then the Fender Rhodes weaves its magic, playing its part in what sounds like the soundtrack to a journey to a distant planet. Understated, evocative, atmospheric and later, dramatic Astro Sonic join forces to create what’s quite simply the highlights of Come Closer and I’ll Tell You.
Fairy Queen closes Come Closer and I’ll Tell You, and is one of the longer tracks on Come Closer and I’ll Tell You. This is no bad thing. It allows Astro Sonic to stretch their legs and demonstrate what they’re capable of. Whereas they shorter tracks were akin to a short story, this is a novel. It’s some thing of an adventure, a journey into the unknown. With its understated, eerie, pensive sound, ambient, classical, experimental, psychedelia and even Celtic influences unite. As the arrangement meanders along, shakers, synths and strings combine. Mostly they’re understated and melodic. Other times they’re mysterious, dramatic and almost discordant. A string of surprises are sprung by Astro Sonic. This ensures the listener learns to expect the unexpected, on what’s a compelling musical adventure, with twists and turns aplenty in store for the unsuspecting listener.
As debut albums go, Astro Sonic’s Come Closer and I’ll Tell You which will be released on 2nd December 2013, on Hubro Music, is one of the best I’ve heard in the last few years. Over eleven soundscapes, Astro Sonic use their musical palette to create one of the most ambitious and groundbreaking albums of 2013. To do this, they’ve drawn inspiration from a whole host of musical influences. Everything from ambient, avant-garde, EDM, electronica, free jazz, industrial, jazz, Krautrock, postindustrial, post-rock, prog rock, psychedelia and synth wave play their part in Come Closer and I’ll Tell You. When all this is combined, the result is an album that’s a cinematic musical adventure.
Cinematic is the best way to describe Come Closer and I’ll Tell You. It conjurs up pictures and scenarios. Haunting, atmospheric and evocative, many of the tracks have a futuristic, sci-fi sound. Instantly, you’re transported into this space-age, 21st Century world. Other tracks are understated, eerie, moody and broody, while others are melancholy, wistful and pensive. That adds to Come Closer and I’ll Tell You cinematic quality. Sometimes, moderne describes the music on Come Closer and I’ll Tell You. Dance music and rock are added to the mix as Astro Sonic create tomorrow’s music today. That’s the perfect way to describe such ambitious,
Ambitious, moody, broody and pensive, plus dramatic, melodramatic, melancholy and beautiful. These are just some of the words that describe Come Closer and I’ll Tell You. It’s an album that variously, washes over you, embraces you, challenges you and forces you to think, as it paints pictures in your mind’s eye. Come Closer and I’ll Tell You is best described as the soundtrack to a film that’s yet to be made. With Astro Sonic supplying the music, all you need to do, is supply the pictures to Come Closer and I’ll Tell You, one of the most evocative, atmospheric and cinematic albums of 2013. Standout Tracks: Orbiter, The Electric Airbag Police, Analogue Karma and Fairy Queen.
ASTRO SONIC-COME CLOSER AND I’LL TELL YOU.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
Classic is one of the most overused words in the English language. However, classic is the perfect way to describe Country Joe and The Fish’s 1967 debut album, Electric Music For The Mind and Body. Quite simply, Electric Music For The Mind and Body is a psychedelic classic. Country Joe McDonald, not known for exaggeration, says as much. He says” “if you want to understand psychedelic music, and you haven’t heard Electric Music For The Mind and Body, then you probably don’t know what you’re talking about.” There’s a lot of truth in what Joe is saying.
After all, Electric Music For The Mind and Body which was recently released by Vanguard Masters, was one of the first psychedelic rock albums released. Country Joe and The Fish, who were pioneers of psychedelic rock and now, are perceived as psychedelic rock royalty. They formed in 1965, and six months later, released their debut E.P. Talking Issue No. 1 on the Rag Baby label. This was a groundbreaking statement of intent. Country Joe and The Fish started as they meant to go on, releasing pioneering music.
Not only that, but here were a band whose music was full of social comment. Their music was also highly political. Given their name was a reference to Joseph Stalin and a quotation from Chairman Mao, that’s no surprise. Known for their genre-melting, lysergic music, Country Joe and The Fish were at the vanguard of the anti-Vietnam war movement. Their highly politicized music played a huge part in the emerging counter-culture. Country Joe and The Fish played at the anti-Vietnam teach-ins in 1965 and four years later, in 1969, played at the legendary Woodstock Festival. By then, Country Joe and The Fish had released a trio of albums that today, are recognized as psychedelic classics. This includes their debut album, Electric Music For The Mind and Body, which I’ll tell you about.
For their debut album Electric Music For The Mind and Body, Country Joe McDonald wrote ten of the eleven tracks. The exception was Love which was written by the five members of the band, Country Joe McDonald, Gary “Chicken” Hirsh, Bruce Barthol, Barry Melton and David Cohen. They recorded the eleven songs that became Electric Music For The Mind and Body at Sierra Sound Laboratories, in Berkeley, California.
Producer Samuel Charters took charge of the recording of Electric Music For The Mind and Body began at Sierra Sound Laboratories. Founder member Country Joe McDonald sang lead vocals, played guitar, bells and tambourine. The rhythm section included drummer Gary “Chicken” Hirsh, bassist Bruce Barthol who also played harmonica and guitarists Barry Melton and David Cohen. Some of Electric Music For The Mind was recorded in 1966. Electric Music For The Mind which was released in January 1967, introduced the world to psychedelic rock.
Critical acclaim greeted the release of Electric Music For The Body and Mind in January 1967. Country Joe and The Fish watched as the album reached number thirty-nine in the US Billboard 200. For Country Joe and The Fish, their fusion of psychedelic rock and lyrics with a social conscience was a successful combination that struck a chord with music lovers. Why was that? That’s what I’ll tell you, once I’ve told you about Electric Music For The Body and Mind.
Flying High, which opens Electric Music For The Body and Mind, is a fusion of rock, psychedelia, blues and jazz. Searing, chiming, guitars, broody bass and dramatic drums provide a backdrop to Country Joe’s vocal. His vocal is full of despair at the situation he finds himself. You can picture the bedraggled picture he paints. The the lyrics take on a lysergic, surreal quality. Add to this, the banks of keyboards and Country Joe and The Fish come into their own, with their unique brand of pioneering psychedelic rock. Genre-melting, with a strong, surreal and witty narrative, this is groundbreaking music.
Not So Sweet Martha Lorraine reminds me of Pink Floyd and The Beatles. That’s no surprise, as these bands must have been influenced by Country Joe and The Fish. With waves of wistful organ, jangling guitars and a mid-tempo rhythm section, Country Joe’s vocal has a lysergic, dreamy sound. Sounding nicely mellow, his psychedelic lyrics tell the story of “Not So Sweet Martha Lorraine.” His description hardly endears you to her. Despite that, you can’t help but be enthralled by Country Joe and The Fish at their psychedelic best as they tell the story of the mythical, mystical Martha Lorraine.
Death Sound Blues sees Country Joe and The Fish look to the blues for inspiration. Seamlessly, they become a barnstorming electric blues band, unleashing some twelve-bar blues. Against a slow, shuffling arrangement, where scorching, crystalline guitars join the rhythm section and shakers, Country Joe delivers a languid, heartbroken vocal. With his relationship over, he doesn’t no which way to turn? Reverb and echo is added, adding to the drama, emotion and heartbreak of this slice of psychedelic blues, which is one of the highlights of Electric Music For The Body and Mind.
Psychedelic, surreal and grandiose, that’s the perfect description of Porpoise Mouth. It’s a track that sounds as if it would provide inspirational to prog rock. Against a spacious arrangement, stabs of organ and bursts of drums accompany Country Joe’s vocal. It sounds as if it belongs in another era. You’re taken on a journey back through time, where Country Joe sounds as if he’s a medieval jester. His job is entertaining the court. The addition of the harpsichord adds to this, before the track takes on a dark, moody psychedelic sound. Before that though, it was like a journey through the ages, courtesy of Country Joe and The Fish.
Section 43 is a seven-minute epic. Here a banks of keyboards, crystalline guitars and the rhythm section take the track in the direction of psychedelia. Wistful, thoughtful and pensive, it’s a track you loose yourself in. It has a mesmeric quality that draws you in. Gradually, the arrangement unfolds, revealing its secrets. Bursts of a bluesy harmonica and drums lock into a groove, which reminds me of The Doors. From there, the band embark on a glorious jam, before heading in the direction of experimental music and free jazz. It’s a case of being determined to push musical boundaries further than ever before. To do this, rock, psychedelia, experimental and jazz, are fused creating a pioneering pot pourri of musical influences.
Super Bird literally bursts into life. Soon, musical genres melt into one and Country Joe’s political lyrics soar above the arrangement. West Coast rock, psychedelia and pop unite. Chiming, jangling guitars, a bubbling bass, drum rolls and keyboards accompany Country Joe. He struts his way through the song, his delivery impassioned and confident. He and the rest of the band become an unstoppable musical force, giving what’s one of their best performances on Electric Music For The Mind And Body.
Sad And Lonely Times has a bluesy, sixties sound. A harmonica, percussion and bass lead rhythm section join forces. They provide the backdrop for Country Joe’s tender, wistful vocal. As he deliver a heartfelt vocals, West Coast guitars jangle and chime. Later, harmonies are added, proving the perfect finishing touch to this quite beautiful, joyous song.
After a false start, Love gets underway. Country Joe’s powerful, throaty vocal is sung in a bluesy style. Behind him, keyboards, crystalline guitars and the rhythm section unite. They showcase their considerable skills Country Joe’s vocal drops out. When he returns, this spurs them on, and they reach greater heights, fusing blues, rock and psychedelia, proving how versatile a group they were.
Bass Strings has a moody, melancholy sound. Keyboards, rhythm section and Country Joe’s emotive, soul-baring vocal create a dark, pensive backdrop. Full of despair and desperation, Country Joe’s sings, hopes and promises, “one more trip now.” His lysergic vocal is full of pain and misery, maybe for fear of what he’ll see or find?
Keyboards dominate the introduction to The Masked Marauder. When they drop out, he rest of the band take centre-stage. Guitars chime, before Country Joe scats against a theatrical backdrop. Featuring a carnival organ, crystalline and searing guitars and then bluesy harmonica, it’s another experimental, genre-melting, track that veers between thoughtful to dramatic.
Closing Electric Music For The Mind And Body is Grace, where Country Joe and The Fish pay homage to Grace Slick, of Jefferson Airplane during a seven-minute track. Slow, spacious, understated and thoughtful describes the track. Country Joe’s serenades Grace Slick against a minimalist arrangement. Instruments flit in and out of the arrangement, with space left within it. They’re akin to a series of dramatic pauses that punctuate this alternative paean to Grace Slick.
Electric Music For The Mind And Body is best described an ambitious, adventurous and innovative album. It features thoughtful, poignant lyrics, some of which are full of social comment. The music on Music For The Mind And Body is cerebral and intelligent. Sadly music is no longer like this. That’s a great shame and huge loss. This was music for the mind, which sough answers to “big” questions. Unfortunately, music like this isn’t released. On the odd occasion it’s released, it’s not by major labels, but by brave independent labels who believe in the music. This means that no longer do we hear the modern equivalent of musical pioneers like Country Joe and The Fish.
On Electric Music For The Mind And Body, Country Joe and The Fish fused musical influences and genres. Everything from acid rock, country, folk, jazz, psychedelia and rock became one on Electric Music For The Mind And Body, Country Joe and The Fish’s critically acclaimed, eloquent and erudite debut album. It was no ordinary album and Country Joe and The Fish were ordinary bands. They were innovators, pioneers, agitators and some said rabble rousers. They weren’t. All they wanted was justice and an end to an unjust war. That didn’t make them rabble rousers or rebels. No. Instead, they were music’s conscience. Country Joe and The Fish were also pioneers.
They were pioneers who were at the vanguard of psychedelic rock. Country Joe and The Fish were one of the inventors of psychedelic rock. Their first two albums Electric Music For The Mind And Body and I Feel Like I’m Fixin’ To Die, which were both recently released by Vanguard Masters, are two of the finest albums of the psychedelic rock era.
Electric Music For The Mind And Body which was recently rereleased by Vanguard Masters as a luxurious and lovingly compiled double album. Disc One features the mono version, with Disc Two featuring the stereo version. Then there’s in-depth sleeve-notes. Quite simply, this is the definitive version of Electric Music For The Mind And Body I’ve come across. No other version of Electric Music For The Mind And Body comes close to the Vanguard Masters’ version. It brings to life Electric Music For The Mind And Body, a cerebral, psychedelic classic. Groundbreaking and genre-melting, Country Joe and The Fish rewrote the musical rule book with Electric Music For The Mind And Body, a pioneering debut album. Standout Tracks: Flying High, Death Sound Blues, Bass Strings and Grace.
COUNTRY JOE AND THE FISH-ELECTRIC MUSIC FOR THE MIND AND BODY.
CHVRCHES-LIES.
CHVRCHES-LIES.
One of the biggest success stories in Scottish music during 2013, is Chvrches, who will soon release their fifth single Lies, on Virgin Records. This sees Chvrches go full circle to where their career started. After all, Lies was their debut single. It was released in an unusual way, through the blog of the Neon Gold label. People were able to download a free copy of Lies. their debut single. This somewhat unorthodox approach to marketing worked. Soon, word was spreading about Chvrches.
Two years later, Chvrches are one of Scotland’s most successful musical exports. Having released one of the most highly anticipated albums of recent years, The Bones Of What You Believe, it seems Chvrches can do no wrong. The remarkable thing is, everything has happened so quickly for Chvrches.
Chvrches were founded just two years ago in 2011. Since then, it’s been a whirlwind musical adventure for Lauren Mayberry, Ian Cook and Martin Doherty. They’ve spent the last two years touring the world converting people to their unique brand of shimmering electro-pop. Britain, Europe, Canada and America gave been conquered by Chvrches. Somehow, Chvrches have also found the time to release a four singles and a trio of E.Ps. These singles were a tantalizing taste of the main event, Chvrches highly anticipated debut album The Bones Of What You Believe, which was the result of two years work and determination from Chvrches.
The face and voice of Chvrches, lead vocalist and keyboard player, Lauren Mayberry is an accidental pop star. Originally, she studied law and after graduating, studied journalism. With a Masters in journalism on her C.V. Lauren became an award-winning freelance journalist. From there, she almost inadvertently, became a musician.
Like many Scottish children, she learnt to play the piano as a child. It’s almost a rite of passage. Then when she was a teenager, Lauren learnt to play the drums. Drums or piano, it’s no contest. Soon, she was playing drums for various bands. Between the ages of fifteen and twenty-two, Lauren played in two bands. In Boyfriend/Girlfriend she was the drummer. Then when Lauren joined Blue Sky Archives, she played keyboards and drums. It was in Blue Sky Archives, that Lauren met Ian Cook.
Blue Sky Archives were recording an E.P. and the producer was Ian Cook. He’d originally been a member of Aerogramme and The Unwinding Hours. Ian also wrote music for television and film. Production was another thing he enjoyed. Through producing Blue Sky Archives, Ian met Lauren. She proved to be just who he was looking for.
Ian Cook and Martin Doherty, who was a member of The Twilight Sad when they played live, were working on a new project. They needed someone to lay down some vocals. Neither Ian nor Martin saw themselves as lead vocalists. So, Lauren was asked to come along and sing on a demo.
Little did Lauren realize what she’d let herself in for. Ian and Martin it seems, are perfectionists. That proved to be no bad thing. They spent eight months in a basement studio, working on their new project. Eventually, it was finished. It had been such a success, they decided to transform this studio project into a live band, that became Chvrches.
May 2012, saw Chvrches release their first single. They did this in an unusual way. Through the blog of the Neon Gold label, people were able to download a free copy of Lies, their debut single. This somewhat unorthodox release must have worked. Soon, people were talking about Chvrches. By now momentum was building. What helped, was that Chvrches were a great live band. Throughout the summer of 2012, were honing their live act. Quickly, word was spreading about this new Glasgow band. September 2012 it seemed, was the right time to release their sophomore single.
The Mother We Share was released in September 2012. In between touring, Chvrches found two days to write and record their new single. On its release, it was well received by critics. They were falling over themselves to heap praise on Glasgow’s newest band. A classy and classic slice of glistening, ethereal electro-pop, Chvrches had made an impression.
At the end of 2012, when various magazines and radio stations published their best of 2012 polls, Chvrches name loomed large. The NME, BBC and Huffington Post praised Lies and The Mother We Share. This new band had made a big impression. Would 2013 be as big a year for Chvrches?
Looking at Chvrches achievements so far, I’d suggest that they’ve surpassed everything they achieved during 2012. They’ve released two single and two E.P.s.
Chvrches third single Recover, which was released in February 2013, gave them their first hit single in the UK. It reached number ninety-one. After that, Chvrches had to divide their time wisely. They’d an album to record and had a busy touring schedule to fulfil. In between recording their debut album, The Bones Of What You Believe, Chvrches continued to tour. There were still parts of the world where Chvrches’ gospel hadn’t been heard. Agnostics had to be transformed into believers. This was working
July 2013 saw Chvrches released their fourth single Gun. Just like Recover, Gun was available as either a single or an E.P. Gun gave Chvrches the biggest single of their nascent career. Not only did it reach number fifty-five in the UK, but number forty-four in Japan. It seemed that with each single, Chvrches were conquering another part of the world. Britain first, then Europe, Canada, America and now Japan are all devotees of Chvrches.
Recently, on a coast to coast tour of America, Churches have been winning friends and influencing American musical lovers. This is perfect timing. After all, Chvrches’ debut album The Bones Of What You Believe, was due for released on the 23rd September 2013 on Virgin. Written by the three members of Chvrches, The Bones Of What You Believe was without doubt, one of the most eagerly awaited and anticipated albums of recent years. Critically acclaimed and commercially successful, Chvrches are enjoying success world-wide So, it’s the perfect time to released their latest single Lies, which I’ll tell you about.
Thunderous drums and beeping, squeaking synths open Lies. They provide the backdrop for Lauren’s sassy, feisty vocal. Behind her, Ian Cook and Martin Doherty unleash banks of keyboards and synths, while drums provide a dramatic, electro heartbeat. Add to this Lauren’s ethereal, multi-tracked backing vocals. They provide a contrast to the dark, dramatic arrangement. It takes on a life of its own. It’s becomes a collosus. As it marches, struts and swaggers along, Lauren’s vocal is full of bravado, feisty and oozes sass.
Lies is a tantalising taste of what Chvrches are capable of. It’s also a tantalising taste of their critically acclaimed debut album, The Bones Of What You Believe. Indeed, Lies like The Bones Of What You Believe, not only lived up to expectations, but surpassed them. An example of innovative, inventive music, it’s pioneering electro-pop, full of drama, sass, shimmering synths and the ethereal beauty of Lauren Mayberry’s vocal. Along with Ian Cook and Martin Doherty, Chvrches fuse electro pop, house, synth pop, hi-NRG, Euro Disco, pop, indie rock and soul. Dance-floor friendly, anthemic, soulful and full of slick poppy hooks, Lies in another example of Chvches style of pop perfection. That’s why Chvrches will be Scotland’s next big musical export. Many have been contenders for the title, now it looks like Chvrches with their unique sound, will claim it as their own.
Chvrches have restored my faith in modern music. I’m pleased that still, there are a group capable of making the perfect pop song. That’s what I’d described Lies and their debut album The Bones Of What You Believe as. It’s a reminder of what a classic pop song sounds like. For everyone who says pop music is dead, play them Lies, then The Bones Of What You Believe. That’ll prove them wrong. Pop music is alive and kicking, and Chvrches’ new single Lies and The Bones Of What You Believe is the future and salvation of pop music.
CHVRCHES-LIES.
MIKE OLDFIELD-CRISES.
MIKE OLDFIELD-CRISES.
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, 1978s Incantations, 1979s Platinum and 1980s QE2 had failed to reach 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. Fashions changed quickly. Realizing that, Mike Oldfield decided his music had to evolve and change with the times. This realization resulted in 1982s Five Miles Out, which was Mike’s most successful album since 1975s Ommadawn. Reaching number seven in the UK, this resulted in the second gold disc of his nine-year recording career. Following the commercial success of Five Miles Out, Mike embarked on an exhausting world tour, which finished in Germany in December 1982. By then, Mike had already began work on his eighth album Crises, which was recently rereleased by Mercury Records. Would Crises match the success of Five Miles Out? That’s what I’ll tell you.
Crises followed in the footsteps of Five Miles Out. The opening track Crises, which filled side one, was a twenty minute opus that his old fans would enjoy. It was written by Mike. So were three of the five short songs that showcased the “new” Mike Oldfield. This included Moonlight Shadow, Taurus 3 and Shadow On The Wall. The other two tracks were collaborations. Foreign Affair was written by Mike and Maggie Reilly, a frequent collaborator with Mike and regular guest vocalist. Jon Anderson of Yes, cowrote in High Places with Mike. These six tracks became Crises.
For recording of Crises, which Mike and Simon Phillip co-produced, Mike decided that it was best to stick with what was a winning formula. This meant hiring the best session musicians. It was a slimmed-down band that played on Crises. There was a reason for that. Mike was relying more on drum machines and synths. He also played guitar, bass, banjo, harp, mandolin, piano, Farfisa organ and percussion. Among them were guitarist Rick Fenn and Anthony Glynne, bassist Phil Spalding and Simon Phillips who played Tama drums and percussion on several tracks. Pierre Moerlen added vibes, while Maggie Reilly, Jon Anderson and Roger Chapman of Family added vocals. This was the personnel that featured on Crises, which was recorded at his own studio between November 1982 and April 1982. A month later, Crises was released.
On 27th May 1982, Crises was released. It picked up where Five Miles Out left off, reaching number six in the UK. This resulted in Mike’s third gold disc. Around Europe, Crises was a huge success, reaching the top ten in eight countries. In Sweden and Germany, Crises reached number one, and was certified gold in France, Germany and the Netherlands. Moonlight Shadow which was chosen as the lead single from Crises, reached number four in the UK. Again, it was a huge commercial success, reaching number one in eleven countries in Europe. For Mike, Moonlight Shadow was the biggest single of his ten year career. The second single was Shadow On The Wall, which featured Roger Chapman from Family on lead vocal, stalled at just number ninety-five in the UK. Despite that disappointment, Crises had been a huge commercial success, further vindicating Mike’s decision to change direction musically. You’ll realize why Crises was critically acclaimed and commercially successful, when I tell you about Crises.
Opening Crises is the title-track, a twenty-minute epic, that’s like a musical adventure. It’s like a song cycle. Here, Mike Oldfield old and new unite. A myriad of traditional instruments and technology play their part in the track. Bells chime, synths beep and squeak with synths cascade and keyboards meander. Then all of a sudden, drums drive the arrangement along. There’s a nod to Mike’s prog rock past and Pink Floyd, but he makes good use of the synths and drum machines He leaves space within the arrangement, allowing it to breath and grow. A scorching, searing guitar solo is joined by crashing drums, dark synths and sound effects. Soon the arrangement explodes. Mike becomes a one-man band, playing fourteen instruments and adding an emotive, heartfelt vocal. Reverb is added, as it disappears into the distance. Later, the arrangement becomes understated and thoughtful. Other times futuristic, dreamy, dramatic and ethereal describes this ambitious, groundbreaking opus.
Moonlight Shadow is probably the best known Mike Oldfield single. It’s very different from the opening track. Featuring Maggie Reilly, who originally wanted to sing the vocal in a rocky style, there’s a real folk influence. Maggie’s vocal is wistful and melancholy, painting pictures in your mind’s eye, as acoustic guitars, harmonies and the rhythm section accompany her. Mike’s lyrics veer between descriptive to surreal. As the song hits the bridge, the band unleash rocky licks aplenty. Mike dons the role of guitar hero. Relishing this opportunity, his guitar playing is peerless. It’s the perfect replacement for Maggie’s vocal. Together, they play their part in what was Mike’s most successful single ever.
Jon Anderson’s vocal is perfect for In High Places. His unmistakable vocal soars above the sparse, spacious arrangement. It forces you to listen intently to the cerebral lyrics. As he asks a series of questions, you’re spellbound by his poignant, potent delivery. Reverb is added to his vocal, as the rhythm section, synths and vibes provide a backdrop to his pensive, ethereal vocal. As he delivers his vocal in short, sharp, thoughtful bursts the arrangement fills out. The band prove to be ying to Jon’s yang on what’s one of the highlights of Crises.
Foreign Affair sees a return of Maggie Reilly, whose delivery of the vocal brings them to life. She’s like an old-fashioned storyteller, who during this track, reminds me of Al Stewart. As she paints pictures, her vocal veers between evocative and emotive, to whispery and sultry. Behind her synths, drums and shakers accompany her, mixing technology and traditional instruments. They provide the perfect backdrop to Maggie’s vocal masterclass. Indeed, so good is her vocal, that it surpasses even Moonlight Shadow.
Taurus 3 is the only instrumental on Crises. Mike plays Spanish guitar, his finger flying up and down the fretboard. Behind him a mandolin, acoustic bass, percussion and bells accompany him. They provide a summery, Balearic sound. Adding drama are the Tama drums. Thankfully they’re used sparingly. This allows you to revel in this beautiful and drama of this uplifting track, which is a slice of aural sunshine.
Shadow On The Wall closes Crises. It features Roger Chapman of Family. For those unfamiliar with Family, BandStand and It’s Only A Movie are essential listening. Guitars chime, drums pound and strings sweep. With a roll of the drums, Roger unleashes a throaty, rocky vocal. Accompanied by stabs of synths, thunderous drums, buzzing bass and screaming guitars, Roger brings to life the lyrics. They’re about the plight of political prisoners. So impassioned is Roger’s vocal, it’s as if he’s affronted about their plight. With Mike’s band rocking hard, and Roger delivering lyrics full of social comment, it’s the perfect way to close Crises.
That however, isn’t quite the end of Crises. No. Mercury Records two-disc Deluxe Edition is what a Deluxe Edition should look like. On disc one, there’s the original version of Crises and seven bonus tracks. Disc two features a recording of a concert that took place at Wembley Arena, London, on 22nd July 1983. For those of you who haven’t seen Mike Oldfield live, this is an opportunity to see what you’re missing. What you’re missing, is the reinvention of Mike Oldfield.
Realizing that music had to change in 1982, Mike Oldfield set about reinventing himself. This began with1982s Five Miles Out, which was Mike’s most successful album since 1975s Ommadawn. A year later, in 1983, Mike surpassed Five Miles Out with Crises, an album for both his old and new fans. Unlike other artists, Mike didn’t forget his old fans. The title-track, Crises, was a twenty-minute opus. Then on side two, the other five tracks were an eclectic selection of bite-sized tracks. Folk, rock, pop, prog rock, Balearic and electronica were thrown into the mix. Each track had something new, different and innovative. Mike keeps your attention. Your hand doesn’t stray near the remote control, in case you miss something new new and innovative. After all, that’s what Mike Oldfield is an innovator.
Indeed, for forty years, Mike Oldfield has been pushing musical boundaries. From Tubalar Bells onwards, Mike flew the flag for cerebral, innovative music. He was determined to stay relevant. It would’ve been easy for him to keep churning out album after album of similar material. Most likely, his loyal fans would’ve bought the albums. That wasn’t enough for Mike. He wanted and needed to challenge himself. So Mike embraced and mastered the new technology. That’s something other artists never did. Unlike Mike, they ceased to be relevant. Thirty years after Mike Oldfield released Crises, he’s still relevant and striving to innovate and to create music that’ll push musical boundaries to their limits. Standout Tracks: Moonlight Shadow, In High Places, Foreign Affair and Taurus 3.
MIKE OLDFIELD-CRISES.
BRAZILIAN BEATS 7.
BRAZILIAN BEATS 7.
For lovers of Latin music, one of the most eagerly awaited compilation series is Mr. Bongo Records’ Brazilian Beats. The first installment of this critically acclaimed compilation series was released thirteen years ago, back in 2000, just as the new millennia dawned. Little did Mr. Bongo Records realize that they’d launched one of the most successful compilation series of recent years, one which helped popularise Brazilian music.
The next volume, Brazilian Beats 2, was released a year later in 2001. Volume 3 followed in 2002, with volume 4 released in 2003. Then after a gap of two years, 2005 saw the release of volumes 5 and 6. Since then, apart from a box set containing each volume of Brazilian Beats, there’s been no further volumes of Brazilian Beats.
Eight years have passed and Mr. Bongo continued to release cutting-edge music. What had been one of the most eagerly anticipated compilation series, it seemed, was no more. Wrong. All of a sudden, Mr. Bongo were about to release Brazilian Beats 7.
After a short delay, Brazilian Beats 7 was released. During that time, I wondered whether Brazilian Beats 7 would match the quality of the six previous volumes? The last anyone wanted was for our memories of this critically acclaimed series being tarnished. However, we shouldn’t have worried. Mr. Bongo have dug deep, in their quest for the best in old and new Brazilian music.
Featuring twenty tracks, Brazilian Beats 7 is an exploration in the best in Brazilian music. There’s contributions from new names and familiar faces. Among them are Karol Conká, Cláudia, SamJazz, Junior Com Orquestra E Coro, Arnaud Rodrigues, Cizinha and Jackson Conti. These are just a few of the artists that feature on Brazilian Beats 7, which attempts to pick up where volume 6 left off. However, does Brazilian Beats 7 match the quality of Brazilian Beats 6? That’s what I’ll tell you.
Providing a refreshing start to Brazilian Beats 7, is Karol Conká’s Boa Noite. Karol is part of a new generation of Brazilian artists. Mr. Bongo Records will shortly release Karol’s new album, Batukfreak. Boa Noite which was a You Tube hit, is a fusion of hip hop, Baile Funk, trap and dub. Produced by Nove, it’s a groundbreaking, genre-melting track.
From the opening bars of Som Sete’s Esquindindin, you realize something special is unfolding. A slice of aural sunshine, is the best way to describe this samba classic.
Djavan’s career began in 1976, when the released his debut album A Voz, O Violao, A Musica De Djavan. Released on the Som Livre label, it was the start of a long and successful career that’s spanned four decades. Two years later, in 1978, Djavan received his eponymous sophomore album on EMI. fusion of soul, jazz, easy listening and Bossa Nova, there’s even an African influence to his music. One of the highlights of Djavan was Nereci. Soulful, joyous and jazzy, the addition of vocalist Mariznha is the finishing touch to what is one of the highlights of Brazilian Beats 7.
Cinematic, compelling and genre-sprawling describes Odair Cabeça De Poeta’s Isso É Bonito. It’s a real hidden gem, from s Odair Cabeça De Poeta’s second and final album A Forronatica E O Forramba. Released in 1976 it’s a melting pot of influences and genres. Everything from Brazilian, jazz, folk, funk and Afrobeat is thrown into the melting pot. Given a stir, the result is an irresistible and delicious hidden gem.
During Abilio Manoel’s career, he only released a trio of albums and a quartet of singles. In 1972, he released an E.P. for the Odeon label. The A-Side featured Rei De Ouros and Tua Chegada om. Tucked away on the B-Side was Luiza Manequim and Depois Eu Digo. Luiza Manequim reinforces by belief that you should always check out a B-Side. It also features on Abilio Manoel’s sophomore album Entre Nos. A timeless, emotive and dramatic soulful fusion of soul, jazz and Latin music, why this track was only a B-Side is beyond me?
Coaty De Olivieira’s Caminho Livre is a pulsating, percussive disco track that bursts into life. It’s impossible to keep still, during what’s essentially a call to dance. This was a track from Coaty’s 1975 debut album Le Forro Bresilein. It was released on the Mason Conseil label. A glorious fusion of samba and disco, this track is still guaranteed to fill a dance-floor.
Without doubt the most leftfield choice on Brazilian Beats 7 is Zapata’s A Mesa Santa. Released on the Odeon label in 1971, gospel meets psychedelia and sixties rock. Gospel harmonies give way to a lysergic fusion of Hendrix-esque guitars and a vocal that’s akin to an cathartic exorcism. Add to that, thunderous drums and gospel tinged harmonies. The result is best described as Brazilian psychedelic gospel. So good is this track, it’s worth buying Brazilian Beats 7 just for A Mesa Santa.
One of the oldest tracks on Brazilian Beat 7, is the Jorge Autuori Trio’s Autorizando. Taken from their sophomore album The Jorge Autuori Trio Volume 2, which was released in 1968 on the Rozenbilt label. A year later, in 1969, The Jorge Autuori Trio released their third and final album Ovalo. This hard driving example of Bossa Nova shows what Brazilian music lost when the Jorge Autuori Trio called time on their career.
Quarteto Novo’s Misturada featured on a 1965 compilation Introducao, which was released on the Rozenbilt label. Two years later, when Quarteto Novo released their 1967 eponymous debut album on Odeon, this Bossa Nova classic was one of the highlights. It showcased an innovative and inventive band, who sadly, released just one album.
My final choice from Brazilian Beats 7, is Mestre Bimba’s Corridos. This is a track from his 1969 album Curso De Capoeira Regional, which was released on RC Discos. Mestre Bimba who was born in Salvador, Bahia, where he was a master of the Brazilian martial art Capoeira. Here, he draws musical inspiration from Capoeira. He delivers a corrido, which is sung during a Capoeira. Mestre Bimba sings call and response with the Academia Regional choir. They sing in toungues, while a single-string Berimbau contributes the hypnotic rhythms. Together, they play their part in one of the most compelling, mesmeric tracks on Brazilian Beats 7.
For anyone who loves Brazilian music, and are fed up with predictable compilations, then Brazilian Beats 7 is a compilation that deserves to take its place in your collection. It features twenty-tracks that showcase all that’s good about Brazilian music. Just as importantly, Brazilian Beats 7 matches the quality of previous installments in this critically acclaimed compilation series. New names and familiar faces feature on Brazilian Beats 7. Among them are Karol Conká, Cláudia, SamJazz, Junior Com Orquestra E Coro, Arnaud Rodrigues, Quarteto Novo and Mestre Bimba. These artists play their part in what is an eclectic compilation of quality Brazilian music. It seems that the good people at Mr. Bongo Records dig deeper than your average compiler.
While some of the tracks on Brazilian Beats 7 will be new to new to all but the most discerning connoisseurs of Brazilian music, this is no bad thing. After all, it’s the first step on a voyage of discovery. Once you’ve heard Brazilian Beats 7, you’ll want to hear more of this wonderful music. To do that, I’d recommend Mr. Bongo’s Brazilian Beats, an eight-disc box set. That includes the six previous volumes of Brazilian Beats. That’s the perfect introduction to the different styles of Brazilian music.
Mr. Bongo’s Brazilian Beats, just like Brazilian Beats 7, is best described as eclectic. Everything from bossa nova, samba, soul, funk, jazz, rock and psychedelia can be heard on Brazilian Beats 7. This is a world away from most of the tired and predictable compilations of Brazilian music released in recent years. Instead, the music on Brazilian Beats 7 is innovative and eclectic. Brazilian Beats 7 also joyous, uplifting and irresistible. It’s a welcome return for the the Brazilian Beats series. After eight years away, the Brazilian Beats compilation is back and back with a bang with Brazilian Beats 7, the latest in what is one of the best compilations of Brazilian music money can buy. Standout Tracks: Som Sete Esquindindin, Djavan A Voz, O Violao, Jorge Autuori Trio Autorizando and Quarteto Novo Misturada.
BRAZILIAN BEATS 7.
CALL TO MIND-A FAMILY SKETCH.
CALL TO MIND-A FAMILY SKETCH.
Glasgow’s Olive Grove Records look like they’ve hit the jackpot with their latest signing Call To Mind. Why? Well, this is a band with a big future. One listen to their latest single A Family Sketch, which was released on Olive Grove Records on 28th October 2013, and you’ll realize that. Call To Mind have been influenced by an eclectic selection of artists, including Sigur Ros and Kate Bush. That’s no surprise. These influences shine through on A Family Sketch, which is an exquisite example of ethereal beauty. A glacial soundscape, A Family Sketch is musical perfection from Call To Mind, who remain one of Scotland’s best kept musical secrets.
Formed in Ardersier, in the Highlands of Scotland, Call To Mind are a five piece band, who are now based in Glasgow. The lineup includes Martin Ross and Jamie Ross, Andrew Masson, Joe Smillie and Steve Gribbin. Drawing inspiration from their musical influences, Call To Mind bring a new meaning to the word eclectic. Call To Mind have established a reputation for producing dramatic, glacial and ethereal soundscapes. In some ways, this could also be reflection of their Highland roots. These soundscapes were first heard on Call Of Mind’s debut E.P.
Their eponymous E.P, Call Of Mind was released in March 2010. On its release, critics recognized Call To Mind’s talent and ability to innovate. This was music of substance, cerebral, multi-textured music. Layers of music unfold, while subtleties and nuances reveal themselves. Since then, Call Of Mind have spent the last three years honing their sound.
During the last few years, Call To Mind have been compared to Doves, Radiohead and Joy Division. Then there’s the influence of Sigur Ros and Kate Bush. To that I’d add Brian Eno, The Bathers and Cocteau Twins. Indeed, a myriad of influences play their part in the music of Call To Mind. A Family Sketch, which I’ll tell you about, is an introduction to Call Of Mind.
A Family Sketch meanders into being. Dramatically, this ethereal soundscape unfolds. Guitars chime, while washes of dramatic synths play their part in this moody, melancholy opus. Reminiscent of Penguin Cafe Orchestra, the track evolves and further influences reveal themselves. A ponderous bass is added, before the vocal is akin to a cathartic outpouring of emotion and frustration. Elements of ambient, jazz and indie pop. By then the arrangement has become ethereal, glacial and wistful. Growing in power and potency, this outpouring of emotion is accompanied by searing guitars, harmonies and bubbling keyboards. This results in the track heading in the direction of post-rock. A mesmeric, ethereal and cerebral fusion of influences, this glacial, genre-melting track, A Family Sketch is the perfect introduction to Call To Mind.
Call To Mind are unlike many other bands. Their music can variously be described as ethereal, glacial, enigmatic, minimalist, melancholy and pensive. A Family Sketch is a fusion of ambient, indie rock, jazz, indie pop and soulful vocals. The artists that have influenced Call To Mind’ are just as varied. Listen carefully and you’ll hear Sigur Ros, Astrid Williamson, Bartok, Blue Nile, Brian Eno, Cocteau Twins, Jerry Burns, and Kate Bush. Such a diverse and eclectic range of influences make for music that’s intriguing and compelling.
Indeed, from the opening bars of A Family Sketch to the closing notes, you’re spellbound. Layer upon layer of multi-textured, genre-sprawling music toys with your emotions. Intrigued, you wonder where Call To Mind are taking you? It’s like a musical journey, during a cinematic soundscape. Veering between ethereal and beautiful, this glacial soundscape, A Family Sketch is musical perfection from Call To Mind, who are one of Scotland’s best kept musical secrets.
CALL TO MIND-A FAMILY SKETCH.
GHOSTCHANT-LAID TO REST.
GHOSTCHANT-LAID TO REST.
GhostChant’s Laid To Rest E.P. is a tantalising taste of his debut album Sincerity, which will be released in the spring of 2014. Laid To Rest is also a showcase for one of Britain’s best up-and-coming producers, GhostChant. Joe Cornell, man behind GhostChant, is a remixer and producer whose production skills are highly sought after. So are GhostChant’s DJ-ing skills.
Initially, GhostChant made his name in his hometown of Liverpool. GhostChant provided the soundtrack to the city’s best parties. Best known for his fusion of trippy, lysergic, futuristic garage and bass heavy, deep house GhostChant’s guaranteed to get the party started. That’s why recently, GhostChant’s been DJ-ing further afield. Los Angeles, Beijing and New Delhi have been won over by GhostChant.
During the last few years, GhostChant has won over audiences at some of the biggest festivals and opened for a whole host of artists. This included an appearance at SoundCity Festival, plus opening for Maribou State, Slow Magic, Giraffage and Dirty Beaches. Then at the GIT Awards, GhostChant, accompanied by The Sense Of Sound choir, orchestrated a barnstorming live remix of Jetta’s Start A Riot at the GIT Awards. Onlookers who were aghast at this mesmeric performance, wondering what GhostChant was capable of within a studio? Now they get the opportunity to discover what the multitalented GhostChant is capable of.
Laid To Rest was chosen as the lead single from GhostChant’s debut album Sincerity. The Laid To Rest E.P. features the LP version, plus three remixes. This includes the Banga Tang Remix, Chimpo Remix and Kolectiv Remix. These three remixes of Laid To Remix bring new life and meaning to the original, which I’ll tell you about.
Over five-minutes, Laid To Rest reveals a myriad of secrets. GhostChant has surprises in store. The first is the unmistakable sound of worn, crispy vinyl. This grabs your attention. GhostChant adds deliberate, plucked strings, drum ‘n’ bass drums and a heartfelt, questioning vocal. It’s akin to an outpouring of hurt and heartache. All the time, space is left within the arrangement. As drums crack, strings are plucked and the vocal echoes and soars dramatically. At the perfect moment, GhostChant adds dancing strings, sci-fi synths. They play in important part in the arrangement, buzzing and beeping as they drive the arrangement along. Soulful, heartfelt, dramatic, moody and innovative, it’s a tantalising taste of GhostChant’s debut album Sincerity.
As for the other remixes of Laid To Rest, they all bring something new to the track. The Banga Tang Remix is dance-floor friendly, dubby and moody. Echo, filters and hip hop scratches are added, transforming parts of the original track, but at the same time, staying true to the original.
The Chimpo Remix is very different from the Banga Tang Remix. It might be dark and edgy, but it’s guaranteed to light up any dance-floor. A mixture house, techno and electronica, it’s the best of the three remixes, transforming Laid To Rest into a pulsating, anthemic dance track.
Kolectiv is the last remixer to remix Laid To Rest. Again, the Kolectiv Remix transforms the original. It becomes a slice of moody, minimalist Gothic electronica, where trip hop, drum ‘n’ bass, soul and techno are thrown into the melting pot by Kolectiv. Add to that a myriad of beeps and squeaks, and the result is glorious pot pourri of musical influences.
The three remixers take Laid To Rest in ways that I’m sure even GhostChant never imagined. Tthree tracks all offer something imaginative, inventive and innovative. It never ceases to amaze me how remixers can produce something new and vibrant from the same stems. To be able to do that, they deserve the utmost credit. It’s good to hear a new breed of remixers getting the opportunity to remix high profile tracks. For me, it makes a change from the same old faces producing the same predictable remixes. This new breed of gunslingers who remixed Laid To Rest, are the future of remixing. As for GhostChant, he looks like enjoying a successful career.
Laid To Rest E.P. is a tantalizing taste of GhostChant’s debut album Sincerity, which will be released in the spring of 2014. It’s also a showcase for one of Britain’s best up-and-coming producers, GhostChant. Joe Cornell, man behind GhostChant, is one of a new generation of producers. His remixing and production skills are highly sought after. So too will his debut E.P. Laid To Rest, which will soon be released by BBE Music.
If the rest of GhostChant’s debut album Sincerity is as good as Laid To Rest, then Sincerity will be an album to cherish. Until then, you can enjoy Laid To Rest, the perfect primer to GhostChant, an innovative, inventive and groundbreaking DJ, remixer and producer, whose raison d’etre is to create the music of the future, today.
GHOSTCHANT-LAID TO REST.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
By 1977, The Salsoul Orchestra had established their reputation as disco’s premier orchestra. They’d been formed in 1975, and had already released a trio of albums, where disco, Philly Soul, funk, jazz, Latin and classical music were seamlessly fused. Much of the emphasis was on individual members stepping into spotlight and showcasing their considerable skills. With so many talented musicians in The Salsoul Orchestra’s lineup, their was abundance of talent. Baker, Harris, Young provided the rhythm section, Bobby “Electronic” Eli played guitar, Larry Washington congas and percussion while Vince Montana Jr played vibes. Add to that a full horn, string and woodwind section. The finishing touch were the legendary Philadelphia trio of backing vocalists, the Sweethearts of Sigma, who took charge of vocal duties. That’s why The Salsoul Orchestra was so successful.
Founded and lead by vibes virtuoso Vince Montana Jr, who wrote, arranged, conducted and produced much of The Salsoul Orchestra’s music, it seemed they could do wrong when they were about released their fourth album Magic Journey in 1977. After all, their three previous albums had proved commercially successful, innovative and provided the soundtrack to many dance-floors. Would The Salsoul Orchestra’s fourth album Magic Journey which was recently released by BBR Records, continue this run of commercial success and critical acclaim?
Two years before the released Magic Journey in 1977, The Salsoul Orchestra released thir 1975 eponymous debut album The Salsoul Orchestra. It had reached number twenty in the US Billboard 200 and number fourteen in the US R&B Charts, selling a million copies in the process. In 1976, The Salsoul Orchestra released two albums. Nice ‘N’ Nasty reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. Then following in the tradition of artists like Phil Spector, The Salsoul Orchestra released their classic Christmas album Salsoul Jollies, which reached number forty-eight in the US Billboard 200 and number thirty-eight in the US R&B Charts. The Salsoul Orchestra it seemed, could do wrong. When The Salsoul Orchestra released their fourth album, Magic Journey, they were hoping to continue this run of successful albums.
For The Salsoul Orchestra’s fourth album Magic Journey, nine tracks were chosen. This included cover versions and new material. Of the Salsoul personnel, Vince Montana Jr, contributed three tracks. He wrote Magic Bird of Fire and cowrote Runaway and It’s A New Day With Janice Gugliuzza and Ronnie James. Vince also arranged covers of the folk song Guantanamera and Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. This would prove a controversial choice of song to cover. Other tracks included a cover of the Short Shorts, given a seventies makeover, plus Pasquale Spino’s Journey To Phoebus and Alpha Centuri, written and arranged by Peter De Angelis. So Magic Journey included an intriguing and eclectic collection of tracks that The Salsoul Orchestra recorded at Philly’s Sigma Sound Studios.
When The Salsoul Orchestra arrived at Sigma Sound Studios, a few familiar faces were missing. Usually, Baker, Harris, Young provided the rhythm section. This time, only drummer Earl Young was present. Earl was joined by bassists Michael “Sugarbear” Foreman, Gordon Edwards and Jimmy Dejulio, while Charles Collins also played drums. Guitarists included Bobby “Electronic” Eli, T.J. Tindall and Ronnie “The Hawk” James. Giving Magic Journey its percussive sound were Larry Washington, Crusher Bennet and Peter “Choki” Quintero who added congas, bongos and timbales, while Vince Montana Jr played vibes, timpani, wind chimes, bells and marimba. Ron “Have Mercy” Kersey and Cotton Kent played keyboards. Violinist Don Renaldo and flautist Jack Faith were part of a fill string, woodwind and horn section. Adding backing vocals and harmonies were Barbara Ingram, Carla Benson and Evette Benton, The Sweethearts of Sigma. Arranging, conducting and producing Magic Journey was Vince Montana Jr, which was released in 1977.
On the release of Magic Journey in 1977, it reached number sixty-one the US Billboard 200 and number fifty-one in the US R&B Charts. The title-track, Magic Journey was released as a single, reaching number three in the US Dance Music/Club Play Charts. Then Getaway was released as a single, reaching number thirty-three in the US R&B Charts. Incredibly, Runaway featuring Loleatta Holloway’s classic vampish vocal, wasn’t released as a single. So, Magic Journey wasn’t as commercially successful as previous albums by The Salsoul Orchestra, but was the music as good as on previous albums?
Opening Magic Journey is It’s A New Day, written by Vince Montana Jr, with Janice Gugliuzza and Ronnie James. The arrangement bursts into life with the familiar sound of The Salsoul Orchestra. This means a pulsating disco beat courtesy of the rhythm section, dancing strings, flourishes of keyboards, a myriad of percussive delights and rasping horns. They drive the joyous arrangement along, providing a dance-floor friendly, infectiously catchy, joyful sound. What really makes the track are the harmonies. They’re punchy, urgent and soulful. Especially thanks to the Sweethearts of Sigma’s contributions. Like previous albums, they’re at the heart of the song’s joyful, hopeful and hook-laden sound, as disco, Philly Soul, Latin music and jazz unite.
Short Shorts was a track that puzzled critics. It’s a three-minute cover of song released in 1960, albeit with the lyrics changed to include band members. It’s like a trip back in time, to the late-fifties, early-sixties. There’s everything from R&B, surf music and jazz included. Think the hot rod and surf sound and you’re getting there. WIth the sound of an engine gunned, sassy harmonies from the Sweethearts of Sigma join a driving rhythm section, piano and bursts of blazing saxophone. Not only do they help drive the track along, but they help conjur up the sound of California from over fifty years ago. Surfing, hot roads, sandy beaches and drives-ins all come to mind during this three minutes trip back in time. Although sniffy seventies music critics fixated on west coast rock music didn’t like the track means nothing. Instead, it’s a vintage sounding slice of musical sunshine, guaranteed to put a smile on your face.
Runaway saw The Salsoul Orchestra joined by the legendary diva Loleatta Holloway. Although it wasn’t released as a single, it’s since become a stonewall classic. Opening with Earl Young’s thunderous drums at the heart of the rhythm section, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while powerful drums punctate the arrangement and lush strings cascade. Vince lays down one of his best vibes solos, and with the chiming guitar sound, you’re in disco heaven. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as she confidently and defiantly vamps her way through a genuine and timeless disco classic.
A cover of the folk song Guantanamera might seem a strange choice for The Salsoul Orchestra. However, their talents could transform a track totally. Congas, bongos and a plucked harp combine, before the rhythm section, swathes of lush strings and Vince Montana Jr’s vibes take charge. Horns growl, then tender harmonies sweep in. Soon, a delicious fusion of musical styles unfolds. There’s everything from disco, Latin, lounge, jazz and even Caribbean music. Later, Jack Faith adds a flute solo, before layers of strings, growling horns and a myriad of percussion bring new life and meaning to an old song.
Probably the most controversial inclusion on Magic Journey was Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. Critics argued that The Salsoul Orchestra’s traditional soulful sound was sacrificed at the altar of classical music. The counter argument is that with its classical influence, especially the layers of sad, emotive strings at the heart of the arrangement was innovating and challenging and educating listeners. Along with flourishes of harpsichord, healthy sprinklings of percussion, a slow melancholy heartbeat from the rhythm section and the haunting addition of woodwind instruments it was an innovative, challenging track. It took some listener’s in a new direction. Maybe Vince Montana Jr, wanted to educate, as well as innovate. In the process, he allowed the musicians to demonstrate their versatility and considerable talents. That’s no bad thing.
What was Side Two of Magic Journey, opens with Getaway. Just subtle bongos and congas open the track. Then The Salsoul Orchestra get down to creating an uber funky track. This means the rhythm section, blazing, braying horns and layers of sweeping swirling strings. They join percussion, wah-wah guitars and keyboards. Horns growl, soaring above the arrangement as searing guitars and cascading strings demonstrate just why The Salsoul Orchestra were by 1977,disco’s premier orchestra. They’re at their best when they kick loose. Here, they fuse funk, jazz, disco and even rocky guitar licks, creating a peerless, funky Magnus Opus.
Magic Bird of Fire was the only track on Magic Bird written by Vince Montana Jr. There’s a real sinister, moody sound, thanks to the strings and grizzled horns. The rhythm section and percussion provide a pulsating, dramatic heartbeat as quivering, shivering strings provide a haunting contrast. A jangly boogie woogie piano adds another contrast and layer as the drama builds and builds. Eventually, it reaches a dramatic climax, then rebuilds, allowing you to enjoy this musical journey again. Again, it’s like the soundtrack to a film. Vince Montana Jr and the rest of The Salsoul Orchestra paint pictures, reminiscent of something Alfred Hitchcock in his prime would’ve produced.
As Journey To Phoebus begins you realize something special is unfolding. Gradually, the drama builds. Cinematic strings, growling horns, wah-wah guitars and a rhythm section that injects a dramatic, pulsating heartbeat. A myriad of percussion, melancholy, wistful woodwind and grizzled horns join bursts of thunderous drums. It’s not unlike the soundtrack to a seventies Blaxploitation movie, albeit one that’s yet unmade. A haunting, sinister vocal is added, before The Salsoul Orchestra continue painting pictures, pictures that are dramatic, moody and funky with a capital F. The result is one of the highlights of Magic Journey.
Closing Magic Journey, The Salsoul Orchestra’s fourth album is Alpha Centuri. The tempo drops, floaty strings, flourishes of harp and a sprinkling of percussion combine with lush strings. The Earl Young’s drums add pounding disco beat, while Bobby “Electronic” Eli adds his trademark guitar sound. What really makes the track is the strings, sweeping and swirling, providing a beautiful, elegant backdrop. Ethereal vocals are added as the drama builds, and the the rhythm section, braying horns and percussion join the lush strings in ensuring this Magic Journey ends in a hauntingly beautiful, ethereal but dramatic high.
While Magic Journey, The Salsoul Orchestra’s fourth album divided opinion among critics at the time, that has to be taken in context. Many critics weren’t fans of disco. Instead, they still were fixated on washed out sixties stars, West Coast rock and the first wave of punk music. To them, disco was the antithesis of their idea of what was fashionable and what people should be listening. They’d set themselves up as arbiters of taste and musical fashion. Given the power they had, they should’ve realized responsibility comes with it. What these reviewers missed, was a genre-sprawling album.
Over nine tracks, The Salsoul Orchestra fused disco, Philly Soul, funk, jazz, Latin and classical music. Like previous albums, The Salsoul Orchestra, lead by Vince Montana Jr, lead the way for disco orchestras. Others may have tried to replicate the sound of The Salsoul Orchestra, but they were fearless trailblazers and innovators. Although they strayed from their previous sound on a couple of tracks, this was quite brave. It took real courage, risking incurring the wrath of acerbic, Cyclopean critics. Although Magic Journey wasn’t The Salsoul Orchestra’s most successful album, it saw The Salsoul Orchestra lay down a gauntlet and challenge their listeners. The challenge was accepting and understanding a complex fusion of music. Despite the critics saying Magic Journey lacked the Philly Soul sound of previous albums, if they’d released similar albums to The Salsoul Orchestra and Nice ‘N’ Nasty they’d have been criticised as releasing formulaic music. Like musicians and especially innovative musicians, The Salsoul Orchestra were dammed if the do, dammed if they don’t. Instead, The Salsoul Orchestra, lead by its brave and innovative took their listeners on a Magic Journey that crossed musical genres, as they started the next chapter in the Salsoul Records’ story. Standout Tracks: It’s A New Day, Runaway, Getaway and Magic Bird of Fire.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
LOLEATTA HOLLOWAY-LOVE SENSATION.
LOLEATTA HOLLOWAY-LOVE SENSATION.
There’s a certain symmetry that in return for Loleatta Holloway adding a vocal on what became one of Dan Hartman’s biggest hit singless, Relight My Fire, that Dan returned this favor by writing one of Loleatta’s most successful singles, Love Sensation. This story starts back in 1979, when Dan Hartman was about to record his third album Relight My Fire. He’d written a track and wanted one of his favorite vocalists to add a vocal. The track was Relight My Fire and the vocalist he wanted to sing it, was Loleatta Holloway. Having spoked to Loleatta’s husband Floyd Smith, and then Ken Cayre, one of the co-owners of Salsoul Records, an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce a track for Loleatta’s next album. Dan Hartman kept his word and wrote a track that wasn’t just a stonewall disco classic, but became synonymous with Loleatta Holloway and gave her one of the biggest hit singles of her career. Love Sensation was penned and produced by Dan Hartman and was also the title-track of what was Loleatta Holloway’s fourth and final album for Gold Mind Records. Once I’ve told you about the background to Love Sensation,which was recently rereleased by BBR Records, I’ll tell you if Love Sensation was a fitting finale to the undisputed Queen of Disco’s career at Gold Mind Records?
Although Dan Hartman penned and produced Love Sensation, the other seven tracks on Love Sensation followed a similar pattern to Loleatta’s previous album Loleatta Hollaway. This meant the songs were split between Salsoul personnel and outside songwriters and producers. In total, four separate producers or production teams played their part in the making of Love Sensation at four separate studios.
Three of the tracks were produced by Norman Harris, who by 1980, was almost a Salsoul veteran. Despite the many changes at Salsoul, Norman was still there. Norman Harris arranged Love Sensation for Dan Hartman, and arranged and produced three other tracks. This included I’ll Be Standing There, which he cowrote with ex-Temptation Ron Tyson. The other two tracks Norman produced were Long Hard Climb To Love written by Michael and Richard Berardi and Two Became A Crowd, penned by Gary Knight and Gene Allan. While Norman produced three of the tracks,
Of the other four tracks, Floyd Smith, Loleatta’s husband produced the cover of I’ve Been Loving You Too Long, which was written by Otis Redding and Jerry Butler. The other three tracks were arranged and produced by Patrick Molten and Bobby Womack. Two of these tracks, Short End of the Stick and Dance What ‘Cha Wanna were written by Bobby and Cecil Womack. Bobby Womack also cowrote My Way with Noel Resnick.
Recording of Love Sensation took place at four different studios. Three tracks were recorded at Sigma Sound in Philly. At The Schoolhouse, Dan Hartman recorded the title-track Love Sensation. Other sessions took place at Muscle Shoals Sound Studios and Universal Recording Studio in Chicago. With sessions taking place in four different studios, different musicians and backing singers were used. This includes drummers Keith Benson and Roger Hawkins, bassists Jimmy Williams and Gordon Edwards and guitarists Norman Harris, T.J. Tindall, Bobby Womack and Kim Miller. They were joined by conga players Larry Washington and keyboard player Cotton Kent. Adding strings were Don Renaldo and His Strings and Horns and at the other session, Patrick Moten and His Strings and Horns. Legendary Philly backing vocalists the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, feature on the three Norman Harris’ produced tracks. Eventually, Love Sensation was ready for release on Gold Mind Records in 1980.
When Love Sensation was released in 1980, the Dan Hartman penned title-track gave Loleatta one of the biggest hits of her career. It reached number one in the US Dance Music/Club Play Singles charts. Sadly, Love Sensation the album didn’t repeat the success of its namesake. Love Sensation failed to chart in the post-disco musical landscape. However, why did Love Sensation fail to make an impression on the US Charts when the single Love Sensation fared so well? That’s what I’ll tell after I’ve told you about the music on Love Sensation.
Opening Love Sensation is the number one club hit Love Sensation, penned and produced by Hartman and arranged by Norman Harris. Nine years after its release, Love Sensation was “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. in 1989 While both tracks were huge commercial successes, neither can match the original. Here, Loleatta Holloway demonstrates why she as the true Queen of Disco. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Long Hard Climb to Love is the first of the trio of tracks Norman Harris arranged and produced. He had an enviable track record of success with Loleatta, and could bring out the best in her. This track demonstrates this. Just a piano, wistful woodwind and bursts of growling horns combine with strings to provide an emotive backdrop for Loleatta’s vocal. Her heartfelt vocal is laden with emotion, with the Sweethearts of Sigma adding tender harmonies. Loleatta’s vocal grows in power as she breathes life and meaning into the lyrics. Drums add to the drama and horns to the emotion. So do the woodwind, harmonies and piano as Loleatta rediscovers her Southern Soul roots, mixing power, passion, drama and emotion peerlessly.
There’s a change of producer on Short End of the Stick. Bobby Womack and Patrick Molten take over production duties on a track that’s funky, full of hooks and dance-floor friendly. A slapped bass is joined by Loleatta’s soaring, sassy vocal. She’s accompanied by lush, cascading strings, a tough, funky rhythm section and testifying backing vocalists. Elegant strings dance with delight, while Loleatta vamps her way through the track with backing vocalists for company. Disco and funk are fused as Loleatta delivers a vocal tour de force that results in a timeless dance track.
I’ve Been Loving You Too Long sees the Bobby Womack and Patrick Molten production team take charge of this cover of a track made famous by Otis Redding. The song’s slowed way down, and given a dramatic makeover. Just a guitar drums combine dramatically before rasping horns and shivering strings enter. They accompany Loleatta’s impassioned, powerful vocal. Her delivery is full of feeling, as if realizing that given how good the original was, she must deliver something special. This she does. Not only is her delivery brimming over with emotion, power and drama, but it’s soulfulness personified. Quite simply, Loleatta pays a fitting and moving homage to Otis Redding, who recorded and cowrote this track.
Norman Harris return to the producer’s chair on Two Became a Crowd. Just a pounding bass is joined by bursts of drums and growling horns and Norman’s chiming guitar. Then shimmering, strings sweep in, as if announcing the arrival of Loleatta’s vocal. Her vocal is tinged with sadness and regret. Reflecting this are the Sweethearts of Sigma, who add emotive, soulful harmonies. Wistful horns, quivering strings and keyboards punctuate the arrangement. Later, they accompany Loleatta as she adds a heartfelt, half-spoken vocal, her voice full of hurt and heartbreak. As her vocal grows in power and passion, the Sweethearts of Sigma accompany Loleatta as this epic track reaches a dramatic and emotive crescendo.
Cecil and Bobby Womack cowrote two tracks on Love Sensation, and Dance What ‘Cha Wanna is the second of these tracks. A driving, uber funky rhythm section is joined by sweeping, swirling strings before the undisputed Queen of Disco makes her grand entrance. Loleatta’s vocal is a powerful, sassy and feisty vamp with punchy backing vocals accompanying her. The pounding rhythm section, powered along by the funky bass, join piano and cascading strings. They’re key to the track’s sound and success. Later, Loleatta demands horns. Growling horns she gets. They briefly punctuate the arrangement as the piano, dancing strings and rhythm section provide the backdrop to Loleatta’s vocal masterclass.
My Way is another track Bobby Womack cowrote, this time with Noel Resnick. A slow, spacious rhythm section combine with synths, blazing horns and searing guitars. They buildup the drama before Loleatta’s vocal enters. Her vocal is laden with a mixture of emotions. Sadness and regret gives way to hope and confidence. As Loleatta’s vocal soars powerfully, backing vocalists match her every step of the way. They reflect the emotion and drama in her voice. Later, a blazing saxophone adds what’s the finishing touch, as Loleatta sings call and response with her backing vocalists. This is quite fitting given Loleatta’s gospel roots, that shine through.
Closing Love Sensation is I’ll Be Standing There, which Norman Harris and Ron Tyson cowrote. Norman arranged and produced the track, which quite simply, is one of the highlights of Love Sensation. From the get-go, you realize something special is unfolding. The rhythm section, piano and rasping horns combine before Loleatta’s vocal enters. Her vocal grows in power and passion, while the Sweethearts of Sigma adding cooing, sweeping harmonies and handclaps. Their harmonies then soar, matching Loleatta for drama, power and soulfulness. Layers of the lushest strings dance with joy, horns growl and rasp as the rhythm section provide the track’s pulsating heartbeat. Along with the Sweethearts of Sigma’s glorious harmonies they provide the perfect backdrop for Loleatta’s powerhouse of a vocal. The result is an irresistible and hook-laden track, which quite simply, is the highlight of Love Sensation.
When Loleatta’s fourth and final album Love Sensation was released in 1980, it didn’t replicate the success of previous albums. Neither did it match the success of the lead single and title-track Love Sensation. The Dan Hartman penned and produced single reached number one in US Dance Music/Club Play Singles charts. There was nothing whatsoever wrong with the other seven tracks on Love Sensation. Indeed, each of the eight tracks on Love Sensation features Loleatta Holloway at her very best. From the opening bars of Love Sensation, right through to I’ll Be Standing There Loleatta veers between disco and soul. Whether it’s Loleatta Holloway disco diva, or Loleatta revisiting her Southern Soul roots, she’s just as comfortable. This was the same combination as Loleatta’s three previous albums, Queen of the Night, Loleatta and Loleatta Holloway. So it wasn’t as if Loleatta had changed direction musically. What had changed was music.
Disco was no longer as popular. Indeed since the Disco Sucks’ backlash, neither record companies, nor record buyers, were as interested in disco. Indeed, some record companies dropped disco artists and disco records. Salsoul and Gold Mind Records, which released Love Sensation, had established a reputation as a disco labels. Following the commercial failure of Love Sensation, worse was to come for Loleatta.
Salsoul ceased trading in the mid-eighties, leaving her without a record label. Then tragedy struck. Floyd Smith, Loleatta’s husband died in 1984. After this, Loleatta Holloway signed to Streetwise Records, owned by producer Arthur Baker. Loleatta released Crash Goes Love later in 1984, which gave her a minor US R&B hit single. For the rest of the eighties and nineties, released tracks for various dance labels. By then, her vocals had become a favorite of producers. They relentlessly “sampled” her vocals. Loleatta’s vocal can be heard on both Black Box’s on Ride On Time and Marky Mark and The Funky Bunch’s Good Vibrations. Ironically, Good Vibrations indirectly gave Loleatta Holloway the number one, million-selling single that eluded her. Sadly, on 21st March 2011, Loleatta Holloway passed away, aged just sixty-four. Loleatta Holloway leaves behind a back-catalogue that demonstrates just why, she was the true and undisputed Queen of Disco. Others may tried to steal her crown, but for evermore, Loleatta Holloway will remain the Queen of Disco. Her fourth and final album, Love Sensation which was recently released by BBR Records, is proof of this, if any was needed. Standout Tracks: Love Sensation, Long Hard Climb to Love, Two Became a Crowd and I’ll Be Standing There.
LOLEATTA HOLLOWAY-LOVE SENSATION.
BUNNY SIGLER-LET ME PARTY WITH YOU.
BUNNY SIGLER-LET ME PARTY WITH YOU.
Bunny Sigler seemed to have been around the Philadelphia music scene forever, by the time he signed to Norman Harris’ new label Gold Mind Records, where he’d release his fifth album Let Me Party With You in 1978. Eleven years before, Bunny had released his debut album Let the Good Times Roll in 1967, on Cameo Parkway. Although it failed to chart, the title-track Let the Good Times Roll and Lovey Dovey gave Bunny two minor hit singles. By 1974, Bunny had signed to Gamble and Huff’s Philadelphia International Records, releasing three albums between 1974 and 1976. That’s How Long I’ve Been Loving You, Bunny’s 1974 sophomore album, proved his most successful release on Philadelphia International. It reached number twenty-seven in the US R&B Charts. After that, 1975s Keep Smilin’ and 1976s My Music both failed to chart. Following My Music, Bunny decided to leave Philadelphia International Records and head to New York, where he joined Norman Harris’ new label Gold Mind Records. Gold Mind Records would release Let Me Party With You in 1978. Would Let Me Party With You which was recently released by BBR Records see an improvement in Bunny Sigler’s fortunes?
At Gold Mind Records, Bunny joined up with many former members of M.F.S.B, Philadelphia International Records legendary house-band. They’d left the label following a dispute with Gamble and Huff over money. Their destination was Salsoul Records, where they became The Salsoul Orchestra. Since then, Norman Harris had been given his own label to run, Gold Mind Records, which would now be home to Bunny Sigler. Indeed, it was on Norman Harris’ Gold Mind Records, that Bunny Sigler released his 1978 album Let Me Party With You. Given Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records maybe a change in label would mark a change in Bunny’s fortunes?
For Bunny Sigler’s Gold Mind debut album, Let Me Party With You, six tracks were penned. Bunny wrote three tracks, You’re Love Is Good, I’m A Fool and Time To Twist. With his brother Jimmy Sigler, Bunny cowrote I Got What You Need and with Kim Miller, Raymond Earl and Scotty Miller, penned Let Me Party With You (Disco-Disco-Disco). These six tracks were recorded in Philly, at Sigma Sound Studios and Philadelphia Music Works.
Unlike many of the albums released on Gold Mind Records, it wasn’t the familiar lineup of musicians. There was neither the Baker, Harris, Young rhythm section, nor Bobby “Electronic” Eli. Neither do The Sweethearts of Sigma’s backing vocalists grace Let Me Party With You. Instead, accompanying Bunny were a rhythm section of bassist Raymond Earl, drummer Scotty Miller and guitarist Kim Miller. Fred Bahler, Jimmy and Bunny Sigler played keyboards, Scotty Miller and Larry Stricklen congas, Sam Peaks supplied the horns. Dennis Richardson played piano, while Charles Williams and Fred Bahler played keyboards. Instant Funk also featured on Let Me Party With You which Bunny produced and Tom Moulton mixed. Would Bunny Sigler’s change of label see a change in his fortunes when Let Me Party With You was released in 1978?
On the release of Let Me Party With You in 1978, Bunny’s fortunes improved when the album reached number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this four hit singles. Only You reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. Let Me Party With You (Disco-Disco-Disco) reached number forty-three in the US Billboard 100, number eights in the US R&B Charts and number twenty-seven in the US Dance Music/Club Play Charts. I Got What You Need reached number forty-two in the US R&B Charts and then Don’t Even Try (Give It Up) reached number ninety-four in the US R&B Charts. It seemed Bunny Sigler’s decision to leave Philadelphia International Records had been vindicated. Let Me Party With You, which I’ll now tell you about, proves this.
Let Me Party With You opens with Let Me Party With You (Disco-Disco-Disco), a twelve-minute epic, which sounds not unlike a party in the studio when the track begins. Whoops, hollers and handclaps give way to a driving, funky rhythm section, stabs of keyboards, growling horns and percussion. Bunny’s good time vocal ensures the song swings, slowly revealing its secrets and surprises. Soon, Bunny is like cheerleader, his enthusiasm infectious. He’s desperate to make sure the song swings. Funky, joyous and dance-floor friendly, this track’s all this and more. Doo-wop harmonies accompany Bunny as he vamps his way through the track enthusiastically and energetically, determined to make the sure the song swings. Although very different from the music on That’s How Long I’ve Been Loving, Bunny’s back, with a bang.
You’re Love Is Good is quite different from the opening track. It’s a much more laid-back track. Harmonies, handclaps and rasping horns accompany keyboards before Bunny and his band kick loose. A blazing, meandering horn, keyboards and rhythm section add funk to Bunny’s sassy vocal and punchy harmonies. Stabs of keyboards and handclaps punctuate the arrangement. Soon, Bunny vamps, mixing power and passion. This is perfect for the arrangement. So are the waves of harmonies and strings that sweep in. Now Bunny adds some of his trademark soul. He testifies his way through the track, with punchy harmonies for company while his band supply some uber funky music. This ten minute epic, closes Side One of Let Me Party With You, and is one of the highlights, with Bunny back to his very best.
Bunny penned I Got What You Need with his brother Jimmy. Just a moody, spacey, sometimes funky bass sets the scene for Bunny’s sassy, breathy vocal. There’s a jazzy sound to the spacious arrangement. Breathy, sensual backing vocals give way harmonies and a heartfelt, impassioned vocal. Soon, Bunny’s sensuous vocal teases, with the sultriest of saxophone solos and soaring harmonies for company. Add to this bursts of dramatic drums and pulsating bass line and you’ve the finishing touch. The result is seven minutes of sheer sensuality and one of the best songs Bunny recorded.
I’m A Fool has a spacious, moody and funky arrangement as it unfolds. Just a broody bass line, keyboards and guitars combine as a questioning scatted, heartbroken vocal enters. Then the tempo quickens. The rhythm section, searing guitars and stabs of keyboards drive the arrangement along. Bunny’s vocal is filled with sadness and emotion. With such an emotive vocal, the arrangement doesn’t disappoint. It’s drama personified, providing the perfect backdrop, for Bunny’s vocal and reflecting the heartache and emotion in his vocal.
It’s Time To Twist sounds like Bunny looked to the past for inspiration when writing this song. The song literally bursts into life. A driving, funky rhythm section, bursts of space-age synths, searing guitars and stabs of bluesy horns set the scene for sweet, soulful harmonies. Bunny’s powerful gnarled vocal becomes a vamp, while crystalline guitars and washes of keyboards replace his vocal. By then, you realize Bunny has looked to the past for inspiration, fusing blues, funk and soul, adding to that generous supply of hooks.
Closing Let Me Party With You is Don’t Even Try (Give It Up), written and arranged by Gregory Herbert. Bunny has saved the best to last, as he decides to revisit his soulful past. Straight away, you realize something special is unfolding. A bursts of drums ushers in chiming guitars, rasping horns and waves of atmospheric keyboards. The rhythm section create the track’s slow, beautiful and soulful heartbeat. For his part, Bunny delivers a tender, heartfelt vocal. Truly, he rolls back the years, delivering a vocal filled with emotion, joy and hope. It’s the perfect way to close the first chapter in the part of the Bunny Sigler story at Gold Mind Records.
With Bunny Sigler now signed to Norman Harris’ Gold Mind Records, Let Me Party With You represents the next chapter in his career. While Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records, it was almost as if Bunny was reinvigorated and rejuvenated at Gold Mind Records. Let Me Party With You which was recently released by BBR Records, proved to be Bunny most successful album, surpassing even his Philadelphia International Records’s debut That’s How Long I’ve Been Loving. On Let Me Party With You mixed musical genres old and new. Unlike some soul singers during the disco era, Bunny didn’t throw the soul out with the bathwater. He combined Philly Soul with funk, disco, jazz and a twist of the blues. The result was six tracks, where Bunny mixed good-time party music, funky licks and some heartfelt soul. The record-buying public loved the music on Let Me Party With You, resulting in the album number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this, four hit single and Bunny Sigler was back, asking to Let Me Party With You. Given how good the music is on Let Me Party With You is you can’t refuse. Standout Tracks: You’re Love Is Good, I Got What You Need, I’m A Fool and Don’t Even Try (Give It Up).
BUNNY SIGLER-LET ME PARTY WITH YOU.
SANO-SANO.
SANO-SANO.
One of the most anticipated releases of 2013 is Columbian Wunderkind Sano’s eponymous debut album. Sano, which will be released on Matias Aguayo’s Comeme label on 28th October 2013, has been described as sleazy house at its best. I’d go further and say that Sano is a delicious fusion of musical influences. There’s everything from salsa, disco, Latin house and even a twist of techno. Add to this a myriad of percussive delights. During ten tracks, Sano paints pictures with his music. Just like an artist uses his palette, Sano uses his music to paint vivid, evocative pictures. These pictures conjur up pictures of the seedier side of Medellin, Sano’s home town.
During Sano’s ten tracks, Sano is house music’s equivalent of Tom Waits or Lou Reed. He paints pictures of Medellin’s dark and hedonistic underbelly. This is the Medellin where strutting, macho hustlers and hoods populate dive bars. They rub shoulders with shysters, conmen and pimps. To pass the time, they smoke cigarettes, roll dice and play cards. Money changes hands. Sometimes, small fortunes are won or lost on the turn of a card. All the time, the hustlers await their prey with glee. Like a carnival barker, they encourage their prey to enter their world. Dreams can be made, nightmares begin and lives changed forevermore. Meanwhile, Medellin comes alive around them.
The city’s party people come out in numbers. Bars empty, with their patrons high on the happy side, heading for the city’s part quarter. Clubs are filled with pounding, pulsating, house music. Strobes and flashing, flickering lights and smoke machines turn what was a cavernous space into a palace. The dancers are Kings and Queens for the night. Dreams can come true…sometimes. Princes or Princesses can be found. Then as night turns into day, reality strikes and so does the hangover. Medellin is a very different place, but a reminder of the city by night is Sano’s debut album Sano.
For some time, Sano has been a familiar face on the Medellin music scene. He’s established a reputation one of the city’s top musicians and DJs. Sano is part of a collective who are known for throwing some of the best parties the cities seen. These are spontaneous, clandestine and hedonistic. A throwback to the past, the city’s beautiful people rub shoulders with rebels, gangsters and a colorful cast of characters. The city comes out to play when Sano DJs. Often the venue is Medellin’s infamous ghost-club Perro Negro. During these heady, hedonistic nights, Sano is like the Pied Piper, his DJ-ing skills captivating Medellin’s party people. However, there’s more to Sano than DJ-ing. Much more.
Last year, Sano released his debut E.P. Chupa. This was a tantalizing taste of what Sano was capable of. Five tracks of deep, sleazy house Sano was an artist with a big future ahead of him. He was definitely one to watch. Since then, Sano has been locked away in his studio, recording his eponymous album.
Helping Sano craft and hone his debut album, are what sound like the cast of a sci-fi movie. Among them are Cornelio, Little Chucharita and Glad Secret Kazuka. Then there’s Lord Byron, Diegors another Comeme artist Diegors. Last but not least, there’s Wilson, the extraterresstrial dog, who makes a guest appearance on Boqueron. Together, this colorful cast of characters played their part in Sano’s debut album Sano, which I’l tell you about.
Briefly, I Don’t, which opens Sano, reminds me of the Pet Shop Boys West End Girls. Drums with filters and jackhammer hi-hats combine house, experimental and postindustrial. Then the squelchiest of Acid House synths are added to the equation. Add to that an emotionless, almost haunting half-spoken vocal. Percussion is then added to the mix. So are a myriad of sound effects, a gothic organ and filters add to Sano’s musical melting pot. This unlikely combination is then given a stir, and tastes delicious.
Dark, Gothic, eerie describes Sano’s Paranoia. It envelops you, awakens your senses and sets your nerves on edge. Disturbing and discordant, it’s also a sophisticated, wall of sounds and textures. Multilayered, darkness and light sits side by side with dramatic and dreamy plus melodic and discordant. Sounding like Dark Side Of The Moon played backwards, secrets and nuances reveal themselves. It’s as if we’ve taken a wrong turning and are deep in the darkest depths of Medellin’s underbelly, where who knows what fate awaits the unwary?
Me Without You sees Sano paying homage to Acid House. It’s like a trip back to Chicago in the mid-eighties. Drawing inspiration from Mr. Fingers’ Washing Machine, stabs of synths and Germanic vocals are added to the equation. What follows is what sound like five-minutes of vintage Acid House.
A thunderous bass line, pounding, galloping drums and sci-fi synths quiver as Paquidermos reveals its secrets. Synths bubble and squeak, while washes of synths quiver and shiver. As for the bass and drums, they quake, pulsate and reverberate. They play their part in a track that’s variously lo-fi, old school, inventive, innovative and fascinating.
Cotoneate is track where contrasts and influences unite. As drums pound and crack, there’s an eighties electronic influence. The percussion is reminiscent of Latin House, while the dark, eerie vocal is Gothic and Germanic. It has a hypnotic, sinister sound. Having said that, when it’s fused with the beefy bass, pounding drums, percussion and handclaps, it’s a masterstroke. Eighties electronica, house, techno and Latin music seamlessly unite. It’s a track for kittenish, coquettish divas to strut their way across dance-floors to.
Anestesia, is best described as hypnotic and mesmeric. Drums pound, testing the tolerance of your bass bins. Equally hypnotic synths join sound effects and hissing hi-hats. They lock into a trance-like, mesmeric groove. It’s irresistible and anthemic. Within a cavernous club, pounding out of speakers accompanied by a myriad of lights, lasers and smoke-machines, Anestesia would captivate and compel.
Straight away, you realize Matasanos is something special. Stabs of synths and crispy beats combine with hissing hi-hats and dramatic bursts of keyboards. Hypnotic, urgent and dramatic, Sano locks into a groove. From that groove, emits what’s akin to a siren. It’s a warning, warning you to climb onboard and enjoy the ride. Choppy, inventive and mesmeric, this is dance music for the 21st Century.
Dark and dramatic describes Transylvania No Mercy. A fusion of musical genres and influences, it sounds like the soundtrack to a movie yet to be made. Sci-fi and gothic influences sit side-by-side, with cinematic strings. It’s a compelling combination. So is the addition of pounding drums and synths. It’s as if Transylvania’s best known resident, Dracula has headed to Medellin, and decided to take some of his prey on a guided tour of hades.
As drums gallop away, the arrangement to Boqueron takes on a Latin influence. Just thunderous, jack-hammer drums and hi-hats combine to create a fusion of techno and house. Then crackly, jagged synths provide a contrast. Soon, everything from eighties electronica, postindustrial and disco combine with techno and house on this innovative, genre-melting track.
Necrophilic Love which closes Sano, briefly, seems to draw inspiration from Gary Numan’s Cars. As the track bursts into life, it’s an uplifting synth driven track. Synths soar above the Latin percussion, drums and hi-hats. Later, a keyboard solo that’s reminiscent of classic European electronica is added. So too, is a burst of an eerie, sinister, Gothic vocal. The result is an anthemic, hands in the air, floor filler where elements of electronica, Latin, techo and sleazy house unite majestically.
For Sano’s debut album, Sano, which was released on Matias Aguayo’s Comeme label on 28 October 2013, it’s a slick, polished and accomplished album. It’s a ten-track musical journey, which reflects Sano’s musical tastes and influences. Disco, Latin House, electronica, Acid House, techno and sleazy house have all influenced Sano. These influences play these influences and more on Sano, an album that’s dance-floor friendly, anthemic and full of subtle hooks. Sano is also an album influenced by Sano’s musical past.
It seems that Sano’s experience as a DJ, then producer has been put to good use. This taught him what type of music fills a dance-floor. Knowing that, put him one step ahead of other producers. He wasn’t going to make the musical mistakes they did. No. Instead, he was going to create music that dramatic, uplifting, energetic, dance-floor friendly and anthemic. It’s also music that’s Gothic, eerie, sinister, dark and broody, as if telling the tale of the places Sano’s been and the things he’s seen, Despite that, or because of that, Sano features music that’s guaranteed to fill any dance-floor. However, there’s more to Sano than just dance music.
By that, I mean Sano is an album with a strong narrative, where you’re introduced to the Medellin’s dark, underbelly. Just like Lou Reed and Tom Waits, Sano is a perceptive people-watcher. He watches as strutting, macho hustlers and hoods populate dive bars, rubbing shoulders with shysters, conmen and pimps. They smoke cigarettes, roll joints and dice, play cards and prey on the unwary. Then there’s Medellin’s party people who come out to play once a week. They’re either looking for miss or mister right, or just a good time, no strings attached. This is the world Sano tells you about. Remarkably, these narratives are mostly instrumentals. Having said that, the music has a cinematic quality. As a result, pictures unfold in your mind’s eye. It’s akin to A Walk On The Wild Side. In some ways, Sano is a concept album.
Given how ambitious an album Sano is, it’ll be interesting to see what direction Sano’s career heads. Given his background as a DJ and producer, the smart money would be on Sano continuing to create albums that are cerebral, dramatic and dance-floor friendly. This would mean more music like that on Sano. That’s no bad thing. Far from it. After all, Sano with its irresistible fusion of influences, is an ambitious, innovative album that shows the direction that dance music should be heading. Cerebral, with a strong, narrative Sano, dance music’s answer to Lou Reed, takes you on a A Walk On The Wild Side during Sano, where poppy hooks, drama, sleaze and musical genres play their part in what is one of the most compelling, cinematic albums of 2013. Standout Tracks: I Don’t Paranoid, Me Without You and Transylvania No Mercy.
SANO-SANO.
SANO-SANO.
NEW YORK DOLLS-TOO MUCH TOO SOON.
NEW YORK DOLLS-TOO MUCH TOO SOON.
Never in the history of music has an album title proved to be so prophetic than the New York Dolls’ sophomore album Too Much Too Soon. Released in 1974, Too Much Too Soon features one of the hardest rocking and hardest living bands in musical history. Unfortunately, The New York Dolls were music’s equivalent to Icarus. They literally flew too close to the sun. Having released Too Much Too Sun, which reached a disappointing number 167 in the US Billboard 200, Mercury sent the New York Dolls out on an American tour.
That would’ve been okay for an ordinary band. The New York Dolls were no ordinary band. Far from it. Best described as dysfunctional, it’s no surprise what happened next. During what was a chaotic, problematic tour, the New York Dolls literally imploded. Amidst a backdrop of alcohol and drug abuse, and general chaos, the New York Dolls were dropped by Mercury in 1975. This lead to them splitting up. By then, the New York Dolls had lived life to the fullest. Since their debut album, they’d lived the rock ‘n’ roll lifestyle. Remarkably, most of them survived to tell the tale. Somehow, during that time, they’d spawned a thousand imitators and released two classic albums.
Their second classic album Too Much Too Soon, was recently released by the Legends Of Rock label. Described as an audiophile recording, it’s the best sounding version of Too Much Too Soon I’ve heard. This should be the standard other labels aspire to. If only all rereleases sounded this good. The same could be said of the New York Dolls. if only every band sounded as good as the New York Dolls, music would be a better place. One of the New York Dolls finest moments was Too Much Too Soon, which I’ll tell you about, once I’ve told you about their career.
Founded in 1971, the original lineup of the New York Dolls included vocalist David Johansen, guitarist Johnny Thunders and Rick Rivets, bassist Arthur Kane and drummer Billy Murcia. A year later, came the first on countless changes in the New York Dolls’ lineup. Out went Rick Rivets and Billy Murcia. Their replacements were Jerry Nolan and Sylvain Sylvain a pianist and guitarist. This would be the lineup the played on their debut album.
Released in 1973 on Mercury, New York Dolls divided opinion. Some critics hailed New York Dolls as a stonewall classic, others deemed it a parody of a rock album. It certainly took the world by storm, spawning a million imitators. Strangely, on its release, sales of New York Dolls were disappointing. It only reached number 167 in the US Billboard 200. Mercury had hoped that the album would be one of their big sellers of 1973. It certainly captured the attention of critics and music lovers, it was voted both the best and worst album of 1973. It seems that New York Dolls was an enigmatic album and one that divided opinion. Forty years later, history has been rewritten.
Nowadays, New York Dolls is now perceived as a classic album. The New York Dolls fusion of glam rock, proto-punk and hard rock is perceived as Innovative and ahead of the musical curve. The New York Dolls are credited as one of the founding fathers of punk rock. Since then, many groups have imitated the New York Dolls swaggering brand of good time music. Nobody comes close. No ifs, no buts. Having released a career defining album, the New York Dolls never bettered. If ever there’s a case of a band peaking to soon, this was it.
A year after the release of New York Dolls, the band headed back into the studio. Todd Rungren was replaced as producer by Shadow Morton. Unlike their debut album, Too Much Too Soon comprised a combination of cover versions and original songs. David Johansen and Johnny Thunders cowrote Babylon, Who Are The Mystery Girls, It’s Too Late and Human Being. David Johansen and Sylvain Sylvain penned Puss ‘N’ Boots, while Johnny Thunders wrote Chatterbox. Cover versions included Kenny Lewis’ Bad Detective, Sonny Boy Williamson’s Don’t Start Me Talkin, ’Gamble and Huff’s (There’s Gonna Be A) Showdown and Stranded In The Jungle, a James Johnson, Ernestine Smith and Al Curry composition. These ten tracks were recorded at A&R Studios, New York.
Replacing Todd Rundgren as producer, was Shadow Morton, an experienced and enigmatic producer. He seemed to get the best out of the New York Dolls. Their lineup included vocalist David Johansen, plus a rhythm section of guitarist Johnny Thunders, bassist Arthur Kane and drummer Jerry Nolan. Sylvain Sylvain played piano and guitar, while David Johansen added gongs. This was the lineup that played on what should’ve been the New York Dolls’ breakthrough album, Too Much Too Soon.
On the release of Too Much Too Soon, in May 1974, critics hailed the addition of Shadow Morton. He they thought, had harnessed the raw power and energy of the Dolls and added a sheen of refinement. With backing vocals and a myriad of sound effects featuring on Too Much Too Soon, it was a very different band, one that should’ve made their breakthrough. They didn’t. Sadly, Too Much Too Soon wasn’t a commercial success. It stalled at number 167 in the US Billboard 200. Worse was to come.
The New York Dolls headed out on a tour. It was an unmitigated disaster. By now, the band were constantly arguing. Drug and alcohol use was rife on the tour. Performances varied. One night the Dolls were on their game, the next the concert descended into a chaotic shambles. That was part of the charm of the band. It was like a rock ‘n’ circus, with the band unravelling before the audience’s eyes. Mercury watched all this unfold. They felt the band had no future, and dropped them in 1975. Later in 1975, the band split. This was only temporary. Little did they realize, that Too Much Too Soon, which I’ll tell you about, would be the last album the classic lineup of the New York Dolls released.
After a wolf-whistle and a shout of “come on boys,” the New York Dolls explode into action on Babylon, which opens Too Much Too Soon. Driven along by a powerhouse of a driving, rhythm section, scorching, screaming, rocky guitar licks accompany David’s strutting vocal. A mixture of machismo and drama, soaring, coquettish harmonies accompany him. By then the Dolls have hit their stride. Like a well oiled machine, they seamlessly fuse genres. Everything from classic rock, glam rock, proto-punk and blues are thrown into the mix, as the track reaches its dramatic crescendo.
Stranded In The Jungle was recorded by The Cadets in 1959. Here, the Dolls breath new life and energy into the track. Thunderous drums, sound effects, scatted vocals and machine gun guitars accompany David’s vocal is a tongue-in-cheek vamp. Soon, they get down to their hard rocking best. David’s vocal is throaty roar, while punchy, sweet, female harmonies answer his call. Then just as you’re enjoying the Dolls kicking loose, it’s all change, and a return to the earlier slower, dramatic style. Criticized by critics, as a novelty track, it’s more a case of the Dolls experimenting and toying with you, seeing whether you’ve a sense of humour.
Pounding drums and searing, screaming, scorching guitars combine as David struts his way through Who Are The Mystery Girls. Mixing power, bravado and sass, he questions and probes, delivering a vocal masterclass. As for the rest of the Dolls, they create an arrangement that’s best described as raw, refined power. Guitars assail you, as seamlessly, fingers fly up and down the fretboard. The rhythm section provide the heartbeat, never once missing a beat, the Dolls are at their very best. They’re so good, that they sound better than the Rolling Stones did during 1974.
(There’s Gonna Be A) Showdown is a track Gamble and Huff wrote for Archie Bell. Although it’s one of his best known tracks, it’s nowhere near as good as the Dolls’ version. Somehow, they’ve the ability to sound sloppy and tight simaltaneously. Shadow Morton’s influence is apparent from the opening bars, as David’s half-spoken vocal sounds draws inspiration from The Shangri Las. Then machine gun guitars are unleashed and drums punished, while David’s vocal is a sassy, feisty vamp. When his vocal drops out, the Dolls kick loose and demonstrate just why, they’ve spawned countless imitators and are regarded as rock ‘n’ roll royalty.
As drums pound, a bluesy harmonica enters, before machine gun drums and the bass set the scene for David’s vocal on It’s Too Late. It’s the template for punk. Best described as proto-punk in style, I can hear where Johnny Rotten amongst numerous wannabe punks got their inspiration from. Unlike most punk bands, the Dolls were talented musicians. Here, effortlessly, they fuse rock, blues, proto-punk and glam rock. As guitars pogo across the arrangement, a mesmeric bluesy harpsichord solo is unleashed. That’s sheer genius, and adds the finishing touch to a track that inspired a musical revolution.
Raw, refined and controlled power describes the New York Dolls on Puss ‘N’ Boots. They unleash a blistering performance, which features some of the best guitar playing on Too Much Too Soon. That’s saying something. Peerless, scorching, blazing guitar licks join a rhythm section that’s like a well oiled machine. They provide the backdrop for David’s raucous, boisterous vocal and add cooing, coquettish, soaring harmonies. Best described as a fusion of raw power and musical genres, the Dolls sounding like this, have no equals.
David counts the band in on Chatterbox and immediately, there’s an edgier, innovative sound. The band aren’t as tight, as a myriad of searing guitar licks are unleashed. That suits the song, where feisty female vocals deliver a proto-punk vocal. As for the Dolls, they spray machine gun licks above their vocal. Then when the vocals drop out, continue to develop what was the template for punk.
Bad Detective, where David pays homage to Charlie Chan, sees the New York Dolls sound not unlike Talking Heads. Again, here was a band who were way ahead of their time. They would go on to influence future generations of musicians. With a driving rhythm section, searing guitar licks and singalong harmonies, for company, David’s vocal is vampish.He mixes humor and drama, rock, proto-punk and glam rock unite.
Don’t Start Me Talking explodes into being. With an explosive cocktail of machine gun guitars, bluesy harmonica and honky-tonk piano, the Dolls kick loose. This what they were born to do. David struts his way through the track. He’s in his element, with his band at the top of their game, behind him. Rock and blues melt into one, as the New York Dolls must have looked like serious contenders to the Rolling Stones and Led Zeppelin. It’s a heady cocktail of blues rock, that represents the Dolls at their best on Too Much Too Soon.
Human Being picks up where the previous track left off. This makes it the perfect way to close Too Much Too Soon. A hard rocking New York Dolls is a tantalizing prospect. For six minutes the rhythm section, and screaming, rocky guitars lock horns. Feeding of each other, they lock into the tightest of grooves. Above the arrangement, sits David’s proto-punk vocal. It’s an outpouring of frustration anger, and angst, which proves prophetic, given what would happen in 1976.
Too Much Too Soon, the New York Dolls’ sophomore album, is an iconic, innovative album. Ironically, Too Much Too Soon almost passed unnoticed. It hardly troubled the American charts. After its release, Mercury sent the New York Dolls on an American tour. It proved chaotic and almost broke the band. On their return from the ill-fated tour, Mercury dropped the Dolls. Later in 1975, they split up, against a backdrop of rancour, drug abuse and hedonism. The hardest living party band were no more…briefly.
Soon, the band were back together and playing some of the best shows of their career. Then later in 1975, Johnny Thunders and Jerry Nolan left the band. Their replacements were drummer Tony Machine and keyboardist Chris Robinson. This was just the latest change in lineup. It proved to be one of the most successful lineups of the band. They played some of their best concerts and were hailed as one of the hottest bands of the mid-seventies. Nothing lasted long as far as the New York Dolls were concerned. The band broke up and in the last four decades have continued to reform and split up.
Despite reforming, the New York Dolls never reached the heights of Too Much Too Soon. It’s their finest moment. Innovative, groundbreaking and ahead of its time, this fusion of rock, proto-punk, blues and glam rock, helped inspire punk and spawned a thousand imitators. None came close to replicating the New York Dolls at their best. For two albums, the New York Dolls were one of the best bands of that time. Innovative, inventive and determined to rewrite the musical rulebook, there was one problem, the New York Dolls were fundamentally flawed. Their downfall was their penchant for the rock ‘n’ roll lifestyle and hedonism. Just like Icarus, they flew to close to the sun. Before flying to close to the sun, the New York Dolls released their 1974 Magnus Opus, Too Much Too Soon. Standout Tracks: Babylon, Who Are The Mystery Girls, Don’t Start Me Talking and Human Being.
NEW YORK DOLLS-TOO MUCH TOO SOON.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
There are many artists who I’d describe as enigmatic. When it comes to producers and DJs, there aren’t as many. Falling into the category of enigmatic are Psychemagik. They’ve definitely ticked the no publicity box. This means many people won’t have heard of the legendary crate-digging, production and DJ-ing team. That’s means you won’t have heard some of their innovative edits, remixes and DJ mixes. Then there’s the compilations, including Psychemagik Presents Magic Circles and Psychemagik Presents Magik Sunrise. Both albums have been among my favorite compilations of the past two years. They showcased Psychemagik’s crate-digging, DJ-ing, editing and production skills. So may their latest compilation, Diabolical Synthetic Fantasia. However, it may not. Confused, I’ll explain?
When I realized that Psychemagik had released a new compilation, I decided that given the quality of their two previous compilations, I had to review Diabolical Synthetic Fantasia. Having picked up a copy of this self-released compilation, I discovered an element of mystery surrounds this double album. Like their previous compilations, Disc Two is a seamless DJ mix. Disc One of Diabolical Synthetic Fantasia features eighteen tracks. The only problem, I’ve know idea what tracks they are. Nowhere and I mean nowhere, is there any details available of the music on Diabolical Synthetic Fantasia. This is not just frustrating, but annoying. After all, are the tracks new material from Psychemagik or hidden gems unearthed during their legendary crate-digging expeditions?
Psychemagik we know are among the most 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 they’re the go-to guys for DJs looking for those elusive hidden gems. Plenty of hidden gems can be found on Psychemagik’s latest double album Diabolical Synthetic Fantasia, which I’ll tell you about.
Diabolical Synthetic Fantasia is best described as a compelling and captivating collection of music. So much so, that it brings new meaning to the word eclectic. Fusing cosmic disco, Balearica, psychedelic funk, Nu-Disco, ambient, soul, electronica and Middle Eastern beats, it was a breathtaking and mind-blowing musical journey. Subtleties and nuances unfold during the eighteen tracks. Complex and multilayered, musical influences and genres melt into one lysergic mass on Diabolical Synthetic Fantasia. It’s like a musical adventure, where surprises await during this eighteen track journey.
During this truly eclectic compilation, hidden gems and musical nuggets are discovered. The Psychemagik guys surpassed their previous efforts, combining numerous musical genres and influences. Everything from ambient, Balearic, folk, funk, jazz, jazz-funk, psychedelia and rock is thrown into Psychemagik’s musical melting pot. What comes out is a mesmeric fusion that captivates and compels. You’re taken on a musical journey, one that veers between dramatic, dreamy, surreal and trippy, to beautiful, understated and melancholy. Other times the music is dramatic, moody and broody. On other tracks, the music is sassy, feisty and features strutting divas. One thing the music never is, is boring. Not at all. Certainly not when Psychemagik are in charge of the music. Subtleties and surprises are sprung, while Psychemagik aren’t afraid of changing direction. Using the musical equivalent of a handbrake turn, they perform a volte face. That’s what makes Diabolical Synthetic Fantasia such a captivating and refreshing compilation.
The reason I refer to Diabolical Synthetic Fantasia as a refreshing compilation, is that Psychemagik eschew the safe and sterile music that pollutes other compilations. Psychemagik take a different direction. They’re brave and bold, and seem determined to give the compilation world a shakeup. To do this, do they put their crate-digging and creative skills to good use? After all, they know to lay their hands on tracks others can only dream of.
Whether any feature on Diabolical Synthetic Fantasia we’re not told? Psychemagik are keeping their cards close to their chest, given the lack of a track listing. Indeed, Diabolical Synthetic Fantasia is shrouded in unnecessary mystery. It’s akin to the old days of Northern Soul DJs covering up labels. If the eighteen tracks on Diabolical Synthetic Fantasia aren’t some of Psychemagik’s hidden gems, I can only surmise that many, if not all of these tracks are their own productions, edits and remixes. If it is, then they’re hugely talented and innovative. This will also keep them way ahead of the competition. However, we don’t know whose responsible for the music on the mysterious Diabolical Synthetic Fantasia.
What I do know, is that they’re the go-to-guys for anyone looking for that elusive hidden gem. Thankfully, they’ve kept a plentiful supply of hidden gems to themselves. Whether any feature on Diabolical Synthetic Fantasia, I don’t know? I can say that Diabolical Synthetic Fantasia is crammed full of quality music. Laid-back, chilled-out, soulful, funky, jazz-tinged and dance-floor friendly, the music on Diabolical Synthetic Fantasia is genre-melting, lysergic musical adventure that’s well worth experiencing.
PSYCHEMAGIC-DIABOLICAL SYNTHETIC FANTASIA.
NEW ORLEANS FUNK VOLUME 3.
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. They’re 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.
The music on New Orleans Funk Volume 3 showcases New Orleans’ rich musical heritage. There’s eighteen tracks from fourteen artists. Among them are artists who are regarded as New Orleans’ msuical royalty, including 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. Quite simply, New Orleans Funk Volume 3 includes a cross section of the music that made New Orleans famous. A tantalizing musical gumbo, picking the ten highlights of New Orleans Funk Volume 3 won’t be easy. Here goes though.
Ever since the 1950s, music has been at the heart of New Orleans’ economy. One artist whose been around since then, is Professor Longhair. He released his first singles back in 1957. Born in 1918, he was a legend of New Orleans music until his death in 1980. That’s still the case. No Wonder. He’s perceived as the inventor of New Orleans R&B. An innovative pianist with his own unique style, that’s apparent on the two tracks he contributes to New Orleans Volume 3. The first is Go To The Mardi Gras. Released as a single in 1959 on the New Orleans’ label Ron, Professor Longhair penned the track with T. Terry. Featuring Dr. John on guitar, it’s a storming example of New Orleans R&B, from the man who invented the genre. Then there’s Professor Longhair’s other contribution, Big Chief (Pt. 2), which was the B-Side to his 1964 single Big Chief (Pt. 1). It was released on Watch Records. A glorious fusion of blues, jazz, R&B and funk, it’s a track with made in New Orleans written all over it. As for the vocal, it’s obvious Professor Longhair has been a huge influence on Dr. John.
Betty Harris is another artist who has two tracks on New Orleans Funk Volume 3, Trouble With My Lover and What’d I Do Wrong. Both tracks are from Betty’s only album, 1969s Soul Perfection and were written by Allen Toussaint. That’s quite apt, as that’s the best way to describe Betty’s performances. She makes lyrics come to life, breathing meaning into them. As Trouble With My Lover swings along, her vocal is akin to a cathartic outpouring of emotion, as she articulates her deepest fears. On What Did I Do Wrong, emotively, her voice full of frustration and anger, questions, wonders, What’d I Do Wrong? These two tracks are a tantalizing taste of Betty Harris’ music. Soul Jazz Records plan to release The Best of Betty Harris. Let’s hope it’ll be soon, as she’s one of soul’s best kept secrets.
Soulful and funky describes Tony Owens’ Got A Get My Baby Back Home. It was the B-Side to Tony’s 1970 single, Confessin’ A Feeling, which was released on Cotillion. Featuring a heartfelt, lovesick vocal, it’s part scat, part vamp. As for the arrangement it’s uber funky. A pulsating beat and ever-present wah-wah guitars which are sprayed across the arrangement, are crucial to what is, a soulful, funky hidden gem.
Lee Dorsey is another legend of New Orleans music. Quite rightly, he has two tracks on New Orleans Volume 3, Little Baby and What You Want. Little Baby was released in 1969 on Bell Records, and was produced by Marshall Sehorn and Allen Toussaint. Best described as a needy, soul-baring outpouring of heartache and hurt, it’s impossible not to feel for his plight and loneliness. The other track, What You Want, was the B-Side to 1970s I Can Hear You Callin.’ Released on Bell Records, it was written and produced by Marshall Sehorn and Allen Toussaint. A fusion of soul and funk, the rhythm section lock into a steady groove, horns blaze and harmonies soar, soulfully as Lee, delivers a strutting vocal. It’s very different to his performance on Little Baby, demonstrating his versatility and ability to make a song his own.
Formed in 1963, The Dixie Cups became one of New Orleans’ best known groups. Featuring sisters Barbara Anne and Rosa Lee Hawkins plus cousin Joan Marie Johnson, they enjoyed a number one single with Chapel Of Love. A year later, they released their sophomore album Riding High. It featured Two-Way-Poc-A-Way where they sing call and response, against a backdrop that pays homage to New Orleans’ rich musical heritage. Afro-Cuban, funk, R&B and soul all melt into one mesmeric, hypnotic and soulful musical stew, which once tasted, will never be forgotten.
Eldridge Holmes is one of just a trio of artists who feature twice on New Orleans Funk Volume 3. His first contribution is a quite beautiful, thoughtful cover of Tim Hardin’s If I Were A Carpenter. Released on Deesu Records in 1970, it was oduced by Marshall Sehorn and Allen Toussaint. Part of the success is down to Eldridge’s vocal and delivery. It also helps he stays true to the original track, which quite simply, is a classic. His other contribution is The Book, written by Leo Neocentelli and produced by Marshall Sehorn and Allen Toussaint. Here, Eldridge doesn’t hold back, unleashing a vocal masterclass. Mixing power, passion and no end of emotion and frustration, you’re left wondering why Eldridge Holmes wasn’t a huge success.
There’s no way I couldn’t have omitted Dirty Dozen Brass Band. After all, New Orleans is famous for their brass bands. The Dirty Dozen Brass Band don’t disappoint on Do It Fluid. A fusion of funk, soul, R&B and jazz, it’s an irresistible combination. This featured on the Dirty Dozen Brass Band’s 1984 debut album My Feet Can’t Can’t Fail Me Now. With its nod to Little Feat, this was the start of a long and successful career, for one of the Big Easy’s best brass bands.
If you’re looking for funky music, then New Orleans is a good place to start. On Jockey Ride (Parts 1 and 2), The Explosions combine a myriad of genres and instruments. It’s a compelling and eclectic combination. There’s everything from straight-ahead funk to country, jazz, R&B and Afro-Cuban influences. Then there’s country-tinged guitars, blazing horns, a myriad of percussion. Add to that a pulsating, hip swaying rhythm section and the result is an explosive Jockey Ride.
Allen Toussaint is true legend of the New Orleans’ music scene. He’s written, arranged and produced more songs than most musicians have had hot dinners. He released the genre-melting We The People in 1969, which Marshall Sehorn and Allen Toussaint produced. Everything from jazz, blues, R&B, funk, soul and gospel-tinged vocals and harmonies play their part in a track that epitomizes what New Orleans’ music at its best, sounds like.
My final choice from New Orleans Funk Volume 3 is The Rubaiyats’ Omar Khayyam. That’s quite fitting, as it written by a legend of New Orleans music Allen Toussaint. He also produced the track with Marshall Sehorn. Together, they’re responsible for a choppy, funky and soulful slice of slice of R&B. With a sound that’s timeless, it’s hard to believe that this was The Rubaiyats’ only single. At least their musical legacy is one that will forever be part of New Orleans’ rich musical history.
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 delicious 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. Standout Tracks: Tony Owens Got A Get My Baby Back Home, Eldridge Holmes If I Were A Carpenter, Betty Harris What’d I Do Wrong and Professor Longhair Big Chief (Pt. 2).
NEW ORLEANS FUNK VOLUME 3.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
Country Joe and The Fish’s influence on rock music can’t be underestimated. One of the greatest psychedelic rock bands of the sixties, their music was a fusion of rock, folk, psychedelia and acid rock, which influenced several generations of bands, They were a band like no other. After all, how many bands names have been influenced by communist politics? Their name was a reference to Joseph Stalin and a quotation from Chairman Mao. So it’s no surprise that Country Joe and The Fish’s music was highly political.
That’s almost an understatement. Country Joe and The Fish were at the vanguard of the anti-Vietnam war movement. They played at the anti-Vietnam teach-ins in 1965 and four years later, played at the Woodstock Festival. By then, the classic lineup of Country Joe and The Fish had changed. They were together from their 1967 debut album Electric Music For The Body and Mind, through 1967s I Feel Like I’m Fixin’ To Die and 1968s Together. For these three albums Country Joe and The Fish were psychedelic rock royalty. On this trio of albums, were some of the greatest protest albums ever recorded.
This included the anthemic anti-Vietnam war song I Feel Like I’m Fixin’ To Die. It was the title-track to their 1977 album I Feel Like I’m Fixin’ To Die, which was recently rereleased by Vanguard Masters. It’s recognized not just as one of the best albums of Country Joe and The Fish’s career, but as a seminal psychedelic rock album, which I’ll tell you about. Before that, I’ll tell you about the making of I Feel Like I’m Fixin’ To Die.
Having released their debut album Electric Music For The Body and Mind in January 1967, Country Joe and The Fish watched as the album reached number thirty-nine in the US Billboard 200. Released to commercial success and critical acclaim, the five members of Country Joe and The Fish, started work on the followup, I Feel Like I’m Fixin’ To Die. Country Joe McDonald wrote eight of the ten tracks. This included The Fish Cheer/I-Feel-Like-I’m-Fixin’-To-Die Rag, Who Am I, Pat’s Song, Rock Coast Blues, Magoo, Janis, Thought Dream (Introducing The Bomb Song And The Acid Commercial) and Colors For Susan. David Cohen and Gary “Chicken” Hirsh penned Thursday. They the cowrote Eastern Jam with Barry Melton and Bruce Barthol. These ten tracks became I Feel Like I’m Fixin’ To Die.
When recording of I Feel Like I’m Fixin’ To Die began, Country Joe McDonald sang lead vocals, played guitar, bells and tambourine. The rhythm section included drummer Gary “Chicken” Hirsh, bassist Bruce Barthol who also played harmonica, and guitarists Barry Melton and David Cohen. Some of I Feel Like I’m Fixin’ To Die was recorded in 1966, the rest in March 1967. Producing I Feel Like I’m Fixin’ To Die, was Samuel Charters. I Feel Like I’m Fixin’ To Die was then released in November 1967.
On the release of I Feel Like I’m Fixin’ To Die in November 1967, it reached just number sixty in the US Billboard 200. This was disappointing, given the critical acclaim the album enjoyed. I Feel Like I’m Fixin’ To Die didn’t surpass the commercial success of Electric Music For The Body and Mind. Despite that, I Feel Like I’m Fixin’ To Die is now seen as a classic album. I’ll now tell you why.
Opening I Feel Like I’m Fixin’ To Die is The Fish Cheer/I Feel Like I’m-Fixin’ To-Die Rag. It’s perceived as one of the best protest songs of the sixties. The lyrics tackle the Vietnam War head on. Country Joe McDonald delivers lyrics which are scathing, bleak and have a dark humor. A fusion of rock, folk, psychedelia and acid rock, unfolds. It’s similar in sound to Electric Music For The Body and Mind. There’s an obvious Frank Zappa influence. As the track unfolds, Country Joe McDonald becomes a carnival barker. He works the crowd into a frenzy. Then he delivers a no holds barred lyrics. Accompanying him, as he makes it clear whose side he’s on, are a myriad of sound effects, organ and buzzing bass. They combine with harmonies and whoops, providing the perfect backdrop to Country Joe’s lyrics. The result is a classic protest song, that’s still relevant today. All that’s changed is the name of the war.
Just an acoustic guitar accompanies Country Joe’s vocal on Who Am I. Soon, the rhythm section, chiming guitars and percussion enter. Still, your focus is on the vocal. The reason for this is simple, the lyrics. With lyrics like: “while the wheels of fate slowly grind my life away,” Country Joe lyrics full of pathos. As he sings: “nowhere to run to, Who Am I,” a confused Country Joe asks questions he needs answers to.
Pat’s Song meanders into being. Guitars chime, while bells ring and Country Joe’s vocal is thoughtful. He paints pictures, that unfold before you eyes. These pictures are vivid and lysergic. Later, you’re introduced to the mysterious Pat, who Country Joe pays homage to. To do this, he fuses folk, country rock and psychedelia. There’s the organ that played an important part on their debut album. Then there’s the scorching, searing guitars and most importantly, Country Joe’s melancholy, dreamy vocal on this homage to the ethereal beauty, that is Pat.
Rock Coast Blues gives Country Joe and The Fish the chance to stretch their legs. They unleash a fusion of blues and country rock. At the heart of the arrangement are the guitars. They’re played with power and accuracy, matched every step of the way by the rhythm section. Other times, the arrangement is understated and pensive, a perfect foil for Country Joe’s wistful, soul-searching vocal.
Magoo has an understated introduction. Chiming guitars, hissing hi-hats and claps of thunder combine. As for Country Joe’s vocal, it’s heartfelt and full of heartache. Effects envelop his vocal, giving it a distant and lysergic, reverberating into the distance. Innovative, musical genres melts into one on this mysterious, pensive and lysergic track.
Janis sounds like a homage to Janis Joplin, with Country Joe telling of the effect she had on him. He bares his soul. This he does against a backdrop of guitars, rhythm section and wistful harmonica. Harmonies carousel around, which is apt, as parts of the arrangement are reminiscent of a fairground carousel. As for Country Joe delivers a mesmeric, heartfelt vocal, which is hauntingly beautiful.
Thought Dream (Introducing The Bomb Song And The Acid Commercial) sees a return to familiar influences. An organ that sounds like it belongs in a fairground accompanies Country Joe, whose part carnival barker, part preacher. The rest of the band add tight, hummed harmonies. He sings call and response, while the band unleash some rocky licks. From there, the organ, chiming, crystalline guitars and rhythm section accompany Country Joe as he delivers an emotive, impassioned vocal. As his vocal drops out, the band showcase their considerable talents. Then with a minute to go, it’s all change, and a reprise of an earlier part of this compelling, genre-sprawling and groundbreaking track.
Just crystalline guitars, bass and hissing hi-hats combine with Country Joe’s pensive vocal Thursday. As he sings: “I Found You,” it’s impossible to judge if he’s happy or heartbroken. He seems bereft of emotion. Then as his vocal drops out the band take charge. Fusing country rock and folk, Country Joe’s mysterious, but ethereal vocal adds a psychedelic twist to this thoughtful, mysterious track.
Drums are panned hard right as Eastern Jam begins. The bass is panned hard left. In between sits a crystalline guitar. It chimes, reverberating Country Joe and The Fish unleash some scorching, searing licks. Soon, they’re into the groove, feeding off each other. They’re jamming, each encouraging the other to greater heights. The guitars lead the way. Showboating, it’s a mesmeric Eastern Jam. When you think things can’t get any better, the licks become even more fiery, searing, soaring above the arrangement, resulting a genre-melting Eastern Jam.
Colors For Susan closes I Feel Like I’m Fixin’ To Die. It’s another instrumental. Deliberate, thoughtful guitars meander, cymbals crash and bells chime. Jazz, psychedelia, folk and rock combine with drama, mystery and power. It’s as if Country Joe and The Fish are just jamming, bouncing musical ideas off each other. There’s a free jazz feel to the track, as if they’re feeding off each other, experimenting and seeing what happens. This works, resulting in a six-minute mysterious, thoughtful opus, which reaches a dramatic crescendo.
Despite not matching the commercial success of their debut album Electric Music For The Body and Mind, I Feel Like I’m Fixin’ To Die is an ambitious, adventurous and innovative album. Featuring thoughtful, poignant lyrics, some of which are full of social comment, the music on I Feel Like I’m Fixin’ To Die is cerebral and intelligent. It’s music for the mind. Other songs seek answers to “big” questions, including Who Am I? Then there’s relationship songs and closing I Feel Like I’m Fixin’ To Die, two peerless, inventive instrumentals. During these tracks, just like the album, musical influences and genres melted into one.
Everything from acid rock, country, folk, jazz, psychedelia and rock was fused by Country Joe and The Fish on I Feel Like I’m Fixin’ To Die, which was no ordinary album. Mind you, Country Joe and The Fish were ordinary bands. They were innovators, agitators who wanted social justice. Some people called them rebels. They were more than rebels, they were rebels with a cause.
That cause was stopping the Vietnam War. While they weren’t able to do that, they recorded one of the best protest songs of the sixties, I Feel Like I’m Fixin’ To Die. Ironically, nearly four decades later, the song is just is relevant. All that’s changed is the name of the war. In many ways, Country Joe and The Fish were music’s conscience. They proved this in 1969, when Country Joe and The Fish took Woodstock by storm with a show-stopping version of I Feel Like I’m Fixin’ To Die. That was one of Country Joe and The Fish’s finest moments.
Another of Country Joe and The Fish’s finest moments was I Feel Like I’m Fixin’ To Die, which was recently rereleased by Vanguard Masters. They’ve released I Feel Like I’m Fixin’ To Die as a luxurious and lovingly compiled double album. Disc One features the stereo version, with Disc Two featuring the mono version and two bonus tracks. Then there’s in-depth sleeve-notes and a replica of The Fish Game, which came with the original version of I Feel Like I’m Fixin’ To Die. Quite simply, this is the definitive version of I Feel Like I’m Fixin’ To Die. No other version of Country Joe and The Fish’s comes close to Vanguard Masters’ version of I Feel Like I’m Fixin’ To Die a cerebral, psychedelic, lysergic and groundbreaking classic. Standout Tracks: Who Am I, Rock Coast Blues, Eastern Jam and Colors For Susan.
COUNTRY JOE AND THE FISH-I FEEL LIKE I’M FIXIN’ TO DIE.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
For King Floyd, it was a case of second time around. After his debut career album A Man In Love, which was written by Dr. John, failed commercially, he joined the post office. Three years later, King Floyd made a comeback. He recorded a single What Our Love Needs which was released on Chimneyville Records in 1970. On the B-Side was Groove Me, which after some persuasion from arranger Wardell Quezergue, King Floyd had recorded. Soon, King Floyd would’ve cause to thank Wardell.
On the release of What Our Love Needs, on Chimneyville Records, some DJs in King Floyd’s hometown of New Orleans flipped the single over and played the B-Side Groove Me. Quickly, Groove Me gave King Floyd a local hit. Atlantic Records watching what was happening, secured the rights to distribute Groove Me across America. Soon, Groove Me was climbing the charts. It reached number one in the US R&B Charts and number six in the US Billboard 100. Having sold one-million copies, Groove Me was certified good. The other ramification was King Floyd quit his job with the post office.
Having franked his last letter, King Floyd headed out on an American tour. This was the start of King Floyd’s four-year stay at Chimneyville Records. The first four years of King Floyd’s time is documented on Kent Soul’s recent compilation King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974.
Featuring the twelve singles King Floyd released between 1970 and 1974, on Chimneyville Records, King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, brings some of these songs to CD for the first time. They’re also a welcome reminder of one of the most overlooked and underrated soul singers of the seventies. Versatile, he’s able to sing Southern Soul, deep soul and funk. King Floyd is one of soul’s best kept secrets. Before I tell you about the music on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, I’ll tell you about King Floyd’s career.
King Floyd was born in New Orleans, in February 1945. During his childhood, he immersed himself in the city’s rich musical heritage. So, it’s no surprise that on leaving high school, King Floyd got a job singing in the Sho Bar on Bourbon Street. That was his introduction to music. Then in 1964, after spending time in the army, he followed the sun, all the way down to California.
In California, King Floyd gravitated to a group of New Orleans’ musicians. Mac Recenback, Jessie Hill, Alvin Robinson, Harold Battiste and Shirley Pixley of Shirley and Lee all called California their second home. Through this group of musicians, King Floyd made contacts within the Los Angeles music scene.
Over the next couple of years, King Floyd record singles for Original Sound and Uptown. Next stop for King Floyd was Irwin Garr’s Pulsar label. He recorded several singles, then with the New Orleans expats help, King Floyd recorded his debut career album A Man In Love. It featured songs written by Dr. John and was produced by Harold Battiste. On its release, A Man In Love was a commercial failure. That resulted in King Floyd quitting music and heading home to New Orleans, where he joined the post office to support his family.
Although King Floyd had quit music full time, he continued to perform in his spare time. This allowed him to hone his skills and stagecraft. It was also some extra money, that was welcome for a man with a young family. Then an opportunity arose that King Floyd couldn’t resist. He got the opportunity to record with Wardell Quezergue a veteran of the New Orleans’ music scene who’d formed a partnership with businessman Elijah Walker. They gathered a variety of local artists they wanted to record. Among them, were Jean Knight, Barons Ltd and Bonnie and Sheila. Wardell and Elijah borrowed a school bus and took them to Malaco Studios, in Jackson, Mississippi.
Owned by Tommy Couch, Malaco Studios was gradually gaining a reputation as a studio with a good reputation. Essentially, it was a good room, where many legendary recordings would take place. This made it perfect place for Wardell and Elijah’s recording to take place. King Floyd arrived at the studios later in the day. He hadn’t been on the bus. Everyone had recorded two tracks. Now it was King Floyd’s turn. First up he recorded What Our Love Needs. Then after some persuasion from Wardell recorded a track entitled Groove Me. With each artist having recorded two songs, or a single each, they headed to New Orleans. Now all Wardell and Elijah needed was a label to release their singles.
That was easier said than done. Labels were approached about releasing the eight tracks. Each liked the music, but said the same thing, thanks, but no thanks. Then Wardell and Elijah’s luck changed. Bonnie and Sheila were signed to King Records. There was still no luck with any of the other three artists. So, Wardell and Elijah decided to release King Floyd’s single What Our Love Need on their own label, Chimneyville Records.
Founded in 1969, Wardell was a legend of the New Orleans music scene. Elijah was the money man. He was an important figure in the New Orleans’ Teamsters, so could raise capital for business ventures easily. This is how Chimneyville Records, which was about to release its biggest single, came about.
On the release of the impassioned, heartfelt, What Our Love Needs, on Chimneyville Records, some DJs in King Floyd’s hometown of New Orleans flipped the single over, and played the B-Side, the sensual, sultry Groove Me, where soul and funk unite. Quickly, Groove Me gave King Floyd a local hit. Atlantic Records watching what was happening, secured the rights to distribute Groove Me across America. Soon, Groove Me was climbing the charts. It reached number one in the US R&B Charts and number six in the US Billboard 100. Having sold one-million copies, Groove Me was certified gold. King Floyd quit the post office and embarked on an American tour. This was the start of a six year stay at Chimneyville Records,
Having just enjoyed a million-selling single, in some ways, the only way is down. After all, not many artists enjoy back-to-back million selling singles? Baby Let Me Kiss You, which King Floyd penned, reached number twenty-nine in the US Billboard 100 Charts. No wonder. Sounding like James Brown, he vamps his way through the track, mixing frustration, emotion and sadness, accompanied by stabs of blazing horns. As for the B-Side, Please Don’t Leave Me Lonely another King Floyd penned track, I much prefer it. With swathes of strings, soaring harmonies and braying horns, King Floyd’s vocal opus is a heartbreaking, outpouring of grief and pain.
Having released two hit singles, King Floyd released his eponymous sophomore album in 1971. Unfortunately, it failed to chart. Featuring his first two singles and his third single, Got To Have Your Lovin,’ there was more to King Floyd than that. Messin’ Up My Mind was heart-wrenching, soulful plea. So Glad I Found You sees King Floyd find happiness at last, and showcases one of his best vocals. Then there’s A Day In The Life Of A Fool, which like Messin’ With My Mind was written by King Floyd and Joseph Broussard. It’s a tale of love gone wrong, brought to life by King Floyd. He breathes life and meaning into the lyrics. Just as he did on his next single.
Hot on its heels of King Floyd, was King Floyd’s third single, Got To Have Your Lovin.’ Written by Michael Adams and Joseph Broussard, it reached number 101 in the US Billboard 100 and number thirty-five in the US R&B Charts. There’s a change in direction for King Floyd. As he fuses elements of soul, funk and rock, this, a scorching, dramatic and timeless track unfolds. Feeding off his backing vocalists, King Floyd’s vocal is needy as he mixes power and passion. On the B-side, is Let Us Be, which is a real hidden gem. Again, the interplay between King Floyd pleading vocal and the harmonies is crucial to the song’s success. So are stabs of braying horns and the powerhouse of a rhythm section. So good is this track, it could’ve been a single.
When the King Floyd penned, Let Me See You Do That Thing was released in 1971, it was a first for King Floyd. Best described as funky and soulful, it was his single not to chart. Good as Let Me See You Do That Thing is, the joyous B-Side It’s Wonderful, which Wardell Quezergue wrote with Albert Savoy is better. It’s as if King Floyd can relate to the lyrics? As a result he breathes life and meaning into the lyrics.
Things weren’t looking good for King Floyd when Everybody Needs Somebody was released in 1972. It’s another funky track. Here, King Floyd becomes Dr. Funk, vamping his way through this fusion of funk and soul. DJs weren’t impressed. Mind you, King Floyd had set his standards high. Some DJs, remembering Groove Me, decided to see what delights were tucked away on the B-Side. What they found was Woman Don’t Go Astray, was another King Floyd composition. A needy, a desperate King Floyd lays bare his soul. DJs loved it and started playing it. History repeated itself as the track reached number fifty-three in the US Billboard 100 and number three in the US R&B Charts. However, behind the scenes, there were problems afoot.
Up until then, King Floyd and Wardell got on well. King Floyd was an easy going guy who was content to let Wardell arrange and produce his music. Then he started to suggest ideas when it came to arrangements and productions. For a while, Wardell put up with this. Then after Wardell’s third album and second for Chimneyville, Think About It, which was released in 1973.
Like its predecessor, Think About failed to chart. That’s no reflection on the music. It’s crammed full of quality. There’s thoughtful cover of The Temptations’ My Girl. Then there’ the Wardell Quezergue penned It’s Not What You Say. Funky, soulful and accusing, King Floyd cuts loose. The same can be said of the James Brown-esque You’ve Got Me. As for Hard To Handle, it’s a sassy, strutting fusion of soul and funk. Two of the highlights are ballads. They’re Thank You, a soulful outpouring of appreciation, and You’ve Got Me is a heartfelt, reassuring ballad. It seemed singles not albums were King Floyd’s forte.
The title-track, which was a cover of an Otis Redding song, released after his death, was chosen as the lead single from Think About It. As if paying homage to Otis Redding, King Floyd rung every ounce of emotion from the song. Heart-wrenching, it reached a disappointing forty-nine in the US R&B Charts. Here It Is which was the B-Side, had a sixties soul sound. Written by King Floyd, John Terry and Theodore Royal, it’s a sultry, sensual hidden gem, that’s the perfect accompaniment to Think About It, which marked the end of an era for King Floyd.
Think About It was the last King Floyd single Atlantic Records distributed. They didn’t renew the deal. So Chimneywille were left without a distributor. During that time, So Chimneywille released So Much Confusion, a King Floyd penned track in 1973. Featuring socially conscious lyrics, it’s a track that sounds not unlike what Gamble and Huff were doing with The O’Jays. Sadly, without a distribution deal, the single failed to chart. Considering it’s one of the best songs King Floyd wrote, and features a really slick, contemporary arrangement, it was a lost opportunity. If it had garnered radio play, it could’ve transformed King Floyd’s career. Sadly, it didn’t. At least, Chimneywille had a new distributor.
Eventually, Henry Stone’s T.K. Records agreed a deal with Chimneywille. Marking the start of this new era was the uber funky I Feel Like Dynamite, which reached number thirty-five in the US R&B Charts. Penned by Larry Hamilton, Albert Savoy and Elijah Walker, it’s an explosive slice of funky music. On the B-Side was the beautiful ballad Handle With Care. Written by King Floyd, it features a tender, impassioned, needy vocal. That’s the last single that features on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974. Ironically, the B-Side surpasses the quality of the single. That’s no surprise. After all, King Floyd was at his best laying bare his soul.
While King Floyd was comfortable with the funkier cuts on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974, he’s at his best when things get soulful. Especially when it comes to laying bare his soul. That’s when he’s at his very best. Songs like Please Don’t Leave Me Lonely, Woman Don’t Go Astray and Messin’ Up My Mind are akin to a cathartic outpouring of emotion. It’s not all sadness and regret from King Floyd. No. Far from it.
Happiness comes his way on Baby Let Me Kiss You, So Glad I Found You, Got To Have Your Lovin.’ My Girl and Thank You. Songs like this see King Floyd come alive. It’s meat and drink to him. He breathes life and meaning into the lyrics. So much so, you feel that he’s lived, loved and wants to tell the tale. A versatile, talented singer, he’s not unlike an old-fashioned storyteller. Many of these stories come from King Floyd’s pen. He’s not just a singer, but a singer-songwriter. With Wardell Quezergue guiding his career, he enjoyed a string of hit singles, including the million-selling Groove Me. Sadly, neither their relationship nor King Floyd’s time at Chimneyville had a happy ending.
When King Floyd started to suggest ideas about arrangements and productions, for a while, Wardell put up with this. Then after Wardell’s third album and second for Chimneyville, Think About It, released in 1973, Wardell called time on his partnership with King Floyd. As a result, some of the music released after 1974, doesn’t match the quality of music on King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974 which was recently released by Kent Soul. That, quite simply, is the equivalent to The Best Of King Floyd, with some hidden gems added. Who knows what heights King Floyd might have reached with Walter by his side.
Indeed, if King Floyd had been signed to Atlantic Records, what heights could he have reached? Maybe then, King Floyd would’ve reached the heights his considerable talent deserved. Instead, King Floyd-I Feel Like Dynamite-The Early Chimneyville Singles and More 1970-1974 is a tantalizing taste of what King Floyd was capable of. Standout Tracks: Baby Let Me Kiss You, So Glad I Found You, Got To Have Your Lovin’ and Thank You.
KING FLOYD -I FEEL LIKE DYNAMITE-THE EARLY CHIMNEYVILLE SINGLES AND MORE 1970-1974.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just over three years ago, in August 2010, Harmless Records released the first installment 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 installments 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 2012, Volume 3 surpassed the first two installments. Featuring tracks from the back-catalogues of Atlantic, Atco, Buddah, Chelsea, Columbia, Defected and Roxbury, Volume 3 was crammed full of Philly Soul classics, including 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.Most of the three volumes of Philly ReGrooved: The Tom Moulton Remixes Volumes can be found within this forty-track, eight-album box set. Released on 28th October 2013, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is 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. Before I tell you about Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, I’ll tell you about the man behind the music…Tom Moulton.
TOM MOULTON
Tom Moulton was born in Schenectady, New York on 29th November 1940. He lived in Schenectady, upstate New York and later, spent time in Philadelphia. From an early age, Tom was collecting records. Count Basie’s One O’Clock Jump is the first record he bought, when he was just five. After that, Tom immersed himself in music. It’s almost as if he was absorbing all the music that had been ever recorded. This would prove useful for his future career as remixer extraordinaire. When Tom finished high school, he headed to California, where he got is first job in music.
His first involvement with the music industry was when he began working as an assistant buyer for Seeburg, the jukebox manufacturer, during the late-fifties. This allowed Tom to learn the ins and outs of the record industry. He proved shrewd at picking singles that would later prove popular. Two songs that proved this were Patsy Cline’s I Fall To Pieces and Ernie K. Doe’s Mother In Law. Tom bought 1,000 copies of each, almost costing him his job. Then when both singles became huge hits, many of Seeburg’s competitors didn’t have copies of these songs. Suddenly, Tom was the hero. However, he decided to leave Seeburg to work for Muntz, who’d just patented the eight-track tape machine. Having heard the possibilities that Muntz’s eight-track opened up, Tom was desperate to become part of something that could revolutionize car stereos. From Muntz, Tom joined one of the most important label of the time.
After leaving Muntz, Tom’s next job was with Syd Nathan’s King Records. During his time at King, Tom worked in sales and promotions. This was during a time when King had an unenviable roster of artists. This included Freddie King, Nina Simone, Hank Ballard and The Midniters, Little Willie John and the hardest working man in soul music..James Brown. Later, Tom moved to RCA and United Artists, where he worked in similar positions. By the late-sixties and disillusioned with the dishonesty and corruption that scarred music. With a heavy heart, Tom left the music industry.
Following his departure from the music industry, Tom worked in the record department of Crays department store in Boston. He became an advocate for stereo sound. When people came in looking to buy a single, they were loath to pay the higher price for the stereo versions. However, that was before Tom turned people onto the sound of stereo. Suddenly when Tom explained the difference between mono and stereo versions of singles, they realized that paying the higher price for the stereo version made sense, given the superior sound. His next job was completely different, and was how he was making a living before becoming a remixer.
Back in New York, Tom had embarked upon a career as a model. He was working on photographic shoots and as a catwalk model. While he was making a comfortable living, he missed music. Music was his real passion. It was in his blood, and what he was happiest doing. Then when a colleague in the modeling industry invited him to Fire Island to a diner and club the Sandpiper, he’d have a eureka moment that would forever change his life and music.
Having made the crossing on the ferry from New Jersey and arrived at the Fire Island, Tom headed to the Sandpiper. Little did he realize it, but he was about to change musical history. When watching a DJ at the Sandpiper he was matching the resident DJ mix the old seven inch singles. It was then he realized that just when dancers were gaining momentum and getting into the groove, the single was over. After this there another single was mixed in and the same thing was happening. Realizing this must be hugely frustrating for dancers and DJs, Tom decided to rectify the problem.
Back home, Tom spend nearly a week editing a forty-five minute reel-to-reel tape designed keep the dance floor going. Now this wasn’t easy. He extended parts of tracks, looping the most exciting parts and ensured there was a seamless changeover between tracks, so much so, that dancers hardly noticed it. Using his own collection of soul music, the tape was compiled. This hadn’t been easy. It meant editing the tape using razor blades, tape and fluid, constantly joining and rejoining the tape. Dexterity, patience, skill and an ear for music were needed, but Tom had all that. So after a week, the tape was finished, and he proudly gave ir to a DJ at the Sandpiper. The result was as he’d expected, the dance-floor loved it. This would be Tom’s first step on the road to remixer extraordinaire.
After making his first disco mix, Tom set about finding new tracks to remix. Surprisingly, this turned out to be relatively easy, mainly because Tom wasn’t a DJ. The reason for this was radio was still King, with DJ’s in clubs and record companies neither communicating, nor perceived as important in the great scheme of things. This is very different from today. So, when Tom approached record companies to remix one of their tracks, then often they say yes. Starting with The Carstairs’ It Really Hurts Me Girl, remixed by Tom for Red Coach Records, Tom’s nascent remixing career was underway. By 1974, Tom Moulton had perfected his craft, remixing BT Express’ Do It Till You’re Satisfied. Although the group didn’t like the track, Tom’s remix became a big hit. In 1974 Tom also discovered the Philly Devotions’ I Just Can’t Say Goodbye, on the Don De label. Having worked on the track at home, Tom took it to Columbia Records in New York. They loved what he’d done, and wanted him to remix the track. Although Columbia offered to send the tapes to New York, Tom decided to head to Philadelphia, having fallen in love with the Philly Sound.
When Tom discovered Philly, he fell in love with the city, and its much slower pace of life. So he took the decision to move there. This decision worked well, given Philly was at the centre of the American music industry. Tom was constantly in demand. Indeed, he once being booked into Joe Tarsia’s legendary Sigma Sound Studios for a year in advance. Having established himself in Philly, Tom hooked up with Gamble and Huff, two of the architects of the Philly Sound. Gamble and Huff met Tom through The Trammps manager Harry Chipetz. At first, Tom thought that Gamble and Huff hadn’t any need for Tom’s help. Eventually, Harry Chipetz brought Tom into the “Philly family.” Initially, Harry brought the forthcoming albums about to be released, to see whether Tom could do anything with the music. The first song Tom chose was a People’s Choice track Do It Any Way You Wanna. Ironically, when Tom first got involved with the Philly Sound, there was a backlash against with music coming out of Philly.
The problem was, some people in the black community felt that the Philly Sound was being transformed into music for white people, with the addition of strings and horns. Tom like many people was amazed, even annoyed. Tom decided to make a point, but needed the right track. He chose the People’s Choice track Do It Any Way You Wanna, mixing it without strings or horns. This would dispel the accusation that Philly Soul was soul music for white people. He offered to do the song without taking a fee, but asked for his name to be put on the label, which it wasn’t. On the release of Do It Any Way You Wanna, it became a huge hit, reaching number one in the US R&B Charts, while reaching the top twenty in the US Billboard 100. This would be the start of a long and fruitful relationship between Tom and Philadelphia International Records. However, Tom didn’t work exclusively for Philadelphia International Records in Philly. Not at all. He continued to remix an eclectic selection of artists, including some of the biggest names in music.
By 1975, Tom Moulton was getting the chance to remix some of the biggest names in music. One of his biggest successes came with Gloria Gaynor’s Never Can Say Goodbye. Tom took the first three songs on Side One of Never Can Say Goodbye and transformed them into a nineteen minute suite of songs. So successful was this medley of Honey Bee, Never Can Say Goodbye and Reach Out I’ll Be There within clubs, that the decision was made to release each track as a single. When Never Can Say Goodbye reached number one in the US Dance Charts, this really lifted Tom Moulton’s profile, opening doors for him in the process.
Soon, Tom Moulton had a column in Billboard magazine where he wrote about disco. He had also become the favored remixer for a record company with a strong Philadelphia influence. This was Salsoul Records, founded by the Cayre brothers. Salsoul had been transformed by the arrival of many of the original members of M.F.S.B, Philadelphia International Records’ legendary house-band. They’d left Philadelphia International Records after a dispute with Gamble and Huff over payments couldn’t be resolved. Having left Philadelphia International Records, they became The Salsoul Orchestra. Their 1975 debut album The Salsoul Orchestra sold over one-million copies. Quickly, Salsoul had established an enviable roster of artists. Soon their roster included Carol Williams, Charo, Moment Of Truth, Joe Bataan, Anthony White, Eddie Holman and of course, The Salsoul Orchestra. With such an illustrious roster, someone was needed to remix tracks. That’s where Tom Moulton came in. It was also a role he’d fulfill at a Salsoul subsidiary, Gold Mind Records.
Norman Harris, the legendary songwriter, producer and guitarist from the Baker, Harris, Young rhythm section was given his own subsidiary company Gold Mind Records to run. Its roster soon included First Choice, Double Exposure, Loleatta Holloway, Bunny Sigler and Love Committee. Again, Tom Moulton would become one of Gold Mind Records’ favored remixers. However, in 1978, Tom’s role at Salsoul would change, after Vince Montana Jr, left the label.
Vince Montana Jr, left Salsoul after the release of 1978s Up The Yellow Brick Road. He’d been involved in a dispute with royalties over royalty payments. When this couldn’t be resolved, Vince decided to part company with Salsoul. Following Vince’s departure, The Salsoul Orchestra had lost its founder, conductor and producer. Helping to fill the void was Tom Moulton. He mixed The Salsoul Orchestra’s 1979 album Street Sense and cowrote two tracks, Street Sense and 212 North 12th. Tom would also work with Loleatta Holloway, First Choice, Metropolis and Charo. It wasn’t just remixes Tom worked on at Salsoul, he was now a songwriter and producer. During Tom’s time at Salsoul, he released some of the best remixes of his career.
Many of Tom Moulton’s greatest remixes have made in Philly written all over them. During his time at Salsoul Records and Philadelphia International Records, Tom Moulton created some of the greatest remixes of his career. These remixes would become classic remixes, and would find their way into the record boxes of some of the world’s greatest DJs. Tom’s remixes became these DJs secret weapons, which were guaranteed to fill dance-floors worldwide. Through a new generation of DJs, a new generation of dancers heard Tom Moulton’s remixes. Soon, record companies were rereleasing Tom’s remixes. This started back in the mid-nineties and has continued ever since. One of the labels that have been most supportive of Tom Moulton, are Harmless Records, who released the first installment in the Philly ReGrooved series back in May 2010.
It was back in August 2010, that Harmless Records released the first installment 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. This was a tantalizing taste of what was to come.
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. Surely a third volume would follow sooner than later?
Nearly two years passed before Harmless Records released Philly ReGrooved 3: The Tom Moulton Remixes. Unlike the first two volumes, it was 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, Defected 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. These three installments of the Philly ReGrooved compilation series, are cherished by Philly Soul fans. Now forty of these tracks feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, which I’ll tell you about.
Over the eight slices of 180 grams, heavyweight vinyl, that comprise Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, you’ll find forty of Tom Moulton’s remixes. To fit the forty tracks on the eight albums, the running order is different from the original CDs. This is no bad thing. It’s akin to heading on a musical adventure. It takes place over sixteen sides of vinyl. Your musical guide is Tom Moulton. He has transformed the original tracks. During that musical adventure, you’re introduced to some of the biggest names in the history of Philly Soul. They feature on the musical adventure that is Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, which I’ll tell you about, side-by-side.
SIDE A.
Opening Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, is Ultra High Frequency’s We’re On The Right Track, which opened 2010s Philly ReGrooved: The Tom Moulton Remixes. Released in 1973, on the Wand label, it was written by Alan Felder and Norman Harris, who arranged and produced the track. Featuring Ben Aitken, the recording took place at Joe Tarsia’s Sigma Sound Studios. For nearly three minutes, Tom Moulton extends the introduction, building and building the drama. This allows you enjoy M.F.S.B. at their very best. Then Tom drops the vocal in, what follows is a reinvention of this Philly Soul classic, which was Ultra High Frequency’s biggest hit single.
Between 1973 and 1980, First Choice released six albums. Their debut album was 1973s Armed and Extremely Dangerous. The title-track was penned by Alan Felder and Norman Harris who arranged and produced Armed and Extremely Dangerous. It was their breakthrough single, reaching number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts. Then when Armed and Extremely Dangerous was released in 1973, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. Featuring a vocal powerhouse from lead singer Rochelle Fleming, she mixes power, passion and emotion with frustration and regret. It’s a track ripe for a Tom Moulton remix. Especially when you add the warning signs that come courtesy of M.F.S.B. Tom doesn’t disappoint with this track from Philly ReGrooved: The Tom Moulton Remixes. He transforms this hook-laden track that launched First Choice’s career into an opus.
The Quickest Way Out’s Who Am I is a track from Philly ReGrooved 2: The Tom Moulton Remixes. This was their third and final single. Released on Warner Bros in 1976, James Dean and John Glover penned this track. Arranged by Arnold Coley Jr, it was produced by Stan Watson owner of Philly Groove Records. The result is soulful dance track, which is something of a hidden gem, that would still light up a dance floor.
SIDE B.
This Is The House (Where Love Died) is another track from First Choice’s 1973, debut album Armed And Extremely Dangerous. It was also their debut single. Released on Wand, it failed to chart. Written by Alan Felder and Norman Harris, who arranged and produced the track. Tom remix featured on 2010s Philly ReGrooved: The Tom Moulton Remixes. With a choppy, Northern Soul sound, Rochelle finds her inner diva on a track sounds as if it would’ve been played at Blackpool Mecca by Ian Levine.
The Philly Groove Orchestra’s Let Us Entertain You, which features First Choice, epitomizes everything that’s good about Philly Soul. Swathes of the lushest, quivering strings, rasping, growling horns and a rhythm section that’s like a well oiled machine. Essentially, this is M.F.S.B. under a different name. They never miss a beat. Then there’s cooing harmonies courtesy of First Choice. The result is three minutes of perfection, that’s a reminder of why you love Philly Soul.
Forty years ago, Ultra High Frequency released Incompatible on Wand. Back in 2011, Tom Moulton remixed Incompatible for Philly ReGrooved 2: The Tom Moulton Remixes. Sadly, Incompatible didn’t replicate the success of We’re On The Right Track. Soulful, dance-floor friendly and full of poppy hooks, Incompatible should’ve been a much bigger success. Instead, it falls into the category of hidden gem that thankfully, was rejuvenated by Tom Moulton.
SIDE C.
A welcome addition to Philly ReGrooved 2: The Tom Moulton Remixes was Finishing Touch’s Second Best (Is Never Enough). Released on Stan Watson’s Philly Grooved in 1974, it was penned by Andre Saunders and Herby Harris. Arranged by Ron “Have Mercy” Kersey and produced Stan Watson and Win Winford, it’s a joyous and uplifting fusion of Philly Soul and disco. Add to that gospel-tinged harmonies, a diva-esque vocal and a profusion of hooks, and the result is four minutes of musical magic.
Gotta Get Away (From You Baby) was the B-Side of First Choice’s 1976 single Yes, Maybe No. It was arranged by Bobby “Electronic” Eli and produced by Stan Watson, with M.F.S.B. providing the backdrop for First Choice. It’s a track from First Choice’s 1976 album Let Us Entertain You. Philly Grooved licensed the album to Warner Bros. This was meant to be First Choice’s breakthrough album. It wasn’t. Instead the album failed to chart.
With First Choice and M.F.S.B. were at the top of their game, Gotta Get Away (From You Baby) deserved a better fate than being hidden away on a B-Side. Tom realized this and brought new life, meaning and energy to the track.
Between 1969 and 1972, The Delfonics formed a potent partnership with Thom Bell, one of the architects of Philly Soul. After 1972s Tell Me It’s A Dream, Thom split with The Delfonics. So, their final album 1974s Alive and Kicking, which featured I Told You So, was produced by Stan Watson. Released on Philly Groove in 1974, Alive and Kicking Reached number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. The following year, 1975, The Delfonics called time on their career. One of the highlights of their farewell album Alive and Kicking, was the sweet, soulful I Told You So.
SIDE D.
Gonna Keep On Lovin’ Him was the B-Side to First Choice’s 1973 single Armed And Extremely Dangerous. It was written by Melvin and Mervin Steals, under the pseudonym Mystro and Lyric. Arranged, conducted and produced by Norman Harris, the single was released on Philly Grooved Records. Here, M.F.S.B. explode into life, providing the perfect accompaniment to First Choice. This teaches you always to check on the B-Side of a singe. After all, who knows what delights might be hidden away?
One of the bonus tracks on 2010s Philly ReGrooved: Tom Moulton Remixes was Finishing Touch’s Don’t Put Me Down. Released in 2003 on Vocal Bizz Recordings, it’s Philly Soul with a contemporary twist. There’s everything you expect on a Philly Soul track. Strings, horns and band who mix funk, soul and disco. Add to that a needy vocal and pleading harmonies. When all that’s combined by Tom Moulton, the result is a reminder of what soul used to sound like.
Armed and Extremely Dangerous was the launched First Choice. It’s the best album they recorded for Philly Groove Records. One Step Away closed the album. Penned by M.F.S.B. bassist Ron Baker and Thom Bell, Norman Harris arranged and produced the track. With M.F.S.B. providing a jaunty, Spanish-influenced backdrop, Tom Moulton tantalizes the listener. Extending the introduction, he eventually drops in Rochelle’s feisty vocal. The interplay between Rochelle and the harmonies plays a huge part in the song’s success. Driving each other to greater heights of soulfulness, First Choice were One Step Away from greatness.
SIDE E.
Beware, She’s Pulling My Strings is another track that proves it’s always worth checking out B-Sides. Released in 1978 on Philly Groove Records, by The Quickest Way Out under their Flashlight alias it surpasses I Can Be (What You Want Me To Be). Penned by James Dean and John Glover, and produced by Adam and Eve, Tom Moulton transforms it into a seven-minute epic. Crucial to the track are the vocal and a myriad of percussive delights and drama. They play their part in another hidden gem.
Moment Of Truth’s I’m So Hopelessly In Love With You grabs your attention from the get-go. Released on Roulette in 1975, Reid Whitelaw and Norman Bergen wrote and produced this single. Tom builds and builds the drama. He’s relentlessly teasing the listener. As instruments are dropped in, he lengthens the introduction. So, you hear more of the lush strings, punchy horns, soaring, sultry harmonies, percussion and Vince Montana Jr’s vibes. From there, this vocal quartet trade soulful licks, as Philly Soul and disco unite. Two years later, unsurprisingly, Moment Of Truth released their eponymous debut album on Salsoul Records, disco’s premier label. Sadly, it was the only album they’d release and like I’m So Hopelessly In Love With You, is tantalizing taste of what Moment Of Truth were capable of.
Smarty Pants is the sixth and final track from First Choice on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. This was that track that opened First Choice’s 1973 album Armed And Extremely Dangerous. Released as a single in 1973, it reached fifty-six in the US Billboard 100 and number twenty-five in the US R&B Charts. Written by Alan Felder and Norman Harris, who arranged and produced the track, this is one of First Choice’s finest moments, starting their career as they meant to go on, mixing Philly Soul, funk and disco seamlessly.
SIDE F.
There’s just two tracks on Side F of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. They however, fall into the category of epics. The first is Moment Of Truth’s Love At First Sight. An unreleased track, it clocks in at seven-minutes. Philly Soul, funk, jazz and disco melt into one during the arrangement, which features The Sweethearts Of Sigma adding breathy harmonies. Why a track as good as this, never saw the light of day seems a mystery?
Terry Collins’ Actions Speaks Louder Than Words is another seven minute fusion of musical genres and influences. Written and produced by one of The Young Professionals, Bobby “Electronic” Eli, it was released in 1973 on Kwanza Records. Against a laid-back, understated jazz-tinged backdrop, Terry Collins’ vocal emerges. It stops you in your tracks. Strong, powerful and full of emotion, diva-esque is a fitting description of Terry’s spellbinding delivery. She trades licks with her backing vocalists, fusing soul and gospel, reaching previously unreached heights. As for Tom’s remix, he extents the track by four minutes, allowing you to revel in the track’s delights.
SIDE G.
Loose Change feature twice on Side G of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. Straight From The Heart is their contribution. Released as a single in 1979, it’s a track from their eponymous album. Written by Grey and Hanks, and produced by Tom Moulton, Loose Change are accompanied by John Davis and His Monster Orchestra. They play an important part in a track that’s soulful and dance-floor friendly.
Rising Cost Of Love is the other contribution from Loose Change. It’s also from their 1979 eponymous album. Written by Grey and Hanks with legendary arranger, producer and songwriter Bobby Martin, there’s a slightly tougher, funkier sound to this track. A fusion of funk, Philly Soul and disco, like Straight From The Heart, hooks aren’t in short supply.
Tapestry only released a handful of singles between 1967 and 1976. Their sophomore single was Big Stone Wall (Around Your Heart). Released on Philly Groove Records, it was written by Richard Mason and Thomas White. Arranged by John Davis, Billy Devine and Leo Donald produced this musical Tapestry. Tom Moulton extends the introduction and then the break. By doing that, you can enjoy swathes of dancing strings. They sweep you away, taking you on a magical musical journey, that lasts four glorious minutes.
SIDE H.
TJM was a short-lived studio band put together by Tom Moulton. They released just one album and single. The album was TJM and the single Put Yourself In My Place, which was penned by Alfie Davidson. Featuring vocals from The Brotherhood, Tom decided to revisit Put Yourself In My Place on 2011s Philly ReGrooved 2: The Tom Moulton Remixes. He transforms the track to a seven soulful and funky minutes. This results in something of a hidden gem. Sadly, with disco experiencing a near death experience in 1979, that was all that we heard from TJM. Who knows what they may have achieved if things had been different?
Heaven and Hell Watcha’s Gonna Do was one of two bonus tracks on Philly ReGrooved: The Tom Moulton Remixes. Released on Italy’s D:Vision Records in 2006, it was a track written and produced by Reid Whitelaw and Norman Bergen. It’s Philly Soul with a 21st Century makeover from the man they call The Master.
SIDE I.
From Side I right through to Side P, it’s Philly Philly ReGrooved 3: The Tom Moulton Remixes all the way. This includes tracks from labels that include Atlantic, Atco, Buddah, Chelsea, Columbia, Defected and Roxbury. Featuring a who’s who of Philly Soul, the next eight sides feature old friends and a smattering of hidden gems.
Between 1973 and 1974, soul group New York City released two albums for Chelsea Records. Their debut album was 1973s I’m Doin’ Fine Now, produced by Thom Bell. He also produced 1974s Soulful Road, which proved to be New York City’s final album. I’m Doin’ Fine was New York City’s biggest hit. It was written by Sherman Marshall and Thom Bell, who arranged and produced the track. SInce its release in 1973, I’m Doin’ Fine has remained something of a hidden soulful gem. Thankfully Tom Moulton’s peerless remix gives everyone the opportunity to relive and rediscover this track’s delights all over again.
Son’s Of Robin Stone’s Got To Get You Back is Philly Soul all the way. This was their 1974 debut single, written by the Grammy Award winning songwriting partnership of Vinnie Barrett and Bobby “Electronic” Eli. Bobby also conducted, arranged and produced this track, which features members of M.F.S,B. providing the backdrop for Son’s Of Robin Stone. Vinnie and Bobby would later write Blue Magic’s classic Sideshow which featured on their debut album Blue Magic and Major Harris’ sensual classic Love Won’t Let Me Wait. Sadly, Son’s Of Robin Stone’s Got To Get You Back didn’t enjoy the same success as these tracks, but is a deliciously underrated slice of Philly Soul that gets a new lease of life from Tom Moulton.
The Spinners are one of the legends of Philly Soul. Their fortunes were transformed by producer Thom Bell. The album that started this transformation was 1973s Spinners. It featured Could It Be I’m Falling In Love and One Of A Kind Love Affair. It was written by Joseph B. Jefferson and arranged, conducted and produced by Thom Bell. M.F.S.B. provide the backdrop for Philippe Wynne’s lead vocal, while Bobby Smith delivers just two lines during the bridge, which follows the first verse.
One Of A Kind Love Affair was released as the followup single to Could It Be I’m Falling In Love. It reached number eleven in the US Billboard 100 and gave The Spinners their third number one consecutive US R&B single, following in the footsteps of I’ll Be Around and Could It Be I’m Falling In Love. This was just the start of the most successful period in the careers of The Spinners and producer Thom Bell. The Spinners would become one of the most successful groups in the history of Philly Soul, while Thom Bell establish his reputation as one of the architects of Philly Soul.
SIDE J.
Could It Be I’m Falling In Love is a stonewall Philly Soul classic. It was written by Melvin and Mervin Steals under the pseudonym Mystro and Lyric. This was a track from The Spinners’ third album Spinners, released in 1974 on Atlantic Records. Spinners marked a change in fortune for The Spinners. Neither 1967s The Original Spinners, nor 1970s 2nd Time Around was a commercial success. Then when The Spinners headed to Philadelphia and hooked up with producer Thom Bell, their luck changed. Thom Bell brought the legendary Philadelphia International Records’ house-band M.F.S.B. onboard. The Spinners on Spinners when the recording began at Joe Tarsia’s Sigma Sound Studios. When recording of Could It Be I’m Falling In Love began, Thom decided the song should be slowed down. His decision was crucial and the result was a timeless Philly Soul classic.
Formed In Philly, and famed for their vocal harmonies which was combined with a disco sound, the Philly Devotions released a six singles between 1973 and 1976. Their best known single and I’d say, career highlight, was a cover of Little Anthony and The Imperials’ 1965 classic Hurt So Bad. It was released in 1976 on Columbia and was produced by John Davis, who later, went on to form John Davis and The Monster Orchestra. Tom Moulton was responsible for the mix of Hurt So Bad, which is perceived as one of Tom’s greatest remixes and his 2013 remix breathes new life, meaning and energy into a classic track.
Just like The Spinners, New York City have two tracks on Philly Re-Grooved Volume 3 Tom Moulton Remixes. The second contribution from New York City on Philly Re-Grooved Volume 3 Tom Moulton Remixes, is Quick, Fast In A Hurry, which features the vocal talents of Claude Johnson, John Brown, Tim McQueen and Ed Schell. Quick, Fast In A Hurry was written by Linda Creed and Thom Bell, who arranged and produced the track. This was their sophomore single and the followup to I’m Doin’ Fine. It also featured on their 1973 debut album on Chelsea Records, I’m Doin’ Fine Now and is a captivating reminder of one of Philly Soul’s finest purveyors.
SIDE K.
Bettye Swann-When The Game Is Played On You. One of the most underrated soul singers of the sixties and seventies is Bettye Swann. Quite simply, Bettye Swann is one of soul music’s best kept secrets. Her career started in the early sixties, when she was a member of The Fawns. Then in 1964, Bettye embarked on a solo career. Don’t Wait Too Long the first of a series of singles she released for Money Records. Three years later, Bettye released her debut album Make Me Yours. By 1968, Bettye’s talent had attracted the interest of Capitol Records.
In 1969, Bettye signed to Capitol Records, releasing The Soul View Now! and Don’t You Get Tired Of Hurting Me. Sadly, Bettye didn’t enjoy the commercial success her undeniable talent deserved. When she left Capitol, she released I’m Just Living A Lie for Fame in 1971. Next stop for Bettye was Atlantic Records. Her Atlantic debut single Victim Of A Broken Heart reached the US R&B top twenty. Then in 1974, Bettye recorded Tony Bell and Phil Hurtt’s Time To Say Goodbye. Tony arranged the track and he and Phil produced the song with LeBaron Taylor. Since then, it has remained one soul music’s hidden gems, which showcases one of the greatest voices in soul music. However, Tom’s remix will bring When The Game Is Played On You to a new, and much wider audience.
During the seventies, Buddah Records established a roster of that included some of the most successful artists in music. This included Gladys Knight and The Pips, Curtis Mayfield, The Impressions, The Trammps and Melba Moore. Unfortunately in 1977, Buddah Records began to experience financial problems. This was only rectified when Buddah signed a distribution deal with Clive Davis’ Arista Records. These financial problems coincided with Melba Moore’s time at Buddah Records.
Between 1975 and 1977, Melba Moore released four albums for Buddah. Starting with 1975s Peach Melba, through 1976s This Is It and Melba, Melba’s career at Buddah ended with 1977s A Portrait Of Melba, which included the single Standing Right There. Of the four albums, A Portrait Of Melba was her least successful album, failing to chart. Despite this, Standing Right There reached number sixty-two in the US R&B Charts. It was written and produced by McFadden and Whitehead with Victor Castarphen. Now thirty-six years after its release, Standing Right There has been given a disco makeover by Tom Moulton, which totally transforms the track. One listen and you’ll know exactly what I mean.
SIDE L.
Founded in Camden, New Jersey in 1968, by Jenny Holmes, David Beasley, Clarence Vaughan and James Tuten, The Ebonys were a soul quartet who many people compare to The Dells. Both groups established their reputation delivering bold, dramatic ballads. They were discovered by Leon Huff of Philadelphia International Records.
Leon Huff signed The Ebonys to Philadelphia International Records. They released several singles and one album between 1971 and 1974. Their debut singles was 1971s You’re The Reason Why, with singles like I’m So Glad I’m Me and I Believe following. Then in 1973, The Ebonys released their only album for Philadelphia International Records,The Ebonys. A year later, The Ebonys left Philadelphia International Records and signed to Neil Bogarty’s Buddah Records.
Now signed to Buddah Records, The Ebonys’ label debut was 1974s Making Love Ain’t No Fun (Without The One You Love). It was written by Allan Felder and Norman Harris. Norman arranged and produced the track, while Tom Moulton remixed the single. However, when The Ebonys’ 1976 sophomore album Sing About Life was released on Buddah Records, Making Love Ain’t No Fun (Without The One You Love) didn’t feature on the album. Now for Philly Re-Grooved Volume 3 Tom Moulton Remixes, Tom Moulton has transformed Making Love Ain’t No Fun (Without The One You Love) into an eight-minute masterpiece. This to me, is one of the most welcome inclusions on Philly Re-Grooved Volume 3 Tom Moulton Remixes, and Tom Mouton deserves our thanks for this epic remix.
David Morris Jr’s career started in the sixties and last right through to the early eighties. He released just a handful of singles. Having released singles on Phillips and Plush Records, next stop for David was Buddah Records. That’s where he released the double A-Side Midnight Lady/Jack In The Box in 1976. Jack In The Box was written by Ernest Smith and T.J. Tindall, who was a guitarist in M.F.S.B. and The Salsoul Orchestra. Producing Jack In The Box were Bud Ross and Ed Biggins, while Tom Moulton remixed the track giving it a delicious dance-floor friendly sound.
SIDE L.
Ron Hall and The Motherfunkaz featuring Marc Evans’The Way You Love Me was one of two bonus tracks on Philly Re-Grooved Volume 3: Tom Moulton Remixes. This near thirteen-minute epic remix of The Way You Love Me was released in June 2006 on Defected and was mixed by Tom Moulton. Vince Montana Jr, formerly of M.F.S.B. and The Salsoul Orchestra, plays vibes and arranged the strings on The Way You Love Me, giving the track an unmistakable Philly Soul influence.
For many people, The Trammps are disco’s most soulful group. Mind you, with the legendary Jimmy Ellis as their lead singer, that’s so surprise. The Trammps were formed back in the sixties as The Volcano, but after various changes in personnel, became The Trammps in the seventies. They released ten albums between 1975 and 1984. However, it was at Buddah Records their career started.
Hold Back The Night was written by Ron Baker, Norman Harris and Earl Young with Allan Felder. It was arranged by Norman Harris and produced by Baker, Harris Young. On its release in 1975 on Buddah, it gave The Trammps the biggest hit of their career, reaching number thirty-five in the US Billboard 100 and number ten in the US R&B Charts. Over in the UK, Hold Back The Night reached number five and is one of Jimmy Ellis’ finest moments as lead singer of The Trammps.
SIDE O.
The third and final artist to have two tracks on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is Bettye Swann. Her second contribution is Kiss My Love Goodbye, which was released on Atlantic in 1974. Kiss Your Love Goodbye was written, arranged and produced by the same personnel as When The Game Is Played On You. It was written Phil Hurtt and Tony Bell who arranged the track. Under the guise of The Young Professionals, Phil and Tony Kiss My Love Goodbye with LeBaron Taylor. Like When The Game Is Played On You, it demonstrates that Bettye Swann is one of soul music’s best kept secrets.
When Tom Moulton’s brother Jerry discovered the members of Loose Change, they were performing under a different name. However, Tom felt the group’s name didn’t suit the songs he had in mind for them. So Becky Anderson, Donna Beene and Leah Gwin became Loose Change for their 1979 album Loose Change, which was released on Casablanca Records.
For recording of Loose Change’s debut album Loose Change, recording took place at Philly’s Sigma Sound Studios. A number of songwriters worked on Loose Change. For the album opener, Tom and Thor Baldursson, who Tom worked with at Salsoul cowrote Babe. It features members of M.F.S.B. who accompany Loose Change. The result was a track that’s Euro Disco, albeit with a twist. On the release of Loose Change in 1979, it failed to chart. However, Loose Change is seen as one of the finest albums of its type and is a tantalizing reminder of the talents of Loose Change.
SIDE P.
There aren’t many people who go from being a drafting technician to writing and recording a two-million selling single. This is what happened to William DeVaughn. He’d written a song called A Cadillac Don’t Come Easy. It was then rewritten to become Be Thankful For What You’ve Got. The song was then given a smoother arrangement by Allan Felder, and once it was completed, William and members of M.F.S.B. entered Joe Tarsia’s Sigma Sound Studios in Philly. When it was recorded, it was released in 1974 and transformed William’s career.
Be Thankful For What You’ve Got was released on Chelsea Records in 1974. It reached number four in the US Billboard 100 and number one in the US R&B Charts, selling over two-million copies. This resulted in the single being certified platinum. Later in 1974, William released his debut album Be Thankful For What You’ve Got. Although it was a commercial success, it didn’t replicate the success of his debut single.
While William released further singles, the single Give The Big Man A Helping Hand gave him a minor commercial success. Soon, William lost interest in the music, and eventually, returned to his old job. He would make a comeback in 1980, releasing his sophomore album Figures Can’t Calculate The Love I Have For You. After that, he dabbled in music, but never revisited the commercial success and critical acclaim of his seminal track Be Thankful For What You’ve Got, which in the hands of Tom Moulton’s takes on new life, resulting in one of Tom’s best remixes on Philly Re-Grooved Volume 3 Tom Moulton Remixes.
The final track on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, is The Modulations-I Can’t Find Your Love. Like so many seventies soul groups, The Modulations, who were signed to Buddah Records between 1973 and 1975, headed to Philadelphia in search of fame, fortune and a Philly Soul makeover. For new groups, there were many producers just waiting to try and transform a group’s career, including Gamble and Huff, Thom Bell, Norman Harris, John Davis, Vince Montana Jr. and Bobby “Electronic” Eli. It wasn’t any of these producers The Modulations turned to.
Instead, The Modulations hooked up with the songwriting and production team of Currington, Blunt, Lester, Lester and Brown, who produced and cowrote The Modulations’ 1973 debut single I’m Hopelessly In Love. They also produced 1974s I Can’t Find Your Love, which featured on their 1975 album It’s Rough Out There. This turned out to be The Modulations only album. However, if a group is only going to release just one album, make it one as good as It’s Rough Out There. Similarly, with a single as good as I Can’t Find Your Love, there’s only remixer to get to remix it…Tom Moulton. Proof of that is Tom’s near nine-minute musical masterpiece.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is not just the result of three years work for Tom Moulton. No. Far from it. It’s the cumulation of five decades work. For five decades Tom Moulton has been honing his skills as a remixer. It’s only through hard work, determination and being a perfectionist that Tom was able to produce remixes as good as those on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. Take it from me, it takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. From the opening bars of Ultra High Frequency’s We’re On The Right Track on Side A, right through to the final notes of The Modulations’ I Can’t Fight Your Love which closes Side P of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, Tom Moulton never once lets his standards drop. Always, the remixes are of the highest quality. That’s why Tom gained the nickname The Master, which isn’t not his only nickname.
He’s also known as The Godfather of the remix. Indeed before Tom Moulton came along, there was no such thing as a remix. Tom went away and worked out how do a rudimentary remix. Since then, he’s remixed an incredible 5,000 tracks. Compare Tom’s remixes, including the forty on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition and its like master and pupil, with Tom very much the master. Other remixers are just pretenders to Tom’s throne.
For nearly five decades years, Tom Moulton has been remixing music, with his remixes some of the most innovative and influential in the history of music. Without Tom Moulton, music, especially dance music wouldn’t be the same. There would be no remixes, no twelve inch singles and maybe, no superstar DJs. So anyone who either makes their living from music or loves music, owes Tom Moulton a real debt of gratitude. He truly is one of the heroes of music, worthy of being referred to as an innovator and visionary. Tom Moulton is also one of the architects of Philly Soul.
Of the 5,000 tracks Tom has remixed, some of his best known remixes took place in what was for a while, his adopted hometown Philly. Back then, when Philly Soul and disco provided the soundtrack to the seventies. Many of these feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. These forty tracks transport us back to another era, one where Philly Soul and disco were King. Although forty years is over a generation ago, you wouldn’t realize it. The music on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is truly timeless. It’s aged like a fine wine. Not only that, it brings back memories of musical visionaries like Vince Montana Jr, Norman Harris, Gamble and Huff, Thom Bell. Then there’s M.F.S.B, The Salsoul Orchestra, The Sweethearts Of Sigma, Baker, Harris, Young and John Davis and His Monster Orchestra. They’ve one thing in common with Tom Moulton.
Each one of them are architects of Philly Soul. Tom deserves to be mentioned in the same breath as them. He helped give their music a new lease of life. He totally transformed Philly Soul and is introducing what is the greatest soul music to another generation of music lovers. That ensures that Philly Soul will continue to be one of the most popular and memorable musical genres of the past sixty years. For keeping Philly Soul alive, Tom Moulton deserves great credit and our thanks. He also deserves our thanks for remixing some of the greatest music of the past five decades. This includes creating the forty stunning remixes which feature on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition. They’re among the finest remixes of Tom Moulton’s long and illustrious career. As for Harmless Records, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is one of its best releases.
Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition will be 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. It’s also the perfect accompaniment to Philadelphia International Classics: The Tom Moulton Remixes. Just like Philadelphia International Classics: The Tom Moulton Remixes, Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition is something to cherish. However, you’ll need to be quick.
After all there are only 400 copies of Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition available. Once they’re gone, they’re gone. Quickly, they’ll become a collector’s item. However, music I believe, is meant to be heard, not hidden away. So good is the music on Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, that it would a crime not listen to it. My advice is, listen to Philly ReGrooved-The Tom Moulton Remixes-Special Vinyl Edition, let it into your life, love it and cherish the forty remixes from Tom Moulton, The Godfather of the remix and the man they call The Master.
PHILLY REGROOVED: THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
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