AURRA-A LITTLE LOVE.
AURRA-A LITTLE LOVE.
It was in 1975, that Steve Washington formed his first band with his school friends Mark Hicks and Tim Dozier. Born in Newark, Steve was brought up in East Orange, New Jersey. Steve was from a musical family. His uncle was The Ohio Players’ Ralph “Pee Wee” Midlebrooks. During his holidays, Steve either stayed with his uncle in Ohio, or headed out on tour with The Ohio Players. This would give Steve a taste of what life was like as a musician.
Having left high school, Steve’s band hooked up with another band. They initially named themselves Congress, but soon, changed their name to Slave. Their 1977 eponymous debut album, which featured the funk classic Slide, which reached number one in the US R&B Charts. Released on Cotillion, a subsidiary of Atlantic, Slave reached number twenty-two in the US Billboard 200 and number six in the US R&B Charts. Certified gold, Slave’s debut album had proved a huge success. Buoyed by the success of Slave, Slave soon began working on their sophomore album Hardness Of The World.
Later in 1977, Slave released their sophomore album The Hardness Of The World. While it didn’t replicate the commercial success of Slave, it did reach number sixty-seven in the US Billboard 200 and number thirty-one in the US R&B Charts. By the time Slave released their third album, The Concept, Slave had two new members.
Slave’s two new members were drummer and vocalist Steve Arrington and Starleena Young. Starleana’s musical career had started when she joined a gospel choir. After that, she joined Symphonic Express. That was where Steve Washington came across Starleana. Realizing that Starleana Young was a talented vocalist, Steve brought her onboard for the recording of Slave’s third album, The Concept. On its release in 1978, The Concept reached number seventy-eight in the US Billboard 200 and number eleven in the US R&B Charts. This was an improvement on The Concept. The addition of Starleena Young, a former member of Symphonic Express had helped Slave. So would the addition of another member of Symphonic Express help Slave reach the heights of Slave?
For what became Slave’s fourth album, Just A Touch Of Love another of Symphonic Express’ vocalists joined Slave. This was Curt Jones, who’d proved an important member of Slave. After all, Curt cowrote three of the eight tracks on Just A Touch Of Love. When Just A Touch Of Love was released in 1979, it reached number ninety-two in the US Billboard 200 and number eleven in the US R&B Charts. While When Just A Touch Of Love didn’t replicate the success of Slave, it featured Slave’s most successful single since Slide. The title-track reached number nine in the US R&B Charts. Just as Slave on their way to becoming one of America’s most successful funk bands, Steve Washington, inspired by George Clinton of Funkadelic and Parliament, decided to give Slave’s two vocalists their own musical vehicle, Aurra.
It was 1980 when Aurra released their eponymous debut album. Aurra had signed to Dream Records, a subsidiary of Salsoul Records. Featuring the twin vocals of Starleena Young and Curt Jones, the rest of Slave accompanied them. On its release in 1980, the six-track Aurra, failed to chart. The single, In The Mood (To Groove) reached number eighty-six in the US R&B Charts and number fifty in the US Dance Charts. While Aurra failed to chart, Slave’s fifth album Stone Jam replicated the commercial success of their debut album. Certified gold, it reached number fifty in the US Billboard 200 and number five in the US R&B Charts. However, it wouldn’t be long before Aurra were enjoying commercial success.
For Steve Washington, 1981 was one of the most successful years of his musical career. Aurra’s sophomore album Send Your Love, was released on Salsoul and reached number 103 in the US Billboard 200 and number twenty-two in the US R&B Charts. Things got even better for Slave when Slave reached their sixth album, Show Time. It reached number forty-six in the US Billboard 200 and number six in the US R&B Charts. Steve Washington, it seemed had the Midas. He was replicating George Clinton, who successfully ran two bands. Would this success continue in 1982, when Slave released their seventh album and Aurra released their third album A Little Love? That’s what I’ll tell you. Then I’ll tell you about the music on A Little Love, which was rereleased by Octave Japan.
When work began on Aurra’s third album A Little Love, Steve Washington and Curt Jones cowrote It’s You. They also cowrote six of the other seven tracks, with various songwriting partners. The exception was Thinking Of You which closes A Little Love. These eight tracks which were recorded at House of Music became A Little Love.
At House of Music, Aurra started work on their third album A Little Love. Starleana Young and Curt Jones took charge of the lead vocals. Accompanying them, were a rhythm section of drummers Kevin Moore and Thomas Lockett Jr, bassist Ray Jackson and guitarists Curt Jones and A.C. Drummer. Phillip Fields and Kevin Grady played keyboards, while Steve Washington played bass, drums Prophet 5 and Omni II. When the eight tracks were recorded A Little Love was released in January 1982.
Before A Little Love was released on Salsoul Records, Make Up Your Mind was released as the lead single. Released in November 1981, it reached number seventy-one in the US Billboard 100, number six in the US R&B Charts and number thirty-five in the US Disco Charts. A Little Love was released in January 1982, reached number thirty-eight in the US Billboard 200 and number twelve in the US R&B Charts. The title-track, A Little Love, released in March 1982, reached number thirty-six in the US R&B Charts. When Checking You Out was released in June 1982, it reached number sixty-four in the US Billboard 200 and number forty-seven in the R&B Charts. A Little Love was Aurra’s most successful album. However, Slave’s seventh album Visions Of Time, reached just number 177 in the US Billboard 200 and number forty-six in the US R&B Charts. Ironically, Aurra, which had started off as an offshoot of Slave, was now surpassing the commercial success of Slave. Why was A Little Love so successful? That’s what I’ll now tell you.
Tough and funky describes Make Up Your Mind, which opens A Little Love. This was the lead single from A Little Love. The funkiest of slap basses, synths, hypnotic drums and harmonies combine, before Curt’s vampish vocal struts centre-stage. His vocal is full of emotion and confusion. When Starleana Young’s vocal enters, it’s tender, heartfelt and determined to soothe Curt’s troubled soul. As their vocal drops out, the arrangement fuses elements of funk and boogie. Add to that the soul supplied by Curt and Starleana and it’s a potent combination.
Patience sees Aurra’s rhythm section, keyboards and Starleana’s sensual, vampish vocal combine. What follows is like a lost Madonna track. That’s thanks to Starleana’s needy vocal. Harmonies sweep in, proving the perfect foil to her vocal. When Curt’s vocal enters, you realize it isn’t really necessary. The track works perfectly with Starleana accompanied by harmonies. However, Curt, like the harmonies, plays his part in the success of a track that’s full of poppy hooks and dance-floor friendly.
It’s You is very different to the previous tracks. Dramatic and melancholy describes the track’s opening bars. When Curt’s vocal enters, a beautiful ballad begins to unfold. His vocal is delivered with power and passion. A subtle, tender vocal from Starleana adds the finishing touch to this sensual, dramatic and emotive hidden gem. Why this slice of smooth groove wasn’t released as a single seems a missed opportunity.
Checking You Out has a really eighties sound. Fusing funk, soul, R&B and pop it’s a swaggering, slice of sensual music. While the rhythm section, chiming guitars and keyboards add a funky backdrop, Curt and Starleana strut across the arrangement. Sassy and confident, their vocals add the electricity to what made Aurra such a special group. Referencing everything from disco, seventies funk, boogie, Chic-style guitars, Madonna, Michael Jackson’s Off The Wall and classic pop, it’s a slick, classy and irresistibly catchy song, where musical genres and influences unite.
For just under a minute, Aurra’s rhythm section, keyboards and searing guitars jam. They’re setting the scene for Curt and Starleana’s vocal on A Little Love. When they arrive, their vocals are powerful, needy and dramatic. This matches the arrangement, which fuses funk, rock and jazz. Spurred on by the dramatic arrangement, Curt and Starleana combine power, emotion and insecurity, with their needy, dramatic vocals which bring the lyrics to life.
A Little Love, the title-track sees the tempo drop. It’s a much more “Aurra-like song.” Featuring a bass masterclass from Ray Jackson, who cowrote the song, it’s a mid-tempo dancer. Chiming guitars, Ray’s uber funky bass and stabs or keyboards produce an arrangement that reminds me of Chic. As for Curt and Starleana’s vocal, they’re heartfelt, hopeful and soulful, on this melancholy fusion of funk and soul.
In My Arms is another slow, sultry song. A sensual, pleading vocal combines with a meandering, but funky rhythm section. Augmented by keyboards and harmonies, Starleana delivers one of her best vocals. Only her vocal features and is needed. She makes the song her own, delivering a slow, sensual vocal with emotion. Accompanied by harmonies, her vocal veers between a scat and a vamp. Meanwhile, the rhythm section, chiming guitars and keyboards combine jazz, funk, soul and R&B, providing the perfect accompaniment to Starleana’s vocal Magnus Opus.
Closing A Little Love is Thinking Of You. It’s an uptempo dance track, driven along by a funky, slithery groove from Ray Jackson’s bass. Punchy harmonies accompany Curt’s vocal. Combining drama, power and emotion his vocal, plus a plentiful supply of hooks, this joyful, melodic, mixture of soul, funk and disco is the perfect way to close A Little Love.
With its fusion of soul, R&B and funk, tinged with elements of boogie, disco and sometimes, jazz, it’s no wonder Aurra’s third album A Little Love was their most successful. Crucial to the success of A Little Love, was the twin vocals of Starleena Young and Curt Jones. They were the perfect foil for each other. Of the two, Starleana was the real star of Aurra.
Her vocal on In My Arms is the best on the album. Accompanied by just harmonies it demonstrated just how talented she was. By then, we already knew this. On Patience, Starleana delivered a sensual, vampish vocal. The track could’ve and would’ve worked on its own. The addition of Curt’s vocal wasn’t really necessary. Having said that, Aurra’s success wasn’t just a result of Starleana. Instead, its success was as a sum of the parts. Curt played his part, delivering some powerful, emotive and effective vocals. Just like Starleana’s vocals, they helped bring the songs to life, breathing life and meaning into the lyrics. However, there was more to Aurra’s success that Starleana and Curt.
Crucial to the success of A Little Love, was the personnel involved in the album. This includes some talented musicians, including bassist Ray Jackson, who several times, gave bass masterclasses. Then there was the eight songs. Steve Washington cowrote them, produced and played A Little Love. He was the man who masterminded the rise and rise of Aurra, and before that Slave.
Ironically, as Aurra enjoyed success with A Little Love, Slave’s seventh album was the least successful of his career. Reaching just number 177 in the US Billboard 200 and number forty-six in the US R&B Charts, Visions Of Time proved to be a sign of what was to come for Slave. They’d enjoyed the most successful period of their career. Now Aurra, which had started off as an offshoot of Slave had become more successful than Slave. Aurra’s most successful album was A Little Love, was recently released by Octave Japan. Fusing musical genres and influences, A Little Love was the most soulful, funky and dance-floor friendly album Aurra would release. Sadly, neither 1983s Live and Let Live and 1985s Like I Like it replicated the success of Aurra’s most successful album A Little Love, the best album of Aurra’s career. Standout Tracks: Patience, It’s You, Checking You Out and In My Arms.
AURRA-A LITTLE LOVE.
THE GET DOWN BOOGIE SOUND.
THE GET DOWN BOOGIE SOUND.
Disco which had provided the musical backdrop to the second half of the seventies, went from hero to zero in the space of a year. Suddenly, disco sucked. Disco’s downfall started on Christmas Eve 1978, That’s when Steve Dahl was fired by Chicago radio station WDAI. It had previously been a rock station, but switched to disco. Steve wasn’t out of work long. He was hired by WLUP, a rival station. WLUP played rock, which suited Steve Dahl. He’d an inkling that disco wasn’t long for this world.
Steve wasn’t a fan of disco, and took to mocking disco on-air. Openly, he mocked WDAI’s “disco DAI.” It became “disco die” to to Steve. Soon, Steve had created the Insane Coho Lips, his very own anti-disco army. Along with cohost Gary Meier, they coined the now infamous slogan “Disco Sucks.” The backlash had begun.
From there, the Disco Sucks movement gathered momentum. Events were held all over America. This came to a head at Disco Demolition Derby, which was Steve Dahl’s latest anti-disco event. Each one was becoming bigger, rowdier and attracting even more publicity. Disco Demolition Derby, which was held at Comiskey Park, Chicago on 12th July 1979 surpassed everything that went before. WFUL were sponsoring a Chicago White Sox game at Comiskey Park. if fans brought with them a disco record, they’d get in for ninety-eight cents. These records would be blown up by Steve Dahl. An estimated crowd between 20-50,000 people attended. Quickly the event descended into chaos. Vinyl was thrown from the stands like frisbees. Then when Steve blew up the vinyl, fans stormed the pitch and rioted. Things got so bad, that the riot police were called. After the Disco Demolition Derby, disco nearly died.
Following Disco Derby Night, disco’s popularity plunged. Disco artists were dropped from labels, disco labels folded and no further disco albums were released. Disco was on the critical list, and suffered a near death experience. It took a long time to recover. After disco’s demise, dance music changed.
No longer were record labels willing to throw money at dance music. Budgets were suddenly much smaller. Gone were the lavish productions of the disco orchestras of the seventies. This is epitomised by The Salsoul Orchestra and John Davis and The Monster Orchestra. Strings and horns were now a luxury. Music would have to go back to basics. Replacing them would be sequencers, synths and drum machines, which were much cheaper. Previously, they were only found in studios or were used by wealthy and famous musicians. Now they were within the budget of many musicians. This would prove crucial in the rise and rise of the boogie, the musical genre that replaced disco as the favored choice of music for discerning dancers and DJs.
Boogie was different from disco on several ways. The tempo was slower, usually between 90 and 110 beats per minutes. Lavish arrangements were a thing of the past.Strings and horns were no more. Synths and drum machines took their place. Sometimes producers like Leroy Burgess played an important role within a band. Often, bands were essentially studio bands, made up of session musicians. This includes Inner Life and Logg, who enjoyed some success at Salsoul. Both groups were at the forefront of this new musical genre, boogie. So were groups like The Mynks, Shock, Convertion, The Ritz and Shock. These groups feature of BGP’s latest boogie compilation The Get Down Boogie Sound, which I’ll tell you about.
The Get Down Boogie Sound is a thirteen track compilation, which features tracks from the back-catalogues of Vanguard, Fantasy and Posse. Among the artists that feature on The Get Down Boogie Sound are Carol Williams, Sylvester, The Mynks, Convertion, Marlon McClain and Shock. Released between 1981 and 1983, the thirteen tracks on The Get Down Boogie Sound, are a perfect primer for newcomers to boogie. You’ll realize that when I tell you about the highlights of The Get Down Boogie Sound.
I always think that the track that opens an album or compilation is the most important. It’s a case of first impressions matter. Compiler Julian Jonah realizes that, and chose Mynks’ Can’t Get Away (From Your Love). Mynk featured Bill Curtis and Gerry Thomas of the Fatback Back. Bill and Gerry produced this track. It has a joyous, good time party sound, where soul, disco and funk combines. Released in 1981 on Posse Records, this was Mynk’s only single. That’s a great shame, as this is a tantalizing taste of what Mynk were capable of.
Carol Williams released one of the best albums released on Salsoul Records, ‘Lectric Lady, which featured More and Love Is You. Sadly, that was the only album she released on Salsoul. Her sophomore album of Reflections Of Carol Williams followed in 1979. It was released on the Quality label. After that, Carol released singles for Atco, Roy B. Records and Steyrer Disco. By 1981, she’d signed to Vanguard Records and released Tell The World. Can’t Get Away (From Your Love) was her second single for Vanguard. Producer Darryl Payne builds the drama before Carol’s vocal enters. Her vocal is sensual and needy, while punchy harmonies accompany her. She goes on to deliver a vocal that’s not just soulful, but oozes emotion and sensuality.
Dance So Fine features a storming, vampish vocal from Nijel. Released in 1982 on Fantasy Records, it also features a vocoder. This is an instrument that divides opinion. Thankfully, here it’s used sparingly and effectively, during an arrangement where soul, funk and disco are combined by producer Lemel Humes.
So good are Shock, that they’ve two tracks on The Get Down Boogie Sound. These are That’s A Lady and Electrophonic Phunk. Both tracks are from their third album Waves, which was released on Fantasy Records in 1982. The best of the two tracks is the deeply soulful, but dance-floor friendly That’s A Lady. It was produced by Roger Sause and Marlon McLain, formerly of Pleasure. As for the production, there’s no expense been spared. Lavish and “big” describes it. Horns augment the rhythm section, percussion and synths, while the lead vocal and harmonies drive each other to greater heights of soulfulness on this gem of a dance-track.
Leroy Burgess’ name is synonymous with boogie. He’s perceived as one of the founding fathers of boogie. Convertion were one of Leroy’s studio bands. Although they only released a handful of singles, they’re music is fondly remembered and revered by connoisseurs of boogie. Sweet Thing was Convertion’s second single. Released in 1982, on Vanguard and produced by Greg Carmichael, it’s a genre-melting track. Soul, funk, boogie, proto-rap and disco combine with drama, sass and vampish vocal. No wonder this Sweet Thing is so fondly remembered by boogie fans.
If you’re only going to release one single, make it a good one. That’s what J.T. or as he’s better known, Joseph Tooney III did. He released I Love Music in 1983 on Vanguard Records. Sadly, it seems to have sunk without trace. Given the quality of the track that’s surprising. Driven along by the bass synth, squeaks and beeps escape from upbeat, funky arrangement. J.T’s vocal is both swaggering and soulful, full of energy and enthusiasm. Following the failure of this single, J.T. called time on his musical career. That day, music lost a talented singer.
Talking of talented singers, that’s almost an understatement. A charismatic and ebullient showman, Give It Up (Don’t Make Me Wait) is the perfect showcase for Sylvester’s inconsiderable skills. The version chosen is the Extended UK 12″ Mix. Taken from his 1981 album Too Hot To Sleep, which was produced by Harvey Fuqua, this is a delicious fusion of disco, jazz, funk and soul. Blazing jazzy horns are the perfect foil for Sylvester. It’s like throwing down a gauntlet. While more mellow than tracks like You Make Me Feel Sylvester vamps his way through the track, with gospel-tinged harmonies for company. The result is one of the highlights of The Get Down Boogie Sound.
Having left Pleasure, Marlon McClain signed to Fantasy Records, releasing his only solo album Changes in 1981. It didn’t replicate the success that Pleasure enjoyed. However, it did feature the mellow, languid sound of Pastel. Jazz-tinged, the track meanders along dreamy harmonies giving way to chiming guitars, hissing hi-hats and jazzy piano. Reminiscent of The Crusaders’ Street Life in parts, it’s proof that boogie was a broad musical church.
From the funky introduction and sinister laugh, Steptoe has your attention. You wonder where the track is heading? Before long, you know where the destination is… boogie. Written and produced by Greg Watson and Pam Sawyer. Released by Fantasy Records in 1982, there’s a space-age, experimental and leftfield sound to this enigmatic track.
Arthur Baker produced I Wanna Get With You which was released by Ritz’s in 1981. Released on Arthur Baker’s Posse label, this was his new label’s first release. He chose well. Ritz weren’t just the house band, but a band oozing talent. Seamlessly they could switch between soul, funk, boogie and Latin music. A myriad of blazing horns, a driving, uber funky rhythm section and soaring harmonies accompany a heartfelt, needy vocal that’s influenced by seventies Philly Soul. A truly innovative, genre-sprawling track, it’s what I’d expect from a group Arthur Baker deemed good enough to be his house band.
Project Funk’s only single as Eazy, released on Vanguard Records in 1981. Written by Darryl Payne, who produced the track with Danny Weiss. The track has a tough, P-Funk sound, as it bursts into life. An explosion of energy, a chiming Niles Rodgers’ guitar, braying horns and funky rhythm section join bubbling synths.They provide the backdrop to P-Funk harmonies and a vampish vocal. Together, they plays an important part in a track that’s worms its way into your consciousness.
Rare Essence’s Body Move is the final track from The Get Down Boogie Sound I want to tell you about. Straight away, I noticed the track was produced by Chuck Brown the founding father of Go-Go. A fusion of Go-Go and boogie, Body Move was originally released on Washington’s Groove Records in 1981. Later in 1981, it was picked up by Fantasy Records who released the single to a wider audience. Oozing in quality, it has a tougher, edgier sound as boogie and Go Go meet head-on.
So, that’s the story of The Get Down Boogie Sound, BGP’s latest boogie compilation. From the opening bars of Mynks’ Can’t Get Away (From Your Love) right through to Shock’s Electrophonic Phunk, it’s quality all the way. I’d describe The Get Down Boogie Sound as, all killer, no filler. That’s unusual. Usually, there’s the odd musical faux pas along the way. Not here. Compiler Julian Johan has chosen well. He’s chosen a mixture of old friends and new faces.
Along the way we hear from some familiar faces, including Carol Williams, Sylvester, Convertion, Shock and Marlon McClain. There’s also hidden gems from Mynks, Ritz and Rare Essence. The Get Down Boogie Sound is a thirteen song musical journey. It’s a journey where we hear references to disco, funk, Go-Go, jazz, Latin and soul music. All these genres can be heard on the thirteen slices of boogie that feature on The Get Down Boogie Sound. These songs are quite different from disco, which preceded boogie.
As you’ll realize listening to The Get Down Boogie Sound, boogie is very different from disco. The tempo was slower, usually between 90 and 110 beats per minutes. Gone were lavish arrangements. They were a thing of the past. Strings and horns were no more. Synths and drum machines took their place. Despite all theses changes, boogie quickly found favor amongst discerning dancers and DJs. Just like disco, there’s no let up in our love affair with boogie. Thirty years later, and boogie is just as popular. That’s why there’s so many boogie compilations released. Very few are as good as The Get Down Boogie Sound, which is one of the best boogie compilations I’ve heard not just this year, but in recent years. That’s why I’d recommend that you get down with The Get Down Boogie Sound. Standout Tracks: Carol Williams Can’t Get Away (From Your Love), Shock That’s A Lady, Sylvester (Don’t Make Me Wait) and Ritz I Wanna Get With You.
THE GET DOWN BOOGIE SOUND.
SIMBA AND MILTON GULLI-THE HEROES A TRIBUTE TO A TRIBE CALLED QUEST.
SIMBA AND MILTON GULLI-THE HEROES A TRIBUTE TO A TRIBE CALLED QUEST.
In the history of hip hop, A Tribe Called Quest are one of the most innovative and influential bands ever. No ifs and no buts. The five albums they released between 1990 and 1998, featured a genre melting fusion of genres and influences. Musical genres melted into one. Hip hop, jazz, funk and soul were all thrown into the mix. Not only did this prove innovative and influential, but captured the imagination of a generation. Two gold albums and three platinum albums in the space of eight years are proof of this. Since then, another generation of music lovers have discovered and been influenced by A Tribe Called Quest. So too, have another generation of producers and musicians. Among them are Simba and Miton Gulli who will release The Heroes A Tribute To A Tribe Called Quest on BBE Music on 9th September 2013.
Simba and Milton Gulli decided to pay homage to one of hip hop’s most influential groups. A Tribute To A Tribe Called Quest aren’t just any hip hop group. No. They’re an old school hip hip group whose music inspired and influenced a generation. It’s innovative music with a message and a social conscience. The message was always joyous, bristling with positivity, and determined to enable and inspire a generation. That it did. It’s also music that’s stood the test of time. Dig out an old A Tribute To A Tribe Called Quest album, put it on, and it’s truly timeless. Memories come flooding back and suddenly, you’re reminded why you fell in love with music. That’s what A Tribute To A Tribe Called Quest mean to people, including Simba and Milton Gulli. Before I tell you about The Heroes A Tribute To A Tribe Called Quest, I’ll tell you about the music they’re paying tribute to.
Like so many people, I can remember exactly when A Tribe Called Quest released their debut album. It was 17th April 1990, my birthday. That was when I first heard People’s Instinctive Travels and The Paths Of Rhythms. Released on Jive, it reached number ninety-one in the US Billboard 200 and twenty-three in the US R&B Charts. Innovative, inventive, literate, witty and full of biting social comment, People’s Instinctive Travels and The Paths Of Rhythms was certified gold. This was the start of an eight year musical journey, where critical acclaim and commercial success were omnipresent.
A year later, The Low End Theory was released in September 1991. A truly groundbreaking album, hip hop met jazz on a genre-sprawling album. Laid back, with a mellow, chilled out, jazz-tinged vibe, The Low End Theory reached number forty-five in the US Billboard 200 and thirteen in the US R&B Charts. Certified platinum, Low End Theory is referred to as a classic. That’s no exaggeration. However, The Low End Theory wasn’t A Tribe Called Quest’s only classic.
Midnight Marauders was released to critical acclaim in November 1993. It surpassed the commercial success of their two previous albums, reaching number eight in the US Billboard 200 and thirteen in the US R&B Charts. Following in the footsteps of The Low End Theory, this fusion of hip hop and jazz was certified platinum. A Tribe Called Quest were now hip hop’s biggest group. Innovative, influential and inventive, no-one else came close to A Tribe Called Quest.
That was proved by Beats, Rhymes and Life, which was released in July 1996. Reaching number one on the US Billboard 200 and US R&B Charts, it was A Tribe Called Quest’s biggest album. Certified platinum, Beats, Rhymes and Life, was unlike previous albums. Gone was the positivity and upbeat sound of their first three albums. It was replaced by a darker, moodier and broodier sound. Despite this, it was a huge success. Looking back, maybe we should’ve realized that A Tribe Called Quest’s career was nearly over. The dark, moody sound should’ve been a clue.
September 1998 saw the release of The Love Movement, which reached number three in the US Billboard 200 and US R&B Charts. It picked up where Beats, Rhymes and Life left off. The music was dark and moody. Full of frustration, anger and humor, The Love Movement was full of messages and A Tribe Called Quest’s acerbic wit. Certified gold, The Love Movement meant that A Tribe Called Quest’s career ended on a high. They weren’t going to fade away. That’s why A Tribe Called Quest’s music is perceived as innovative, inventive and influential. Among the people it’s influenced are Simba and Miton Gulli, who pay homage to A Tribe Called Quest with The Heroes A Tribute To A Tribe Called Quest .
Nelson Angelo Sitoi, whose better known as rapper Simba, was born in Mopatu, Mozambique. He grew up speaking Portuguese, but when he decided to make a career in music, realized that he’d have to rap in English. On his debut album was Run and Tell Your Mother, Simba raps in English. When the album was released in Mozambique this was problematic. After all, very few people could speak English. Run and Tell Your Mother established Simba’s reputation both at home, and further afield. A fusion of hip hop, jazz, funk and Afrobeat, it was a groundbreaking album. This lead to an appearance at the prestigious Mozambique Jazz Festival. It also lead to collaborations in South Africa.
Simba’s collaboration with Lizha James, Lovely Day entered the South African charts and was nominated for the Channel O awards. This then led to a collaboration with award winning, South African producer Moreira Chonguica. After this, Simba opened for Mos Def in Johannesburg. Having established a reputation further afield, Simba headed home, to start the next chapter of his career.
Back home, Simba formed his own hip hop band Simba and The Rocats, who are a dub group. Sometimes, Simba hooks up with another band, The Brown Band. It seems music is Simba’s life. Maybe that’s why he formed his own record label, Brown Records. His latest project is a collaboration with Mota, a Madagascan pianist who fuses musical genres. So do A Tribe Called Quest and Miton Gulli, who he collaborates with on The Heroes A Tribute To A Tribe Called Quest.
Milton Gulli collaborated with Simba on The Heroes A Tribute To A Tribe Called Quest. He was born in 1978 and spent his childhood in Portugal and Saudi Arabia. This was where his father worked. The family went where work took his father. By the time he was a teenager, and starting to become interested in music, he was living in Madeira. Blues, jazz, Afrobeat, rock and hip hop had captured Milton’s imagination. This lead to Milton learning to play guitar. Soon, he formed his own band Philharmonic Weed with Ricardo Bicho and his sister Marisa. Later, Milton returned to the mainland to Lisbon, where he studied law.
Studying law didn’t mean the end of Philharmonic Weed. The only problem was the lead singer. They couldn’t find the right person. Eventually, Milton decided he’d become the lead singer. At last, the band gelled. Soon, they were winning competitions and amassed a large fan-base. Their fusion of soul, funk, reggae and Afrobeat was popular as far afield as Panama City, where they played in 2001. Two years later, in 2003, Philharmonic Weed released their debut E.P. Capital Som. Then in 2007, they released their debut album The Primeiro Mundo. Philharmonic Weed even took part in a workshop with The Jamaican Allstars, in Lisbon. That wasn’t the last time Milton was asked to be work with other artists.
Soon, Milton was being asked to play with a variety of groups. XEG, Sam The Kid, Sagaz, plus reggae band Mercado Negro. He was like a guitarist for hire. There was even an appearance playing guitar at the Mercelo D2 show at the Festival Sudoeste in 2006. Later that year, Philharmonic Weed played their last gig. After that, Milton played in a variety of groups.
For a while, Milton was one of the lead singers of Cool Hipnoise. Their fusion of acid jazz, funk and soul was popular not just in Portugal, but further afield. He sang on their single Brother Joe and then headed out on tour. They played throughout Europe and were firm festival favorites. So too, were Cacique ’97.
Cacique ’97, an Afrobeat collective Milton formed with musician and producer Goncalo Oliveira in 2005. They were joined by members of Philharmonic Weed and Cool Hipnoise, The twelve members of Cacique ’97 soon won over audiences at festivals. Then in 2009, they released their debut album. Since then, Cacique ’97’s popularity has continued to grow. Later in 2013, they’ll release their sophomore album. By then, Milton was living in Mozambique.
During 2011, Milton decided to return to his roots. So, he headed to Mopatu, Mozambique. This proved to a case of serendipity. In Mopatu, Milton met Simba. Soon, Milton and rapper Simba on a The Heroes A Tribute To A Tribe Called Quest. An eleven-track album, Simba and Milton Gulli pay homage to one of hip hop’s greatest groups, A Tribe Called Quest. The result was Simba and Milton Gulli’s The Heroes A Tribute To A Tribe Called Quest, which I’ll now tell you about.
Opening The Heroes A Tribute To A Tribe Called Quest is the jazz-tinged and pensive Intro. Just a meandering piano and wistful vocal combine. Waves of piano accompany a vocal that grows in emotion. Soon, the piano signals it’s all change. A shuffling arrangement unfolds. Drums, percussion and guitar accompany a vocal that’s bristles with energy as It delivers lyrics that are literate and intelligent. Providing the perfect accompaniment, is the jazz-tinged arrangement.
A rabble rousing introduction that’s worthy of James Brown in his pomp opens Excursions, the opening track to The Low End Theory. Powered along by the bass and hi-hats, Simba delivers a blistering rap. It’s full of energy and emotion. Meanwhile, deliberate stabs of piano and quivering strings provide a dramatic backdrop. Combine the emotion of the vocal and the drama of the arrangement, and the result is a potent homage to A Tribe Called Quest.
Old school. That describes African Tour. It literally bursts into life. Simba lays down a rap that’s full of anger, frustration and emotion. He struts his way through the lyrics. Bravado is omnipresent. Beneath his vocal, are crispy drums, harmonies, percussion and scratches. Melodic, full of hooks and a reminder of hip hop’s glory days, it’s like a trip back to the nineties.
Can I Kick It (Chuta) featured on A Tribe Called Quest’s debut album People’s Instinctive Travels and The Paths Of Rhythms. Straight away, Simba get’s busy laying down a defiant rap in Portuguese and later, English. Bursts of blazing horn, cinematic strings, percussion, la-la harmonies and keyboards join a moody bass. They’re almost incidental, as Simba steals the show. He delivers a swaggering vocal, that’s defiant and full of bravado.
Breathy, gasping vocals open Electric Relaxation, a track from Midnight Marauders. It feature a mellow, understated jazzy arrangement. Keyboards, wistful flute, percussion and finger clicks provide a backdrop while Simba and Milton trade vocals. Sassy and needy, drums, keyboards and percussion combine to create an arrangement where jazz, hip hop and Afrobeat combine.
Bonita Intro might be less than two minutes long, but it’s a quite beautiful, innovative track. It features an animated conversation between a mother and her daughter. They’re accompanied by just jazz-tinged guitars and piano. The result is a wistful, emotive and beautiful track that sets the scene for Bonita Applebum.
Bonita Applebum is another track from 1990s People’s Instinctive Travels and The Paths Of Rhythms. From the animated conversation, Simba delivers an impassioned, powerful and need vocal. Bursts of sassy vocal answer his call. Meanwhile, the jazzy guitar and deliberate piano join washes of keyboards and the thoughtful, wandering bass. As Simba’s vocal grows in power and emotion, so does the arrangement. Drums provide the heartbeat, a piano provides melancholia and the guitar meanders across the arrangement. They provide the backdrop for a female vocal bristling with emotion and tenderness.
Scenario featured on The Low End Theory, a true hip hop classic. For me, this is easily A Tribe Called Quest’s best album. Here, Simba and Milton Gulli rekindle the spirit of 1991. From the jazzy intro, with its blazing horns, it’s an explosion of energy and emotion. Simba gets busy, delivering a swaggering vocal. Like Milton, he oozes confidence and bravado. Behind them, the music is a fusion of jazz, hip hop and drama. Washes of keyboards, percussion and drums provide a moody, broody and dramatic backdrop for this authentic slice of old school hip hop.
God Lives Through (I Love My God), which is one of my favorite tracks on The Heroes A Tribute To A Tribe. Originally, it featured on Midnight Marauders. It’s one of these tracks it gradually reveals its secrets and subtleties. Jazz chords played on a guitar join pounding drums, synths and a strident rap. When it drops out, it’s replaced by beautiful, gospel influenced harmonies. They truly, are a thing of beauty. This seems to spur Simba on. His vocal bristles with emotion. Later, the sultriest of saxophone is joined by shakers, before the gospel tinged harmonies sweep in. So powerful and beautiful are they, that they’ll make a believer out of even the most hardened atheist.
We’ve Got The Jazz is another track from the The Low End Theory. It’s a paean to jazz. Witness the lyric: “I was the man chosen to carry Charlie Parker’s spirit through these rhymes.” Understated and heavily influenced by jazz, pounding drums grab your attention. They force you to listen to some of the best lyrics on The Heroes A Tribute To A Tribe. You’re glad they did. Accompanying them, are some of the sweetest jazz licks, rasping horns and a meandering bass lines. Together, they’re the accompaniment to Simba’s impassioned, earnest rap on this paean to the music of Bird, Trane et al.
Closing The Heroes A Tribute To A Tribe, is Outro, less than two genre-melting minutes of music. Here, African and Western music unite, resulting in a spellbinding and beautiful track. Key to that are the percussion, flute and most importantly, a heartfelt vocal bristling with emotion and beauty.
Ever since I received Simba and Milton Gulli’s The Heroes A Tribute To A Tribe Called Quest, I’ve been playing it nonstop. Quickly, it became one of my favorite albums of 2013. That’s no surprise. The Heroes A Tribute To A Tribe Called Quest is an album oozing in quality and class. There’s no filler on The Heroes A Tribute To A Tribe Called Quest, just quality music. That’s thanks to one of the greatest groups in hip hop, A Tribe Called Quest who provided the material for this album. They were innovators, imaginative and inventive, a group who influenced a generation of musicians and producers. Among them, were Simba and Milton Gulli.
Just two years ago, Simba and Milton Gulli met in Mopatu, Mozambique. Drawn together by a shared love of music, they decided to pay homage to one of their musical heroes, A Tribe Called Quest. Now this isn’t easy. Albums like The Heroes A Tribute To A Tribe Called Quest, which will be released by BBE Music on 2nd September 2013, are notoriously difficult to pull off. After all, the four men responsible for the music of A Tribe Called Quest were some of the most progressive and forward thinking men in the history of hip hop. Despite this, Simba and Milton managed to pay a fitting and worthy tribute to A Tribe Called Quest.
Eleven songs and forty-eight minutes long, The Heroes A Tribute To A Tribe Called Quest sees Simba and Milton Gulli fuse musical genres and influences. Best described as a genre-melting album, hip hop meets jazz, gospel harmonies, funk, Afrobeat and soul. A mesmeric musical melting pot, Simba and Milton Gulli pay a fitting tribute to one of hip hop’s greatest bands. The Heroes A Tribute To A Tribe Called Quest is suitably innovative and progressive paean to A Tribe Called Quest. Simba and Milton Gulli’s The Heroes A Tribute To A Tribe Called Quest is an album that will influence and inspire new generation of music lovers. Maybe then they’ll discover the music of A Tribe Called Quest, plus the jazz and Afrobeat that inspired not just A Tribe Called Quest, but Simba and Milton Gulli?
Hopefully, The Heroes A Tribute To A Tribe Called Quest, is the first of many collaborations between Simba and Milton Gulli. Listening to The Heroes A Tribute To A Tribe Called Quest, this should be the start of a musical journey for Simba and Milton Gulli. It’s obvious they work well together. As collaborators go, they’re equally inventive, innovative and imaginative. Maybe they’re the future of hip hop? After all, hip hop seems to have forgotten its roots. Hip hop is a shadow of its former self. It’s all glitz, glamor and gangstas. Simba and Milton Gulli are the polar opposite of this. They’re old school and talented, with plenty to say that’s worth hearing. That includes The Heroes A Tribute To A Tribe Called Quest, a fitting and innovative homage to one of hip hop’s greatest groups… A Tribe Called Quest. Standout Tracks: Intro, Excursions, Electric Relaxation and God Lives Through (I Love My God).
SIMBA AND MILTON GULLI-THE HEROES A TRIBUTE TO A TRIBE CALLED QUEST.
THE INNOCENTS-CLASSIC INNOCENTS-THE REPRISE, DECCA, WARNER BROS AND A&M RECORDINGS…PLUS MORE.
THE INNOCENTS-CLASSIC INNOCENTS-THE REPRISE, DECCA, WARNER BROS AND A&M RECORDINGS…PLUS MORE.
Just like so many groups, the story of The Innocents began in high school. In their case, it was Sun Valley Junior High School, Los Angeles. This was the first step in a story documented on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More, which was recently released by Ace Records. It features twenty-eight tracks, including eleven previously unreleased tracks, plus demos and rarities. As I tell you about The Innocents career, I’ll tell you about the music on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More.
It was 1958 Darron Stankey formed his first band The Emeralds. Darren was a member of a car club called The Innocents. This was really a front for fun and carousing. Drinks were consumed, guitars produced and songs were sung. A willing participants to the carousing was Darron, Wayne Edwards, Frank Zworkin and Larry Tamblyn. Realizing they had potential, they formed The Emeralds. It was a short-lived band. Work, college and conscription resulted in the band splitting up. Undeterred, Darren decided to form another band.
For Darren’s new band, members were recruited from the car club. Al Candelaria and Larry New joined the band, who were now called The Echoes. Each of the three members were childhood friends. They’d been friends since they first started school. After a while, they decided to invite Jim West along. That was a smart move. Jim was he a talented singer. This was apparent from the first time they heard him sing.
Jim’s Echoes debut was in 1959 at an event organized by The Innocents car club. It was literally a show-stopper. People stopped and listened. They were smitten by Jim’s voice. No wonder. He’d been singing since he was a child, and was a natural. The final place in The Echoes jigsaw was in place. Now a quartet, The Echoes were about to encounter a legendary producer.
After a concert in 1959, The Echoes were approached by a promoter. A female vocalist was recording a single and needed a backing group. The Echoes fitted the bill. There was only one problem, they wouldn’t get paid. Deciding it was worthwhile for the experience, they headed to the. Their job was to accompany Lorin “Speed” Kopp. Co-producing the session was Herb Albert. He liked The Echoes and offered to help them record a demo and then their debut single.
Rehearsals with Herb Albert went on for a while. He was helping The Echoes hone their sound. Then one day, Jimmy Hiliard of Keen Records approached The Echoes about signing to Keen. They agreed and were signed to the Andex Records imprint. Now signed to Andex, The Innocents released Time, which was essentially a cover of The Dells Time Makes You Change. Released in September 1959, Time was credited to Jim West. Unfortunately for The Echoes, at the same time as Time was released, Keen’s biggest signing Sam Cooke, released There I’ve Said It Again. All the label’s efforts went into Sam Cooke’s single. Sadly, Time wasn’t promoted sufficiently, and the single wasn’t a success. For Larry New who was already unsettled, this was the final straw, he left the band.
The new lineup was James the first tenor and lead vocalist, Darren was second tenor and Al baritone. This was just the first change for The Echoes. They changed their name to The Innocents, paying homage to their car club. Another change was The Innocents were writing their own songs. They hoped this would lead to Herb Albert mentoring the group. That wasn’t to be. Herb was no longer interested in The Innocents, but Kim Fowley was.
Without a label, The Innocents decided to knock on a few doors. Luckily, the chose the right door to knock. It was one with Kim Fowley behind it. He’d enjoyed success with Gary Paxton as Skip and Flip, then as The Hollywood Argyles. Kim decided to give The Innocents a chance. They ran through some of their songs. When they got to Honest I Do, which became The Innocents’ best known song, although it was only partly written, Kim liked what he heard. He called Gary Paxton. When he heard it, Kim, Gary and The Innocents got to work on finishing the song. Once it was finished, a contract was signed and the song signed to a small independent label, Indigo Records.
Honest I Do was one of several tracks The Innocents recorded with Kim Fowley and Gary Paxton producing. Tick Tock, Gee Whiz, My Baby and Hully Gullys were all recorded during this session. On the release of Honest I Do, which opens The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More, it reached number twenty-eight in the US Billboard 100 Charts in 1960. No wonder. A tender, impassioned paean, with an understated arrangement, it was the perfect start to The Innocents career. For The Innocents, their lives were transformed. Suddenly, they were huge stars. There was even an appearance on American Bandstand. While all this was happening, things went sour for producers Kim and Gary. They were replaced by Jim Lee.
Unknown to Indigo, Kim and Gary had kept a track from when they produced The Innocents. Maybe this was their insurance, in case they were replaced. This track was Tick Tock. They shopped it too Transworld, who released it was as a single. Tick Tock, plus the extended under-dubbed version feature on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. Indigo weren’t happy. Their response was to release Gee Whiz as a single. It was always meant to be The Innocents sophomore single. It reached number twenty-eight in the US Billboard 100 Charts in 1960. By then, The Innocents had become one of the biggest groups of that time. They even had their own fan-club, which is how The Innocents met Kathy Young.
Kathy Young was only fourteen when she met The Innocents. She was a singer and songwriter in waiting. After a chance meeting with Jim Lee, he recommended Indigo audition Kathy. They did. This resulted in Kathy landing a record deal. She then recorded A Thousand Stars, a song which The Innocents were meant to cover. Instead, they sang harmonies. This worked well. The single reached number three in the US Billboard 100 Charts and number six in the US R& Charts. For Kathy Young, this kickstarted her career. Sadly, The Innocents career started to stall.
The Innocents then released as a followup Kathy, which was their third single for Indigo. It wasn’t a commercial success. By now, The Innocents were beginning to wonder if Jim Lee was running out of ideas? Considering The Innocents were about to release their debut album Innocently Yours in January 1961, this couldn’t have happened at a worse time. Innocently Yours featured twelve tracks. This included singles Honest I Do, Gee Whiz and Donna, plus tracks like Walking Along and Hog For You. The album sold well. Things it seemed, were looking well for The innocents?
Then later in 1961, Jim Lee left Indigo. The owners seemed to lose confidence in him and he was sidelined. Later in 1961, The Innocents received their first royalty cheque. Rather than being owed money, they owed Indigo money. Cars, clothes, plane tickets and numerous other things, The Innocents were charged for it. This was all down to The Innocents not knowing how the music industry worked. They were neither the first, nor will they be the last to be caught this way. Suddenly, The Innocents, weren’t so innocent. They’d learnt the hard way.
For a while, The innocents considered leaving Indigo. There was even talk of Capitol taking over Indigo just to sign The Innocents and Kathy Young. The owners scared they were selling themselves short, decided that Capitol might pay more. They wouldn’t. Their bid was turned down and Capitol walked away. Then things were about to get worse for The Innocents.
October 1961 saw The Innocents release what was meant to be their final single for Indigo, Pains In My Heart. They’d given notice of their intention to leave Indigo. Eight months later, Indigo Records was no more. One of their final releases was a rerelease of The Innocents’ Time. By then, The Innocents were still trying to find the right deal.
It took a year before without a record deal before The Innocents found the label that they felt suited them. This was Reprise Records, who were a new label. They were founded in 1961, so had no experience in the pop market that The Innocents operated in. Reprise sent them into the recording studio. Over two separate recording sessions, The Innocents recorded six songs. Oh How I Miss My Baby was released as a single in October 1962. Two different versions of the single were released. The first version features Be Mine as the B-side, while the second version features You’re Never Satisfied. These three tracks, plus unreleased tracks like Pledging My Love, Lovely Way To Spend An Evening and (If You Cry) True Love, True Love demonstrate how The Innocents had matured. They’d honed their sound. Their trademark harmonies were tighter, heartfelt and filled with emotion. Sadly, The Innocents time at Reprise wasn’t successful. When Nick Venet who signed them left Reprise, his replacement wanted The Innocents to become a country group. That wasn’t going to happen. So, The Innocents saddled up and left Reprise.
Ironically, after spurning Jimmy Bowen’s offer of becoming a country group, it was a former Nashville DJ that got The Innocents signed to Decca. Even better, Shane Wilder loved their music. He was the perfect man to try to rejuvenate their career. Shane fired The Innocents up. He got them writing some new songs. They headed into Radio Recorders with some of Los Angeles’ best session musicians. Come On Lover and Don’t Cry were released as singles and feature on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. Unfortunately, neither Come On Lover nor Don’t Cry replicated the success of their earlier singles. That these singles weren’t a success is a missed opportunity. Here, The Innocents’ talent shines through. Soulful, emotive, pleading and full of hurt, describes their vocals on the two songs. Following the failure of the two singles, The Innocents left Decca. For them, it was the end of the road at Decca. Little did the realize that after this, it literally was the end of the road for The Innocents.
Having left Decca, The Innocents were signed to Warner Bros, where they worked with Jim Lee and Lee Hazlewood. This was their fourth label in as many years. Still, there was no sign of The Innocents recapturing the form of their time at Indigo. With every year that went by, their career slid away. In the pop world, stars grew old quickly. There was always someone coming along to replace the “aging star.” Careers lasted only a few years. The Innocents had done well. They’d been together five years, since 1959. The window of opportunity for The innocents was about to slam shut.
Considering this was make or break for The Innocents, you’d have expected them all to be ready to record. Wrong. Darron wasn’t in the studio when My Heart Stood Still was recorded. He was there when Don’t Call Me Anymore was recorded. With the two tracks laid down, Lee and Jim were men with a vision. The Innocents were going to be “sold’ to an audience to like Lettermen. That seemed a good idea.
The first part in this plan was releasing My Heart Stood Still as a single. That’s where things went wrong. A few weeks earlier, somewhat belatedly, America “got” The Beatles. Cue the British invasion. Now groups like The Innocents were yesterday’s news.
Unwilling to throw in the towel, Lee and Jim decided The Innocents should record My Heart Stood Still. That was all that was salvageable from the recording session. The end it seemed, was neigh for The Innocents. It certainly was for Lee Hazelwood and Jim Lee. Lee decided to take an extended break. He thought the influx of British acts wouldn’t last. It did. Jim Lee decided to call time on his label. As for The Innocents, they too decided to call time on their five year career.
That wasn’t the last the music industry heard of Darron and Al. No. They decided to form another group, The Sugar Beats in 1966. The Sugar Beats had the chance to record for Herb Albert’s A&M Records. Looking for a third member, Jim Lee was approached. He was busy writing songs. Instead, they turned to their old car club and recruited Ken Mowery.
Ken became the third Sugar Beat. Signed to A&M two singles were released, First Love and Begin, Give In. Both singles feature on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. These two tracks show the difference two years made to the former Innocents. Music had changed. Their music had changed and matured. Of the two tracks, the wistful First Love is a real hidden gem of a track. It’s lain unloved for too long. A quite beautiful track, the only problem was it wasn’t fashionable. Sadly, neither of The Sugar Beats singles proved to be a commercial success. Far from it. Psychedelia was about to be born. Groups like The Sugar Beats were behind the musical curve. Regardless of the quality, The Sugar Beats weren’t perceived as innovative and progressive. It seemed that yet again, Darron and Al were subject to the vagaries of musical fashions.
That proved to be the end of Darron and Al’s involvement with music. They’d been enjoyed a six year musical journey as The Innocents, then a brief comeback as The Sugar Beats. All this is documented on Ace Records’ recent compilation The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. It’s the most comprehensive compilation of The Innocents music. There’s music from every period of their carer. This includes their biggest hit single Honest I Do. Whether it’s from The Innocents time at Indigo, Reprise, Decaa or Warner Bros, there music from that period. There’s even two versions of Tick Tock, which were released on Trans-World. That’s no forgetting eleven previously unreleased tracks, plus demos and rarities. Among them are two cuts from The Sugar Beats and three songs by Jim West. In total, there are twenty-eight tracks on The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. There’s only a couple of omission and they can be excused.
There could’ve been more songs from The Innocents time at Indigo Records. After all, that was their heyday. Having said that, it was good to hear such an eclectic selection of The Innocents music. It would’ve been good to hear The Innocents collaboration with Kathy Young, A Thousand Stars. Maybe this wasn’t possible, given ownership problems? That there are a few omissions doesn’t detract from the quality of The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More. Far from it. This lovingly compiled compilation, The Innocents-Classic Innocents-The Reprise, Decca, Warner Bros and A&M Recordings…Plus More is best described as everything you want to know about The Innocents but were afraid to ask. Standout Tracks: Honest I Do, First Love, Tick Tock and Be Mine.
THE INNOCENTS-CLASSIC INNOCENTS-THE REPRISE, DECCA, WARNER BROS AND A&M RECORDINGS…PLUS MORE.
ANGELA BOFILL-INTUITION.
ANGELA BOFILL-INTUITION.
When Angela Bofill signed to Clive Davis’Arista Records, he decided to mentor his latest signing. For five albums, Angela was one of the labels most successful artists. Sadly, things went sour for Angela after her fifth album Teaser. Her final two albums 1984s Let Me Be The One and 1985s Tell Me Tomorrow saw a drastic change in Angela’s fortunes. The commercial success she’d enjoyed was almost a distant memory. Angela’s relationship with Arista was no longer the same. No longer was she one of Arista’s chosen ones. Following the failure of Tell Me Tomorrow, Angela left Arista.
Three years later, Angela made a comeback. She signed to Capitol Records, and hooked up with producers Norman Connors and Vincent Brantley. He produced Angela’s comeback album Intuition, which was recently released by SoulMusic Records. Would Intuition see Angela Bofill recapture the commercial success she’d previously enjoyed? That’s what I’ll tell you, once I’ve told you about the rise and fall of Angela Bofill.
Having signed to Arista Records, Angela Bofill released her debut album Angie in 1978. It was produced by Dave Gruisin and Larry Rosen. Not only did Angie reach number forty-seven in the US Billboard 200 and number twenty in the US R&B Charts, but featured the single This Time I’ll Be Sweeter, reached number twenty-three in the US R&B Charts. Clive Davis it seemed, hadn’t lost his Midas touch.
A year later, Angela released her sophomore album, 1979s Angel Of The Night. Again, it was produced by Dave Gruisin and Larry Rosen. Reaching number thirty-four in the US Billboard 200 and number ten in the US R&B Charts, this would be Angela’s most successful album. Angel of The Night featured What I Wouldn’t Do (For The Love Of You). It reached number eighteen in the US R&B Charts. Things looked good for Angela. She looked like being one of the biggest names of the eighties.
Angela’s third album Something About You, released in 1981. Dave Gruisin and Larry Rosen were replaced as producer by Narada Michael Walden. He’d established a reputation as a successful producer. Something About You reached number sixty-one in the US Billboard 200 and number thirteen in the US R&B Charts. It featured two top thirty US R&B singles. Something About You reached twenty-one and Holdin’ Out For Your Love reached number twenty-six. After the success of Something About You there was a gap of two years before Angela’s next album, which featured her biggest single.
Narada Michael Walden produced Angela’s most successful album Too Tough. Released in 1983, it reached number forty in the US Billboard 200 and number six in the US R&B Charts. The title-track gave Angela her biggest single, reaching number five in the US R&B Charts. Then Tonight I Give In reached number twelve in the US R&B Charts. To build on the momentum, Angela headed back into the studio, releasing another album later in 1983.
Teaser, released later in 1983, shows how quickly an artist’s fortune can change. IT reached number eighty-one in the US Billboard 200 and number twenty in the US R&B Charts. It looked like Narada Michael Walden had lost his Midas touch. That was the case. Little did Angela know, this was as good as it got for her at Arista.
Following Teaser, the success Angela enjoyed almost dried up. 1984s Let Me Be The One stalled at number thirty-nine in the US R&B Charts. Produced by Mic and Frank Murphy, synths were very much de rigeur on Let Me Be The One. While this was popular at this time, Angela’s fans didn’t take to this new sound. So, to try and revive Angela’s career, George Duke was hired for what was her final album for Arista.
By 1985, when Tell Me Tomorrow was released, Angela’s relationship with Arista wasn’t what it had been. She was no longer one of the label’s stars. Even George Duke couldn’t revive her fortune. Tell Me Tomorrow reached a lowly fifty-three in the US R&B Charts. When the title-track was released as a single, it stalled at just number seventy-two in the US R&B Charts. This was a inauspicious end to Angela Bofill’s time at Arista.
On leaving Arista, Angela moved to California. She was newly married and had a young daughter. The last thing on her mind was returning to a recording studio. She did, after a couple of years spending time with her family. Rejuvenated, Angela was ready to restart her career.
Angela’s manager shopped her round various labels. Eventually, they signed on Capitol Records. She decided that she should reconnect with the fans she lost during her synth years. So work began on what became Intuition, an eleven track album. Intuition saw Angela work with producers Norman Connors, Vincent Brantley and Jeff Caruthers.
For Intuition Angela wrote just one song, Love Overtime. Producer Vincent Brantley cowrote Everlasting Love with Jeff Carruthers. The pair then penned Festival/Down The Line with Harvey Bruce. Jeff Carruthers cowrote Intuition with Juana Merceron and Mel Lewis. Other tracks included Ross Vannelli’s I Wanna Stop, Jacques Burvick’s In Your Lover’s Eyes and Special Lover, written by Jeff Hirsch and Phil Cody, Along with three other tracks, Love is In Your Eyes, Long Gone and For You and I, this collection of songs became Intuition.
Unlike previous albums Angela had recorded, Intuition was her only album working with multiple producers. Norman Connors produced four tracks while Vincent Brantley and Jeff Carruthers produced five tracks. The other track, Love Overtime, was produced by Angela. Working with two producers, meant working with different musicians and at different studios.
A total of eleven studios were used to record Intuition. Considering there are just ten tracks on intuition, that’s pretty good going. As for the session musicians and backing vocalists, it’s almost a cast of thousands. Among them are some of the top session musicians. This includes drummer Harvey Mason, guitarist Paul Jackson and David T. Walker and percussionist Paulinho Da Costa. Given the amount and quality of personnel working on Intuition, Capitol Records were determined to give Angela Bofill every opportunity to revive her career. However, were their efforts successful?
On the release of Intuition in 1988, it reached just number thirty-eight in the US R&B Charts. At least it was an improvement on 1985s Tell Me Tomorrow. The lead single from Intuition was I Just Wanna Stop. It reached number eleven in the US R&B Charts. This gave Angela her biggest single in five years. Love In Your Eyes was the followup to I Just Wanna Stop. Sadly, it failed to chart. However, Intuition had rejuvenated Angela Bofill’s career. Her return from a sabbatical had proved to be a relative success. Should Intuition have fared better? That’s what I’ll now tell you.
Love Is In Your Eyes opens Intuition. Slow, eighties drums give way to the keyboards and a meandering funky bass. There’s a jazzy twist to the track as Angela’s tender, heartfelt, but needy vocal enters. Straight away, she has your attention. As for style, comparisons can be drawn to Anita Baker. Guitars join a loose, languid rhythm section, while sweet harmonies sweep in. They’re the perfect foil to Angela’s needy, sensual vocal.
Again, there’s an eighties electronic sound to Intuition. Here, it’s as if Angela’s been influenced by Madonna. Her, breathy vocal and then her delivery lead to this comparison. A tougher, funkier arrangement with washes of synths and rhythm section accompanying a sassy, strident vocal from Angela. The result is a memorable slice of eighties dance music.
A wistful horn opens I Just Wanna Stop. It’s a laid-back slice of jazz, where Angela’s vocal is heartfelt and soulful. Keyboards, rhythm section and gospel-tinged backing harmonies accompany Angela. They’re the perfect accompaniment to her vocal. It soars elegantly above the arrangement. So too, does the melancholy horn, as Angela delivers a soulful, impassioned masterclass on the highlight of Intuition.
Long Gone was produced by Norman Connors. A mid-tempo track, that tells a story. The lyrics are about a woman who one morning, discovers her partner has left her. She discovers he’s “Long Gone.” Washes of synths and crisp drums combine as Angela discovers her inner diva. Her vocal is deeper, delivered with power and a sense of urgency. She’s unable to believe what’s happened. Her vocal is emotive, full of hurt and frustration, at being treated and cheated on, by a man whose “Long Gone.”
For You And I was a duet that Angela sang with Peabo Bryson, who’d established a reputation as a successful singer. Together, they create a track that has a eighties sound. Against an understated backdrop, Angela and Peabo scat, before Angela delivers a tender, emotive vocal. Peabo’s vocal is very different. It’s powerful, impassioned and sometimes showy. Keyboards, rhythm section and jazzy guitars join swooping, gospel-tinged harmonies combine. Spurred on, and not wanting to be outdone by Peabo, Angela unleashes a breathtaking vocal. Along with the harmonies it’s a show-stealer, on a track that’s emotive, dramatic and quite beautiful.
Fragile, Handle With Care was written by Angela. Just subtle keyboards accompany Angela’s wistful vocal. Soon, it grows in power. So does the arrangement. The rhythm section and keyboards combine with Angela’s needy vocal. It’s accompanied by sweeping harmonies. They’re the perfect foil for Angela as she lays bare her soul. Later, a blistering guitar solo adds to the drama. It seems out of place. Much better are the harmonies. They seem to encourage Angela to even greater heights of neediness, emotion and sheer soulfulness.
In Your Lover’s Eyes sees Angela dramatically scat. This she does against an eighties electronica arrangement. It’s slow, spacious and adds to the drama. Just drums and synths combine as Angela delivers an impassioned vocal. Tight, soaring and cooing harmonies accompany her. Just like other tracks, they provide the ying to Angela’s yang.
Love Overtime sees the tempo increase. Stabs of horns, wandering keyboards and a funky rhythm section get busy. Angela rediscovers her earlier inner diva. She struts her way across the arrangement. Sassy and feisty describes her delivery. Punchy harmonies, synths and synthetic horns provide a backdrop. Later, adding the finishing touch is a blazing saxophone solo. From there Angela and her backing vocalists trade licks on this hook-laden fusion of soul and funk.
Festival/Down The Line is something of an epic. Six minutes long, Festival’s Latin sound is a brief taste of what might have been. From there, Down The Line is another track with a Madonna influence. The synths, drum machines and Angela’s vocal lead to this comparison. So do the breathy harmonies. A rasping saxophone fills the gaps left by the vocal, while washes of synths and crispy drums give the track a dance-floor friendly sound.
Special Lover comes from the pen of the man Phil Cody and Ken Hirsch. Ken wrote Anita Baker’s Magnus Opus No One In The World. Straight away, Special Lover is a track that oozes quality. From the synths, chiming guitars and hissing hi-hats right through to the drums that provide the heartbeat, it’s a quality slice of soulful music. It’s as if Angela’s realizes this and raises her game. Her vocal is sassy, sensual and emotive. Cooing harmonies accompany her, while the loose, languid and funky arrangement unfolds. Everything drops into place perfectly. This includes the rasping saxophone, slap bass and harmonies. The result is one of the highlights of Intuition.
Closing Intuition is Everlasting Love. Angela scats. There’s a wistful sound in her vocal. No wonder. What she thought was “Everlasting Love” isn’t. She’s heartbroken. Sadness and regret fills her vocal. Harmonies reflect her hurt and heartache, as the understated arrangement allows Angela’s vocal to take centre-stage. Just a slow thoughtful drums, acoustic guitars, keyboards and sweeping harmonies combine as the song reaches a melancholy crescendo.
Capitol Records decision to sign Angela Bofill was vindicated by Intuition. Granted it was far from Angela’s most successful album. It was more successful that her last two albums for Arista. Intuition surpassed the success of 1984s Let Me Be The One and 1985s Tell Me Tomorrow. It also featured I Just Wanna Stop, which was the second most successful single of Angela’s career. Looking at all this, it’s easy to make a case for Angela to have been given more time. After all, her career couldn’t be rejuvenated with just one album. No. Her career had been in reverse since Teaser. So, Angela needed time to rebuild her career. Sadly, she didn’t get more time. There was nobody at Capitol who was willing to go in and fight Angela’s corner. What could’ve been the rebirth of Angela Bofill’s career, proved to be a missed opportunity.
After Intuition, Angela released two more albums. 1991s I Wanna Love Somebody reached number fifty-one in the US R&B Charts. Five years later, in 1996, Love In Slow Motion failed to chart. Angela Bofill never released any more albums. A singer who could’ve and should’ve been one of the biggest stars of her generation was lost to music.
The sad thing about this situation is that Angela Bofill was blessed with a great voice and an abundance of talent. Not only was she was a talented singer, but a gifted songwriter. However, having released ten albums in eighteen years, Angela Bofill called time on her recording career. While Intuition was far from the most successful album of Angela Bofill’s career, it’s an album that demonstrates what she was capable of.
Ballads, duets and dance tracks all feature on Intuition. One minute Angela is delivering a heartbreaking ballad, the next her vocal is jazz-tinged and the next she’s a sassy, strutting diva. Angela was a truly versatile vocalist, who when Intuition was recorded, was only thirty-one. When she released her final album, she was just forty-two. Her voice would only have gotten better with age. It would’ve matured with age. Sadly, we never got to hear Angela Bofill’s voice maturing. Instead, albums like Intuition, which was recently released by SoulMusic Records, is a tantalizing glimpse of Angela Bofill, who could’ve and should’ve been, one of the most successful singers of her generation. Standout Tracks: Love Is In Your Eyes, I Just Wanna Stop, Love Overtime and Special Lover.
ANGELA BOFILL-INTUITION.
BEATING THE PETRILLO BAN-THE LATE DECEMBER 1947 MODERN SESSIONS.
BEATING THE PETRILLO BAN-THE LATE DECEMBER 1947 MODERN SESSIONS.
It was in 1927 when the Automatic Music Instrument Company invented the first multi-selection jukebox. For owners of juke joints and bars, the jukebox was a boon. Not only did it attract customers, wanting to hear and dance to the latest music, but It was much cheaper than hiring a band. While this was good for bar owners and their patrons, it was a disaster for musicians.
Many musicians found themselves unemployed. The best they could hope for was occasional session work. No more would musicians provide the musical backdrop for Saturday nights at the juke joints. They’d been replaced by a jukebox. This was a taste of the way the entertainment industry was heading. After all the jukebox begat the DJ, who played records for people to dance to. Live musicians, by then, were nearly a thing of the past. That was in the future. Luckily, in 1942, James Caesar Petrillo saw the what was about to happen and ensured that American musicians received a fair deal.
James Caesar Petrillo was in charge of the American Federation of Musicians. By 1942, he realized that in the past fifteen years, jukeboxes were replacing live music. This meant his members were either unemployed, or earning considerably less than before. He’d watched as jukeboxes replaced some live musicians. This could snowball. He didn’t want that. The way to do that, was through a strike. So, James announced that a strike would take place from mid-July 1942.
Under the terms of the strike, no artists or group contracted to a record label, could record whilst the strike was on. Neither could session musicians play on recordings. This brought the music industry to its knees. Very few record companies had the foresight to have a back-catalogue consisting of unreleased music. So no music was released. The exception were crooners who sung unaccompanied. This didn’t prove particularly successful, unlike the strike. It lasted right through until November 1944. James Caesar Petrillo and the American Federation of Musicians were victors. Unfortunately, this victory proved short-lived and lead to another strike.
Under the terms of an agreement, American Federation of Musicians negotiated a fund for musicians whose livelihood had been affected by the arrival of the jukebox. A royalty was paid into the union fund. The more records sold, the more money was paid into the fund, which the union managed. Congress didn’t approve of this. They passed legislation banning unions managing their own funds, citing possible mismanagement of funds. When James Caesar Petrillo heard the news, he was livid and announced another strike, which would start on 1st January 1948. With just a few weeks until the ban began, session musicians were busier than ever.
With no idea how long the strike might last, every record company was determined to record as much music as they could. One of these companies was Modern Records. Jules Bihari, owner of Modern Records, was determined his company wasn’t going to run out of music. So, he had his artists recording round the clock. For the final few weeks of 1947, session musicians literally lived in the studio, accompanying Modern Records’ artists. The music they recorded is documented on Beating The Petrillo Ban-The Late December 1947 Modern Sessions, which was recently released by Ace Records. A double album, Beating The Petrillo Ban-The Late December 1947 Modern Sessions features forty-nine of the 130 tracks Modern Records held in reserve, in an attempt to beat the ban.
As the clock struck 00.01 on 1st January 1948, the second Petrillo ban came into force. Record companies were better prepared. Not only had they been recording music during the past few weeks, but since the last band. They were determined that never again, would they be help to ransom by a union. Jules Bihari of Modern Records, not knowing how long the strike would last, recorded 130 tracks, including eighty-nine during December. Ironically, fifty-nine of the tracks recorded during December were never released by Modern Records. Some of these tracks are included on Beating The Petrillo Ban-The Late December 1947 Modern Sessions, which I’ll tell you about.
Beating The Petrillo Ban-The Late December 1947 Modern Sessions features forty-nine tracks spread over two discs. These forty-nine tracks were recorded during an eight day period. The music on Disc One was recorded between the 19th and 23rd December 1947, while the music on Disc Two was recorded between the 27th and 31st December 1947. This frenzied period of recording, resulted in music from The Ebonaires, Hadda Brookes Trio, Al “Cake” Wichard Sextette and Duke Henderson, Gene Phillips & His Rhythm Aces, Art Shackelford Sextette, Little Willie Jackson, Butch Stone and His Orchestra and Madam Irma Mae Littejohn. With alternate takes and previously unreleased tracks, Beating The Petrillo Ban-The Late December 1947 Modern Sessions is a compelling snapshot of the music industry on the verge of a crisis.
DISC ONE.
Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions opens with a trio of tracks from The Ebonaires. Their music is best described as proto doo wop. The three tracks are thought to be among the earliest existing recordings of the innovative Ebonaires. Of the three tracks The Old Folks At Home and I’ll Never Do It Again are a tantalizing taste of what was to come from The Ebonaires. Strangely, The Ebonaires only made their recording debut in 1949.
Nine tracks from Hadda Brookes feature on Disc One. Hadda was one of Modern Records biggest stars. She was also Jules Bihari of Modern Records girlfriend. Ironically, two of the best tracks attributed to her are instrumentals. There’s the wistful Poor Butterfly, which features some jazz-tinged guitar. Then there’s the pensive Old Fashioned Love, which benefits from captivating piano playing. Hadda’s vocal on The Best Things In Life Are Free is seductive, but thoughtful. On Why Was I Born, Hadda’s vocal is bristling with emotion and sadness.
The Al “Cake” Wichard Sextette contribute three tracks to Disc One. Two of the tracks, Gravels In My Pillow and His Majesty’s Boogie feature Duke Henderson’s lead vocal. The other track is T.B. Blues, which features one of my favorite blues singers, Jimmy Witherspoon. Of these tracks, the driving His Majesty’s Boogie is the best. Duke whoops and hollers his way through the track, a blazing horn and piano for company.
Anyone who likes blues music, will thoroughly enjoy the three tracks from Gene Phillips and His Rhythm Aces. Snuff Dipping Mama is the best track. Sassy describes Gene’s vocal, as he delivers lyrics dripping in double entendres. Broke And Disgusted features some blistering and inventive guitar playing, while Royal Boogie features some glorious boogie woogie piano.
Four tracks from the Art Shackelford Sextette close Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions. The tracks were recorded on 23rd December 1947. Ironically, the tracks were never released. That’s a great shame, considering the quality of the music. The highlight are The Glory Of Love and The Jazz Me Blues. They provide a showcase for a hugely underrated guitarist Art Shackelford. Sadly, this session was the last he ever recorded. Whatever happened to him, is unclear.
Of the twenty-four tracks on Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions, only two were ever released. The rest lay unreleased. That meant nobody heard the music recorded by The Ebonaires, Hadda Brookes Trio, Al “Cake” Wichard Sextette and Duke Henderson between 19th-23rd December 1947. All their efforts were in vein. Four days of recording nonstop and most of the music was never released. It wasn’t because the music wasn’t good enough. Far from it. There’s nothing whatsoever wrong with the quality of the music. It’s of the highest quality. One listen to the music on Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions and you’ll agree. Will that be the case on Disc Two of Beating The Petrillo Ban-The Late December 1947 Modern Sessions?
DISC TWO.
While Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions featured twenty-four tracks, Disc Two goes one better. We hear more from some of the artists who featured on Disc One, including the Al “Cake” Wichard Sextette and Hadda Brooks. New faces include Little Willie Jackson, Butch Stone and His Orchestra and Madam Irma Mae Littejohn. These twenty-five tracks, which I’ll pick the highlights of, were recorded between 27th-31st December 1947.
Al “Cake” Wichard Sextette have eight tracks on Disc Two. Six are attributed to Al “Cake” Wichard Sextette and Jimmy Witherspoon. Jimmy was the perfect frontman for the band. Charismatic and a born showman, he breathed life, emotion, energy and sass into the tracks. Proof of this is the horn driven Big Fine Girl, That’s Your Red Wagon and Genva Blues. For anyone yet to discover Jimmy, this is the perfect opportunity, as he’s accompanied by a tight, talented band who fuse elements of jazz and blues.
Hadda Brooks makes a very welcome return on Disc Two. She contributes three tracks, including the hurt-filled I Can’t Get Started and the melancholy I’ll Get By. Her vocals take centre-stage, while the meandering, jazz-tinged guitar and drums played by brushes accompany her. This proves hugely effective and plays an important part in making these tracks two of Hadda’s best on Beating The Petrillo Ban-The Late December 1947 Modern Sessions.
A newcomer to Disc Two is Little Willie Jackson. He was the saxophonist in Joe Liggins’ band. It doesn’t take long to realize why he kept such illustrious company. Willie’s playing on Shasta is not only beautiful, but haunting. Baby is a much more uptempo track, that’s a reminder of what music was like during the late forties. As for Someday, Somehow, Somewhere, it’s literally bristling with sadness, emotion and melancholia.
Butch Stone & His Orchestra are another of the newcomers on Disc Two. Here, Butch steps out of the shadows Les Brown, whose band he was in. A trumpeter and singer, Butch contributes four tracks that’ll be familiar to most people. Here, Butch breaths new life into them. Fats Waller’s My Feet’s Too Big, it truly swings. From there, there’s no stopping Butch. The Nat King Cole Trio’s Little Girl and Put Your Brakes On, which Butch wrote, are given a similar treatment as you’re taken on a breathtaking four song, musical journey.
Madam Ira Mae Littlejohn is the last of the new faces on Disc Two of Beating The Petrillo Ban-The Late December 1947 Modern Sessions. A name most people won’t have heard of, that’s more the pity. What follows is six impassioned gospel songs. Ira’s delivery is soulful, bristling with emotion and sincerity. This is apparent from the opening bars of Lonesome Road Blues. Her delivery is spine-tingling. That’s the case through He’ll Make The Way, What More Can Jesus Do, Go, Devil, Go, See Jesus and My Record Will Be There. These six tracks represent Madam Ira Mae Littlejohn’s entire back-catalogue and are a tantalizing taste of one of a true gospel great.
The forty-nine tracks on Disc One of Beating The Petrillo Ban-The Late December 1947 Modern Sessions were recorded during a frenzied eight day period. Against the clock, Modern Records wanted as much music recorded before the strike started. All their artists were called in. Whether they were jazz, blues or gospel singers, they were laying down tracks. Accompanying them were session musicians who played around the clock. They were quite pleased to be doing so. After all, once the strike started, they’d no idea where their next pay cheque would be. It was a case of making hay while the sun shines. Despite the session musicians and artists not getting much sleep, the quality of music never drops. Given the circumstances, that could’ve been forgiven. That wasn’t the case.
No. The musicians were determined not to let their standards slip. They were proud and they were professionals. Making music was more than their job. It was about producing mini works of art. Remarkably, many of the same session musicians played on the forty-nine tracks, but never once, let their standards drop. In total, 130 tracks were recorded in an eight day period. This is just a snapshot of one record company, Modern Records. Across America, other record companies were recording as much music as possible. Maybe too much music.
Looking back with the benefit of hindsight, maybe many record companies, including Modern Records had played it too safe, and recorded to much music. After all, they’d been recording more music than they needed since the first strike ended in 1944. Then they recorded 130 tracks in eight days. Now music quickly goes out of fashion. Music recorded in 1947, might sound dated in 1949 or 1950? That’s how quickly fashions change. So maybe, Modern Records’ decision to stockpile music backfired? By the time they decided to release the music recorded during December 1947, it sounded dated. That’s why it was never released. Thankfully, Ace Records rectified this recently, releasing Beating The Petrillo Ban-The Late December 1947 Modern Sessions.
Beating The Petrillo Ban-The Late December 1947 Modern Sessions is a historical musical document that’s a snapshot in time. It also tells the story of a few frantic weeks, when record companies tried to ensure a second strike by American musicians wouldn’t bring the music industry to its knees. While the first strike lasted two years, the second strike lasted just over a year. It didn’t cause the same chaos, but in a way, James Caesar Petrillo of the American Federation of Musicians won a series of battles, but not the war. After all, James’ members spent a year not earning money through recording sessions. At least James won a series of battles.
With several weeks of recording round the clock, James Caesar Petrillo’s members made a lot of money quickly. That was the case at Modern Records. Proof of this is Beating The Petrillo Ban-The Late December 1947 Modern Sessions. When the musicians that played on the Modern sessions, weren’t recording due to the strike, they played live. Then to top it all, much of the music Modern Records stockpiled, was never released. Once the strike was over, new music was recorded. For musicians and James Caesar Petrillo of the American Federation of Musicians it was a win-win situation. Maybe the music industry should’ve realized they’d have a fierce adversary in a man called Caesar? Standout Tracks: The Al “Cake” Wichard Sextette and Duke Henderson His Majesty’s Boogie, Al “Cake” Wichard Sextette Big Fine Girl, Hadda Brooks I Can’t Get Started and Little Willie Jackson Shasta.
BEATING THE PETRILLO BAN-THE LATE DECEMBER 1947 MODERN SESSIONS.
MYELE MANZANZA-ONE.
MYELE MANZANZA-ONE.
Last year, Electric Wire Hustle’s eponymous debut album was released on BBE Music to critical acclaim and commercial success. Instantly, the album was hailed as one of the albums of 2012. This wasn’t just confined to their native New Zealand. No way. Britain, Europe, Australasia and North America were won over by Electric Wire Hustle. Soon, Electric Wire Hustle’s production skills were in-demand. Then there was the not so small matter of their sophomore album. Work would’ve have to begin on the followup to Electric Wire Hustle. To quote Booker T. and The MGs and The Clash, it was a case of Time Is Tight. Despite this, Electric Wire Hustle’s drummer Myele Manzanza managed to find time to record his debut album One. One which will be released by BBE Music on 2nd September 2013, sees Myele joined by a variety of guest artists. This includes Rachel Fraser, Ladi6, Amenta, Taay Ninh, plus Myele’s father Sam Manzanza, who played a huge role in his son’s choice of career.
Although Myele Manzanza was something of a late starter when it came to playing the drums, he had a head start. Myele might have been fourteen when he first started playing the drums, but had been able to hand drum traditional African rhythms before he went to school. His father Sam taught him about African rhythms. Sam was born in the Congo and is recognized as a master percussionist. When he moved to New Zealand, he was one of the first musicians to play traditional African and highlife music. He passed this on to Myele, influencing and inspiring Myele to become make music his career.
Having left school, Myele headed to New Zealand’s School of Music. He graduated in 2008 with a degree in jazz performance. After that, Myele figured that digital was the future for music production. “In the box” production looked like replacing analog production. So he immersed himself in digital music production. Not only was this the future of music, but allowed Myele to make music on the move. When he came to producing his debut album One, this would prove crucial. It would also prove useful now Myele had joined Electric Wire Hustle as drummer. His new band were heading out on the road.
It was 2008, just around the time Myele graduated, that he joined Electric Wire Hustle. The band headed straight out on the road. Myele was living a nomadic existence. He spent periods living in Berlin and New York. Everywhere he went, he took his laptop. This allowed him to make music on the move. Living in cities like Berlin and New York provided Myele with musical inspiration. So, whenever inspiration struck, his trusty laptop was nearby and Myele could make musical sketches. For two years, Myele’s life surrounded around traveling with Electric Wire Hustle. Then he caught a break that would help not just Electric Wire Hustle’s career, but later, his solo career.
In 2010, Myele was chosen to attend the Red Bull Music Academy in London. He was the only New Zealander chosen. So, he travelled halfway around the world, to learn his craft. Myele was able to hone his musical and production skills. The Academy was also a place where other students and lecturers shared their skills and knowledge. For a young musicians and producer, this was akin to a Swiss finishing school for debutants.
Following his graduation from the Academy, Electric Wire Hustle started work on their eponymous debut album. Electric Wire Hustle was released in New Zealand in 2011. A year later, it was released in Britain by BBE Music. Released to critical acclaim, Electric Wire Hustle was commercially successful. It went on to feature on many of the best of 2012 lists. Everyone awaited the followup, wondering the direction that Electric Wire Hustle’s music would head in? Little did they realize, that before Electric Wire Hustle would release their sophomore album, Myele Manzanza would release his debut album One.
The ten tracks that comprise One, Myele Manzanza’s debut album, were written recorded and produced by Myele on the road. This included Wellington, New York and Berlin. Balconies, bedrooms, kitchens, hotel rooms, parks and backstage at concert halls worldwide were converted into impromptu recording studios. Often, guest artists would join Myele for the recording of One. This includes Rachel Fraser, Charlie K, Ladi6, Mark de Clive-Lowe, Amenta, Taay Ninh and Mara TK from Electric Wire Hustle. The other guest artist is Myele’s father, Sam Manzanza, who features on One’s closing track Me I Know Him. Benny Tones, a fellow New Zealander and BBE Music recording artist mixed and mastered One, which I’ll now tell you about.
Neigbours Intro opens One. Not only does it feature Myele’s drumming, but puts a smile on your face. That is unless your Myele’s neighbor. A drum roll gives way to a telephone answering machine. It features a complaint from Myele’s neighbors about his late night drumming exploits. In between, he lets rips, demonstrating why he’s the go-to-drummer for The Jonathon Crayford Trio, Sheba Williams and The Recloose Live Band. As the track reaches a dramatic crescendo, it’s not applause that greets Myele. No. It’s another complaint on the answering machine from his neighbors. Seriously, have these people tried drumming quietly?
Thundering drums and space-age, sci-fi synths join vibes on Big Space. It’s a genre-melting track. Electronica, rock, drum ‘n’ bass and free jazz combine. Soon, the drums and synths go toe to toe. Stabs of piano add drama and urgency. As for the drums, they take flight, heading off at breakneck speed. Adding a contrast are ethereal harmonies. The result is a track that’s dramatic, experimental, melodic and sometimes, has a space-age sci-fi sound.
Pounding, pulsating and spacious describes the drums that provide the backdrop for Bella Kalolo’s vocal on Absent. It veers between wistful, heartfelt and sultry as a myriad of beeps, squeaks and drums float around and above her vocal. Sometimes it’s soulful, other times it’s jazz-tinged. Meandering and mellow keyboards provide an uderstated accompaniment to Bella’s needy, emotive vocal. This is perfect, as it allows her vocal to take centre-stage, where it quite rightly belongs.
Straight away, Delay has a dubby sound. Echo and delay are added to the drums. Effects are also added to the keyboards as free jazz, ambient, electronica and dub unite. Musical genres and influences melt into one, as a hypnotic, mesmeric track unfolds. Gradually, the track loses its looseness, taking on a much more robotic, machinelike sound. Filters are added, before the track heads briefly, in the direction of drum ‘n’ bass. Later, it takes on a 21st century, futuristic sound. Best described as an innovative and genre melting, it’s a track full of subtleties and nuances awaiting discovery.
Elvin’s Brew is one of the best tracks on One. Whether it’s Myele paying homage to post bop drummer Elvin Jones, who knows?What I can say, is that Myele’s drumming is suitably innovative and inventive. The same can be said of Mark de Clive-Lowe’s piano playing. Pensive, spacious and imaginative describes their creation, as free jazz, avant garde, jazz and electronica unite. Add in bubbling, beeps and squeaks courtesy of the synths, and this cornucopia of disparate and eclectic influences and genres is complete.
Understated and reminiscent of vintage Nightmares On Wax, City Of Atlantis teases you. For forty-seconds, flourishes of ethereal music swathed in filters threatens to reveal its delights. Soon, Charlie K lays down a rap while elegant, ethereal music envelops him. Classical, trip hop and hip combine during a track that languidly, meanders along. Adding the finishing touch is Ladi6’s tender, beautiful and probing vocal. As she poignantly delivers the lyric: “do you really listen” the arrangement gallops along leaving you wondering?
On The Move is the latest single to be released from One. It features Rachel Fraser’s sassy, strident and strutting vocal. Just like other tracks, including Absent and City Of Atlantis, the vocal is at the heart of the track’s success. Here, Myele finds a groove, locks into and explores it fully. His drums provide the heartbeat while a pulsating bass and percussion combine. Strutting across the arrangement is Rachel’s soulful, sometimes jazzy vocal. It’s the perfect foil for Myele’s drums.
Bursts of buzzing synths and drums add a mysterious backdrop to Everybody Isn’t. Washes of synths probe, while the rest of the arrangement is dark, dramatic and gothic. There’s an air of mystery, which sometimes, takes on a cinematic, sci-fi sound. Stabs of urgent keyboards provide a sense of urgency or desperation. This adds to the drama of a track which majestically, paints pictures before your eyes.
Immediately, there’s a space-age sound as 7 Bar Thing unfolds. Space is left, adding drama and mystery. It also reinforces the importance of Miles Davis theory about the space between two notes being as important as the notes. Without the space, there wouldn’t be the same drama. Neither would the track unfold the way it does. From the there, the drama and urgency builds. The track heads in the sense of Afro-beat, Afro house and techno. A pulsating pounding rhythm section, washes of synths that later buzz and beep join a myriad of percussion. Combined with Mara TK’s haunting, and later and joyous vocal, they create a track that’s dance-floor friendly and uplifting.
Me I Know Him closes One. Here, Myele is joined by his father Sam. Thunderous drums and hissing hi-hats join Sam’s languid, heartfelt vocal. Synths and wistful piano join pounding drums before Amenta’s ethereal, tender vocal enters. Sam and Amenta’s vocals prove perfect foils. While Sam’s vocal is deep and powerful, while Amentha’s is ethereal and breathy. Enveloping them, is a dramatic arrangement. As it builds to a crescendo, it highlights and reinforce Sam’s emotive delivery of some poignant and moving lyrics.
Probably the best way to describe Myele Manzanza’s debut album One, is genre-melting. From the opening track Neigbours Intro, right through to, Me I Know Him, One is a musical melting pot. Disparate and eclectic influences and genres become one. Everything from Afrobeat, Afro house, ambient, classical, drum n’n’ bass, dub, electronica, free jazz, hip hop, jazz, rock, soul, techno and trip hop is thrown into Myele’s musical melting pot by Myele. Add to this, a whole cast of guest artists, including his father Sam. All that’s left, is for Myele to mix it all together. The result is a delicious dish, one that’s best tasted often. That to me, describes the innovative and imaginative musical collage, that is One, which will be released by BBE Music on 2nd September 2013.
What I find remarkable about about One, is that it’s Myele’s debut album. This isn’t an album by a musical veteran. Far from it. Myele is just twenty-five and has just released one album with Electric Wire Hustle. However, he’s spent the last five years learning how to produce music digitally. He’s also spent eleven years playing the drums, and is the go-to-guy for a whole host of New Zealand bands looking for a drummer. So, Myele has plenty of experience behind him. The other remarkable thing about One, is the way it was recorded.
During the last couple of years, One was written recorded and produced by Myele on the road. This included Wellington, New York and Berlin. Balconies, bedrooms, kitchens, hotel rooms, parks and backstage at concert halls worldwide were converted into impromptu recording studios. A variety of guest artists joined Myele for the recording of One. This includes Rachel Fraser, Charlie K, Ladi6, Mark de Clive-Lowe, Amenta, Taay Ninh and Mara TK from Electric Wire Hustle. Each play their part in making One, an intriguing and innovative musical journey.
One is best described as a magical musical mystery tour, where a disparate and eclectic collection of musical genres and influences become one. They play their part in a series of soundscapes. Each soundscape is accomplished and intriguing. It’s also full of subtleties, surprises and nuances await your discovery. The music is made up of layers and textures. Sometimes, the music is experimental, challenging norms and pushing boundaries. That’s no bad thing. It’s also why Myele Manzanza’s debut album One, will follow in the footsteps of Electric Wire Hustle and be one of the albums of the year. Standout Tracks: Big Space, Absent, Elvin’s Brew and City Of Atlantis.
MYELE MANZANZA-ONE.
DOUBLE EXPOSURE-LOCKER ROOM.
DOUBLE EXPOSURE-LOCKER ROOM.
Following the trials and tribulations that surrounded Double Exposure’s sophomore album Fourplay, Locker Room their third and final album, which was recently released by Octave Records, proved to relatively plain sailing. Having released their debut album Ten Percent in 1976, there was a two year delay with the followup. This was due to alleged discrepancies regarding Double Exposure’s bookings and management expenses. Salsoul didn’t want to start recording another until album until the problems were resolved. So the momentum Double Exposure built up after the success of Ten Percent wasn’t built upon. Once the problems were resolved work began on their sophomore album Fourplay.
Then when Fourplay was released, neither the album, nor the singles charted. After the success of Ten Percent, and singles like Ten Percent, Everyman and My Love Is Free, Double Exposure looked like being Salsoul’s next big success. With Norman Harris at the peak of his creative powers, and Salsoul benefiting from the combined talents of some of the greatest musicians, songwriters, arrangers and producers, Salsoul circa 1976, was one of the most successful labels of the disco era. However, things started to change.
Vince Montana Jr. left Salsoul after a dispute with the Carey’s over royalties. Suddenly, The Salsoul Orchestra lost its founder and conductor. Then the Careys decided the future was DJs remixing not just singles, but whole albums. Some of these DJs weren’t musically trained. No. They’d sit with an engineer, who’d take charge of the technical side of things. This is how some of the remixes took shape. Then there was the controversy over Larry Levan’s remixes. Some people within the music industry alleged that Larry didn’t actually remix some of the remixes he’s credited with. With the arrival of the supposed superstar DJ-remixers, personnel changed. The all-star lineup that graced early Salsoul Orchestra albums dwindled. By 1979, when Double Exposure released Locker Room, Salsoul was a very different label.
By the time the quartet of James Williams, Joseph Harris, Charles Wittington and Leonard “Butch” Davis set about recording their third album Locker Room, they needed a successful album, or at least a hit single. To help them with this, were some of Salsoul’s A-Team. Ron Baker wrote two tracks, I Got the Hots (For Ya) and Where Have You Been All My Life. Bruce Hawkes and Pat Cooper wrote Can We Be In Love, while James and Bunny Sigler cowrote I Wish That I Could Make Love To You. The other two tracks were Ice Cold Love, penned by Buddy Turner, Jerry Atkins and Johnny Bellmon and Why Do We Have To Go Our Separate Ways written by Brian Evans and Cheryl Dickerson. These six tracks would be recorded at Sigma Sound Studios with The Salsoul Orchestra accompanying Double Exposure.
Accompanying Double Exposure at Sigma Sound Studios were The Salsoul Orchestra which featured a rhythm section of bassist Ron Baker, drummers Early Young, Keith Benson and Scotty Miller and guitarist Norman Harris, Bobby “Electronic” Eli and T.J. Tindall. Larry Washington and Bobby Conga played congas, while Ron “Have Mercy” Kersey, Bunny Sigler, Bruce Hawkes, Bruce Gray and Carlton “Cotton” Kent played keyboards. Don Renaldo took charge of the strings and horns while The Sweethearts of Sigma Evette Benton, Carla Benson and Barbara Ingram added backing vocals. Arranging and production was split between a number of arrangers and producers, while the DJs remixed the six tracks to give it a dance-floor friendly sound. Once Double Exposure’s third album Locker Room was completed, it was released in July 1979, just when disco nearly died.
July 1979 wasn’t the best month to release an album by a group whose music was synonymous with disco. On 12th July 1979, Disco Demolition Night took place at Comiskey Park, Chicago, when thousands of disco records were blown up by the zealots of the Disco Sucks movement. After that, disco was no longer as popular. Suddenly, record labels, record shops and record buyers were no longer interested in the delights disco had to offer. So it’s no surprise that neither Locker Room, nor the single I Got the Hots (For Ya) charted. It was a case of history repeating itself. Locker Room’s predecessor Fourplay had failed to chart. However, in the case of Locker Room, it was just a case of an album being released at the wrong time, as you’ll realize, when I tell you about the album.
Opening Locker Room is the Ron Baker arranged, penned and produced I Got The Hots (For You), which was the only single released from Locker Room. It has a very different sound to previous Double Exposure songs. The Philly Sound of previous albums is replaced by a tougher, funkier sound. Handclaps give way to Ron’s pounding bass, thunderous drums, a piano riff and then blazing horns. Percussion is added before Double Exposure add punchy harmonies, complete with whoops and hollers. Horns growl as the rhythm section add tougher funkier backdrop. Then when Jimmy’s vocal enters, it veers between tenderness and powerful. Harmonies sweep in, offering the same contrasting sound, and similarly, The Salsoul Orchestra veer from funky to soulful. For seven minutes, Double Exposure’s sound is transformed by Ron Baker. It’s a remarkable transformation and results in a funky, yet remarkably soulful and timeless sounding track, where thankfully, Double Exposure never quite shake off their Philly roots.
After one Ron Baker penned track, Ron follows this up with another, Where Have You Been All My Life. It’s more like what you’d expect from Double Exposure. Philly Soul, harmonies, lush strings, rasping horns and Baker, Harris, Young, what more can you ask for? The Baker, Harris, Young rhythm section, rasping horns and swathes of lush strings accompany Jimmy’s heartfelt, impassioned vocal. He grabs the song, injecting sheer soulfulness, while the rest of Double Exposure add flowing, sweeping harmonies. They drift in and out, as strings dance joyously and horns growl. Meanwhile, Baker, Harris, Young provide the arrangement’s heartbeat and Bobby “Electronic” Eli adds some of his magic. By the end of the track, it’s an example of what Salsoul did so well, a track whose hook-laden sound is guaranteed to lift your spirits and make your life feel a whole lot better.
Bruce Hawkes another Salsoul veteran takes charge of arranging and production duties on Can We Be In Love. Double Exposure drop the tempo, with swathes of shivering, quivering strings and wistful horns accompanying Jimmy’s lead vocal. He lays bare his soul, while Norman Harris’ jazz-tinged guitar, woodwind and rasping horns meander above the arrangement. Harmonies are tight, heartfelt, revealing their beauty and soulfulness while Earl Young’s drums add drama. From their the drama and emotion grows, heading into overdrive, guaranteed to toy and tease your emotions. Soul and jazz are combined by Bruce Hawkes as, The Salsoul Orchestra create an arrangement where drama, emotion and beauty is fused. For their part, Double Exposure combine heartfelt harmonies and a tour de force of a lead vocal from Jimmy Williams.
Ron “Have Mercy” Kersey arranged and produced Ice Cold Love another of the funkier tracks. From the get-go, a thunderous rhythm section, growling horns, and handclaps and searing, sizzling guitars combine to create an arrangement that races along like an express train heading between Philly and New York. Jimmy delivers the lyrics with emotion, as if believing every word. Punchy harmonies accompany his vocal, as his vocal becomes a vamp. During a breakdown, melodic keyboards, the funkiest of rhythm section, handclaps and percussion rebuild the arrangement as Jimmy and punchy harmonies unite to take the track to its dramatic, impassioned and uber funky crescendo.
Jimmy and Bunny Sigler cowrote I Wish That I Could Make Love To You, which Bunny produces and Jack Faith arranges. It doesn’t take long to realise this is a Jack Faith arrangement. His name is written all over it. Just lone pounding drums and then shakers enter before the arrangement builds. Keyboards, swathes of dancing strings and the rhythm section join forces. Jack builds the drama and sense of anticipation. After ninety-seconds, impassioned harmonies enter and Jimmy delivers a vocal that’s from his heart. It’s delivered with feeling and passion, cooing harmonies accompanying it. Soon, swathes of strings combine with Jimmy’s vocal and some of the best harmonies on Locker Room. The longer the arrangement progresses, the better it gets. By the end of the track, you realise that this is quite simply a glittering gem of a track whose soulful delights should’ve been released as a single.
Closing Locker Room is Why Do We Have To Go Our Separate Ways, arranged and produced by Ron “Have Mercy” Kersey. A real curveball is thrown, when a searing, riffing, rocky guitar weaves its way across the arrangement. For company, it has a slow moody rhythm section and Hammond organ. Then Jimmy’s vocal replaces the guitar. His vocal is full of sadness and regret, with harmonies that reflect the drama, emotion and heartache in Jimmy’s vocal. They combine with an arrangement that grows in power and drama. Soon, the song becomes an emotional roller coaster. Key to this is a vocal that’s so convincing you almost believe Jimmy’s reliving the hurt and pain he’s singing about. This is hugely soulful, heartfelt and dramatic and showcases Double Exposure’s soulful side. What you hear is a hugely talented, accomplished group, who by 1979, were in their prime, as this track proves. Sadly, that wasn’t to be the case.
Listening to Locker Room, and their two previous albums Ten Percent and Fourplay, you’d have though the best was still to come from Double Exposure. Locker Room featured six tracks where Double Exposure fused Philly Soul with a tougher, funkier sound that saw their music change. Despite changing sound on the opening track I Got The Hots (For You) and Ice Cold Love, Double Exposure stuck to their Philly Sound on the other four tracks. The result was an album that saw Double Exposure back at their best. While Locker Room failed to chart, it had the misfortune to be released the month disco almost died.
Even a classic album could’ve slipped by unnoticed during this time. Granted this made it two albums in a row from Double Exposure that had failed to chart. Despite this, they were releasing some of the best music of their career. Maybe if Double Exposure hadn’t lost a year to the legal dispute, they’d have been able to build on the momentum and success of Ten Percent. Then they could’ve released the followup Fourplay earlier and Locker Room wouldn’t have been released as the Disco Sucks campaign came to an ugly head. You’d have thought it was worthwhile rethinking Double Exposure’s future, and giving them another opportunity to replicate the success of Ten Percent. Tragically, that wasn’t the case. Indeed. Locker Room, just six soulful, sometimes funky tracks, was the Salsoul swan-song from the quartet of James Williams, Joseph Harris, Charles Wittington and Leonard “Butch” Davis. After Locker Room, Double Exposure left Salsoul and never revisited the heights and success of Ten Percent. Locker Room remains a glistening gem, hidden in the Salsoul Records’ back-catalogue, which is well worth discovering and hearing the Salsoul swan-song from four of its most-talented, soulful sons. Standout Tracks: I Got The Hots (For You), Where Have You Been All My Life, I Wish That I Could Make Love To You and Why Do We Have To Go Our Separate Ways.
DOUBLE EXPOSURE-LOCKER ROOM.
PETER KING-SHANGO.
PETER KING-SHANGO.
All too often, innovative music isn’t appreciated when it’s released. It passes almost unnoticed. Apart from a few people, who realize the importance of the music, and champion it passionately, it can be years, even decades later, that the importance of an artist or album is recognized. This has been the case with so many artists, including Nigerian multi-instrumentalist Peter King.
For those still to discover Peter King’s music, his name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Peter released seven albums between 1975 and 2002. His debut album was Miliki Sound. That shouldn’t have been the case. Instead, Shango should’ve been his debut album. Recorded in 1974, in Camden, London, using the money Peter was paid to write the music that accompanied a political documentary, Shango lay unreleased. Discovered again in 2002 by Strut Records, who released the album for the first time, Shango was discovered by a new generation of music fans who’d been introduced to Afrobeat through in the eighties. Now eleven years later, Shango has been long out of print. So, Mr. Bongo Records recently rereleased a remastered version of Peter King’s lost album Shango, which I’ll tell you about.
Peter King was born in 1938, in the Enugu region of Nigeria. Growing up, he moved between Lagos, Port Harcourt and Lokoja. Aged just nineteen, Peter moved to Ibadan and joined the Roy Chicago Band. Initially, he played double bass and alto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. Having honed his technical skills, Peter decided the had come to spread his wings musically. So he headed to London to study music at some of the city’s most prestigious colleges.
1960 saw Peter moved to London to study music. He played saxophone, flute, piano, drums, double bass and violin when he studied at various colleges. This included the Central School of Music, the Guild Hall in 1961 and Trinity College of Music in 1963. Graduating in 1966, Peter formed his first band in London, The African Messengers.
Following his graduation Peter met trumpeter Mike Falana and drummer Boyo Martins. Together, they became the African Messengers. Not only were they a prolific live act, but released numerous singles. Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. Among them were Diana Ross, The Four Tops and The Temptations. Not content with playing in one group whilst in London, Peter King formed The Blues Builders. Like the African Messengers, The Blues Builders were a prolific live band, playing all over Europe and north Africa. However, when Peter returned home in 1969, he formed another group.
On his return home to Nigeria, Peter’s formed another group, Voice of Africa. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London in 1971, it was with Shango, his latest band. They toured Britain, Europe and America, further reinforcing Peter’s reputation as a musician.
By 1971, critics were comparing Peter to some musical legends. His playing style was compared to John Coltrane, Gene Ammons and Sonny Rollins. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. No wonder. Peter King was into his third decade as a professional musician. Unlike his peers and compatriots, Peter King was still to make his recording debut. That would happen in a roundabout way.
After forming Shango, Peter was asked to write the score to a political documentary. This he did. With the money he received for writing the score, he decided, he’d use to record Shango’s debut album. Rather than record the album in Nigeria, Peter decided to head the by now, familiar surroundings of London. At Camden Town Studios Shango set about recording what they must have hoped was the first of many albums.
At Camden Town Studios, Shango recorded eights songs written, arranged and produced by Peter King. He played tenor and alto saxophone, flute, piano, violin, percussion and sang. Accompanying him were a rhythm section of drummer James Menin, bassist David Williams and guitarist Arthur Simon. Humphrey Okoh-Turner played alto saxophone, Mike Falana trumpet and Paul Edoh congas. With the eight songs that became Shango recorded, Peter must have thought that given his reputation as an innovative and progressive musician, Shango would released.
That wasn’t the case. Having spoken to record labels, Peter couldn’t find a label willing to release Shango. Disappointed to say the least, a small crumb of comfort was that Sonny Roberts, a Jamaican producer and owner of the Orbitone label, wanted to sign Peter. Between 1975 and 1978 Peter released the first of four solo albums for Orbitone. His debut was 1975,s Miliki Sound, followed by 1976s Omo Lewa then 1977s A Soulful Peter King and 1978s Moods. After Moods, Peter released African Dialects on Grandstar. That proved to be the last solo album Peter would release for twenty-three years.
1979 saw Peter return to Festa in Nigeria with his wife and family. This was he built his home, which has a musical school next door to it. The Peter King College of Music was what Peter dedicated his life to. Then in 2002, Strut Records approached him about rereleasing Shango.
At last, Shango a forgotten musical gem was unearthed. Twenty-eight year after its release Shango was released to critical acclaim. Hailed as a lost classic, it was a reminder of one of Nigeria’s greatest musicians. Who knows how different things might have been for him if Shango was released in 1974? While Peter was neither as well known nor prolific as Fela Kuti, Peter King certainly wasn’t lacking in talent. You’ll realize that when I tell you about Shango.
Shango opens with soaring harmonies, rolls of drums and quivering flute unite. Blazing horns join a pounding, funky rhythm section and crystalline guitars in driving the arrangement along. A fusion of James Brown inspired funk is combined with jazz, Afrobeat, highlife and Peter’s soulful, impassioned vocal. Arthur Simon unleashes a jazz-tinged guitar solo that’s reminiscent of Wes Montgomery and Norman Harris. Meanwhile horns blaze and percussion is sprinkled across the arrangement. Stabs of horns fill the spaces left by the vocal, before Peter unleashes a dramatic, frenzied, saxophone solo. Funky, soulful and jazz-tinged, it’s a track where musical influences and genres meet head on.
There’s a much more thoughtful, understated sound to Prisoner Of Law. A spacious arrangement, sees wistful horns, chiming guitars and ponderous bass join forces. Having set the scene, the alto-saxophone takes centre-stage, producing a heartbreaking sound, that reflects the pain, suffering and agony suffered by a Prisoner Of Law. Meanwhile, the rhythm section play around the horns, while the jazzy guitar provides a subtle, contrast, albeit one that’s melancholy. Chanted harmonies plead, their emotive vocals reflecting the suffering of the Prisoner Of Law.
Mr. Lonely Wolf sees the understated sound continue. Just brief bursts of chiming guitar and rasping horns, join percussion and the rhythm section. A flute escapes from the arrangement, meandering along. Accompanied by scatted harmonies its wistful sound is a perfect fit for the fusion of guitar and percussion. Later, the flute is replaced by the guitar, and Arthur Simon plays a starring role in this understated, emotive and quite beautiful fusion of soul, jazz and Afrobeat.
Stabs of braying horn and joyous vocals signal the start of the Freedom Dance. Horns join forces with percussion and crystalline, chiming guitar as the rhythm section propel the arrangement along. Defiant cries of “freedom” from Peter aren’t just idle talk. Far from it. Peter once played in a war zone. He then unleashes a blistering saxophone solo. Combining power, passion and control, he’s responsible for one of the best solos on Shango. Not only that, but his saxophone solo is at the heart of this defiant and celebratory track.
Funky and dramatic describes the introduction to Go Go’s Feast. Propelled along by chiming guitars, ponderous drums and blasts of blazing horns, Peter delivers a probing vocal. Grizzled horns riff, following the lead of the guitar. Having set the scene, the guitar fills in the gaps, laying down some intricate jazzy lines. Brash bursts of braying horns provide a contrast. Gradually, everyone wants their moment in the sun. Taking turns, drums pound, horns blaze and bray as Peter and his band demonstrate their inconsiderable skill and versatility. In the process, they up the funk quotient, adding equal measures of jazz, Afrobeat and highlife into the musical melting pot. The result is a delicious dish, tasted often.
Mystery Tour is the perfect title for this track. It’s not unlike heading off on a magical, musical mystery tour. The destinations seem to be funk, jazz and Afrobeat. Having said that, it’s not just any funk. Initially, it’s a space-age brand of funk. Soon, normality is returned. While the rhythm section provide the heartbeat, Peter showboats on the saxophone. Unleashing another peerless saxophone solo, sharp, dramatic bursts of horns are augmented by the guitar and space-bass. Sounding like a fusion of Jimi Hendrix, Miles Davis circa Bitches Brew, Fela Kuti, Wes Montgomery and Funkadelic, psychedelia meets funk, jazz and Afrobeat to create an innovative, progressive fusion of musical genres and influences.
Now I’m A Man is another celebratory sounding track. From the opening bars, it bursts into life. As we’ve come to expect, it’s a fusion of styles. Veering between jazz, funk, Afrobeat and free jazz the horns are at the heart of the action. Along with chiming guitars, percussion and the rhythm section, the create a joyous, hopeful, dance-floor friendly sound that’s uplifting and truly irresistible.
Closing Shango is Watusi, a track that initially, sounds as if it belongs on a classic Blaxploitation soundtrack. Driven along by the uber funky rhythm section, bursts of celebratory harmonies fill the spaces left by the braying horns. Guitars chime, their urgent sound trying to keep up with the bass and keyboards. At breakneck speed, Peter King and his band seamlessly combine musical genres and demonstrate their versatility and talent. Like so many albums, the best of Shango, has been kept to last with the joyous and hook-laden Watusi.
On its release, Shango was described as Peter King’s lost classic. That was no exaggeration. From the opening bars of Shango, right through to Watusi it’s all killer and no filler. Given how good Shango is, why it wasn’t released seems strange. After all it’s a truly innovative album of progressive music. Fusing Afrobeat, funk, jazz, psychedelia and soul Peter King doesn’t put a foot wrong. Shango should’ve been the album that it introduced the world to Peter King. Sadly, that wasn’t the case. A really accessible album and truly irresistible album, Shango is filled with delicious rhythms. Although just eight songs and forty-five minutes long, it’s an almost flawless album. Best described as a joyous, uplifting and irresistible musical experience, sometimes it’s melancholy and wistful, other times, Shango is a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. Having said all that, there’s much more to Shango than some delicious rhythms.
Listen carefully to Shango, and the music is intricate, multilayered and complex. You’ll hear subtleties, surprises and nuances. Musical genres and influences melt into one. They were thrown into the musical melting pot by Peter King. Given a stir, Shango, Peter King’s eclectic fusion of styles and influences, is a dish that’s best delicious and best tasted often, by discerning musical diners. Standout Tracks: Prisoner Of Law, Mr. Lonely Wolf, Go Go’s Feast and Mystery Tour.
PETER KING-SHANGO.
DISCO AND BOOGIE IN NYC VOLUME 1: SEEDS OF CLUB MUSIC.
DISCO AND BOOGIE IN NYC VOLUME 1: SEEDS OF CLUB MUSIC.
Earlier this year, fashionistas and tastemakers forecasted that the summer of 2013 would be “the summer of disco.” It was official, disco was back in fashion. The advice from those in the know, was dust off your flares, polish your disco ball and let’s recreate the heady, hedonistic days of disco. Providing a soundtrack would be the numerous disco and Nu-Disco compilations released weekly.
These compilations were a mixed bunch, whose quality varied from the good, bad and downright ugly. It was a case of buyer beware. No wonder. in some cases, barrels were being definitely being scraped. Quality control seemed nonexistent. Tired and predictable describes many of the compilations. Some albums were released for the umpteenth time. Many of the compilations and reissues resembled a musical Quasimodo. This included many of the hyped-up compilations. They proved to be among the dampest of squibs. At least there were a few highlights of the supposed “summer of disco.”
Among the highlights were John Morales Presents The M&M Mixes Volume 3 which was released on BBE Music. An early contender for compilation of 2013, it’s yet to be bettered. Then there’s BBR Records’ rereleases of Salsoul Records’ back-catalogue. That’s not forgetting rereleases of albums by The Trammps, Gloria Gaynor and The Ritchie Family. Another of the highlights of “the summer of disco” is Octave Japan’s series of DJ mixes. The latest installment is Disco and Boogie In NYC Volume 1: Seeds Of Club Music, a DJ Mix and Edit By Watusi of Coldfeet.
Disco and Boogie In NYC Volume 1: Seeds Of Club Music was released by Octave Japan on 23rd August 2013. It features twenty-two tracks from the back-catalogues of Salsoul Records and West End Records. Among the artists on Disco and Boogie In NYC Volume 1: Seeds Of Club Music are Barbara Mason, The Salsoul Orchestra, Double Exposure, Loleatta Holloway, First Choice, Charo, Aurra, Inner Life, Instant Funk and Karen Young. With some of the best music from Salsoul and West End Records’ back catalogues, choosing my ten favorite tracks won’t be easy. Here goes.
My first choice from Disco and Boogie In NYC Volume 1: Seeds Of Club Music is Silvetti’s Spring Rain. It featured on his debut album World Without Words in 1976. Licensed to Salsoul, it featured a track that’s innovative and timeless. That was Spring Rain. Listening to the track, It’s hard to believe it was released in 1976. It’s a track that was way ahead of its time and proved influential. Indeed, several generations of house producers have been influenced by Spring Rain.
Although Barbara Mason’s career started back in the sixties, she released the best music of her career between 1972 and 1975, when she was signed to Buddah Records. Albums like Give Me Your Love and Lady Love contain Barbara’s best music. Then in 1983, she reinvented herself as a dance-floor diva, releasing Another Man on West End Records. Written and produced by Butch Ingram, Another Man saw Barbara’s music head in a very different direction. The version chosen is the 12” version. Its arrangement married elements of eighties electronics and boogie. This meant drum machines and synths, which was very different to her work with Norman Harris. One thing didn’t change, her vocal. It was sassy, sultry and filled with emotion and frustration, as she brought meaning and life to the lyrics
Raw Silk were a studio group assembled by producers Bert Reid and Ron Dean Miller. They released two of West End Records best known tracks 1982s Do It To The Music and 1983s Just In Time. Do It To The Music which was written, arranged and produced by Ron Dean Miller, features on The West End Records Story. This is Raw Silk’s finest moment. Quite simply, it’s seven minutes where a boogie arrangement, tender, heartfelt and impassioned vocal and cooing harmonies unite. Add to this a sultry jazz-tinged saxophone and jazz, soul and boogie become one on the 12” vocal version of a classic.
Double Exposure’s debut album for Norman Harris’ Gold Mind Records was Ten Percent. Released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts. It featured three singles, including the Baker, Harris, Young produced My Love Is Free. Drums, shakers, swirling strings, guitars and flourishes of keyboards, give way to Jimmy’s vocal. Punchy harmonies, rasping horns, disco strings, percussion and the Baker, Harris, Young provide a pounding, funky heartbeat. Jimmy’s powerful, impassioned pleas are augmented by soulful harmonies. Combine the vocal with the dancing dancing strings, chiming guitars, blazing horns and Baker, Harris, Young at their best. The result is a musical marriage made in heaven, where drama and emotion create a timeless disco classic.
Charo and The Salsoul Orchestra’s Cuchi-Cuchi was released in 1976, reaching number 100 in the US Billboard 200. Dance A Little Bit Closer was the lead single. It’s a song that’s become synonymous with Charo. Drums pound, before keyboards, a pounding bass line, lush strings and growling horns signal the arrival of Charo’s breathy vocal. She’s accompanied by blazing horns, Vince Montana Jr’s vibes and swathes of lush strings. They glide elegantly into the arrangement. Earl Young’s drums provide the heartbeat, while The Sweethearts Of Sigma accompany Charo. Later, her vocal becomes sassy, as disco and Latin music are fused seamlessly during this irresistible track.
Tough and funky describes Make Up Your Mind, the lead single from Aurra’s 1982 debut album A Little Love. The funkiest of slap basses, synths, hypnotic drums and harmonies combine, before Curt’s vampish vocal struts centre-stage. His vocal is full of emotion and confusion. When Starleana Young’s vocal enters, it’s tender, heartfelt and determined to soothe Curt’s troubled soul. As their vocal drops out, the arrangement fuses elements of funk and boogie. Add to that the soul supplied by Curt and Starleana and it’s a potent combination.
Loleatta Holloway released Love Sensation in July 1980. As Baker, Harris, Young combine with percussion, piano and cascading strings, you anticipate the entrance of Loleatta’s strutting, strident vocal. Accompanied by dancing, disco strings, rasping horns and a punchy rhythm section, Loleatta gives a vocal masterclass. Her voice becomes an impassioned roar, while The Sweethearts Of Sigma accompany her. They provide the perfect accompaniment for an arrangement that’s a mass of lush strings, dramatic drums and blazing horns. Add Loleatta’s powerful vocal and the result is timeless, dramatic, classic.
(Knock Out) Let’s Go Another Round featured on Inner Life I, which was released in 1981. Stan Lucas wrote and arranged the track which he produced with Greg Carmichael. It’s a boogie track, with Greg Carmichael’s influence all over it. The introduction sounds like a cousin of Ain’t No Mountain High Enough. That similarity is only brief, and quickly, the track takes on its own identity. Percussion, a funky rhythm section, swathes of synths and handclaps combine to create a catchy backdrop, even before Jocelyn’s powerful vocal enters. Her vocal struts in, sassy and full of confidence, with the banks of keyboards accompanying the rhythm section who provide the funky heartbeat. Inner Life tease you relentlessly when the vocal drops out. Synths and keyboards take centre-stage, before Jocelyn’s vocal returns. This pattern continues. You sit back and enjoy an irresistible track unfold, with Jocelyn Brown key to the track’s sound and success.
Double Cross was a track from First Choice’s fifth album Hold Your Horses. It was written by Ron Tyson and Norman Harris, who arranged and produced the track. A funky rhythm section with Jimmy Williams’ bass anchors Larry Levan’s 12” version of this track. He combines lush cascading strings and guitars before Rochelle delivers a vocal that’s variously heartfelt, dramatic and fiery, and sometimes, full of frustration and regret. Tight, soaring harmonies that compliment Rochelle’s vocal, as Norman Harris’ classy arrangement unfolds. He uses Don Renaldo’s grand, quivering strings, growling horns and the funky rhythm section to reflect the drama, passion and emotion in what’s an emotive vocal masterclass from Rochelle.
The Salsoul Hustle, is my final choice from Disco and Boogie In NYC Volume 1: Seeds Of Club Music. Written, arranged and produced by Vince Montana Jr, not only did it give The Salsoul Orchestra their first hit single, but launched Salsoul. With a pounding, funky Baker, Harris, Young key to the track’s hustle sound, percussion, searing and guitars join the arrangement, before the lushest of sweeping, swirling strings enter. They’re joined by Vince Montana Jr’s vibes and stabs of growling, blazing horns. By now, The Salsoul Orchestra have kicked loose and are in full flow. It’s a hugely impressive sound. Strings dance, while stabs of horns and the rhythm section create the track’s pulsating heartbeat. Later, Vince lays down a vibes solo, before Bobby “Electronic” Eli unleashes a searing solo. Together, some of Philly’s greatest musicians create a genre-melting, classic, where disco, funk and Philly Soul unite.
For Disco and Boogie In NYC Volume 1: Seeds Of Club Music, Watusi of Coldfeet dug deep into the back-catalogues of Salsoul Records and West End Records. From two of disco’s most illustrious back-catalogues, Watusi chose twenty-two tracks. Just like previous installments in Octave Japan’s mix series, the success of Disco and Boogie In NYC Volume 1: Seeds Of Club Music is down to track selection. That you could argue is the same with any compilation. I’d argue with a mix CD, track selection is even more important. The music has to flow seamlessly. Twenty-two tracks have to become one. Previous mixes from DJ Nuro, DJ Norri and Towa Tei prove my point. Watusi’s track selection just reinforces this. With Watusi having two back catalogues to choose from, made his job either easier or harder.
Two back-catalogues meant more choice for Watusi. Whether it hampered him or made his job easier, only he knows? What I’d say is, that it makes for a much more eclectic and intriguing compilation. Rather than sticking with the tired and familiar, Watusi pulls a few musical rabbits out of hats. This includes Barbara Mason’s Another Man, Sparque’s Take Some Time, Shirley Lites’ Heat You Up (Melt You Down), Carl Bean’s I Was Born This Way and The Salsoul Orchestra’s Heat It Up. These tracks make Disco and Boogie In NYC Volume 1: Seeds Of Club Music an intriguing musical journey. Just like Forest Gump’s box of chocolates, you never know what you’re going to get. That isn’t always the case.
Sometimes familiar flavors provide a tantalizing taste of the heady, hedonistic days of disco. That’s unlike The Beat Goes On: Salsoul Classics Mixed By Towa Tei. He neglected Salsoul classics. Watusi doesn’t. Indeed, Disco and Boogie In NYC Volume 1: Seeds Of Club Music isn’t short of classics. Far from it. Compiler Watusi hasn’t forgotten familiar faces and old favorites from Salsoul’s disco heyday. Loleatta Holloway, First Choice, Double Exposure, Charo and The Salsoul Orchestra all take a bow. Then as disco died and boogie was born, Aurra, Inner Life and Instant Funk played starring roles in the Salsoul story. Over at West End Records, Raw Silk joined divas Karen Young, Sybil Thomas and Barbara Mason. These tracks in the hands of Watusi, result in another mesmeric mix.
Disco and Boogie In NYC Volume 1: Seeds Of Club Music is the latest installment in Octave Japan’s latest compilation series. They ask innovative DJs to pick some of their favorite disco classics and mix them in their own, unique DJ-ing style. This time it’s Japanese DJ Watusi, of Coldfeet. Seamlessly, he mixes twenty-two tracks in just eighty minutes. They become one pulsating and mesmeric hook-laden, collage of boogie and disco. A glorious reminder of disco’s heady, hedonistic heyday, Disco and Boogie In NYC Volume 1: Seeds Of Club Music shows that disco never died. Far from it. Disco is even more popular. A new generation of music lovers are discovering disco, through DJs like Watusi and compilations like Disco and Boogie In NYC Volume 1: Seeds Of Club Music. Standout Tracks: Barbara Mason Another Man, Loleatta Holloway Love Sensation, First Choice Double Cross and The Salsoul Orchestra Salsoul Hustle.
DISCO AND BOOGIE IN NYC VOLUME 1: SEEDS OF CLUB MUSIC.
PLEASURE-FUTURE NOW.
PLEASURE-FUTURE NOW.
Portland-based Pleasure spent several years honing their style and sound before Wayne Henderson of The Crusaders “discovered” them. Pleasure were formed in 1972, after a merger of two high school bands, Franchise and The Soul Masters. Franchise were led by guitarist and vocalist Marlon McClain. Their music was a fusion of disco and rock. The Soul Masters, whose music was jazz-tinged and soulful, were led by Donald Hepburn. These two groups became one, Pleasure.
For two years, Pleasure played around the Portland area. They soon attracted a following locally. Word started to spread further afield about Pleasure. No wonder. Every band who swung through Portland were handed a copy of Pleasure’s demo. Grover Washington Jr. received a copy. Liking what he heard, he told Wayne Henderson of The Crusaders about Pleasure.
Wayne Henderson headed to a club in Portland, where he heard Pleasure. Straight away, he realized Pleasure were a band with a big future. Wayne recommended Pleasure to Fantasy Records, a forward thinking and successful label, always keen to sign talented artists and groups. Pleasure were certainly talented and keen to sign to the label groups like The Blackbyrds called home. Now signed to Fantasy Records, Pleasure released six albums between 1975 and 1980. Their fifth album, 1979s Future Now, which was recently released by BGP, marked a change in sound, style and fortune for Pleasure.
Having signed to Fantasy Records, they hooked up with The Crusaders’ trombonist Wayne Henderson. Wayne would produce their first four albums. Their debut album was 1975s Dust Yourself Off. Most of Dust Yourself Off, was written by Pleasure. The exception was Midnight At The Oasis, which was given an uber funky makeover. On its release in July 1975,Dust Yourself Off reached just number fifty-four in the US R&B Charts. For a debut album, this was a positive start to Pleasure’s career.
Pleasure’s sophomore album was 1976s Accept No Substitutes, which reached number 162 in the US Billboard 200 and number thirty-two in the US R&B Charts. Accept No Substitutes featured Pleasure’s first hit single. Ghettos of The Mind reached number seventy-one in the US R&B Charts. It seemed Pleasure’s music was reaching a wider audience.
This proved to be the case with Pleasure’s third album Joyous, released in 1977. Not only did Joyous reach number 113 in the US Billboard 200 and number thirty-four in the US R&B Charts, but featured an anthemic track. This was the title-track Joyous, which reached number thirty-five in the US R&B Charts. Since then, this anthemic track has been a dance-floor favorite. Having released their most successful single and album, the future looked bright for Pleasure.
That wasn’t the case. 1978s Get To The Feeling was the last album produced by Wayne Henderson. Rather than building on the momentum of previous albums, it stalled at number 119 in the US Billboard 200 and number forty-two in the US R&B Charts. Get To The Feeling didn’t even feature a hit single. Pleasure had a problem. Their music seemed to have stood still while music changed. Maybe Pleasure and Wayne Henderson’s partnership having run its course? Either that or they’d run out of ideas. Regardless of what the problem was, changes were made.
Out went producer Wayne Henderson. Replacing him was Phil Kaffel, who co-produced their fifth album Future Now with Pleasure’s guitarist Marlon McLain. This marked the beginning of a new chapter in Pleasure’s career.
For Future Now, Pleasure got to work. They came up with ten new songs. Nathaniel Phillips penned Departure and with Bruce Smith wrote Space Is The Place and Glide. Bruce and Nathaniel the cowrote Universal a.k.a. Universal Thing with Douglas Lewis. Michael Hepburn and Marlon McMcLain proved a potent songwriting partnership. They penned Strong Love and Nothin’ To It, then cowrote Future Now with Ched Debham and finally, cowrote Dedication To The Past with Bruce Carter and Nathaniel Phillips. Keyboardist Donald Hepburn wrote The Real Thing and cowrote Thoughts Of Old Flames with Bruce Smith. These ten tracks became Future Now.
Recording of Future Now took place at Fantasy Studios, Berkeley, California. Producing Future Now was Phil Kaffel and Marlon McLain. The lineup of Pleasure featured a rhythm section of drummer Bruce Carter, bassist Nathaniel Phillips and guitarist Marlon McLain. Donald and Michael Hepburn played keyboards, Bruce Smith percussion, Denis Springer soprano and tenor saxophone and Tony Collins flugelhorn and trumpet. They were joined by session musicians. Trombonists included Lew McCreary and Bill Reichenbach, while Larry Williams played alto and soprano saxophone. Tim Gorman and Jeff Lorber added synths, while The Waters Sisters sang backing vocals. Once Future Now was recorded, it was released in 1979.
On the release of Future Now, it struck a chord. Reaching number sixty-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts, Future Now was Pleasure’s most successful album. The success didn’t stop there. Glide was released as a single, reaching number fifty-five in the US Billboard 200 and number ten in the US R&B Charts. This was Pleasure’s most successful single. A musical double whammy, Pleasure’s decision to change producers for the recording of Future Now which I’ll tell you about, was vindicated.
Departure opens Future Now. It’s a forty-five minute musical amuse bouche, where Future stretch their musical muscles. At breakneck speed, banks of prog rock keyboards join the funk supplied by Pleasure’s rhythm section. Too soon, this genre-melting track is over.
Chiming guitars and tender harmonies combine as the laid-back and soulful sound of Future Now emerges from your speakers. Soon, it’s all change. As the rhythm section provide a pulsating heartbeat, scorching rock guitars and popping bass accompany Michael. Mysteriously, he tells us “we are not alone” and encourages us to “open our mind…we’re from another time and place…Future Now.” Soulful and impassioned described his vocal. It’s delivered against a dramatic backdrop, where rock, funk and soul melt into one. Add in the sci-fi lyrics, and an intriguing, genre-melting track unfolds.
Universal a.k.a. Universal Thing sees Pleasure’s rhythm section get busy. Nathaniel Phillips’ bass is at the heart of arrangement. His fingers fly up and down the fretboard, never missing a note. Neither does Marlon McClain on guitar. A swaggering vocal, seems to be telling the second part of a the story. It’s equal parts sass and feisty. Chiming guitars or sweeping harmonies answer his call. Bursts of blazing horns and synths provide contrasts, as the track heads to a dramatic ending.
Spacious describes the introduction to Space Is The Place, a track that’s not unlike a musical journey. Marlon’s chiming guitar is panned hard right. Meanwhile, sharp bursts of wah-wah-esque guitars and bubbling bass join forces. Again, space is left. Gradually, the spaces are filled. As for the vocal, it’s needy. Michael wants, pleads to take you on a journey. Subtle horns, rhythm section and wah-wah guitar are your guide. They weave their way across an arrangement where jazz, funk, soul and rock combine. Later, session musician Douglas Lewis steals the show with a blistering guitar solo. Truly, it’s peerless. After that, the arrangement takes on a space-age sound, as we reach our destination.
Rolls of drums, guitars and percussion open the melancholy sounding Strong Love. Soon, the melancholia disappears. That’s thanks to the heartfelt vocal and sweeping harmonies. Then there’s an arrangement. Sudden changes in tempo, where things get funky are the perfect accompaniment to the joyous, soaring harmonies. All this plays a part in a track that’s mildly funky, and full of poppy hooks.
There’s a harder, funkier sound to The Real Thing. That’s no bad thing. Driven along by blazing horns, rhythm section and keyboards, the vocal veers between dramatic and deliberate. Soon, it’s sassy and full of bravado. Harmonies sweep in adding poppy hooks. Chiming guitars answer the vocal, while strident horns and the vampish vocal ensure the song swings and is “The Real Thing.”
Nothin’ To It allows bassist Nathaniel Phillips to showcase his skills. Pounding drums and washes of synths accompany him. It’s as if Pleasure are just jamming. Having found a groove, the tender, heartfelt vocal sits above the arrangement. From there, sci-fi synths, searing rocky guitars and braying horns are dropped in as doo wop, jazz, funk, soul and rock meet head on, during a track that sometimes, sounds experimental.
Thoughts Of Old Flames is the standout track on Future Now. Its soulful beauty grabs your attention. The vocal is a tender impassioned plea, while the arrangement is a spacious and melodic. What unfolds is a stunning fusion of jazz, funk and soul. Pleasure play with care and subtlety on this downtempo delight. Just the rhythm section, percussion and keyboards combine. Later, a sultry horn adds the finishing touch to what’s not just the highlight of Future Now, but a timeless track.
Glide reached number fifty-five in the US Billboard 200 and number ten in the US R&B Charts. This was Pleasure’s most successful single. Good as the track is, it’s not the best track on Future Now. Thoughts Of Old Flames is. Here, Nathaniel Phillips is let loose with his bubbling bass. Drums crack, guitars chime and washes of synths sit above the arrangement. They give the track a space-age, sci-fi sound. The vocal is delivered urgently, accompanied by punchy harmonies. Crucial to this fusion of soul and funk is the combination of bassist and Nathaniel Phillips and guitarist Marlon McLain. Not for the first time on Future Now, are they at the heart of a song’s success.
Thirty-five-seconds long, Dedication To The Past is aptly titled. Screaming rock guitars and a pounding rhythm section fade away into the distance. It may have seemed like a Dedication To The Past, but like the music of Pleasure, has stood the test of time.
Making the decision to dispense with the services of producer Wayne Henderson couldn’t have been easy. It had to be done. 1978s Get To The Feeling saw the momentum Pleasure had built up over three albums stall. Maybe the partnership of Wayne and Pleasure had run its course. Possibly, for both parties, it was best to make a clean break. Wayne had discovered and nurtured Pleasure. He helped them to establish a reputation as one of the hottest new bands. Fusing funk, soul, jazz and rock, things looked good for three albums. Four albums was one too many. So, Wayne left and Phil Kaffel and Marlon McLain were co-producers of Future Now.
Future Now marked a change in sound and style. There was still funk, soul, jazz and rock. On Future Now, the music took on a space-age, experimental sound. This shines through on several songs, thanks to the Moog and Prophet synths. Another change was that Future would be a “concept” album. The subject matter of the concept album was space. Through Future Now, Universal Thing and Space Is The Place, a mini concept album unfolds. For two parts it works, despite the indisputable quality of Space Is The Place, it fails to bring the story to a conclusion. That’s not the end of Future Now.
From there Strong Love and The Real Thing are best described as dance-floor friendly and funky. Nothin’ To It is a genre-melting track and Thoughts Of Old Flame the true highlight of the album. Then there’s Glide, which gave Pleasure the biggest single of their career. Closing Future Now, was Dedication To The Past which bookended the album nicely. It was another musical amuse bouche. That closed the second chapter in Pleasure’s career.
After Future Now, Pleasure released just one further album for Fantasy Records. That was 1980s Special Things, which stalled at number ninety-seven in the US Billboard 200 and number twenty-seven in the US R&B Charts. Pleasure then signed to RCA and released Give It Up in 1981. It reached a disappointing number 164 in the US Billboard 200 and number thirty in the US R&B Charts. That was the last album Pleasure released. Looking back, Future Now, which was recently released by BGP, represented the most successful period of Pleasure’s seven album career. Standout Tracks: Departure, Space Is The Place, Strong Love and Thoughts Of Old Flames.
PLEASURE-FUTURE NOW.
THE JAZZ CRUSADERS-GIVE PEACE A CHANCE.
THE JAZZ CRUSADERS-GIVE PEACE A CHANCE.
Back in 1954, at Phillis Wheatley High School, Houston, Joe Sample, Stix Hooper and Wliton Felder met for the first time. Little did they realize the importance of this meeting. Unknown to them, this meeting would result in the formation of one of the most innovative and influential jazz groups, The Jazz Crusaders who released Give Peace A Chance in 1970. It was recently rereleased by BBR Records.
It was 1954 when pianist Joe Sample met drummer Stix Hooper and saxophonist Wilton Felder at Phillis Wheatley High School, Houston. Joe was a talented pianist, with an eclectic taste in music. Wilton Felder was a saxophonist, who also played bass. Stix Hooper a drummer and percussionist in waiting. His interest in music was encouraged by the director of the school band. Soon, Stix was blossoming into a talented drummer and percussionist. So, when Joe and Wlilton decided to form their own band The Swingsters, Stix was their go-to-guy for a drummer.
Influenced by the Bebop of Charlie Parker, Cannonball Adderley, John Coltrane and Miles Davis, The Swingsters spent their spare time gigging. This was a way of honing and refining their sound. Although they played primarily Bebop, their versatility meant they’d be called upon to accompany any number of blues musicians who swung through Houston. With all this experience behind them, when the three Swingsters graduated high school, and headed to Texas State University, they were experienced musicians. However, at university they’d meet the man who’d become the fourth Jazz Crusader.
At Texas State University, The Swingsters met trombonist Wayne Henderson. Now a quartet, lead by the horn section, the band changed its name to The Modern Jazz Quartet. The addition of Wayne seemed to make the band think about its future, and where they were going? It turned out to be Los Angeles, in 1958.
Having relocated to Los Angeles, The Modern Jazz changed their name again, this time to The Jazz Crusaders. With a name that had a more moderne and progressive sound, The Jazz Crusaders didn’t enjoy success straight away. Instead, they struggled for the first few years. Things only improved in 1960, when they signed with the prestigious Pacific Jazz Records.
A year later, in 1961, The Jazz Crusaders released their debut album Freedom Sound, a fusion of hard bop, R&B and soul. This was the start of one of the most prolific periods in their career. They released a further ten studio albums and five live albums between 1962 and 1969. Hard bop, Bebop, soul, free jazz, experimental music and R&B melted into one. Hailed as an innovative and influential jazz band, The Jazz Crusaders weren’t a band anyone could categorize. Far from it. The Jazz Crusaders it seemed, were aptly named. Musical mavericks, they fed off each other. Each drove the other to greater heights as they traded licks. It was like of a game of daring do. Anything you can do, I can do better. As musical units go, The Jazz Crusaders was a musical marriage made in heaven. Feeding off each other, they traded ideas and inspiration.Their music straddled musical genres. It meant different things to different people during the sixties. From jazz purists through to soul, R&B and rock fans, they all sought out the music of The Jazz Crusaders, a group who united fans of disparate musical genres. This was the case at the tail end of the sixties, when people were becoming much more open minded about music.
As the seventies dawned, The Jazz Crusaders found themselves on a new record label. Pacific Jazz Records had been purchased by Liberty Records, which had been founded by Roy Harte and Richard Rock in 1952. Having released Lighthouse ’69 for Pacific Jazz Records, The Jazz Crusaders started work on their first new album for their new label. This became Give Peace A Chance, which was produced by Richard Rock. Give Peace A Chance was a genre-sprawling album, which hinted at the future direction The Jazz Crusaders’ music would head in.
For Give Peace A Chance, eight tracks were chosen. Give Peace A Chance and Blackbird were Lennon and McCartney songs.Wayne Henderson penned I Think It Was A Dream, Stix Hooper wrote Anita’s New Dance and Wilton Felder contributed Space Settlement. Joe Sample was the most prolific Jazz Crusader, writing All The Lonely Years and Another Blues. The other track was a cover of Art Benson and Dale Petit’s The Thrill Is Gone. These eight tracks became Give Peace A Chance.
For the recording of Give Peace A Chance, The Jazz Crusaders were joined by bassist Buster Williams. Over two days, February 28th and March 7th 1980, Give Peace A Chance was recorded. Producing Give Peace A Chance was Richard Rock. He’d produced previous albums by The Jazz Crusaders, so knew how they liked to work. With Buster Williams laying down the bass lines, Joe Sample played piano, Stix Hooper drums, Wilton Felder saxophone and Wayne Henderson trombone. Once the eight tracks that become Give Peace A Chance, were recorded the album would mark The Jazz Crusaders’ tenth anniversary with the same label. Would this prove to be a happy anniversary?
On its release in 1970, Give Peace A Chance, wasn’t a commercial success. Far from it. It failed to chart. It wasn’t a happy anniversary. Some of the reviews were mixed. The Jazz Crusaders were said to be at their best playing their own music. This was where they shawn. They were able to throw off the shackles and play with freedom and invention. Was that the case with Give Peace A Chance, which I’ll tell you about?
Opening Give Peace A Chance is the Lennon and McCartney penned title-track Give Peace A Chance. Here, the song is given something of a makeover. Having said that, there’s still a Beatles-esque sound to the track. Gone is the simplistic chant of the original. Instead, Joe’s flamboyant piano playing is at the centre of the arrangement, while the rhythm section provide the heartbeat. The duel horns something that was missing from the original, melody. They also add drama and hooks, as the song becomes something it’s never been before.
I Think It Was A Dream is the first of the new songs. Slow, dramatic and spacious describes the arrangement. Horns join hissing hi-hats. They’re replaced by the bass, before a slice of languid, wistful jazz unfolds. Sultry then rasping, blazing horns, join a vintage bass that’s a poignant reminder of another era. Joe’s piano playing is thoughtful, as it meanders across the arrangement. Like the bass, it’s the perfect foil for the power and passion of Wilton’s saxophone and Wayne’s trombone. Here, The Jazz Crusaders innovate as they trade jazzy licks and draw inspiration from the music of 50s and 60s.
Just like Give Peace A Chance, Lennon and McCartney’s Blackbird is reinvented. It becomes an uptempo track where The Jazz Crusaders each play their part in a deliciously soulful slice of jazz-funk. It’s a heavy hint at the direction their music was heading in. The band play in a loose, relaxed way, producing a melodic, soulful take on a what was previously a ballad. This is much better and sees life and energy injected into an oft-covered song.
B.B. King’s name is synonymous with The Thrill Is Gone. For many people, that’s the only version. Not for me. The Jazz Crusaders bring something new to the track with their jazz-tinged makeover. Their horn section join forces with Joe’s acoustic and electric piano. A rhythm section comprising of Stix and Buster provide the engine room. It’s as if they’re determined to reinvent the track, bring out some previously unheard nuances and subtleties. That they do. Crucial to the success of the track is the triumvirate of Joe, Wilton and Wayne, who make this one of the best versions of this track I’ve heard.
Anita’s New Dance was penned by Stix Hooper. A considerate songwriter, he allows each member of the band the opportunity to showcase their considerable skills. As everyone enjoys their moment in the spotlight, Buster and Wilton provide the backdrop for Wilton, Wayne and Joe’s solo. Good as they all are, Wilton’s saxophone solo is a show stealer and proves why he was regarded as one of the finest saxophone players of his generation.
It’s no surprise that there’s a track on Give Peace A Chance entitled Space Settlement. A year before the album was released, man had first walked on the moon. There was a fascination with space. Music, art and design were inspired by space. So was Wilton Felder, who wrote an eleven-minute experimental epic where The Jazz Crusaders explore moods, tempos, textures and tones. Dramatic, moody and experimental, sometimes heading in the direction of discordant, this innovative and progressive track is the highlight of the album.
Joe Sample wrote the final two tracks on Give Peace A Chance. All The Lonely Years is the first of these tracks. Laid-back and languid it’s a track you loose yourself in. You don’t just become lost in the music, you become part of it. You’re drawn in by Joe’s piano playing. Mesmeric and melodic describes his playing. As for the horns, they’re sultry, and become frenzied and frantic, as this glorious musical journey heads to its dramatic ending.
Closing Give Peace A Chance is Another Blues. Bursting into life, bursts of blazing horns drive the arrangement along. Then the baton passes to the rhythm section. They’re old school, with a standup bass and vintage drums providing the backdrop for Joe, as he Joe unleashes a storming piano solo. It has a New Orleans’ influence. All too quickly, it’s over and the horns take centre-stage. There’s no letup in the energy or momentum. It seems whether soloing or playing together, The Jazz Crusaders never let their standard drop. This is the case here, on a blistering clice of jazz.
While there’s nothing whatsoever wrong with the music on Give Peace A Chance, The Jazz Crusaders found themselves at a musical crossroads. Although the new decade had just dawned, music was changing and changing quickly. It was a case of change, or become musically irrelevant. That wasn’t going to happen to The Jazz Crusaders. They were an innovative, progressive group. However, on Give Peace A Chance, they were caught between the music of the sixties and wanting to take their music in a more progressive direction.
A tantalizing glimpse of this more progressive direction is Space Settlement, the highlight of Give Peace A Chance. A fusion of jazz-funk and soul, it showed what The Jazz Crusaders were capable of. The same can be said of the three cover versions. Give Peace A Chance, Blackbird and The Thrill Is Gone saw The Jazz Crusaders reinvent familiar tracks. That seemed to appeal to their progressive sound. They took the original track, deconstructed it and reconstructed it. With the two Lennon and McCartney tracks, new life, energy and meaning was breathed into the tracks. Strangely, I prefer the cover versions to the original. As for the other four tracks, they’ve much more traditional sound. That might be the case, but The Jazz Crusaders add their own unique twist. Sadly, this more fusion of the old, new and familiar didn’t prove commercially successful.
So, it’s no surprise that The Jazz Crusaders decided to change their name and style. Following the release of Old Socks, New Shoes later in 1970, The Jazz Crusaders dropped Jazz from their name. Now called The Jazz Crusaders, their music headed in the direction of jazz-funk. This resulted in commercial success and critical acclaim coming the way of The Jazz Crusaders. The start of this process was The Jazz Crusaders’ 1970 album Give Peace A Chance, which was recently released by BBR Records. A mixture of the old, new and familiar, Give Peace A Chance, marked the start of a new chapter in the career of the innovative and influential Jazz Crusaders. Standout Tracks: I Think It Was A Dream, Blackbird, The Thrill Is Gone and Space Settlement.
THE JAZZ CRUSADERS-GIVE PEACE A CHANCE.
GLADYS KNIGHT AND THE PIPS-IMAGINATION.
GLADYS KNIGHT AND THE PIPS-IMAGINATION.
In 1973, it came as no surprise that Gladys Knight and The Pips decided leave Motown. After all, Gladys Knight had been forced to live in the shadow of Diana Ross. To onlookers. Diana Ross was Motown’s chosen one, while Gladys Knight had to settle for second best. So after six years at Motown, Gladys Knight and The Pips decided it was time to step out of the shadows.
Rather than play a supporting role at Motown, Gladys Knight and The Pips would play a starring role at Buddah Records. They were an ambitious label, who were building up a roster of heavyweight artists. Gladys Knight and The Pips debut album for Buddah Records was Imagination, released in October 1973.
So, Imagination, was the start of the next chapter in Gladys Knight and The Pips career. Not only would Imagination prove to be a new start for Gladys Knight and The Pips, but was a career defining album. You’ll realize this, when I tell you about the back Gladys Knight and The Pips’ Buddah Records debut Imagination, which will be rereleased by Funkytowngrooves on 16th September 2013.
Now signed to Buddah Records, Gladys Knight had at last, stepped out of Diana Ross’ shadow. Rather unfairly, Diana Ross seemed to be favored over Gladys. Looking back, it seemed Gladys was almost under-appreciated at Motown. Although Gladys Knight and The Pips had an abundance of talent, sometimes it seemed that other Motown acts were given special treatment when it came to new material and producers. That must have proved frustrating and for Gladys Knight and The Pips. Surely, they must have felt they deserved better. At Buddah, Gladys Knight and The Pips’ talent was appreciated. For Gladys Knight and The Pips’ eleventh album, Imagination Buddah Records had assembled a talented team of personnel.
For Gladys Knight and The Pips’ Buddah Records debut Imagination, nine tracks were chosen. Five of these tracks were written by Jim Weatherly, including two songs that would become synonymous with Gladys Knight and The Pips. These were Midnight Train To Georgia and You’re the Best Thing That Happened To Me. Covers of the Gerry Goffin and Barry Goldberg penned I’ve Got To Use My Imagination, Johnny Nash’s I Can See Clearly Now and Paul Williams’ Perfect Love. Window Raisin’ Granny was written by Gladys Knight, with the three Pips, William Guest, Merald Knight and Edward Patten. Recording of Imagination took place in New York and New Jersey.
Recording of Imagination took place at New Jersey’s Venture Sound Studios and Bell Sound Studios in New York. Three producers or production teams worked on Imagination. Kenny Kerner and Richie Wise co-produced four tracks, while Tony Camillo produced four tracks. Gladys Knight and The Pips produced the track they cowrote, Window Raisin’ Granny. Once Imagination was recorded, the album was set for release in October 1973. Little did Gladys Knight and The Pips know, that Imagination was a career-changing album.
On the release of Imagination in October 1973, it reached number nine in the US Billboard 200 and number one in the US R& Charts. Not only did Imagination surpass the success of any of Gladys Knight and The Pips’ previous albums, but it gave the group their first gold disc. The lead single from Imagination was the Jim Weatherly penned When Peaceful Waters Flow, which reached number twenty-eight in the US Billboard 100 and number six in the US R&B Charts. While that might have seemed a success for other artists, it was nothing compared to what would follow for Gladys Knight and The Pips.
Midnight Train To Georgia reached number one in the US Billboard 100 and US R&B Charts in 1973. In the UK, Midnight Train To Georgia reached number ten. Then in 1974, Midnight Train To Georgia won a Grammy Award for The Best Vocal Performance By A Duo, Group Or Chorus. Success kept on coming for Gladys Knight and The Pips, when I’ve Got To Use My Imagination then reached number four in the US Billboard 100 and number one in the US R&B Charts. The final single released from Imagination was Best Thing That That Ever Happened To Me, another Jim Weatherly composition. It reached number three in the US Billboard 100 and number one in the US R&B Charts. Like Midnight Train To Georgia, Best Thing That That Ever Happened To Me became synonymous with Gladys Knight and The Pips. So Gladys Knight and The Pips’ decision to leave Motown wasn’t just vindicated, but transformed her career. Imagination proved to be the most successful album of Gladys Knight and The Pips’ career. You’ll realize why, when I tell you about Imagination.
Opening Imagination is a Gladys Knight and The Pips’ classic, Midnight Train To Georgia. Just a roll of drums gives way to the atmospheric sound of a Hammond organ and piano. Then Gladys delivers a heartachingly, heartfelt vocal. Punchy, dramatic harmonies from The Pips reply to Gladys. By now, you realize a classic is unfolding. Listen to the lyrics, they’re filled with sadness and beauty. They’re about a failed musicians, who heads to L.A. to become “a superstar…but didn’t get far.” So heads back to Georgia, to his old life, with his dream over. Later, his girlfriend, settled and successful in L.A. heads to Georgia, love proving more important than fame and bright lights. Gladys Knight and The Pips paint images, filled with emotion, sadness and pathos. Her voice delivers the lyrics in a way that make them sound personal. This could be the story of Gladys Knight, so real and impassioned is her delivery. For four minutes, Gladys Knight and The Pips bring Jim Weatherly’s lyrics to life, breathing meaning, emotion and beauty into them, and in the process, create a classic, career defining song.
I’ve Got To Use My Imagination was one of three singles to reach number one in the US R&B Charts. A pounding rhythm section, stabs of blazing horns and Gladys’ sultry vocal combine. Bursts of urgent harmonies from The Pips are added, before strings cascade frantically. Soon, Gladys’ vocal grows in power and passion. Swathes of swirling strings, stabs of horns, sweeping harmonies and pounding drums provide the perfect backdrop for Gladys’ sassy, powerful vocal. She makes the song her own, helped no end by The Pips and Kenny Kerner and Richie Wise’s production.
Storms of Troubled Times grabs your attention from the get-go. Layers of cascading strings and the powerful rhythm section unite. Then its all change, with just chiming guitars accompany a tender, soul-baring vocal from Gladys. Her reading of Jim Weatherly’s lyrics is emotion personified. The Pips add equally heartfelt harmonies, while layers of the lushest of strings add to the emotion. With just piano, chiming guitars and sweeping harmonies Gladys delivers a vocal that’s truly heartfelt, laden with sincerity. The result is one of the best tracks on Imagination.
While Midnight Train To Georgia is a track that’s become synonymous with Gladys Knight and The Pips, the same can be said of Best Thing That Ever Happened To Me. Again, Gladys’ delivery is inspired, as if the lyrics mean something to her. It’s almost as if the song is semi-autobiographical. The song’s success is helped no end by the arrangement. It has a lovely understated sound as the song opens. Just piano, guitar and percussion combine, before the bass signals the arrival of Gladys’ vocal. Her vocal is laden with emotion, her phrasing perfect, highlighting words and phrases. Soon the arrangement unfolds. Drama, beauty and emotion reveal themselves. Lush strings, piano and the rhythm section are joined by soulful, soaring harmonies. Despite the quality of the rest of arrangement, it’s Gladys’ vocal that casts its spell over you. Gladys goes on to deliver four minutes of the most spellbindingly beautiful music you’ll ever hear. It stops you in your tracks and like Midnight Train To Georgia, is worthy of being called a classic.
Once In A Lifetime Time is the fourth Jim Weatherly composition. It’s another slow ballad, filled with beauty, drama and emotion. Swathes of strings, flourishes of harpsichord and the rhythm section combine, before harmonies soar, setting the stage for Gladys’ tender, emotive vocal. Her vocal is tinged with sadness, regret and resignation. As she realizes her relationship is over, her voice grows in power, drama and emotion. The finishing touch is the arrangement, with it use of strings and harpsichord, which reflects the beauty in Gladys’ vocal and the sadness and heartache in Jim Weatherly’s lyrics.
When Peaceful Waters Flow is the final Jim Weatherly song on the album. There’s an understated sound to the arrangement, with just chiming guitars reverberating while piano, cymbals and soaring harmonies combine. Then with a flourish of harpsichord, Gladys’ tender, wistful vocal enters. Just piano, percussion and the rhythm section accompany Gladys, as the arrangement grows. Harmonies cascade, while Gladys’ vocal grows in power, emotion. She showcases her ability to breath life and meaning into lyrics, her vocal veering between tenderness and powerful, but always soulful.
I Can See Clearly Now was written by Johnny Nash. Bursts of urgent, dramatic and deliberate harmonies sweep in. A bass takes charge, before The Pips take over the lead vocal. Soon, the lead switches hands. Cooing harmonies take on a gospel sound as the arrangement builds and builds. Later, the track takes on a celebratory, joyful sound, eventually reaching a dramatic crescendo. Although this showcases The Pips vocal prowess, compared to the Jim Weatherly penned tracks, it’s a lightweight track, one that seems out of place on Imagination.
Perfect Love sees Imagination get back on track. Layers of elegant, lush strings, bursts of harpsichord and a slow, deliberate rhythm section set the scene for the lead vocal. Again, The Pips take over lead vocal duties. Quickly, the arrangement grows in power, beauty and drama. Soon, The Pips harmonies grows in power, becoming like an ethereal choir, of angelic voices. Thankfully, Perfect Love is much better than the previous track. While it’s not of the of the standard of the first six tracks, at least it gets Imagination back in track.
Closing Imagination is Window Raisin’ Granny, written by Gladys Knight and The Pips. Growling horns, a driving rhythm section and piano give the arrangement a tough, funky sound. When the lead vocal enters, it’s Bubba who delivers it. He’s accompanied by sweeping harmonies, searing, riffing bluesy guitars and grizzled horns. Soon, musical genres become one. Blues, jazz, soul and funk all play their part in this compelling fusion of musical genres, that show’s another side to Gladys Knight and The Pips.
After six years at Motown, it was definitely time for Gladys Knight and The Pips to leave the label. Maybe, they should’ve moved sooner. Thankfully, their decision to leave Motown was vindicated. Not only did Imagination feature two stonewall classics in Midnight Train To Georgia and Best Thing That Ever Happened To Me, but it was Gladys Knight and The Pips most successful album. Imagination gave Gladys Knight and The Pips their first number one album in the US R&B Charts and first gold disc. Then there were three number one singles in the US R&B Charts and one in the US Billboard 100. Add to that a Grammy Award in 1974. Despite all the commercial success that Gladys Knight and The Pips enjoyed with Imagination, it’s not a perfect album.
Right through the first six tracks, Imagination which will be rereleased by Funkytowngrooves on 16th September 2013 is a flawless album. You think that this is a classic in the making. Then the final three songs let Imagination down somewhat. Imagination goes off the rails with I Can See Clearly Now. It’s is a lightweight track at best. Why it was chosen seems strange, given how out of place it seems. It interrupts the flow, feel and vibe of Imagination. Both Perfect Love and Window Raisin’ Granny are better tracks, but well short of the standard of the first six tracks. Really, they just don’t quite match the quality of the first six tracks. Granted, the delivery and arrangements are both good, but Gladys’ lead vocal is sorely missed.
Given the quality of the other six tracks, maybe comparisons are unfair. Jim Weatherly penned five great tracks and the Goffin and Goldberg composition I’ve Got To Use My Imagination is of a similar quality. Maybe I’m being hard on Imagination, but for the first six tracks, it’s a flawless album. Sadly, it somewhat loses its way in the final three tracks. Despite this, Imagination showed that Gladys Knight and The Pips stepping out of the shadows and into the limelight. At last Gladys Knight and The Pips had the star billing they so richly deserved. Imagination shows just what Gladys Knight and The Pips were capable of and remains one of the finest albums of their career, and for six tracks, is Imagination is totally flawless. Standout Tracks: Midnight Train To Georgia. Storms of Troubled Times, Best Thing That Ever Happened To Me and Once In A Lifetime.
PHYLLIS HYMAN-THE BUDDAH YEARS.
PHYLLIS HYMAN-THE BUDDAH YEARS.
Although Phyllis Hyman’s career was cut tragically short, the eight albums she released between 1977 and 1991, are a tantalizing reminder of a singer who could’ve and should’ve become one of the greats of soul music. Sadly, that wasn’t to be. Tragedy intervened. Phyllis Hyman committed suicide, a week before her forty-sixth birthday. Ironically, she had just enjoyed the most successful period her career.
For what proved to be her final album, 1991s Prime Of My Life, Phyllis came home. She’d signed for Gamble and Huff’s Philadelphia International Records. Phyllis was one of the label’s biggest artists. Prime Of My Live reached number 117 in the US Billboard 200 and number ten in the US R&B Charts. While this was far from her most successful album, it featured the most successful single of her career, Don’t Wanna Change The World. It reached number sixty-eight in the US Billboard 200 and number one in the US R&B Charts. Certified gold, it looked like Don’t Wanna Change The World would change Phyllis’ world and career. That looked like being the case. Two further top ten US R&B singles followed, Living In Confusion and When You Get It Right. After that, I Found Love and Remember Who You Are stalled in the lower reaches of the charts. No-one thought though, that Remember Who You Are, Phyllis’ duet with Norman Connors would prove to be her musical farewell. Tragically, it was. On June 30th 1995, soul music lost one of the most talented singers of a generation. Eighteen years earlier, when Phyllis Hyman released her debut album things looked very different.
In 1977, Phyllis Hyman released her eponymous debut album on Buddah Records. It features on SoulMusic Records’ recent compilation Phyllis Hyman The Buddah Years. Featuring thirteen tracks, this includes Phyllis Hyman plus four bonus track. This includes three tracks from her sophomore album Sing A Song and You’re The One, which wasn’t released until 2002. For those unfamiliar with Phyllis Hyman’s music, this is a good place to start. It’s Phyllis Hyman that I’ll tell you about, after I’ve told you about her career until the release of her debut album.
Phyllis Hyman was born in Philly, but grew up in St. Clair Village of Pittsburgh. She was the oldest in a family of seven children. Growing up, Phyllis became interested in music. So, it’s no surprise that she on leaving high school, she headed to music college. On her graduation from music college in 1971, Phyllis headed out on a nationwide tour.
Touring America with New Direction during 1971, was the perfect start to Phyllis’ nascent musical career. When New Direction split-up, Phyllis joined another band, The Hondo Beat. Then by 1974, Phyllis made her film debut in Lenny. This was the first of five films she featured in. Around the time she was filming Lenny, Phyllis lead a new band Phyllis Hyman and The PH Factor. Little did she realize it, but Phyllis was within touching distance of being discovered.
Sid Mauer was one of the legendary figures of American music. A former singer, Sid had expanded his musical interests. His partner in this new venture was Fred Frank, who’d previously worked for Epic Records. They’d formed Roadshow Records. So when they “discovered” Phyllis, they signed her to a subsidiary of Roadshow Records, Desert Moon Records.
It was in 1976, on Desert Moon Records, that Phyllis released Baby (I’m Gonna Love You). This was her sophomore single. She’d been briefly signed to Private Stock Records, releasing Leavin’ The Good Life Behind in 1975. However, signing to Desert Moon Records kick-started Phyllis’ career.
Soon, Phyllis was a regular feature singing in New York clubs. That was where Norman Connors first heard her. He was looking for a female vocalist for his 1976 album You Are My Starship. She’d already sung on Jon Lucien’s 1976 album Premonition. When he heard Phyllis, Norman knew she was who he’d been looking for. You Are My Starship was then certified gold. Phyllis also enjoyed a hit single with Norman, Betcha By Golly Wow, a cover of a Stylistics song. Having played a part in the success of Norman Connors’ You Are My Starship, Phyllis was then signed to Buddah Records, where work began on her debut album Phyllis Hyman.
For her debut album Phyllis Hyman, nine tracks were chosen. Thom Bell and Linda Creed contributed Loving You, Losing You and I Don’t Want To Lose You. Skip Scarborough penned No One Can Love You Any More, Larry Alexander wrote Beautiful Man Of Mine and Hubert Eaves wrote Children Of The World. Other tracks included Evie Sands and Richard Germinaro’s One Thing On My Mind, plus covers of Deliver The Love, Was Yesterday Such A Long Time Ago and The Night Bird Gets The Love. These nine tracks became Phyllis Hyman.
The nine tracks that became Phyllis Hyman, were recorded at three studios with three producers, Jerry Peters, John Davis and Larry Alexander and Sandy Torano. Each producer used a different studio and different musicians. Total Experience in Los Angeles, New York’s Record Plant and Philly’s Sigma Sound Studios were all used in producing what became Phyllis Hyman.
At Philly’s Sigma Sound Studios producer John Davis brought in some of the city’s best musicians. A rhythm section of drummer Charles Collins, bassist Michael “Sugar Bear” Foreman and guitarists Denis Harris and Craig Synyder. They were joined by percussionist Larry Washington, keyboardists Richard Rome and John E. Davis, Don Renaldo’s strings and backing vocalists The Sweethearts of Sigma. Among the other musicians who played on Phyllis Hyman were drummer Harvey Mason and tenor saxophonist Gary Bartz. After sessions at three separate studios, with three producers and three backing bands, Phyllis Hyman was ready for release in 1977.
On the release of Phyllis Hyman in 1977, it reached number 107 in the US Billboard 200 and number forty-nine in the US R&B Charts. The lead single Loving You, Losing You. It reached number 103 in the US Billboard 100, number thirty-two in the US R&B Charts and number thirty-eight in the US Dance Charts. Then No One Can Love You More reached number fifty-eight in the US R&B Charts. Phyllis Hyman’s debut album, Phyllis Hyman which I’ll tell you about, saw her career get off to a successful start.
Opening Phyllis Hyman, is Loving You, Losing You which was produced by Jerry Peters. Mellow, melancholy keyboards and a thoughtful rhythm section join flourishes of strings. Gradually, the scene is being set for Phyllis. For over two minutes, the drama builds. Signaling the arrival of Phyllis’ vocal are ethereal harmonies. Hurt and heartbreak fills her vocal. Stabs of piano, swirling strings, soaring harmonies and pounding drums join flourishes of piano and rocky guitars, which sound out of place. What doesn’t sound out of place is Phyllis’ needy vocal. Later, Thom Bell influenced French horns reflect the emotion and wistfulness of Phyllis’ vocal, on this heartbreaking opus.
The sultriest of horns and cooing harmonies open No One Can Love You Any More. They grab your attention, before the arrangement meanders along, with Phyllis’ pensive vocal floating above it. Her band play slowly and carefully, fusing soul and jazz. Needy and insecure describes Phyllis’ vocal. Strings sweep and swirl, horns rasp and harmonies coo, as the arrangement takes on a dreamy, melancholy sound. This proves the perfect backdrop for Phyllis’ needy pleas.
One Thing On My Mind has a tougher, funkier sound. John Davis takes over production. With the Philly crew, a sassy Phyllis struts her way through the arrangement. Accompanying her are a funky rhythm section, swathes of disco strings and The Sweethearts of Sigma’s sweeping harmonies. They’re the perfect foil for Phyllis, with Carla, Evette and Barbara matching her every step of the way for sass and soulfulness. The band fuse disco, funk and Philly Soul, playing their part in a track that’s truly timeless.
Against an understated backdrop to I Don’t Want To Lose You, Phyllis delivers a vocal that’s impassioned and sincere. Her vocal is at the heart of the bass lead arrangement. Keyboards, lush strings and tender harmonies from The Sweethearts of Sigma accompany Phyllis as she delivers a tender, beautiful vocal that later, becomes a jazzy scat. During this track, Phyllis more than hints that she was destined for greatness.
Deliver The Love is an uptempo track, produced by Larry Alexander and Sandy Torano. The rhythm section and keyboards drive the arrangement along. With strings swirling and horns blazing, a feisty Phyllis delivers a strident vocal. Mixing power and feistiness, her vocal veers between hurt filled, frustrated and angry, as soul, jazz and funk unite.
A pensive piano opens Was Yesterday Such A Long Time Ago. This gives the track a subtle, but dramatic and jazzy backdrop. It allows Phyllis to showcase her vocal prowess. Not only does she demonstrate her versatility, but how she can breath life, meaning and emotion into a song. Enveloped by swathes of strings, piano and pounding drums Phyllis delivers a vocal bristling with emotion and regret.
The Night Bird Gets The Love, a jazz-tinged track floats along. Thanks to the rhythm section and keyboards, the arrangement becomes jaunty. This matches Phyllis’ vocal, which has grown in power. Sass and emotive, her vocal veers between powerful to tender and sometimes, a jazzy scat. Meanwhile, the arrangement becomes funky, before returning to its understated, jazzy sound. With harmonies, mellow keyboards and lush strings for company a compelling track full of contrasts and beauty unfolds.
Beautiful Man Of Mine was the last track produced by Jerry Peters. It veers between soulful, funky and jazzy. Like the opening track, the scene is set for the arrival of Phyllis’ vocal. You settle back and enjoy the myriad of strings, punchy harmonies, rhythm section and chiming guitars. Things get uber funky just before Phyllis takes centre-stage. Sassy and sultry describes her vocal, as she sings call and response with her backing vocalists. When the harmonies drop out, Phyllis mixes power, passion and sass. From there, she delivers one her best and most soulful vocals on Phyllis Hyman.
Children Of The World closes Phyllis Hyman. Straight away, jazz, funk, rock and soul collide head on, during a track that has some inspirational lyrics. Behind her, her band showcase their not inconsiderable skills. The rhythm supply supply funk, keyboards jazz and rock guitars add an element of drama. As for Phyllis, her impassioned vocal supplies the soul as she delivers her message with the utmost sincerity.
When Phyllis Hyman was released in 1977, Phyllis was already twenty-eight. She’d served her musical apprenticeship, singing in various bands, then New York clubs and finally singling backing vocals. Released to plaudits and praise, critics forecast great things for Phyllis Hyman. Some went as far as saying here was the future of soul. Phyllis’ debut album sold well, reaching number 107 in the US Billboard 200 and number forty-nine in the US R&B Charts. This got Phyllis’ career off to a good start. Indeed, the future looked good for Phyllis. She was signed to Buddah Records, one of the up-and-coming labels of the seventies.
Following Phyllis Hyman, Sing A Song was released on Buddah Records in 1978. Three songs from Sing A Song, plus Phyllis Hyman feature on Phyllis Hyman The Buddah Years, which SoulMusic Records recently released. Sing A Song, Phyllis’ sophomore album proved to be her final album for Buddah. Next stop was Clive Davis’ Arista.
At Arista, Phyllis released a quartet of albums. For five years, Phyllis called Arista here home. 1978s Somewhere In My Lifetime was Phyllis Hyman’s Arista debut. Then came 1979s You Know How To Love Me, 1981s Can We Fall In Love Again and 1983s Goddess Of Love, her Arista swan-song. Goddess Of Love was Phyllis’ last album on a major label. What would be her final album, was a homecoming of sorts.
By 1991, Philadelphia International Records was a shadow of its former self. Despite this, Phyllis Hyman signed to Gamble and Huff’s label. She’d come home, to Philly, her hometown. Phyllis Hyman was Philadelphia International Records’ biggest artist. She released Prime Of My Live In 1991. It reached number 117 in the US Billboard 200 and number ten in the US R&B Charts. This was far from Phyllis’ most successful album. At least it featured the most successful single of Phyllis’ career, Don’t Wanna Change The World. Not only was did it reach number one in the US R&B Charts, but was certified gold. Then two further top ten singles followed. With Phyllis Hyman enjoying the most succesful period of her career, it looked like Phyllis was about to become one of the most successful soul singers of the nineties. That wasn’t to be.
Over the next few years, Phyllis’ career stalled. Quite the opposite. It didn’t seem to be going anywhere. That pales into significance with what happened next. For some time, Phyllis Hyman had suffered from depression. Then tragedy struck on 30th June 1995. Phyllis Hyman was found dead in her New York flat. She’d committed suicide. A singer who looked like becoming one of the successful of her generation, had her career struck tragically short. Blessed with one of the most soulful voices of a generation, Phyllis Hyman could breath life, meaning and emotion into a song, making it her own. Proof of that is the music on Phyllis Hyman The Buddah Years, a tantalizing reminder of the talented and soulful Phyllis Hyman. Standout Tracks: No One Can Love You Any More, One Thing On My Mind, I Don’t Want To Lose You and Beautiful Man Of Mine.
PHYLLIS HYMAN-THE BUDDAH YEARS.
LOLEATTA HOLLOWAY-LOLEATTA.
LOLEATTA HOLLOWAY-LOLEATTA.
Having released two albums for Aware, 1973s Loleatta and 1974s Cry To Me, Loleatta Holloway, the former Queen Of Gospel, released her final single for Aware, Only A Fool. Released in 1975, the single wasn’t a commercial success. That wasn’t the end of Loleatta’s woes. Michael Thevis, owner of Aware was wanted by the F.B.I. He decided to go on the run. Not long after this, Aware became insolvent and Loleatta Holloway found herself without a label. Ironically, that proved to be something of a blessing in disguise. After all, Loleatta was about to be transformed from Southern Soul singer to the undisputed Queen Of Disco. The man who transformed Loleatta Holloway’s career was Norman Harris.
Following Aware’s insolvency in 1975, Loleatta signed to Norman Harris’ new label Gold Mind, a subsidiary of Salsoul. Norman Harris was the guitarist in the legendary Philadelphia rhythm section Baker, Harris, Young, and one of the best arrangers and producers of the seventies. Through Norman’s production vehicle The Harris Machine, Loleatta would have access to some of the most talented songwriters, arrangers, producers and musicians. This would prove crucial in getting Loleatta’s career back on track. After all, Loleatta was just starting to make a breakthrough before Aware’s demise.
Previously, Loleatta had released two albums on the Atlanta soul label Aware, 1973s Loleatta and 1975s Cry To Me. Then just as Loleatta’s career was taking off, tragedy struck. Cry To Me had been released as the lead single from Loleatta’s second album, reaching number sixty-eight in the US Billboard 100 and number ten in the US R&B Charts. Before Aware could build on this success, Aware went out of business. Without a label, Loleatta Holloway was at the proverbial musical crossroads. Fortunately, Loleatta’s was about to meet the man who would transform her career and turn her into the Queen of Disco. The first step in that process was releasing her Gold Mind Records debut Loleatta, which was recently rereleased by BBR Records.
By 1976, when Norman Harris signed Loleatta Holloway to Gold Mind, he was something of a musical veteran. Norman Harris is one of the men who helped shape the Philly Sound. He was guitarist in the legendary Baker, Harris, Young rhythm section, along with bassist Ron Baker and drummer Earl Young. He played on Thom Bell’s sessions for producers Thom Bell and then Gamble and Huff at Philadelphia International Records. From Thom Bell’s sessions for The Delfonics and later The Detroit Spinners, Norman Harris was a founding member of M.F.S.B., Philadelphia International Records legendary house-band. During his time as a member of M.F.S.B. Norman played on albums by Billy Paul, The O’Jays and Harold Melvin and The Blue Notes. As a member M.F.S.B. Norman played on several M.F.S.B. albums Then in 1975, when members of M.F.S.B. were involved in a financial dispute with Gamble and Huff, many of M.F.S.B. left Philadelphia International Records, becoming the Saloul Orchestra. One of these musicians was Norman Harris, whose considerable talents flourished at Salsoul, with one of the beneficiaries of Norman’s talents Loleatta Holloway.
Having signed Loleatta Holloway to Gold Mind, Norman Harris and The Harris Machine started working on Loleatta’s debut album for Gold Mine Loleatta. The Harris Machine was Norman’s production vehicle, a collection of Philly based songwriters, producers, arrangers and musicians. Four of the tracks on Loleatta were written by member of The Harris Machine. Norman cowrote four tracks, including Hit and Run, We’re Getting Stronger (the Longer We Stay Together), Dreamin’ and Ripped Off with Ron Tyson and Allan Felder. The other four tracks on Loleatta included the Sam Dees and Sandra Drayton penned Worn Out Broken Heart and a cover of Curtis Mayfield’s What Now. The other two tracks chosen for Loleatta were Ben Raleigh and Bob Halley’s That’s How Heartaches Are Made and Floyd Smith’s Is It Just A Man’s Way? These eight tracks that comprised Loleatta would be recorded at two studios.
For recording of Loleatta, the sessions took place during two separate sessions in Philadelphia and Chicago. At Sigma Sound Studios in Philadelphia, five tracks were recorded by The Salsoul Orchestra that included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, T.J. Tindall and Roland Chambers. Ron “Have Mercy” Kersey played keyboards, Vince Montana Jr, vibes, Larry Washington congas and percussion, flautist Jack Faith plus Don Renaldo’s strings and horns. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. While five tracks were recorded at Sigma Sound, three were recorded in Chicago.
Over in the Windy City of Chicago, at Paragon Studios, a different band, The Chicago Company, played on the other three tracks. Guitarist Bobby “Electronic” Eli was joined by drummer Quentin Joseph and bassist Bernard Reed. Keyboard player John Bishop and Emanuel Willis on congas were joined by a full horn, woodwind and string section. At Paragon Studios, the three tracks We’re Getting Stronger (the Longer We Stay Together), Is It Just A Man’s Way and What Now were recorded. Now Loleatta, Loleatta Holloway’s third album and debut for new label Gold Mind was ready for release. With a quite different sound from her previous album Cry To Me, would Loleatta prove a commercial success?
Loleatta followed a similar pattern to Cry To Me on its release in 1977, with the singles proving commercially successful while Loleatta didn’t chart. Dreamin’ was the first single released from Loleatta, reaching number seventy-two in the US Billboard 100 and number three in the US Dance Charts. When Hit and Run was originally released, it reached number fifty-six in the US R&B Charts and number three in the US Dance Charts. Then when Walter Gibbons remixed Hit and Run, it went on to sell over 300,000 copies, giving Loleatta a surprise hit single. However, on Loleatta, you’re able to hear the original version of Hit and Run, plus Dreamin,’ We’re Getting Stronger (the Longer We Stay Together) and That’s How Heartaches Are Made. However, what’s made Loleatta an album that several generations of music fans have discovered and cherished? That’s what I’ll now tell you, when I tell you about the music on Loleatta, Loleatta Holloway’s third album and debut for new label Gold Mind.
Opening Loleatta is a Hit and Run one of Loleatta’s tracks that’s become a favorite for remixers. It gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs. The unmistakable sound of The Salsoul Orchestra in full flight opens Hit and Run. This includes the Baker, Harris, Young rhythm section, sweeping swirling strings, bursts of blazing horns and Bobby “Electronic” Eli’s guitar. Then comes Loleatta singing that familiar opening line:“now I may be an old fashioned country girl.” By now everything’s right with the world. Loleatta embarks upon a sassy, sultry vamp. She mixes power and passion, while percussion, guitars, blazing horns and Vince Montana’s vibes accompany the rhythm section. Tight, cooing punchy backing vocals from the Sweethearts of Sigma augment Loleatta’s powerful vamp. Meanwhile, strings cascade, punchy horns kick and the greatest rhythm section of the seventies provide the track’s heartbeat. Together, Loleatta Holloway the greatest diva of the disco era, and the multitalented Salsoul Orchestra, make this not just a Salsoul classic, but one of the greatest tracks of the disco era.
On Is It Just a Man’s Way, Loleatta returns to her Southern Soul roots. The song was written by Floyd Smith and arranged and produced by Ron “Have Mercy” Kersey. Rasping horns, the lushest of strings and a slow, dramatic Baker, Harris, Young rhythm section combine, before a cymbal reverberates and Loleatta delivers a heartfelt vocal, full of heartache and hurt. She’s been heartbroken by her cheating man, so the swathes of strings, bursts of rasping horns, Norman Harris’ jazz tinged guitars and Vince Montana Jr.’s vibes that accompany Loleatta provide the perfect emotive backdrop. Here, you hear a very different Salsoul Orchestra, one that demonstrates their versatility and talent. Similarly, the Loleatta Holloway you hear show’s she too is just as comfortable returning to her soulful roots, and in doing so, delivers one of the most impassioned, emotive tracks on Loleatta.
We’re Getting Stronger (The Longer We Stay Together) was one of three tracks recorded in Chicago, with a different band. Bobby “Electronic” Eli was the only musician to play on both sessions. Even without The Salsoul Orchestra the quality of music doesn’t suffer. As the track opens, Loleatta scats while braying horns, cascading strings and a pounding rhythm section accompany her. Stabs of keyboards and Bobby “Electronic” Eli’s a searing guitar accompany Loleatta’s powerful, passionate vocal. Her vocal soars, displaying a wide vocal range and incredible control, while backing vocalists accompany her. Swathes of strings dance above her vocal, as she vamps her way through the track. It’s an inspirational, uplifting performance from Loleatta, on a track that for far too long, has been a hidden gem of Loleatta’s back-catalogue.
Dreamin’ is another of the four tracks that Norman Harris cowrote with Ron Tyson and Allan Felder. Norman arranged and produced the track, while Loleatta gives one of the best performances of her career. Larry Washington’s congas give way to grand strings that sweep and swirl, before the Baker, Harris, Young rhythm section, guitars and blazing horns. Loleatta struts centre-stage, her vocal sassy and fiery. She combines controlled power and confidence, while the Sweethearts of Sigma add sweet, soaring backing vocals. With the pounding rhythm section, punchy blazing horns and dancing strings accompanying Loleatta she gives one of sassiest, feistiest performances, settling into the roll of disco diva as if born for the roll. Little did she know that as another of her tracks puts it “The Greatest Performance Of My Life.” That was certainly case.
Ripped Off is a track that could’ve only been recorded by one label…Salsoul. Written by Norman Harris, Ron Tyson and Allan Felder the title describes perfectly what’s happened to Loleatta’s music, with every wannabe producer borrowing samples of her music. Layers of the lushest strings, growling horns, the Baker, Harris, Young rhythm section and the Sweethearts of Sigma combine drama beauty before Loleatta’s vocal enters. Her vocal is slightly more subdued, perfect for the track, with the Sweethearts of Sigma adding some of the best harmonies on Loleatta. Ron Baker’s bass and Norman Harris guitar are at the heart of the track’s sound and success. Along with the dancing strings and growling horns, Loleatta’s vocal grows in power. She combines a passion, frustration and anger to give another outstanding vocal, while Norman Harris’ arrangement and production results in a track that’s soul, dance-floor friendly and laden with hooks.
Many times I’ve said how underrated a songwriter Sam Dees is, and further proof of this is Worn Out Broken Heart, which Sam wrote with Sandra Drayton. Recorded in Chicago and produced by Floyd Smith, it’s another chance for Loleatta to return to her soulful roots. Her whispered, heartfelt, half-spoken vocal is accompanied by keyboards, guitars and bursts of subtle horns, before drums signal the arrival of Loleatta’s heartbroken, emotive vocal. She sings the lyrics with feeling, from the heart, as if sharing the pain and hurt in the lyrics. Layers of strings, punchy horns and a dramatic rhythm section accompany her. Soaring, gospel-tinged backing vocalists add equally heartfelt harmonies and lush strings are key to the track’s beautiful, emotive sound.
That’s How Heartaches are Made is a track that’s been covered many times, but Loleatta delivers the definitive version. Mind you, with The Salsoul Orchestra and the Sweethearts of Sigma accompanying her, no wonder. Produced by Ron “Have Mercy” Kersey keyboards, vibes, the Baker, Harris, Young rhythm section and lush strings combine to accompany Loleatta. Her vocal is full of emotion and passion, while the Sweethearts of Sigma add dramatic, soaring harmonies. Norman Harris lays down one of the best guitar solos on Loleatta. By now everything has just fallen into place and Loleatta, with The Salsoul Orchestra and the Sweethearts of Sigma’s help makes the song her own, as she makes another return to her Southern Soul roots.
Closing Loelatta is a cover version of Curtis Mayfield’s What Now recorded in Chicago by The Chicago Company. The tempo is slow, with just a slow bass, piano and shimmering strings combining with drums that provide the track’s heartbeat. When Loleatta enters, she unleashes that powerful, impassioned vocal. Subtle, distant horns rasp, emotive, strings sweep and occasional flourishes of piano accompany Loleatta, as the band realize that she’s the star and play around her vocal, allowing it to take centre stage. Here, the band sound different from the other two tracks they play on. This however, is the perfect for the song, as it adds to the drama and emotion of the track, as Loleatta closes her Gold Mind debut Loleatta on a dramatic, emotive and powerful high.
On Loleatta, Norman Harris and The Harris Machine, took Loleatta Holloway and transformed her from Southern Soul singer to the undisputed Queen of Salsoul. It was a remarkable transformation, and it seemed as if Loleatta had been born for this role. However, we shouldn’t be surprised at her newfound success, given the personnel that contributed towards the album. Some of the most talented songwriters, arrangers, producers, musicians and backing vocalists accompanied Loleatta Holloway. This included songwriters Ron Tyson and Allan Felder who cowrote four tracks with Norman Harris, who produced these four tracks. Arrangers included Ron Baker, Bruce Hawkes, Talmage Conway and Ron “Have Mercy” Kersey, who produced two tracks. Five of these tracks were recorded by The Salsoul Orchestra and three by The Chicago Company. The Salsoul Orchestra featured some of Philly’s greatest musicians, including the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, Ron “Have Mercy” Kersey, Vince Montana Jr, Larry Washington, Jack Faith and Don Renaldo. Adding backing vocals were the legendary Sweethearts of Sigma backing vocalists. Then there’s the star of Loleatta, Loleatta Holloway.
Adding to the equation a hugely talented singer like Loleatta Holloway, who was part disco diva, part Southern Soul singer and everything was in place for Loleatta to become a classic album. While Loleatta may not have been a huge commercial success upon its release, Walter Gibbons remix of Hit and Run, gave Loleatta a surprise hit single, selling over 300,000 copies. Other top remixers like Tom Moulton and John Morales have gone on to remix Loleatta’s music, helping new generations of music lovers discover the music of Loleatta Holloway and albums like Loleatta, which was recently rereleased by BBR Record..
Little did Loleatta Holloway or members of The Harris Machine, or The Salsoul Orchestra realize the effect of Loleatta, Loleatta’s debut album for Gold Mind. Although Loleatta was recorded thirty-five years ago, it has a timeless sound and is a genuine classic album that would inspire several generations of producers. Not only did Loleatta launch Loleatta Holloway onto becoming the undisputed Queen of Salsoul, but in my opinion, the true Queen of Disco. Standout Tracks: Hit and Run, Is It Just a Man’s Way, Dreamin’ and Ripped Off.
LOLEATTA HOLLOWAY-LOLEATTA.
KLEEER-WINNERS.
KLEEER-WINNERS.
Kleeer, whose sophomore album Winners was recently released by BBR Records, could be described as a band with an identity crisis. After all, how many bands change their name five times? Kleeer did. Their origins can be traced to The Choice 4, an R&B band who were guided by Van McCoy. Richard Lee was The Choice 4’s guitarist during their 1972 tour. As the tour swung through Baltimore, the band’s drummer left the band. Filling the vacancy was Woody Cunningham. Soon, another new member joined the band. This was Norman Durham. He come highly recommended by a member of The Choice 4. A former trombonist, he’d switched to bass. This prompted another change of name. What had been The Choice 4, became The Choice 4 Inc. Then as The Choice 4 Inc. reached New York, they added their final member, Paul Crutchfield, percussionist and later, keyboardist. Now a quartet and already onto their second name the next chapter in their career unfolded.
Disillusioned with being a backup band, The Choice 4 Inc. were fed-up singing other people’s songs. While that paid the bills, it would neither make them successful nor rich. They wanted to be a success in their own right. This meant writing and playing their own songs. Right through to 1974, The Choice 4 Inc. worked at honing their own sound. By 1974, they realized they’d come as far as they could as The Choice 4 Inc. It was time for another change of name.
It proved not to be a case of third time lucky for The Choice 4 Inc. They’d rechristened themselves as The Jam Band and were accompanying Disco-Tex and The Sex-O-Lettes. With the benefit of hindsight, this might not have been the best career move for musicians wanting to be taken seriously. Luckily, a year later, whether having “seen the light” The Jam Band were no more.
After spending just a year as The Jam Band, it was time for another name change, the fourth of their career. By 1975, The Jam Band decided to change their name to Pipeline, and switched from disco to rock. This prompted a bidding war, which Columbia Records one. Unfortunately, this proved to be a Phyrrhic victory. Pipeline’s debut single Gypsie Rider flopped and their career was almost over before it began. Luckily, Patrick Adams and Greg Carmichael were looking for musicians to be become the Universal Robot Band.
Pipeline fitted the bill. They became the Universal Robot Band. This was always meant to be a temporary measure, a way of paying the bills. Ironically, it was the most successful period of their career. Their debut single Dance and Shake Your Tambourine was released in 1976. It was released on Red Greg Records and became a huge disco hit. A year later, in 1977, the Universal Robot Band released their debut album Shake Your Tambourine. Then with no other offers of work on the horizon, Richard Lee, Woody Cunningham, Norman Durham and, Paul Crutchfield headed out on tour as the Universal Robot Band. Luckily for them, this was only until 1978, when a chance meeting saw a change in their fortunes.
Woody Cunningham just happened to be at Atlantic Records when he met Denis King. Denis was a mastering engineer, who in time, would almost become the fifth member of Kleeer. With Denis onboard everything came together. He was like their guru, advising them what to do, and just as importantly, what not to do. Whether it was their image, sound or name, Denis helped. This included the recording of a demo, Keep Your Body Workin,’ a track Denis King produced. It was released on a DJ compilation, credited to Kleeer, which was the group’s new name. Through Keep Your Body Workin,’ Kleer were signed to Atlantic Records in October 1978.
Having signed to Atlantic just as disco was on its last legs, Kleeer were about to release their debut album I Love To Dance in the spring of 1979. Kleeer’s timing was perfect. They’d managed to release I Love To Dance just before disco’s bubble burst. Reaching number fifty-three in the US R&B Charts, considering the circumstances, this could be considered a success. Now Kleeer would begin work on what’s always seen as a group’s most challenging album, their second album.
Ever since the dawn of rock ‘n’ roll, sophomore albums have gained a reputation as difficult. This is especially the case if a group’s debut album was successful. In Kleeer’s case, their sophomore album would be difficult, given they were perceived as a disco or dance group. They met this challenge head-on with Winners, their sophomore album.
Winners featured eight tracks. Each of the tracks were penned by members of Kleeer. Woody Cunningham wrote I Still Love You and Nothin’ Said. He penned Winners, Your Way and Open Your Mind with Norman Durham, plus Hunger For Your Love with Paul Crutchfield. Paul and Richard Lee cowrote Hunger For Love, while Richard contributed Close To You. These eight tracks became Winners, which was recorded at the Power Plant in New York, with Denis and Kleeer producing the album.
For the recording of Winners, Norman Durham sang lead vocal and played bass, Fender Rhodes, clavinet, guitar, harpsichord and percussion. Woody Cunningham sang lead vocals and played drums and percussion. Richard Lee played guitar and percussion, while Paul Crutchfield played percussion and congas. Kleeer were joined by a number of session musicians. Many of them played on just one or two tracks. Among them were Louis Small on Fender Rhodes, Terry Dolphin on Fender Rhodes, clavinet and grand piano, while Eric Rohrbaugh played Arp Omni, Fender Rhodes, clavinet and Mini Moog. Among the horn section were trumpeter Randy Brecker and tenor saxophonist Michael Brecker. Yvette Flowers and Melanie Moore sang backing vocals on Winners, which was released in February 1980.
Winners was released in February 1980 and proved to be both an ironic and prophetic title. The album reached a lowly number 140 in the US Billboard 200 which proved ironic. Reaching number twenty-four in the US R&B Charts proved prophetic. In March 1983, the title-track was released as a single, reached number twenty-three in the US R&B Charts and number thirty-seven in the US Disco Charts. Open Your Mind then stalled at a disappointing number eighty-six in the US R&B Charts. Looking at Winners optimistically, at least it had charted in the US Billboard 200 and surpassed the success of their debut album. That showed that Kleeer’s career was heading in the right direction. After five changes of name, Winners, which I’ll tell you about, saw the four members of Kleeer somewhat belatedly, enjoy the success their talent deserved.
Opening Winners is the title-track. After a trumpet sounds the reville, Kleeer’s funky rhythm section joins eighties synths and flourishes of disco strings. They set the scene for an assured and powerful vocal. It’s accompanied by tender, soulful harmonies. As they provide the perfect foil, drums pound, strings sweep and the rhythm section provide a funky, dance-floor friendly backdrop. Drawing inspiration from classic disco a myriad of harmonies, lush strings and horns play their part in this seven-minute epic where disco, soul, funk unite seamlessly.
I Still Love You sees the tempo drop slightly. Isabella Coles delivers the lead vocal as funk, reggae and soul combine. Her vocal is tender, heartfelt and needy. Accompanied by soaring harmonies, Kleeer provide an understated, but funky backdrop. Driven along by the bass, plenty of space is left in the arrangement. Drums and keyboards fill in some of the space. So do lush strings, chiming guitars and synths. They leave plenty of room for Isabella and the gospel tinged harmonies which are at the heart of track’s success
Your Way meanders into being. Straight away, you notice the similarities with Chic. From the swathes of the lushest strings, the funky bass and chiming guitars Your Way is more like Chic’s way. Having said that, it’s a quality fusion of soul and funk. The soul comes courtesy of the vocal, which changes hands, allowing Kleeer to showcase their vocal prowess. Woody and Norman take turns of delivering emotive vocals. Playing an equally important part are the backing vocals. They’re accompanied by handclaps, as this downtempo hidden gem shows another side of Kleeer.
A pounding rhythm section and chiming guitars drive the funky arrangement to Close To You along. Bursts of dramatic, soaring and soulful harmonies set the scene to a powerhouse of a vocal. It’s sassy and feisty. Horns growl, as punchy harmonies augment the vocal. Stabs of horns, congas and percussion join forces with the rhythm section, who up the funk quotient. Turning it up to eleven, elegant and crystalline harmonies are accompanied by dancing strings and a stabs of keyboards. They play their part in a track that’s dramatic and ethereal, as disco, funk and soul melt into one.
Rollin’ On sees Kleeer draw inspiration from their days as Pipeline. This means there’s a rockier sound fused to their good-time, party sound. Rolls of Eddie Martinez’s searing guitar and pounding rhythm section join sweeping, soaring harmonies. When it drops out, a vampish vocal takes charge. From there, they feed off each other. Stealing the show from Kleeer is Eddie Martinez, whose scorching guitar solo proves the perfect accompaniment and foil to Kleeer, whose good-time, party sound make them funk’s answer to The Faces.
Nothin’ Said is a track that draws inspiration from a variety of influence. Not for the first time, Kleeer sound as if they’ve been listening to Earth, Wind and Fire. Then there’s P-Funk and boogie. Kleeer’s rhythm section and chiming guitars get busy, before a flourish of piano signals the arrival of buzzing synths and harmonies. By the time the baton is passed to the vocal, this dance-floor friendly track is swinging. The vampish vocal struts its way through the lyrics, bursts of piano adding a contrast, while hooks are certainly not in short supply.
Ethereal harmonies are part of the meandering, but funky arrangement to Hunger For Your Love. They join the slow, deliberate rhythm section and swathes of strings. Soon, the tempo increases and the arrangement takes on a jaunty style. With a burst of drums, one of the most impassioned, soul-baring vocals unfolds. Delivered with emotion, strings, keyboards and the bass, which helps drive the arrangement to this slow jam along. Augmented by sweeping, sometimes punchy harmonies, the vocal is needy and full of longing. Adding the finishing touch is the sultriest of saxophone solos, as Kleeer get in touch with their soulful side.
Closing Winners, is Open Your Mind, a track with lyrics that are bristling with social comment. It’s a plea for people to “Open Your Mind” to all sorts of new possibilities and ideas that were unfolding as a new decade dawned. Delivered with feeling, Kleeer’s uber funky rhythm section join forces with sweeping, soulful harmonies and swirling strings. During the track, Kleeer veer between disco, funk, jazz-funk and soul. Genres melt into one as Kleeer deliver their message soulfully and with sincerity, bringing Winners to a pensive close.
After Eight years and five changes of name, Kleeer were born in 1978. They’d released their debut album I Love To Dance in the spring of 1979, just before disco nearly died. I Love To Dance saw Kleeer wrongly referred to as a disco band. Not only was that wrong, but considering what happened, could’ve proved fatal for Kleeer. They weren’t a disco band. No. Instead, they were a band whose music was a fusion of musical influences and genres. That was the case on I Love To Dance and their sophomore album Winners.
Winners was released in the post-disco era. By February 1980, the musical landscape was very different. Disco was yesterday’s music, a remnant of the seventies. Labels dropped disco artists, disco albums lay unreleased and disco labels folded. Lucky then, that Kleeer weren’t a disco group. No. Their music was a fusion of funk, soul, R&B, boogie, jazz and rock. It was also music with a disco influence. Dance-floor friendly, funky, rock-tinged and soulful, Kleeer’s music was eclectic. They’d not bet the house on red. Instead, they’d spread their bets and their risk, by releasing music that appealing to a variety of music lovers. This eclectic approach to music meant Kleeer enjoyed a longevity many other groups could only dream of.
Before signing to Atlantic Records, Richard Lee, Woody Cunningham, Norman Durham and, Paul Crutchfield had led a nomadic existence. They’d played in a series of short-lived bands. Following frequent changes of names and making other people and their music sound good, the four members of Kleeer finally found the place they would call home for the duration of their… Atlantic Records.
Following Winners, Kleeer released License To Dream in 1981, which reached number eighty-one in the US Billboard 200 and number thirteen in the US R&B Charts. It featured the single Get Tough, which reached number fifteen in the US Billboard 100 and number five in the US R&B Charts. That was Kleeer’s most successful album. Four further albums followed, including 1982s Get Ready, 1983s Taste The Music, 1984s Intimate Connection and their 1985 swan-song Seekret. Having released seven albums in seven years, Kleeer split-up. Nothing was heard of them until some of the band reunited in the nineties. By then a new generation of music lovers had discovered their music.
That a new generation discovered Kleeer’s music, is down to the next generation of hip hop producers. When Tupac and Snoop Dogg started sampling Kleeer’s music an inquisitive generation of music fans decided to rediscover Kleeer’s music. Like many bands before them, this proved an unexpected and welcome bonus for Kleeer. With seven albums to choose from, Kleer’s best and most accessible album album is Winners which was recently released by BBR Records. An eclectic, genre-melting album Winners features Kleeer at their best, producing music that’s dance-floor friendly, funky and deeply soulful. Standout Tracks: Winners, I Still Love You, Your Way and Hunger For Your Love.
KLEEER-WINNERS.
ARP-MORE.
ARP-MORE.
Three years after the release of his sophomore album The Soft Wave, ARP returns with More, which will be released on 16th September 2013 on Smalltown Supersound. During the last three years, much has changed for Alexis Georgopoulis a.k.a. ARP. Having toured The Soft Wave, he decided to take a break from touring. Instead, he wanted to concentrate on a much wider range of projects. For Alexis, this opened up a whole new world of opportunities.
Ever since his days as a member of Tussle, the first group Alexis Georgopoulis joined, he’s always been a leading light in the American art scene. He’s an innovator, whose determined to push boundaries and challenge norms. That’s been the story of Alexis’ career and a reason why he’s been commissioned for cutting-edge projects.
Among these projects are the time he spent as curator of New York’s legendary avant-garde art centre, The Kitchen. He’s written scores for a dance-company, worked on a sound installation and collaborated with visual artists. That’s not forgetting when Alexis was asked to provide the soundtrack to Karl Lagerfeld’s Chanel runway show. The remarkable thing is, Alexis has achieved much of this in the past ten years, including releasing some genre-melting music.
It was back in 2003, that Tussle, who Alexis Georgopoulis was a member of, released their debut E.P. Eye Contact. Released on Troubleman Unlimited, the same label released their debut album Kling Klang. Named after Kraftwerk’s studios, this was a fusion of musical genres and influences. Everything from disco, electronica, funk and dub met head-on on Kling Klang. Two years later, in 2006, Tussle were back with their sophomore album Telescopic Mind, which proved to be Alexis’ final album with Tussle. The next album he released would be as ARP.
ARP’s debut album was 2007s In Light, which was released on Smalltown Supersound, an independent record label based in Oslo, Norway. After a gap of three years, ARP released the critically acclaimed and commercially successful The Soft Wave. Just like In Light, The Soft Wave was released on Smalltown Supersound. Having just finished an arduous tour promoting The Soft Wave, ARP decided to take a rest from touring and spend time on other projects. This included a collaboration with Anthony Moore.
Before Alexis met Anthony Moore, previous ARP albums saw analog synths feature heavily. After meeting Anthony, Alexis was encouraged to do something he’d never done before…write songs. The pair collaborated on the self-titled ARP and Anthony Moore. Released later in 2010, ARP and Anthony Moore took Alexis well out of his comfort zone. Whether it was purely coincidental, a new world of opportunities opened up for Alexis Georgopoulis.
Among these new opportunities were projects involving modern art and dance. This included a commission by architect and designers ROLO, to create a sound installation for the Walker Art Center. Another time, Alexis was asked to create an innovative 7” flexi-disc for White Zinfandel magazine. Alexis then contributed a track to the Sol Hewitt tribute album. There was a collaboration with visual artist Tauba Auerbach. Then one of the most prestigious commissions was writing a score he wrote for Johan Bokaer of the legendary Merce Cunningham Dance Company. He squeezed all this into just three years. That’s not forgetting recording ARP’s third album More, which I’ll tell you about.
More is very different to ARP’s two previous albums. Inspired by his collaboration with Jason Walker, Alexis has written twelve new songs. He’s not deserted his trusty synths. Far from it. Instead he relies upon a much wider selection of instruments. Then there’s his secret weapon, that hitherto unheard voice. That’s the finishing touches to songs that have been influenced by numerous genres and influences. Everything from ambient, art-rock, avant-garde, baroque, blues, gospel, Krautrock, pop, psychedelia, punk and rock. From minimalist to grandiose, atmospheric epics, surging with drama, More is an intriguing and eclectic collection of multilayered soundscapes, which I’ll tell you about.
High-Heeled Clouds opens More. Stabs of keyboard and meander bass accompany a melancholy, slightly dreamy vocal. Straight away, you’re reminded of The Soft Boys and The Beach Boys. Like a lost Brian Wilson track it piques your interest. Something special, you realize is unfolding. Crystalline guitar, Wurlitzer organ and harmonies provide the backdrop to a vocal that’s languid and wistful, when pop and psychedelia combine.
Judy Nylon has art-rock written all over. Driven along by the rhythm section and guitars, it’s a track inspired by Roxy Music. Even Alexis’ vocal has a Ferry-esque influence. Layers of fuzzy guitars and keyboards replace the vocal adding to the drama, while Alexis’ vocal is a mixture of emotion and frustration. Accompanied by the driving guitars, disgustedly he almost spits out “tell me something right.”
Given the title A Tiger In The Hall At Versailles, I was expecting an abstract, experimental piece of music. For a minute, that was the case. Then it’s all change. Keyboards, harpsichord and wandering bass provide an arrangement that has a baroque influence. Ethereal harmonies prove the perfect accompaniment. Ah-ing his way through the song, horns add a Sgt. Peppers influence on a track that’s genre-sprawling, pensive and hauntingly beautiful.
E2 Octopus is one of three short soundscapes. Lasting just forty-four attention grabbing seconds, you listen carefully and a variety of sounds escape. Birds cheep, a radio frequency changes and horses gallop, before heading to a near discordant, dramatic crescendo.
Accompanied by just his trusty piano, Alexis delivers a heartfelt vocal on Light and Sound. It features some of his best and most beautiful lyrics. The spartan arrangement allows his vocal to breath. QUite rightly, it takes centre-stage. Keyboards add an atmospheric and melancholic backdrop. As for the harmonies, they’re the perfect accompaniment. Used very briefly, they reinforce and reflect the tenderness and beauty of Alexis’ impassioned vocal. It’s reminiscent of Al Stewart and Robyn Hitchcock in style. Adding the finishing touch is the harpsichord, which adds a baroque influence, to this understated and beautiful song.
17th Daydream is two-minute track that has an experimental sound and feel. It’s a bit like when you just let your mind go blank and let your surroundings enter your consciousness. Suddenly your aware of birds, insects, trains and cars around you. That’s the case here, until washes of synths create a sinister sci-fi sound.
A lone piano is responsible for creating the dramatic introduction to Gravity (For Charlemagne Palestine). Reminiscent of Penguin Cafe Orchestra it’s a fusion of classical, ambient, experimental and rock. Gradually, instruments drop in. Strings sweep back and forth. Guitars join, wah-wah-ing their way across the arrangement. They too add to the drama that’s continually building. Almost consumed, it’s as if the track is an outlet for frustration and anger. By channelling, all this frustration and aggression into music, it provides a Freudian outlet that results in a piece of music that’s dramatic, potent and powerful.
Invisible Signals is just thirty-seconds of music. It’s an atmospheric fusion of musical and spoken word samples. Everything happens so quickly. It’s frustrating. Just as you’re trying to work out where the sample is taken from, it’s gone to be replaced by something just as fascinating.
Not for the first time, More (Blues) features a Pink Floyd influence. Think Roger Waters circa The Final Cut, and this is what this track reminds me of. It’s the vocal that leads to the conclusion, not the arrangement. The arrangement has a bluesy, jazz-tinged backdrop. Bluesy horns, organ and guitar accompany a vocal that’s rueful and tinged with regret. Worldweary, it’s a vocal that sounds as if it’s lived several lives. Meandering along, bursts of horns and later, chiming guitars escape from the arrangement as Alexis delivers one of his best and most effective vocals on a track that references Pink Floyd, Robyn Hitchcock, jazz, rock and rock ‘n’ roll.
Chrystalline guitars swathed in filters meander across the arrangement to V2 Slight Return. It’s almost as if the guitars are ashamed of their beauty, hiding it behind filters.
Daphne and Chloe sees Alexis join forces with his piano again. His vocal is tender and thoughtful. That’s until searing guitars and booming drums replace his vocal. Still he plays the piano, which provides a contrast to the drama of the drums. Later, he scats his jazzy vocal melancholy, as if unaware of the drama that’s surrounding him. Instead he concentrates on creating something that’s both ethereally beautiful and dramatic at the same time.
Closing More is Persuasion. Drawing inspiration from punk, post punk and art-rock the track bursts into live. Driven along by searing guitar licks that evoke the spirit of ’76, synths add an art rock influence. Joining forces, they prove to be a potent combination. Midway through the track the darkness descends, before chiming guitars join a powerhouse of a rhythm section. Evoking memories of The Who in their heyday, you you can imagine the band windmilling their way across the studio. before the track and More reaches it’s dramatic ending. Well, that’s not how More ends. Instead, with a minute left the track stops all of a sudden. More then meanders to a dubby close with a myriad of squeaks and beeps.
Twelve-tracks and forty-six minutes long, ARP’s third album More, which will be released on 16th September 2013 on Smalltown Supersound, is Alexis Georgopoulis best album so far. A genre-sprawling album, More draws inspiration from everything from ambient, art-rock, avant-garde, baroque, blues, classical, dub, gospel, jazz, Krautrock, pop, post-punk, psychedelia, punk, rock and rock ‘n’ roll. Then there’s influences that include Al Stewart, the Beach Boys, Brian Wilson, Penguin Cafe Orchestra, Pink Floyd, Robyn Hitchcock, Roxy Music and The Beatles. Influenced by a myriad of genres and influences, ARP’s music evokes a variety of emotions.
Veering between atmospheric and evocative to beautiful and ethereal, the twelve soundscapes on ARP’s More can also be describes as melancholy and wistful. Ranging from understated right through to dramatic, the music on More is intriguing, eclectic and mesmeric. It’s also music that’s bewitching and beautiful. The reason for that is Alexis’ different approach to making music.
Having forsaken his trusty analog synths, Alexis has found both his voice, plus a much more eclectic selection of instruments. Alexis’ voice bristles with emotion, but can just as easily have an ethereal quality. Other times, it has a wonderful worldweary, lived-in sound. Reminiscent of Bryan Ferry, Roger Waters and Robyn Hitchcock, Alexis’ newly found voice is his hidden weapon. Then there a bass, guitars, harmonies, harpsichord, horns and keyboards, plus a myriad of samples. All this and More, much, much, More went into the making of ARP’s third album, More, which is one of the finest albums I’ve heard this summer. Standout Tracks:High-Heeled Cloud, A Tiger In The Hall At Versailles, Light and Sound and More (Blues).
ARP-MORE.
JERROME DERRADJI PRESENTS: KILL YOURSELF DANCING-THE STORY OF SUNSET RECORDS INC.1985-1988.
Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89.
Lately, there’s been a renaissance in compilations of early Chicago house music. That’s no surprise. After all, house music is nearly thirty years old. While not quite heading into its middle age, many people who were around at the birth of Chicago house are. These heady, hedonistic days are but a hazy memory. Long gone are nights of dancing till dawn in clubs and warehouses. That was another country. One maybe best hidden from children and grandchildren. It wouldn’t do for dad or mum’s wild days to be brought out in the open. Awkward questions might be asked. So we keep quiet about our eighties heydays. Sadly, all we’ve got are our memories.
Records bought back then, have long been forgotten and in some cases lost. Numerous house moves, marital breakups and late-night parties have seen to that. Then all of sudden, something triggers a memory of song. You’re back in the eighties, dancing in a club. House music being pumped out the speakers, the bass bins’ tolerance being tested. Sadly, you’ve no music from those days, no music to fuel your distant memories. Out of touch with music, you head into town, in search of a compilation to fuel your memories of dancing until dawn to Chicago house.
If you’re lucky enough, the town or city you live in, might still have an independent record shop. You head in, looking for a compilation of Chicago house. Realizing there’s a decent selection on offer, you wonder which one to choose? Like someone long out of the dating scene, you’re awkward and uneasy. You’re tempted to just quietly leave. No, you’ve come this far. Looking through the shelves there’s plenty choice. Not knowing labels, you’ve no idea if a compilation is good, bad or downright ugly. Some are held in cheap, gaudy boxes. Hardly aesthetically pleasing. Confused, you wish you’d had a look at the various magazines or checked out websites online. Then you might have a clue. Eventually, you just want out the shop. Literally choosing at random, you pay your money and leave the shop. What could’ve and should’ve been a simple choice was a traumatic experience. It shouldn’t have been. Don’t let that be you. No. Best to head out and buy Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89, which will be released on Still Music on 19th August 2013. Why? That’s what I’ll tell you.
Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89 features twenty-one tracks spread over two discs or albums. Included on the two discs, is includes some of the most innovative Chicago house music released between 1985 and 1989. This includes tracks from Ben Mays, Boom Boom and Master Plan, Hex Complexx, Master Plan, Matt Warren, Michaelangelo, Razz, Modern Mechanical Music and Razz Featuring Matt Warren and Ralphi Rosario. Then there’s the lengthy, well-researched and most importantly accurate, sleeve-notes, written by Jacob Arnold. As someone whose written sleeve-notes, I appreciate the time and attention taken by Jacob. They’re miles better than certain sleeve-notes I’ve come across recently. Jacob obviously knows and loves the music he writes about. The same can be said of Jerome Derradji. He’s brought together twenty-one of the many highlights of Sunset Records Inc, which they released between 1985 and 1989, when Chicago house was in its infancy. Sunset Records Inc. were one of the many labels that sprung up around Chicago, the home of house music. Once I’ve told you about the background to Sunset Records Inc, I’ll tell you about the music on Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89.
House music had been born almost out of necessity. In 1979, disco had died. Its death occurred the Disco Demolition Derby, at Comiskey Park, Chicago. Death was pronounced on 12th July 1979. DJs were left with a dilemma. What would they play? Disco was yesterdays music. It was in disgrace, literally left sitting on the naughty step. For DJs everywhere, this presented a problem. They’d spent the last few years amassing a huge collection of disco. Drop a disco track and the dance-floor would empty. That’s a DJ’s worst nightmare. What were they going to play that would keep dancer’s dancing?
In Chicago, a group of DJs that included Ron Hardy, Frankie Knuckles, Ralph Tee and Marshall Jefferson decided to play a much more eclectic selection of music. It was a case of needs must. The music must go On and On. Their soundtrack to an evening encompassed everything from boogie, European electronica, funk punk, hip hop, Italo Disco, funk, electro, synth pop and classic disco. This eclectic musical collage was heard in certain Chicago clubs, including The Warehouse and The Power Plant. No music genre rose above the others to gain supremacy. That was until the birth of Chicago house.
Before the birth of house, making music was an expensive business. It required equipment and the use of a recording studio. Neither came cheap. Things were, however, beginning to change.
By the early eighties, music technology was much cheaper than before. Drum machines, samplers, sequencers and synths were suddenly much more affordable. For a new generation of producers this opened up new opportunities. Suddenly, they could make a record in their own home. The first wave of producers had shown what was possible. This included Jesse Saunders, who’d released On and On in 1984. A huge success, it was one of the first D.I.Y. Chicago house tracks. Other future producers listened to tracks like On and On, and thought they could do just as well. Inspired they set about trying to replicate the success of Jesse Saunders. This included Matt Warren, Miguel Garcia and Ralphi Rosario.
Since the early days of Chicago house, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who watched and learnt. By 1985, they’d waited long enough. So, they joined forces with Alex and Robert Rojo, two brothers who owned the Sunset Mobile Disco. It had been established in 1979, and quickly, gathered a reputation as the promoters of some of the best parties Chicago had seen in recent years. Lavish, flamboyant extravaganzas describe the Sunset Mobile Disco in action. Alex and Robert were the go-to-guys for anyone wanting a party to remember. They also knew Chi Town’s music scene inside out. So, they were perfectly positioned to form a record label with Matt Warren, Miguel Garcia and Ralphi Rosario.
Together, the quartet of Alex and Robert Rojo plus Matt Warren and Miguel Garcia decided to pull their talent and experiences to form Sunset Records Inc. This was the latest arrival in Chicago’s ever-growing music scene. Record labels were springing up all over the Windy City. The two biggest record companies were Traxx and DJ International. They went on to dominate house music. signing up as many of the talented producers they could. Despite that, many other labels were releasing innovative and influential house music. This included Sunset Records Inc.
Founded in 1985, Sunset Records Inc. started as they meant to go on. That meant releasing groundbreaking music. Sunset Records Inc’s music was a fusion of genres and influences. Best described as a musical potpourri, the basic beat track, which was created by a Roland drum machine, was then combined with new wave, disco and industrial music. An amalgamation of influences, here, music from the past, disco and industrial music, was combined with music from the present, new wave and post-industrial music. Dance-floor friendly, innovative and influential, this wasn’t like much of the house music being released. Instead, it was music of substance. There was much more that just the hypnotic 4/4 beat. Much more. That was the case from Sunset Records Inc’s earliest releases.
From Sunset Records Inc’s earliest releases in 1985, many of which feature on Jerome Derradji Presents: Kill Yourself Dancing-The Story Of Sunset Records Inc. Chicago 1985-89. The twenty-one tracks include contributions from some of the most important artists on Sunset Records Inc’s roster. Some artists feature more than once. This includes Boom Boom & Master Plan, Matt Warren, Modern Mechanical Music, Razz, Master Plan and White Knight. Ben Mays and Kajsa feature just once. So do the dream team of Razz Featuring Matt Warren & Ralphi Rosario. These twenty-one tracks take you on a roller coaster journey through four years in the history of from Sunset Records Inc’s history, which I’ll tell you about.
It was 1985, that the newly formed Sunset Records Inc. released its first singles. This included two of Sunset Records Inc’s most important artists, Razz and Matt Warren. Pump It Up was released by Razz Featuring Matt Warren & Ralphi Rosario. It’s one of three tracks they contribute to the compilation. Kill Yourself Dancing and Say It are the others. Written by Marc Warren, Pump It Up is a myriad of thunderous drums, hissing hi-hats and percussion combine. House, new wave and industrial music is fused on a truly innovative track with a strong Kraftwerk influence.
Quite different is another track released in 1985, Michaelangelo’s You Can Do. It’s best described as fusion of house, hip hop, funk and soul. Stabs of synths and crispy drums set the scene for Matt Warren’s rap. Stealing the show is Tammy Thomas’ vocal. Soulful and heartfelt, it plays a huge part in a track that’s a house classic.
1986 saw Sunset Records Inc. release even more music. No wonder. House was at the peak of its popularity. Chicago was the house capital of the world. It was like a gold-rush, with record companies mining for house gold. One of the men providing Sunset Records Inc. gold was Marc Warren. He wasn’t just an artist, but like Miguel Garcia, in charge of A&R. In 1986, he released Club Mix of The Way To My Heart, where new wave, electro, soul, disco and funk are combined to create another irresistible uptempo dancer. It’s helped no end by Pepper Gomez’s vocal which can only be described as sultry and extremely sensual. Pepper Gomez been inspired by seventies soul and disco as she delivers a coquettish and sexy vocal. The other track Marc Warren contributes to Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 is Rock The Nation, which was remixed By Kenny Jason.
Boom Boom and Master Plan released Face The Music in 1986. Both the original and the Dub version. Produced by Master Plan, mixed by Matt Warren and with Pepper Gomez adding an alluring and soulful vocal, it’s Sunset Record Inc’s A-Team. Sharp stabs of synths and thunderous drums provide the backdrop for the vocals. They’re best described as house meets the Human League. The result is a glorious slice of dramatic, anthemic music.
As 1987 dawned, house music had become a musical phenomenon. The record buying public’s appetite for house hadn’t diminished. Far from it. Instead it was growing. What had started underground, was becoming a mainstream musical scene. Suddenly big record companies wanted a slice of the action. What they didn’t have were people on the ground who knew the scene inside out. If they did, they’d have been able to sign artists like White Knight, Ben Hays and Hex Complex, who released singles during 1987. This was one of Sunset Record Inc’s best years. They’d matured as a label and so had their artists.
White Knight released two tracks during 1987, Yo Baby Yo and White Knight Jacks. The latter us a track that’s dramatic, sensual and leaves a smile on your face. That’s thanks to the sultry, sinister and cartoon vocals. A track made for jacking, it’s one of the highlights of Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89. White Knight Jacks is just one of a quartet of tracks from White Knight. Acid Dub, It Could Be Acid and Demons which was released in 1988, await the discerning connoisseur of house music. So do the many more highlights of Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89.
Jerome Derradji has dug deep into the Sunset Records Inc’s vaults in pursuit of quality house music. He doesn’t let the listener down. Far from it. Other tracks on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 worth mentioning include Razz’s Razz-Matazz. It’s a pulsating fusion of electro, new wave and house. Modern Mechanical Music contribute the hypnotic Doo Doo Da and Persia, which is all squeaks and beeps. Then there’s Hex Complexx’s The Dash Riprock Mix of the I Want You Suite. Featuring a jazz trumpet, stabs of synths, handclaps and spoken word samples it’s an intriguing track, but one that’s worms its way into your consciousness. Another way to describe the track is timeless, which describes many of the tracks on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89, which will be released by Still Music on 19th August 2013. This is the first in a two-volume series with Jerome Derradji Presents: Bang The Box! The (Lost) Story Of AKA Dance Music. Chicago 1987-88 due for release in September 2013.
Unlike many of the house compilations I come across, the music on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 has stood the test of time. The reason for that is that it was music that was innovative. It’s music that pushed boundaries and challenged norms. Having watched the birth of house music from the sidelines, Matt Warren, Miguel Garcia and Ralphi Rosario had watched with interest. They were producers in waiting, who had watched and learnt. Learnt from the experiences and failures of others. By 1985, they’d waited long enough. Realising they could do if not as well, if not even better, they approached Alex and Robert Rojo. Joining forces with two legends of Chicago’s party and music scene made sense. Through their Sunset Mobile Disco, Alex and Robert Rojo knew their way around Chicago’s music scene. For the producers in waiting, here was a musical marriage made in heaven.
That proved to be the case. The twenty-one tracks that feature on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 are proof of that. Innovative and influential Sunset Records Inc’s artists were determined to push musical boundaries. This was house, but with a twist. Fusing disco, funk, industrial, new wave and post-industrial, Sunset Records Inc. forged their own unique and inimitable sound that was different from other labels.
Although Sunset Records Inc. were one of the smaller labels in Chicago, they punched above their weight. That’s no surprise. The cream always rises to the top. Sunset Records Inc’s artists were some of the most talented, innovative and influential producers in the first wave of Chicago house. Listen to the music on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 and you’ll soon realize that. Here is music that has a contemporary sound. Not only has it stood the vagaries of time, but changes in musical fashions. Over twenty-five years later, the music on Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89 still sounds innovative, imaginative and influential.
Jerome Derradji Presents: Kill Yourself Dancing – The Story Of Sunset Records Inc. Chicago 1985-89.
FOXY R&B-RICHARD STAMZ CHICAGO BLUES.
FOXY R&B-RICHARD STAMZ CHICAGO BLUES.
Pioneer. That’s the way to describe Chicago DJ Richard Stamz. A fast-talking, larger-than-life, charismatic character, with an entrepreneurial streak, Richard was also a musical pioneer. Richard was one of the first black DJs in America. Using his gift of the gab, the ever persuasive Richard Stamz almost talked himself into a hosting a show on Chicago’s WGES 1390 AM. From the moment he spun his first record, his audience were hooked. No wonder. Richard was one of small number of DJs who played R&B on the radio. Having discovered what was not being called R&B, he decided to spread the R&B gospel. Soon, the jive-talking Richard Stamz was evangelizing about the delights of R&B. The music of Muddy Waters, Little Walter, Howlin’ Wolf, T-Bone Walker and Memphis Slim was heard on his show. Then a couple of years later, an opportunity arose for Richard to run his own label.
With no hesitation, Richard grabbed the opportunity to run not one, but two labels, Foxy Records and Paso Records. They rose like a Phoenix from the ashes of another record company whose owner, a compulsive gambler had “accidentally” drowned in suspicious circumstances. Having worked alongside Eli Toscano, the previous owner, Richard knew how the record business worked. Under Richard’s stewardship, Foxy Records and Paso Records went from strength-to-strength. This was the latest chapter in the career of Richard Stamz, pioneer, entrepreneur, raconteur and survivor, which is documented on Ace Records’ recently released compilation Foxy R&B-Richard Stamz Chicago Blues, which i’ll tell you about. Before that, I’ll tell you about the lime and times of Richard Stamz.
According to Richard Stamz, he was born in 1906, on a barge on the Mississippi River. From there, Richard’s family moved to Memphis, where he grew up and went to school. He was well educated, attending a private school. Music surrounded him. Rumor has it W.C. Handy lived nearby, and his grandmother, a gifted singer passed on the songs that had been passed on to her. Richard however, didn’t decide to embark on a musical career straight away. Instead, his entrepreneurial streak was apparent from an early age.
From an early age, Richard was working a number of odd jobs. Whether it was selling lemonade to thirsty laborers or dancing to entertain people, Richard was determined to earn money. The work ethic that had been instilled in him, would stay with him all his life. Soon, however, music would enter Richard’s life.
During the twenties, jazz swept through Chicago’s nightclubs. When Richard heard jazz, he was won over. Soon, he decided to make a career in entertainment. He became a member of Ma Rainey’s Minstrels. Then when the Depression hit, like so many other people, he travelled all over America in search of work. On his return to Chicago, he worked with Richard Pryor’s vaudeville revue. He hit the road with Richard and his wife, the actress Ann Sothern. When that came to an end, Richard’s next job saw him selling advertising.
This was the early thirties. Richard’s method of advertising was simplicity itself. He attached a loudspeaker to the roof of a truck. He called this his “sound truck” which travelled the streets of the Windy City playing music. It was around this time that Richard got interested in politics, which became a lifelong passion. Soon, he became an important member of Chicago’s Democratic party. He was encouraged to help recruit black voters to the Democratic Party. This he successfully did. He efforts were rewarded by Richard being appointed one of the Chicago’s black factory inspectors. This included inspecting record plants.
On his rounds inspecting record plants, Richard was able to meet some of the owners of Chicago’s record labels. Among them were Leonard Chess of Chess and Vivian Carter of Vee Jay. They realized that the man inspecting their factories was also the owner of an advertising truck, which played music. So, free copies of their latest releases were left out for Richard, which he played as he drove around Chi Town. For everyone involved, it was perceived as a win-win situation. In a way, it also marked the start of Richard’s DJ-ing career.
It was 1955 when Dr. Jonathan Dyer, the owner of Chicago’s WGES radio station met Richard. Listening to Richard’s spiel, Jonathan realized he was listening to not just a natural communicator, but someone who would make a great DJ. Without a second thought, Jonathan offered Richard a job, which just as quickly, he accepted.
From his first show, Richard was a natural DJ. Blessed with charm and charisma, soon, Richard was one of Chicago’s most popular DJs. A pioneering DJ, he was one of the first DJs to play R&B on radio. He was soon asked to host a TV show Richard’s Open Door, which aired in 1956. It was an innovative show, that many people believe Soul Train was modeled on. With Richard’s popularity growing, he was soon asked to promote a variety of products. By now, opportunities for Richard Stamz were around every corner. Soon, he would have the opportunity to run his own record label.
Eli Toscano, who owned the Cobra record company, first met Richard around 1957 or 1958. He was delivering records to WGES. Straight away the pair formed a firm friendship. Both were entrepreneurs and fished to relax. The only problem was Eli liked to gamble, but lost heavily. Borrowing to pay his losses wasn’t his best idea. One day in 1959, Eli “accidentally” drowned in suspicious circumstances. Richard thought his friend had been murdered by loan sharks. When he tried to contact Eli’s wife, she wasn’t around. Instead, Richard was told to mind his own business. However, Richard had worked alongside Eli and knew how the record business worked. Under Richard’s stewardship, what had been Cobra Records was transformed.
Out of the same record shop at 3346 West Roosevelt Road, Richard Stamz started building a mini-musical empire. The two labels, which feature on Foxy R&B-Richard Stamz Chicago Blues, Foxy Records and Paso Records went from strength-to-strength. Foxy Records released music by Detroit Junior, Robert and The Rockin’ Robins and Mary Johnson, while Paso Records released Harold Burrage, Harold Burrage & His Band, The Ideals and Flora D. These artist feature on the twenty-five track compilation that is Foxy R&B-Richard Stamz Chicago Blues, which I’ll tell you about.
There’s no better way to open Foxy R&B-Richard Stamz Chicago Blues, than when Harold Burrage and His Band join forces. A delicious fusion of soul, jazz, blues and R&B unfolds. The sou comes courtesy of Harold’s vocal, while his band, combine jazz, blues and R&B. Soon, the song is swinging…and them some. Safe in the knowledge that there’s six more songs from Harold Burrage to enjoy, this looks like a compilation to savor.
Six songs from Harold Burrage’s solo career feature on Foxy R&B-Richard Stamz Chicago Blues. They epitomize what R&B music is about. Soulful, but sometimes, blessed with a late-night bluesy sound, Harold’s vocals are heartfelt and often, outpourings of hurt and heartache. The best is You Ought To Love Me, where confusion and despair fills Harold’s vocal. Against a dramatic backdrop, Harold’s vocal is rueful and full of regret on I Was Wrong. Pretty Little Liddy is an uptempo track, where blazing horns accompany Harold’s vampish vocal. Influenced by numerous dance crazes, here R&B and pop meet head on.
Mary Johnson was signed to the Foxy label. She contributes one of the compilation’s highlights, Goin’ Home. She’s blessed with a vocal that’s powerful, emotive and soulful. Combining sass and power, handclaps accompany Mary. Her vocal becomes a powerful roar, accompanied by syncopated handclaps. These Tears see Mary control her raw power. Feisty, her vocal has been influenced by legendary blues singers like Memphis Minnie, Bessie Smith and Big Mama Thornton. Then on Lost Love sadness fills her vocal, fills with emotion. Much more tender, it shows another side to the multitalented Mary Johnson.
When The Howlin’ Wolf Band weren’t touring with the Wolf, they were musical guns for hire. Sometimes, they’d work with Willie Williams. On Foxy R&B-Richard Stamz Chicago Blues, Willie Williams With The Howlin’ Wolf Band contribute three tracks. They’re South Park Shuffle, Going Back Home and Gittin’ Along (Green Onions). Good as the three tracks are, Gittin’ Along (Green Onions) is the best of the three. An irresistible fusion of jazz and blues from one of the hottest and tightest bands you could ever hope to hear, you’ll long to hear much more like this.
For anyone who loves electric blues, Lee Shot Williams’ Hello Baby will be like Christmas coming early. It was for me. While the rhythm section and keyboards drive the arrangement along, a harmonica plays around the impassioned vocal. Then things get even better with I’m Trying. Dramatic and heartbreaking describes this tale of love gone wrong.
The sassy and feisty sound of Flora D’s Way Out, Baby is my final choice from Foxy R&B-Richard Stamz Chicago Blues. It’s one of two tracks Flora D contributes. Bluesy horns swing, while Flora D struts her way through the lyrics, exuding sass. Then on You Gonna Cry, we hear a different side to Flora D. Her heartbroken vocal has horns and chiming, jazzy guitars for company. Delivered against a bluesy backdrop, her voice is full or emotion and sadness, as she combines blues and soul seamlessly.
Although I’ve mentioned just thirteen tracks of the tracks on Foxy R&B-Richard Stamz Chicago Blues, there’s another twenlve tracks to enjoy. This includes tracks from Detroit Junior, The Freddy Robinson Orchestra, The Ideals, Loretta Branch Trio, Tony Gideon and Ze-Majestics. Everything from blues, country, gospel, jazz, R&B, rock and roll and soul. Seventeen of the tracks were released between 1960 and 1962, while the other eight tracks had never been released before. Of the eight unreleased tracks, there’s some real hidden gems in there. None more so than the trio from Willie Williams With The Howlin’ Wolf Band, plus contributions from Harold Burrage and the Loretta Branch Trio. That these eight tracks had never been released before, demonstrates the quality of music Foxy Records and Paso Records were releasing. Yet again, it seemed like Richard Stamz had the Midas Touch.
It seemed regardless of what he turned his hand to, Richard Stamz made a success of it. Whether it was advertising, politics, DJ-ing or running a record label Richard did it well. He was a pioneer, an innovator who is perceived as an important and influential figure in Chicago. A political activist and lifelong entrepreneur, Richard Stamz was of the first black DJs, who went on to run his own record label. Richard it seemed neither lacked energy nor enthusiasm. A colorful, charismatic character, he was the proverbial jive-talker, who was determined to forge a better life for him and his family. In doing this, the record labels Richard Stamz ran were responsible for some memorable music, music which includes some of the best music coming out of the Windy City in the early sixties. Some of that music features on Ace Records’ recently released compilation Foxy R&B-Richard Stamz Chicago Blues. Standout Tracks: Flora D Way Out Baby, Lee Shot Williams I’m Trying, Willie Williams With The Howlin’ Wolf Band Gittin’ Along (Green Onions) and Harold Burrage I Was Wrong.
FOXY R&B-RICHARD STAMZ CHICAGO BLUES.
INNER LIFE-INNER LIFE I.
INNER LIFE-INNER LIFE I.
From 1978 onwards, things were changing at Salsoul. The Salsoul Orchestra played a huge part in Salsoul’s success. They were much more than musicians, with many of its members songwriters, arrangers and producers. This included the Baker, Harris, Young rhythm section, Ron “Have Mercy” Kersey and Vince Montana Jr. So when Vince Montana Jr. left Salsoul in 1978 after a dispute with the Cayre’s over royalties, Salsoul lost one of its most creative members. When Baker, Harris, Young weren’t playing as big roles at Salsoul: “the times they were a-changing.” Some of their replacements weren’t musicians, including remixer Tom Mouton, while producers like Thor Baldursson recorded tracks in Munich Germany. As the personnel started to change, so did The Salsoul Orchestra. By 1978, Ron Baker and Earl Young were no longer regular features in The Salsoul Orchestra and Vince Montana Jr. had now signed to Atlantic Records.
Then in July 1979, the musical landscape changed even more, after the Disco Sucks movement tried to destroy disco. Suddenly, disco sucked and record companies weren’t interested in disco. Disco artists and disco albums were now deeply unpopular. For a disco label like Salsoul, this was disastrous. However, Salsoul managed to survive the disco backlash, doing so by adapting and signing new artists and new producers. One of these new signings was Inner Life, a studio based project formed by Patrick Adams and Greg Carmichael, that featured Jocelyn Brown’s vocals. Inner Life had enjoyed a huge hit in 1979 with I’m Caught Up (In A One Night Love Affair), which they followed up with I Want To Give You Me. After that release, Greg Carmichael took Inner Life to Salsoul and they agreed a two-year deal. In July 1981, Inner Life released their first Salsoul album Inner Life I. How would Inner Life I differ from the earlier Salsoul sound? That’s what I’ll tell you after I’ve told you about the background to Inner Life I which was recently rereleased by BBR Records.
When disco producer Patrick Adams and singer Jocelyn Brown met by chance, it was a fortuitous meeting. Patrick was looking for a vocalist for a project he was working on, Musique. Jocelyn sang the lead vocal on Musique’s two tracks The Bush and Keep On Jumpin.’ When The Bush and Keep On Jumpin’ were released as a double-A-side on Prelude, it reached number one in the US Dance Charts in 1978. The two tracks were then released as singles, and gave Musique two hits in the US R&B Charts. After the success of Musique, Patrick Adams hooked up with Greg Carmichael to form a new studio-based group Inner Life.
After the success of Musique, Inner Life were signed by Prelude. Inner Life featured Jocelyn Brown’s vocals and their first single I’m Caught Up (In A One Night Love Affair) reached number twenty-two in the US R&B Charts in 1979. This was followed up with I Want To Give You Me, and then Inner Life’s debut album I’m Caught Up (In A One Night Love Affair). This proved to be Inner Life’s only album released on Prelude. Greg Carmichael decided to take Inner Life to disco’s greatest label Salsoul. Salsoul and Greg Carmichael agreed a two-year deal. So now signed to Salsoul, Inner Life would set about recording their new album Inner Life I, which showed how times were changing at Salsoul.
For Inner Life’s second album six tracks were chosen, with Jocelyn Brown contributing It’s You and Pay Girl, while Stan Lucas a friend of Greg and Patrick wrote (Knock Out) Let’s Go Another Round and Live It Up. Greg Carmichael wrote what would become an Inner Life classic, Make It Last Forever. Good as Make It Last Forever was, Inner Life’s version of Ashford and Simpson’s Ain’t No Mountain High Enough would go on to become a post-disco Salsoul classic. Unlike so many Salsoul albums, recording didn’t take place at Sigma Sound Studios, with Inner Life preferring familiar surroundings.
Inner Life I was recorded at three studios, Blank Tape Studios, Right Track Recording and Nola Recording Studios. Jocelyn Brown sang lead vocals, while Carol Sylvan, Dennis Collins, La Rita Gaskins and Jocelyn added backing vocals. Production was shared between Patrick Adams, Greg Carmichael, Stan Lucas and Jocelyn Brown. Greg and Jocelyn arranged and produced It’s You and Pay Girl. Patrick and Greg arranged and produced the two best known tracks Ain’t No Mountain High Enough and Make It Last Forever, while Greg and Stan Lucas arranged and produced the other two tracks. Showing how the musical landscape was changing, each of the six tracks were remixed. Tee Scott remixed three tracks, Larry Levan two tracks and John Morales one track. With Inner Life I recorded, the album was released in July 1981.
When Inner Life I was released in July 1981, it failed to chart. However, two of the singles proved successful. Ain’t No Mountain High Enough reached number twenty in the US Dance Charts. (Knock Out) Let’s Go Another Round was the second single released from Inner Life I, but failed to chart. Then when Make It Last Forever was released as a single in 1982, it reached number fifteen in the US Dance Charts. Although Inner Life I wasn’t a huge commercial success, it contained two Inner Life classics, as you’ll realize when I tell you about the music on Inner Life I.
Opening Inner Life I is It’s You, written by Jocelyn Brown and produced by Greg Carmichael and Jocelyn. It’s just Jocelyn’s impassioned vocal accompanied by a piano as the track opens. She displays a wide vocal range and controls her voice perfectly. After ninety-seconds, a thoughtful rhythm section joins the piano as the track reveals its secrets and beauty. The understated arrangement grows in power and drama, matching the emotion, power and passion in Jocelyn’s vocal. When soulful backing vocalists join Jocelyn, a moving, powerful and quite beautiful song takes shape. It allows you to hear a very different side to Jocelyn Brown, one I’d like to hear much more of.
Like many of the tracks released by Salsoul Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This sees a timeless sounding arrangement and a stunning vocal from Jocelyn Brown combined. Her vocal is diva-esque, as she delivers Ashford and Simpson’s lyrics. Produced by Patrick Adams and Greg Carmichael, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one the highlights of Inner Life I, given its uplifting, joyous and energetic sound.
Pay Girl written by Jocelyn Brown has a really funky sound from the get-go. Just a pounding, slap bass, piano, drums and handclaps accompany Jocelyn’s sassy, feisty vocal. Tight, soaring harmonies accompany Jocelyn’s vocal, as the arrangement swings along. It doesn’t take long to realize just how talented a vocalist Jocelyn really is. She’s another of the long line of Salsoul’s divas, following Loleatta Holloway, Rochellle Fleming and Carol Williams. Later, when Jocelyn’s vocals drops out, a prolonged break sees percussion, piano, handclaps and the pounding rhythm section take charge. Sadly, when a synth makes an unwelcome appearance, things go slightly awry. Why that was included I’ve no idea, but it detracts from the track. Things get back on track when the backing vocals and Jocelyn return, but that synth makes another unwelcome appearance. Apart from that, this a good track, that could’ve been a great track.
(Knock Out) Let’s Go Another Round was written by Stan Lucas and arranged and produced by Stan and Greg Carmichael. It’s a boogie track, with Greg Carmichael’s influence all over it. The introduction sounds like a cousin of Ain’t No Mountain High Enough. That similarity is only brief, and quickly, the track takes on its own identity. Percussion, a funky rhythm section, swathes of synths and handclaps combine to create a catchy backdrop, even before Jocelyn’s powerful vocal enters. Her vocal struts in, sassy and full of confidence, with the banks of keyboards and synths accompanying the rhythm section that provide the track’s funky heartbeat. After two minutes, Inner Life tease you relentlessly when the vocal drops out. Synths and keyboards take centre-stage, before Jocelyn’s vocal returns. This pattern continues, so you sit back and enjoy the ride. Over seven minutes, an irresistible track unfolds, which Jocelyn Brown key to the track’s sound and success.
From the opening bars of Live It Up you’re hooked. Instantly, the track grabs your attention. Inner Life’s rhythm section, keyboards and of course Jocelyn’s joyous, sassy vocal combine to take you on a four minute whistle-stop musical roller coaster. During that time, Jocelyn unleashes a powerful vocal accompanied by tight, equally joyous, soaring harmonies. Meanwhile the banks of keyboards and synths, pounding rhythm section, percussion and sizzling guitars provide the perfect accompaniment to another peerless vocal from Jocelyn Brown. Truly, I defy anyone not to succumb to charms and delights of this hook-laden track, which proves that into eighties Salsoul were still releasing groundbreaking dance music.
Patrick Adams and Greg Carmichael cowrote Make It Last Forever which closes Inner Life I. Since then, the track became not just an Inner life classic, but a Salsoul classic. This is a seven-minute Magnus Opus, with swathes of cascading strings, joined by the rhythm section and percussion. Then Jocelyn’s vocal heartfelt, impassioned enters, with tight, soulful harmonies accompanying her. Her vocal and the way the strings are used are key to the track. They’re the perfect accompaniment to Jocelyn’s vocal, and are augmented by the rhythm section, keyboards and percussion. As Jocelyn sings “Make It Last Forever,” so good is the tracks, that you wish it would last forever. Of the post-disco era, this is a Salsoul classic.
While the Disco Sucks movement tried to destroy disco in July 1979, they didn’t destroy disco’s greatest label Salsoul. Instead, Salsoul evolved and the music it released changed. Greg Carmichael and Patrick Adams went on to play important roles in the Salsoul’s future. Inner Life was their way into Salsoul, and in Inner Life I, they proved just how talented they were as songwriters, arrangers, producers and musicians. Although they couldn’t replace legends like Vince Montana Jr. or the Baker, Harris, Young rhythm section, four men who played huge parts in Salsoul’s success story, they brought new ideas and much needed talent to the label.
For their Salsoul debut, Inner Life I, the album featured two stonewall Salsoul classics and Ain’t No Mountain High Enough and Make It Last Forever. The album also introduced Jocelyn Brown’s vocal prowess to a much wider audience. Jocelyn’s part in Inner Life I’s success can’t be underestimated. She made each of the songs her own, bringing life and meaning into them. Sometimes, she took the song by the scruff of the neck and made it work.
With the combined talents of Patrick Adams, Greg Carmichael and Stan Lucas collaborating on Inner Life I, it’s neither a surprise nor a happy accident that the album was a success. With John Morales, Tee Scott and Larry Levan mixing the tracks on Inner Life I, this meant that the tracks were dance-floor friendly. Many of these tracks have has stood the test of time, especially Ain’t No Mountain High Enough, (Knock Out) Let’s Go Another Round, Live It Up Make It Last Forever. It’s You, written by Jocelyn Brown was the perfect track to open the album, and is a real slow burner, that takes its time to reveal its charms and delights. Apart from Pay Girl, which could’ve been a great track, but ends up just a good track, due to the unwelcome intrusion of a rogue synth, Inner Life I is one of my favorite post-disco albums from Salsoul.
While Inner Life I may not have been Salsoul’s most successful album, it certainly has stood the test time and features Jocelyn Brown and Inner Life at their very best. Standout Tracks: It’s You, Ain’t No Mountain High Enough, Live It Up and Make It Last Forever.
INNER LIFE-INNER LIFE I.
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