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.
DARRELL BANKS-I’M THE ONE WHO LOVES YOU-THE COMPLETE VOLT RECORDINGS.
DARRELL BANKS-I’M THE ONE WHO LOVES YOU-THE COMPLETE VOLT RECORDINGS.
Although Darrell Banks only released two albums in a career that didn’t even last three years, his popularity surpasses singers whose careers were much longer and much more productive. Including demos, Darrell Banks discography numbers less than forty tracks. That was Darrell Banks’ musical legacy. As music legacies go, the two albums Darrell released, hinted at a singer destined for greatness, as a new decade was about dawn.
Darrell Banks’ debut album was 1967s Darrell Banks Is Here, which was released on Atco. Then two years later, in 1969, having signed to Volt, a subsidiary of Stax, Darrell released Here To Stay, which features on Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings which was recently released on Ace Records. It also features eight hitherto unreleased bonus tracks. They’re an irresistible and tantalizing taste of Darrell Banks, who could’ve and should’ve been one of soul music’s legends. That was until fate would decided to intervene. Before I tell you about Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings, I’ll tell you about the short life of Darrell Banks.
While Darrell Banks was born in Mansfield, Ohio in July 1937, he moved to Buffalo, New York, where he grew up. Just like many future soul singers, Darrell Banks introduction to music was through the church. Through singing gospel Darrell Banks realize that he’d the talent to make a living out of music. Not gospel though. Instead, in the mid-sixties, Darrell decided to crossover and sing soul music.
By the mid-sixties, Darrell was already a popular act in around the East Buffalo clubs. He still didn’t have a record contract though. That was until he met a dentist, Doc Murphy, who was a partner in a local nightclub Club Revilot. Doc knew a number of music industry people, including Harold “Lebaron” Taylor, who signed Darrell to Hitbound Productions.
Hitbound Productions was a company formed by Lebaron Taylor, Detroit DJ George White and record producer George Davis. Together, they knew how every aspect of the music industry worked, from recording right through to radio. This would prove useful when their new signing Darrell Banks recorded his debut single.
Detroit was where Darrell headed to record Open The Door To Your Heart, his debut single. In Detroit the songwriting team of George Clinton, Mike Terry and Sidney Barnes had penned a song called Our Love (Is In The Pocket). it was intended to be Darrell’s debut single. That was, until he sung Open The Door To Your Heart, one of the songs he sang in the clubs back home. Written by Donnie Elbert, Open The Door To Your Heart was released on a newly founded label, Revilot Records. It wouldn’t just launch Darrell’s career, but a classic song.
Reaching number twenty-seven in the US Billboard 100 and number two in the US R&B Charts, in June 1966, Open The Door To Your Heart launched Darrell Banks. Things didn’t run smoothly though. Open The Door To Your Heart’s real title was Baby Walk Right In and was written by Donnie Elbert. On the single, the song was wrongly credited to Darrell. This resulted in court action. The court held in favor of Donnie Elbert. By the time this dispute was settled, Darrell’s career was well underway. His sophomore single Somebody (Somewhere) Needs You was released in September 1966, reaching number fifty-five in the US Billboard 100 and number thirty-four in the US R&B Charts. That was Darrell’s final release for Revilot Records. Next stop was a major label.
Atco Record, a subsidiary of the legendary Atlantic Records, was one of the most successful record companies of the sixties, especially when it came to soul and R&B. So signing for Atco must have been like joining the major league for Darrell. Sadly, his time was brief there. During 1967, released just two singles Here Come The Tears and Angel Baby. Then there was his Darrell Banks’ debut album Darrell Banks Is Here. Just like the two singles, Darrell Banks Is Here received plaudits and praise from all quarters. What it didn’t do, was sell well. Darrell’s time at Atco proved to be short. His stay at Cotillion, a newly formed subsidiary of Atlantic was briefer. I Wanna Go Home wasn’t a commercial success and Darrell left Cotillion after one single. At least he was about to sign for a label that would get the best out of him, Stax Records.
It was 1969 when Darrell Banks signed to Stax. He was one of a large number of artists signed simultaneously. The idea was Stax would quickly rebuild their catalog in the post-Atlantic era. Rather than release Darrell’s album on the main Stax label, he was signed to the Volt imprint, which Don Davis was running. This was no bad thing. Now the pressure was off Darrell. If he’d signed to Stax, great things would’ve been expected of him. So Don Davis could concentrate on bringing out what everyone knew was in Darrell…soul gold.
For his sophomore album, some of Stax’s best songwriters contributed songs for Darrell Banks’ Volt debut Here To Stay. We Three, who comprised Bettye Crutcher, Homer Banks and Raymond Jackson penned We’ll Get Over and with Don Davis, cowrote just Because Your Love Is Gone. Don Davis cowrote three other tracks. With Melvin Davis he cowrote Forgive Me and Never Alone with Curtis Colbert. His other contribution was No One Blinder (Than A Man Who Won’t See). Fred Bridges and Richard Knight wrote Don’t Know What To Do and with Robert Eaton, wrote Beautiful Feeling. Clyde Wilson contributed two tracks, I Could Never Hate Her and My Love Is Reserved. Covers versions included When A Man Loves A Woman and Only The Strong Survive. These eleven tracks became Here To Stay were recorded at Stax’s McElemore Avenue studios and in Muscle Shoals with Don Davis producing.
On Here To Stay release in 1969, this just happened to be a time when some amazing music was being released. Stax released over twenty albums, including Hot Buttered Soul, one of Isaac Hayes’ opus.’ That was just part of the competition. Quality will always out. Here To Stay sold well, but was far from the success of Hot Buttered Soul. Jim Stewart, Don Davis and the rest of the Stax and Volt families were encouraged by the start Darrell had made. So much so, that straight away, they sent him back into the studio, where work began on his third album. Sadly, it was an album that was never finished. Before I tell you what happened, I’ll tell you about Here To Stay, which features on Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings.
Opening Here To Stay is Just Because Your Love Has Gone. A wistful combination of chiming guitars, quivering guitars, rhythm section and rasping horns accompany Darrell’s hurt-filled vocal. Sadness and emotion fill his voice as cooing harmonies sooth his broken heart. They sing call and response as Darrell unleashes a vocal that’s akin to an outpouring of heartbreak, hurt and loneliness. As the drama builds, strings sweep, horns rasp and gospel-tinged harmonies accompany Darrell, on a track that’s a tantalizing taste of what’s to come.
Forgive Me has a jaunty arrangement, thanks to punchy horns and rhythm section. They add a dramatic backdrop. They’re complimented by strings that sweep and swirl, as Darrell pleads and begs please “Forgive Me.” Soon his vocal is a pleading, needy vamp, that’s complimented by a dramatic, stirring arrangement.
Gamble and Huff cowrote Only The Strong Survive with Jerry Butler. Here, Darrell’s version is very different. A half-spoken vocal, filled with irony, gives way to an arrangement that gradually shows it delights. It veers between understated to an uptempo stomper, complete with horns, piano, strings and drums that provide the heartbeat. The result is it’s compellingly emotive remake of a classic track.
Don’t Know What To Do features a despairing vocal from Darrell. He really ups his game. From the get-go, it’s a track full of pathos and heartbreak. Stabs of piano, rhythm section and bursts of braying horns accompany Darrell. Distraught and disbelieving, he lays bare his soul. He’s helped by harmonies which match him every step of the way for despair and heartbreak.
When A Man Loves A Woman is an oft-covered track. It’s one of these tracks where the definitive version was recorded long before Darrell covered it. Percy Sledge’s version will never be bettered. All anyone can hope to do, is give the song a new twist. Soaring, heartfelt harmonies, chiming guitars and rasping horns set the scene for Darrell. Straight away, he grabs the song and breathes life, meaning and emotion into the familiar lyrics. Mixing power, passion and control he unleashes one of his best vocals. Singing call and response with his backing vocalists, his impassioned vocal is dripping with emotion as he delivers one of the best versions of this song you’ll hear.
Growling horns open We’ll Get Over. They’re augmented by the rhythm section befire Darrell delivers a vocal where power and emotion combine. Trying to sound sincere and sure, there’s still doubt in his mind. You sense he’s not so sure: “We’ll Get Over.” Trust has been broken and forever, there will always be doubt. They’ve a long road ahead of them. He realizes this, when he sings: “we may have to cry some time.” Determined and doubtful, Darrell with bursts of blazing horns for company, demonstrates why he was seen as the future of soul. That’s why Stax signed him.
Beautiful Feeling has an understated, wistful arrangement. Just a guitar meanders across the arrangement drums filling in the spaces and a flute floating above. In between sits Darrell’s vocal. A mixture of power, happiness and hope, he gives thanks for the “Beautiful Feeling I’ve found someone.” Strings sweep and swirl, horns rasp and harmonies help Darrell give thanks for the love he’s found.
Harmonies sing “I Could Never Hate Her” while drum and horns add drama, before Darrell sings the lyrics: “I knew she’d leave me, sooner than later.” That stops you in your tracks. So does when his sings: “I Could Never Hate Her.” He doesn’t regret a thing. He’s of the opinion that it’s better to have loved and lost, than never lost at all. Rueful and tinged with regret, Darrell knew their love couldn’t and didn’t last. All he’s got are the memories, and of course a broken heart.
Never Alone literally bursts into. Driven along by the rhythm section and piano, harmonies accompany Darrell’s vocal. Joyous, he give thanks. Strings dance, horns rasp and drums provide the heartbeat. As for the harmonies, they’re the perfect foil for Darrell, as he gives thanks for the love he’s found.
No One Blinder (Than A Man Who Won’t See) was written by Don Davis and Herbert Ross. Just the rhythm section, keyboards and grizzled horns accompany Darrell. His voice is full of regret and sadness. He’s been cheated on and hurt. Unable to believe what happened, and with gospel-influenced harmonies for company, Darrell reminds us that there’s No One Blinder (Than A Man Who Won’t See).
My Love Is Reserved closes Here To Stay, given what happened a year later, is somewhat ironic. Stabs of growling horns, chiming guitars and pounding drums set the scene for Darrell’s soul-baring vocal. He seems to have kept one of the best till last. The band seem to realize this. They play slowly, with care, determined to compliment his vocal. This is the case with the ethereal harmonies, which are the perfect foil to Darrell’s powerhouse of a vocal.
Having released his second album Here To Stay, which features on Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings, Stax sent Darrell straight back into the studio. Here To Stay had sold well enough to warrant a followup. Stax were playing the long-game, unlike Atco. They wanted to gradually build Darrell into someone, who possibly, might fill the massive void left by the death of Otis Redding. Having started work on his third album, insiders say that it was shaping to surpass anything Darrell Banks had recorded before. Then tragedy intervened in March 1970.
What happened next is disputed. Darrell’s girlfriend or ex-girlfriend, Marjorie Bozeman was also allegedly having a relationship with a Detroit police officer, Aaron Bullock. One night, when she was being dropped off by Bullock, Darrell is said to have approached Marjorie wanting to talk. Then things get hazy. According to Bullock, Darrell grabbed Marjorie. Bullock then identified himself as a police officer. With that, Darrell is said to have pointed a gun at Bullock. So Bullock shot Darrell, killing him with one shot. That is what is reported to have happened. There was neither an investigation nor any charges brought against Bullock. In the space of a few minutes, what could’ve been a great career, was cut short.
At the time of his death, Darrell Banks had released just two albums and a handful of singles. The equivalent of twenty-seven songs, it was a tantalizing taster of a career unfolding. Darrell’s debut album, 1967s Darrell Banks Is Here featured an experienced and undoubtably talented singer. An experienced live performer, he was new to a recording studio. In many ways, Darrell was work in progress. However, he was a fast learner. By the time of Here To Stay, released in 1969, Darrell had matured as a singer.
On the release of Here To Stay, Darrell Banks had improved as a singer. His debut album was good, but Here To Stay much better. No wonder. He’d a voice that bristles with emotion, pain, heartache and sometimes, hope and happiness. Sudden changes of tempo and injections of power and passion, make Darrell’s delivery compelling and breathtaking. That’s why Stax wanted him back in the studio so soon. Stax realized that, with every album, Darrell Banks would improve. Musically, he was like a fine wine. Maybe Darrell Banks would be the man to claim soul music’s crown. It had lain unclaimed since the death of Otis Redding. Pretenders came and went, but the crown was out of their reach for them. Darrell Banks was the man who Stax thought would be crowned King.
You realize why, listening to Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings, which was recently released by Ace Records. There’s the eleven tracks that comprise Here To Stay, plus every other track Darrell released at Stax. This includes four demos, single mixes of Just Because Your Love Is Gone, Beautiful Feeling and No One Blinder (Than A Man Who Won’t See). Then there’s I’m The One Who Loves You, which was recorded in 1969. These eight tracks are why Stax thought Darrell Banks was destined for greatness. That might have been the case. Sadly, we’ll never know.
If it were not for a moment of madness, late at night, in a Detroit street in March 1970, Darrell Banks might just been crowned King of soul. That wasn’t to be. He came close, very close. The songs on Darrell Banks-I’m The One Who Loves You-The Complete Volt Recordings show how close Darrell Banks came to be crowned King of Soul. Standout Tracks: Just Because Your Love Has Gone, Forgive Me, Beautiful Feeling and No One Blinder (Than A Man Who Won’t See).
DARRELL BANKS-I’M THE ONE WHO LOVES YOU-THE COMPLETE VOLT RECORDINGS.
THE STAPLES SINGERS FEATURING MAVIS STAPLES-THIS TIME AROUND.
THE STAPLES SINGERS FEATURING MAVIS STAPLES-THIS TIME AROUND.
Having signed to Stax Records in 1968, The Staple Singers went on to be one of Stax’s most successful groups. They helped fill the void left by the death of Otis Redding and the loss of Sam and Dave to Atlantic Records. Along with Isaac Hayes and Booker T. and The MGs, The Staple Singers were Stax Records most successful artists.
Between 1968 and 1975, when Stax was declared insolvent, The Staple Singers released six albums. Then six years after Stax was declared insolvent, the label had been relaunched. The Staple Singers hadn’t re-signed to Stax. Instead, they were signed to 20th Century Fox, when an album’s worth of material was discovered in Stax’s vaults. It was given a musical makeover to given the music a contemporary sound. Overdubbing was used extensively. Synths, rock-tinged guitars and handclaps are added to The Staple Singers’ vocals on what became This Time Around, which was rereleased by Ace Records recently. Before I tell you about the music on This Time Around, I’ll tell you about The Staple Singers’ time at Stax.
After two false starts, with 1968s Soul Folk In Action and 1970s We’ll Get Over, things improved for The Staple Singers. 1971s The Staple Singers reached number 117 in the Us Billboard 200 and number nine in the US R&B Charts. It seemed that twenty-three years after Pops had founded The Staple Singers, things were looking up. That is something of an understatement.
Before the release of Be Altitude: Respect Yourself, in 1972, the anthemic Respect Yourself was released as a single. It reached number twelve in the US Billboard 100 and number two in the US R&B Charts. A stonewall classic, full of social comment, Respect Yourself was later, inducted into the Grammy Hall Of Fame. Be Altitude: Respect Yourself then reached number nineteen in the US Billboard 200 and number three in the US R&B Charts. Then came I’ll Take You There, The Staple Singers’ most successful single. A dual number one, it sold over a million copies. This wouldn’t be their last number one single, but Be Altitude: Respect Yourself proved that commercial success and critical acclaim don’t last forever.
If You’re Ready (Come Go With Me) a single released from 1973s Be What Your Are, reached number nine in the US Billboard 100 and number one in the US R&B Charts. Be What Your Are failed to replicate the success of Be Altitude: Respect Yourself. Reaching just number 102 in the US Billboard 200 and number thirteen in the US R&B Charts, this was disappointing for The Staple Singers. Worse was to come.
City In The Sky was The Staple Singers final album for Stax. Released in 1974, it reached number 125 in the US Billboard 200 and number thirteen in the US R&B Charts. Apart from the title-track reaching number four in the US R&B Charts, it was a disappointing end to The Staple Singers’ time at Stax. The only small crumb of comfort was they left before things got messy and Stax was declared bankrupt. Having left Stax in 1975, The Staple Singers never realized that City In The Sky wouldn’t be the final album they released on Stax.
Having left Stax things initially looked good for The Staple Singers. They signed to Curtis Mayfield’s Curtom Records and recorded the soundtrack to Let’s Do It Again, a movie featuring Bill Cosby and Sidney Poitier. Released in 1975, it reached number eighty-seven in the US Billboard 200 and number one in the US R&B Charts. The title-track gave The Staple Singers their second dual number one single. That however, was as good as it got for The Staple Singers.
Following the success of Let’s Do It Again, The Staple Singers signed a three album deal with Warner Bros. 1976s Pass It On reached a disappointing number 166 in the US Billboard 200 and number twenty in the US R&B Charts. Executives at Warner Bros. must have been nervously hoping this was a blip. After all, here was a group who a year earlier, had enjoyed a number one US R&B album and dual number one single. Maybe normal service would be resumed with 1977s Family Tree? No. It reached just number fifty-eight in the US R&B Charts. The Staple Singers’ final Warner Bros. album was 1978s Unlock Your Mind. Reaching number thirty-four in the US R&B Charts, this was a minor improvement. However, unsurprisingly, Warner Bros. didn’t renew The Staple Singers contract.
Not only did Warner Bros. not renew The Staple Singers’ contract, but no other label signed them. Pops was now sixty-four, and although he was the de facto leader, Mavis was the real star of The Staple Singer. This would become obvious in 1981, when the newly resurrected Stax decided to release a “new” Staple Singers album.
Two years after being declared insolvent, Stax made a comeback. This was when Fantasy Records bought Stax’s post-1968 catalogue in 1977. A year later, the newly formed Stax started signing a new roster of artists. It also started releasing albums of previously unreleased material. One of these would be by The Staple Singers.
After leaving Warner Bros. The Staple Singers eventually were signed by 20th Century Fox. For three years they’d been without a record deal. Pops had been thinking about retiring. He was sixty-seven and had founded The Staple Singers thirty-three years earlier. Later in 1981, The Staple Singers released their only album for 20th Century Fox, Hold On To Your Dream. That was the second Staple Singers of 1981.
Early in 1981, the newly formed Stax releasing This Time Around. It Rather than being billed as The Staple Singers, Mavis’ importance was recognized. This Time Around was credited to The Staple Singers Featuring Mavis Staples. At last, Mavis was receiving the credit she deserved on an album which featured songs recorded between 1968 and 1975.
The eights songs on This Time Around included three tracks Bettye Crutcher wrote. They were Live In Love, A Child’s Life and People Come Out Of Your Shell. Bettye also cowrote This Time Around with Mack Rice and Bobby Manuel, a Stax studio engineer. Philip Mitchell penned Trippin’ On Your Love and When It Rains It Pours. Marshall Jones and Carl Smith cowrote I Got To Be Myself. We Three Mk.2, consisting of Carl Hampton, Raymond Jackson and Homer Banks contributed It Wasn’t For A Woman. These eight tracks were then given a musical makeover.
Rather than release the eights tracks as they were recorded, someone at Stax decided to give the track a musical makeover. The idea was to give the track a contemporary eighties sound. This meant synths, synthetic handclaps and rock-tinged guitars. All this was de rigeur during 1980 and 1981. Which musicians were responsible for the overdubbing isn’t clear. Neither is it clear who played on the eight tracks. What I can say with some degree of certainty, is that originally, The Muscle Shoals Rhythm Section featured on the eight tracks. These eight tracks marked The Staple Singers return to Stax.
This Time Around was released in 1981, as The Staple Singers Featuring Mavis Staples. That didn’t help sales. The Staple Singers hadn’t been successful since 1975. Even a musical makeover couldn’t improve their fortunes. What must have seen like a surefire success for Stax, had backfired. This wasn’t exactly how the second coming of Stax had been envisage. No. Commercial success and critical acclaim had been what had been envisaged. Sadly, that wasn’t case. Is This Time Around one of these albums that music fans will cherish and discover This Time Around? That’s what I’ll now tell you.
Opening This Time Around is the Bettye Crutcher penned Live In Love. A whoosh of synths signals the entrance of chiming guitars and Mavis’ husky, lived-in vocal. A funky bass, piano and gospel influenced harmonies are joined by searing, rock-tinged guitars. They provide the backdrop for Mavis whose vocal is a mixture of power, passion and control. As the band combine soul, funk and rock, Mavis sings call and response with the rest of the family. Pops and Co. provide the perfect accompaniment to the soulful strains of Mavis’ emotive, evocative vocal.
Subtle beeps and squeaks was the way to accompany Mavis tender, heartfelt vocal on This Time Around. Sweeping, soaring harmonies and a meandering arrangement accompany Mavis. Then all of a sudden, rocky guitars, pounding guitars and synthetic handclaps join Mavis. Strangely, this suits her vocal. Feisty and sassy, it becomes a vamp. She’s spurred on by the rest of the family. Her delivery veers between jazzy to soulful, sassy and sensual.
The keyboards that open Trippin’ On Your Love, have a similar sound to the ones that featured heavily on Bettye Crutcher’s Long As You Love Me. They provide a backdrop that sounds as if its roots are in the church. Her vocal is slow and heartfelt. Then as drums crack and guitars chime, Mavis ups the tempo. Soon she’s found her inner diva. Her breathy, sultry vocal is enveloped by keyboards and a pounding rhythm section. Mavis delivering a strident, sassy vocal struts her way through the lyrics. The finishing touch would be swathes of strings. They’re sadly absent, although the keyboards work well, encouraging Mavis to deliver her best vocal on This Time Around.
A Child’s Life has an arrangement that almost marches along. Above it, sits Mavis impassioned, melodramatic vocal. Washes of Hammond organ are at the heart of the arrangement, while drums provide the heartbeat. Horns add bursts of melancholia. The focus of your attention is Mavis’ vocal, which is best described as emotive and compelling.
From the get-go, I Got To Be Myself has a downright funky sound. Soaring harmonies, bursts of horns, washes of Hammond organ and a meandering, but funky rhythm section set the scene for Mavis. Combining power, passion and frustration harmonies respond to her call. Soon, they’re joined by grizzled horns, pounding drums and the Hammond. Horns and Hammond take turns to inject drama. Even the bass gets in on the act, before the rest of the family add some of their famous gospel-tinged harmonies, ensuring the songs swings….and then some.
People Come Out Of Your Shell has a late sixties sound. It’s the way the quivering strings and rhythm section combine. Mavis’ vocal is full of frustration and anger, as she sings about the needless killings in Vietnam. Horns rasp and drums pound as the band lock into a tight and dramatic groove. The rest of the family add sweeping harmonies. Their harmonies are dropped in just at the perfect moment. Like the horns, they’re the perfect foil for Mavis’ vocal.
When It Rains It Pours is the second song Phillip Mitchell wrote on This Time Around. A slow, spacious and funky arrangement accompanies Mavis’ powerhouse of a vocal. Full of sadness and pathos, there’s a wistful sound to her vocal as she delivers the lyric: “When It Rains It Pours.” Cooing and later, soaring, dramatic harmonies, accompany the floaty, funky arrangement. Pizzicato strings, flourishes of piano and chiming guitars join the bass, which drives the arrangement along. As for Mavis her husky, worldweary and rueful vocal breathes life and meaning into the lyrics.
Closing This Time Around is It Wasn’t For A Woman. It has a slow, spacious and pensive introduction. That’s your signal to listen intently. You can’t help but be enthralled when you hear Mavis vocal. She’s accompanied by an understated arrangement. Featuring swathes of strings, piano, a subtle rhythm section and harmonies this is the ying to Mavis yang’s. Her vocal is intense and impassioned, tinged with emotion and melancholia.
In many ways, This Time Around is a fascinating concept. Here were eight songs recorded anywhere between 1968 and 1975, that lay undiscovered until 1980. Then someone at Stax Records decided to release them. They had two options. One was release an album comprising unreleased songs in their present form. The other option was to give the eight tracks a musical makeover, so that they’d have a more contemporary sound. There are arguments both approaches.
Releasing This Time Around as it was, meant listeners heard the music as it was intended to be heard. The music would sound authentic. It was a musical pictorial of The Staple Singers between 1968 and 1975. For their fans, this surely would’ve piqued their interest? After all, maybe their were some hidden soulful gems on This Time Around? That’s one side of the coin.
Conversely, by 1981, The Staple Singers weren’t exactly successful. Far from it. Many people had forgotten about them. They were the fodder of oldies stations, not cutting-edge music. It had been a long time since they’d released a successful album. If This Time Around was going to revive The Staple Singers fortunes, it required some “work,” a musical nip and tuck. Synths were botox, synthetic horns and handclaps a nose-job and searing rock guitars a tummy-tuck. Mostly this works. Sometimes, the tracks could’ve and should’ve been left alone. It all depends on your preferences. As far as I’m concerned, rock guitars and synths on soul albums don’t often work. I can forgive this on This Time Around. After all, This Time Around finds Mavis Staples at her soulful best.
On the release of This Time Around, it was no longer The Staple Singers. Instead, Mavis Staples was receiving the credit she’d long been due. Billed as The Staple Singers Featuring Mavis Staples, Pops and the rest of the family needed Mavis more than she needed them. One of the most talented vocalists of her generation, Mavis is one of the very few singers who brings lyrics to life. You believe what she sings. Her vocals tug at your heartstrings and emotions. That’s the case on This Time Around, an intriguing and compelling album, where at last, Mavis Staples steps out of Pops’ shadows. Although This Time Around is still a family affair, This Time Around Mavis Staples is at the head of the table, where she deserved to be and stay. Standout Tracks: Live In Love, Trippin’ On Your Love, I Got To Be Myself and When It Rains.
THE STAPLES SINGERS FEATURING MAVIS STAPLES-THIS TIME AROUND.
BETTYE CRUTCHER-LONG AS YOU LOVE ME.
BETTYE CRUTCHER-LONG AS YOU LOVE ME.
For Bettye Crutcher, getting a foothold in the male-dominated world of Memphis songwriting wasn’t easy. Her songs already been rejected by Willie Mitchell at Hi Records. Willie told her he’d already got Don Bryant signed to Hi Records. Don had already established himself as a successful and prolific songwriter. Undeterred, Bettye promised herself that one day, she’d make a living as a songwriter. That was her dream. Unlike many songwriters, Bettye never really thought about being a singer.
Bettye did however, enjoy brief recording career. She released Long As You Love Me in 1974, which was recently released by Ace Records. By then, Bettye Crutcher had established herself as a successful, award-winning songwriter. However, Bettye’s journey to becoming a successful songwriter was long and not without a few twists and turns.
Following the disappointment of being turned down by Hi Records, Bettye returned to her day job as a nurse. After all, she was a single parent with two children to feed. Disappointed but undeterred, Bettye realized that Hi Records weren’t the only record company in Memphis. Far from it. Hi Records were big, but Stax Records were bigger. So, Bettye headed to McLemore Avenue with her portfolio of songs.
At Stax, Bettye met David Porter He’d already established a reputation as a succesful songwriter. With Isaac Hayes, David was enjoying the hottest streak of his career. David listened to Bettye’s songs, but felt that although they were good, they were just lacking slightly. Bettye realizing she needed to up her game, headed home and got to work. Just a few days later, she’d written her first hit. This was Who’s Been Sleeping In My Bed, which gave Johnny Taylor a million-selling single later in 1967. Despite this, other songwriters at Stax weren’t exactly rushing to write songs with Bettye.
Quickly, Bettye discovered that songwriting at Stax was very much a male-dominated environment. Granted Carla Thomas and Deanie Parker had written songs, but mostly, it was something of a “boys club.” It was also difficult for an outsider to make inroads at Stax. Songwriting partnerships had already been formed. Then there was the fact that some producers were also songwriters. They wanted their songs on an album. It wasn’t as if they were going to give a newcomer a break. Unable to make inroads at Stax, Bettye continued to work as a nurse. She’d then head home, spend time with her family and later, head to McLemore Avenue, Stax’s headquarters. Gradually, Bettye’s persistence started to pay off.
Eventually, some of Stax’s songwriters realised Bettye wasn’t just persistent, but was a really talented songwriter. In 1968, she cowrote Cold Feet for Albert King with Al Jackson Jr. Betty penned The Ghetto for The Staple Singers with Bonnie Bramlett and Homer Banks. This wouldn’t be the last time Bettye worked with Homer Banks.
Soon, Bettye had written songs for Sam and Dave, Albert King, Jeannie and The Darlings, Young Holt Unlimited, Carla Thomas, The Madd Lads and Johnny Taylor. With an impressive track record, Al Bell, president of Stax decided to pair Bettye with Homer Banks and Raymond Jackson. This new songwriting team Al Bell called We Three.
The We Three songwriting partnership hit the ground running. Having written just three songs, they hit the jackpot with Who’s Making Love. It gave Johnny Taylor a two-million selling single. That was just the start. We Three wrote Carla Thomas’ I Like What You’re Doing To Me, Chuck Brooks’ Love’s Gonna Tear Your Playhouse Down, The Staple Singers’ We’ll Get over and Booker T. and The MGs Slum Baby. For three years, between 1968 and 1971, We Three were one of Stax’s top songwriting teams. Then in 1971, Bettye stopped writing with Homer Banks and Raymond Jackson. She decided to work with different songwriters.
After Bettye’s departure from We Three, Homer and Raymond recruited Carl Hampton. This looked like a masterstroke, after they penned (If Loving You Is Wrong) I Don’t Want To Be Right. Then tragedy struck. Raymond Jackson died in a fire in 1972. By then, Bettye was working with Mack Rice, Marvell Thomas and Bobby Manuel, who was one of Stax’s studio engineers. William Bell, The Staple Singers and The Soul Children were all beneficiaries of Bettye’s songwriting skills. So were artists who weren’t signed to Stax.
This included Quiet Elegance, one of Hi Records’ groups. The B-Side to their 1972 single I Need Love, was Mama Said, penned by Bettye and Bobby Manuel. At last, Bettye had a song released on Hi Records, who turned her down five years earlier. Then in 1974, Bettye and Lester Snell penned From His Woman To You, for Barbara Mason. This was the reply to Shirley Brown’s Woman To Woman. Bettye and Lester also cowrote the B-side When You Wake Up In Georgia, and co-produced the track. That wasn’t the end of Bettye’s work with Barbara Mason. She and Barbara penned His Woman To You, which featured on Barbara Mason’s 1975 album Loves The Thing. By the time Loves The Thing was released, Bettye was also a recording artist. She’d released her debut album As Long As You Love Me.
Ever since Bettye had left the We Three songwriting partnership, she’d written extensively with Mack Rice. For As Long As You Love Me, Bettye and Mack penned As Long As You Love Me, A Little Bit More Won’t Hurt, Sunday Morning’s Gonna Find Us in Love, Up For A Let Down and So Lonely Without You. Mack, Bettye and Arris Wheaton cowrote Passion and Sugar Daddy, while Bettye, David Porter and Ronnie Williams penned Call Me When All Else Fails. Bettye wrote When We’re Together and Sleepy People. These tracks, which became As Long As You Love Me were recorded at the Stax and Muscle Shoals Sound Studios.
By late 1973 and early 1974, when As Long As You Love Me was recorded, the practice was for the rhythm tracks to be laid down in Muscle Shoals Sound Studios by the Muscle Shoals Sound Rhythm Section. Strings and horns came courtesy of The Memphis Symphony Orchestra. Bettye laid her vocals down at Stax’s McLemore Avenue studios. Ten tracks were recorded, with Mack Rice and Bettye producing what became As Long As You Love Me.
Sadly, As Long As You Love Me, Bettye Crutcher’s debut album wasn’t a commercial success. Like several other albums Stax released by Stax in 1974 they, they never really supported the album. There wasn’t even a single released from As Long As You Love Me. Maybe this was the first sign of the financial problems that would be Stax’s undoing beginning to bite? Whatever the reason for the lack of support As Long As You Love Me received, both Bettye Crutcher and Stax suffered as a result of this decision. Promoted properly, As Long As You Love Me could’ve been the start of Bettye’s career, rather than the start and finish of her career. You’ll realize why, when I tell you about As Long As You Love Me, Bettye Crutcher’s 1974 debut album.
Opening As Long As You Love Me is the title-track. The first thing you notice is that it isn’t the usual “Stax” sound. Gone is the raw sound, replaced by a much smoother, but still deeply soulful sound. Keyboards join the bass-lead rhythm section. Along with woodwind as the scene is set for Bette’s tender heartfelt vocal. Delivered with emotion and sincerity, harmonies accompany her while lush strings add the finishing touch, to a beautiful, soulful song.
When We’re Together is one of two songs Bettye wrote herself. A choppy and dramatic backdrop accompanies Bettye’s sultry vocal. The Muscle Shoals Rhythm Section add a funky backdrop and piano, while strings sweep. Wah-wah guitars, honky tonk piano and pounding drums provide the backdrop for Bettye’s slow, sensual and seductive vocal, as she showcases her songwriting and vocal prowess.
Just a wistful, meandering keyboard joins melancholy strings and subtle cymbals on Passion. A bass wanders alongside Bettye’s needy vocal. Pizzicato strings and harmonies accompany her tender vocal. Memories come flooding back. Good times seem better than they were. She needs him more than ever. Lovelorn, a sultry horn and harmonies accompany her needy, vampish vocal on this paean to love.
Stabs of keyboards, swirling strings and rasping horns combine with the rhythm section on A Little Bit More Won’t Hurt. They create an emotive, dramatic backdrop for Bettye. Her slow, seductive vocal defiantly delivers the lyrics: “don’t leave me with this feeling… A Little Bit More Won’t Hurt.” Meanwhile, a wah-wah guitar, growling horns, keyboards and dancing strings provide a slow, sensual backdrop for Bettye’s coquettish, flirtatious vocal.
Driven along by the bass, percussion, keyboards and cascading strings combine on Sunday Morning’s Gonna Find Us in Love. They set the scene for Bettye’s tender, languid vocal. Horns rasp, strings sweep and harmonies accompany Bettye’s husky vocal. It veers between heartfelt, joyous and frustrated. Quivering strings, punchy harmonies and rasping horns accompany Bettye, providing seductive, but soulful and hook-laden accompaniment to one of Bettye’s best vocals on As Long As You Love Me.
From the get-go, Sugar Daddy is a delicious track. It’s a horn driven track where the rhythm section and percussion get busy. Strings dance, as Bettye delivers a kittenish, flirtatious vocal. As if realizing this is one of the highlights of As Long As You Love Me, the band up their game. Horns blaze and growl. Strings sweep and swirl. Filling in the gaps are the flourishes of keyboards. Taking centre-stage, where she belongs, is Bettye Crutcher, the star of the show.
Wistful describes the piano that opens Call Me When All Else Fails. The same goes for the strings and Bettye’s vocal. Full of regret and longing, she looks back. Remembering the good times, she realizes her partner isn’t happy. She decides to let him go, but adds: “I’ll be there when all else fails, to make you happy…Call Me.” There’s a sense of pathos when Bettye delivers these lines, that someone would wait, just in case things shouldn’t work out? Heartbroken, strings accompany her, as Bettye delivers a pleading vocal tinged with pathos, bravado and insecurity.
Up For A Let Down literally glides into being. Just keyboards and the rhythm section, complete with a pounding bass, are joined by Bettye’s vocal. Tender and tinged with melancholia describes her vocal. The arrangement has a real sixtes sound. Cascading strings, sweeping harmonies, rasping horns, keyboards and the rhythm section join Bettye as she successfully looks back to the sixties for inspiration.
So Lonely Without You has a laid-back, mellow sound. That’s down to the keyboards, understated rhythm section and Bettye’s breathy vocal. Enveloped by equally heartfelt harmonies and swathes of lush strings, a slow, sensual and sultry track unfolds.
Sleepy People closes As Long As You Love Me. It too, has an understated arrangement. This allows Bettye’s vocal to take centre-stage. Her vocal is confident and strident, as the arrangement flows along. Guitars chime, strings sweep and the rhythm section provide the heartbeat. They’re joined by a myriad of percussion as Bettye’s vocal fills with concern and emotion. Like the arrangement, it grows in power as Bettye breathes life and meaning into the lyrics she wrote.
That Bettye Crutcher’s debut album As Long As You Love Me wasn’t a commercial success, meant that Bettye’s career was over before it had even began. With Stax failing to promote As Long As You Love Me properly, they let Bettye down. If Stax had got behind As Long As You Love Me, it could’ve been a commercial success. It’s certainly not lacking in quality. Far from it.
Bristling with bravado, emotion, sadness, sensuality and sexual electricity As Long As You Love Me features ten tales of love, lust, deceit and heartbreak. Love gone wrong and love lost. Ten tales of loving the wrong and sometimes, right men. Men who cheat, lie and leave her hurt and heartbroken. These are mini soap operas, lasting three minutes long. Powerful paeans to love and relationships, this is music for those who’ve had been hurt and had their heartbroken. Each of the ten tracks were written by Bettye, whose vocals are variously heartfelt, heartbroken, sassy, coquettish and flirtatious. Accompanied by swathes of strings, horns and harmonies accompanied Bettye breathes life, meaning and emotion into the lyrics, lyrics which she wrote. Bettye cowrote eight tracks and wrote two others. These ten tracks should’ve been the start of Bettye’s solo career. Sadly, that wasn’t to be. Her career was over before it had even began.
Released in 1974, As Long As You Love Me, Bettye Crutcher’s debut album proved to be her only album. There was no followup. Certainly not on Stax. A year later, Stax Records was declared insolvent. Bettye worked at Stax as a writer until the doors closed. She continued to work throughout the seventies, but slowed down, when she realized she could live off her royalties.
Later, discerning soul fans discovered Bettye Crutcher’s As Long As You Love Me. Somewhat belatedly, soul connoisseurs realized that Bettye Crutcher’s debut album As Long As You Love Me was a hidden gem. A cult classic, As Long As You Love Me had at long last received the recognition it deserved. Things were about to get better for Bettye Crutcher.
Next to discover the delights of Bettye Crutcher’s As Long As You Love Me were hip hop producers. On As Long As You Love Me, which was recently rereleased by Ace Records, were a ready supply of samples. Like so many other artists, this gave Bettye Crutcher’s career and finances a boost. Now nearly forty years after its release, As Long As You Love Me, Bettye Crutcher’s debut album, is a hidden musical gem, of the soulful variety. At last, Bettye Crutcher’s As Long As You Love Me is receiving the recognition it so richly deserves. Standout Tracks: Passion, A Little Bit More Won’t Hurt, Sunday Morning’s Gonna Find Us in Love and Sugar Daddy.
BETTYE CRUTCHER-LONG AS YOU LOVE ME.
DAVID PORTER-GRITTY, GROOVIN’ AND GETTIN’ IT.
DAVID PORTER-GRITTY, GROOVIN’ AND GETTIN’ IT.
By the summer of 1969, David Porter was one of the most important people at Stax Records. He’d played his part in the label’s success story since 1961, when he cowrote That was The Life I Live, the B-side to Barbara Stephens’ single I Don’t Worry. Soon, David established a reputation as a songwriter, arranger and producer. Many of the songs he cowrote were with Isaac Hayes. The pair had formed a successful songwriting and production partnership. Isaac was ying to David’s yang. One complimented the other. Their track record of success was enviable. Everything they touched turned to silver, gold or platinum. Not only did they write most of Sam and David’s biggest hits, but wrote songs for Otis Redding, Carla Thomas, Mabel John, Albert King and The Bar Keys. Then there were the songs Davd wrote for artists not signed to Stax.
Away from Stax David Porter penned tracks for Aretha Franklin, Dusty Springfield, Wilson, Pickett, Charlie Rich, The Sweet Inspirations, Don Covay and Joe Cocker. It seemed David Porter could do no wrong. His songs were released to critical acclaim and commercial success. Artists were desperate to record David Porter’s songs. Everything was going right for David Porter. That wasn’t the case.
Something was nagging away at David Porter. Here he was, nearly thirty years old, and he’d not enjoyed a successful solo career. The nearest he got was when Can’t See You When I Want To reached the top thirty in the US R&B Charts in 1965. That was the sum-total of David’s solo career. So, he set about relaunching his solo career. Maybe his luck would change when David Porter released his debut solo album Gritty, Groovin’ and Gettin’ It, which was recently rereleased by Ace Records. Would Gritty, Groovin’ and Gettin’ It be the start of a successful solo career for David Porter.
At last, David felt his solo career was getting back on track. Since he’d arrived at Stax full-time in 1962, he’d been concentrating on songwriting and then production. He was one of the “house” songwriters. Later, he’d became a staff producer. He’d worked with the great and good of Stax throughout the sixties. Lately, he’d been thinking about resurrecting his solo career. His only real success had been his 1965 single Can’t See You When I Want To. That was one of the song’s that featured on his debut album Gritty, Groovin’ and Gettin’ It. Maybe it be his lucky charm?
Considering David Porter was a talented songwriter, who’d formed successful songwriting partnerships, including with Isaac Hayes, David only cowrote one track on Gritty, Groovin’ and Gettin’ It. That was Can’t See You When I Want To, which he’d penned with Ed Lee in 1965. The other seven tracks were cover versions. This included Al Dubin and Harry Warren’s I Only Have Eyes For You, Curtis Mayfield’s Just Be True and I’m A Tellin’ You, a Curtis Mayfield and Jerry Butler composition. Stevie Wonder, Paul Riser, Don Hunter and Lulu Hardaway cowrote I Don’t Know Why I Love You. Other songs included Jesse and Jo-Ann Bevlin’s Guess Who, Dee Ervin’s One Parts-Two Parts and Bobby Rogers and William Robinson’s The Way You Do The Things You Do. These eight tracks became David Porter’s long awaited debut album Gritty, Groovin’ and Gettin’ It.
Recording of Gritty, Groovin’ and Gettin’ It took place in the familiar surroundings of McLemore Avenue, Memphis. That’s where all the Stax sessions took place. It must have been like a second home to David, who’d spent many a session in the McLemore Avenue studios. Recording began on 10th September and stretched into October. With The Mar-Keys accompanying David Porter, he laid down the eight tracks that became his debut album Gritty, Groovin’ and Gettin’ It. Dale Warren and Isaac Hayes arranged the eight tracks and Isaac produced Gritty, Groovin’ and Gettin’ It. Overdubbing of strings took place on 29th December 1969, and Gritty, Groovin’ and Gettin’ It was ready for release in 1970.
Gritty, Groovin’ and Gettin’ It was released in March 1970. It reached just number 163 in the US Billboard 200 and number four in the US R&B Charts. For David, this vindicated his decision to pursue a solo career.Gritty, Groovin’ and Gettin’ It, which I’ll tell you about, was the perfect start to David Porter’s solo career?
I Only Have Eyes For You opens Gritty, Groovin’ and Gettin’ It. A familiar track, it’s given a complete makeover by producer Isaac Hayes. Just a drum, hi-hat and piano take the song in a direction it’s never been before. Soon, were on safer ground when David delivers the familiar lyrics. It veers between needy, heartfelt and sultry. Flourishes of strings, soaring harmonies and chiming guitars accompany David, his powerful, pleading vocal full of urgency and need.
There’s no let up in the emotion on Guess Who. A slow, meandering arrangement with lush quivering strings at its heart provides the backdrop for David’s tender, emotive vocal. Cooing harmonies sweep in. Just like the horns, they add to the sense of melancholia and sadness. David sincerity and longing filling his voice, can’t win over the woman he’s lost his heart to.
Chiming guitars, piano and hissing hi-hats combine as I’m a-Tellin’ You unfolds. Straight away, there’s a Stax sound. Similarities with Sam and Dave are striking, right down to David’s vocal. Horns blaze, drums pound and strings sweep and swirl. David’s gruff vocal is vampish. Soon, harmonies accompany him. They seem to spur David on. He delivers a vocal that bring to life the suffering and hardship in Jerry Butler and Curtis Mayfield’s lyrics.
Just Be True was penned by Curtis Mayfield. The lushest of strings, tender, subtle harmonies and wistful horns set the scene for David’s needy vocal. Sincerity fills his vocal as the bass helps drive the arrangement along. Bursts of woodwind and braying horns and pounding drums join punchy harmonies from Pat and Diane Lewis and Rose Williams, who’d soon become Hot Buttered Soul. Sung in a call and response style to David’s soul-baring vocal, their ethereal beauty is the finishing touch to a bewitching, beautiful and dramatic track.
A piano and ethereal, angelic harmonies open The Way You Do The Things You Do. They give way to bursts of rasping horns. That’s the signal for things to get funky and swing. Horns growl, while the piano and rhythm section drive the arrangement along. David delivers a vocal that’s feisty and sassy. As for The Mar-Keys, they add their trademark funk, while Hot Buttered Soul’s harmonies are sassy, ensuring this song where Southern Soul and funk unite, swings…and then some.
Although David had released Can’t See You When I Want To as a single back in 1965, he rerecorded the track in 1969. From the opening bars, it’s obvious that a heartbreaking, soul-baring song is unfolding. The rhythm section create a slow, sultry heartbeat, while wistful horns, piano and melancholy strings provide the backdrop for David’s lovelorn vocal. Washes of Hammond organ and tender, needy harmonies accompany him. Soon, he’s delivering what’s best described as vocal Magnus Opus. Full of sadness and emotion, his vocal is needy. He pleads his way through the lyrics to the best track on Gritty, Groovin’ and Gettin’ It, tugging on your heartstrings all the way.
One Part – Two Parts sees a real change in style. The tempo is quicker as soul, funk and gospel unite. Written by Di Fosco Ervin it’s another track that has a real Stax sound. It also allows David to kick loose. Burst of growling horns and gospel-tinged harmonies accompany The Mar-Keys’ rhythm section. They provide the arrangement’s funky heartbeat, while Steve Cropper lays down some more of trademark guitar licks. As for David, he struts his way through the lyrics handclaps and harmonies accompanying him all the way.
I Don’t Know Why I Love You closes Gritty, Groovy and Gettin’ It. A pensive, thoughtful David delivers a half-spoken vocal. A burst of drums signals David to deliver an impassioned, heartfelt vocal. Full of emotion, heartbreak and hurt are familiar friends. Horns growl, strings sweep and swirl and drums drive the arrangement along as an infatuated David says” “one day I’m goin’ to leave.” He knows that’s not going to happen. That’s just wishful thinking. It’s a case of he can’t live with her, but he can’t live without her.
Just eight songs and thirty-two minutes long, David Porter’s debut album Gritty, Groovy And Gettin’ It is a mini-musical masterpiece. From the opening bars of I Only Have Eyes For You, right through to the closing notes of I Don’t Know Why I Love You Gritty, Groovy And Gettin’ It is a beautiful, bewitching and captivating listen. Bristling with emotion, it’s an album where heartbreak and hurt almost ever-present. Full of relationship songs, women are always just out of reach for David. He seems to fall in love with the wrong women and end up getting hurt. Sometimes, it sounds as if he’s drawing on his own experiences. His vocal sounds weary and lived in, as he brings the lyrics to life. You get a sense he’s live the lyrics and survived them. David Porter it seems is a soul survivor, who was ready to record his debut album.
That David didn’t record his debut album Gritty, Groovy And Gettin’ It earlier is no bad thing. Look at the songs he recorded. Songs like I Only Have Eyes For You, Just Be True, Can’t See You When I Want To and I Don’t Know Why I Love You aren’t suited to a younger singer. They require someone whose lived a little, and isn’t just reading the lyrics. Only then can they bring out the subtleties and nuances in the lyrics. David certainly does that. His delivery veers between heartbroken, emotive, despairing, wistful, joyous and dramatic. He’s helped no end by the all-star cast of musicians and backing singers that accompanied.
With The Mar-Keys providing the backdrop for David’s vocal and the soon-to-be Hot Buttered Soul adding harmonies, some of Stax’s most talented personnel appeared on Gritty, Groovy And Gettin’ It. Then there’s David’s songwriting and production partner Isaac Hayes. Drawing on all their years of experience, David and Isaac ensured that Gritty, Groovy And Gettin’ It was well worth the wait. That’s an understatement. Gritty, Groovy And Gettin’ It, David Porter’s debut album, which was recently released by Ace Records, is a mini-musical masterpiece. Gritty, Groovy And Gettin’ It, David Porter’s debut album is the nearest thing to musical perfection that you’ll get. One listen to David Porter’s Gritty, Groovy And Gettin’ It, and you’ll realize why. Standout Tracks: I Only Have Eyes For You, Just Be True, Can’t See You When I Want To and I Don’t Know Why I Love You.
DAVID PORTER-GRITTY, GROOVIN’ AND GETTIN’ IT.
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
Many record companies have yet to discover the importance of presentation. This is especially the case with reissue labels. What they forget, is that times have changed. Consumers, because that’s what the modern day music lover is, demands much more than before. No longer are they willing to accept the obligatory plastic case which holds a CD and a track listing. That’s no longer acceptable and why should it be?
Nowadays, lengthy, lovingly compiled sleeve-notes are taken as a given. So too are bonus tracks, alternate cuts and hidden tracks. After all, a CD can hold eighty minutes music. With many albums recorded in the seventies and eighties are less than forty-minutes long, why not use that space wisely? Even better, how a about rewarding brand loyalty and occasionally, put two albums on the disc? In these economically straightened times, that would be welcomed by music lovers. All these suggestions have been taken onboard by many labels. They realize, that in an incredibly competitive marketplace, they’ve got to make their product stand out. One reissue label who have realized this and taken it onboard are Soundway Records, whose latest compilation Kenya Special-Selected East African Recordings From The 1970s and 80s is a two-disc box set which is an example of how to present a compilation in the year 2013.
Kenya Special is a two disc box set, which features thirty-two tracks recorded during the seventies and eighties. The two discs are enclosed in a sturdy, cardboard box which holds the two discs and a forty-page booklet. Unlike inferior compilations, the discs don’t rattle about the box. Instead, there’s a made-to-measure quality to it. Each disc is enclosed in what resembles the inner sleeve to an old vinyl record, with facsimiles of old record labels on each side. Then there’s Doug Paterson’s sleeve-notes. They’re lengthy, informative and in-depth. As an added bonus, there’s the story behind each track. For lovers of African music, this is Nirvana. Where Kenya Special also differs, is the music. The thirty-two tracks, spread across the two discs don’t just focus on one specific musical genre. Instead, Kenya Special draws inspiration from Ghana Special and Nigeria Special.
Just like Soundway Records previous releases, Ghana Special and Nigeria Special, Kenya Special features music that’s different and distinctive. Having said that, there’s a few classics thrown in for good measure. This includes Kikuyu guitar genre, which was popular during the fifties and sixties. So rather than focus on just one or two genres of music, Kenya Special is a truly eclectic, genre-sprawling collection of Kenyan music recorded in the seventies and eighties. Before I pick some of the highlights of Kenya Special, I’ll tell you about the background to the music on Kenya Special.
Way before the seventies and eighties, the period the music on Kenya Special covers, Kenya had established a reputation as a country with a truly diverse musical heritage. Among the most popular genres were a variety of finger-picking guitar styles. This ranged from solo artists, right through to duos and groups. Among the groups were the Jambo Boys Band, who later, became the Equator Sound Band. The finger-picking guitar style wasn’t just a Kenyan style. It was popular in other parts of East Africa, with a similar style of music being heard in the Congo. However, within the finger-picking guitar style, different styles of music emerged.
Finger-picking guitarists were versatile and could adapt to different styles of music. One of the styles popular during the sixties was twist. Inspired in part by the American song and dance craze, it was an upbeat, spirited style with two-part harmonies that married the South African kwela beat with a wemeoweh rhythm. The King of the Kenyan twist was Mr. Zenze, who over fifty years later, is still twisting away. By the end of the sixties, Kenyan music was beginning to change. No longer was finger-picking guitar style as popular. Similarly, the twist had long lost its popularity. Now was the age of the rumba, whose popularity had spread from the Congo and Tanzania.
With rumba growing in popularity, it started to spread into the provinces, where it recorded in local dialects. Challenging the rumba’s popularity, was benga, which is the Kenyan contribution to African pop music. Its origins can be traced to Luo musicians who were playing in the area around Lake Victoria, which is in the west of Kenya. One of its most famous exponent was D.O. Misiani, a guitarist and bandleader. Having played with other bands, he formed several bands. Among them were Luo Sweet Voice, D.O. Shirati Jazz and the D.O.7. Band. An early exponent of this new musical genre, he helped became popularize this nascent musical genre. Soon, benga was providing the soundtrack to much of Kenya, with its unmistakable sound.
Early on, benga, like many musical genres, had a “trademark” sound and structure. The arrangement was understated at the start, before the rhythm section started to get busy. Syncopated rhythms, which featured the bass, guitar and snare drum are joined by the traditional Luo melody. Just like the twist during the sixties, it featured a two-part harmony. This formed the basis for benga music which through time, began to evolve and sub-genres were formed.
Like many musical genres, different sub-genres of benga evolved. Listen carefully, and you’ll realize that the melodies differ between the various tribes or communities. What this means, is that Kamba and Kikuyu tribes have very different sounds. Both are from the Bantu ethnic group, but speak different versions of the Bantu language. Similarly, their benga melodies are different. So Kamba benga and Kikuyu benga evolved during the seventies and was combined with the music imported from the West.
With everything from soul, funk, R&B, rock, and disco being imported into Kenya, these disparate musical genres and influences would integrate with Kenyan benga. Artists and bands throughout Kenya played their variation on benga. The lucky few artists and groups headed into the recording studio to lay down new benga tracks. They couldn’t help but be influenced by the music that surrounded them. Whether it was traditional Kenyan music or the music imported from Europe and America it was bound to effect the variations of benga being played and recorded. Some of these recordings sold well, others disappeared without trace.
Back in the seventies, there was a real singles culture in Kenya. The 45 was alive and well. Albums were few and far between. Artists could head into a recording studio, lay down a track and have just fifty copies of a single pressed. That was the minimum amount. Other artists would’ve five or ten thousand copies of a single pressed. They’d sell every last copy as well. Proof of this is The Lulus Band’s Nana, which over a period of several years, sold over ten-thousand copies. It’s just one of the thirty-two tracks which feature on Kenya Special, which I’ll pick the highlights of.
DISC ONE.
Disc One of Kenya Special features sixteen tracks from The Loi-Toki-Tok, Rift Valley Brothers, The Lulus Band, Orchestre Vévé Star, Orchestre Baba National and Afro 70. Recorded during the seventies and eighties, these sixteen tracks demonstrate that begra is a broad musical church. Sub-genres sprung up, as different regions of Kenya gave benga their own musical twist. This included incorporating the latest musical fashions that had been imported from America, Britain and Europe into benga. All this plays a part in sixteen intriguing and compelling tracks, which I’ll pick my five favorites.
Opening Disc One of Kenya Special is The Loi-Toki-Tok’s Leta Ngoma. It was released around 1972 and was one of the first releases on the Pathe East label. A fusion of influences and genres, chiming Cream influenced guitars forces with chants and glorious tribal rhythms. They’re then incorporated into a big band style. Wah-wah guitars, choppy vocals, chants, rasping horns and scorching guitars unite on a track that’s neither benga nor rumba. Instead, a fusion of Afro-beat and rock result in a slice of East African Afro-Rock.
The Lulus Band are the only group to feature three times on Kenya Special. No wonder. They’re the tightest and funkiest of bands. There two contributions to Disc One are Nana and uber funky Ngwendeire Guita. Released in 1977 on Kiriyaga Records, The Lulus Band lock into the tightest of funky grooves. Propelled along by the tight rhythm section, chiming guitars and hissing hi-hats join a joyous vocal where the singer sings of his love for a woman called “Sussy.” Fabulously funk and soulful, this is one of the highlights of Kenya Special.
Mention the name Simon Kihara in African music circles, and people will talk of one of the legendary figures in Kenyan music. His career began in the mid-seventies, when he was a member of the Undugu Beat Band. Soon, Simon’s reputation grew. By the early eighties, he was a songwriter and penned the Mbiri Young Stars’ Ndiri Ndanogio Niwe. It was released in the early-eighties on Kiru Brothers Sound Records. Bursting into life, the rhythm section and searing guitars licks are augmented by percussion. The vocal, is heartfelt, emotive and tinged with sadness, at a woman who will forever, remain out of reach. Despite this, the song has a bouncy, upbeat arrangement where funk, soul, Afro-beat combine to create a delicious dance track.
D.O. Misiani is one of Kenya’s best guitarists and bandleaders, who was an early exponent of benga. He helped popularize this new musical genre. One of his bands was the D.O.7. Band who released H.O. Ongili around 1977. It featured on a Pathe compilation Kenya Partout Volume 1. It’s a track where he can showcase both his songwriting skills and his guitar playing. One compliments the other. His guitar playing is understated, but seems to reinforce the power and poignancy of his lyrics, which were a searing inditement on Kenya’s problems. One of the earliest exponents of benga, D.O. Misiani is quite simply, one of Kenya’s most talented singer, songwriter and musicians.
My final choice from Disc One of Kenya Special is Nashil Pichen and The Eagles’ Lupopo’s Ng’ong’a Wa Mwanjalo. Released between 1972 and 1973 on African Eagles Recording and written by Nashil Pichen, a true legend of East African music. He wasn’t born in Kenya. Instead, he was born in Zambia and then moved to Kenya where he spent much of his life. A virtuoso guitarist, he lays down some of his trademark licks on this track. Accompanied by The Eagles, they provide the perfect foil for Nashil Pichen who delivers the lyrics in Kuba-Kasai, a Congolese dialect.
Apart from the five tracks I’ve mentioned on Disc One of Kenya Special, other tracks deserve honorable mentions. Among them are the funk of The Rift Valley Brothers’ Mu Africa and the irresistible sound of The Mombasa Vikings’ Mama Matotoya. A driving slice of funky music, with anthemic, soulful lyrics, it’s a delicious musical stew. Uber funky, The Mombasa Vikings lock into the tightest and funkiest of grooves. Then there’s Hafusa Abasi and Slim Ali With The Yahoos Band’s Sina Raha a melodic and emotive track, rich in influences. A chakacha rhythm, Swahili lyrics and taraab music are thrown into the melting pot and given a stir. Out comes a delicious musical dish. Finally, there’s the New Gatanga Sound’s Thoni Na Caki. The only way to describe the music is a slice of musical sunshine, with some blistering guitars licks and joyous vocals.
Overall, the quality on Disc One of Kenya Special never drops. From the first track to last, it’s quality all the way. Talented musicians playing the music they love and are passionate about, music doesn’t get better than this. It’s music for the head, the heart and feet. Cerebral, soulful and music to dance to describes the music on Disc One of Kenya Special. Rumba and benga feature on the sixteen tracks, some of which were influenced by disco, funk, R&B, rock and soul. The music on Disc One Kenya Special is eclectic, compelling and just a tantalising taste of the music still awaiting discovery in Kenya.
DISC TWO.
Following on from Disc One of Kenya Special, Disc Two features a further sixteen tracks. Again, they show the different styles of Kenyan music that were popular during the seventies and eighties. Benga was the most popular musical genre, and spawned numerous sub-genres. They differed between regions and tribes. Then there was the external musical influences that can be heard throughout some of the tracks. Disco, funk, rock and soul influence the sixteen tracks on Disc Two of Kenyan Special, which I’ll pick the highlights of.
On Disc Two of Kenya Special, just like Disc One, the quality is consistent throughout the disc. We meet some old friends from Disc One. This includes The Lulus Band, The Loi-Toki-Tok, Gatanga Boys Band, The Mombasa Vikings and Afro 70. That’s no bad thing, as they’re responsible for some of the best music on Disc Two. However, as we’ve already met some of them before, we’ll meet some of the other artists on Disc Two.
This includes Sophia Ben and The Eagles Lupopo. Released around 1973, on African Eagles Recording, this is a track inspired by traditional Kenyan folk music. It’s an opportunity to hear Sophia Ben, who was one of the best soloists in Kenyan music. Fluent in various languages, she delivers the lyrics in various regional dialects. As for The Eagles Lupopo, they provide against an arrangement that’s an urgent, dramatic and spiritual call to dance.
Orchestre Super Volcano’s Mngeni Mali Yare Yore is a glorious collage of musical genres and influences. Released on Polydor East Africa, African and Western music unites. Funk, jazz and soul combine with Swahili and Tanzanian rumba. The vocals are sung in a call and response rumba style. Meanwhile horns blaze and intricate guitars weave their way across the arrangement, while the vocal and harmonies drive each other to greater heights of emotion, passion and sincerity.
The Famous Nyahururu Boys’ Mwendwa has an understated sound. Released circa 1980 on Oscar Production Records, just a crystalline guitar wanders across the arrangement. The rhythm section and percussion provide a subtle backdrop before the vocal is sung in a call and response style. The tender, needy sound of the harmonies provide a contrast to the lead vocal. A quite beautiful, soul-baring song, it’s one of the highlights of Disc Two.
Nairobi Matata Jazz comprised some of the top musicians in East Africa. They were one of the hottest bands of the seventies. Tamba Tamba was one of the singles they released on Diploma Records. It gave them one of the biggest hits of their career. One listen and you realize why. A fusion of jazz, funk, soul and benga, a pounding rhythm section and hissing hi-hats provide the pulsating heartbeat. The vocal is sung in a call and response style. When it drops out, it’s replaced with some machine gun guitar licks which propel the arrangement along to a dance-floor friendly, funky crescendo.
The final track from Disc Two of Kenya Special I’ve chosen is from Afro 70, who have three tracks on Kenya Special. That’s no surprise, given their indisputable talent. Weekend was released in 1972, on Moto Moto Records. It’s one of these tracks that, once you’ve heard it, you can’t get it out of your head. It works its way into your consciousness. Meandering guitars, percussion and lazy, languid vocals it’s a hook-laden slice of musical sunshine.
While I’ve only chosen five tracks from Disc Two of Kenya Special, I could’ve just as easily have picked a number of other tracks. Among them are Kalambya Boys’ Kivelenge, The Eagles Lupopo’s Pelekani, Ndalani 77 Brothers’ Nzaumi and Afro 70’s Afrousa (Move On). This demonstrates the consistency of the music on Disc Two of Kenya Special. Sixteen tracks which demonstrate the strength in depth of Kenyan music during the seventies and eighties. This was something of a golden age for Kenyan music.
Throughout the seventies and eighties, across the length and breadth of Kenya, in the various regions, artists and bands were producing new and innovative music. Recorded in various dialects, this was music that was funky, soulful and dance-floor friendly. It was music that provided a showcase for Kenyan music, benga and rumba in particular.
Benga and rumba were influenced by the music of Kenya’s neighbors Congo and Tanzania. It was also influenced by Western music, including disco, jazz, funk, soul, R&B and rock. Influenced by an eclectic and disparate selection of musical genres and influences, not only did the music that features on Kenya Special provide the soundtrack to much of Eastern Africa, but made stars out of many of the artists on the compilation. Selling ten-thousand or more copies, many of the artists on Kenya Special became legends of Kenyan music. Revered not just in Kenya, but much further afield are Simon Kihara, D.O. Misiani, Nashil Pichen and Sophia Ben, true legends of the Kenyan music scene. They’re responsible for some of the innovative, influential and timeless music that features on Kenya Special, the latest compilation from Soundway Records. Standout Tracks: The Lulus Band Ngwendeire Guita, D.O.7. Band H.O. Ongili, Orchestre Super Volcano Mngeni Mali Yare Yore and The Famous Nyahururu Boys Mwendwa.
KENYA SPECIAL-SELECTED EAST AFRICAN RECORDINGS FROM THE 1970S AND 80S.
FUNK GLOBO: THE SOUND OF NEO BAILE.
FUNK GLOBO: THE SOUND OF NEO BAILE.
Over the last few years, Mr. Bongo Records have established a reputation as a progressive, forward thinking label. Releasing everything from African, Brazilian, jazz, Latin and reggae music, eclectic describes the music the Brighton-based label releases. The latest offering from Mr. Bongo Records, is Funk Globo: The Sound Of Neo Baile, where traditional Brazilian Baile Funk is reinvented by a new generation of producers and DJs to create a new musical genre, Neo Baile Funk. They fuse electronic music and Baile Funk, injecting new life, meaning and energy into the music of the past. In doing so, they create the music of the future, which I’ll tell you about.
Funk Globo: The Sound Of Neo Baile is a fifteen track compilation, featuring innovative, inventive and imaginative takes on traditional Brazilian Baile Funk, or as some people refer to it, Funk Carioca. DJs and producers combine electronic music and Baile Funk on these tracks. This new musical genre became known as Neo Baile Funk.Of the fifteen Neo Baile Funk tracks, fourteen of the tracks are either new or unreleased. Never before have they appeared on any album or compilation. That is..until now, when Sean Casey and Renato Martins decided to include them on Funk Globo: The Sound Of Neo Baile.
The men behind Funk Globo: The Sound Of Neo Baile are two of the genre’s guardians, based nearly six-thousand miles apart. Funk na Caixa, whose better known as Renato Martins, is based in Sao Paulo and is credited with coining the term Neo Baile Funk to describe this new musical genre. Renato has producer the Sapabonde Crew and is something of a talent spotter, producing up-and-coming producers including Leo Justl and Opher.
As for Bumps, a.k.a. Sean Casey, he’s based in London, where he founded Club Popozuda in 2009. Sean brings some of the best global bass DJs to Club Popozuda, which has become known for Baile Funk and Neo Baile Funk. Just like Renato, Sean has played a huge part in the rise and rise of Neo Baile Funk. Both men have been musical evangelists, singing the praise of this new and innovative musical genre, Neo Baile Funk. Continually, they’ve tried to bring Neo Baile Funk to a wider audience. This includes running events in Britain, Brazil, France and Germany. To try and reach the widest audience possible, Renato and Sean decided to release a compilation Funk Globo: The Sound Of Neo Baile.
For their new compilation, Sean and Renato scoured the globe looking for groundbreaking music. The reason for this, is that it’s not just in Brazil where Neo Baile Funk is produced. No. It’s now a worldwide phenomenon. That’s thanks to a website which showcased this new musical genre, Neo Baile Funk.
Funk na Caixa was founded back in 2010. Since then, it’s hugely important in the development of Neo Baile Funk. Producers worldwide, were asked submit their new tracks to the website. If the tracks are played, a worldwide audience will hear their productions. So far, fifty tracks have been released by Funk na Caixa. Then there’s regular podcasts and a documentary called Funk Ostentacao about Sao Paulo’s Neo Baile Funk scene. With Funk na Caixa helping Neo Baile Funk becoming a worldwide phenomenon, Renato and Sean had plenty of producers and DJs to choose from when compiling Funk Globo: The Sound Of Neo Baile.
No longer just a Brazilian scene, Neo Baile Funk through the aegis of internet sites like Funk na Caixa, had spread across the world. Producers were spread far and wide. So Funk Globo: The Sound Of Neo Baile is a trans-global compilation. Renato and Sean chose fourteen tracks produced by DJs and producers within and out-with Brazil. Of these fourteen tracks, I’ll pick what I consider the highlights from Funk Globo: The Sound Of Neo Bail.
It’s no surprise that Brazil is well represented on Funk Globo: The Sound Of Neo Baile. After all, Neo Baile Funk is a Brazilian phenomenon. Maga Bo is one of the highest profile Brazilian Neo Bail Funk producers. His contribution is Balanco Da Canoa, which Bumps remixed. It’s best described as a genre-melting, innovative track, with surprises aplenty in-store for the listeners. Another Rio based producer is La Bombacion whose Baile Funk features Tecou. An intriguing collaboration where disparate influence and genres become one, La Bombacion is a producer who hopefully, we’ll hear more of.
DJ Comrade’s Xão Trap, a track from his 2012 album Favela Trap. Released late in 2012, Favela Trap was a truly influential album, which spread the Neo Baile Funk gospel further than before. No wonder. It’s like musical revolution unfolding before you. Everything from hip, hop, broken beat, Acid House, drum ‘n’ bass, trip hop and experimental music is thrown in the mix. Sinister samples, sirens and washes of synths join drums in encouraging the Neo Baile Funk army to march along. Sinister chants, haunting samples, scratches, broken beat drums and sudden changes in tempo play their part in this complex, multilayered track. With every listen, a nuance or subtly reveals itself.
Two Sao Paulo producers feature on Funk Globo: The Sound Of Neo Baile. Guto De Almeida conributes the opening track Vai Danada, which features MC Wa. A musical melting pot, everything from deep, funky and Acid House combine with electronica, funk and hip hop. Hypnotic, mesmeric and funky describes this track. Another Sao Paolo producer is MC Gi, one of the veterans of Neo Baile Funk scene. He’s been producing music since the new millennia dawned. So, his music precedes Neo Baile Funk. The Carlos Nuñez Remix of Chega Mais is a much more dance-floor friendly track. It’s a musical journey that veers between trippy, robotic and bass-shaking, encompassing house, trance, funk and broken beat. When all this is combined, it gives the track an anthemic, big room sound.
Having mentioned five Brazilian producers, another five producers prove that Neo Baile Funk is no longer a Brazilian phenomenon. Not at all. Thanks to the internet and evangelists like Renato and Sean, Neo Baile Funk is played and produced worldwide. From Africa to Eastern and Western Europe, right though to England, new Neo Baile Funk tracks are produced daily. Proof of this can be found on Funk Globo: The Sound Of Neo Baile.
Moscow-based Chuck Upbeat contributed Cicadas’ Dance to Funk Globo: The Sound Of Neo Baile. Dramatic, sinister and sultry are words that describe a musical collage that’s reminiscent of Visage’s Fade To Grey. Scratches, samples, hissing hi-hi-hats and hollers combine to create a track where new wave, electronica and hip hop create a track that’s infectiously catchy, but also dark and dramatic.
Similarly, dark and dramatic is Ophex’s Gostoso. The Lithuanian producer draws inspiration from an eclectic selection of influences, he digs deep and throws vintage hip hop, samba, funk, Neo Baile and electronica into the musical melting pot. Sirens, synths, samples and screams are combined with urgent chants as this compelling track unfolds at breakneck speed.
Ckrono and Slesh are an Italian production team. Their contribution is A Patricinha, which briefly, reminds me of the Flying Lizards, albeit with pounding drums and sci-fi vocals. Robotic and hypnotic the track is, but it’s also full of surprises. A myriad of percussion and bursts of whistles remind you of carnival time in Rio. As the arrangement sashays along, hips sway and booties shake on what is the best track on Funk Globo: The Sound Of Neo Baile. Quite simply, this track lays down the gauntlet, daring you not to dance.
Probably the most far flung contributor to Funk Globo: The Sound Of Neo Baile, is Gato Preto from Mozambique. Saca Me Desse Banzé is another delicious fusion of genres and influences. Propelled along by a myriad of percussion and joyous vocals, African and Brazilian music meet head on. Uplifting, it’s music guaranteed to fill any dance-floor. Old school synths add an electronic influence, before hip hop and drum ‘n’ bass influences join the party. Meanwhile, there’s a sense of urgency to the vocal. Then snatches of sinister samples, pounding drums and bursts of whistles play their part in a track where the music of three continents unites.
Fittingly, my final choice from Funk Globo: The Sound Of Neo Baile is from Bumps a.k.a. Sean Casey, who is one of the compilers. Bumporzão has a big room, anthemic sound. Bursting into life is a genre-sprawling track. Trance influenced synths are at the heart of a track. Then everything from hip hop, moombahton, broken beat, drum ‘n’ bass and house music is combined with samples, sound effects and a seemingly never-ending supply of energy.
Featuring fourteen new tracks, plus Deize Tigrona’s Prostituto, which features Jaloo, Funk Globo: The Sound Of Neo Baile is the perfect primer to Neo Baile Funk. It’s Brazil’s last musical success story. What is one Brazil’s newest musical genres, is well on its way to becoming a musical phenomenon. Neo Baile Funk has reached as far afield as Mozambique, Moscow, Lithuanian, Italy, France and England. Soon, this genre-melting music will reach the four corners of the globe. This is thanks to a group of innovative producers who are like Shaman, casting a musical spell over their listeners.
With a totally unique style, musical genres and influences melt into one lysergic haze on Funk Globo: The Sound Of Neo Baile. Everything from Acid House, Afrobeat, broken beat, deep house, drum ‘n’ bass, funk, funky house, hip hop, house, Latin, Moombahton, Neo Baile, samba, soul, trance and trip hop is thrown into a bubbling musical melting pot. So too are snatches of haunting samples, snare drums, scratches, squelchy synths and sinister chants. Then there’s hissing hi-hats, loops, 808 kick drums and the unmistakable sound of the Roland TR-303. It’s then given a stir by an innovative producer and hey presto, music that veers between trippy, robot, hypnotic, mesmeric and lysgeric, to bass shaking, hip swaying and booty shaking.
Multilayered, complex, dramatic and dark, just as quickly, it can become uplifting, anthemic and hands in the air music. Intriguing and enigmatic describes Neo Baile Funk. This is music that’s full of subtleties, surprises and nuances. Producers throw a series of curveballs, just to keep the listener on their toes. Best to expect the unexpected. Anything and everything is possible. Rule nothing in and nothing out seems to be the producer’s mindset. This means Funk Globo: The Sound Of Neo Baile is the equivalent to a lysergic, genre-sprawling, magical, mystical musical mystery tour, where no sat-nav is required.
FUNK GLOBO: THE SOUND OF NEO BAILE.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
Two years in the making, Sly and The Family Stone released There’s A Riot Goin’ On was released in November 1971. It was the followup to 1969s Stand, Sly and The Family Stone’s fourth album. Released to critical acclaim, Stand was Sly and The Family Stone’s breakthrough album. Reaching number thirteen in the US Billboard 200 and number three in the US R&B Charts, Stand was Sly and The Family Stone’s most successful album. That was, until the release of There’s A Riot Goin’ On, which will be rereleased by Get On Down on 30th July 2013. A psychedelic, genre-melting album full of biting social comment, There’s A Riot Goin’ On was instantly hailed a classic album. That’s despite the turmoil that surrounded a band lead by the charismatic Sly Stone.
Ever since the release of Stand, chaos and controversy had surrounded one of the most flamboyant bandleaders of the sixties and the seventies, Sly Stone. There were tales of large scale drug usage, possible changes in personnel and involvement with gangsters and The Black Panthers. Then there’s the infamous violin full of drugs which allegedly, accompanied Sly Stone everywhere. That There’s A Riot Goin’ On ever got made is a musical miracle. During the two years Sly and The Family Stone spent making There’s A Riot Goin’ On, much had changed in the world of Sly and The Family Stone. Society had also changed, and There’s A Riot Goin’ On, which I’ll tell you about, would reflect these changes.
While Stand had been Sly and The Family Stone’s most successful album, it was their fourth album. A Whole New Thing, their 1967 debut album, failed to chart. Things improved with their sophomore album 1968s Dance To The Music. Spurred on by the anthemic title-track, it reached number 142 in the US R&B Charts and number eleven in the US R&B Charts. Life which was released later in 1968, received encouraging reviews, but stalled at number 195 in the US R&B Charts. Then came Stand. Released in 1969 to critical acclaim and commercial success, Stand kick-started the career of Sly and The Family Stone.
Following Stand, Sly and The Family Stone were one of the stars of Woodstock. Their early morning set on 17th August 1969, was one of the highlights of Woodstock. This further cemented their huge popularity. After Woodstock, CBS, their record company were desperate for a new album. No wonder. Sly and The Family Stone’s profile was at an all time high. Deadlines for a new album were set, and deadlines missed. For CBS, this was frustrating. They were desperate for a new album. Realizing a new album wasn’t going to be imminent, a Greatest Hits album was released in 1970.
Featuring three new songs, Greatest Hits reached number two in the US Billboard and number one in the US R&B Charts. Certified gold, Greatest Hits surpassed the success of Stand. Greatest Hits is held in such high regard, that it was included in the Rolling Stone magazine list of the 500 greatest albums of all time. By releasing their Greatest Hits album, Stand, Sly and The Family Stone had bought some time. All wasn’t well within Stand, Sly and The Family Stone.
At this time, relationships within the band were at an all time low, especially among The Stone brothers Sly and Freddie, and bassist Larry Graham. Tense doesn’t come close to describe their relationship. Ironically, Larry’s bass playing would be crucial to the success of what became There’s A Riot Goin’ On. It provided the heartbeat to the album. Sadly, the tension between the band members wasn’t the only problem surrounding Sly and The Family Stone.
A huge problem was that drug use was rife within the band. Stories emerged that Sly Stone allegedly, carried a violin case full of drugs everywhere the band went. Drug use had worsened when the band had relocated to California. PCP and cocaine were now the drugs of choice for the band. This started to affect the recoding schedule and tours. Sly’s moods changed One minute he was upbeat and happy, then suddenly he was moody. His behavior started to become erratic. Between concerts, it was reported that he spent much of his time taking drugs. For a band who’d just enjoyed two hugely successful albums, Sly and The Family Stone were shooting themselves in their foot at every turn. Controversy then arose when Sly Stone became friendly with The Black Panthers.
Adding to the controversy surrounding Sly Stone, was his newfound relationship with The Black Panthers. This was said to be affecting the band’s music. They wanted the band’s music to be more militant, both in style, lyrically and musically. The Black Panthers also felt that Sly and The Family Stone should reflect the movement’s beliefs. Even more controversial was that The Panthers wanted Sly to fire the two white instrumentalists Greg Errico and Jerry Martini. Their replacements, The Panthers said, should be black musicians. Their final request, was that manager David Kapralik be sacked. Replacing him, should be a black manager who would represent the group. Soon, politics were the least of Sly’s problems. Sly was involved with gangsters.
Adding to all these problems was Sly Stone’s decision to hire gangsters to manage his affairs, protect him and source him drugs. Add to that band members leaving, and this was a tumultuous time for the band. Drummer Greg Errico decided to leave the band. This was the backdrop for the recording of new album in 1970 and 1971. Sly and The Family Stone were up against it when recording of There’s A Riot Goin’ On began.
Recording of There’s A Riot Goin’ On took place between 1970 and 1971 at the Record Plant, Sausalito. Sly and The Family Stone recorded twelve songs penned by Sly Stone. The rhythm section included bassist Larry Graham, guitarist Freddie Stone and drummers Greg Errico and Gerry Gibson. Ike Turner and Ike Turner contributed guitars, Billy Preston keyboards, Cynthia Robinson trumpet and Jerry Martini tenor saxophone. Rose and Little Sister added backing vocals, while Sly played drums, synths, guitar, bass, keyboards and programmed drums and keyboards. Sly’s other roles were that of arranger and producer. Eventually, amidst rancour, tension and a haze of drugs, a genre-melting album was recorded. There’s A Riot Goin’ On was a delicious fusion of funk, soul, rock, psychedelia and jazz. Ironically, There’s A Riot Goin’ On wasn’t immediately recognized as a stonewall classic.
On the release of There’s A Riot Goin’ On, opinion was divided amongst critics. Some hailed the album a masterpiece, others weren’t won over by the change of sound and style. Produced by Sly Stone, There’s A Riot Goin’ On was the result of long sessions where Sly spent honing the album’s sound. This involved lengthy overdubbing sessions, which gave the album its multilayered sound. The music had a darker, harder edge than the soulful Stand. Gone was the optimism of previous albums. Pessimistic, even nihilistic describes some of the music, which describes a world that’s gone wrong. In reality, this was more a description of Sly and The Family Stone. Despite critics and fans’ opinions being divided, There’s A Riot Goin’ On was a huge commercial success.
There’s A Riot Goin’ On was also released in November 1971, reaching number one in the US Billboard 200 and US R&B Charts. Originally certified gold in November 1972, There’s A Riot Goin’ On was then released platinum. Family Affair was the lead single from There’s A Riot Goin’ On. Released in November 1971, it reached number one in the US Billboard 100 and number three in the US R&B Charts and was certified gold. Runnin Away’ was released as a single in February 1972. It reached number twenty-three in the US Billboard 100 and number fifteen in the US R&B Charts. You Caught Me Smilin’ was released in April 1972, but reached just number forty-two in the US Billboard Charts. Despite the turmoil surrounding Sly and The Family Stone, they’d produced the greatest album of their five album and four year career, which I’ll now tell you about.
Opening There’s A Riot Goin’ On opens is Luv “N’ Haight. Straight away, the change in sound is apparent. It’s a much heavier, darker, and fantastically funky. An uber funky bass line grabs your attention. It’s joined by wah-wah guitars, jangling piano, rasping horns and pounding drums. They accompany Sly’s languid, lazy vocal, as he describes the euphoric feeling you get when you take certain drugs. Harmonies soar dramatically, accompanying Sly, before Rose Stone delivers a vocal powerhouse. As they share the vocal, Sly’s vocal sounds ad-libbed, as he howls and screams. Meanwhile the rest of the band create a complex, multilayered potent fusion of funk, psychedelia, soul and rock. This influential musical melting pot marks the sixties death and the birth of the seventies and influenced the sound of the Ohio Players, George Clinton and Funkadelic.
Just Like A Baby is a complete contrast to the opening track. It’s much more mellow and laid-back track. From the get-go, this is apparent. Chiming guitars, a wandering rhythm section and keyboards accompany to Sly’s wistful vocal on this song about relationships. It’s quieter, much more controlled. No longer is he prone to the frenzied exertions of Luv “N’ Haight. Likewise, the arrangement is much more laid back, their playing looser and more relaxed. This suits Sly’s languid vocal, as he ad-libs his way across a song that’s mellow, laid-back and quite beautiful.
A wah wah guitar, piano and the rhythm section open Poet. Next comes Sly’s slow assured vocal. It’s loud and strong, as he sings: “my only weapon is my singing…a songwriter, poet.” Soon, you get the feeling that Sly’s about to cut loose.That, never happens. He manages to restrain himself. What you notice immediately, is the robotic drums that accompany Sly. They have a slightly dated sound, as they slowly play. The sound it produces is totally unlike the drum sound Greg Errico would’ve produced. Around Sly, a lovely warm, funky arrangement is emerging, thanks to the rhythm section and keyboard. Then just as you’re getting into the groove, loosing yourself, the song ends way too soon, a tantalizing taste of what might have been.
Probably the best known track on There’s A Riot Goin’ On is Family Affair, three seminal minutes of music. The introduction is unmistakable, with the rhythm section and electric piano accompanying Rose’s heartfelt vocal. By now, you’re entranced. Rose and Sly spend the next three minutes, singing about the problems of family life. Behind them, the electric piano is at the centre of the arrangement. It adds a warmth, while the rhythm section adds the heartbeat. That’s not forgetting some virtuoso guitar licks. Together with Rose and Sly’s contribution, and the result is not just an anthemic track, but a true classic that’s one of the best songs Sly Stone’s penned.
Africa Talks To You “The Asphalt Jungle” was nearly the title of the album. It’s totally unlike the previous track. Instead, it has more in common with Luv “N’ Haight and Poet. The lyrics are looser. They don’t have a traditional structure. Again, they seem ad-libbed, when they emerge from the midst of the arrangement. When they do, Sly is like the Pied Piper, the rest of band following in his wake, adding a soulful accompaniment. He whoops and hollers his way through the track. The arrangement also has a looser, jazzy structure, but is an epic fusion of funk, jazz, rock and psychedelia lasting nearly nine minutes. This is what I’d have liked to have seen Poet become. Here, the bass, guitars and keyboards play important roles in a deep, claustrophobic and multilayered track that’s jazz-tinged, soulful and funky.
The opening bars to Brave and Strong sound as if they could be closely related to Family Affair. It’s the drum sound that leads me to make this comparison. Quickly bass and brass section combine, Sly vamps, hollering and whooping. Horns growl, responding to his call. Washes of Hammond and scorching guitars join the horns and add to the drama. His voice veers between soaring and growling, to a much clearer, stronger vocal. Occasionally, you can hear the results of his overdubbing and rerecording during the track. This doesn’t detract from a deliciously, funky track that swings along, leaving a trail of magnificent melodies and rhythms in its wake.
(You Caught Me) Smillin’ has a lovely laid-back, feel-good sound. That comes courtesy of the rhythm section and keyboards. Harmonies sweep in, helping provided a melodic, relaxed vibe. Having set the seen for Sly, his vocal veers between lazy and languid to a rasping, growl. When this happens, the brass section join the arrangement. They help drives the arrangement along and sometimes, provide musical punctuation. This also helps fill the sound out. Melodic, mellow and hook-laden, it’s no wonder this track was released as a single.
Blues music influences Time, a track that explore philosophical themes. A Hammond organ adds a bluesy sound. Meandering along, it’s joined by a darker guitar sound. In the background the bass throbs, drums provide the heartbeat and Sly sings. His voice is quieter, before soaring, becoming a gravelly growl. Later, a wah wah guitar contributes towards the psychedelic, spacey sound that’s emerged. Then just as you’re starting to enjoy this glorious fusion of fusion of musical genres, it’s suddenly over. However, it’s brilliant while it lasts.
A heavy, dirty, funky bass combines with a keyboard and drums as Spaced Cowboy begins. For a while it’s an understated, intriguing instrumental jam with sounds emerging beautifully from the arrangement. When Sly sings, he decides to yodel, as he takes on the roll of the Spaced Cowboy. Accompanied by the rhythm section, scorching guitars and keyboards, harmonies accompany Sly. What follows is a leftfield track, laden with Monty Python-esque surreal humor. Best described as a musical collage where funk, country, psychedelia and rock meet head on, it’s an intriguing track.
Runnin’ Away sees Rose Stone take over lead vocal duties of what is a pop-soul track. It’s also one of the best tracks on the album. A tenor saxophone accompanies her vocal, playing above her vocal. Behind her, drums are prominent in the mix, the bass is still funky, and a chiming guitar plays some sweet licks. Overall, the stars of the track are Rose Stone for her vocal, and Jerry Martini for providing his rasping tenor saxophone.
There’s A Riot Goin’ On closes with Thank You For Talkin’ To Me Africa, a track that’s a response to the earlier track, Africa Talks To You “The Asphalt Jungle” There’s A Riot Goin’ On. Like that track, this is another epic slice of funk, which sees Sly’s lyrics exploring hedonistic themes. The sound is dark, bass heavy and has a much looser feel and sound. Sounds emerge from the mix. Guitars chime, drums pound and occasionally, stabs of keyboards escape from the mix. Mostly, but it’s the dark, throbbing bass that drives the track along. Sly’s vocal is much looser, augmented by harmonies. Rose sometimes can be heard. Mainly, it’s Sly, his vocal often soaring, leading to that familiar, raspy growl. This looser, much more freeform style allows the band to experiment, a song to develop, and usually, like here, a great track emerges.
Although There’s A Riot Goin’ On took two years to make, it was worth every minute of that long wait. Against insurmountable odds, Sly and The Family Stone recorded the greatest album of their career. Somehow, they overcame influence of drugs, gangsters and The Black Panthers. There was internecine warfare between members of the band. This lead to drummer Greg Errico leaving the band. Up against it, Sly and The Family Stone dug deep. Fusing blues, funk, jazz, pop, psychedelia and rock musical genres and influences combine. Influenced by Miles Davis, Jimi Hendrix, John Coltrane, Muddy Waters, Sun Ra and The Beach Boys, Sly and The Family Stone recorded an eleven-song opus There’s A Riot Goin’ On.
Surrounded by a group of hugely talented musicians, they provided the genre-melting backdrop to his vocals. Veering between languid and lazy, to a rasping, grizzly, growl, sometimes his vocal is slightly muffled. Despite this, charisma oozes out of Sly Stone, the proverbial showman. A flamboyant showman, he was lead singer, multi-instrumentalist and producer.
Produced by Sly Stone, he used multitrack recording to its fullest. Like a 20th century shaman, Sly locked himself in the studio and began work on his masterpiece. He recorded layer upon layer of music during long nights spent recording. Often he was on his own. This meant he’d no-one to challenge his decisions and authority. A perfectionist, much of the music was rerecorded. Overdubbing was used widely. Although it adds to depth and density to the music, it can detract from the sound quality. On There’s A Riot Goin’ On it adds to the album’s depth, darkness, charm and success.
Certified platinum, and featuring the dual number one single Family Affair, which was certified gold, There’s A Riot Goin’ On was their fifth album, and an album that wouldn’t be better. That’s why it’s included in the Rolling Stone magazine’s list of the 500 best albums of all time. Sly and The Family Stone had recorded a stonewall classic. Up against unsurmountable odds, somehow, Sly pulled off the impossible and delivered an album that he’d never better.
Despite releasing six further album Sly and The Family Stone never replicated the commercial success and critical acclaim of There’s A Riot Goin’ On. 1973s Fresh reached number seven in the US Billboard 200 and number one in the US R&B Charts. Following Fresh, each Sly and The Family Stone album sold fewer and fewer copies. Given the combined talents of Sly and The Family Stone, that’s hugely disappointing. The problems surrounding Sly Stone, the group’s leader and songwriter, lead to the group’s demise. His life became increasingly chaotic. Drugs were Sly’s downfall. Key members left the band. Gradually, the quality of music suffered. What had been in an innovative, imaginative band who released groundbreaking, influential music were but a shadow of their former selves. The best way to remember Sly and The Family Stone is the genre-melting, musical masterpiece that is There’s A Riot Goin’ On, an album that definitely deserves to be described as innovative and influential classic. Standout Tracks: Just Like A Baby, Family Affair, (You Caught Me) Smillin’ and Thank You For Talkin’ To Me Africa.
SLY AND THE FAMILY STONE-THERE’S A RIOT GOIN’ ON.
EMILY BARKER AND THE RED CLAY HALO-DEAR RIVER.
EMILY BARKER AND THE RED CLAY HALO-DEAR RIVER.
A couple of nights ago, the lucky people of Glasgow were fortunate to hear Emily Barker play an acoustic set at Glasgow’s Love Music in Dundas Street. Emily however, is no stranger to Glasgow. Far from it. It was at Gorbals Sound, Glasgow’s newest recording studio, that Emily Barker and The Red Clay Halo recorded their fourth album, Dear River. Produced by Calum Malcolm, who previously, produced The Blue Nile and Lau, Dear River was released in July 2013. This was the latest chapter in a musical career that began back in 2002.
It was in 2002, that Emily Barker first arrived in Britain, from Australia. She was just nineteen and was a talented singer, songwriters and musician. In Cambridge, she hooked up with Rob Jackson, and they founded The Low Country. They went on to release two albums. Their debut album was Welcome To The Low Country. Released in 2003, on Now Recordings, Welcome To The Low Country comprised mostly of ballads. A fusion of folk and country music, Welcome To The Low Country was Emily’s musical debut.
A year later, The Low Country released their sophomore album The Dark Road. Well received by critics, tracks from The Dark Road were played on radio. It looked as if The Low Country were on their way to enjoying a long and successful career. That wasn’t to be. The Dark Road proved to The Low Country’s musical swan-song. The next time Emily released an album, it would be with a new group.
In 2005, Emily began work on her debut solo album, Photos, Fires, Fables. This lead to the formation of The Red Clay Halo. Comprising Anna Jenkins, Gill Sandell and Jo Silverston, they were the perfect foil for Emily. Not only did they provide ethereal harmonies, but were multi-instrumentalists. Gill played accordion, flute piano and harmonium, Jo played cello, bass and banjo and Anna played viola and violin. As for Emily, she played guitar and harmonica. This was the lineup that played on 2005s Photos, Fires, Fables, which was Emily Barker and The Red Clay Halo’s debut album. Released on Emily’s own label Everybody Sang, the album received plaudits and praise, Photos, Fires, Fables was Emily’s third album in three years. Little did she realise it would be another three years before she released another album.
Between the release of Photos, Fires, Fables in 2005 and Despite The Snow in 2008, much had happened to Emily. After her critically acclaimed debut album Photos, Fires, Fables, Emily won the West Australian Songwriting Awards in 2005. She spent much of the time touring and building a following. Then in 2008, Emily played at the Cambridge Folk Festival and opened for Frank Turner in his autumn tour. Somehow, Emily Barker and The Red Clay Halo found time to release their sophomore album Despite The Snow. Released on Emily’s own label, Everyone Sang, it built upon her debut album. Critics hailed Despite The Snow, which become a favorite of critics and discerning music lovers. It also featured a track which would become known worldwide.
For an artist, having their music feature in a film or on television series, allows their music to be heard by a much wider audience. Often, this includes people who’d never otherwise come across their music. This was the case for Emily Barker and The Red Clay Halo. Nostalgia, which opens Despite The Snow, was chosen to be the theme to Wallander. Rather than use the original version of Nostalgia, it was rerecorded. Wallander became one of the most successful television series’ of 2008, winning several prestigious awards. Things got even better for Emily, when Nostalgia was chosen to spearhead the independent labels Storm The Charts’ campaign. This was the perfect way to round of 2008, the biggest year of Emily’s musical career.
Over the next three years, Emily continued the cycle of touring and recording. She was averaging an album every three years with Emily Barker and The Red Clay Halo. Their third album was 2011s Almanac. Released to widespread critical acclaim, Almanac saw Emily Barker and The Red Clay Halo’s success story continue at pace. Especially when one of the tracks from Almanac was chosen to be the theme song to the television series The Shadow Line. It seemed Emily Barker and The Red Clay Halo were on a roll. Festival favorites who’d released three critically acclaimed albums, quietly and without any fuss, Emily Barker and The Red Clay Halo were gradually establishing a reputation as one of modern folk music’s best bands.
Following the release of Almanac, Emily Barker and The Red Clay Halo did the usual round of tours and festivals. They also sang backing vocals for Frank Turner, including at the Olympic opening ceremony. Then work began on their fourth album, Dear River, an album which saw Emily Barker and The Red Clay Halo head to Glasgow.
Having written eleven songs, Emily Barker and The Red Clay Halo headed to Glasgow to record Dear River at Gorbals Sound. Emily played guitar and harmonica, Gill played accordion, flute piano and harmonium, Jo played cello and Anna played viola and violin. Joining them drummer Nat Butler, bassist Lewis Gordon and Ted Barnes on guitar and mandolin. Once the eleven songs that became Dear River were recorded, the album was released by Glasgow record label Linn Records.
When Dear River was released in July 2013, the critics were won over by what’s best described as a song cycle. An of contrasts and emotions, it’s an exploration of the self. Emily’s examines people and places plus travel and emigration. This is from both her and other people’s point of view. Powerful, potent and emotive, The Red Clay Halo provide a backdrop for Emily’s vocals, while producer Calum Malcolm draws upon over thirty years of experience. The result is a compelling fusion of folk, country and pop, Dear River, which I’ll tell you about.
Opening Dear River is the title-track Dear River. Just an understated arrangement accompanies Emily’s vocal. Veering between melancholy to hopeful, she relishes the chance to travel and see “bright city lights” and “streets I’ve never seen.” Despite this something’s not quite right. She can’t quite forget what’s she’s left behind. As strings, guitars and rhythm section combine country and folk, the “restless wind” Emily sings about, is a metaphor for her, who longs to be “where I long to be.” Akin to a novella filled with emotion and pathos, it’s a potent start to Dear River.
Just a strummed guitar accompanies Emily’s urgent vocal. Adding to the sense of drama are the guitars. They drive the arrangement along, while strings add a wistful backdrop. It’s as if Emily has to take flight, has constantly to be one step ahead of her pursuer. They’re the “crows at the door” she sings about. Emotive and tension fills her vocal, in case this time, she won’t escape in time.
Chiming guitars provide a deliberate, melancholy backdrop to Emily’s wistful vocal on Letters. Calmly, she paints pictures, of someone taking flight, constantly evading capture. When Emily sings: “we fled towns on fire, our stomaches empty,” it seems very real. Her lyrics are evocative. There also poignant. They describes what victims of war have endured for far too long. Drums and reverberating guitars add to the drama, while strings are the perfect accompaniment to Emily’s vocal, which sounds as if she’s seen things no-one ever should see.
The Leaving sees the rhythm section provide a slow, thoughtful accompaniment for Emily’s ethereal vocal. Her vocal is heartfelt. There’s a sense of security, as if Emily knows where she’s from and belongs. Despite this, she’s like a nomad, always on the move, with just her memories for company. With its combination of folk, country and indie pop, this is one of the real highlights of Dear River. It showcases Emily’s vocal and songwriting skills beautifully.
Jangling guitars, pounding rhythm sections and hissing hi-hats add a dramatic backdrop for Everywhen. Emily’s vocal is equally emotive, as she delivers some descriptive lyrics that paint otherworldly pictures. Sounding like Stevie Nicks, circa Rumours, she delivers a soulful vocal with power and passion. Adding to the modern folk sound are fiddles, handclaps and the rhythm section. They create delicious, hook-laden fusion of musical genres and influences that represent a musical coming of age for Emily Barker.
Meandering, melancholy guitars join Emily’s tender, pensive vocal on Sleeping Horses. Understated and beautiful, the combination of guitar and vocal proves powerful. Especially given the descriptive, intelligent lyrics, which paint pictures in your mind’s eye. With the addition of harmonies and harmonium, the words ethereal, heartfelt and spiritual describes this track.
A bluesy harmonica joins the rhythm section as the hauntingly beautiful Ghost Narrative unfolds. Soon, The Red Clay Halo join forces. Harmonies sweep in, the rhythm section provide the heartbeat and searing, rocky guitars strut across the arrangement. As for Emily, ethereal and impassioned describes her delivery of some descriptive, gothic lyrics.
There’s a real traditional folk sound to A Spadeful of Ground. Just a banjo accompanies Emily’s vocal, as she delivers an accusing vocal. “You’ll have blood on your hands,” she warns. This is no surprise, after lyrics like: “for you will lie, for you will hurt.” The arrangement is dark and broody, while anger, frustration and betrayal fill Emily’s vocal. So does, disappointment at not knowing someone properly.
I’m sure The Cormorant and the Heron would be one of the songs Emily played during her acoustic set at Love Music. It allows her to showcase her ethereal, breathtakingly beautiful vocal. It’s the focus of your attention. With care, the rest of the band compliment her vocal. A deliberate piano is joined by drums, before strings add a wistful accompaniment. Harmonies coo, matching Emily’s vocal. They too, soar with the same beauty and elegance asThe Cormorant and the Heron.
In the Winter I Returned sees Emily return to theme of travel. Meandering guitars, pensive strings and harmonium accompany Emily’s vocal. Her tender, heartfelt vocal delivers some of the best lyrics on Dear River. Sadness fills her fragile vocal, as she wonders longingly: “how many years until, you count me as your own?”
Closing Dear River is The Blackwood, where briefly, Emily sings unaccompanied. Sounding like a combination of Janis Joplin and Joni Mitchell, you hang on her every word. Then guitars, rhythm section and harmonium sweep in. Punchy, soulful harmonies are the perfect accompaniment to Emily. She gives us another glimpse of her combination of power, passion and ethereal beauty.
Emily Barker has come a long way since The Low Country released Welcome To The Low Country. Leaving The Low Country after The Dark Road probably helped Emily’s career in the long run. She had established a reputation and knew what it took to make a record. Now she was ready to form her own band.
Meeting Anna Jenkins, Gill Sandell and Jo Silverston, who’d become The Red Clay, Emily’s band was the next step in her career. The Red Clay were ying to Emily’s yang. They proved the perfect foil on Photos, Fires, Fables, Despite The Snow and Almanac. With every album, Emily’s songwriting and voice improved. She was fast becoming a master storyteller, one who could paint pictures with her lyrics. This was the case on Dear River, which was the finest album of Emily Barker’s career. It was as if everything had been leading to this.
Eleven songs and just thirty-seven minutes long, Dear River is an exquisite album. A fusion of folk, country, pop and rock, Emily’s vocal veers between heartfelt and heartbroken, to emotive and ethereal. As Emily delivers the lyrics, she experiences a wide range of emotions. Whether it’s anger, betrayal, frustration, hope or hurt, Emily’s portrayal is very real and potent. No wonder. Dear River has been eleven years in the making. Everything has been leading to Dear River, Emily Barker and The Red Clay’s musical Magnus Opus, which was recently released on Linn Records. Standout Tracks: Letters, The Leaving, Ghost Narrative and The Blackwood.
EMILY BARKER AND THE RED CLAY HALO-DEAR RIVER.
GOOD GOD! APOCRYPHAL HYMNS.
GOOD GOD! APOCRYPHAL HYMNS.
Now I don’t mind admitting it, but I’m far from a regular when it comes to churchgoing. I’ve better things to do on a Sunday morning. Maybe things would be different if the music in churches was more like the music on Good God! Apocryphal Hymns which was recently released by Numero Group? Veering between soulful and spiritual, it’s music that’s downright funky. It’s music that’ll make a believer out of you, and have you dancing in the aisles. You’ll give thanks for the nineteen tracks that can be found on Good God! Apocryphal Hymns, the third volume in the Good God compilation series. Uplifting, joyous, soulful and funky, music doesn’t get better than Good God! Apocryphal Hymns, which I’ll pick the highlights of.
The first volume in the Good God compilation series, was compilation series, Eccentric Soul: A Green Red Production, was Good God!-A Gospel Funk Hymnal. Released back in August 2007, Good God!-A Gospel Funk Hymnalfeatured nineteen tracks. These tracks were a delicious mixture of soul, funk and gospel. Listeners were introduced to the delights of Cliff Gober, 5 Spiritual Tones, Triumphs, Modulation and LaVice and Company. On its release, Good God!-A Gospel Funk Hymnal received rave reviews. There was no doubt, there had to be a followup to Good God!-A Gospel Funk Hymnal.
That came nearly three longs years later in February 2010. Good God!-Born Again Funk featured another nineteen tracks, soul, gospel and jazz sat side-by-side. Listeners enjoyed the music of Ada Richards, Victory Travellers, Golden Echoes, Sacred Four and Jordan Travellers. Released to critical acclaim, it looked like Numero Group had a successful compilation series on their hands. In no rush to release volume three, Good God! Apocryphal Hymns was released over three long years later. Many people who’d bought the first two volumes had almost forgotten about the Good God series. They were about to receive a pleasant surprise when Good God! Apocryphal Hymns was released.
Good God! Apocryphal Hymns was released in July 2013. This is no ordinary compilation though. Straight away, there’s an air of mystery to the compilation. That’s because of Numero Group’s low key approach to marketing. There’s no in-your-face, garish cover. Instead, just a beautiful photo of sunset on the front, with the title in small font on the back. To me, this adds an air of mystery. In some ways, it’s reminiscent of Factory Records. It’s as if nothing is meant to detract from the music. That’s no bad thing.
The same low-key approach continues when you open the box. The booklet is an attempt to replicate the stock jackets of the glory days of vinyl. Intriguingly, the title doesn’t feature on the front cover. Looking through the rest of the booklet, it’s understated, informative and most importantly, accurate. That’s very welcome, and is the perfect antidote to a compilation I came across recently. It featured a boastful introduction overstated the music’s importance. Then there were the worst sleeve-notes I’ve ever come across, which were also riddled with inaccuracies. Thankfully, that’s not the case here. Instead, Good God! Apocryphal Hymns comes across as a lovingly compiled compilation. Scans of the singles and photos are included alongside the lengthy sleeve-notes. Overall, I’m really impressed with Good God! Apocryphal Hymns. Let’s just hope that’s the case when I tell you about the highlights of Good God! Apocryphal Hymns.
My first choice from Good God! Apocryphal Hymns, is Robert Vanderbilt and The Foundation Of Souls’ A Message Especially From God. Released on Sensational Records, it was written and arranged by Robert Vanderbilt. This was his recording debut in what had been, an intriguing musical journey. A gospel prodigy, he’d struggled to make a living. He tried the chitlin circuit, parked cars and farming. Eventually, on the advice of his uncle Robert headed to Chicago. That’s where The Foundation Of Souls “discovered” Robert. He grasps this opportunity and delivers a heartfelt, soulful vocal on this understated, but beautiful fusion of soul and gospel.
A bluesy harmonica opens Spiritual Harmonizers’ God’s Love, which was released on Radex Recording in 1971. This was the result of a musical adventure that began in 1950, when Bland Childress and his father headed to Sherman, Texas. Soon, Bland was singing with the Bluejay Quartet. After a spell in the military, Bland sang in various gospel acts, including Sons of The Holy Land and The Traveling Four. It was only when he joined the Spiritual Harmonizers and was paired with producer Dexter Witt that Bland’s potential was realised. His ethereal, haunting falsetto soars above urgent harmonies and searing guitars for company. Heartfelt and impassioned, it’s the voice of a mystical angel.
Jonah Thompson was one of a family of thirteen. Born in Lewiston, North Carolina, Jonah was a taught himself guitar. This progressed to writing song and forming The Harmonizing Kings. Later, he moved to Brooklyn. Drifting between jobs, he played and wrote music part-time. Sadly, every song he wrote, record companies turned down. He recorded I Must Be Strong in 1972 for Friday Records. Then in 1980, Inspiring Records released Get Involved. Featuring a dramatic, emotive backdrop, Jonah’s vocal is soulful and full of sincerity, as he delivers some spiritual lyrics which are among the best on Good God! Apocryphal Hymns.
Dwain Vinyard was born in Chicago and moved to Detroit as a child. He’s a hugely talented vocalist, who could’ve and should’ve, enjoyed a really successful career. Originally, he was a member of The Second Soulful Hounds, who then became The Outcasts. During that time, things went somewhat awry for Dwain. Luckily, in 1979, he got his life back on track. Deciding it was time to record again, he headed to a studio in Michigan and recorded two tracks. One was Searching For The Truth, which has a wistful, languid sound. Rolls of vocal, drums and chiming guitars set the scene for Dwain’s thoughtful vocal. Pensive, he’s seeking answers, “Searching For The Truth,” as he delivers a tender, soulful and melancholy vocal.
A lone chiming guitar winds its melancholy way across the arrangement to Sinner Man, which was released in 1975. It’s a fusion of soul, funk and rock from Religious Soul. Recorded in Jack Casey’s Rome Studios, Sinner Man was then released by the H&M label. Later that year, their debut album Sinner Man was released. The title-track features a soaring, soul-baring falsetto is accompanied by the unmistakable sound of a wailing Hammond organ, pounding drums, chiming guitars and cooing harmonies. A spine-tingling, spiritual combination, it’s a powerful track where the Sinner Man lays bare his soul and sins for all to see.
From the get-go, the Whole Truth’s Can You Lose By Following God has you in its spell. That’s despite the somewhat lo-fi recording. A compelling combination of soul, gospel and blues, it was released on the Memphis label EFE Records. There’s an honesty to the music. Washes of Hammond organ provide a backdrop for chiming guitar and prowling bass line. Veering between power and passion to tenderness is Johnny Frierson’s vocal. Johnny delivers the lyrics as of he’s torn between believing or questioning them.
Way before Francis Reneau built a career as classical composer, she played organ on Francis Reneau and the Mission Singers’ I Hear You Calling. Francis Cegg takes charge of the vocal. It’s impassioned and sincere, as she gives thanks. Harmonies respond to her call while horns blaze and drums roll. At the heart of the track’s success is the atmospheric organ and Francis’ joyful vocal.
Chester Lewis’ Precious Lord is my final choice from Good God! Apocryphal Hymns. Best described as Hendrix-esque, he’s accompanied by a whooping, hollering audience, hissing hats and drums. He drives the audience into a frenzy, on this track recorded live in Ebenezer Baptist Church, Rocky Mount. Released in 1980 on the Eternal Gold label, it’s a dramatic slice of psychedelia from a true showman.
While I’ve just picked eight of the nineteen tracks on Good God! Apocryphal Hymns, I could’ve just as easy picked any number of other tracks. This includes contributions from the Sensational Saints, Supreme Jubilees, Otis G. Johnson or the Bernard Upshaw Singers. These are just a few of the nineteen tracks which are delivered with passion, emotion and sincerity. Many of the tracks were recorded on low budgets on quite basic equipment. That gives the tracks a lo-fi sound. Adding to the lo-fi sound is that many of the tracks have been recorded directly from vinyl. The odd snap, crackle and pop adds to the music’s charm. It gives the music an honesty, which is a good word to describe the music on Good God! Apocryphal Hymns,.
Released six years after the release of the first in the Good God series of gospel music compilations, Good God! Apocryphal Hymns, is the third in the series. That’s no bad thing, as there’s a real lack of quality modern gospel compilations. Compilations like Good God! Apocryphal Hymns will rectify this. With its fusion of soul, funk, rock and gospel, Good God! Apocryphal Hymns, will be something of an eyeopener for newcomers to gospel music. The nineteen tracks will show that gospel can be downright funk and always, always, always, is soulful. Even after one listen to Good God! Apocryphal Hymns, newcomers will realize that there’s much more to gospel music than they first thought. Soulful, funky and sometimes psychedelic, this eclectic collection of gospel music is the perfect primer for newcomers to the genre. Surely, Good God! Apocryphal Hymns will make a believer out of you? Standout Tracks: Robert Vanderbilt and The Foundation Of Souls A Message, Dwain Vinyard Searching For The Truth, Religious Soul Sinner Man and Chester Lewis Precious Lord.
GOOD GOD! APOCRYPHAL HYMNS.
EBO TAYLOR-EBO TAYLOR.
EBO TAYLOR-EBO TAYLOR.
In the history of Ghanian music, Ebo Taylor is a pivotal figure. Best described as an innovator, Ebo Taylor’s music would influence the further generations of Ghanian musicians. However, Ebo was much more than a musician. He was also a songwriter, arranger, producer and bandleader. Ebo Taylor has done it all, and that includes creating a new genre of music.
Born in Ghana in 1936, Ebo Taylor’s career started in the fifties, when he was the leader of two highlife bands in Ghana, The Stargazers and The Broadway Dance Band. These weren’t just any highlife bands. No. They were two of the best and most important highlife bands. This allowed Ebo Taylor to establish a reputation, before he decided to spread the gospel of Ghanian music in London.
By 1962, Ebo had moved to London, where he founded The Blackstar Highlife Band. Having founded his own band, Ebo could dictate musical policy. What he wanted to do, was create a fusion of musical genres and influences. This included traditional Ghanian music and other West African musical genres. To this, Ebo combined funk and jazz. What The Blackstar Highlife Band created, was a musical melting pot. Afrobeat, highlife, jazz and funk came together to form a hypnotic and enthralling fusion of African and Western music. So, it’s no surprise that The Blackstar Highlife Band became a popular group not just in London, but further afield. The effect this had on Ebo’s career was considerable. On his return to Ghana, his services as a producer were greatly in demand.
Having returned to Ghana, Ebo was like the all-conquering hero. Word had spread of the genre melting music he’d created in London with The Blackstar Highlife Band. Job offers came thick and fast. Musician, songwriter, arranger and producer, Ebo could turn his hand to anything.
Ebo was a member of the short-lived The Apagya Show Band, who released one single, Tamfo Nyi Ekyir in 1973. They also released one album, which lay unreleased for thirty-nine years. From playing, Ebo decided to move onto arranging and production.
Then in 1975, Ebo arranged C.K. Mann and His Carousel 7’s 1975 album Funky Highlife. Later that year, Ebo produced Gyedu-Blay Ambolley’s album Simigwa. It was through production that allowed Ebo to put his new ideas about music into practice. Ebo it seemed, had done just about everything in music. Two things remained, songwriting and releasing a solo album.
Two years later, in 1977, Ebo wrote several songs for Pat Thomas and Marijata’s eponymous album. Ebo was also called upon to arrange the album. This was good practice for what was about to happen. The one thing Ebo Taylor had still to do, was release a solo album. This would be rectified in 1977, when Ebo Taylor released his eponymous album Ebo Taylor on Ghanian label Essiebons. Now thirty-six years later, Brighton-based label Mr. Bongo rereleased a remastered version of Ebo Taylor, which I’ll tell you about.
The six songs on Ebo Taylor were written by Ebo, who arranged and produced the album. He was joined by some of Ghana’s top musicians, who fused everything from highlife, Afrobeat, jazz, funk and other genres of Western African music on six tracks that became Ebo Taylor.
Saana, a slice of uplifting and irresistible musical sunshine opens Ebo Taylor. A myriad of percussion, stabs of organ and blazing horns accompany Ebo’s trademark guitar playing. Delicate and deliberate describes his playing. The space between the notes is as important as what he plays. As for his vocal, it’s heartfelt, needy and full of longing. He sings call and response with his backing vocalists. They reflect the emotion in Ebo’s voice. Even though he’s the bandleader, he’s content to be a team player. While he could easily unleash a mesmeric guitar solo, he resists the temptation to steal the show with some uber funky guitar licks. Resisting the temptation to showboat, Ebo and his band unite, fusing highlife, Afrobeat, funk and jazz seamlessly and joyously, on this slice of musical sunshine.
There’s an almost Latin influence to the horns that open Ntsir A. Slow and sensual describes the fusion of rasping horns, percussion, washes of Hammond organ and impassioned, pleading vocal. Soon, highlight, jazz and Afrobeats are combining. Horns add to the drama, while Ebo’s guitar playing is subtle and understated. Pensive and thoughtful, again, side before self seems to be Ebo’s musical philosophy. Ebo doesn’t need to be at the centre of the “action.” As an experienced bandleader, he’s confident enough to allow other musicians to take centre-stage. Here, it’s the horns, then Ebo’s guitar. Again, they provide musical contrasts. Delicate and jazz-tinged describes Ebo’s guitar playing, while the saxophone solo is powerful and dramatic. Both play their part in the song’s success and its sensual, sultry sound.
Bursts of braying horns open Bra, before washes of Hammond organ accompany Ebo’s guitar. They weave their way across the arrangement. Meanwhile Ebo’s vocal is variously emotive, impassioned, wistful and carefree. Harmonies respond to Ebo’s call, as Ebo’s jazzy guitar, percussion and Hammond organ provide a meandering backdrop for the saxophone. One of the best saxophone solos on Ebo Taylor is unleashed. Played with power, passion and control, it’s a fitting replacement for the vocal, which then replaces it, as Ebo Taylor and his band play their part in another hip-swaying, genre-melting mini-musical masterpiece.
Ohye Atar Gyan sees stabs of grizzled horns, wah-wah guitars and a proliferation of percussion join forces. They provide the backdrop for harmonies. Delivered with power and emotion, rasping, braying horns pick up the baton. From there, they take turns in the spotlight, as this infectious and irresistible musical melting pot threatens to spill over. It’s player with care, power and passion. Horns melt your emotions, while the rest of the band add to the drama and theatre of this
Heaven. That’s the perfect title for a track that’s very different. The production isn’t as lo-fi as previous tracks. Instead, it’s a rounder, fuller sound. Here, the full width of the arrangement is used, whilst panning plays an important part in the success of this angelic fusion of funk, jazz, Blaxploitation, Afrobeat and highlife. Ebo’s jazzy guitar is panned right, the Hammond organ panned left. As for the horns, they’re slap, bang in the middle where they’re at their most effective. They’re in your face, grabbing your attention and forcing you listen. What follows is the highlight of Ebo Taylor and a track that sounds as if it belongs on a classic seventies Blaxploitation soundtrack.
Closing Ebo Taylor is Amponsah, which is the perfect track to close the album. It sounds as if Ebo and his band are saying farewell. Stabs of horns, percussion, atmospheric waves of Hammond organ and Ebo’s delicate guitar accompany the vocal. It’s joyous and soulful, with harmonies accompanying it. Together, Latin, jazz, funk and highlight are combined by Ebo Taylor and his multitalented band on what is, another musical slice of sunshine, which bookends the album perfectly.
Just six songs and thirty-four minutes long, Ebo Taylor’s 1977 debut album Ebo Taylor is a real musical melting pot. From the opening bars of Saana to the closing notes of Amponsah, it’s quality all the way. Written, arranged and produced by Ebo, Ebo Taylor features his trademark, jazz-tinged guitar playing. Delicate and deliberate, to subtle and understated describes his guitar playing. Then there’s Ebo’s vocals, which cover a gambit of emotions. Ranging from heartfelt, heartbroken, impassioned and pleading, the vocals become one with his band. As for the band, they play their part in a genre-melting album.
Ebo Taylor is one of these albums where countless musical genres and influences play their part in the album’s sound and success. Afrobeat, highlife and other types of Western African music are joined by jazz, funk, soul and Latin music. Dense rhythms, a proliferation of percussion, waves of Hammond organ and Ebo’s jazz-tinged guitar are joined by growling horns. Together, they provide the backdrop for the vocals on Ebo Taylor, Ebo’s debut album, which was recently released by Mr. Bongo Records.
Best described as an innovative, genre-melting album, Ebo Taylor may have been released in 1977, but Ebo’s career had been building up to the release of his debut album. Twenty years experience went into the making of Ebo Taylor. This fusion of African and Western music may not have been unique, but it was a potent and irresistible combination. One minute it’s heartfelt and heartbreaking, the next minute Ebo Taylor is infectiously catchy, joyous and uplifting. Ebo Taylor, this genre-melting album, has certainly stood the test of time, and thirty-six years after its release in 1977, is a musical reminder of one of Ghana’s greatest musicians at the peak of his powers. Standout Tracks: Saana, Ntsir A, Heaven and Amponsah.
EBO TAYLOR-EBO TAYLOR.
RODDY WOOMBLE-LISTEN TO KEEP.
RODDY WOOMBLE-LISTEN TO KEEP.
Back in 2006, when Roddy Woomble, the lead singer of Idlewild, released his debut album My Secret Is My Silenced, Idlewild had just enjoyed the most successful period of their career. Their third album, 2000s 100 Broken Windows was certified silver, while 2002s The Remote Part was certified gold and 2005s Warnings/Promises was then certified silver. Following the release of Warnings/Promises, Idlewild headed on the longest and most grueling tour of their career. They toured throughout Britain, played some of the biggest festivals and opened for The Pixies and R.E.M. Then in November 2005, Idlewild announced they were parting company with their record company Parlaphone. Left without a record company, soon rumors about Idlewild’s future started doing the rounds. One of them was, that Idlewild were about to split up. That wasn’t the case, although bassist Gavin Fox left Idlewild, after a concert in Glasgow. Without a record company, and having lost their bassist, Idlewild were at a crossroads. So, Roddy Woomble started work on his solo album, My Secret Is My Silenced.
When work began on My Secret Is My Silenced Roddy collaborated with Rod Jones, Karine Polwart and Michael Angus. Produced by John McCusker, a folk musician, My Secret Is My Silence was well received by critics. Encouraged by this, Roddy decided to split his time between his solo career and Idlewild. This was no bad thing, as Idlewild would no longer enjoy the success they once had.
With new bassist, Gareth Jones, formerly of Astrid replacing Gavin Fox, Idlewild began work on what became Make Another World. Released in March 2007, on Sequel Records, Make Another World was produced by Dave Eringa. It reached number twenty-four in the UK, which made Make Another World, Idlewild’s least successful album since 1998s Hope Is Important. Following Make Another World, Roddy embarked on another new project, before rejoining Idlewild.
After the release of Make Another World, Kris Drever and John McCusker collaborated on Before The Ruin. Joining Roddy, Kris and John, were Teenage Fanclub’s Norman Blake and Radiohead’s drummer Phil Selway. Released in September 2008, on Navigator Records, Before The Ruin reached number 156 in the UK. Having enjoyed this collaboration, Roddy headed back to his day-job with Idlewild.
For Idlewild’s sixth album Post Electric Blues, they originally decided to release the album themselves. On its release in June 2009, it sold three-thousand copies. Then in September 2009, Post Electric Blues was released on Cooking Vinyl and reached number ninety in the UK. Post Electric Blues became Idlewild’s least successful album. This would be the last album Idlewild released. SInce then, Roddy has released two further solo album.s
Following a gap of two years, Roddy returned with his sophomore solo album The Impossible Song and Other Songs. It was recorded in Mull, where Roddy and wife now lived. Recording took place at the Mull’s art centre. Released in March 2011, on Greenvoe Records, The Impossible Song and Other Songs was a much more eclectic album, although Roddy remained true to his folk roots. Reaching number seventy-three in the UK, Roddy’s this was the most successful album of his solo career. Two years later, Roddy returned with Listen To Keep, his third solo album.
Just like The Impossible Song and Other Songs, Listen To Keep, which was released on Reveal Records, was recorded in Mull. Ten of the eleven tracks were written by Roddy and Sorren, with Seonaid Aitken writing the string arrangement. The exception was the title-track, Listen To Keep. It was penned by Roddy, Seonaid and Sorren McLean. Recording of the eleven tracks that became Listen To Keep, took place at Mull’s art centre.
The band that accompanied Roddy on Listen To Keep, were Seonaid Aitken on violin, piano and keyboards, bassist Gavin Fox and Danny Grant on drums, percussion and harmonium. Sorren McLean played banjo, harmonium, acoustic and electric guitar. They were joined by various guest artists, who often, only played on one or two tracks. Having said that, they played their part in the success of Listen To Keep, which I’ll tell you about.
Opening Listen To Keep, is Making Myths Just drums, guitar and piano provide a melancholy backdrop for Roddy’s worldweary vocal. Full of hurt, he’s heard the excuses before. No more though. He’s decided it’s time to walk away. A lap steel provides a heartbreaking accompaniment to Roddy. It reflects his hurt, while harmonies try to sooth hurt, during his heartachingly beautiful tale of love gone wrong, where folk and Americana unite.
The Last Of My Kind is a fusion of everything from Americana, country, Celtic and folk combine. Driven along by fiddles, guitars and drums, Roddy’s mid-Atlantic vocal is full of emotion and frustration. Soon, his build kick loose. With the drums providing the heartbeat, guitars jangle and fiddles and piano add a dramatic backdrop while harmonies accompany his emotive, soulful vocal.
Listen To Keep benefits from a deliberate, dramatic and moody backdrop. The tempo is slow as Roddy delivers a vocal that’s heartfelt and laden with emotion. Against a backdrop of drums, violin, harmonium and harmonies Roddy delivers a vocal that’s impassioned and sincere.
Build It To Break sees Sebastien Brice join Roddy on lead vocal. This is a relationship song, which is a fusion of Americana, folk and Celtic music. Guitars are joined by a lap steel, which provides its trademark weeping sound. They’re accompanied by tender, cooing harmonies which are the perfect foil to Roddy’s lived-in vocal. His vocal full of confusion as he thinks about his relationship, wonders while he didn’t Build It To Break, was that the case with his partner?
Sometimes, when Roddy sings, his vocal is reminiscent of Roddy Frame. That’s the case on Trouble Your Door. A myriad of fiddles and acoustic guitars accompanies his vocal. Fusing country, Celtic and folk, his vocal is heartfelt and emotive on a track whose roots belong midway between Scotland and America.
There’s a sense of melancholia to Traveling Light, as memories come flooding back to Roddy. Remembering when they first met, he thinks of the woman who he was enchanted by. She traveled light, but he never forgot her. Just guitars drive the arrangement along, while a female vocal answers his call. Vering between emotion and joy at what he had, to regret and sadness at what he’s lost, Roddy unleashes one of his most effective and emotive vocals on Listen To Keep.
With an understated arrangement, The Universe Is On My Side unfolds. Just subtle drums and acoustic guitar accompany Roddy’s pensive vocal. Soon, you can’t help but draw comparisons with Lloyd Cole. It’s the intelligent, thoughtful lyrics and Roddy’s languid delivery. Meanwhile, strings add a wistful sound while the arrangement grows in power and drama. Searing guitars, harmonies and piano provide the backdrop to Roddy’s vocal on this compelling fusion of indie pop, Americana and folk.
I Know Where I Went Wrong almost bursts into life. Guitars jangle as the rhythm section propel the arrangement along. Sounding not unlike Lloyd Cole and The Commotions circa, Rattlesnakes, pop and indie rock combine. Stabs of piano and strident guitars accompany Roddy as almost relieved he sings “I Know Where I Went Wrong.” As if to celebrate, Roddy and his band showcase their considerable skills. Unleashing a rockier style, this is a side to Roddy Woomble that we’ve not heard before. Let’s hope we hear it again.
Searing, choppy guitar licks and deliberate, stabs of piano accompany Roddy on Treacle & Tobacco. Confident and self-assured he sings: “we can go and have our own adventures go, and have our own dreams.” There’s no doubt in his mind, that everything’s going to turn out fine, even though: “the world we live in is a dangerous place.” Instead he knows; “we’ll meet around this family table.” Accompanied by urgent harmonies, and a piano that’s at the heart of the arrangement, while Roddy’s vocal is self-assured, happy and hopeful.
A lone acoustic guitar opens Into The Distance On Luck. Chiming, it mmeanders along, accompanied by Roddy’s thoughtful vocal. Drums pound ominously, reinforcing Roddy’s lyric: “the nettles that grow from your heart, there’s a lot to dig through.” Later, mysteriously, Roddy delivers the lyric: “I could be lying or telling the truth. These are both examples of the quality of lyrics Roddy can write. When he delivers them, he breathes life, meaning and emotion into them.
Closing Listen To Keep, Roddy Woomble’s thrid solo album, is Time By Time, a fusion of folk, Americana, blues and Celtic music. Confident, strident guitars accompany Roddy’s heartbroken vocal. Harmonies accompany him as he sings of trying to let go and make a clean break. Twenty years is a lot to let go though. He’s determined not to let his hurt show. Fiddles add a melancholy backdrop to Roddy’s vocal. From there, the fiddles and guitars take centre-stage, driving the arrangement to this bittersweet song along to its Celtic crescendo.
Listen To Keep is the result of Roddy Woomble’s eighteen year musical journey. This started when Idlewild were formed in 1995. Since then, Roddy has enjoy critical acclaim and commercial success. After two silver discs and a gold disc, Idlewild split with Parlaphone and a year later, his solo career began. Seven years later, Listen To Keep is Roddy’s third solo album. It’s also his most accomplished and eclectic album.
Featuring eleven songs, Listen To Keep ten of the eleven tracks were written by Roddy and Seonaid Aitken. The exception was the title-track, Listen To Keep, which Roddy, Seonaid and Sorren McLean cowrote. Recorded on the beautiful island of Mull, at the local art centre, this must have been an inspirational place to record an album. Its rugged beauty and isolation resulted in an outpouring of creativity from Roddy and his tight, talented band.
Fusing folk, Americana, Celtic, country, pop and indie rock, Listen To Keep is an album that you put on and lose yourself in. Roddy introduces you to a cast of characters. Many of them have had their heart broken, some have been hurt and many are lost and lonely. All of them are very human. These characters have the same faults and problems as us. So in many ways, the songs on Listen To Keep are songs that everyone can relate to. After all, hurt and heartbreak, loneliness and loss are things we’ve all experienced. So too are hope and joy, which feature on Treacle and Tobacco, one of the many highlights of Listen To Keep.
Influenced by everyone from the Americana of Wilco and Jayhawks, through to two legends of Scottish music, Lloyd Cole and Roddy Frame, Roddy Woomble’s third solo album Listen To Keep is a fusion of musical genres and influences. Featuring eleven tracks which veer between hurt and heartbreak right through to happiness and hope, Roddy Woomble breathes life, meaning and emotion into the lyrics. Delivered with tenderness, frustration and sadness, Roddy Woomble is the latest in a long line of talented troubled troubadours from Scotland’s shore. His latest offering is Listen To Keep, is the result of Roddy Woomble’s eighteen year musical journey. Standout Tracks: Making Myths, The Last Of My Kind, Build It To Break and Treacle and Tobacco.
RODDY WOOMBLE-LISTEN TO KEEP.
QUICKBEAM-QUICKBEAM.
QUICKBEAM-QUICKBEAM.
Atmospheric, cinematic and ethereal are just some of the words that describe the music on Quickbeam’s debut album Quickbeam. So too does sparse, minimalist and flamboyant. Intriguing and compelling, the twelve soundscapes have been influenced by a myriad of eclectic influences. This includes ambient, Celtic, classical, folk, indie rock, jazz and soul. Comprising twelve soundscapes, quivering, classically influenced strings sit side-by-side with fuzzy guitars, braying horns and harmonium. Add to this fragile, tender vocals and soothing harmonies. Everything from Astrid Williamson, Bartok, Blue Nile, Boards of Canada, Brian Eno, Clannad, Cocteau Twins, Deacon Blue, Jerry Burns and Jesus and Mary Chain. have influenced Quickbeam. When all these musical influences are combined, the result is one of the most intriguing and eclectic albums of 2013.
Quickbeam, who were formed back in 2010 by Monika Gromek and Andrew Thomson. Monika the vocalist, played guitar and harmonium, while Andrew played guitar, percussion and piano. Later, they were joined by pianist Liam Chapman and Ruth Campbell on cello. Now a quartet, Quickbeam released their debut single Seven Hundred Birds in April 2012.
Produced by Chris Gordon, Seven Hundred Birds was released on Scottish label Comets and Cartwheels. Critically acclaimed, upon its release, critics were wowed by this collage of musical genres and influences. Multilayered, ethereal and melancholy, Seven Hundred Birds was a tantalizing taster of what Quickbeam were capable of. This however, was just the first chapter in Quickbeam’s musical journey. During the next chapter, Quickbeam would meet the man who’d be ying to their yang.
For the recording of Quickbeam, Quickbeam hooked up with Stewart Murdoch, lead singer and songwriter for Belle and Sebastian. He was now establishing a reputation as a producer. Stuart and Quickbeam would co-produce the eleven new tracks, which along with Seven Hundred Birds, became Quickbeam.
Joining Quickbeam for the recording of their debut album, were two guest artists. Cameron Maxwell played double bass, electric bass and trombone, while Magdelena Cryan played cello. Other artists played on just a few tracks. Cat Calton played on Immersed and 1743. Sheena Graham played the Vienna horn on Fall, Matter and One To Hold. Gradually, the pieces of Quickbeam fell into place, akin to a musical jigsaw. Together, classical strings sat side-by-side with fuzzy guitars, drenched in feedback. Then there was the unmistakable sound of the harmonium, plus of course, the questioning, probing, rasping horns. Once Quickbeam was recorded at Beetroot Studios, Airdrie, it was released in 2013.
Unlike most albums, which are either funded by a record company or the artist, Quickbeam received funding from Creative Scotland, an arts body which receives Lottery funding. This helped Quickbeam to release Quickbeam in June 2013. Just like the release of their debut single, Seven Hundred Birds, plaudits, praise and critical acclaim came the way of Quickbeam. Some critics thought Quickbeam was one of the best Scottish albums of 2013. Was that the case?
Opening Quickbeam is Remember, where melancholy, wistful strings are joined by crystalline guitars and broody drums. They’re joined by Monika’s tender, heartfelt vocal. Soothing harmonies, harmonium and strings tug at your heartstrings. So does Monika’s vocal, especially when she sings: “let go, return, to what you know.” Emotion and hurt sadness fill her voice, as selflessly, she sacrifices, the man she loves.
Seven Hundred Birds was recorded long before the rest of Quickbeam. It was produced by Chris Gordon, rather than Stewart Murdoch. Classic strings and the harmonium provide a slow, emotive backdrop. Having set the scene for Monika, she delivers a vocal that’s pensive, full of memories. Her vocal is ethereal reminiscent of Liz Fraser, as she paints pictures. Memories coming flooding back, of a time and place, when she was happy and hopeful.
Immersed has been influenced by folk, ambient and classical music. Deliberate stabs of piano and melancholy strings combine with Monika’s fragile, Prozac-fuelled vocal. Sounding bereft of emotion, it’s as if she’s been hurt once too often. Her delivery is matter of fact, while the arrangement grows in drama. Driven along by a strident bass, thunderous drums, fuzzy guitars and sweeping strings provide a dramatic backdrop to Monika’s hurt-filled vocal, which reminds me of Astrid Williamson.
Mountains opens with just a thoughtful piano meandering across the arrangement. This lends an air of mystery to this minimalist track. Reminiscent of Brian Eno circa Music For Airports. Other influences include Harold Budd and ex-Cocteau Twin, Robin Guthrie. Fuzzy guitars resonate, adding not just a contrast, but a warmth to the clinical, mysterious and almost disturbing track.
Fall is an enigmatic, ethereal and dramatic track. Just a deliberate piano is joined by a haunting vocal that’s been influenced by Liz Fraser and Jerry Burns. Soothing, tender harmonies and wistful harmonies provide the backdrop for the vocal, poses the questions. Why, dejectedly, the vocal asks, do: “you fall, in rooms so bright” why do: “you fall, you fight?”Accompanied by braying horns the drama grows. Thunderous drums and crashing cymbals play their part in this heartbreaking lament for a tormented soul.
Crystalline guitars, pensive strings and harmonium provide an emotive backdrop while drums add to the drama as the journey Home begins. Monika delivers her best vocal so far. Best described as ethereal, impassioned and hauntingly beautiful, there’s a sense of longing in her vocal. Cinematic in nature, the arrangement conjures up pictures of a journey through the stormy sea Monika sings about. Pounding drums, fuzzy guitars drenched in feedback and swirling strings combine as Monika’s homecoming becomes reality. This fusion of ambient and indie rock where Clannad, meets Liz Fraser with the Jesus and Mary Chain in tow is one of the highlights of Quickbeam.
Understated describes Matter. Just a thoughtful combination of piano and wistful strings accompany Monika. Full of emotion and sadness, it’s as if Monika’s almost given up, as she sings: “I searched for so long”…”I travelled so far.” Searching, looking, but never finding, she’s given up hope. So, when the band unleash a dramatic burst of music, it’s as if her emotion has come to a head. After a brief explosion of energy, it’s as she’s spent, exhausted and decides to give up her search for what’s eluded her so long, happiness and love.
1743 has a dreamy, languid and sometimes, melancholy sound. Just a combination of Vienna horn, piano and strings join crystalline guitars as the arrangement grows in power and drama. Soon, the arrangement returns to its earlier beauty, as it reaches a poignant crescendo.
With its whispered vocal, meandering, mellow guitars and pedestrian drums uniting, Quickbeam head for The Great Expanse. Cooing harmonies accompany the breathy, tender vocal and doleful strings. You can hear every chord change. Deliberate and played with the utmost care, it’s a fitting accompaniment to the vocal which sings: “lover, when you crossed the sea for me, I cried.” These are some of the most beautiful lyrics on Quickbeam, which delivered with a tenderness and a sincerity.
Far Out At Sea is another track where there’s a Brian Eno influence. Again, there are similarities with Music For Airports. With just a piano accompanied by fuzzy strings, there’s an early seventies ambient sound. Where things change is how the strings join fuzzy guitars and harmonium to create a dramatic crescendo.
A carefully strummed guitar opens Grace, before Monika and Andrew sing a duet. Their vocals are tender, heartfelt and beautiful. They’re reminiscent of Rickie Ross and Lorraine McIntosh of Deacon Blue. Enveloped by the arrangement, which has a piano at its heart, the strings reflect the longing in the vocals. Guitars chime, drums provide bursts of drama and a contrast to the ethereal beauty and tenderness of the vocal.
Closing Quickbeam is One To Hold, where the harmonium provides a thoughtful, almost mournful backdrop. Drums pound ominously, while Monika’s voice is tender, filled with sadness and regret. The cause of this is what she’s lost, as she sings: “gone the days, and gone the hours, we breathed the same air.” Loss and longing are ever-present. Harmonies try to sooth and comfort her, while horns reflect the Monika’s hurt, in this lament for love lost.
Earlier I described Quickbeam’s debut album Quickbeam as atmospheric, cinematic and ethereal. I could just as easily have described Quickbeam as sparse, minimalist and flamboyant. Quickbeam is an enigmatic album. Twelve songs lasting fifty-one minutes, featuring instruments you wouldn’t normally find on a indie, pop or rock album. Cellos, harmonium and horns are added to the rhythm section, piano and organ. Mind you, Quickbeam isn’t an indie, pop or rock album. No. It’s a fusion of ambient, classical, Celtic, folk, indie rock, jazz, pop and soulful vocals. The artists that have influenced Quickbeam are just as varied. Listen carefully and you’ll hear Astrid Williamson, Bartok, Blue Nile, Boards of Canada, Brian Eno, Clannad, Cocteau Twins, Deacon Blue, Jerry Burns and Jesus and Mary Chain. Such a diverse and eclectic range of influences make for an album that’s intriguing and compelling.
Indeed, from the opening bars of Remember to the closing One To Hold, Quickbeam have you spellbound. Layer upon layer of multi-textured, genre-sprawling music toys with your emotions. Intrigued, as one track ends, you wonder where Quickbeam are taking you? It’s like a musical journey, where a series of cinematic soundscapes unfold. Monika is the narrator of stories full of hurt, heartbreak and mystery. Longing and loneliness are often present in songs that are designed to tug at your heartstrings. Veering between ethereal and beautiful, to dramatic and dark, Quickbeam’s debut album is not just one of the best Scottish albums of 2013, but one of the best British albums of 2013. One listen to Quickbeam, and you’ll realize this too. Standout Tracks: Remember, Immersed, 1743 and The Great Expanse.
QUICKBEAM-QUICKBEAM.
WOODENBOX-END GAME.
WOODENBOX-END GAME.
Fueled by the sound of the Sensational Alex Harvey Band and Kayne West, Glasgow-based Woodenbox, set about recording their sophomore album End Game at Chem 19 recording studio in Hamilton. Given Woodenbox’s somewhat eclectic soundtrack, it’s no surprise that End Game is a similarly eclectic album. Best described as genre-sprawling, the Glasgow-based folk sextet had come a long way since their 2010 debut album Home and The Wildhunt. Released to critical acclaim, Home and The Wildhunt was one the best Scottish albums of 2010. Fast forward a year, to September 2011, and recording of their sophomore album End Game, which was released in March 2013, was underway.
The venue was Chem 19 recording studios in Hamilton. Woodenbox were joined by producer Paul Savage. Previously, Paul had produced Arab Strap, Franz Ferdinand and The Phantom Band. His job was to harness Woodenbox’s genre-melting music, with the melodic sound that featured on Home and The Wildhunt. For the sessions, ten new tracks had been written by Woodenbox. They were recorded at Chem 19 on 19th August 2011 and during October 2012. Everyone Has A Price was chosen as the lead single from what became End Game. It was released in March 2012, to coincide with Woodenbox’s first US tour. Woodenbox had come a long way since they were formed in 2008.
It was back in 2008 when Woodenbox were formed. Back then, they were originally called Woodenbox With A Box Fivers. The mariachi folk sextet’s lineup included vocalist Ali Downer who plays acoustic guitar and piano, plus a rhythm section of drummer Nick Dudman, guitarist Jordan Croan and bassist and organist Fraser Mckirdy. They were joined by the horn section of trumpeter Phil Caldwell and saxophonist Sam Evans. What brought them together was a love of The Beatles, mariachi and spaghetti westerns. A year later, Woodenbox With A Box Fivers would release their debut album.
Home and The Wildhunt, Woodenbox With A Box Fivers’ debut album was released in 2009. It was no ordinary album. Not at all. This was part of their college project. Just like Belle and Sebastian before them, Woodenbox With A Box Fivers had to release an album. Having written and recorded Home and The Wildhunt, it was released through the Electric Honey label, which was home to Biffy Clyro and Belle and Sebastian. What started as a college project quickly grew legs. Critically acclaimed upon its release, Home and The Wildhunt featured a band who were certainly not lacking in talent. So a decision was made to shorten the band’s name. After all, Woodenbox With A Box Fivers didn’t exactly roll off your tongue? Now called Woodenbox, the Glasgow-based folk sextet started the next chapter of their career.
By 2010, Woodenbox’s debut album Home and The Wildhunt was being played on national radio. Mark Radcliffe, Huw Stephens, Steve Lamazq and Vic Galloway all were championing Woodenbox. Meanwhile, Woodenbox were touring throughout Scotland and further afield as they sought to hone their trademark sound. By 2011, Woodenbox were festival favorites and one of the hardest working bands.
During 2011, Woodenbox played some of Scotland’s biggest music festivals. T In The Park, The Wickerman Festival, Celtic Connections, Belladrum, Insider and The Hebridean Celtic Festival. When Woodenbox weren’t appearing at festivals, they played at venues across Scotland and England. Woodenbox also supported Gomez and The Alabama 3. Somehow, Woodenbox found time to record their sophomore album End Game.
With recording beginning in August 2011, this meant Woodenbox would have a single released to coincide with their first American tour. Everyone Has A Price was released in March 2012. After touring America, Woodenbox returned to the Britain and embarked upon a tour. After that tour was finished, End Game was completed in October 2012. Five months later, the ten-track End Game was released on Olive Grove Records in March 2013.
On the release of End Game in March 2013, critics were won over by the next chapter in Woodenbox’s musical journey. Released to critical acclaim, the ten-track genre-sprawling End Game was perceived as a much more cohesive album. Considering each of the ten tracks were group efforts, that’s even more remarkable. No longer were Woodenbox beholden to one or two songwriters. Everyone played their part in End Game, which I’ll now tell you about.
Opening End Game is Roll for Me, a genre-sprawling track. Everything from rock, psychedelia, jazz and ska combine with The Beatles, power and drama. The arrangement is driven along by pounding drums and stabs of keyboards. It accompanies a vocal that’s been influenced by classic rock. Impassioned and earnest, it’s joined by jazz-tinged, blazing horns. They add to the drama and emotion, as the arrangement takes detours via ska and psychedelia. Later, the track becomes anthemic, Woodenbox sounding like musical veterans, seamlessly fusing musical genres.
As Courage unfolds, so do the reference points. The songs sounds as if it belongs on a David Lynch soundtrack. Then there’s the vocal. It veers between classic Scott Walker and later, as it grows in power, Elvis Costello as it delivers some of the best lyrics on End Game. Jangling Byrdsian guitars quiver and shiver, giving the track a psychedelic sound. They’re joined by keyboards, the rhythm section and sultry horns who along with the vocal, drive this track to its dramatic and poignant crescendo.
King’s Liar is a truly compelling track. After all, how often do you hear a Scottish band marry a samba beat with acoustic guitar? Meandering along, pensive acoustic guitars give way to a skanking beat. It’s a remarkable transformation, but one that’s irresistible. Burst of pounding drums, oompah horns and barrelhouse piano combine with a vocal that oozes emotion and regret. A real sing-a-long track, this is bound to a festival favorite that’ll get the party started.
Royal Mile is another track that once you’ve heard it, won’t forget. Dark and dramatic, an elastic, meandering bass line grabs your attention. So does the worldweary vocal and shimmering guitars. Having started slowly, the tempo quickens. Later, pounding drums drive the arrangement along. They inject drama while soothing harmonies and braying horns prove a perfect fit as the track heads towards an ending that’s best described as melancholy and Beatles-esque.
If you’re in pursuit of the perfect pop song, look no further than Beautiful Terrible. It literally bursts into life. The rhythm section, complete with flamboyant flourishes of drums and guitars take charge. They’re augmented by bursts of horns and Beach Boys’ influenced harmonies. They accompany a vocal that’s delivered at breakneck speed, adding “slow down.” This hook-laden slice of pop perfection has a sting in its tail, with the unforgettable lyric: “it’s a beautiful day, a beautiful hour, but a terrible night.”
Everyone Has a Price was chosen as the lead single from End Game. It’s another track where Woodenbox demonstrate just how talented they are as songwriters. Capable of writing funny, quirky and intelligent songs, here, Woodenbox have penned a song full of anger, frustration and social comment. Keyboards and rhythm section are joined by mariachi horns and a scatted vocal. Heartfelt, the lyrics are delivered with passion. Frustration fills Ali’s vocal as he almost spits out: “reasons to be giving, are mostly to receive,” “nobody’s a good man, while everyone’s a crook” and “nobody thinks twice when Everyone Has a Price.” A seething, raging song full of social comment, it’s a sad indictment on modern society.
Easy Life has a real melancholy, folk-tinged sound. Keyboards and acoustic guitar provide a wistful backdrop for the vocal. A booming drum provides the heartbeat and hint at what’s about to happen. Cooing harmonies provide a contrast. All of a sudden, Woodenbox decide to kick loose. Combing rock, folk and a Celtic sound this tale of homecoming, takes on an anthemic sound. Veering between anthemic and an elegant gliding waltz, it’s a compelling, beautiful track that has made in Scotland written all over it.
Race to the Flood shows another side to Woodenbox’s music. Influenced by free jazz and Bruce Springsteen, it’s a dramatic epic. Think Thunder Road, then add the theatre of Queen, and you’re halfway there. With the rhythm section and keyboards providing a dramatic backdrop for the vocal, it’s delivered with power, frustration and emotion. A sneering Ali sings: “but I can show you how to hate, yeah, your dumb enough to take the bait.” Wave after wave of dramatic music unfolds, as braying horns fill in the spaces on this slice of dramatic everyman music.
Waves of acoustic guitar open Asphyxiation, accompanying Ali’s wistful vocal. Harmonies coo before drums pound and guitars quiver and resonate. Stabs of keyboards accompany his deliberate vocal. It’s full of resignation. Questioning he asks: “where have you been and where are you coming from?” Then as the track reaches the bridge, it begins to unfold. Everything comes together. Briefly, Woodenbox sound like R.E.M, albeit with free jazz horns adding to the sense of confusion and drama. Like so many of Woodenbox’s songs, producer Paul Savage’s contribution is huge, putting the pieces of the song together to create a track that’s an emotive, edgy opus.
Closing End Game, Woodenbox’s sophomore album is Save Yourself. Very briefly, when you hear the stabs of keyboards, you can’t help but think of Supertramp’s Logical Song. That’s but a fleeting thought. After all, you don’t want to miss the ethereal beauty of Save Yourself? From ethereal, the track becomes dark and dramatic. Ali’s vocal accompanies the keyboards, while sweeping harmonies and dramatic, driving drums join forces with searing guitars. The lyrics are dark, witty, intelligent and cynical. They’re reminiscent of Lloyd Cole one minute, the next, The Beatles. Delivered with emotion, frustration and sometimes, a sneer, Ali’s saved one of his best vocals until last. Similarly, Woodenbox have kept some of their best lyrics until last, on a track that sees Woodenbox continue on their pursuit of pop perfection.
Just five years after they were founded, Woodenbox released their sophomore album End Game. It’s a slick, accomplished and genre-melting album. Indeed, it’s so polished you forget that Woodenbox are a relatively new band. While that’s the case, they’re certainly not lacking experience. Their years of constant touring have helped them hone their sound. Over the past few years, as Woodenbox toured the length and breadth of Scotland, and later further afield, they’d become festival favorites. That’s no surprise, given their music is anthemic and hook-laden. Many of the ten tracks of End Game would be festival favorites. Indeed, I’m sure King’s Liar, Beautiful Terrible, Easy Life and Race To The Flood would go down a storm at festivals this summer. They’re just four of the tracks from End Game, which is a fusion of musical genres.
Everything from folk, jazz, pop, psychedelia, rock and ska are combined by the Glasgow-based folk sextet on End Game. The ten tracks were written by Woodenbox and became End Game. These tracks contain lyrics that are intelligent, witty, surreal and cynical. End Game’s lyrics were brought to life by a tight, talented and accomplished group of musicians. As for vocalist Ali Downer, he breathes life, meaning and emotion into them. Then there’s the production.
End Game was produced by Paul Savage. He played an important part in the End Game’s success. Paul’s experience allows his to structure the songs in such a way that they’re most effective. His production style allows you to hear the different layers of music. Brought together, these layers of music veer between dramatic, edgy, ethereal, anthemic and hook-laden. Having worked with successful groups before, Paul knows what makes a successful album. Paul played an important part in the success of End Game, an album whose songs are anthemic, dark, dramatic, hook-laden, intelligent and introspective. That’s the perfect way to describe Woodenbox’s genre-sprawling, sophomore album End Game, which is the perfect introduction to one of Scotland’s best bands. Standout Tracks: King’s Liar, Beautiful Terrible, Easy Life and Race To The Flood.
WOODENBOX-END GAME.
ACID RAIN: DEFINITIVE ORIGINAL ACID AND DEEP HOUSE 1985-1991.
ACID RAIN: DEFINITIVE ORIGINAL ACID AND DEEP HOUSE 1985-1991.
For those of us of a certain vintage, the music on Harmless Records’ forthcoming box-set Acid Rain: Definitive Original Acid and Deep House 1985-1991, provided the soundtrack to our lives, over a six year period. These six years were the golden days of house music. Born in Chicago, in the early eighties, this was the start of a new, innovative and revolutionary musical genre. Back then, no-one realized this. House, most people thought, was just another musical fad, that like disco, Philly Soul, punk or new wave, would last a few years, then be replaced by something else. How wrong could they be? Instead, we were entering one of the most exciting periods in music. Better still, we were the lucky ones, fortunate to witness and hear the rise and rise of house music, which is documented on Acid Rain: Definitive Original Acid and Deep House 1985-1991. It will be released by Harmless Records on 12th August 2013. Compiled by Terry Farley, Acid Rain: Definitive Original Acid and Deep House 1985-1991 features sixty-one tracks spread over five discs. Before I tell you about the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991, I’ll tell you about the background to house music, without perpetuating any of house music’s many myths that many supposed journalists continue to perpetuate.
During the six year period that Acid Rain: Definitive Original Acid and Deep House 1985-1991 covers, weekends were spent dancing to Acid House. Back then, it wasn’t just case of turning up at a club to dance the night away to a new musical genre. No. Instead, it was an adventure, a game of cat and mouse with the authorities. This involved spending half the night traipsing up and down the motorway networks, trying to outwit the authorities. Best described as a magical mystery tour, all the time, everyone awaited the phone call about where the elusive venue was. There was a sense of anticipation that was almost tangible. Where are we heading and what will happen? Would it be a deserted warehouse that someone had conveniently found a key to? Maybe it would be a farmer’s field in the back of beyond? Often it was just a small backstreet club, which was packed to the rafters with loved-up, blissed-out dancers. Before long, what started as an underground movement, born in Chicago, in the early eighties, became a musical phenomenon.
Soon, house music’s popularity grew. What started off as underground scene, moved into the mainstream. Record labels, club nights, promoters and clubs sprung up. By then, house music was like a religion. Dancers were converted into believers. They headed to the clubs, warehouses and fields to worship. For dancers, clubs and warehouses were their churches and temples. At these churches and temples, DJs were like priests, with their rituals of beat-matching and track selection. Most importantly, the supplied the Jack, the hypnotic groove that ensured dancers were spellbound and enthralled. For six years, believers regularly attended worship and gave thanks for the groove that they gave themselves over to. Little did the pioneers of house realise the effect this new musical genre would have on people. That was all still to come. Before that, we need to head back to the end of the seventies.
To trace house music’s origins, we’ve got to head back to July 1979, when disco almost died. The aftershocks of Disco Demolition Night was felt long after July 1979. After that, very few, if any, disco records were released. Disco labels closed and disco artists were dropped by labels. For some DJs, this presented a problem, what were they going to play?
Following disco’s demise, DJs were faced by a problem, the music that had provided the soundtrack to their dance-floors was in disgrace. Dropping a disco track, could result in the dance-floor clearing. This was the case everywhere. In the WIndy City of Chicago, innovative DJs like Frankie Knuckles, Ron Hardy, Tee Scott and Marshall Jefferson decided to cast their musical net wider. They decided to dig deeper, and play a more eclectic selection of dance music. It was a case of anything goes. Anything from recent Italo Disco tracks, right through to hip hop, electro funk, synth pop, funk and classic disco sat side-by-side with the electronic delights of Kraftwerk, Yello and Yellow Magic Orchestra. Add to this boogie, which had recently replaced disco as the de rigeur choice of discerning DJs. This musical collage would provide the soundtrack for Chicago clubbers who graced The Warehouse and the in 1982, The Power Plant, the club Frankie founded in Chicago.
The Warehouse opened in Chicago in March 1977, when disco was at the peak of its popularity. Frankie Knuckles, who previously, had DJ-ed at Better Days in New York. Following its bankruptcy, travelled to Chicago to play at the opening night at The Warehouse. After the opening night, Frankie was asked to stay on and become resident DJ. At the start, attendances were poor, but gradually, Frankie won over The Warehouse’s dancers. Fusing his slick New York style with the more eclectic “Chicago sound,” that could be heard on radio shows like Hot Mix 5’s, WBMX and Kent’s Punk Out. With Frankie fusing everything from boogie, Italo Disco, synth pop, hip hop, electro funk, funk punk and classic disco he quickly established a loyal following, among this new generation of DJs, who’d become the first wave of Chicago House producers.
This new generation of DJs included Jesse Saunders, Farley Jackmaster Funk, Ralph Rosario and Steve “Silk” Hurley.” They were also the first wave of Chicago House producers. Their musical tastes were equally eclectic and their approach to DJ-ing inventive and imaginative. It would go on to influence other producers. An example of this is Jesse Saunders and Farley Jackmaster Funk using a drum machine to add a 4/4 beat over other records. This would prove to be one of the tell-tell sounds of house music. Frankie Knuckles relied upon a trick, but one that wasn’t a new one. Indeed, it was one that was a reminder of disco’s heyday.
Many DJs, including Walter Gibbons, used two copies of the same track to extend the break. That was all very well, but Frankie took it much further. Like Tom Moulton, he used reel-to-reel tapes of tracks to create an edit. With his friend Esmaro Rivera, Frankie was able to rebuild a track, in such a way that it was dance-floor friendly. Not only could breaks be lengthened, but new parts added. He could use parts of other tracks to heighten the drama, tension and sense of anticipation. These became Frankie Knuckles’ secret DJ weapons. Sensing an opportunity, the original versions of these tracks started finding their way into the racks of record shops. To describe this as yet, unnamed musical genre, it was described: “as heard at The Warehouse.” This was shortened to House Music, which described Frankie Knuckles’ then style of DJ-ing. It would later describe a musical genre, which was about to be born.
With technology suddenly becoming much more affordable, drum machines, sequencers and synths were within the budget of ordinary people. All of sudden, you didn’t need a huge budget to buy the technology required to record a track. Taking advantage of this technology, was Byron Walton.
Mention the name Byron Walton and people will say who? The name Jamie Principle evokes a different response. Byron was born in Chicago was one of the pioneers of house music. As Jamie Principle, he recorded house music’s first love song, Your Song. Based on a poem Jamie wrote about his girlfriend, this was the start of the career of a true musical innovator, who went on to released singles like Cold World and I’m Not Over You. Jamie’s music was crucial to the development of house music and influenced other aspiring producers So too did the music DJ Jesse Saunders and his friend Vince Lawrence, a lighting engineer who’d both dreams of becoming a producer.
Vince’s father owned a record label, and had released the new-wave track Fast Cars. It had given Jesse and Vince a minor hit. Then Jesse and Vince met pianist Duane Buford and Screamin’ Rachel, the future co-founder of Trax Records. Together as Z-Factor, they recorded a series of singles that Vince’s father was to release. He however, was taking too long for their liking. So they recorded a basic beat track, which was based upon a vintage disco megamix and incorporated parts of the tracks they’d already recorded. Complete with a handwritten label, this new track, On and On, was taken to the local record pressing plant, Precision Records. One-thousand copies, costing a Dollar a copy, were pressed. These thousand copies were sold for $4 each around clubs, where Vince and Jesse were well known. For other aspiring producers, On and On would provide them the inspiration to make their own house tracks.
With its far from polished sound, every wannabe producer thought they could better On and On. That may have been the case, but did these tracks capture the imagination like On and On?
Other producers however, had different approaches to making music. Lil Louis, another of the first wave of Chicago house producers, first production Your Love, appeared on tape. It was a much more slick and flamboyant track. So good was Your Love, the consensus was that it was the work of a European producer. While this was wrong, it set the tone for future productions. Soon, other producers wanted to produce tracks as polished as Lil Louis.’ That included Marshall Jefferson. However, Marshall’s music had a much more everyman sound.
Marshall Jefferson first heard house music on the radio. The Hot Mix 5 was his introduction to house music. Soon, he was absorbed in the music. Listening on the radio, or heading clubs to see Frankie Knuckles and Ron Hardy, Marshall was hooked. Then fate intervened. Frankie’s friend needed lift to his local Guitar Centre. With his friend, they headed to the music shop. Just window-shopping , the saleman was showing them a Yahama QX1 sequencer. According to the salesman, even a non musician could play keyboards like a musical veteran. When Marshall heard this, he was hooked and bought his first equipment. However, since then, what he purchased has become another of house music’s myths.
What Marshall purchased, depends on what version of the story you read or hear. One version of the story is Marshall bought just a synth and sequencer to create house music. The other is, he fell for the smooth talk of a persuasive salesman and left the shop with $9,000 worth or equipment, which today, would be the equivalent to about $30,000. This included keyboards, a drum machine, Yahama QX1 sequencer, Roland TB-303, mixer and four-track recorder. Bought on credit, Marshall headed home with all this equipment. The only problem was, he could neither play the keyboards, nor knew how to work the rest of equipment.
Two days after buying all this equipment, Marshall produced his first track. Part of his secret was adjusting the tempo of the sequencer. He’d play the music note by note, then speed the music up. Just like On and On, the music Marshall’s made was “everyman” house music. Marshall was the Bruce Springsteen of house music. It was the type of music people heard and thought they could do better. Very few could though. That’s why a year later, Marshall Jefferson’s name was known worldwide. Looking back, Marshall’s style and therefore sound was unique. With each producer having a different sound, it’s possible to tell a Marshall Jefferson track from Mr. Fingers, and Virgo 4. However, not everyone producer had the same budget as Marshall Jefferson.
For some producers, it was a case of make do and mend. With just really basic equipment, they produced groundbreaking music. An example is Steve Poindexter making a track with just a Casio RZ-1 drum machine. Given its minuscule sampling capacity, that’s a remarkable achievement. Other producers didn’t even have a Casio RZ-1. Instead, they’d to beg and borrow, using equipment during other producer’s downtime. Frankie Knuckles lent Chip E a Roland TR-909 rhythm composer. First released in 1983, aspiring producers cast envious glances at the 909. The same beg, steal and borrow attitude came when it came to vocals and samples.
Not every producer had the budget to pay for a known vocalist. Often, it was a case of asking around the neighborhood, and a friend of friend would add the vocal. For Farley “Jackmaster” Funk’s Love Can’t Turn Around, Farley came across Darryl Pandy, a college-trained vocalist. This proved a masterstroke, as the track reached number one in the UK. If there was no vocalist available, house producers weren’t above “borrowing” samples from old soul, funk and disco tracks.
Nothing it seemed, was off limits for nascent house producers. They thought nothing of sampling old soul, funk and disco tracks. The problem was, often, no permission was asked. Uncleared samples were at the heart of successful house tracks. They were following in the footsteps of hip hop producers a few years earlier. Back then, they’d been seeking the perfect break. Among the artists sampled were First Choice, Candido, Dexter Wansel, Loleatta Holloway, Carrie Lucas and Cerrone. Even Dr. Martin Luther King’s speeches were sampled by teenage, Chicago producer Tyree Cooper. By not asking for permission, which may well have been granted, producers were storing up problems for further down the line. Mind you, by then, many producers had lost control of their music.
With any new musical scene, opportunistic people under the guise of “entrepreneurs” prey on unsuspecting musicians and producers. This problem is as old as popular music. Whether it’s managers, promoters or record labels, many an inexperienced house producer rues the day they met their nemesis. Often, desperate to have their record released, many a naive producer was approached by a record company offering a contract. All too often, the contract was on far from favorable terms. Royalties would be minimal and often, never be paid. Sometimes, producers would lose control of their music. Other times, producers were offered a lump sum for their track. A few thousand Dollars seems like a fortune. Little did they realize they’d signed away a small fortune. This age old problem was rampant in Chicago. In many ways, Chicago was the Wild West and house music was the equivalent of a gold rush. So, a new wave of labels were formed, hopefully, to right the wrongs of the past.
Two labels in particular played an important part in the development of house music, Trax and DJ International. Trax was formed in 1983 by Larry Sherman and Screamin’ Rachel Cain. It began operating in 1983, when it purchased a company called Musical Products. A year later, Trax Records started signing artists. In charge of A&R, was Vince Lawrence, who’d suggested that Larry Sherman formed Trax, who played an important part in the development and growth of house music. Known for releasing influential and innovative music, Trax was one of house music’s leading labels. Numerous classic tracks were released on Trax, including Adonis’ No Way Back, Larry Heard’s Can You Feel It and Marshall Jefferson’s Move Your Body. Despite the important part Trax played in house music, Trax wasn’t above criticism.
Trax’s critics accused the company of using poor quality vinyl. It’s alleged recycled vinyl was used, rather than virgin vinyl. More serious allegations included neither honoring contracts, nor paying royalties and even illicitly releasing tracks. These however, are just allegations. Nothing was ever proven in a court of law. However, with these rumors going round Chicago’s musical community, it’s no surprise a rival label was set up, DJ International Records.
Founded in the mid-eighties by Rocky Jones, DJ International Records quickly became one of Chicago’s big two house labels. Among their signings were Tyree, Joe Smooth, Fast Eddie, JM Silk,Farley “Jackmaster” Funk and Jesse Saunders. Along with Trax Records, DJ International Records would release some of the most innovative music from the first wave of Chicago house producers. Chicago the label where house music was born, was now the house music capital of the world.
Whether it was producers, record labels, DJs or clubs, Chicago had the best. Even if they weren’t born in the Windy City, producers and DJs called Chicago home. Clubs like The Music Box, The Warehouse and Record Plant were home to DJs that included Ron Hardy, Frankie Knuckles, and Gene Hunt. They had a seemingly never-ending supply of new releases to play. Thunderous drums and pounding bass-lines pumped the music out of huge, industrial strength speakers. Only they could fill the cavernous clubs full of dancers lost in the music. At one with the music, the dancers worshipped at the altar of Ron Hardy and Frankie Knuckles. The dancers were believers, and like the DJs were determined to spread the gospel of house music, further afield than Chicago and rest of America. Soon, Britain was about to discover house music.
This is where the controversy begins, and we come across more of house music’s myths. Three of these myths are: when was house music first heard in the UK; where was it first heard and who introduced house music to Britain? Trying to come up with a definitive answer to these questions is impossible. So, unlike some people, I won’t shamelessly perpetuate the myths about when and where Britain was introduced to house music. Similarly, I won’t try and make an educated guess at who introduced Britain to house music. It’s an argument that will never be settled. All we can say with any degree of certainty, is that was between 1985 and 1986. Where and when it was first heard, is disputed.
Depending on the books and articles you read, house was first heard in the South in London, or in the North in cities like Liverpool or Manchester, at clubs like the Hacienda. Like so many things, house music caused a north, south divide. Strangely, Londoner’s attitudes towards house music were divided. Many people, including the then “soul mafia,” were anti-house, while other factions jumped on the house bandwagon straight away. Ironically, many of the“soul mafia,” eventually changed their attitude and become enthusiastic, if not evangelistic about house music. In the North of England, house music was much more enthusiastically greeted. Especially in Manchester, a city which eventually, would become the Britain’s house music capital during the Second Summer Of Love. Some of the music played during the Second Summer Of Love featured on one of the first British house compilations that was released. Like many people, I can remember buying a copy.
Towards the end of 1986, London Records released a compilation entitled The House Sounds Of Chicago. It was so successful, that the album spent four months on the UK albums charts. Two singles were released from the album. Farley “Jackmaster” Funk’s Love Can’t Turn Around was released in September 1986, reaching number ten in the UK. Then when Steve “Slik” Hurley’s Love Can’t Turn Around was released in January 1987, it reached number one in the UK. Not long after this, the Chicago House Music Tour visited the UK. Marshall Jefferson was the headline act in what was the pre-Acid House era. Before long, Acid House was about to explode in Britain.
Later in 1987, Britain was about to discover the hypnotic sound of Acid House. This was one of the first sub-genres of house music. Before this, people generally spoke about house music. With its squelchy bass-synth sound, that came courtesy of the Roland TB-303 Acid House’s popularity spread from America over to Europe and then the UK. When and who, brought Acid House to the UK depends upon who you ask. Many people lay claim to having heard Acid House in variously Chicago, New York and Ibiza and brought the first records back to the UK. Exactly who was responsible for exporting Acid House is unclear. What we can say with certainty, is that a musical revolution was about to happen.
As I said, where and when Acid House was first heard in the UK, depends who you talk to, or what interviews and books you read. According to some people, Shoom in London, which was opened by Danny and Jenny Rampling in November 1987, is thought to be one of the first places where Acid House was first heard in the UK. Shoom however, was an exclusive club, where dancers were enveloped in thick fog and introduced to the hypnotic sound of Acid House. That Shoom was the birthplace of Acid House in Britain, is disputed though. There are some people who claim to have heard early house tracks at the alternative nights at Heaven, in Charing Cross. It could just as easily have been clubs in Liverpool or Manchester where house was first heard. One club would play an important part in the rise of house and also, in its demonisation.
It was in June 1988, that Nick Holloway opened Trip In London’s West End in June 1988. Trip was the in place. Dancers danced until 3am, then would spill out into the West End’s streets singing and dancing, heading to after-club parties. This didn’t go down well with residents, who complained to the police. Further down the Acid House road, these complaints would result in anti-clubbing laws. That was still to come, back in 1988, the Second Summer of Love was just beginning.
Apart from clubs, which sprung up all over Britain, outdoor raves stared taking place the length and breadth of Britain. Again, saying where the first rave was held, would be perpetuating another of house music’s many myths. Many of them took place in the unlikeliest of places. Keys were conveniently found to empty warehouses and factories. Sometimes, farmers fields, in middle of nowhere were the venue for the rave. Just like warehouses and factories, generators and sound systems were brought in and dancers danced until dawn. Fuelling the Second Summer of Love was the controversial drug ecstasy.
Many clubbers enthusiastically discovered ecstasy. Some people became ecstasy evangelists, given the chilled-out way it made them feel. Among those ecstasy evangelists were football hooligans. According to them, after dropping an E, they underwent Damascene transformations. No longer did they want to fight. Instead, they were candidates for the peace corps. Other people had horrendous experiences after taking ecstasy. Indeed, some people even died after taking ecstasy. By 1988, the combination of illegal, unlicensed parties, drugs and large gatherings of people, the police and government started to clamp down on raves.
Later 1988, attitudes had changed about Acid House. No longer was it just the latest musical movement or scene. Not at all. Acid House was now seen as something that could undermine society. The press and media began running sensationalist stories about Acid House. Painting the parties as sodom and gomorrah, tabloid newspapers published tales of hedonism fueled by a variety of psychedelic drugs. Soon, the police started clamping down on warehouse parties. The police raided the parties, arresting the organizers, confiscating equipment and the takings. Under pressure from the public, this lead to the government passing legislation, which later, became the Criminal Justice Act 1994, which banned illegal gatherings of over one-hundred people. Ironically, by 1988, Acid House’s popularity was challenged by deep house.
Deep House, which became popular towards the end of the eighties, was a fusion of Chicago house, soul and eighties jazz-funk. This was a much more complex style of music. In the early days of deep house, the chords used were much more complex and had a jazzy influence. Vocals were added, and generally, were slow and soulful. The music was smooth and melodic and very different from Acid House. Influenced by disco, Philly Soul and Salsoul deep house seemed to appeal to a much wider audience. Pioneers of deep house included Larry Heard. He was one of the pioneers of deep house. As Mr. Fingers, he released 1985s Mystery Of Love and 1986s Can You Feel It. He paved the way for DJs like Harry Dennis, Frankie Knuckles, Candy J, Virgo Four, Libra Libra and Ace and The Sandman. All these artists and more feature on the five-disc, box-set that is Acid Rain: Definitive Original Acid and Deep House 1985-1991, which I’ll tell you about.
DISC ONE-THE BIRTH OF DEEP HOUSE.
Each of the five discs that comprise Acid Rain: Definitive Original Acid and Deep House 1985-1991 has a title. Disc One is entitled The Birth Of Deep House. It’s also a mouthwatering musical prospect. No wonder. Of the twelve tracks, seven were released on Trax and two on Hot Mix 5, Saber Records, Chicago Connection Records and Westbrook Records contribute a track apiece. These twelve tracks were released between 1986 and 1993. There’s contributions from Frankie Knuckles featuring Jaimie Principle, Libra Libra, Virgo 4, DJ Pierre, Jungle Wonz, Candy J and Pierre’s Fantasy Club. Classics, anthems and hidden gems sit side-by-side on Disc One. That makes choosing few highlights of disc one difficult, but here goes.
One of the highlights of Disc One of Acid Rain: Definitive Original Acid and Deep House 1985-1991, comes courtesy of Frankie Knuckles. Featuring Jaimie Principle, Bad Boy was originally released in 1987 on Trax. The sultry, sensual 12” version has never been released before. That seems strange given the quality of a track. It’s a fusion of electronica, Euro Disco and house. Pleasure Zone’s Fantasy, released in 1989 on Trax, has a similar sensual sound to Bad Boy. It has a Germanic sound, that’s sometimes, sounds as if it’s been inspired by Donna Summer’s I Feel Love. Candy J’s Desirable Revenge was released on Hot Mix 5 Records in 1988. Feisty and sassy, this hook-laden, dance-floor friendly track has been influenced by Loleatta Holloway, disco and Hi-NRG.
Virgo 4’s Take Me Higher was released on Trax in 1989. It’s quite different from the other tracks I’ve mentioned. Best described as hypnotic and moody, it’s reminiscent of Kraftwerk’s musical opus Autobahn. Just as hypnotic and moody, but more melodic is Ace and The Sandman’s Let Your Body Talk. Released on Trax on 1992, this track shows how much house music had changed since the early eighties. There was a much more soulful, melodic sound to house music, which by 1992, was constantly evolving and reinventing itself. Terry Farley documents house music’s evolution on Disc One of Acid Rain: Definitive Original Acid and Deep House 1985-1991.
DISC TWO-IN THE DARK WE LIVE.
Entitled In The Dark We Live, Disc Two of Acid Rain: Definitive Original Acid and Deep House 1985-1991, features fourteen tracks. They were released between 1986 and 1990 on labels that include Hot Mix 5 Records, Bigshot Records, State Street Records and Housetime Records. Just like Disc One, Disc Two certainly isn’t lacking in quality. Not with stonewall classics like Frankie Knuckles’ Baby Wants To Ride and Mr. Fingers’ Washing Machine. There’s also contributions from Virgo 4, Jungle Wonz, Cool McCool, Gene Hunt and Phuture.
Virgo 4’s R U Hot Enough opens disc one of Acid Rain: Definitive Original Acid and Deep House 1985-1991. Released in 1986, this piano driven track was released on Trax. Built around a simple piano riff, augmented by the squelchiest of synths, the result is a truly innovative track.
Somehow, Jungle Wonz’s The Jungle manages to ethereal, melancholy, beautiful and moody at the same time. Washes of synths and crispy beats combine on a track that was released by Trax on 1986. Haunting and broody describes Cool McCool, which epitomizes Acid House. Released on Hot Mix 5 Records in 1986. Just as moody and dark is Phuture’s Your Only Friend (Cocaine), which was released on Trax in 1987. Eclectic describes the music on Disc Two of Acid Rain: Definitive Original Acid and Deep House 1985-1991. The fourteen tracks are full of surprises. Just like Forest Gump’s box of chocolates, you never know what Terry Farley has in store on Acid Rain: Definitive Original Acid and Deep House 1985-1991.
DISC THREE-CHILDREN OF THE NIGHT.
Disc Three of Acid Rain: Definitive Original Acid and Deep House 1985-1991, is a disparate and compelling collection of tracks. The thirteen tracks range from jazz-tinged to dark, dramatic and gothic. These thirteen tracks were released between 1986 and 1988, on Trax, Hot Mix 5 Records and Westbrook Records. This includes contributions from Mike Dunn, Bam Bam, Farley Jackmaster Funk, Ralphi Rosario, Sleezy D, Mr. Lee and Phuture. Among these tracks several house classics. Who can forget Sleezy D’s I’ve Lost Control and Mr. Lee’s I Cant Forget. Apart from these two tracks there’s much more to discover on Disc Three of Acid Rain: Definitive Original Acid and Deep House 1985-1991.
Bam Bam have two tracks on Disc Three of Acid Rain: Definitive Original Acid and Deep House 1985-1991. The first is Another World, one of the most uplifting tracks on Disc Three. Released on Westbrook Records in 1988. Written by Mike Dunn, it’s the polar opposite of their other contribution Where’s Your Child. Penned by Chris Westbrook, it’s dark and almost disturbing. It’s a bit like excerpts of a horror movie put to music. There’s a similar darkness to the gothic sound of Farley Jackmaster Funk’s I Need A Friend, which was released in 1986, on Trax. Ralphi Rosario’s In The Night, released on has a broody, moody sound. So too does Phuture’s Slam. A mixture of the squelchiest synths and thunderous drums, classic Acid House meets darkness and drama. Not all the tracks on Disc Three are dark, dramatic, moody or broody.
Two tracks on disc three, released in1988 define Acid House. The first is Fingers’ Ecstasy, released on Hot Mix 5 Records in 1988, and the other is Jack Frost and The Circle Jerks. It was released on Trax. So was Lidell Townsell’s I’ll Make You Dance. It’s an irresistible fusion of Acid House and hip hop. These three tracks demonstrate another side to the music on Disc Three of Acid Rain: Definitive Original Acid and Deep House 1985-1991, which thanks to Terry Farley, are suitably eclectic examples of innovative and quality house music released between 1986 and 1988.
DISC FOUR-NO WAY BACK.
Unlike the previous discs, the eleven tracks on Disc Four of Acid Rain: Definitive Original Acid and Deep House 1985-1991, are from a number of smaller labels. The eleven tracks were released between 1987 and 1990 on labels like Lets Get Puppies Records and Tapes, Bouncin’ Music, Future Sound, Kool Kat Records, Transmat Records, Fragile Records and of course, Trax. Among the artists that feature on disc four are familiar faces like Armando, Bam Bam, Jack Frost & The Circle Jerks and Liddell Townsell. That’s not forgetting Neil Howard, Model 500, Neil Howard and Fade 11 Black. These eleven tracks were released between 1987 and 1990, when Acid House’s popularity was soaring and Deep House was growing in popularity.
Armando’s Don’t Take It was originally released in 1988 on Let’s Get Puppies.The version on Disc Four is a reedit. Everything from disco, techno, deep house and Acid House are thrown into the musical melting. Minimalist beats, squelchy synths and a feisty half-spoken vocal combine to create a timeless musical treasure.
Marcus Mixx’s Psychousic has a futuristic, eerie sci-fi sound. That comes courtesy of robotic synths, while crunchy drumbeats drive the arrangement along. Together, they create a track that’s mesmeric and futuristic.
Neil Howard’s To Be Or Not To Be bursts into life. What follows is five minutes of Acid House. Released in 1988 on Future Sound, the music is more complex than the early Acid House. Dramatic and energetic describes this track perfectly. Our old friends Jack Frost & The Circle Jerks contribute Cool and Dry, another slice of Acid House. Released in 1988 on Trax, stabs of synths join the Roland TB-303, which contributes its trademark squelchy sound. In an instant, you’re transported back to the Second Summer Of Love thanks to the music on Disc Four of Acid Rain: Definitive Original Acid and Deep House 1985-1991.
DISC FIVE-WORK THE BOX.
Work The Box, the title of Disc Five of Acid Rain: Definitive Original Acid and Deep House 1985-1991, seems to be Terry Farley paying homage to house music DJs. Many of them were charismatic, larger than life, musical evangelists. Their raison d’etre was to convert the dancers to house music, which to many DJs in the mid-eighties, was like a religion. Often, DJs were preaching to the converted. Other times, dancers didn’t “get” house music as quickly. Especially if they’d grownup listening to disco, Philly Soul and Salsoul. For some DJs they took this an obstinate dance-floor as a challenge. Through time and the finest house music coming out of the Windy City, the nonbelievers became believers in house music. It was like a Damascene conversion, thanks to the music of Mr. Fingers, Ron Hardy, Santos, Laurent X, Phuture and Jungle Wonz which features on Disc Five of Acid Rain: Definitive Original Acid and Deep House 1985-1991.
Comprising eleven tracks released between 1985 and 1988, Disc Five is the final disc in Acid Rain: Definitive Original Acid and Deep House 1985-1991. The eleven tracks were released on Lets Get Puppies Records and Tapes, House Nation and Trax Records. Disc five is chock full of some of the biggest names in house, so choosing the creme de la creme isn’t going to be easy.
Mr. Fingers contributes two tracks to Disc Five. The first is the futuristic sounding Distant Planet. Released on Trax in 1988, this groove-driven track is good, but no match for his 1987 classic Can You Feel It?
Machines, which is a truly innovative track is the first of two tracks Laurent X contributes to Disc Five. It’s hard to believe it was released in 1987, on House Nation. Squelchy, Acid House synths contribute the track’s its sci-fi sound. Add to this haunting vocals that drift in and out, and the result is a mesmeric, timeless track. Drowning In A Sea Of House was released in 1988. Hypnotic and gloriously repetitive it’s a reminder of house’s glory days.
Not only was Ron Hardy a legendary DJ, but an accomplished producer. Proof of this is Sensation, one of the earliest tracks on Acid Rain: Definitive Original Acid and Deep House 1985-1991. Although it was released in 1985, it has a much more sophisticated sound than some of the tracks. Ron seems to utilize the technology better than some producers, producing a track that’s complex, funky and dance-floor friendly.
Apart from the tracks I’ve mentioned on Disc Five of Acid Rain: Definitive Original Acid and Deep House 1985-1991, two tracks deserve honorable mentions. The first is Jack Frost’s Clap, which is another track that defines Acid House. Then there’s Phuture’s We Are The Phuture, a fusion of futuristic and soulful music. These tracks are just two further examples of innovative and influential music that features on Acid Rain: Definitive Original Acid and Deep House 1985-1991.
Although I’ve only mentioned some of the tracks on Acid Rain: Definitive Original Acid and Deep House 1985-1991, there’s any number of other tracks I could’ve mentioned. That’s how consistently high the quality of music is. Considering Acid Rain: Definitive Original Acid and Deep House 1985-1991 is a five-disc box-set, Terry Farley deserves our congratulations. With five discs to fill, we could’ve forgiven Terry the odd musical faux pas. That’s not the case though. He doesn’t resort to filler. Instead, he concentrates on quality. Indeed, it’s mostly killer all the way for Terry, as he takes you on a six year magical mystery tour through house music. He introduces you to the best of Acid House and deep house that feature on the five discs that comprise Acid Rain: Definitive Original Acid and Deep House 1985-1991. This will be the perfect way to celebrate a very special anniversary.
Acid Rain: Definitive Original Acid and Deep House 1985-1991 is the perfect way to celebrate the 25th anniversary of the Second Summer Of Love. Like many people, I find it hard to believe that it’s twenty-five years since the Second Summer Of Love. To celebrate this illustrious anniversary, what was needed was a lovingly compiled, box set, that was a reminder of those heady, hedonistic days of 1988. That’s what we got, thanks to Terry Farley. He’s chosen well, and has dug deep, deeper than he’s dug before. Terry Farley chose sixty-one tracks which include old favorites, classics and hidden gems. Most of the tracks are innovative and groundbreaking. This includes contributions from Mr. Fingers, Frankie Knuckles, Gene Hunt, Ralphi Rosario, Armando, Virgo Four, Phuture and Laurent X. Acid House and deep house sit proudly side-by-side and would go onto influence future generations of house producers.
These tracks were part of a musical revolution, a musical revolution whose roots are shrouded in myths and mystery. Before house music, dance music was at a crossroads. Disco had nearly died in 1979, and other musical genres tried to fill the void. Synth pop, Euro Disco, and boogie all tried. Nothing filled dance-floors like disco. However, disco was perceived as yesterday’s music. What was needed, was something new, innovative and dance-floor friendly. The solution was house music, the musical offspring of disco, funk punk, Italo Disco, synth pop, Euro Disco and Philly Soul.
Just like punk a few years earlier, with its D.I.Y. culture, aspiring producers were able to make music cheaply without the benefit of a large budget, recording contract or even, a recording studio. Drum machines, synths, sequencers and 4-track recorders were much cheaper. Now it was possible to record a hit single in your spare room. Many of the tracks on Acid Rain: Definitive Original Acid and Deep House 1985-1991 were recorded this way.
Despite the lack of a large budget, recording contract or recording studio, producers were able to record music that was revolutionary, music that was imaginative, innovative and went on to influence further generations of producers. Some of that music, music which was thought would be throwaway, is nearly thirty-years old, but has aged well. Ironically, I’d go as far as describe the music as timeless. That certainly is a good way to describe much of the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991, which will be released by Harmless Records on 12th August 2013. Timeless, innovative and influential describes the music on Acid Rain: Definitive Original Acid and Deep House 1985-1991, which is a glorious reminder of the heady, hedonistic, glory days of the Second Summer Of Love.
ACID RAIN: DEFINITIVE ORIGINAL ACID AND DEEP HOUSE 1985-1991.
NANCY WILSON-KALEIDOSCOPE AND I KNOW I LOVE HIM.
NANCY WILSON-KALEIDOSCOPE AND I KNOW I LOVE HIM.
Not many artists have enjoyed the longevity that Nancy Wilson has. Nancy released over seventy albums over a career that’s spanned six decides. Her career started back in 1956, when she was just nineteen. Three years later, in 1959, Nancy released Like In Love for Capitol Records. It was at Capitol Records where Nancy established a reputation as one of the finest jazz singers of her generation. By the late sixties, Nancy’s music began to change.
With vocal jazz was no longer as popular, Nancy incorporated soul and R&B into her albums. This didn’t help Nancy replicate the commercial success and critical acclaim she’d enjoyed earlier in her career. As the seventies dawned, Nancy’s career was at a crossroads. Music had changed so much in a short space of time. Nancy’s music was almost a reminder of an earlier musical era. Proof of this was Nancy’s first album of the seventies, 1970s Can’t Take My Eyes Off You.
Can’t Take My Eyes Off You saw Nancy stick to the musically tried and tested formula of releasing an album of cover versions. While this was popular early in the sixties, music had changed since the. Produced by David Cavanaugh, Can’t Take My Eyes Off You stalled at just number 155 in the US Billboard 200 and number thirty-eight in the US R&B Charts. After the commercial failure of Can’t Take My Eyes Off You, Gamble and Huff, who were establishing a reputation as a successful songwriting and production partnership were brought onboard for 1970s Now I’m A Woman.
Hiring the hottest songwriting and production partnership of the early-seventies, Gamble helped rejuvenate Nancy’s career. With M.F.S.B. providing the backdrop to Nancy’s vocals on Now I’m A Woman, it’s no surprise it reached number fifty-four in the US Billboard 200 and number five in the US R&B Charts. It looked like Nancy Wilson was on her way to recapturing the commercial success and critical acclaim of her earlier career. Would that be the case? That’s what I’ll tell you after I’ve told you about Kaleidoscope and I Know I Love Him, which were recently released by SoulMusic Records.
For 1971s Kaleidoscope, it was a case of deja vu. There was no sign of Gamble and Huff. They’d been replaced by Nancy’s longtime producer David Cavanaugh. The return of David Cavanaugh seemed strange. He’d produced a string of albums that hadn’t been particularly successful. One change he made was the two arrangers that he brought onboard. However, they favored different approaches to arranging.
James Mack, who arranged eight of the ten tracks on Kaleidoscope, favored lush string-laden arrangements, Phil Wright’s approach was very different. His arrangements were much more spartan, and understated. With such different approaches to arrangements, this could result in an album with an identity crisis. Especially, given the choice of music on Kaleidoscope.
Another change on Kaleidoscope, was the choice of music. There was a return to cover versions. Many of the songs chosen were songs Nancy heard on the radio. Others were suggested by producer David Cavanaugh or Nancy’s manager John Levy. There was no new material. That was a shame. Nancy had blossomed on Now I’m A Woman, with its mixture of new material and suitable cover versions.
Among the cover versions chosen for Kaleidoscope were Mr. Bojangles, Bill Withers’ Ain’t No Sunshine and If I Were Your Woman, which gave Gladys Knight a hit single. Then there was I’ll Get Along Somehow penned by Buddy Fields and Gerald Marks, plus two tracks penned by Reuben Brown, Middle Of The Road and Everybody Knows. Along with covers of The Greatest Performance Of My Life, Let It Be Me, Once In My Lifetime and To Be The One You Love, which features on the soundtrack to The Anonymous Venetian. These ten tracks became Kaleidoscope, which was produced by Dave Cavanaugh, while James Mack and Phil Wright arranged and conducted the ten tracks. Would this fusion of vocal jazz, soul, easy listening and R&B replicate the success of Now I’m A Woman?
Before Kaleidoscope was released in 1972, The Greatest Performance Of My Life was released as a single and failed to chart. Things got even worse when Kaleidoscope was released in 1972. It stalled at just number 151 in the US Billboard 200 Charts. Rather than building on the success of Now I’m A Woman, Kaleidoscope, it seemed, was a backwards step. Reuniting Nancy with her longtime friend and producer David Cavanaugh hadn’t worked. Despite the commercial failure of Kaleidoscope, Nancy it was album that found favor among her loyal fans. Still, they enjoyed Nancy’s mixture of vocal jazz, blues, easy listening soul and R&B that was Kaleidoscope.
Dramatic and emotive describes Nancy’s delivery of The Greatest Performance Of My Life, which opens Kaleidoscope. Mixing power, passion and bravado, she’s accompanied by an arrangement that has a sixties sound. Shrill strings and rasping horns accompany Nancy, as she deliberately delivers the lyrics. Good as Nancy’s version is, Loleatta Holloway is responsible for the definitive version.
Three songs on what was side one of Kaleidoscope demonstrate why Nancy enjoyed such a long successful career. The first is If I Were Your Woman. Wistful and full of longing describes Nancy’s reading of the lyrics. Jazz, soul and sass combines as Nancy and her band kick loose. Melancholia and frustration fill her vocal, which veers between power and tender. Tender describes Nancy’s vocal on I’ll Get Along Somehow. Filled with loneliness and sadness, she’s accompanied by a languid, jazz-tinged arrangement. Accompanied by an arrangement whose roots are in the church, Let It Be Me features a needy, heartbroken Nancy at her best.
Mr. Bojangles is an oft-covered song. Covering it isn’t easy. After all, how do you bring something new to the song? Using an understated, piano lead arrangement to accompany Nancy’s heartfelt, breathy vocal is how. Add in a lush strings, acoustic guitar and bluesy harmonica and the track is transformed. Similarly, Bill Withers’ Ain’t No Sunshine is transformed. Swathes of strings, bursts of drums and rasping horns accompany Nancy. Her impassioned vocal is full of emotion. As it becomes a scat, the tempo quickens and the drama builds, before reaching an emotive, wistful crescendo.
Two loves songs which bookended side two of Kaleidoscope demonstrated just how Nancy could breath life and meaning into a sing.To Be The One You Love features a vocal that’s spellbinding in its beauty. The heartfelt reminiscences of Nancy see her mix power, emotion and drama. Then on Once In My Lifetime, we hear another side of Nancy Wilson. It’s an acoustic song, originally recorded by Harry Belafonte in 1968. The understated arrangement allows Nancy’s tender, thoughtful vocal to take centre-stage on what’s akin to a musical love letter.
Released in 1972, Kaleidoscope was an album that sounded as if it had been recorded a couple of years earlier. It didn’t have a contemporary sound. Instead, it was classic Nancy Wilson. This means a mixture of vocal jazz, easy listening, soul and R&B were the order of the day. That was all very well, but and it’s a big but, this was no longer musically fashionable. Nor were albums like Kaleidoscope commercially successful. They appealed to an ever-decreasing fan base. No wonder. Music had changed, but Nancy’s music hadn’t really kept abreast of changing musical fashions.
Ironically, Philly Soul ruled the airwaves. Gamble and Huff, two of the architects of Philly Soul had produced Nancy’s most successful albums of recent years Now I’m A Woman. Rather than sign Gamble and Huff up to sign Nancy’s next few albums, Now I’m A Woman was a delicious taste of what might have been. Following Now I’m A Woman, it was business as usual. David Cavanaugh reclaimed the producer’s chair. The result was Kaleidoscope, Nancy Wilson’s least successful album of recent years. However, despite the lack of success, Kaleidoscope wasn’t a bad album.
No. Far from it. Kaleidoscope was a pleasant reminder of a more innocent musical age, way before the sixties swung and things became psychedelic. In many ways, Kaleidoscope was a reminder of the golden age of vocal jazz. Maybe Nancy’s next album would see her music given a makeover, one that brought it up to date?
I KNOW I LOVE HIM.
After the commercial failure of Kaleidoscope, Nancy’s manager John Levy decided to change things around. To do this, he brought in one of the most innovative groups of the early seventies, The Crusaders. They were brought in to record rhythm tracks. David Cavanaugh stayed on as producer, but Don Sebesky would arrange and produce what became I Know I Love Him, which would be a crucial album in Nancy Wilson’s career. Another commercially unsuccessful album wasn’t really an option. If I Know I Love Him wasn’t a commercial success, then critics would question whether Nancy was musical relevant.
Realising that Nancy Wilson’s career was at a crossroads, Nancy, David, Don and The Crusaders set about choosing a selection of songs that would rejuvenate Nancy’s career. This included James Nix and Marvin Gaye’s We Can Make It Baby, John and David Lehman’s Morning In Your Eyes, Gordon Parks’ Don’t Misunderstand, Mark James’ Are We Losing Touch, Randy Edelman’s The Laughter And The Tears and Barry Mann’s I Heard You Singing Your Song. Alan O’Day wrote Easy Evil, Hal Davis and Herman Griffith cowrote Can I, while Charlap and George songwriting team penned I Was Telling Him About You. Wade Marcus and Bodie Chandler’s I Know I Love Him contributed the title-track.
As recording of I Know I Love Him got underway, The Crusaders joined Nancy Wilson to record the ten tracks. The line of The Crusaders included drummer Stix Hooper, bassist Wilton Felder, guitarist Arthur Adams and keyboardist Joe Sample. They were joined by guitarist David Cohen, of Country Joe and The Fish. With all-star lineup accompanying Nancy Wilson on I Know I Love Him, surely her luck was about to change.
No. There was change in Nancy Wilson’s fortunes after the release on I Know I Love Him. Released in 1973, I Know I Love Him failed to chart. Neither did the single Are We Losing Touch. It seemed the change in personnel didn’t help rejuvenate Nancy’s career. I Know I Love Him was officially Nancy’s least successful album of the seventies. Why was that? That’s what I’ll tell you after I’ve told you about I Know I Love Him.
From the opening bars of We Can Make It Baby, which opens I Know I Love Him, The Crusaders provide a smokey, jazz-tinged backdrop. Hope fills Nancy’s pleading vocal, while strings reflect the emotion in her vocal. Driven along by Wilton’s bass, Joe’s Hammond organ adds to the atmospheric arrangement as Nancy tries and succeeds in her attempt to rebuild her flagging career.
Several songs on Know I Love Him feature a vintage jazz sound. Given that’s how Nancy made her name, that’s no surprise. However, it was no longer as popular. They’re a reminder of Nancy at the peak of her powers. Especially Don’t Misunderstand is a glorious, slice of vintage jazz. It’s Nancy at her very best. Here, she’s accompanied by a wistful piano and lush strings, as she delivers a pensive, hurt-filled vocal. The result is the highlight of I Know I Love Him. I Was Telling Him About You is another track with a vintage sound. With piano and saxophone at the heart of the arrangement, a worried Nancy explains I Was Telling Him About You.
Are We Losing Touch is one of several songs that have a a much more contemporary, soulful sound. This is another example of Nancy’s versatility. Accompanied by The Crusaders, flourishes of harpsichord, layers of strings and Thom Bell influenced horns provide the backdrop for a vocal that’s wistful, emotive and tinged with regret at losing touch with someone she once loved. Easy Evil sees The Crusaders lay down a funky backdrop for Nancy, whose vocal is reminiscent of Esther Phillips. Sassy and sensual, The Crusaders join lush strings in creating a moody, meandering arrangement. Together with Nancy, they create a track that brings Nancy’s music up to date. So too, does the heartfelt and soulful Can I, which featured on Eddie Kendricks’ debut album All By Myself. Against just an understated arrangement, Nancy delivers a tender, pleading vocal. Soon, it grows in power and passion, becoming needy and sensual. Quite simply, it’s one of the highlights of I Know I Love Him.
Enigmatic. That describes the title-track which closes I Know I Love Him. Just over a minute long, weeping guitars, piano, picked guitar and percussion accompany Nancy’s heartfelt vocal. The lushest of strings are added and prove the perfect accompaniment to a vocal that’s wistful and soul-baring. A tantalizing taste of what might have been, this seems a fitting way to close I Know I Love Him.
Bringing The Crusaders to provide the backdrop for Nancy’s vocals on I Know I Love Him worked. They were talented, versatile musicians, capable of flitting between musical genres. Jazz, soul, funk and R&B, The Crusaders could play it. Similarly, if an emotive, dramatic or understated backdrop was needed, The Crusaders could provide it. The Crusaders accompanying Nancy Wilson was something of a masterstroke. So was bringing arranger and conductor Don Sebesky onboard.
Don’s arrangements on I Know I Love Him veered between soulful, jazzy and funky. They were variously contemporary and returned to the vintage jazz sound. Maybe Nancy and her manager John Levy should’ve gone further and allowed Don to produce I Know I Love Him? After all, Don must have realized that Nancy’s career was at a crossroads. If she didn’t get it back on track, then she’d risk being perceived as no longer relevant musically. Rather than just a few of the songs on I Know I Love Him having a more contemporary sound, Nancy’s music needed a musical overhaul. Then she wouldn’t have had to jump onboard the disco bandwagon later in the seventies. Just like politics is the last refuge of a scoundrel, disco was the last refuge for a musical career in decline. All that could’ve been avoided, if Nancy’s career was given a musical makeover. Despite that not happening, I Know I Love Him is still an enjoyable album.
With its combination of soul, easy listening and vintage jazz, I Know I Love Him is an accomplished album, but one that was partly at odds with musical tastes. Sometimes, it’s as if artists forget they’re not making an album that they like, but one that many people like. While some of the songs had a much more contemporary sound, that wasn’t enough. What was needed was the majority of the songs having a much more contemporary sound. Then I Know I Love Him would’ve been a commercial success. Instead, I Know I Love Him is an album that, had it been released a few years earlier, it would’ve been a commercial success. Possibly, the problem was that Nancy was too loyal to her longtime friend and producer Dave Cavanaugh? Unfortunately, her career was at a stage when she couldn’t afford to be loyal. I Know I Love Him had been her least successful album in recent years. So, her musical career was at a crossroads. That however, wasn’t the end of Nancy Wilson though.
Following the release of I Know I Love Him Nancy’s career continued for three further decades. While neither Kaleidoscope nor I Know I Love Him, which were recently released on one CD by SoulMusic Records, weren’t Nancy Wilson’s most successful albums, they weren’t lacking in quality. Combining vocal jazz, blues, soul, easy listening and R&B, both Kaleidoscope and I Know I Love Him were reminders of one of the most versatile and talented singers in the history of popular music. Standout Tracks: Ain’t No Sunshine, Once In My Lifetime, Are We Losing Touch and Can I.
NANCY WILSON-KALEIDOSCOPE AND I KNOW I LOVE HIM.
T-CONNECTION-MAGIC.
T-CONNECTION-MAGIC.
T-Connection were an unlikely success story of the disco era. First up, they weren’t American, like most disco artists. Instead, they were from the Bahamas. Founded in 1975, T-Connection’s charismatic lead singer and keyboard player Theophilus T. Oakley was a classically trained musician. Along with bassist Kurt Oakley, drummer Berkeley Van Byrd, guitarist Monty Brown and percussionist Tony Flowers, T-Connection were unlikely stars of the disco era. Indeed, T-Connection were more than a disco group.
Whether it was disco, funk, soul and R&B, T-Connection were equally at home. Versatile describes T-Connection. That’s why T-Connection didn’t crash and burn when disco nearly died. Not at all. T-Connection’s success surpassed amd outlasted disco. They released eight albums between 1977 and 1984. Their debut album was 1977s Magic, which was recently rereleased by BBR Records. Six further albums followed, with 1984s Take It To The Limit proving to be T-Connection’s finale. By then, disco was but a distant musical memory. However, when T-Connection released their debut album Magic, disco was at the height of its popularity.
It was in 1975, when Theophilus T. Oakley founded T-Connection. Each of the five members had been born and brought up in the Bahamas. Straight away, T-Connection were playing live. They were determined to hone their sound. The best way to do this, was by playing live. Soon, they were playing in bars, clubs and concert halls around the island. Playing everything from the funk, soul, R&B and disco were soon a tight and accomplished band. It was then time for T-Connection to record a demo.
Having recorded a demo, T-Connection were inspired by another Bahamian band, The Beginning Of The End. They’d recorded the funk classic Funky Nassau, which was released on Henry Stone’s Alston Records. Following the success of Funky Nassau, Henry Stone founded T.K. Records, who T-Connection took their demo to. Liking what they heard, T.K. Records signed T-Connection one of their many imprints, Dash.
Now signed to Dash, T-Connection would begin work on their debut album Magic. Theophilus T. Oakley was the principle songwriter. He wrote seven of Magic’s eight tracks. Do What You Wanna Do, Go Back Home, Got To See My Lady, Crazy Mixed Up World, Mother’s Love, Monday Morning and Peace Line were penned by Theophilus T. Oakley. He also cowrote Disco Magic with co-producer Cory Wade. Cory and Alex Sadkin would produce Magic at Criteria Studios in Miami.
When work on Magic began at Criteria Studios, Theophilus T. Oakley sang lead vocals and played keyboards. He was joined by the rest of T-Connection. This included bassist Kurt Oakley, drummer Berkeley Van Byrd, guitarist Monty Brown and percussionist Tony Flowers. They all added harmonies, which compilmented Theophilus’s lead vocal. Once the eight songs were recorded, Magic was released in April 1977. Before that, T-Connection decided to release some Disco Magic.
Disco Magic was chosen as the lead single from Magic. Released in August 1976, it reached number ten in the US Disco Charts. February 1977 saw the release of Do What You Wanna Do. It reached number forty-six in the US Billboard 100 and number fifteen in the US R&B Charts. In the UK, Do What You Wanna Do reached number eleven. When Magic, which was released in April 1977, reached number 109 in the US Billboard 200 and number thirty-two in the US R&B Charts. In two years, T-Connection had come a long way. Formed in 1975, they’d enjoyed two hit singles and a successful debut album, Magic. This was almost unheard of. So what made T-Connection so special? That’s what I’ll tell you, once i’ve told you about T-Connection’s debut album Magic.
Opening Magic is Do What You Wanna Do. With the funkiest of bass lines weaving its way across the arrangement, the rest of the rhythm section, percussion and keyboards provide a backdrop that’s a mixture of P-Funk and disco. When Theophilus’ vocal enters, its sassy and confident, swaggering its way across the arrangement. He’s got punchy, but subtle harmonies for company. During a breakdown the rest of T-Connection get chance to showboat. It’s like listening to a funk masterclass. Keyboards, wah-wah guitars, percussion and rhythm section unite creating a track that’s dramatic, edgy, funky and dance-floor friendly.
Genre-sprawling and enthralling describes Disco Magic. T-Connection fuse everything from jazz, disco, funk and proto-boogie. Propelled along by the rhythm section, percussion and P-Funk keyboards each member of T-Connection gets their moment in the sun. After unleashing their solo, they return to the fold, becoming part of the band, who create a mesmeric, energetic and hypnotic Magnus Opus.
There’s no let up in the energy of the previous track. Go Back Home is driven along at breakneck speed by keyboards, percussion and the rhythm section. They provide the heartbeat to this groove-driven song. They’re joined by Theophilus’ soaring, sweeping, vocal. Full of frustration and confusion, it’s augmented by harmonies, which help add to the emotion and drama of this catchy track.
Got To See My Lady literally explodes into life. Keyboards, synths, funky rhythm section and guitar accompany Theophilus’ heartfelt vocal. It’s accompanied by harmonies and handclaps. Searing guitars, buzzing keyboards and percussion provide the backdrop as funk, soul and West Coast rock to Theophilus’ needy vocal.
Rock-tinged guitars and jazz-funk combine as Theophilus delivers an impassioned vocal on Crazy Mixed Up World. Sizzling guitars, urgent piano and pounding drums accompany Theophilus, as he sings about war and poverty. Ironically, and tragically, these problems remain, thirty-six years later. As Theophilus delivers the lyrics, anger and frustration fill his world-weary vocal, while the rest of T-Connection reinforce his frustration, sadness and anger.
Mother’s Love, you think, is the first slow song on Magic. A languid piano and percussion accompany Theophilus’ tender, emotive vocal on this jazzy ballad. Quickly, his vocal gets quicker and grows in power. Harmonies accompany him as the arrangement quickens. That’s perfect. It helps to reinforce the heartbreak and emotion in the lyrics. Crucial to the song’s success is the interplay between Theophilus’ lead vocal and the sweeping harmonies. Then there’s the variation in tempo. This adds to drama and emotion of what is, one of the most beautiful songs on Magic.
A deliberate, dramatic piano opens Monday Morning. A drum signals the entrance of Theophilus’ vocal. Enveloped by pianos, harmonies and swathes of strings, they provide the backdrop to Theophilus’ melancholy vocal. Monday Morning is the source of his melancholia. That’s when his worries and woes become the focus of his attention. That’s not the case. Even at the weekend, regardless of how hard he tries, he can’t forget his worries. They’re never far from his mind, as his wistful, weary vocal proves.
Peace Line, with its message of “live and let live” closes Magic. Funky and soulful, keyboards, rhythm section and percussion accompany his heartfelt vocal. Equally soulful, sweeping harmonies prove the perfect foil for Theophilus’ vocal. After that, the arrangement takes on a futuristic funky sound. Sci-fi synths join the keyboards and rhythm section in creating a P-Funk arrangement. When the vocal reenters, it’s all change. Although the vocal is elegant, impassioned and soulful, the message of “live and let live” is delivered with emotion. Sadly, that was just a pipe dream. Thirty-six years later, and we still can’t “live and let live,” as Magic’s fusion of futuristic funk and soul hoped.
Five years after The Beginning Of The End released their hit single Funky Nassau, T-Connection’s debut single Disco Magic reached number ten in the US Disco Charts in 1976. This was just the first step in T-Connection’s eight-year musical journey. Remarkably, this was just a year after T-Connection were founded by the charismatic Theophilus T. Oakley. Little did he realize when he founded T-Connection that they’d go on to release eight albums and enjoy a string of hit singles.
These albums were innovative and influential. This was the case from their debut album Magic. It combined disco, funk, soul, R&B, jazz, P-Funk and proto-boogie. Whether it was dance tracks, instrumentals, jazz-tinged ballads or songs with a social message, T-Connection were equally at home. Their versatility, which is apparent on Magic, was crucial to their longevity. If they’d just been a disco group, they’d have crashed and burned in 1979. They weren’t and they didn’t. Instead they released five albums after disco’s untimely demise. However, the album that launched T-Connection’s career was Magic, which was recently rereleased by BBR Records. Magic, T-Connection’s debut album is best described as a genre-sprawling, innovative, influential album with a social conscience. Standout Tracks: Do What You Wanna, Disco Magic, Mother’s Love and Monday Morning.
T-CONNECTION-MAGIC.
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