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.
GLORIA GAYNOR-LOVE TRACKS.
GLORIA GAYNOR-LOVE TRACKS.
It’s almost fitting that the song that the song that rejuvenated Gloria Gaynor’s career was I Will Survive. After all, by December 1978, when Gloria Gaynor released Love Tracks, she was one of music’s survivors. She had to be. The last few years hadn’t been easy. Things had started well for Gloria, her groundbreaking 1975 debut album Never Can Say Goodbye, featured the three song disco suite of Honey Bee, Never Can Say Goodbye and Reach Out, I’ll Be There. Remixed by Tom Moulton, this was a first. Reaching number twenty-five in the US Billboard 200 and number twenty-one in the US R&B Charts, not only did Never Can Say Goodbye launch Gloria Gaynor’s career, but saw her crowned Queen Of Disco. However, three years later, Gloria’s career was at the crossroad. Love Tracks which was released by BBR Records on 29th July 2013, was literally make or break for Gloria.
Since the release of Never Can Say Goodbye, Gloria had released four albums. Each album proved less successful than the previous one. 1975s Experience Gloria Gaynor stalled at number sixty-four in the US Billboard 200 and number thirty-two in the US R&B Charts. I’ve Got You, released in 1976, reached just number 107 in the US Billboard 200 and number forty in the US R&B Charts. It was Gloria’s last album produced by Disco Corporation Of America. An added and unwelcome complication was having to payoff her ex-manager.
Polydor would deduct this from her future royalties. Then there was the small matter of the money her ex-manager had borrowed in her name. That too had to be paid-off from future earnings. So, Gloria hoped the Gregg Diamond and Joe Beck produced Glorious, released in 1977, would see a resurgence in her fortunes. Far from it. It fared even worse. Stalling at just number 183 in the US Billboard 200, surely things couldn’t get even worse. Sadly, it did. Park Avenue Sound, Gloria’s fifth album, released in March 1978, had proved her least successful album. Produced by Norman Harris, Allan Felder and Ron Tyson, what was one of the best albums of Gloria’s career failed to chart. With her career at the crossroads, and her record company wondering whether Gloria would ever reach the heights of Never Can Say Goodbye, one of disco’s survivors was about to make a comeback. Before that, there was yet another setback for Gloria to overcome.
Whilst rehearsing a dance routine with her backing singers, Gloria had an accident. She tripped over a monitor. Thinking she was unhurt, Gloria carried on. The next day, when she woke up, she was paralyzed from the waist down. Gloria had to undergo spinal surgery. Recovery took several months. During her time undergoing rehabilitation after the surgery, songwriter and producer Freddie Perren and representatives of Polydor visited Gloria. This was the genesis of Love Tracks.
Previously Freddie Perren had worked with Tavares, Peaches and Herb and The Sylvers. Polydor signing Cout had just had a released a single called Substitute, in Britain. It given Clout a hit single. The representatives of Polydor wondered if Gloria would record Substitute. She decided she would record Substitute and that Dino Fekaris and Freddie Perren were to produce the song. They agreed to do so, only if they could write the B-side. Not only did the write the B-side, but wrote six tracks on Love Tracks.
With Dino Fekaris and Freddie Perren producing Love Tracks, this was Gloria’s fourth consecutive album with a new production team. Not only were they producers, but songwriters. They wrote six of the eight songs on Love Tracks. This included Stoplight, Anybody Wanna Party, I Will Survive, You Can Exit and I Said Yes. Dino also penned Please Be There with David Van De Pitte. Along with Willie Harry WIlson’s and Goin’ Out Of My Head Penned by Bobby Weinstein and Teddy Randazzo. These eight tracks became Love Tracks, which was recorded at the Mon and Pops Co. Store, Studio City, California.
As recording of Love Tracks began, Dino and Freddie had hired some top session musicians. The rhythm section included drummer James Gadson, bassists Eddie Watkins and Scott Edwards while Melvin Ragin, Bob Bowles and Robert White played guitar. Joining them, were percussionist Paulinho DaCosta and Peter Robinson on synths. Eight tracks were recorded, which became Love Tracks, the album the relaunched Gloria Gaynor’s career.
Before the release of Love Tracks, Substitute was released as a single in September 1978. Its B-side was I Will Survive. Reaching just number 107 in the US Billboard 100 and number seventy-eight in the US R&B Charts. The only hint about what was about to happen, was when DJs started flipping over to the B-side, I Will Survive. So, the Substitute was deleted. Replacing the album version of I Will Survive was an eight minute remix. This would transform Gloria’s career and fortunes.
Love Tracks and I Will Survive were released in December 1978. I Will Survive, with its defiant lyrics about a woman whose suffered a horrendous breakup, then discovered previously hitherto unknown courage and confidence struck a chord. Not just women, but men could relate to the song. It reached number one in the US Billboard 100 and number four in the US R&B Charts and number one in the US Disco Charts. Certified double platinum in the US, I Will Survive sold over two-million copies. Over the Atlantic, I Will Survive reached number one. This helped sales of Love Tracks, which reached number four in the in the US Billboard 200 and US R&B Charts. Love Tracks was Gloria’s most successful album. Fittingly, after such a successful album and single, the final single released from Love Tracks, was Do You Wanna Party? On its release in May 1979, it stalled at number 105 in the US Billboard 100, number sixteen in the US R&B Charts and thirty in the US Disco Charts. By May 1979, disco’s popularity was waning, so the failure of Do You Wanna Party isn’t a surprise. Although no-one knew it, the Queen Of Disco had regained her crown just as disco died. At least Love Tracks, which I’ll tell you about, was her most successful album.
Stoplight opens Love Tracks, with a myriad of percussion, synths, pounding rhythm section and dancing disco strings. Having set the scene, Gloria struts centre-stage. Accompanied by cooing harmonies, the lively arrangement is driven along. Strings dance, while the rhythm section and synths provide the backdrop for a feisty, powerful Gloria. Urgent harmonies and strings accompanying Gloria, as soul, disco and funk becomes one. As the song ends, you sense that after three years, Gloria’s about to regain her crown as Queen Of Disco.
From the get-go, Gloria’s vocal is soulful and sassy on Anybody Wanna Party. Funk combines with Chic-style guitars and disco strings. Horns rasp, strings dance and the rhythm section provide a pulsating heartbeat. Gloria’s deliberate, dramatic vocal becomes a vamp, the occasional whoop and holler. Sweeping harmonies add to the soulfulness, as the arrangement sounds like a party in the studio. It’s as if when Gloria sang “Anybody Wanna Party” half the neighborhood turned up with their friends in tow. The result is a good-time fusion of soul, funk and disco.
Please Be There sees a change of style. That’s no bad thing, as Gloria is a versatile vocalist. Cooing, sweeping harmonies are joined by Gloria’s tender, needy vocal. The understated arrangement allows her vocal to take centre-stage. Meandering along, driven by the bass, wistful strings, heartfelt, pleading harmonies accompany Gloria’s heartbroken vocal. Bursts of drums add to the drama, as Gloria delivers a vocal that’s heartfelt, emotive and needy
Swathes of dancing strings, bubbling synths and chiming guitars join the rhythm section on Goin’ Out Of My Head. Subtle, tender harmonies provide a contrast as this slice of seventies disco unfolds. Driven along by a funky bass, Gloria sings call and response with her backing vocalists. Sadness and confusion are combined with power, drama and soulfulness, as Gloria and her backing vocalists give a vocal masterclass.
Obviously, I Will Survive was the best known song on Love Tracks. With its defiant lyrics about a woman whose suffered a horrendous breakup, then discovered a previously unknown courage and confidence, I Will Survive struck a chord. Crucial to the song is the way Gloria narrates the song. This she does as the arrangement unfolds. Just piano, guitar, hi-hats, pulsating rhythm section and sweeping strings accompany her. Gloria delivers a feisty, defiant vocal. Flourishes of harpsichord and strings provide the backdrop to her confident, strident vocal. Defiant, feisty and tinged with bravado, Gloria’s vocal is inspirational. As for the arrangement, it’s a mini-musical masterpiece. Everything is dropped in at the right time. Whether its the blazing horn, pounding drums, swathes of strings or chiming guitars Dino and Freddie add it at the right time. What makes the song is Gloria’s defiant, angry vocal as she delivers her ultimatum.
You Can Exit opens with dramatic bursts of drums and cinematic strings. Along with a flute, they glide across the arrangement. Gloria’s vocal is tender, but wistful while strings add to the sense of melancholia. Meandering along, the languid arrangement is the perfect backdrop for Gloria’s vocal. Tender, veering between melancholy, emotive and sensual, she’s accompanied by harmonies, rasping horns and strings that, like the song tug at your heartstrings.
Bursting into life, I Said Yes sees Gloria vamping while strings dance as the funky rhythm section and piano drive the arrangement along. Soon, Gloria’s strutting her way through the lyrics. Feisty and sassy, a funky bass, strident piano, swirling strings and harmonies accompany the Queen Of Disco on this dramatic, musical Magnus Opus.
Closing Love Tracks is Substitute, which gave Clout a hit in the UK. Of the two versions, Gloria’s version is better. She makes sure the song swings. With soaring harmonies, bubbling synths, funky bass and pounding drums for company, Gloria breathes new life, drama into the song, transforming it in the process.
Following the commercial failure of Park Avenue Sound, Gloria Gaynor got her career back on track. This came about when Freddie Perren and representatives from Polydor, visited her as she was recovering from an accident. Her decision to hire Dino Fekaris and Freddie Perren to produce what became Love Tracks was a masterstroke. After all, Dino and Freddie were also talented songwriters. They penned six songs for Gloria, which included some of the best songs she’d ever recorded. Obviously, the best known is I Will Survive, but Love Tracks isn’t just a one trick pony.
Not at all. Love Tracks doesn’t really have any poor tracks. Substitute is probably the weakest of the eight tracks. Even then, it’s still works. The best tracks on Love tracks were penned by Dino Fekaris and Freddie Perren. They were on the hottest streak of their career. Proof of this are the six songs they wrote for Love Tracks. Stoplight, Anybody Wanna Party, I Will Survive, You Can Exit and I Said Yes were quality through and through. Dino also penned Please Be There with David Van De Pitte, which allowed Gloria to demonstrate her soulful side. Delivering a heartfelt, needy, emotive vocal, Gloria demonstrated that she wasn’t just a disco diva. This was lucky. After all, disco was about to die.
Two months after the release of the third single from Love Tracks, Anybody Wanna Party, it was official, disco sucked. On July 12 1979, the events of the Disco Demolition Derby in Comiskey Park, Chicago burst the disco bubble. Just as Gloria Gaynor has regained her crown as Queen Of Disco, disco died. However, Gloria Gaynor hadn’t just recorded a stonewall disco classic in I Will Survive. It’s a song that became synonymous with her name. I Will Survive also helped relaunch Gloria’s career. Buoyed by the success of Will Survive, Love Tracks, which was rereleased by BBR Music on 29th July 2013, become the most successful album of Gloria Gaynor’s career. The other thing Love Tracks did, was help Gloria Gaynor, the Queen Of Disco, regain her crown. Standout Tracks: Please Be There, I Will Survive, You Can Exit and I Said Yes.
GLORIA GAYNOR-LOVE TRACKS.
TREVOR JACKSON PRESENTS METAL DANCE 2.
TREVOR JACKSON PRESENTS METAL DANCE 2.
In February 2012, Strut Records released the Trevor Jackson Presents Metal Dance. Critically acclaimed, Trevor Jackson Presents Metal Dance was a retrospective reminder of some groundbreaking music. There was no doubt about it, there would be a followup to Trevor Jackson Presents Metal Dance. Eighteen months later, Strut Records will release Trevor Jackson Presents Metal Dance 2 on 19th August 2013.
For Trevor Jackson Presents Metal Dance 2, Trevor has dug deep into his record collection. He’s checked every corner of his collection for the the twenty-seven classics and rarities that feature on this double-album. Rarities, B-sides, dub versions, leftfield tracks and even, some of Trevor’s musical secret weapons feature on Trevor Jackson Presents Metal Dance 2. Just like Trevor Jackson Presents Metal Dance, Trevor Jackson Presents Metal Dance 2 is a genre-sprawling compilation of music released between 1979 and 1988.
The music on Trevor Jackson Presents Metal Dance 2 is a musical reminder of Trevor’s formative years. This music provided the soundtrack to Trevor’s time clubbing in London. Back then, musically, anything went. DJs played a much more eclectic selection of music. Apart from reminders of Trevor’s youth, other tracks, are tracks Trevor has since discovered. They’re his musical weapons, which he’s decided to share with you. Just like the music of his youth, these tracks are truly eclectic.
Trevor Jackson Presents Metal Dance 2 is a twenty-seven track compilation, one that’s best described as a truly eclectic, genre-sprawling compilation. No wonder. Look at the sheer variety of music on Trevor Jackson Presents Metal Dance 2. Post punk, proto-techno, new wave, industrial, experimental and EBM. For anyone wondering what EBM is, it’s electronic body music. It’s a fusion of synth-punk, postindustrial and electronic dance music. While the music on Trevor Jackson Presents Metal Dance 2 is truly eclectic, the artists are equally eclectic. Indeed, Trevor Jackson Presents Metal Dance 2 contains music from artists drawn from the four corners of the globe.
Proof of how deep Trevor Jackson has dug into his record collection is the artists on Trevor Jackson Presents Metal Dance 2. They come from far and wide. Italy, Switzerland, England, Germany, Spain, Japan and Lebanon. Among the artists are Visage, Godley and Creme, Front 242, CHBB, Psyche, Skinny Puppy, Neon, Plus Instruments, Mile High Club and Vice Versa. In total, there are twenty-seven tracks on Trevor Jackson Presents Metal Dance 2, which I’ll pick the ten highlights of.
DISC ONE.
Disc One of Trevor Jackson Presents Metal Dance 2 features thirteen tracks. A combination of classic, rarities and hidden gems, the thirteen tracks range from post punk, proto-techno, new wave, industrial, experimental and EBM. Among these tracks are contributions from Tuxedomoon, Logic System, Propaganda, Rusty Egan, Material, Experimental Products and Crash Course In Science. That’s not forgetting an instrumental version of Visage’s Der Amboss and a remix of Skinny Puppy’s Deadlines. Then there’s two edits. Trevor Jackson has edited Rusty Egan’s The Twilight Zone and Rabih Beaini has edited the intense Lebanese proto-techno of Tanki Tanki. As you’ll have realised by now, Disc One of Trevor Jackson Presents Metal Dance 2 is a compelling selection of tracks that define the word eclectic.
Tuxedomoon’s 59-1 opens Disc One of Trevor Jackson Presents Metal Dance 2. 59-1 was a track from Half Mute, Tuxedomoon’s 1980 debut album. Released on Ralph Records, it’s a genre-melting track. Based in San Francisco, this groundbreaking musical collective fused elements of new wave, synth pop, jazz, avant garde and experimental music. Seamlessly, Tuxedomoon create a musical collage that’s moody, broody and dramatic.
Propaganda are one of best known groups on the compilation. Formed in Dusseldorf in 1982, Propaganda released a trio of albums between 1985 and 1990. (The Echo Of) Frozen Faces was a non-album track. Released by ZTT on 29th July 1985, (The Echo Of) Frozen Faces was the B-side to Propaganda’s third single p:Machinery, (The Echo Of) Frozen Faces. It’s best described as innovative an innovative fusion of synth pop, new wave and jazz.
Most people remember Visage for tracks like Fade To Grey, which featured on their 1980 debut album Visage. Their 1982 sophomore album was The Anvil. It featured the single Anvil (Night Club School). In Germany, it was released as Der Amboss. The B-side to the 12” single featured an instrumental version of Der Amboss. Here, new wave, industrial and experimental music unite, to create a timeless track that’s one of the highlights of Trevor Jackson Presents Metal Dance 2
Rene Bandaly Family’s Tanki Tanki demonstrates just how eclectic a compilation Trevor Jackson Presents Metal Dance 2 is. After all, how many compilations feature Lebanese proto-techno? Trevor Jackson Presents Metal Dance 2 does. Intense, hypnotic and mesmeric, Tanki Tanki sees two cultures collide. East meets west as proto-techno, electro and post-punk collide. Written and produced by Rene Bandaly during the 1975 Lebanese Civil War this is a real hidden gem, that was only released in 2009.
Liaisons Dangereuses’ Etre Assis Ou Danset is my final choice from Disc One of Trevor Jackson Presents Metal Dance 2. Literally, Etre Assis Ou Danset explodes into life. A combination of emotion and energy, this a track from Liaisons Dangereuses’ eponymous debut album. Released in 1981 on TIS, post-punk, industrial and experimental music are combined by Liaisons Dangereuses, who it seems, were named after Pierre Choderlos de Laclos’ four-part epistolary novel.
Although I’ve mentioned just five of the thirteen tracks on Disc One of Trevor Jackson Presents Metal Dance 2, I could just as easily have mentioned several other tracks. What about Psyche’s meandering The Saint Became A Lush? It’s a mixture of synth pop and new wave. Or how about Rusty Egan’s The Twilight Zone? A truly compelling track. Sinister and cinematic is fused with industrial and experimental music. Then there’s Crash Course In Science’s Jump Over Barrels. Full of beeps and squeaks, new wave, post punk and minimal synth is thrown into the musical melting pot by the Philly-based trio. Honorable mentions go to Skinny Puppy, Material and Esplendor Geometrico, on what’s been an eclectic, genre sprawling, musical journey. All the listener needs, is an open mind and they’ll discover some innovative and groundbreaking music. Classics, rarities and hidden gems, fourteen more can be found on Disc Two of Trevor Jackson Presents Metal Dance 2.
DISC TWO.
On Disc Two of Trevor Jackson Presents Metal Dance 2, Trevor Jackson continues to be our musical tour guide. This magical, musical mystery tour continues. Among our destinations are England, Italy, Spain and Japan, During that journey, we’re introduced to the music of Ministry, Test Dept, Front 242, Neon, Doris Norton, Conrad Schnitzler and Arthur Brown And Craig Leon. Worryingly, we meet Vice Versa’s Riot Squad. At least we get the chance to join Mile High Club on another eclectic, genre sprawling journey. This genre sprawling journey takes in EBM, post punk, new wave, industrial, experimental and synth pop. With fourteen tracks to choose from, picking just five from fourteen classics, rarities and hidden gems,isn’t going to be easy. Here goes.
The short-lived, but talented Mile High Club only ever released one E.P. Entitled Mile High Club, which featured Walking Backwards. Released in 1984, on Aalto Records, there’s a Germanic sound to the track. New wave and electronica are combined, while Influences include Kraftwerk and Switzerland’s Yello. They play their part in what’s one of the highlights of Disc Two.
Vice Versa were one of the pioneers of England’s electronic scene, They were contemporaries of ABC, Human League and Cabaret Volaire, Sadly, Vice Versa didn’t enjoy the longevity of their contemporaries. They only released a cassette album, E.P. and single. Riot Squad featured on their 1979 E.P. A fusion of synth pop and new wave while Vice Versa didn’t enjoy any sort of longevity, it wasn’t through lack of talent. Quite the opposite, Vice Versa could’ve, and should’ve, enjoyed a much longer, and successful career, given the quality of the music they released between 1979 and 1980.
Between 1981 and 2003, Chris & Cosey released fifteen albums. Driving Blind is a track from their third album, 1984s Songs Of Love and Lust. Released on Rough Trade Records in 1984, it’s a fusion of musical genres and influences. Among them are industrial, ambient, minimal and new wave. The result is a track that’s innovative, hypnotic, haunting, mesmeric and Kratwerkesque.
By 1981, when Conrad Schnitzler released Con 3, he was a veteran of the German electronic music scene. He was briefly a member of Tangerine Dream, but left to pursue his solo career after playing on their debut album Electronic Meditation. He released his debut album The Red Cassette in 1973s. Con 3 was his seventh solo album. It featured Das Tier, a fusion of industrial and experimental music. During the track, Conrad pushed musical boundaries to their limits, to create an innovative, influential track, that befits one of the founding father’s of electronic music.
Godley and Creme’s Babies closes Disc Two of Trevor Jackson Presents Metal Dance 2. It’s my final choice from Disc Two. After Godley and Creme left 10cc in 1977, they decided upon a change of musical direction. Consequences, their 1977 debut album became infamous. Dialogue was interspersed with music over six sides of sprawling vinyl. This wasn’t what Mercury envisaged when they signed Godley and Creme. By 1981, Godley and Creme were back releasing hit singles. Wedding Bells and Under Your Thumb were Godley and Creme two of their most successful singles. The B-side of Wedding Bells was Babies, a cutting-edge collage of art rock, electro and synth pop, proved Godley & Creme were back to their very best.
There’s no let up in neither the eclecticism nor quality on Disc Two of Trevor Jackson Presents Metal Dance 2. Apart from the five tracks I’ve mentioned, I could just as easily have chosen Doris Norton’s fusion of electronica and experimental music that is Personal Computers. Then there’s the experimental, sci-fi sound of Arthur Brown And Craig Leon’s The Conversation. Or how about Test Dept’s The Unacceptable Face Of Freedom: Face 3 an amalgamation of industrial and experimental music? These are just another three examples of what awaits the listener on Disc Two of Trevor Jackson Presents Metal Dance 2. Compelling, enthralling and full of musical surprises, Disc Two of Trevor Jackson Presents Metal Dance 2 is a journey through musical genres. Elements of from art rock, electro and synth pop, industrial, experimental, new wave and ambient music can be found within the fourteen tracks on Disc Two of Trevor Jackson Presents Metal Dance 2. Again, all the listener needs to enjoy the classics, rarities and hidden gems, on Disc Two of Trevor Jackson Presents Metal Dance 2 is an open mind. Then they’ll be able to discover music that was imaginative, innovative and went on to influence a new generation musicians.
So, eighteen months after the release of Trevor Jackson Presents Metal Dance, Trevor Jackson, after searching the four corners of his record collection, has compiled Trevor Jackson Presents Metal Dance 2. If anything, it’s better than its predecessor. That’s often the case with followups. After releasing a critically acclaimed compilation, and enjoying the plaudits, the compiler is doubly-determined to surpass their previous efforts. To do that, Trevor dug deeper, finding classics, rarities and hidden gems,. They sit comfortably side-by-side on Trevor Jackson Presents Metal Dance 2, which will be released on 19th August 2013, by Strut Records. Having surpassed Trevor Jackson Presents Metal Dance with Trevor Jackson Presents Metal Dance 2, I’m sure that they’ll be further installments in this series. After all, there’s a shortage of compilation that can be described as innovative, imaginative, influential and eclectic. Trevor Jackson Presents Metal Dance 2 is all that and more. Standout Tracks: Rene Bandaly Family Tanki Tanki, Liaisons Dangereuses Etre Assis Ou Danset, Chris & Cosey Driving Blind and Godley and Creme Babies.
TREVOR JACKSON PRESENTS METAL DANCE 2.
ESTHER MARROW-NEWPORT NEWS, VIRGINIA.
ESTHER MARROW-NEWPORT NEWS, VIRGINIA.
Having founded Flying Dutchman and Amsterdam labels in 1969, Bob Thiele set about building a roster that encompassed jazz, pop and experimental music. This was Bob’s musical dream. The inspiration for this was Bob’s former employer, ABC Records. They too, had two labels, Impulse and ABC Records. Impulse was a jazz label, while ABC Records released soul and pop music. Soon, two labels became three, when Bob formed a blues label. To the outsider, Bob Thiele was on his way building a mini musical empire. Just like the Roman Empire, it was a case of the rise and fall of Bob Thiele’s musical empire. Now forty years later, Bob Thiele’s musical empire is best remembered for the jazz music Flying Dutchman released.
Back in 1969, when Bob founded Flying Dutchman, he set about establishing an eclectic roster of artists. One of Bob’s first signing was jazz and soul singer Esther Marrow. Esther however, saw herself as just a singer. She didn’t feel her music fitted into any category.
Born in 1941, in Newport News Virginia, Esther Marrow was discovered by Duke Ellington when she was just twenty-two. She made her debut on Duke Ellington’s 1965 Sacred Concert tour. Touring the world, Esther and Duke formed a lifelong friendship.
During the mid-sixties, Esther played an active role in the civil rights movement. Performing on Dr. Martin Luther King’s World Crusade, Esther met her musical hero, Mahalia Jackson. The pair would later share a stage, before Mahaila’s death in 1972. Fittingly, Esther would later become the heir to Mahalia’s crown as Queen of Gospel. Before that, Esther would released her debut album.
Esther signed to Flying Dutchman in 1969. Later that year, Esther Marrow released her debut album Newport News Virginia, which paid homage to her hometown. Featuring eleven songs, Newport News, Virginia which was recently released by BGP Records, introduced the world to Esher Marrow.
For her debut album, eleven songs were chosen. This combination of new songs and cover versions would become Newport News, Virginia. Esther contributed two tracks. She penned He Don’t Appreciate It and cowrote Walk Tall with Joe Zawinul and James Rein. Bob Thiele and George Weiss cowrote Hello Brother and What A Wonderful World, which gave Louis Armstrong the biggest hit single of his career. Other cover versions included Chains Of Love, originally recorded by J.J. Barnes, Chris Smalls’ It’s Been A Long Night and Jesse Stone’s Money Honey. Accompanied by a tight, talented band, and with Bob Thiele producing Newport News, Virginia, Esther made her recording debut. Once Newport News, Virginia was completed, it was ready for release in 1971.
Released in 1971, Newport News, Virginia was well received upon it release. Critics marveled at Esther’s versatility. Veering between jazz, soul, R&B and gospel, critics found it hard to believe that Newport News, Virginia was Esther’s debut album. It was. Sadly, Newport News, Virginia wasn’t a commercial success. Newport News, Virginia was the latest Flying Dutchman album that failed to chart. This wasn’t neither the start Esther nor Bob Thiele envisaged to Esther’s career. After all, given the quality of music on Newport News, Virginia it should’ve been a commercial success? Why was that not the case? That’s what I’ll tell you, after I’ve told you about Newport News, Virginia.
Opening Newport News, Virginia is He Don’t Appreciate It. A dramatic combination of rhythm section, stabs of blazing horns and percussion set the scene for Esther’s vocal. It’s powerful, full of frustration and anger. Propelled along by the bass, horns growl, while woodwind and percussion combine jazz, funk and soul. They provide a dramatic backdrop for Esther, as she vents her frustration and anger at her man, who doesn’t appreciate her.
No Answer Came has a much more understated arrangement. Esther’s vocal is wistful and full of sadness. Accompanied by melancholy strings and flute, emotion fills her vocal. Then keyboards signal a volte face. Her vocal grows in power and emotion, while horns bray, drums pound and strings swirl. Suddenly, the arrangement swings. One thing that doesn’t change, is the hurt, heartbreak and sadness in her vocal. Defiant and frustrated, Esther wonder “why I didn’t get an answer.”
Hello Brother was written by Bob Thiele and George Weiss. Straight away, it starts to swing. Rasping horns and the rhythm section, driven along by the bass accompany Esther’s vocal. It veers between tender and heartfelt, to powerful, dramatic and filled with sincerity.
Jesse Stone’s Money Honey is given a funky makeover by Bob Thiele. To do this, Bob combines the funkiest of rhythm sections, piano and stabs of braying horns. As for Esther’s vocal, it’s one of her best. Here, her vocal is reminiscent of Marlena Shaw at her very best. Indeed, Esther struts her way through the song, her vocal sassy, sensuous and soulful.
The lushest of strings, melancholy horns and rhythm section set the scene for Esther’s vocal on Peaceful Man. Her vocal’s deliberate and impassioned. Quickly, it grows in strength and emotion. She’s almost pleading as horns growl, drums pound and searing guitars add to the drama. Meanwhile, Esther breathes life and meaning into the lyrics. It’s as if they’re personal, and mean something to her. This is the sign of a good storyteller, someone who brings the lyrics to life, and sets your imagination racing.
Mama written by Sammy Taylor, is an oft-cover classic song. Straight away, you realize Esther’s vocal is filled with hurt and heartbreak. As she unleashes her vocal, it’s h eartfelt and impassioned. Strings sweep, horns growl and drums provide the heartbeat. Having set the scene, Esther delivers a soul-baring version vocal. Her vocal is emotive, you can share and experience her hurt, as she transforms this track, making it her own.
Satisfied allows Esther to demonstrate her versatility. Her vocal’s needy and sassy. Quickly, it grows in power and sass, as she struts her way through the song. Accompanying her, are the rhythm section, meandering flute and blazing horns. They provide the backdrop for Esther, as she unleashes a powerful, sassy vocal.
What A Wonderful World gave Louis Armstrong the biggest hit of his career. Since then, it’s been covered by many artists. Bob Thiele decided that Esther could bring something new to the track. He wasn’t wrong. The song is much slower and much more dramatic, combining pop, jazz, and soul. Blazing horns set the scene, before the rhythm section and guitars accompany Esther. Horns rasp and strings sweep, while Esther vocal is dramatic, deliberate and determined to bring something new to the track. This she does. What she brings to the song is emotion and drama, something other versions of the song lacked.
As horns rasp and blaze, it’s obvious Walk Tall will allow Esther and her band to kick loose. They relish this. While her band provide a funky backdrop, Esther’s feisty, half-spoken vocal is assured and confident. Soon, she’s unleashes a vocal that’s a mixture of controlled power, emotion and soulfulness. Spurred on, her band lift their game. Horns growl, guitars chime and drums pound as Esther vamps her way through what’s one of the highlights of Newport News, Virginia.
It’s Been a Long Night sees a change of style. The arrangement is much more understated and spacious. Esther’s vocal is much tender. Sometimes it’s just a whisper. Percussion, meandering bass and rasping horns accompany her, as her vocal grows in power and emotion. Soon, Esther and her band are kicking loose. She revisits the power and emotion of Walk Tall, while her band produce a suitably dramatic backdrop.
Closing Newport News, Virginia is Chains Of Love. Originally recorded by J.J. Barnes, what was a Northern Soul classic is transformed. Esther delivers it with jazzy swing, allowing her to demonstrate her versatility and full vocal range. Meanwhile, grizzled horns, chiming guitars and rhythm setting provide a dramatic arrangement that fuses jazz, soul, funk and rock. This proves a fitting finale to Esther Marrow’s debut album Newport News, Virginia.
Although Newport News, Virginia, may not have been the most successful debut album in musical history, it launched the career of Esther Marrow, the future Queen Of Gospel. A versatile singer, blessed with a wide vocal range, Esther can transform songs and make them her own. Examples of this are Esther’s soul-baring version of Sammy Taylor’s Mama and What A Wonderful World, where she fused pop, soul and jazz. Best described as a truly eclectic album, Newport News, Virginia veers between funk, jazz, pop, R&B, soul and gospel. Whether it’s adding soul, or making a song swing Esther does all that and more on Newport News, Virginia. Maybe that was the problem with Newport News, Virginia.
After all, Newport News, Virginia isn’t an album that neatly fits into one musical genre. It’s neither a jazz album nor a soul album. Instead, it’s an album that encompasses musical genres and influences. So marketing Newport News, Virginia wasn’t easy. It couldn’t be marketed as a jazz, soul or funk album. They might enjoy some of the songs, but not all of them. Instead, Newport News, Virginia is a truly eclectic album. Newport News, Virginia would suit people with eclectic musical tastes. Maybe that’s why thirty-two years after its release it’s stood the test of time. A truly timeless album, Newport News, Virginia which was recently released by BGP Records, launched the career of Esther Marrow. Sadly, her career in secular music didn’t last long.
Following the release of 1971s Newport News, Virginia, Esther Marrow released just one more secular album, 1972s Sister Woman. Since then, she’s forsaken secular music and concentrated on gospel music. Gospel music was where Esther Marrow made her name. She became the heir to Mahalia Jackson’s crown. This is fitting, as Esther and Mahalia once shared a stage. Now seventy-two, Esther Marrow tours the world with the Harlem Gospel Singers. Crowned the Queen Of Gospel, Esther Marrow is now into her sixth decade in music. The album which launched the Queen Of Gospel, Esther Marrow was the timeless Newport News, Virginia, a true musical treasure. Standout Tracks: No Answer Came, Peaceful Man. Mama and It’s Been a Long Night.
ESTHER MARROW-NEWPORT NEWS, VIRGINIA.
ORNETTE COLEMAN-FRIENDS AND NEIGHBORS- ORNETTE LIVE AT PRINCE STREET.
ORNETTE COLEMAN-FRIENDS AND NEIGHBORS- ORNETTE LIVE AT PRINCE STREET.
Back in 1970, Ornette Coleman, one of the most innovative musicians and composers of the free jazz movement, found himself without a record company. He’d just left Impulse Records, having released Ornette at 12 in 1969. However, he wouldn’t be without a record label for long. Bob Thiele, who’d been the A&R man at Impulse, had decided to form his own label, Flying Dutchman in 1969. Flying Dutchman would become home to Ornette.
Founded in 1969, Flying Dutchman would be home for some of music’s mavericks and innovators. Among them, were Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson, Louis Armstrong and Lonnie Liston Smith and His Cosmic Echoes. Creative, forward thinking and visionaries, that’s the perfect way to describe Flying Dutchman Records’ roster. It’s also the perfect way to describe their latest signing Ornette Coleman. Between recording contracts, Ornette signed a one-album deal. This was no ordinary album. Instead, it was an innovative and influential live album, Friends and Neighbors-Ornette Live At Prince Street, which was recently released by BGP Records.
Ornette Coleman was born Randolph Dernard Ornette Coleman on March 9th, 1930. He was born and brought up in Forth Worth, Texas, where his musical skills were apparent from an early age. A true multi-instrumentalist, Ornette played saxophone, violin and trumpet and composed music. His trademark sound is blues-based, with a crying, keening timbre. Growing up, Ornette played in his high school band, but was thrown-out, for jamming during a rendition of Washington Post.
As a teenager, Ornette formed a band, with fellow students Prince Lasha and Charles Moffett. Then in 1949, he started playing with Silas Green, in his R&B show. It was during a show in Baton Rouge, that Ornette was assaulted and his saxophone destroyed. This resulted in Ornette changing to alto-saxophone. After the Baton Rouge assault, Ornette decided to leave Silas Green’s band.
After leaving Silas Green’s band, Ornette joined Pee Wee Crayton’s band. When he wasn’t making music, Ornette worked a variety of jobs, including lift operator. Still, he was determined to make a living playing music. Other musicians, however, didn’t understand Ornette’s style of music.
From his high school days, Ornette had a unique musical style. Schooled in R&B and bebop, Ornette’s approach to chord progression and harmony was very different. It was much more fluid. He played what heard in his head, which coupled with his blues’ influence, may have resulted in the rawness in Ornette’s playing. For some musicians, they thought Ornette was out-of-tune. That wasn’t the case. Unlike them, Ornette was a visionary, an innovator, a musician who’d become one of the giants of free jazz.
Even though many musicians didn’t understand Ornette Coleman, he was gradually building up a group of influential supporters. This included pianist Paul Bley, who later collaborate with Ornette. Paul however, didn’t feature on Ornette’s 1958 debut album Something Else. Released on Contemporary Records, Something Else featured Don Cherry on trumpet and Walter Norris on piano, as be bop combined with free jazz. Ornette released his sophomore album in 1959s. Tomorrow Is The Question was also released on Contemporary Records. All of sudden, people were taking notice of Ornette Coleman. They were “getting” Ornette’s unique sound and approach to jazz.
Atlantic Records was home to Ornette between 1959 and 1962. During that time, he released three albums. The first was 1959s The Shape Of Jazz To Come, 1960s Charge Of The Century and 1962s Ornette On Tenor. After that, Ornette became something of a musical nomad. He flitted between labels, never spending long at any label. Briefly, Columbia and Impulse were home to Ornette. The exception was Blue Note, where he released three albums, including 1966s The Empty Foxhole, plus 1968s New York Is Now and Love Call. A year later, in 1969, Ornette Coleman’s career was at a crossroad. He’d just released Ornette at 12, for Impulse Records, but found himself without a record label. While labels recognized Ornette’s undoubtable skill, they seemed reluctant to sign him.
One label that wasn’t reluctant to sign Ornette Coleman, was Bob Thiele’s Flying Dutchman. Realizing that in Ornette Coleman, here was one of the great free jazz musicians, Bob offered to sign Ornette. They settled on a one album deal. This wasn’t going to be an album with a difference. Eschewing the studio, Ornette decided to record a live album. However, rather than record the concert at one New York’s great concert halls or jazz clubs, Ornette, ever the innovator, decided on somewhere more intimate. This would be Ornette’s loft at 131 Prince Street, Manhattan.
Prince Street, Manhattan was very different back in the late-sixties, early seventies. The area was still rundown, and hadn’t yet been overrun by yuppies and dinkys. However, Manhattan with large empty warehouses, was the perfect place for jazz musicians to rehearse. Rehearsal spaces were plentiful and cheap. So, it made sense if Ornette was going to rehearse in Manhattan, to live their. It also made sense to record what became Friends and Neighbors-Ornette Live At Prince Street in Manhattan, which would become the heart of New York’s jazz loft scene.
For Friends and Neighbors-Ornette Live At Prince Street, Ornette put together a small, tight and talented band. Ornette played saxophone, violin and trumpet. He was joined by bassist Charlie Haden, drummer Ed Blackwell and Dewey Redman played tenor saxophone. Adding vocals, were Ornette’s friends and neighbors. Recording of Friends and Neighbors-Ornette Live At Prince Street took place in 1971, and the album was released later in 1970.
The best way to describe Friends and Neighbors-vocal, which opens Friends and Neighbors-Ornette Live At Prince Street, is as a track that veers between melodic, to frenzied, dramatic and innovative. Ornette’s friends and neighbors taking charge of the vocal as the track unfolds. Then, Ornette’s frenzied, wailing groaning saxophone enters. It’s played quickly, and with power and passion. Free jazz, avante garde and experimental music combine with blues and bebop to create a compelling track.
Driven along by bass and drums, it’s all change when dueling saxophones and violins enter Friends and Neighbors-Instrumental. Challenging, frantic and frenzied, describes this melting pot of sounds and influences. Layers of music fight for your attention. The violin and saxophone seem to be competing for your attention. Like children showing off, it’s a case of listen to me. The violins produce a challenging, cacophony of sound. As for the saxophones, Ornette’s alto and Dewey’s tenor both challenge each other. They then compliment each other, playing their part in a track that’s innovative and challenging.
Long Time No See is a mixture of bebop and free-jazz. Straight away, musical two musical genres, which are polar opposites. A captivating track, it’s one that’s futuristic but orthodox. It’s like a space-age, melodic musical journey. Driven along by the bass and drums, Ornette’s alto veers between blazing and brazing, to spacious and tender. Played with power, space is left between notes. It’s the equivalent of musical punctuation on this bold, dramatic and innovative musical journey, that features Ornette Coleman at his very best.
From the get-go, Let’s Play is a track that assails you. However, quickly, it’s inherent beauty is apparent. As you’re caught in the crossfire of the saxophones, drums pound and the bass helps propel the track along. It’s then, the beauty and drama of this passion strikes you. Played with passion and power, there’s a sadness to Ornette’s playing. This means title Let’s Play, is almost ironic, given the wistful, melancholy sound. It’s as if Ornette, wants to play joyously, but something’s stopping him. He’s on the outside looking in, as others play.
Forgotten Songs bursts into life. Briefly, there’s a vintage jazz sound. Soon, it’s all change. The track then heads in the direction of free-jazz. With Ornette’s saxophone taking centre-stage, he lays down a peerless solo. Hardly drawing breath, he plays with power and control. Rasping, blazing and growling, his blues, pleading saxophone dances across the arrangement, playing a starring role in a song that won’t be forgotten.
Closing Friends And Neighbors-Ornette Live At Prince Street is Tomorrow. At just over twelve minutes long, this is the longest track on the album. This gives Ornette a chance to deliver a dramatic, bounding braying saxophone solo. Soon, Dewey’s tenor saxophone joins the rhythm section in creating futuristic, experimental slice of free jazz. It’s dramatic, frenzied and played with power and passion. Later, the track returns to a much more traditional style. Regardless of which style Ornette is playing, he plays with panache, aplomb and confidence. There’s a swagger to his playing, which there should be. After all, by 1970, Ornette Coleman was one of the giants of jazz.
Without a record company, Friends And Neighbors-Ornette Live At Prince Street is Tomorrow gave Ornette Coleman the perfect opportunity to showcase his musical prowess. For record companies considering signing him, Friends And Neighbors-Ornette Live At Prince Street is Tomorrow showed that he’d lost none of his magic. That was certainly the case.
He was still one of jazz’s most innovative and inventive musicians and composers. Bold, and unafraid to produce cutting-edge music, Ornette Coleman produced music that was challenging music, music that challenged musical norms. Realizing musical rules were there to be broken, Ornette set about breaking these rules. However, Ornette knew when to break the rules. By breaking these rules, he created some of the most inventive, influential and innovative music in the history of jazz. This was music that fused various musical genres and influences. Bebop, free-jazz, blues, avant-garde and experimental music all influenced Ornette Coleman’s music. These genres and influences were thrown into the melting pot of one of the most creative and inventive musicians of the twentieth century.
Each of these influences feature on Friends And Neighbors-Ornette Live At Prince Street, which was recently released by BGP Records. Although not the highest profile album Ornette Coleman released, Friends And Neighbors-Ornette Live At Prince Street features Ornette at the peak of his creativity, when he was one of the most innovative, influential and inventive jazz musicians and composers in the history of jazz.
ORNETTE COLEMAN-FRIENDS AND NEIGHBORS- ORNETTE LIVE AT PRINCE STREET.
AURRA-A LITTLE LOVE.
AURRA-A LITTLE LOVE.
It was in 1975, that Steve Washington formed his first band with his school friends Mark Hicks and Tim Dozier. Born in Newark, Steve was brought up in East Orange, New Jersey. Steve was from a musical family. His uncle was The Ohio Players’ Ralph “Pee Wee” Midlebrooks. During his holidays, Steve either stayed with his uncle in Ohio, or headed out on tour with The Ohio Players. This would give Steve a taste of what life was like as a musician.
Having left high school, Steve’s band hooked up with another band. They initially named themselves Congress, but soon, changed their name to Slave. Their 1977 eponymous debut album, which featured the funk classic Slide, which reached number one in the US R&B Charts. Released on Cotillion, a subsidiary of Atlantic, Slave reached number twenty-two in the US Billboard 200 and number six in the US R&B Charts. Certified gold, Slave’s debut album had proved a huge success. Buoyed by the success of Slave, Slave soon began working on their sophomore album Hardness Of The World.
Later in 1977, Slave released their sophomore album The Hardness Of The World. While it didn’t replicate the commercial success of Slave, it did reach number sixty-seven in the US Billboard 200 and number thirty-one in the US R&B Charts. By the time Slave released their third album, The Concept, Slave had two new members.
Slave’s two new members were drummer and vocalist Steve Arrington and Starleena Young. Starleana’s musical career had started when she joined a gospel choir. After that, she joined Symphonic Express. That was where Steve Washington came across Starleana. Realizing that Starleana Young was a talented vocalist, Steve brought her onboard for the recording of Slave’s third album, The Concept. On its release in 1978, The Concept reached number seventy-eight in the US Billboard 200 and number eleven in the US R&B Charts. This was an improvement on The Concept. The addition of Starleena Young, a former member of Symphonic Express had helped Slave. So would the addition of another member of Symphonic Express help Slave reach the heights of Slave?
For what became Slave’s fourth album, Just A Touch Of Love another of Symphonic Express’ vocalists joined Slave. This was Curt Jones, who’d proved an important member of Slave. After all, Curt cowrote three of the eight tracks on Just A Touch Of Love. When Just A Touch Of Love was released in 1979, it reached number ninety-two in the US Billboard 200 and number eleven in the US R&B Charts. While When Just A Touch Of Love didn’t replicate the success of Slave, it featured Slave’s most successful single since Slide. The title-track reached number nine in the US R&B Charts. Just as Slave on their way to becoming one of America’s most successful funk bands, Steve Washington, inspired by George Clinton of Funkadelic and Parliament, decided to give Slave’s two vocalists their own musical vehicle, Aurra.
It was 1980 when Aurra released their eponymous debut album. Aurra had signed to Dream Records, a subsidiary of Salsoul Records. Featuring the twin vocals of Starleena Young and Curt Jones, the rest of Slave accompanied them. On its release in 1980, the six-track Aurra, failed to chart. The single, In The Mood (To Groove) reached number eighty-six in the US R&B Charts and number fifty in the US Dance Charts. While Aurra failed to chart, Slave’s fifth album Stone Jam replicated the commercial success of their debut album. Certified gold, it reached number fifty in the US Billboard 200 and number five in the US R&B Charts. However, it wouldn’t be long before Aurra were enjoying commercial success.
For Steve Washington, 1981 was one of the most successful years of his musical career. Aurra’s sophomore album Send Your Love, was released on Salsoul and reached number 103 in the US Billboard 200 and number twenty-two in the US R&B Charts. Things got even better for Slave when Slave reached their sixth album, Show Time. It reached number forty-six in the US Billboard 200 and number six in the US R&B Charts. Steve Washington, it seemed had the Midas. He was replicating George Clinton, who successfully ran two bands. Would this success continue in 1982, when Slave released their seventh album and Aurra released their third album A Little Love? That’s what I’ll tell you. Then I’ll tell you about the music on A Little Love.
When work began on Aurra’s third album A Little Love, Steve Washington and Curt Jones cowrote It’s You. They also cowrote six of the other seven tracks, with various songwriting partners. The exception was Thinking Of You which closes A Little Love. These eight tracks which were recorded at House of Music became A Little Love which will be released by BBR Records on 29th July 2013.
At House of Music, Aurra started work on their third album A Little Love. Starleana Young and Curt Jones took charge of the lead vocals. Accompanying them, were a rhythm section of drummers Kevin Moore and Thomas Lockett Jr, bassist Ray Jackson and guitarists Curt Jones and A.C. Drummer. Phillip Fields and Kevin Grady played keyboards, while Steve Washington played bass, drums Prophet 5 and Omni II. When the eight tracks were recorded A Little Love was released in January 1982.
Before A Little Love was released on Salsoul Records, Make Up Your Mind was released as the lead single. Released in November 1981, it reached number seventy-one in the US Billboard 100, number six in the US R&B Charts and number thirty-five in the US Disco Charts. A Little Love was released in January 1982, reached number thirty-eight in the US Billboard 200 and number twelve in the US R&B Charts. The title-track, A Little Love, released in March 1982, reached number thirty-six in the US R&B Charts. When Checking You Out was released in June 1982, it reached number sixty-four in the US Billboard 200 and number forty-seven in the R&B Charts. A Little Love was Aurra’s most successful album. However, Slave’s seventh album Visions Of Time, reached just number 177 in the US Billboard 200 and number forty-six in the US R&B Charts. Ironically, Aurra, which had started off as an offshoot of Slave, was now surpassing the commercial success of Slave. Why was A Little Love so successful? That’s what I’ll now tell you.
Tough and funky describes Make Up Your Mind, which opens A Little Love. This was the lead single from A Little Love. The funkiest of slap basses, synths, hypnotic drums and harmonies combine, before Curt’s vampish vocal struts centre-stage. His vocal is full of emotion and confusion. When Starleana Young’s vocal enters, it’s tender, heartfelt and determined to soothe Curt’s troubled soul. As their vocal drops out, the arrangement fuses elements of funk and boogie. Add to that the soul supplied by Curt and Starleana and it’s a potent combination.
Patience sees Aurra’s rhythm section, keyboards and Starleana’s sensual, vampish vocal combine. What follows is like a lost Madonna track. That’s thanks to Starleana’s needy vocal. Harmonies sweep in, proving the perfect foil to her vocal. When Curt’s vocal enters, you realize it isn’t really necessary. The track works perfectly with Starleana accompanied by harmonies. However, Curt, like the harmonies, plays his part in the success of a track that’s full of poppy hooks and dance-floor friendly.
It’s You is very different to the previous tracks. Dramatic and melancholy describes the track’s opening bars. When Curt’s vocal enters, a beautiful ballad begins to unfold. His vocal is delivered with power and passion. A subtle, tender vocal from Starleana adds the finishing touch to this sensual, dramatic and emotive hidden gem. Why this slice of smooth groove wasn’t released as a single seems a missed opportunity.
Checking You Out has a really eighties sound. Fusing funk, soul, R&B and pop it’s a swaggering, slice of sensual music. While the rhythm section, chiming guitars and keyboards add a funky backdrop, Curt and Starleana strut across the arrangement. Sassy and confident, their vocals add the electricity to what made Aurra such a special group. Referencing everything from disco, seventies funk, boogie, Chic-style guitars, Madonna, Michael Jackson’s Off The Wall and classic pop, it’s a slick, classy and irresistibly catchy song, where musical genres and influences unite.
For just under a minute, Aurra’s rhythm section, keyboards and searing guitars jam. They’re setting the scene for Curt and Starleana’s vocal on A Little Love. When they arrive, their vocals are powerful, needy and dramatic. This matches the arrangement, which fuses funk, rock and jazz. Spurred on by the dramatic arrangement, Curt and Starleana combine power, emotion and insecurity, with their needy, dramatic vocals which bring the lyrics to life.
A Little Love, the title-track sees the tempo drop. It’s a much more “Aurra-like song.” Featuring a bass masterclass from Ray Jackson, who cowrote the song, it’s a mid-tempo dancer. Chiming guitars, Ray’s uber funky bass and stabs or keyboards produce an arrangement that reminds me of Chic. As for Curt and Starleana’s vocal, they’re heartfelt, hopeful and soulful, on this melancholy fusion of funk and soul.
In My Arms is another slow, sultry song. A sensual, pleading vocal combines with a meandering, but funky rhythm section. Augmented by keyboards and harmonies, Starleana delivers one of her best vocals. Only her vocal features and is needed. She makes the song her own, delivering a slow, sensual vocal with emotion. Accompanied by harmonies, her vocal veers between a scat and a vamp. Meanwhile, the rhythm section, chiming guitars and keyboards combine jazz, funk, soul and R&B, providing the perfect accompaniment to Starleana’s vocal Magnus Opus.
Closing A Little Love is Thinking Of You. It’s an uptempo dance track, driven along by a funky, slithery groove from Ray Jackson’s bass. Punchy harmonies accompany Curt’s vocal. Combining drama, power and emotion his vocal, plus a plentiful supply of hooks, this joyful, melodic, mixture of soul, funk and disco is the perfect way to close A Little Love.
With its fusion of soul, R&B and funk, tinged with elements of boogie, disco and sometimes, jazz, it’s no wonder Aurra’s third album A Little Love was their most successful. Crucial to the success of A Little Love, was the twin vocals of Starleena Young and Curt Jones. They were the perfect foil for each other. Of the two, Starleana was the real star of Aurra.
Her vocal on In My Arms is the best on the album. Accompanied by just harmonies it demonstrated just how talented she was. By then, we already knew this. On Patience, Starleana delivered a sensual, vampish vocal. The track could’ve and would’ve worked on its own. The addition of Curt’s vocal wasn’t really necessary. Having said that, Aurra’s success wasn’t just a result of Starleana. Instead, its success was as a sum of the parts. Curt played his part, delivering some powerful, emotive and effective vocals. Just like Starleana’s vocals, they helped bring the songs to life, breathing life and meaning into the lyrics. However, there was more to Aurra’s success that Starleana and Curt.
Crucial to the success of A Little Love, was the personnel involved in the album. This includes some talented musicians, including bassist Ray Jackson, who several times, gave bass masterclasses. Then there was the eight songs. Steve Washington cowrote them, produced and played A Little Love. He was the man who masterminded the rise and rise of Aurra, and before that Slave.
Ironically, as Aurra enjoyed success with A Little Love, Slave’s seventh album was the least successful of his career. Reaching just number 177 in the US Billboard 200 and number forty-six in the US R&B Charts, Visions Of Time proved to be a sign of what was to come for Slave. They’d enjoyed the most successful period of their career. Now Aurra, which had started off as an offshoot of Slave had become more successful than Slave. Aurra’s most successful album was A Little Love, which will be released by BBR Records on 29th July 2013. Fusing musical genres and influences, A Little Love was the most soulful, funky and dance-floor friendly album Aurra would release. Sadly, neither 1983s Live and Let Live and 1985s Like I Like it replicated the success of Aurra’s most successful album A Little Love, the best album of Aurra’s career. Standout Tracks: Patience, It’s You, Checking You Out and In My Arms.
AURRA-A LITTLE LOVE.
LOGG-LOGG.
LOGG-LOGG.
In 1979, disco was breathing its last breath. The last rites were being read to a musical genre that provided the soundtrack to the seventies. What had started off as an underground musical scene, had become of the most popular musical genres of the past twenty years. Artists jumped onboard the disco bandwagon, trying to revive flagging careers. That was part of the problem. When artists like Rod Stewart and The Rolling Stones jumped onboard the disco bandwagon, disco was fast becoming a parody of itself. Soon, disco sucked. On 12th July 1979, on Derby Demolition Night, at Comiskey Park, Chicago, disco nearly died. The fallout saw record companies fold, disco artists dropped and disco records as popular as a rattlesnake in a lucky dip. For disco’s premier label Salsoul, this presented a problem.
Since 1975, when The Salsoul Orchestra released its debut single the Salsoul Hustle, Salsoul Records established a reputation as disco’s most innovative and influential label. Unlike other labels, the music Salsoul released evolved. When Euro Disco became popular, Salsoul incorporated it into their music. First Choice’s Hold Your Horses, released in 1979, was one of Salsoul’s first releases to fuse Euro Disco, Philly Soul, funk and disco. This wasn’t the last time the “Salsoul sound” would have to change. However, the next time, it was a matter of necessity.
After disco, Euro Disco and boogie filled the void left by disco. Salsoul had foreseen the change and had established a roster of artists capable of creating innovative and influential music. One of Salsoul’s new signings was Logg, the latest studio project from Leroy Burgess. Logg only released one album, 1981s Logg, which will be released by BBR Records on 29th July 2013.
By the time Leroy Burgess he was already a veteran of many musical projects. His career had started back in 1969, when he joined Black Ivory. That was just the start of a long, illustrious and successful career. During the seventies, Leroy Burgess moved from singing to songwriting, arranging and production. Along with various collaborators, he was involved in some innovative projects, that helped influence music.
Among the other projects Leroy Burgess was involved in, were Aleem, Dazzle, Venus Dobson, The Fantastic Aleems and Patrick Adams Presents Phreek. Whilst working on these projects, Leroy came across Greg Carmichael. Greg and Leroy collaborated on several successful projects, including Convention and Logg. Apart from his own projects and collaborations,, Leroy wrote and produced other artists.
Leroy wrote and produced Rick James, Ben E. King, Rick James, Herbie Mann, Peter Jacques Band and The B.B.Q. Band. These were just a few of the artists Leroy produced. He was versatile, capable of producing a wide range of artists. Whether it was soul, funk, jazz or disco, Leroy had produced it. This would influence his collaborations with Greg Carmichael.
Before forming Logg, Greg and Leroy had collaborated on Convertion. Their only release was 1981s Let’s Do It, which was released on SAM Records. The follow up to Let’s Do It, I Know You Will was meant to be released on SAM Records. However, Sam Weiss, owner of SAM Records decided to copyright the name Convertion without telling the group. He then offered Convertion an album deal which had unfavorable terms. Convertion described the offer as an: “absolutely ridiculous album deal,” one which they turned down. Luckily, Salsoul were interested in signing the now unnamed band. Salsoul’s offer was a single-to-album deal. When they heard the single Let’s Do It, Salsoul opted for an album. This left SAM Records with the band’s name, but no band.
Having signed to Salsoul Records, the musicians who played on Let’s Do It, formed the basis of what became Logg. This included the rhythm section of bassist and percussionist James Calloway, drummer Sonny T. Davenport and guitarist Sonny De Graffenried, who along with Renee J.J. Burgess and Dorothy Terrell sang backing vocals. Leroy sang lead and backing vocals, plus played keyboards and percussion on what became Logg.
Logg featured six songs, which were written by the members of Logg. The songwriting partnership of Leroy Burgess, James Calloway and Sonny T. Davenport cowrote Lay It On The Line, Sweet To Me, Dancing Into The Stars and Something Else. They cowrote Let’s Do It and (You’ve Got) That Something with Aaron Powell. These six songs became Logg, which was recorded at Eras Recording Studio, New York.
When recording of Logg got underway at Boris Midney’s Eras Recording Studio, Logg’s lineup featured a rhythm section of bassist and percussionist James Calloway, drummers Douglas J. Barry and Sonny T. Davenport plus guitarists Stanley Lucas, William Doc Powell and Sonny De Graffenried. He added backing vocals alongside J.J. Burgess, Dorothy Terrell, Carla Bartee, Donald Hamilton, Lynne Clifton-Allen and Russell Patterson. Willis Long added percussion and Fred McFarlane Oberheim Polyphonic synth. Leroy sang lead and backing vocals, while playing keyboards and percussion. Once Logg was completed, it was released in September 1981.
Before the release of Logg in September 1981, Let’s Do It was released in July. It reached a disappointing number eighty in the US R&B Charts. When Logg was released, in September 1981, it failed to chart. Given the high hopes Salsoul had for Logg, this was huge body blow. Worse was to come. (You’ve Got) That Something, released in October 1981 failed to chart. With just one minor hit single, Logg hadn’t been a commercial success. Far from it. What it did do, was play a part establishing Leroy Burgess’ career as “King of Boogie”
Let’s Do It opens Logg. It’s a mid-tempo, joyous dance-track. With just piano, percussion and bounding rhythm section combining with synths, this sets the scene for Leroy’s vocal. Heartfelt, joyous and soulful, backing vocalists accompany every step of the way. They play their part in the track’s success, adding to the drama and energy. Later, Leroy mixes power and passion, as Logg spread plentiful supply of hooks on what is, an irresistible track.
Lay It On The Line has a real laid-back vibe. This was one of the features of boogie. Although boogie still has a “bouncy” sound, it’s much more mellow and laid back. The tempo is also slower. Usually, it was between 90 to 115 beats per minute. Here, it’s 115 beats per minute. Logg’s funky and underrated rhythm section get to work. The funkiest of bass lines joins keyboards and synths in providing the trademark bouncy arrangement, as funk, jazz and soul combine. While the rhythm section provide the funk, Leroy’s keyboards are jazz-tinged. As for it’s vocal, its powerful, soulful and delivered with sass and a swagger, as he delivers an ultimatum: “why don’t you Lay It On The Line.”
Sweet To Me has a much more mellow sound than the two previous tracks. This was a feature of many boogie tracks. With a tempo of 106 beats per minute, a meandering jazzy rhythm section combine with boogie keyboards and cooing harmonies. Leroy’s vocal is impassioned and dramatic, as percussion, synths, chiming guitar and bass accompany him. Later, harmonies sweep in, adding to the soulfulness. What is apparent in the jazz influence. The chord changes are jazz-tinged, not unlike what Chic were doing a few years earlier. My only reservation are the squelchy synths. They jar and detract from this laid-back fusion of jazz and soul
(You’ve Got) That Something is best described as a Chic-inspired track with an uptempo, summery vibe. Logg’s rhythm section join with percussion and synths while Leroy vamps. Harmonies answer Leroy’s call, adding to the catchy, uplifting sound. James Calloway gives a masterclass in how to play a funky bass. He slaps and plucks his bass, while bubbling synths and percussion lock into the tightest and funkiest of grooves. Hypnotic harmonies provide a hypnotic backdrop for Leroy, powerful, dramatic and vampish vocal.
Dancing Into The Stars is the fastest song on Logg. Nearly 119 beats per minute, it bursts into life, with an infectious fusion of percussion, wah-wah synths and funky rhythm section joining deliberate keyboards. Sassy describes Leroy’s vocal as he struts and swaggers his way through the track. Harmonies, stabs of piano and chiming guitars accompany Leroy, as Logg create what became a became a boogie classic.
Something Else closes Logg. Undeniably funky, thanks to James Calloway’s bass, the rest of Logg create a hypnotic backdrop. Gradually, the arrangement unfolds. Playing an important roll is Leroy. His keyboards and vampish vocal are joined by cooing, sweeping harmonies. Percussion is sprinkled across the arrangement, while synths help drive the arrangement along as Leroy’s vocal delivers his most soulful vocal on Logg.
Logg is yet another album that people only really appreciated after its release. Back in 1981, it was a commercial failure. So too, were the two singles Let’s Do It and (You’ve Got) That Something. The two singles, plus Lay It On the Line quickly became dance-floor favorites. DJs including John Morales and Larry Levan played these tracks. They also remixed these tracks. Soon word was spreading about Logg, which will be released by BBR Records on 29th July 2013..
As boogie’s popularity grew, so did Logg’s. However, Logg was the only album Logg released. Leroy Burgess and Greg Carmichael, who produced Logg, moved onto their next project. While Logg hadn’t been a commercial success, it proved a favorite among dancers and DJs. Logg also furthered Leroy Burgess’ career and reputation as an innovative and influential producer. Since the release of Logg, Leroy Burgess, who was responsible for some of the most innovative and important boogie, has been crowned “King of Boogie.”
While many people focus on Leroy Burgess as a producer, they forget he was a musician and vocalist. Part of the success of the Logg was the standard of musicians. They were underrated, especially the rhythm section of Burgess, Calloway and Davenport. Good as they were, Matt Bauer, who penned the sleeve-notes is over-egging the pudding somewhat when he compares Logg’s rhythm section to the legendary Baker, Harris, Young. Very few come close to Baker, Harris, Young. Certainly not the Funk Brothers, another famous rhythm section Burgess, Calloway and Davenport are compared to. Logg’s rhythm section were good, great even, but no match for Baker, Harris, Young. One thing they all have in common, is that Baker, Harris, Young, the Funk Brothers and then Burgess, Calloway and Davenport provided the heartbeat for innovative, inventive and influential music. In Logg’s case, their rhythm section played an important role in boogie. Logg’s talented rhythm section certainly played their part in one of the most important albums in the history of boogie, Logg. Standout Tracks: Let’s Do It, Lay It On The Line and Something Else.
LOGG-LOGG.
MUTAZIONE-ITALIAN ELECTRONIC AND NEW WAVE UNDERGROUND 1980-1998-COMPILED BY WALLS.
MUTAZIONE-ITALIAN ELECTRONIC AND NEW WAVE UNDERGROUND 1980-1998-COMPILED BY WALLS.
While Walls haven’t released an album since the blissed out, dreamy and ethereal beauty of Coracle, released in 2010, Allessio Natalizi of Walls hasn’t been taking things easy. Not at all. Instead, Alessio has been busy compiling an eclectic and compelling compilation for Strut Records. Entitled Mutazione-Italian Electronic and New Wave Underground 1980-1988, this double-album, which will be released on 5th August 2013, features twenty-six examples of Italy’s eighties D-I-Y counter culture. Many of the tracks aren’t just rare, but almost impossible to find.
The reason for this is that they were issued on cassette along with fanzines that were issued by political parties. Mostly, these fanzines were treated as disposable, and thrown away after they’d been read. The same was the case with the cassettes. People would have a listen, and if they liked what they heard, maybe keep them. Not many people would’ve kept them since the eighties. Factor in the unreliability of the cassette and it’s highly unlikely many cassettes survived anything up to thirty-three years. You’d think not. Thankfully, there are some musical magpies out there. They’ve kept their cherished copies of the fanzines and the cassettes that came with them. Allessio Natalizi of Walls must have been relieved. After all, if these fanzines and cassettes hadn’t been saved, there would be no Mutazione-Italian Electronic and New Wave Underground 1980-1988, which I’ll tell you about, after I’ve given you some background to what was going in Italy between 1980 and 1988.
As the eighties took shape, Italy emerged from one of the most turbulent periods in its recent political history. At long last, people thought, Italy had emerged from one of its bleakest political periods. This had started back in the early sixties. What’s referred to as Anni di Plombo, the Years of Lead, lasted right through to the early eighties. Sparking twenty years of turmoil, was an attempt to amalgamate the Italian Social Movement, a neo-fascist party, with the Christian Democrats and the Socialist Party. So controversial did this prove, that an estimated 2,000 people died. Assassinations, shootings, car-bombings and even gang warfare blighted Italy. For the two rival factions, nothing was off-limits. In 1978, the Christian Democrat leader Aldo Moro was murdered during this bloody, bitter feud, which saw no sign of ending. Italy during this time, wasn’t for the faint-hearted. As the seventies ended and the eighties began, a new generation of political activists would make pick up the political baton.
Two parts of Italy in particular, became hotbeds of political activism during the eighties. Tuscany in central Italy, the birthplace of the Italian Renaissance, famous for its art, history and wines, may seem a surprising place for the Italy’s latest generation of political activists. The other hotbed of political activism was Emilia-Romagna, the administrative capital of Northern Italy. It comprises Emilia and Romagna, and its capital is Bologna. Within these two regions of Italy, emerged bands, fanzines and political activists.
It wasn’t just left wing activists that sprung up in Tuscany and Emilia-Romagna. No. Both sides of the political spectrum were represented in Italian fanzine culture. Ironically, the left and right parties had two things in common…music and fanzines. Many of the fanzines and bands were rooted in a squat culture, which was inspired by punk. Soon, fanzines representing the left and right wing parties sprung up.
The fanzines which were hand-made, were printed in limited numbers. This was an example of the D-I-Y culture and ethos of punk. So too was the idea of attaching a cassette to the fanzine. This encouraged people to buy the fanzines. Again, this was inspired by punk. Not only that, it introduced them to some of the latest Italian music, music which features on Mutazione-Italian Electronic and New Wave Underground 1980-1988
Mutazione-Italian Electronic and New Wave Underground 1980-1988 is a double album, which will be released on Strut Records, on 5th August 2013. It’s available not just in CD and MP3, but in good old fashioned vinyl. The twenty-six tracks the feature on the two discs are a truly eclectic collection of music. There’s everything from new wave and post punk, through electronica, industrial, experimental and menacing, haunting vocal tracks. As musical journeys go, Mutazione-Italian Electronic and New Wave Underground 1980-1988, is like a journey aboard Scooby Doo’s Mystery Machine, with a plentiful supply of musical surprises in-store for the listener.
DISC ONE.
Disc One of Mutazione-Italian Electronic and New Wave Underground 1980-1988 features thirteen tracks. There’s contributions from Winter Light, Victrola, Neon, La 1919, L’Ultimo Arcano and Giovanotti Mondani Meccanici. Then there’s the 2+2=5 and the wonderfully named Laxative Souls. Ranging from new wave, post punk, ambient, electronica, industrial, experimental and menacing, haunting vocal tracks Mutazione-Italian Electronic and New Wave Underground 1980-1988 is a compelling musical journey that documents Italy’s turbulent and troubled past.
For several of the artists that feature on Mutazione-Italian Electronic and New Wave Underground 1980-1988, having their music feature on cassettes attached to fanzines launched their career. This was the case with 2+2=5. Jacho’s Story featured on their 1984 debut album Into The Future. 2+2=5 comprising Nino La Loggia and Giacomo Spazio met for the first time in 1981, at Bar Concordia, Milan, which was a meeting place for the post-punk generation. Three years later, No Name Music, an imprint of Italian label Materiali Sonori, released Into The Future. A fusion of post punk, new wave, electronica and funk results in Jacho’s Story. With its references to P.I.L. and O.M.D. plus shredded guitars, drenched in feedback, and the addition of an uber funky bass, this is a genre sprawling musical journey.
Winter Light’s Always Unique (Kill Myself 2) is track from Baciamibartali and Winter Light’s eponymous album. Released in 1980, on Italy’s Sequence Records, it’s an edgy, dramatic and angst ridden combination of electronica, new wave and post punk, complete with a Bowie-inspired vocal.
Although I joked about Laxative Souls name, there’s an almost sinister sound to Niccolai. Featuring a taped conversation between Aldo Moro’s lawyer and his kidnappers, you feel like a voyeur. After all, you know the outcome and that there was no happy ending for the Christian Democrat leader Aldo Moro. Accompanied by a synth that adds to the tension, it’s a track that leaves you wondering whether you should feel excited, enthralled or repulsed?
Giovanotti Mondani Meccanici’s Back And Forth, is a track from his 1985 album GMM. It’s a track with surprises in-store. A fusion of ambient and experimental music when it unfolds, soon it’s all change. Drums pound and the track heads in the direction of Kraftwerk, electro and Italo disco. Add in menacing, whispered vocals and you’ve a track that’s mesmeric and hypnotic.
Carmody’s Carmody closes Disc One of Mutazione-Italian Electronic and New Wave Underground 1980-1988. It’s best described as a truly compelling fusion of musical genres and influences. Veering between atmospheric and broody to ethereal, sparkling and glistening, thanks to washes of meandering synths. Pounding drums provide a pulsating heartbeat to this amalgamation of sounds, including electronica, new wave.
Apart from the five tracks I’ve mentioned, there’s much more to discover on Disc One of Mutazione-Italian Electronic and New Wave Underground 1980-1988. I could just as easily have chosen Neon’s synth driven fusion of electronica, new wave and post punk. Then there’s the drama of the La 1919’s frenzied and menacing Senza Tregua. Or what about Gaz Nevada’s Going Underground, a lo-fi fusion of post-punk and industrial music. Truly eclectic, you hungrily await each track, wondering and pondering the musical direction the compilation is heading. It really is like a journey onboard Scooby Doo’s Mystery Machine. Best of all, Scooby’s scoffed the sat-nav so Mutazione-Italian Electronic and New Wave Underground 1980-1988 proves a meander and eclectic musical journey. Nothing it seems, is ruled in, and nothing is ruled out. Having set the bar high on Disc One of Mutazione-Italian Electronic and New Wave Underground 1980-1988, let’s hope Disc Two is just as compelling and eclectic.
DISC TWO.
Just like Disc One, Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988 of features thirteen, genre-sprawling tracks. These tracks are what happens, when you take the musical rulebook, throw it away and rewrite it. It’s music that was made without large budgets or access to expensive recording studios. Between 1980 and 1988 in Italy, musically, anything was possible. Full of energy, emotion, angst, anger and frustration, the next generation of Italy’s political activists created another thirteen tracks, which i’ll pick my favorite five.
Tasaday’s Crisalide opens Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988. Described as a mixture of post-rock, industrial, tribal and experimental, it’s a strangely hypnotic, sometimes, meditative track. Chants sit behind industrial strength, thunderous drums. Influenced by Neu and Can, Tasaday released two albums and three cassettes between 1984 and 1988.
Suicide Dada were a band that emerged from the collective who printed the VM fanzine. Waiting For September featured on the 1986 compilation VM Cinque. This was a limited edition double-album released on Produzioni. Straight away, you realize Suicide Dada are a cut above most of the bands on the compilation. Listen carefully and there’s elements of seventies Bowie, new wave, electronica and rock married with early Simple Minds and Echo and Bunnymen. Sadly, Suicide Dada neither enjoy the success nor longevity their talent deserved.
Kirlian Camera were one of just a few new wave artists who landed a deal with a major label. They were pioneers, who lead the way for future generations of musicians. Edges featured on Kirlian’s 1983 album It Doesn’t Matter, which was released on the A.T.G. label. Edges was also released as a single in 1984. It’s an edgy fusion of electro, new wave and dark wave. This was the start of a long career for Kirlian Camera, who released an album Black Summer Choirs earlier in 2013.
La Maison’s Critical Situation is an intriguing track. There’s an almost sinister sound to the track. A fusion of a speech from a politician and synths combine, as this moody and broody track meanders along. Bursts of excitable politicians are combined with bubbling, buzzing synths and sound effects. Together, they create a dramatic, nearly discordant combination. Despite this, you can’t tear yourself away from the track. As you wonder what’s about to unfold, you’re like a rabbit in the headlights startled and surprised by the music of La Maison.
My final choice from Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988 is Doris Norton’s Norton Apple Software. This experimental, dramatic and strangely melodic track was taken from a 1984 compilation sponsored by a nascent computer company called Apple. Wonder what happened to them? Combining elements of prog rock, electronica and experimental music, the result is a hypnotic, futuristic genre-melting dance track.
There was no let up in the standard of music on Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988. Apart from the five tracks I’ve mentioned, I could just as easily have mentioned the soulful and ethereal sound of La Bambola Del Dr Caligari’s Deep Skanner. Then there was Spirocheta Pergoli’s Romero’s Living Dead, where free jazz, feed-back, experimental and industrial music unite. The Tapes’ Nervous Breakdown with its cartoon vocals, was another fusion of experimental and industrial music. Enthralling describes A.T.R.O.X’s Against The Odds, which closed Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988. One minute it’s a laid-back, mellow soundscape with ethereal harmonies, the next dramatic drums, quivering synths and vocoders gatecrashed the party with a few friends in tow. Overall, Disc Two of Mutazione-Italian Electronic and New Wave Underground 1980-1988 was just as compelling and captivating as Disc One.
Allessio Natalizi of Walls deserves credit for creating what is, one of the most intriguing compilations of 2013. Compiling a compilation of music like Mutazione-Italian Electronic and New Wave Underground 1980-1988 is brave and bold. Documenting the end of one of the most turbulent periods in Italian politics wasn’t easy. It was made easier by the new generation of political activists who launched their own fanzines and bands. Twenty-six tracks released between 1980 and 1988 feature on Mutazione-Italian Electronic and New Wave Underground 1980-1988, a double-album which will be released on 5th August 2013..
This was music that epitomized the D-I-Y culture of punk. Spurred on by the punk generation, this was music made without large budgets or access to expensive recording studios. For an eight-year period, in Italy, musically, anything was possible. Full of energy, emotion, angst, anger and frustration, the next generation of Italy’s political activists created genre-sprawling music. Attached to a fanzine, this wasn’t meant to be music that stood the test of time. Most people thought this was music that would be listened to once, probably when the fanzine was read. After that, it would be thrown away. Luckily for Allessio Natalizi, that wasn’t the case. Otherwise there would be no Mutazione-Italian Electronic and New Wave Underground 1980-1988, which provides the musical soundtrack to one of the most turbulent times in Italy’s political history.
With everything from ambient, electro, electronic, experimental, free-jazz, funk, industrial, Italo Disco, new wave, post punk and rock, eclectic and genre-sprawling describes Mutazione-Italian Electronic and New Wave Underground 1980-1988. Truly, this is an ambitious, challenging, compelling and captivating album. It’s a musical journey where nothing is off-limits. Eclectic best describes Mutazione-Italian Electronic and New Wave Underground 1980-1988. Indeed, when you look in the dictionary for the definition of eclectic, it should read Mutazione-Italian Electronic and New Wave Underground 1980-1988. Standout Tracks: Giovanotti Mondani Meccanici Back And Forth, Carmody Carmody, Suicide Dada Waiting For September and Doris Norton Norton Apple Software.
MUTAZIONE-ITALIAN ELECTRONIC AND NEW WAVE UNDERGROUND 1980-1998-COMPILED BY WALLS.
GLORIA GAYNOR-PARK AVENUE SOUND.
GLORIA GAYNOR-PARK AVENUE SOUND.
When Gloria Gaynor released her 1975 debut album Never Can Say Goodbye, it turned out to be a landmark album. Indeed Never Can Say Goodbye is one of the most important albums in the history of disco. Produced by the Disco Corporation Of America, remixer Tom Moulton transformed Side One of Never Can Say Goodbye into a three-song suite. Never Can Say Goodbye, Honey Bee, Never Can Say Goodbye and Reach Out, I’ll Be There were transformed into a nineteen minute of suite. DJs loved the idea of being able to play this nineteen-minute suite of music. Music fans, who’d discovered disco in their droves, loved Never Can Say Goodbye. It reached number twenty-five in the US Billboard 200 and number twenty-one in the US R&B Charts. Given the commercial success of Never Can Say Goodbye, Gloria Gaynor was on her way to being crowned Queen of Disco. However, by 1978, when Gloria released Park Avenue Sound, which will be released by BBR Records on 29th July 2013, the Queen looked like losing her crown.
After the success of Never Can Say Goodbye, Gloria Gaynor set about recording her sophomore album. That would be 1975s Experience Gloria Gaynor. Produced by the Disco Corporation Of America, Tom Moulton worked his magic on Side One of Experience Gloria Gaynor. Casanova Brown, (If You Want It) Do It Yourself and How High The Moon became another disco suite. Nineteen minutes long, this second disco suite didn’t replicate the success of the one on Never Can Say Goodbye.
Neither did Experience Gloria Gaynor replicate the commercial success of Never Can Say Goodbye. Instead, it stalled at number sixty-four in the US Billboard 200 and number thirty-two in the US R&B Charts. After Experience Gloria Gaynor, Gloria would only work with the Disco Corporation Of America and Tom Moulton one more time.
I’ve Got You, Gloria’s third album, was released in 1976. This was Gloria’s last album that the Disco Corporation Of America produced. Similarly, I’ve Got You was Gloria’s last album to feature a Tom Moulton megamix. Featuring Let’s Make A Deal, I’ve Got You Under My Skin and Be Mine, it lasted nineteen minutes long. However, by then, suites of music that filled one side of an album were nothing new. Other producers were creating suites of songs. I’ve Got You was Gloria’s least successful album. It reached just number 107 in the US Billboard 200 and number forty in the US R&B Charts. After the commercial failure of I’ve Got You, Gloria decided to split with the Disco Corporation Of America. That wasn’t the end of Gloria’s problems.
Making matters worse, was that Gloria was having problems with her management. Eventually, the only solution was for Gloria to pay her manager off. Polydor her record company paid her soon to be, ex-manager off. They would deduct this from her future royalties. Then there was the small matter of the money her ex-manager had borrowed in her name. That too had to be paid-off from future earnings. What Gloria needed was a hit album. The men she thought that could play a part in rejuvenating her career and finances were Greg Diamond and Joe Beck
Having decided the time was right to work with other producers, Gloria hooked up with Greg Diamond and Joe Beck. Greg Diamond had established a reputation as a disco producer, while Joe Beck had made his name as a jazz musician. They set about reviving Gloria’s career on 1977s Glorious. This didn’t happen. Instead, Glorious reached a disappointing number 183 in the US Billboard 200. With Gloria’s career at the crossroads, Gloria decided the answer to her problems lay less than one-hundred miles from New York, in Philadelphia.
Philly was now the musical capital of America. Producers including Thom Bell and Gamble and Huff had been responsible for creating Philly Soul. Among the Philly’s most successful musical exports were The O’Jays, Billy Paul, The Spinners, The Delfonics, The Stylistics and Harold Melvin and The Blue Notes. Three musicians who played on albums by each of these artists approached Gloria Gaynor about producing her next album. Their names were Norman Harris, Ron Tyson and Allan Felder, who’d been part of M.F.S.B, Philadelphia International Records’ legendary house-band. After leaving Philadelphia International, they became part of The Salsoul Orchestra. However, Norman, Ron and Allan weren’t just musicians, they were songwriters, arrangers and producers. Even better, they’d bring with them, the best musicians and backing vocalists in America.
Norman, Ron and Allan were hired by Gloria to produce her next album. She realized that a Philly Soul makeover could rescue her career. So, TAN Productions, an acronym of Tyson, Allan, Norman would write, arrange, produce and play on what became Park Avenue Sound.
Of the seven songs on Park Avenue Sound. Norman Harris, Ron Tyson and Allan Felder cowrote four. They were Part Time Love (Is A Full Time Job), Everytime You Make Love To Me, For The First Time In My Life and Kidnapped. Gloria cowrote two tracks This Love Affair and After The Lovin’/Sweet Sounds For My Baby. The other track was a cover of Ashford and Simpson’s You’re All I Need To Get By. These seven tracks, which became Park Avenue Sound, were recorded at Joe Tarsia’s Sigma Sound Studios, in Philly.
Joining Gloria Gaynor for the recording of Park Avenue Sound, at Sigma Sound Studios, Philly were many members of The Salsoul Orchestra. This included a rhythm section of drummer Keith Benson, bassist James Williams and guitarists Norman Harris and Bobby “Electronic” Eli. Larry Washington and James Walker played congas, Bruce Grey piano and Ron “Have Mercy” Kersey played keyboards. Don Renaldo supplied the strings and horns, while The Sweethearts Of Sigma, Barbara Ingram, Carla Benson and Yvette Benton, add harmonies. Once Gloria Gaynor had recorded Park Avenue Sound, it was released in March 1978.
On the release of Park Avenue Sound in March 1978, it reached number twenty-four in the US Disco Charts. However, it failed to chart in the US Billboard 200 and US R&B Charts. Then when This Love Affair was released in April 1978, it failed to chart. This was hugely disappointing. Gloria’s Philly makeover had been the success it had hoped. While many other artists had headed to Philly hoping their career could be rejuvenated, Gloria was one of the few artists whose Philly makeover wasn’t a success. The men with the Midas touch, Norman Harris, Allan Felder and Ron Tyson seemed to have momentarily lost their Midas touch. However, thirty-five years after the release of Park Avenue Sound, is it an album that should’ve been a bigger commercial success.
Opening Park Avenue Sound is This Love Affair, produced by Connell Johnson Jr. and Al Stewart. The lushest of strings sweep and swirl, while The Sweethearts Of Sigma add sweet, tender harmonies and the rhythm section provide the pulsating heartbeat. A flourish of piano signals the entrance of Gloria’s vocal. It’s powerful and joyous. Accompanied by sweeping harmonies, pounding drums and rasping horns. Add to that, Norman Harris’ trademark jazz-tinged guitar and the result is a return to form from Gloria Gaynor, on slick, catchy, dance-floor friendly track.
Part Time Love (Is A Full Time Job) is the first of four tracks penned and produced by Norman Harris, Allan Felder and Ron Tyson. Straight away, here’s a tougher, edgier sound. Keyboards, pounding rhythm section and growling horns combine. Once they’ve grabbed your attention, strings dance and Gloria unleashes a feisty, but soulful vocal. Adding cooing harmonies are The Sweethearts Of Sigma. Soon, the song starts to swing. Horns blaze, drums pound, strings dance and Gloria struts her way through the lyrics. Later, Gloria delivers a tender vamp, accompanied by The Sweethearts Of Sigma, before the track heads to a dramatic ending, where soul and funk unites.
Norman Harris lays down one of his signature chiming guitars solo as Everytime You Make Love To Me. He’s accompanied by the rhythm section, punchy, braying horns and swathes of strings. Having set the scene, Gloria delivers a heartfelt, needy vocal. Soon, the drama grows. Enveloped by The Sweethearts Of Sigma’s harmonies, blazing horns, percussion, dancing string and thunderous drums. Spurred on, Gloria delivers one her most soulful vocal, mixing power, passion and emotion
For The First Time In My Life has an almost understated arrangement. Just pounding drums, keyboards, guitars and pizzicato strings combine. Strings sweep and swirl, as the arrangement reveals its secrets. Soon, Gloria unleashes a vocal that’s full of happiness and hope. Her vocal full of emotion, she sings: “For The First Time In My Life, he’s the man who makes me feel like a Queen.” As the arrangement marches along, to the beat of Keith Benson’s drum, The Sweethearts Of Sigma add heartfelt harmonies, strings dance and Gloria delivers a joyous vocal.
You’re All I Need To Get By is a cover of an Ashford and Simpson song. Bobby “Electronic” Eli’s searing guitar joins sweeping harmonies and pounding drums. The result is briefly reminiscent of Honey Bee, from Never Can Say Goodbye. Soon, Gloria is delivering a powerful, emotive and impassioned vocal. She delivers her vocal with a swagger, while the bass drives the arrangement along. Harmonies from The Sweethearts of Sigma sweep in. They’re the perfect foil for Gloria. Not only do they add an element of drama, but spur Gloria on to greater heights of drama and soulfulness as she finds her inner diva.
There’s a wistful sound to the Joel Diamond produced After The Lovin.’ Against an understated backdrop of weeping guitars, lush strings and slow, deliberate drums. Gloria’s vocal is tender and emotive. Equally tender harmonies accompany Gloria, her vocal growing in power and emotion. Having grown in drama, swathes of harmonies, layers of lush strings, Norman Harris’ chiming guitar and percussion combine with the rhythm section. They set the scene for Sweet Sounds For My Baby, where Gloria delivers a breathy, jazz-tinged vamp, Scatting, she demonstrates her versatility, with a vocal that’s needy, emotive and wistful.
Closing Park Avenue Sound is Kidnapped. This is the last of the four tracks penned and produced by Norman Harris, Allan Felder and Ron Tyson. It has their name written all over the arrangement. Propelled along by Jimmy Williams’ uber funky bass, drums pound, harmonies coo and horns blaze, as the arrangement explodes into life. You realize something special is unfolding. Then, a burst of drums signals the entrance of Gloria’s vocal. One minute it’s feisty, sassy and delivered with a swagger, the next, it’s tinged with regret and full of hurt. Cascading harmonies, braying horns, dancing strings and a funky rhythm section join forces with Gloria. They each play their part on what is an irresistible and hook-laden fusion of Philly Soul, funk and disco.
While Gloria Gaynor’s fifth album Park Avenue Sound was the least successful album of Gloria’s career, it’s an album that deserved to fare much better. A fusion of Philly Soul, funk and disco, it’s slick, soulful, funky and dance-floor friendly. Full of hooks, Norman Harris, Allan Felder and Ron Tyson certainly didn’t let Gloria down. The four songs they wrote were the highlight of Park Avenue Sound. Maybe if Norman, Allan and Ron had wrote and produced every song on the Park Avenue Sound, it would’ve been a much bigger success. Despite using three production teams, Park Avenue Sound is long on killer and short on filler. That’s why thirty-five years after its release, Park Avenue Sound has a timeless sound. That’s not the case with all of Gloria’s first four albums. Far from it.
Although many people thought Gloria’s decision to split with the Disco Corporation Of America was risky, it had to happen. If she didn’t make the break, then each album would have a similar sound. This was the case with her first three albums. With each album, the albums sold in smaller quantities. Replacing the Disco Corporation Of America was Greg Diamond, who had a trademark sound. While he’d enjoyed commercial success, Greg wasn’t the producer to revive Gloria’s career. So Gloria hired the triumvirate of Norman Harris, Allan Felder and Ron Tyson. Maybe the problem was, Gloria hired them a year too late.
By 1978, the anti-disco backlash was underway. While populist disco albums, including the soundtrack to Saturday Night Fever sold well, disco albums were no longer selling as well. What had started off as an underground musical scene, was soon being exploited. Artists were jumping on the disco bandwagon to revive flagging careers. Popular songs were given disco makeovers. Disco was fast becoming a parody of itself.
Neither was Philly Soul as successful. Philly Soul’s fall from grace coincided with members of M.F.S.B. leaving Philadelphia International Records. This was after a dispute over payment couldn’t be resolved. They headed to Salsoul Records and became The Salsoul Orchestra. Apart from The O’Jays and Harold Melvin and The Blue Notes, Philadelphia International Records was no longer as successful. Salsoul Records became disco’s premier label. However, by 1978, the times were a changing at Salsoul. Personnel had left the label, and the label and the music was changing. Disco was no longer as popular. This even affected the former Queen of Disco…Gloria Gaynor.
Park Avenue Sound which will be released by BBR Records on 29th July 2013, may not have been Gloria Gaynor’s most successful album, but from the opening bars of This Love Affair, to the closing notes of Kidnapped, is quality through and through. Unfortunately for Gloria Gaynor, she released one of her finest albums, Park Avenue Sound, when disco’s popularity was beginning to wane. Maybe if Gloria had hooked up with Norman Harris, Allan Felder and Ron Tyson a year earlier, her career would’ve been rejuvenated. Sadly, that wasn’t the case. Despite this, Gloria Gaynor’s fifth album, Park Avenue Sound is a timeless, hidden gem, one that’s soulful, funky, dance-floor friendly and full of hooks. Standout Tracks: Part Time Love (Is A Full Time Job), Everytime You Make Love To Me, For The First Time In My Life and Kidnapped.
GLORIA GAYNOR-PARK AVENUE SOUND.
FIRST CHOICE-HOLD YOUR HORSES.
FIRST CHOICE-HOLD YOUR HORSES.
By the time First Choice signed to Gold Mind Records in 1976, they’d already released three albums since forming in Philadelphia 1972. First Choice would go on to release three albums for Gold Mind Records, a subsidiary of Salsoul Records. Their first release was 1977s Delusions, which contained two tracks that would become synonymous with First Choice and become true disco classics. These tracks were Doctor Love and Let No Man Put Asunder. Doctor Love reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, giving First Choice their most successful single since 1973s Armed and Extremely Dangerous. Buoyed by the success of Delusions, First Choice readied themselves to record the followup to Delusions, Hold Your Horses which was recently released by BBR Records. However, First Choice’s lineup had changed. Debbie Martin, formerly of Brenda and The Tabulations had replaced Ursula Herring. That wasn’t the only change. Things were changing at Salsoul, Gold Mind’s parent company. New arrangers and producers joining the company. Would this mean a change in First Choice’s sound and fortunes when Hold Your Horses was released? Before I tell what happened, I’ll tell you about First Choice’s career
First Choice started their career as The Debronettes when they were just fifteen years old. The original lineup of lead singer Rochelle Fleming, Annette Guest and Joyce Jones breakthrough came when they auditioned for Georgie Woods a DJ at Philadelphia’s WDAS radio station. Georgie was so impressed he contacted Stan Watson, who owned Philly Groove Records. He liked The Debronettes so much, he signed them straight away. However, the only thing he didn’t like was their name, so The Debronettes became First Choice. Stan Watson then sent First Choice into the studio with the man who’d guide their career, writing and producing many of their greatest songs…Norman Harris.
Norman Harris was the guitarist in the legendary Baker, Harris, Young rhythm section, who in 1972, were part of Philadelphia International Records’ house-band M.F.S.B. Norman’s first session with First Choice saw them record This Is the House Where Love Died. Although the single wasn’t a commercial success upon its release on Philly Groove Records, it gave First Choice a minor hit when leased to the Sceptre/Wand Label. The next single First Choice released would give the group their first and biggest hit single.
Armed and Extremely Dangerous was First Choice’s second single, and reached number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. First Choice’s debut album was also called Armed and Extremely Dangerous. It reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. After the success of Armed and Extremely Dangerous, First Choice and producer Norman Harris would begin work on their second album.
The Player was First Choice’s second album and was released in 1974. On The Player was another First Choice classic, The Player (Part 1). It reached number seventy in the US Billboard 100 and reached number seven in the US R&B Charts. When The Player was released, it reached number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. The success of The Player lead to Stan Watson licensing First Choice’s next album to a new record label, Warner Bros.
First Choice’s third album, was 1976s So Let Us Entertain You. It failed to match the success of their two previous albums, reaching number 204 in the US Billboard 200 and number fifty-three in the US R&B Charts. It seemed First Choice were at a crossroads. So, after the release of So Let Us Entertain You, First Choice signed to Gold Mind Records, a subsidiary of Salsoul Records, where they were reunited by Norman Harris, the man who had guided their career since 1972.
Although Gold Mind Records was a subsidiary of Salsoul, it was run by Norman Harris, the man who’d written and produced so much of First Choice’s music. The Cayre’s who owned Salsoul, thought that if Norman Harris had his own label, he’d work even harder. Norman Harris’ production vehicle was The Harris Machine, which have him access to some of Philadelphia’s best songwriters, musicians, arrangers and producers. He’d used many of these songwriters, musicians, arrangers and producers on the various albums he’d worked on, including First Choice’s and their Gold Mine debut Delusions.
Delusions was released in 1977, and contained two tracks that would become synonymous with First Choice, becoming disco classics. These tracks were Doctor Love and Let No Man Put Asunder. Doctor Love reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, becoming heir most successful single since Armed and Extremely Dangerous. On the release of Delusions, it reached number 103 in the US Billboard 200. This meant Delusions was First Choice’s most successful album.
After the success of Delusions, many people expected that the same personnel would work with First Choice on Hold Your Horses. That wasn’t the case. Things were changing at Salsoul. Whereas Delusions saw Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Baker, Harris, Young producing tracks, it seemed Philly’s finest were being replaced by the new guard at Salsoul. This included Tom Moulton and Thor Baldursson, who’d produce four of the albums six tracks in Munich, Germany. Given how successful Delusions had been, the decision to change things around so much seems strange. After all, Norman Harris, a talented musician, songwriter and producer had guided First Choice’s career. Mind you, things had been changing at Salsoul, and so had music.
Vince Montana Jr. had left Salsoul after the release of Up The Yellow Brick Road in 1978. This meant The Salsoul Orchestra lost its founder and conductor. Not only that, but Vince was wrote and produced much of The Salsoul Orchestra’s music. He’d left Salsoul after a dispute with the Cayres over royalties, and signed to Atlantic Records. After that, The Salsoul Orchestra were never the same. Their music wasn’t quite as good. Something was missing. They seemed to lack a leader and creative force. To fill this void, remixers were brought onboard. Among them, were Tom Moulton, Larry Levan and Walter Gibbons.
By 1978, when Vince left Salsoul, disco was at the height of its popularity. So were remixes. It seemed the music industry were enthralled by the cult of the remixer. Tracks had to be remixed. They required the Midas touch. Labels and artists were falling over each other to hire a remixer to work their magic on their latest singles. Salsoul took this further. Remixers were remixing albums and working as producers.This was the case for First Choice’s fifth album Hold Your Horses. Tom Moulton was brought onboard. He cowrote two tracks and co-produced four tracks on Hold Your Horses. As for Norman Harris, he was sidelined, and only cowrote and produced one track on Hold Your Horses.
The six tracks that would feature on Hold Your Horses included Double Cross, written by Norman Harris and Ron Tyson, with Norman arranging and producing the track. Let Me Down Easy was written by Andrew Smith and David Jordan, while McKinley Jackson and Melvin Steals cowrote Love Thang. Great Expectations was written by British songwriter Peter Belotte. Hold Your Horses, the title-track, was co-written by Frank Ricotti, Kathleen Poppy, Les Hurdle and Peter Gosling. The two tracks were co-written by Thor Baldursson. These tracks would be recorded two studios, two continents apart.
With the new lineup of Rochelle Fleming, Annette Guest and Debbie Martin, work began on what became Hold Your Horses. Of the six tracks that comprise Hold Your Horses, Only Love Thang and Double Cross were completely recorded at Sigma Sound Studios in Philly. However, all the vocals and horns were recorded at Sigma Sound Studios. The rhythm and string sections of the other four tracks were recorded in Music Land Studios, Munich. Considering that the greatest rhythm section of the seventies, Baker, Harris, Young were based in Philly, this seemed an unnecessary journey. Given how good Baker, Harris, Young were, you’d expect something outstanding to be the result of Tom Moulton and Thor Baldursson’s journey. Would that be the case when Hold Your Horses was released in 1979.
On the release of Hold Your Horses in March 1979, the album didn’t fare as well as Delusions in the US Billboard 200. It only reached number 135 and number fifty-eight in the US R&B Charts. The title-track Hold Your Horses, was released in December 1978. It reached number seventy-three in the US R&B Charts and number five in the US Disco Charts. Double Cross, arranged and produced by Norman Harris was the second single released from Hold Your Horses. Released in April 1979, it reached number 104 in the US Billboard 100 and number sixty in the US R&B Charts. Love Thang, released in July 1979, stalled at number fifty-two in the US Disco Charts. Overall, Hold Your Horses’ commercial success must have left First Choice with mixed feelings. Granted it hadn’t fared as well in the US Billboard 200 as Delusions, but had reached number fifty-eight in the US R&B Charts. First Choice hadn’t built on the success of Delusion. Maybe the change in producers affected the music on Hold Your Horses? That’s what I’ll tell you, after I’ve told you about the music on Hold Your Horses.
Opening Hold Your Horses is Let Me Down Easy, the first of the Tom Moulton and Thor Baldursson productions, which Andrew Smith and David Jordan cowrote. By 1979, Tom Moulton had established his reputation as one of the best remixers of the seventies and had moved into production. Pounding drums are placed at the heart of the arrangement, as percussion and John Davis’ rasping saxophone solo combine before Rochelle Fleming’s vocal enters. It’s heartfelt and impassioned soaring above the arrangement, while Annette Guest and Debbie Martin add tight, dramatic harmonies. The arrangement flows along, before thunderous drums are unleashed, replacing the lush strings from the Munich Philharmonics. When they drop out, the piano, rhythm section and strings combine, as John Davis unleashes a blazing saxophone solo. When all this is combined with First Choice’s vocals, it’s an impressive opening track from that’s both soulful and dance-floor friendly.
There’s a real Flamenco sound to Good Morning Midnight, as the track begins to reveal its secrets. Percussion, bass and acoustic guitars combine, before a distant horn adds to the Spanish influence. When First Choice’s soulful vocals sweep in, the arrangement takes on a punchy sound. Bursts of rasping horn punctuate the arrangement, while sweeping, swirling strings are crucial to the track’s sound. They’re combined with the rhythm section as waves of tight harmonies are unleashed. By now elements of Euro Disco are combined with Philly Soul, funk and Flamenco, which works…just.
Straight away, there’s a Euro Disco influence on Great Expectations. Later in the track elements of disco and Philly Soul are fused by arranger and producer Thor Baldursson. Drummer Keith Forsey and bassist Les Hurdle provide the track’s pulsating, pounding heartbeat. They help create a dramatic, moody sound, but sometimes, Thor’s arrangement briefly, sounds crowded, before swathes of dancing strings, growling horns and a piano join the mix. When Rochelle’s vocal enters, it’s sassy and sensuous, while Annette and Debbie add cooing harmonies. Thor Baldursson’s arrangement unfolds in dramatic waves, with cascading strings and braying horns accompanying First Choice’s joyous harmonies. They’re key to the sound and success of this joyous, uplifting slice of disco.
The title-track Hold Your Horses is the last in the quartet of tracks partly recorded in Munich. With thunderous drums galloping along the arrangement, percussion and quivering strings join the mix, before the rest of the rhythm section enter. Then come First Choice, delivering some of their best vocals on the album. When Rochelle’s lead vocal enters, her vocal is sultry and powerful. Annette and Debbie add dramatic, soaring harmonies while the best arrangement of the first four tracks unfolds. Apart from a piano panned hard left, the mix is well balanced. Tom Moulton mixed and arranged the track, and his combination of a pounding rhythm section, quivering strings and blazing horns results in a track that has a timeless sound. Mind you, with First Choice at their very best, he couldn’t go wrong.
Love Thang sees some of Philly’s finest musicians accompany First Choice, with McKinley Jackson arranging and producing the track. The rhythm section features guitarist Norman Baker, drummer Keith Benson and bassist Jimmy Williams. Add in guitarists T.J. Tindall and Bobby “Electronic” Eli and Don Renaldo’s strings and you can’t go wrong. From the opening bars, you realise that something special is about to unfold. With a pounding, punchy rhythm section, shimmering strings and percussion combining First Choice add sweet and sassy vocals. With handclaps accompanying them, the track swings along, with Rochelle strutting her way through the track. Horns rasp, strings sweep and swirl, while the rhythm section produce the track’s funky heartbeat. Together they play their part in what is one of the real highlights of the album. It’s an eight minute Magnus Opus that’s got made in Philadelphia stamped right through it.
Closing Hold Your Horses is Double Cross, written by Ron Tyson and Norman Harris, who arranged and produced the track. The same band that featured on Love Thang play their part on what’s the highlight of Hold Your Horses. A funky rhythm section with Jimmy Williams’ bass anchoring the track, combines with lush cascading strings and guitars before Rochelle steps forward to produce her best vocal on the album. Her vocal is heartfelt, dramatic and fiery, full of frustration and regret. Annette and Ursula to their bit, adding tight, soaring harmonies that compliment Rochelle’s vocal. Meanwhile, a classic Norman Harris arrangement unfolds. He uses Don Renaldo’s grand, quivering strings, growling horns and the funky rhythm section to reflect the drama, passion and emotion in Rochelle’s vocal. This is a masterstroke, working brilliantly and resulting in the best track on Hold Your Horses. It’s the perfect way to close Hold Your Horses, and was the perfect reminder to the Cayre’s of Norman Harris’ considerable talents.
Much had changed since First Choice signed to Gold Mind Records, including First Choice’s lineup. As a result, it was a very different lineup of arrangers, producers, musicians and songwriters who collaborated with First Choice on Hold Your Horses. Whereas Norman Harris had guided First Choice since their debut album Armed and Extremely Dangerous, things had changed since Delusions, First Choice’s Gold Mind Records’ debut album. Delusions had been and remained First Choice’s most successful album and saw Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Baker, Harris, Young producing tracks. By the time First Choice came to record their second album for Gold Mind Records, it seemed Philly’s finest were being replaced by the new guard at Salsoul. In came Tom Moulton and Thor Baldursson, who produced four of tracks on Hold Your Horses.
A change in producer meant a change in sound. Tom Moulton and Thor Baldursson chose to record parts of these four tracks in Music Land Studios in Munich, where Giorgio Moroder recorded his albums with Donna Summer and The Three Degrees. This lead to a Euro Disco influence on these tracks. Although the quality of music doesn’t suffer, the music is different from that on Delusions. Of the four tracks recorded in Munich, Hold Your Horses, mixed and produced by Tom Moulton is easily the best track.That’s why it was chosen as one of the singles released from Hold Your Horses. Of the other three tracks, Great Expectations’ is dramatic and unfolds in waves, but sometimes, sounds slightly crowded. Having said that, the track is the highlight of side one, while Good Morning Midnight, with its Flamenco influence is a track that’s production works..just.
Ironically, the two best tracks on Hold Your Horses are the two recorded in Philadelphia by Philadelphia musicians. Love Thang with that glorious bass line from Jimmy Williams and Double Cross arranged and produced by Norman Harris have since become First Choice favorites. Since the release of Hold Your Horses, they’ve also become favorites of remixers and compilation compilers. Double Cross’ sound has most in common with the music on Delusions, which to me, was First Choice’s best release for Gold Mind Records. I just wonder whether the same personnel that wrote, arranged, produced and played on Delusions had worked on Hold Your Horses, what the album would’ve sounded like? Would First Choice have built on the success of Delusions and become an even bigger commercial success than they were. Much as I’ve always liked Hold Your Horses, with many of the tracks having a timeless sound, Delusions, produced by some of Philly finest, will forever remain my favorite First Choice album from their time of Gold Mind. That’s why for anyone looking to discover the magical music of First Choice, I’d recommend that they start with Delusions and then Hold Your Horses which was recently released by BBR Records. These two albums will allow you to hear First Choice, Salsoul’s greatest ever female group at their very best. Standout Tracks: Let Me Down Easy, Hold Your Horses, Love Thang and Double Cross.
FIRST CHOICE-HOLD YOUR HORSES.
END OF NEIL-MY GAMES.
END OF NEIL-MY GAMES.
Ever since the late-seventies, Scotland has produced some of the most critically acclaimed and commercially successful bands in British music. Scottish bands have lead the way. Other bands have followed in their path. It’s no exaggeration to say Scottish bands have been trailblazers, producing music that’s innovative and ahead of the musical curve. This stared with Postcard Records, who introduced the world to the Sound of Young Scotland and groups like Aztec Camera, Orange Juice, Josef K and The Go-Betweens to the world. Little did we realise that that was just the start of an outpouring of creativity.
Scottish bands were about to provide the soundtrack to much of the eighties and nineties. Next up were the Associates, Blue Nile, Lloyd Cole and The Commotions, Hipsway, The Big Dish and Deacon Blue. That’s not forgetting Belle and Sebastien, The Bathers, Primal Scream, Franz Ferdinand, Edwyn Collins, Texas and Joe McAlinden. Never mind Manchester, Liverpool or London, Scotland were the Kings of indie rock and where every A&R rep headed in search of the latest indie rock sensation. That’s still the case.
Just now, the Scottish music industry is the strongest it’s been for many a long year. This was apparent when the long-list for the SAYA was announced. Scottish artists are producing indie rock, folk, pop, R&B and hip hop. There’s no let up in the outpouring of creativity that began over thirty-five years ago. Indeed, you only need look at some of Scotland’s best unsigned bands. Shooting Stansfield, The Hold Ghosts and End Of Neil.
End Of Neil is a hugely talented singer-songwriter I discovered recently. When I first heard End Of Neil’s music, I got in touch with Neil Stewart, the man behind End Of Neil, and asked him to tell me about his career so far. Unlike other artists, Neil provided a short, ego-free CV. Straight away, I liked Neil Stewart. Here, was a really talented, singer-songwriter, who despite his obvious talent, remained humble. He helps other bands, is supportive of his local music scene and is “part a strong community of songwriters.” Neil Stewart, I realized is an anomaly in modern music, an ego-free musician.
Based in Stirling, Scotland, End Of Neil is the alter-ego of Neil Stewart. End Of Neil was founded in 2008, and since then, has been honing their unique sound. Best described as a combination of acoustic and folk, it’s won over audiences throughout Scotland, and more recently, much further afield.
Most of End Of Neil’s music is written by Neil Stewart. He’s just the latest in a new generation of Scottish singer-songwriters. Neil’s been influenced by John Martin, Nick Drake, Bob Dylan, Jeff Buckley and Neil Young. It’s not just folk music that influences End Of Neil. Not at all. Neil says anyone “with a guitar and sense of feeling” influences him. Interestingly, this includes Nirvana. These influences are reflected in End Of Neil’s music, which has been honed through constantly touring.
After founding End Of Neil, Neil played mostly Glasgow, Stirling and Edinburgh. His idea was, to refine his music through playing live. This is the old-fashioned way. Through playing live, an artist refines his sound and songs. Short cuts aren’t for End Of Neil. He’s too talented to resort to TV talent shows. After all, Neil can write his own songs and play an instrument. Having played mostly in Glasgow, Stirling and Edinburgh, End Of Neil started playing further afield and opening for some big names.
No longer was End Of Neil playing much further afield. Audiences at concerts and festivals were won over by End Of Neil. So too, were The Vaselines, Ken Stringfellow and Rachel Sermanni, who End Of Neil supported. This summer, End Of Neil will be supporting Simon Townsend, the brother of Who guitarist, Pete Townsend. Whilst constantly touring, End Of Neil has released two E.P.s.
It was back in September 2012, that End Of Neil’s recording career began. Escape At The Zoo and 62 were the debut tracks from an undoubtably talented artist. Best described as joyous and celebrating being young and free, Escape At The Zoo features intelligent lyrics, thought provoking lyrics, about whether human instinct can be repressed by work, social pressures and norms. 62 is an atmospheric song, one that paints pictures in your mind, while Neil’s voice is needy and emotive. Just a month after End Of Neil’s debut, came their first album.
September was released by End Of Neil in October 2012. This was End Of Neil’s debut E.P. It certainly didn’t disappoint. Both Escape At The Zoo and 62 featured on September. The other three tracks were of a similar quality. End Of Neil brought Forget The Afternoon, Save My Soul and Knights In Armour to life. Neil’s lyrics are a cut above what we’ve come to expect from modern singer-songwriters. Just like the seventies singer-songwriters who’ve influenced End Of Neil, Neil delivers his songs with passion and emotion. He’s like a master storyteller, his songs painting pictures, asking question, probing and provoking your emotions. For a debut E.P. September was the perfect way to begin End Of Neil’s recording career. Just seven months later, came the followup, My Games.
Released in April 2013, My Games was End Of Neil’s sophomore E.P. It featured six new tracks from End Of Neil. It built on September, which had been the starting point for his recording career. The songs are even better, tighter and slicker. This is the case from the opening track, Fangs.
Opening My Games was Fangs. Just acoustic guitars create a wistful backdrop for Neil’s vocal. When his vocal enters, Neil sings about a girl who claimed to have been bitten by a vampire. She was fooling no-one, it was a love-bite. Now: “she got her Fangs into me” Neil sings. “Now he feels nothing.” Filled with hurt, he sing about how he feels nothing when he plays. Accompanying him, are Beach Boys’ style harmonies, as Neil delivers a rueful vocal full of regret.
Accompanied by acoustic guitars and percussion, Neil’s vocal on I Miss You is full of hurt and heartbreak. Harmonies sweep in. They reflect the loneliness and sadness he feel, as he doubt he’ll “see you again.” Beautiful, heartfelt and soulful, musical genres seamlessly become one on I Miss You.
Just percussion, acoustic guitar and drums set the scene for Mauchline Belles. Soon, Neil begins to paint pictures with his poetic lyrics. Listening to the lyrics, I wonder if Neil was influenced by Robert Burns, given their poetic quality and subject matter. It’s a song about obsession and infatuation. A clue is the lyric: “I followed her and fancied her, haunted by the songs she sang” He dreams of marrying her and can picture the scene. Meanwhile, handclaps, harmonies and guitar accompany Neil on this hook-laden fusion of folk and Americana.
Mighty Song has country sound, when guitars, handclaps and percussion. A dramatic burst of acoustic guitar is Neil’s signal to deliver an emotive, impassioned vocal. Cooing, sweeping harmonies accompany him, while guitars add to the drama and drive the arrangement along. When Neil’s vocal drops out his band take centre-stage. They kick-loose, drums pounding and guitars searing, as they demonstrate a rockier sound. Then Neil delivers the rest of the lyrics to this Mighty Song, with a combination of power and passion.
Neil’s vocal is emotive and heartfelt as Nectar unfolds. Accompanied by the rhythm section, percussion and harmonica, folk, Americana and country combines. Powerful and filed with frustration, Neil sings of the forbidden fruit, which will remain out reach for the character in the song.
Closing My Games is The Ocean Is My Guide, a song that’s the equivalent to Luke Rhinehart’s novel The Dice Man. It’s definitely a case of saving the best till last. Just acoustic guitars and drums section drive the dramatic arrangement along. Having set the scene, Neil delivers the unforgettable line, “I hope you had a nice weekend, it’s about to end, I’m about to leave you.” His delivery is matter of fact. There’s no explanation, just The Ocean Is My Guide and that Neil a free spirit, intends to sail away.
Although My Games is only End Of Neil’s second E.P, you wouldn’t know that. He’s a hugely talented singer-songwriter, one with no rough edges. They’ve long been smoothed away. So, the five years spent constantly touring has paid off for End Of Neil. During that time, End Of Neil’s sound and songs have been honed. Indeed, it was four years before End Of Neil released their debut E.P. That was a good idea.
Too often, bands are in a hurry to release their debut album. They release it before they’re ready. This can cost them in the long run. After all, an inferior debut album is like a noose round a band’s neck. It’s the elephant in the room. Realizing this, End Of Neil waited until he’d honed his sound and songs. Four years after their first gig, End Of Neil released September. It was well received. Critics realised what End Of Neil’s ever-growing fan-base knew, that End Of Neil has a big future ahead of them.
Then when My Games was released, it surpassed September. My Games features six songs where folk, acoustic, Americana, country and indie rock combine. Everything from John Martyn, Jackson Browne, Nick Drake, James Taylor and Neil Young. To that I’d add Scottish singer-songwriters like Rick Redbeard, Karine Polwart, Karine Polwart and Astrid. Then there’s the Beach Boys harmonies. They too, are a favorite of many a Scottish band, including Teenage Fanclub, Trashcan Sinatras and the BMX Bandits. Mostly, End Of Neil is following in the tradition of seventies singer-songwriters. He’s a troubled troubadour with stories to tell. These stories are compelling and enthralling. You’re introduced to a diverse cast of characters. Many of them are complicated. Some of them are troubled. All of them are intriguing. In many ways, that makes it a very Scottish album. After all, we Scots are complicated, troubled and intriguing. We certainly have stories to tell. End Of Neil certainly has many more stories to tell. Indeed, End Of Neil is currently recording his debut album. While we await the next chapter of End Of Neil’s story to unfold, we can enjoy My Games, six songs from the pen of Stirling’s troubled troubadour Neil Stewart. Standout Tracks: Fangs, Mauchline Belles, Mighty Song and The Ocean Is My Guide.
END OF NEIL-MY GAMES.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
Regular readers of this blog will have realized that two of my favorite labels are Philadelphia International Records and Salsoul Records. To me, both labels represent everything that’s good about music. This is real music, music played my real musicians, music that’s soulful and timeless. There isn’t a sampler, sequencer or drum machine in sight. Philadelphia International and Salsoul featured some of most talented, innovative and creative musical minds. A common thread that runs through both labels’ success, and that’s musicians who played on releases by Philadelphia International and Salsoul. Without these musicians, neither label would’ve been as successful.
At Philadelphia International, the musicians that featured on albums by Billy Paul, The O’Jays, Harold Melvin and The Blue Notes and The Three Degrees were M.F.S.B. From the label’s first release, Billy Paul’s 360 Degrees of Billy Paul, M.F.S.B. were key to Gamble and Huff’s sound and success. Then when members of M.F.S.B. and Gamble and Huff were locked in a dispute about finances, M.F.S.B. headed to New York and became The Salsoul Orchestra. This meant musical geniuses like the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, and Don Renaldo’s Swinging Strings and Horns left Philadelphia International. These weren’t just musicians though, they were songwriters, arrangers, producers and people who could spot real talent, talent that would end up on Salsoul. Having signed to Salsoul in 1975, The Salsoul Orchestra released The Salsoul Orchestra in 1975. A year later, came Nice ‘N’ Nasty, which was recently released by BBR Records. Before I tell you about the music on Nice ‘N’ Nasty, I’ll tell you about the background to the album.
Nice ‘N’ Nasty was the first of two albums The Salsoul Orchestra would release within two months of 1976. After releasing Nice ‘N’ Nasty in October 1976, Christmas Jollies was released in November 1976. So, 1976 was a busy year for The Salsoul Orchestra. For their second album, ten songs were written, with Vince Montana Jr. writing five tracks, co-writing Standing and Waiting On Love with Floyd Smith and adapted Salsoul 3001. Ron Baker of the Baker, Harris, Young rhythm section, wrote the other new song, It Don’t Have To Be Funky (To Have A Groove). Along with a suite of two standards We’ve Only Just Begun and Feelings, which The Salsoul Orchestra would transform, the material was in place for Nice ‘N’ Nasty. Now the classic lineup of The Salsoul Orchestra would head to Philly’s legendary Sigma Sound Studios to record Nice ‘N’ Nasty.
This classic lineup of The Salsoul Orchestra featured some of the greatest musicians of the seventies. All the greats played on the album. The Baker, Harris, Young rhythm section were joined by guitarists Bobby “electronic” Eli and T.J. Tindall. Ron “Have Mercy” Kersey and Carlton “Cotton” Kent played keyboards, while Vince Montana Jr, played tympany, percussion and vibes. Larry Washington and Carlos Martib added percussion and Jack Faith played flute and piccolo. Violinist Don Renaldo was part of the string section and horn section that was key to the Salsoul sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, along with Ronnie Tyson, Phil Hurtt and Carl Helms. With Vince Montana Jr. producing the hugely talented Salsoul Orchestra, Nice ‘N’ Nasty would be released in October 1976. Surely, Nice ‘N’ Nasty would be a huge hit?
On the release of Nice ‘N’ Nasty in September 1976, it reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. The title-track Nice ‘N’ Nasty was the lead single. Released in October 1976, it reached number thirty in the US Billboard 100, number twenty in the US R&B Charts, number eight in the Disco Charts and number three in the Dance Music-Club Play Charts. Ritzy Mambo was then released as a single in January 1977. It reached number ninety-nine in the US Billboard 100. Nice ‘N’ Nasty had been a huge success. Given how good the music on Nice ‘N’ Nasty which I’ll tell you about, is that’s no surprise.
Opening The Salsoul Orchestra’s second album Nice ‘N’ Nasty is It’s Good For the Soul. From the get-go, a pounding rhythm section, chiming guitars, lush shimmering strings and cascading woodwind combine. The track floats along, while the Baker, Harris, Young rhythm section produce a pounding heartbeat. Guitars and sweeping, swirling strings give way to punchy, sassy vocals and growling horns. Bursts of frenzied percussion, are just the latest curveball thrown by producer Vince Montana J,. Later, Norman Harris lays down a peerless, jazz-tinged guitar solo, as swathes of lush strings float elegantly above him. It’s the perfect way to start Nice ‘N’ Nasty, with The Salsoul Orchestras demonstrating their considerable talents, proving that while this track, It’s Good For the Soul, it’s perfect for any dance-floor, even thirty-six years later.
Nice ‘N’ Nasty was written, arranged, conducted and produced by Vince Montana. Pounding drums and hissing hi-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Bassist Ron Baker, of the Baker, Harris, Young rhythm section wrote It Don’t Have To Be Funky (To Be A Groove). A driving rhythm section, guitars, swathes of swirling, sweeping strings and the soulful sound of The Sweethearts of Sigma open the track. As strings dance, blazing horns accompany them. Earl Young’s drums pound, while Norman Baker guitar chimes and The Sweethearts of Sigma add soulful, dramatic harmonies. You realise you’re hearing some of the greatest musicians at the top of their game, fusing soul, funk and disco seamlessly and peerlessly, and creating one of the Salsoul Orchestra’s greatest ever uptempo tracks.
Congas, woodwind, percussion and grand strings open Nightcrawler, one of the slower tracks on Nice ‘N’ Nasty. There’s a very different sound to the track, but still the glorious rhythms are present. Keyboards, vibes and percussion combine while strings sweep and woodwind cascade. By now there’s an almost grandiose sound, with The Salsoul Orchestra exploring elements of classical and Latin music, adding it to their usual fusion of styles. Other members of the group get a chance to shine, especially the woodwind section, including flautist and piccolo player Jack Faith. Along with percussionists Larry Washington, Carlos Martib and Vince Montana Jr, The Salsoul Orchestra embark on a compelling musical journey, where you hear another side to their music.
Earl Young’s pounding drums open Don’t Beat Around The Busch, providing the track’s funky heartbeat. Guitars, cascading strings and The Sweethearts of Sigma’s urgent, sassy backing vocals are augmented by a glorious combination of percussion, keyboards, sizzling guitars. Sensuous, punchy chants, Earl’s mesmerizing drumbeats and an infectiously catchy guitar solo have you spellbound. Add to this bursts of horns and dramatic, cascading strings and a myriad of percussion, and you’re spellbound, caught in a storm of dramatic, mesmeric, rhythmic music. You can’t help but be impressed by the combined talents of The Salsoul Orchestra and Vince Montana Jr.’s genius at bringing everything together.
On Standing And Waiting On Love, bursts of rasping horns, rhythm section and wah-wah guitars are joined by swathes of swirling strings, as a glorious uptempo track takes shape. Keyboards, percussion and cooing backing harmonies enter, as The Sweethearts of Sigma give one of their best, most soulful performances. Meanwhile, The Salsoul Orchestra fuse soul , funk and a disco beat. Adding to the finishing touch is Vince Montana Jr.’s vibes which, along with the dancing strings and Norman Harris’ guitar playing, play their part in this uplifting, joyous slice of sunshine.
Salsoul 3001 is an adaptation of Richard Strauss’ interpretation of Friedrich Nietzsche’s Thus Spoke Zarathustra. It’s a book I’ve read, and for anyone who suffers from chronic insomnia, is a perfect cure. There’s a dramatic space-age opening to the track. In the distance, percussion plays, building up the drama. Then the sound of 2001 A Space Odyssey can be heard, but with a twist. Booming, dramatic drums, frantic percussion, growling horns and grand strings combine, as The Salsoul Orchestra take you on A Space Odyssey, one that’s funky and soulful. Lush strings, keyboards, punchy blazing horns and the Baker, Harris, Young rhythm section combine with percussion, taking you on an enthralling, dramatic journey aboard Salsoul 3001.
Not every band could take two standards like We’ve Only Just Begun and Feelings, crossing lounge music, with soul, funk and Latin music and create something as beautiful as this. However, not every band is as talented as The Salsoul Orchestra. The tempo’s slow, with the rhythm section, percussion and keyboards providing an understated backdrop for The Sweethearts of Sigma tender backing vocals. Lush strings accompany them, as Vince Montana Jr.’s vibes and percussion plays an important role in the track. Rasping horns join Vince as Feelings unfolds. His vibes, percussion, lush strings and The Sweethearts of Sigma are at the heart of the track. By now, The Salsoul Orchestra are transformed into a lounge band, but the greatest lounge band you’ll ever hear, capable of making some really beautiful music.
The final track on Nice ‘N’ Nasty is Ritzy Mambo. After this, there’s only the thirteen-second tongue in cheek Jack and Jill. As the Latin delights of Ritzy Mambo unfolds, you realize how truly versatile The Salsoul Orchestra. They’re able to seamlessly shift styles at will. Percussion, keyboards and the rhythm section open the track, before sweeping strings enter. They signal the arrival of The Sweethearts of Sigma joyous, sometimes sassy backing vocals. Rasping horns join the percussion and strings as Ron Baker’s pounding bass anchors the track. Vince Montana Jr. unleashes another scintillating vibes solo, that adds to the Latin sound of this joyous, hook-laden track. It’s a glorious way to close Nice ‘N’ Nasty, one that leaves you with a mile on your face.
Every time I listen to one of The Salsoul Orchestra’s albums, including Nice ‘N’ Nasty, I’m always struck by the combined creative talents of everyone involved. Not only were The Salsoul Orchestra a hugely talented group of musicians, but also songwriter, arrangers and producers. At Salsoul Records, these talents were unleashed, while at Philadelphia International Records, the talents of Baker, Harris, Young and Vince Montana Jr. were underused. They were part of M.F.S.B., but not as actively involved in songwriting and arranging, production as they were at Salsoul. All this talent was on Gamble and Huff’s doorstep, but they neither used nor embraced it. That seems strange, that they never involved such hugely creative and talented people. Maybe, the dispute over payments that caused M.F.S.B. to leave Philadelphia International Records was something of a blessing in disguise.
After many members of M.F.S.B.left Philadelphia International Records, their creativity was unleashed, playing a vital part in Salsoul’s sound and success. This creativity and talent can be heard on Nice ‘N’ Nasty, where the Baker, Harris, Young provide the track’s heartbeat, while producer Vince Montana Jr. brought together the combined talents of musicians that included guitarist Bobby “Electronic” Eli, keyboard player Ron “Have Mercy” Kersey, percussionist Larry Washington, flautist Jack Faith and violinist Don Renaldo. Adding the final finishing touch were the legendary backing vocalists the Sweethearts of Sigma. Each of these musicians and backing singers played their part in making Nice ‘N’ Nasty such a compelling, uplifting, joyous and timeless classic. Even thirty-six years later, listening to Nice ‘N’ Nasty well, It’s Good For the Soul and is the perfect introduction to a majestic journey through the back-catalogue of The Salsoul Orchestra that We’ve Only Just Begun. Standout Tracks: It’s Good For the Soul, Nice ‘N’ Nasty, Standing And Waiting and We’ve Only Just Begun.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
KON-ON MY WAY.
KON-ON MY WAY.
For self-confessed crate-digger Kon, his raison d’etre is the pursuit of music with the perfect beat or break. He’ll leave no stone unearthed in his search for vinyl. He’s searched dusty basements, backstreet record shops, flea markets, charity shops and nowadays, online auctions looking for vinyl. They’re among his favorite haunts in his pursuit of that elusive slab of vinyl. The one that contains the perfect break and beat. Even better, it might be the perfect song, the one that changes your life and makes you wonder how you lived without it. While this describes Kon, it could just as easy describe any crate-diggers.
To crate-diggers, searching for music crate-digging is like an addiction. Regardless of how much music you have, you always want more. There’s always room for another shelf or crate of vinyl. The crate-digger’s need and desire for music can never dampened or sated. It’s always been there. It starts when they’re a child. All their pocket money is spent on music. Later, grants and wages feed the growing music habit. The more money you have, the more music you buy. After all, there’s so much to discover. Kon whose new album On My Way was released by BBE Music, on 22nd July 2013, discovered this at an early age.
Kon’s lifelong love of music started when he was just four. This life-changing event happened when he first heard Electric Light Orchestra’s 1974 album Eldorado. The drama and theatre of Eldorado, with its cinematic strings, well crafted songs and poppy hooks had Kon hooked. After this, Kon went in search of more music. Helping fuel this interest in music was his was his father. He was a drummer. Soon, Kon was looking for the perfect break. As for music, it was a case of the funkier the better. Two of his favorite compilation series were the Off Track and On Track series. They’d also influence his future career.
Given Kon’s love of music, it’s no surprise that he would eventually make a career out of music. Starting off as a DJ back in the eighties, Kon started honing his own unique DJ-ing style. The next step for Kon, was making his own edits, which he played during his DJ sets. His edits were his secret weapons, guaranteed to liven up any dance-floor. Making edits however, was just a step towards the next part of Kon’s career, when he start working as a remixer.
Making his own edits was good preparation for when Kon started remixing tracks. It was as if everything had been leading towards this. This had included a lifetime listening to, and understanding music. Then, there was all the time Kon spent studying John Morales and Walter Gibbons remixes. Having learnt from two of the top remixers, Kon was well prepared to start his remixing career. His style of remixing involved stripping the track back to just the rhythm section. After allowing them their moment in the spotlight, he started rebuilding the track. Quickly, Kon’s reputation as a remixer grew. However, much as he enjoyed creating edits and remixes, he wanted to create his own music. This was the next chapter in Kon’s career, what everything had been leading to.
Having made the decision to produce his own music, Kon hooked up with some of his musical friends, old and new. Among them, were keyboardist Yuki Kanesaka, plus vocalists Amy Douglas, Ben Westbeech, Induce and George Levin. They’d play their part in Kon’s debut album, On My Way.
Opening Kon’s debut album On My Way is All Night (Everybody). There’s a reassuring old school sound to the track. That comes courtesy of a sound that’s reminiscent of old, crackling vinyl. Meanwhile, pounding drums provide the heartbeat. Along with stabs of synths, they set the scene for Amy Douglas’ vocal. It’s a fusion of power, sass and confidence. She swaggers across the arrangement, squelchy synths, keyboards and drums providing a backdrop, as soul, funk and disco combines, while Amy discovers her inner diva.
Washes of synths open She Was A Queen. Soon, handclaps, percussion and a whispery vocal combine as the track reveals its secrets and subtleties. Again, it’s a dance-floor friendly track. Elements of funk, soul, house and disco combine, creating a hypnotic, sensual and moody track that’s guaranteed to fill any dance-floor.
Enigmatic. That describes Day Dream, a short, wistful track. Lasting less than a minute, it’s slower, with a melancholy, cinematic sound that’s very different from the previous tracks. It’s a tantalizing taster not just of Kon’s versatility, but what he’s capable of musically.
The tempo drops on Don’t Cha Wanna. Drums pound, hands clap and a funky bass-line joins mellow keyboards. Kon teases the listener. He’s not wanting to show his hand too soon. When he does, it’s the musical equivalent of a royal flush. George Levin delivers a vocal that’s heartfelt and filled with hurt. It’s also deeply soulful, especially with the harmonies accompanying him. As for the arrangement, it’s funky, jazz-tinged and dance-floor friendly.
Swathes of grand, cinematic strings open Awe Baby, before thunderous drums drive the arrangement along. They provide the pulsating heartbeat, while percussion and keyboards combine with the strings. Having settled into a groove, it’s then explored and exploited. Bold, dramatic and dance-floor friendly, the track heads in the direction of house, then funk, thanks to the funkiest of bass-lines and keyboards. Dramatic, mesmeric and blessed with a real summery vibe, it’s a timeless track.
Just over a minute long, 808 State is best described as a slow, moody but melodic musical Amuse Bouche. This shows another side to Kon’s music, one that he should consider exploring.
You Don’t Know (I’ve Been Looking For You) is the polar opposite of the previous track. Exploding into life, it’s propelled along by pounding drums and an uber funky bass. Soon, synths signal the arrival of Ben Westbeech’s vocal. Soulful and needy, harmonies accompany him as soul, funk and house combine with disco. It’s a real fusion of musical genres and influences, one that’s infectiously catchy and full of poppy hooks.
Joyously, Love Shine bursts into life. Heartfelt, soaring harmonies combine with the rhythm section before Induce’s vocal enters. It’s impassioned and pleading, with harmonies and bubbling synths accompanying him. Later, Kon strips the arrangement back to just the rhythm section, as Induce delivers a vampish vocal. Then, he sets about rebuilding the track where, everything from soul, funk, soulful house, US garage and gospel house have influenced this uplifting, joyous fusion of musical influences.
Yeah, Yeah is the last of the short tracks on On My Way. Soulful, dramatic and impassioned, keyboards, horns and bursts of vampish vocal combine to create a compelling track.
Straight away, there’s a New Order influence to Blow Me…A Kiss. It’s the drums the lead to this comparison. They’re joined by washes of synths and percussion. Stabs of synths join the drums at the heart of the dance-floor friendly arrangement. Then Amy Douglas makes her second appearance on On My Way. She picks up where she left off on All Night (Everybody). Strutting across the arrangement, her vocal’s sassy, soulful and sensual. When her vocal drops out, filters are used to add to the drama. Toying and teasing the listener, one of the highlights of On My Way heads towards its dramatic ending.
Closing On My Way is the title-track On My Way. Thunderous drums grab your attention, before melodic keyboards and squelchy synths enter. From there, a compelling dance track unfolds. It also a track full of surprises. One of them is a vocoder, the chosen weapon of purveyors of populist dance music like Daft Punk. Thankfully, here it’s neither overused nor abused. Instead, it adds to, rather detracts from a melodic track where deep house, disco and pop are combined with hooks aplenty.
For a debut album, Kon’s On My Way, which was released on BBE Music on 22nd July 2013, is a slick, polished and accomplished album. It’s an eleven-track musical journey, which reflects Kon’s musical tastes. Disco, funk and soul are three of the four major musical genres that influenced Kon. The other is house music. Listen carefully, and you’ll hear deep, funky, gospel and soulful house on On My Way. These influences play their part in an album that’s dance-floor friendly, and full of poppy hooks. On My Way is also an album influenced by Kon’s musical past.
Everything in Kon’s musical career has been leading up to On My Way. Whether it’s Kon’s experience as a DJ, then editing and remixing tracks, it has been put to good use. This taught him what type of music fills a dance-floor. Knowing that, put him one step ahead of other producers. He wasn’t going to make the musical mistakes they did. No. Instead, he was going to create music that was soulful, funky and guaranteed to fill any dance-floor. With its uplifting, summery sound, On My Way is guaranteed to do that. However, there’s more to On My Way than just dance music.
By that, I mean the three musical sketches. There’s the enigmatic Day Dream, the slow, moody but melodic 808 State and the soulful, dramatic and vampish Yeah, Yeah. Less than four minutes long, these tracks have a cinematic quality. They’re reminiscent of Nightmares On Wax’s two ambient Magnus Opus’ Smoker’s Delight and Car Book Soul. What this trio of tracks also demonstrate, is that Kon, as a producer, is versatile and is no one trick pony. Quite the opposite.
Considering how versatile Kon is as a producer, it’ll be interesting to see what direction is career heads. Given his background as a DJ, then editing and remixing tracks, the smart money would be on Kon continuing to create albums that are dance-floor friendly. This would mean more music like that On On My Way. That’s no bad thing. Far from it. After all, Kon’s debut album On My Way soulful, funky, dance-floor friendly and full of poppy hooks. What better way is there to start Kon’s career as a producer? Kon can safely say that I’m On My Way. Standout Tracks: Day Dream, Don’t Cha Wanna, Awe Baby and You Don’t Know (I’ve Been Looking For You).
KON-ON MY WAY.
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