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.
BANG-MIXED AND COMPILED BY TERRY HUNTER.
BANG-MIXED AND COMPILED BY TERRY HUNTER.
Some singles are destined to be commercially successful and referred to as a “classic.” It’s as if it’s written in the stars. That was the case withTerry Hunter’s 2007 single Wonderful, which featured the soulful strains of Terisa Griffin. This was the start of another chapter in Terry Hunter’s career. During that time, Terry has enjoyed parallel careers as a DJ and producer. Success however, hasn’t come overnight for Terry. Far from it. It’s been a long, hard slog. Now he’s reaping the rewards.
Terry’s remixing skills are always in-demand. Artists and labels are always looking for him to work his magic on their latest track. A Terry Hunter mix is a much sought after commodity. Similarly, sought after, is Terry’s DJ-ing skills. One of the Godfathers soulful house scene, Terry Hunter’s DJ-ed throughout the world. More recently, he’s been DJ-ing every Sunday night at Chicago’s Shrine night club. This filled a void that had long existed in his home town. For years, there had been demand for a soulful house night. When that void wasn’t filled, one of the Chicago’s favorite sons filled the void….Terry Hunter. Since 2011, Terry’s Bang Sunday night at Shrine, has been the hottest ticket in town. People travel from all over America to experience Bang Sunday. For those who’ve yet to discover the delights of Terry Hunter’s Bang Sunday, Terry has compiled a new mix CD for BBE Music. Entitled Bang-Mixed and Compiled by Terry Hunter, this double-album will be released on 29th July 2013. Before I tell you about Terry Hunter’s explosive journey through house music, I’ll tell you about Terry’s career so far.
It was August 1970, that Terry Hunter was born. He was brought up in the south-side of Chicago. Music became part of his life from an early age. When Terry was introduced to DJ-ing, he thought that it was just a hobby, an expensive hobby at that. A self-confessed vinyl junkie, Terry was soon spending all his money on records. Record shops became his second home. When he wasn’t in record shops, he was in his room listening to the latest record he’d bought. During school holidays, Terry’s life revolved around record shops and his room. Despite his love of music, Terry never realized he could and make a living as a DJ and producer. That was until one day, when realized DJ-ing and making music was what he was meant to do with his life.
Chicago was the perfect place for a young DJ and producer. While house music was born in the early eighties, the next generation of producers were about to make a breakthrough. With this resurgence in interest in house music, this was the perfect opportunity for Terry to release his debut single. Entitled Madness, it was released in 1990, on Muzique Records. The single created interest around the Chicago are, helping launch Terry’s DJ-ing career.
Soon, Terry was DJ-ing much further afield.Traveling around the world, Terry was exposed to different musical genres. He absorbed this, and allowed it to influence his music. The soulful house music he span, reflected the music he was making. It proved popular with audiences, and influenced other DJs. Terry released singles on House Jam Records, Henry Street, Vibe Music, Vinyl Soul, Delirious and MAW Records. Among his most successful tracks, are classics When I Fell In Luv, Out On The Dance Floor and Sweet Music. Then there’s Terry’s work as a remixer and songwriter.
As a remixer, Terry’s remixed Mary J. Blige, Michael Jackson, Masters At Work and Twista. Terry’s collaborated with Kenny Dope to remix Kayne West’s Addiction (Dope Wax), which is a favorite of many a DJ. Terry’s other collaborations have included writing songs with among others, Raheem DeVaughn and Syleena Johnson. Songwriter, remixer, producer and DJ, there’s no end to Terry Hunter’s talents. However, for his latest venture, he headed home to his hometown of Chicago.
For years, there’s been a void in Terry’s home town. One thing Chicago lacked, was a soulful house night. Now Terry is one of the world’s leading soulful house DJs, so it seemed like a musical marriage made in heaven. Since 2011, Terry’s Bang Sunday night at Shrine, has been the hottest ticket in town. Terry along with guest DJs play every week at band. This includes local and international DJs, who with Terry Hunter, ensure that Bang is one of the best nights in Chicago. For those unable to make the trip to Chi-Two, Bang-Mixed and Compiled by Terry Hunter is the next best thing.
Bang-Mixed and Compiled by Terry Hunter is a double album, which will be released by BBE Music on 29th July 2013. Disc One features the fourteen tracks that Terry Hunter was chosen to replicate an evening at Bang. Then on Disc Two, Terry seamlessly mixes the fourteen eclectic tracks together. It’s one of the tightest and smoothest mixes you’ll hear this year. Technically flawless, so is the choice of music. Featuring Avery Sunshine, Mike Dunn, Boddhi Satva, Masters At Work, Ralf Gum, Wayne Williams, DJ Spen and Marsha Ambrosius, choosing the highlights of Bang-Mixed and Compiled by Terry Hunter won’t be easy.
Opening Bang-Mixed and Compiled by Terry Hunter is Avery Sunshine’s Ugly Part Of Me. This is a track from Avery’s 2010 eponymous debut album. Released on Dome Records, Nu-Soul, funk and house combine. It’s the perfect track for Terry to start his mix with. Avery delivers her vocal soulfully, with sass and a swagger. By the end of the track, not only do you want to hear more of Avery, but wonder what else Terry has in-store?
The answer to that is Anthony Nicholson/William Kurk and The Miquifaye Allstars. Tell Me A Bedtime Story seamlessly follows Avery Sunshine. Released in 2010, on Space Station Recordings, it was written by Herbie Hancock. That would explain the track’s jazz influence. This comes courtesy of the piano. Mostly it’s deep house, with a myriad of percussion and drums providing the track’s pulsating heartbeat, and driving the infectiously catchy arrangement along.
One of the most soulful songs on Bang-Mixed and Compiled by Terry Hunter, comes courtesy of DJ Kunta featuring Botshelo Huma. Come Closer was released by MoFunk Records in 2012 and was a collaboration between a South African producer and singer. DJ Kunta was the produer. His career started in 1999. Bothshelo’s career started when she was just fifteen. Having established a reputation as one of South Africa’s top vocalists, she moved to New York to study. In New York, further musical opportunities came Botshelo’s way. No wonder, given her undeniable vocal prowess. Proof of this is Come Closer. Her vocal is heartfelt, soulful and needy and crucial to the song’s success. Surely, we’ll soon hear more from the hugely talented Botshelo Huma?
One of my favorite albums of 2012 was Boddhi Satva’s Invocation. Released by BBE Music, my favorite track from Invocation was Another World, which featured Vikter Duplaix. He was one of several talented African singers who featured on Invocation. The version on Bang-Mixed and Compiled by Terry Hunter is very different. Percussive heavy, the chanted vocal is drenched in echo. Drifting in and out, stabs of synths and drums take charge in a track that’s compelling, mesmeric and sometimes, haunting.
Given Terry Hunter’s reputation as one of the top soulful house DJs, it’s no surprise he’s included Ralf Gum featuring Kenny Bobien’s The Only Way. After all, there’s no better voice in house music than Kenny Bobien. Regarded as the King of gospel house music, there’s no sign of the King losing his crown here. Not when Ralf Gum is producing the track and Terry Hunter remixing it. Released on GoGo Music, in April 2013, Terry’s remix manages to improve on a track that’s got classic written all over it.
Reciprocal’s In The Mists Of Angola has a tougher, edgier sound. Released in 2010, it’s a fusion of house and techno. There’s a real Chicago sound to a track that’s not unlike heading on a musical adventure. You can picture yourself on a train In The Mists Of Angola, heading on the adventure of a lifetime. Providing the soundtrack, would be Reciprocal.
DJ Spen’s Craze At Midnite sees the tempo increase as Bang-Mixed and Compiled by Terry Hunter heads towards its climax. Released in 2009, on Spen’s Live CDJ1000 Mix, there’s an old school sound to the track. Thunderous drums pound, creating the track’s heartbeat, while DJ Spen toys with synths. They’re at the heart of this old school, hands in the air track that’s guaranteed to fill any dance-floor.
Terry has definitely kept the best to last. That’s Marsha Ambrosius’ Far Away, a track from her 2011 album Late Night and Early Mornings. Fusing soul, funk and a plentiful supply of hooks, Marsha discovers her inner diva. Accompanied by cascading harmonies and a dance-floor friendly beat, Marsha closes Bang-Mixed and Compiled by Terry Hunter with a Bang.
While DJ mixes are literally two a penny, one thing that differs, is their quality. Bang-Mixed and Compiled by Terry Hunter is one of the best. Featuring an eclectic and intriguing selection of music, there’s surprises aplenty in-store for the listener. Eschewing tried and tested tracks, Terry digs deeper, compiling a compelling selection of fourteen tracks. Among the soulful delights on Bang-Mixed and Compiled by Terry Hunter are Avery Sunshine, Marsha Ambrosius and Kenny Bobien, a true legend of house music. The voice of many a house classic, Kenny, now a veteran, delivers one of his trademark vocals. There’s contributions from other high profile house producers, including DJ Spen, Masters At Work and Boddhi Satva. For me, one of the real finds was Reciprocal’s In The Mists Of Angola, a really moody, atmospheric track.
From the opening bars of Avery Sunshine’s Ugly Part Of Me to the closing notes of Marsha Ambrosius’ Far Away, Bang-Mixed and Compiled by Terry Hunter, Terry doesn’t put a foot wrong. His track selection is flawless. No wonder. He’s a veteran DJ, with twenty-five years experience behind him. He’s put that experience to good use on Bang-Mixed and Compiled by Terry Hunter, which will be released by BBE Music on 29th July 2013. Bang-Mixed and Compiled by Terry Hunter is one of the best DJ mixes of 2013, where Terry Hunter demonstrates, just what it takes to create a top class DJ mix. Standout Tracks: Avery Sunshine’s Ugly Part Of Me, Boddhi Satva featuring Vikter Duplaix From Another World, Reciprocal In The Mists Of Angola and Marsha Ambrosius Far Away.
BANG-MIXED AND COMPILED BY TERRY HUNTER.
BOB THIELE EMERGENCY-HEAD START.
BOB THIELE EMERGENCY-HEAD START.
Flying Dutchman Rcords was the second record label Bob Thiele founded. The first was Signature Records, founded by Bob in 1939, when he was just seventeen. A lot had happened in the intervening thirty years. Bob had worked with many of the giants of jazz. John Coltrane, Charlie Mingus, Sonny Rollins, Archie Shepp, Albert Ayler and Ornette Colman were just a few of the jazz legends Bob had worked with, during his thirty year career. He’d also worked at some of the biggest record labels, establishing a reputation as an innovative producer. However, Bob had just been ousted from his job at Impulse Records, so Flying Dutchman Records was Bob’s comeback. At his newly founded label, his latest musical vehicle, Bob Thiele Emergency released their debut album, which BGP Records recently released.
Signature Records wasn’t Bob Thiele’s first job in music. No. That was when he hosted a jazz radio show. Then there was the jazz band Bob, an accomplished clarinet player lead. However, when he left school, Bob Thiele was determined to make his newly founded label Signature Records, a commercial success.
After founding Signature Records in 1939, Bob signed musicians who’d become legends of jazz. This included Donald Byrd, Lester Young and Errol Gardner. One of the biggest signing came in 1943, when Signature signed Coleman Hawkins. Five years later, in 1948, Signature became insolvent. Bob wasn’t out of music long though. He was soon working with Decca Records.
Having started work for Decca Records, Bob Thiele found himself running its imprint Coral Records. It was at Decca, Bob met his future wife, Teresa Brewer, a singer he was producing. Having established his reputation at Decca, where he spent most of the fifties, in 1961, an opportunity arose to become head of A&R at one of jazz’s most influential labels…Impulse Records.
Creed Taylor, left Impulse to run Verve Records. This left a massive void needing filled. Bob Thiele was the man to do this. He’d established a reputation as a talented and forward-thinking producer. This was perfect for Impulse. Over the next eight years, their roster included John Coltrane, Charles Mingus, Archie Shepp, Albert Ayler, Max Roach, Chico Hamilton, Dizzy Gillespie, Sonny Rollins and Louis Armstrong.
Bob started work at Impulse 1961 and spent eight years there. During that time, Bob Thiele enjoyed the busiest period of his career. Bob, he was hardly away from the studio, producing over 150 albums in eight years. This included John Coltrane’s seminal album A Love Supreme. Ironically, Bob’s most successful production was the sentimentality of Louis Armstrong’s What A Wonderful World. Not all of Bob Thiele’s production’s were as successful. Innovative music didn’t always equate to commercially successful music.
Through working with some of the most innovative and creative musicians in the history of jazz, Bob must have realized that often, large record companies aren’t the best environment for innovative and creative musicians. Often, these musical mavericks didn’t thrive within such an orthodox environment. Their creativity is restricted, meaning they’re unable to experiment and innovate, producing music the music that they really wanted, rather than what the record company wanted.
Soon, Bob Thiele, would be able to create an environment where this would be possible. By 1969, Bob had been at Impulse for eight years. He’d been responsible for producing some of the most important jazz music of the sixties. However, there’s no sentiment in music. In the musical equivalent of a musical coup d’tat, Bob Thiele was ousted from his role at Impulse. This proved to the start of the next chapter in his career.
Leaving Impulse in 1969, Bob founded Flying Dutchman Records. This would become home to everyone from Ornette Coleman, through Gil Scott Heron, Leon Thomas, Eddie “Cleanhead” Vinson, Louis Armstrong to Lonnie Liston Smith and His Cosmic Echoes. Within the right environment, Bob wanted to prove that innovative musicians could thrive, creating music that’s influential and forward-thinking. Impulse would also mark the debut release of Bob Thiele Emergency’s debut album Head Start.
Although Bob had already released two previous albums, Head Start was the first album from Bob Thiele Emergency. Bob had already released two solo albums, 1967s Thoroughly Modern, which was released on ABC Records. His sophomore album was 1968s Light My Fire, released on Impulse. Like his two previous albums, Head Start would prove to be an innovate album from Bob Thiele Emergency.
For the recording of Head Start, Bob Thiele Emergency would record six tracks written by Tom Scott, plus tracks written by Ornette Coleman, John Carter and John Coleman. There are also covers of three Lennon and McCartney tracks Blackbird, Julia and I will. There’s also a cover of Walter Melrose and Porter Steele’s High Society. In total, fourteen tracks were spread across four sides of vinyl. They became Head Start.
Rather than put together a band who played on each track, Bob Thiele Emergency was more like a pool of musicians. This allowed Bob to draw upon musicians whose style of playing was suited to specific tracks. Over thirty musicians played on Head Start. Some played on several tracks, other played on just one track. Among them, were alto saxophonist Ornette Coleman, trombonist George Bohanon, flautist Joe Farell, bassist Charlie Haden and drummer Elvin Jones. Bob Thiele narrated the closing track on Head Start, A Few Thoughts For The Day. He also produced Head Start, which was released in 1969,
Head Start is an ambitious, bold, genre-sprawling double album. Combining everything from psychedelia, rock, blues, bebop, free-jazz, swing and pop, it’s a captivating musical journey lasting fourteen tracks and over seventy-minutes.
On the first side of Head Start, saxophonist Tom Scott takes centre-stage. He was one of Flying Dutchman’s most successful artist. Tom showcases his skills from the get-go. The opening track, Head Start has an unmistakable sixties sound. Straight away, The Bob Thiele Emergency kick loose, on a track that sometimes, is the definition of groovy. Easy on the ear, you sense Bob is just toying with the listener. That’s the case. Freaky Zeke is very different. It’s best described as a genre-sprawling track. Here Head Start veers between jazz, blues, psychedelia and rock. Frantic and dramatic, languid to laid-back describes this four-minute melting pot of musical influences. On Beatle Ballads: Blackbird, Julia and I Will, Bob Thiele Emergency transform a trio of Lennon and McCartney classics. These three tracks are reinvented, given a jazzy makeover that brings out the beauty and subtleties of these three tracks. Lanoola Goes Limp is one of the highlights of Head Start. Driven along by a boogie-woogie influenced piano, the rhythm section provide the heartbeat and stabs of growling horns fill in the gaps to this delicious slice of jazz.
The Jazz Story is a five-part suite that filled side two. Tracing the history of jazz, it opens with Pickin’ Taters Blues, a powerful blues penned by Esther Marrow and James Rein. Sung by George “Harmonica” Smith, instantly, the listener is transported back in time. George’s vocal is weary and filled with frustration, on this slow, emotive and authentic blues. Then it’s all change, when the ragtime of Oh Didn’t He Ramble and High Society bursts into life. After the moody and heartbreak of Jungle Sound, we’re introduced to the Swing Era and Bebop. The final track in this musical history lesson, was In The Vineyard / Avant Garde, played by Los Angles collective, the Underground Music and Arts Movement. Having told you about the history of jazz in six songs and twenty-five minutes, the Bob Thiele Emergency pay homage to one of the giants of jazz, John Coltrane.
Side three of Head Start featured, Dedication To John Coltrane, who’d died two years earlier, When ‘Trane died, jazz had lost one of its true legends. This three song suite was Bob Thiele’s tribute to John Coltrane. Fittingly, Elvin Jones, who played drums for John Coltrane played on Dedication To John Coltrane. The three songs weren’t linked. Instead, they were very different. Lament For John Coltrane was a truly compelling track. Veering between reflective and wistful, it’s then transformed when Ornette Coleman unleashes one of his keening, braying, improvisational alto saxophone solos. There’s then a thoughtful, pensive recital of A Love Supreme by DJ Rosko. Closing Dedication To John Coltrane, is a live recording of Holiday For A Graveyard, featuring by The Ornette Coleman. This was recorded at John Coltrane’s funeral in 1967, in St. Lutheran Church, New York. These three songs were Bob Thiele Emergency’s tribute to one of jazz’s giants, John Coltrane.
Filling the final side of Head Start, was A Few Thoughts For The Day (Biafra, King, John and Robert, The American Indian). These were Bob Thiele’s thoughts on the humanitarian crisis in Biafra, the assassination of John and Robert Kennedy and the plight of The American Indian. Lasting nearly seventeen songs, this was hint at the future direction Flying Dutchman would head. From the get-go, the music is experimental, heading in the direction of free-jazz and avante-garde. While the music was compelling and intelligent, many people failed to understand music that they perceived as challenging and discordant. That wasn’t the case. Instead, it was the start of Flying Dutchman’s tenure as one of jazz’s most innovative and inventive labels.
Fourteen tracks and seventy-three minutes long, Head Start was a genre-sprawling album. From the opening bars of Head Start, to the closing notes of A Few Thoughts For The Day, Bob and his band fused everything from psychedelia, through rock, blues, bebop, free-jazz, swing and pop. Truly, Head Start was a captivating musical journey. While Head Start was a groundbreaking album, it wasn’t a commercial success. This is despite Bob Thiele, with one eye on marketing, stating on the front cover, that retailers could only charge two cents more than the price of a single album. Regardless of this incentive, Head Start, despite its Head Start, was soon overtaken by other jazz albums. Despite this, Flying Dutchman continued to release some of the most inventive and innovative jazz music of that era. Indeed, Head Start hinted heavily at the future direction of Flying Dutchman Productions.
History shows that Flying Dutchman was no ordinary jazz label. No. It was a label that was determined to push musical boundaries, challenge musical norms and mix a multiplicity of musical genres and influences. Flying Dutchman would do all this and more. Wounded by his ousting from Impulse Records, Bob Thiele set about signing musical mavericks and innovators. These were musicians who were innovative and creative. Bob then gave them a musical environment where they could thrive. Removed from the corporate machine, they could allow their creativity and imagination to run wild. Out-with the orthodox environment of large record companies, Bob Thiele encouraged artists to create inventive, innovative and influential music. The artists he signed didn’t let him down. Instead, much of the music Flying Dutchman released is seen as some of the most important jazz music of the late-sixties and seventies. One of these albums was Bob Thiele Emergency’s Head Start, which was recently released by BGP Records.
BOB THIELE EMERGENCY-HEAD START.
LOVE COMMITTEE-LAW AND ORDER.
LOVE COMMITTEE-LAW AND ORDER.
Gold Mind Records was subsidiary of Salsoul Records, run by legendary Philadelphia guitarist, songwriter, arranger and producer, Norman Harris. Norman was responsible for running the label, discovering the talent and with some of his Philly friends, writing, recording and producing these acts. Loleatta Holloway, First Choice and Double Exposure are just a trio of the acts that Norman brought to Gold Mind. In 1978, Norman’s new signing were Love Committee, who back in the sixties, were called The Ethics. Twelve years after The Ethics released their debut single for Vent Records, Think About Tomorrow, The Ethics had a new name, and a new lineup. Now called Love Committee, they would release their debut album Law and Order on Norman Harris’ Gold Mind Records. Before I tell you about the music on Law and Order, which was rereleased recently by BBR Records, I’ll tell you about Love Committee’s musical journey.
Love Committee were one of many Philadelphia soul groups formed in the sixties. Their original lineup featured Larry Richardson, Joe Freeman, Norman Frazier and future-Temptation Ron Tyson. Later, Michael Bell replaced Larry Richardson. This was the lineup that recorded their debut single Think About Tomorrow. It had just been released on Vent Records. However, a week after the release of Think About Tomorrow, The Ethics had a massive argument. This resulted in The Ethics losing several band members. That ironically, proved to be a blessing in disguise.
Ron Tyson had been hearing about a talented, Philly-based singer Joe Freeman. Joe was from a deeply religious family, who frowned upon Joe singing secular music. However, Joe couldn’t resist the lure of the music industry. He agreed to join the latest lineup of The Ethics. Still The Ethics needed two new members. Asked if he new anyone who could join The Ethics, Joe recommended Carl “Nugie” Enlow and Andrew “Bike” Collins. Now that Ethics had a new lineup, their career could resume.
With a new lineup, The Ethics released further singles on Vent . This includes 1969s Standing In the Darkness and Farewell. After leaving Vent, The Ethics signed to Lost Night Records, which for a short time, they called home. After this, The Ethics met Thom Bell. He took The Ethics under his wing, and even wrote a song with Ron Tyson. This came to an abrupt end after The Ethics’ management asked Thom Bell for a slice of the publishing. That didn’t happen. Instead, Thom Bell hooked up with The Stylistics, rather than deal with The Ethics’ management. Having parted company with one of The Mighty Three, The Ethics signed with the other two members of The Mighty Three, Gamble and Huff.
Losing the opportunity to work with Thom Bell was a blow. Then Gamble and Huff signed The Ethics to Philadelphia International Records. They recorded the Bunny Sigler song Lover’s Anthem. Not long after this, The Ethics came across Thom Bell again. He seemed to have forgotten their earlier disagreement, by recording Lean On Me, which Thom and Linda Creed cowrote. Kenny Gamble decided the song wouldn’t be released. After all, Bill Withers was about to release a version the week before The Ethics’ version. He didn’t want The Ethics and Bill Withers going head to head. Not long after this, The Ethics left Philadelphia International Records and joined Golden Fleece Records.
Next stop for The Ethics, was Baker, Harris, Young’s newly formed label Golden Fleece Records. It was financed by Philadelphia International Records, who sometimes, sent artists to Golden Fleece. This was the case with The Ethics, who released Good Luck in 1974. Then, just as things started to improve for The Ethics, they pressed the self-destruct button again. Another disagreement about the future direction of The Ethics, lead to Carl Enlow and Andrew Collins leaving the group. Quickly, Ron Tyson and Joe Freeman replaced them with Larry Richardson and Norman Frazier. Larry was related to Ron, while Norman was originally from Washington D.C. Just as Ron and Joe thought The Ethics were making progress, things got even worse.
Thaddeus Wales, who owned Wale Records, claimed ownership of The Ethics’ name. Having established The Ethics’ as a group, it was snatched away from them. Larry and Joe decided the easiest thing was to change the group’s name. So, The Ethics changed their name to Love Committee. The newly formed Love Committee released just one single, One Day Of Peace on Golden Fleece Records. It wasn’t a commercial success. Shortly after, in 1975, Golden Fleece’s deal with Philadelphia International Records was about to expire. So, Gamble and Huff brought Love Committee back to Philadelphia International Records’ newly created subsidiary, T.S.O.P. At T.S.O.P Love Committee released just one single, Darling Come Back Home, which failed commercially. Not long after this, Love Committee were dropped by T.S.O.P.
While commercial success continued to elude Love Committee, record companies realised Love Committee had potential. This included German label Ariola. They signed Love Committee to their Beverley Hills imprint. Four songs were recorded, but still, commercial success eluded them. There was nothing wrong with the songs, far from it. What they needed was to work with the right people, people who could bring out the best in Love Committee. This just happened to be Baker, Harris, Young and their Philly friends.
One day, Norman Harris came across Larry Richardson, who he new from way back. When Norman heard that Love Committee were without a label, he recommended them to the Cayres, who owned Salsoul and Gold Mind Records, which Norman ran for them. The Cayres liked what they heard, and signed Love Committee to Gold Mind Records. Soon, work began on Law and Order, Love Committee’s debut album.
For Love Committee’s debut album Law and Order, Norman Harris would play a huge part in the album. He put together some of Philly’s best songwriters, musicians, arrangers and producers to work on what became Law and Order. Similarly, Ron Tyson cowrote each of the eight tracks, with a variety of collaborators
Norman Harris cowrote four tracks with Allan Felder and Love Committee lead singer, Ron Tyson. They were the title-track Law and Order, If You Change Your Mind, Pass the Buck and Give Her Love. Ron Tyson cowrote Tired of Being Your Fool with Eddie Moore, and Cheaters Never Win with Allan Felder and T.G. Conway. T.G. Conway, Bruce Gray and Ron cowrote Just As Long As I Got You, while Bruce Gray, Bruce Hawkes and Ron cowrote Put It In the Back of Your Mind. These tracks would become Law and Order, which was recorded at Philly’s Sigma Sound Studios.
When Love Committee set about recording Law and Order, they were accompanied by some of Philly’s finest musicians and backing vocalists. The Salsoul Orchestra’s rhythm section came courtesy of Baker, Harris, Young, helped along by bassist Jimmy Williams and drummer Keith Benson. Guitarists included Bobby “Electronic” Eli, Eddie Moore, T.J. Tindall and Roland Chambers. Keyboardists included Ron “Have Mercy” Kersey, Cotton Kent, Bruce Hawkes, Bruce Grey and T.G. Conway. They were joined by Larry Washington on congas and percussionists Allan Felder and Ron Tyson. Don Renaldo supplied the strings and horns, while The Sweethearts of Sigma, Evette Benton, Carla Benson and Barbara Ingram added backing vocalists. Ex-Temptation Ron Tyson sang lead vocals, but like his former group, The Temptations, the lead vocal changed hands. Eight tracks were recorded, with a variety of production teams, including Baker, Harris, Young, Allan Felder, Ron Tyson and Norman Harris producing Law and Order. Once Law and Order was recorded, it was ready for release in 1978.
When Law and Order was released in July 1978, the album failed to chart. Cheaters Never Won reached number fifty-seven in the US R&B Charts in November 1977. The title-track Law and Order was released in June 1978, reaching number twenty-one in the US Dance Music/Club Play Charts and ninety-seven in the US R&B Charts. Tired Of Being Your Fool was the final single. Released in September 1978, it failed to chart. Considering the quality of music, plus the personnel involved in making Law and Order, this must have come as a crushing blow to everyone concerned, especially, Love Committee. You’ll realise this, when I tell you about the music on Law and Order.
Opening Law and Order is the title-track Law and Order, penned and produced by Allan Felder, Ron Tyson and Norman Harris. Bobby “Electronic” Eli’s searing guitar, lush, dancing strings and a pounding, powerful and sometimes, funky Baker, Harris, Young rhythm section create a dramatic backdrop. Blazing horns, percussion and keyboards combine before the tightest, soulful harmonies give way to Ron’s powerful, vampish lead vocal. He delivers lyrics filled with cutting, social comment with sheer passion. Soon, the lead switches hands, a soaring falsetto the perfect replacement, responding to Ron’s call. Harmonies, frantic strings and Baker, Harris, Young ensuring the song swings along. Ron Baker gives a masterclass on bass. His pounding bass and Earl Young’s drums, help drive an arrangement that’s a mass of cascading strings, sizzling guitars, and the soulful, soaring harmonies along. It’s a perfect way to open Law and Order. Uptempo, full of hooks and bursting with energy and social comment. You’re left wanting to hear more, much, much more.
The tempo drops on the Ron Tyson and Eddie Moore penned Tired of Being Your Fool. Produced by Ron Tyson and arranged by Ron “Have Mercy” Kersey, it’s a beautiful, soulful track, where Ron lays bare his weary soul. Quivering strings, burst of a wistful horns and Norman Harris’ pensive, jazz-tinged guitar combine with Ron emotive, soaring vocal. Soon, the drama and emotion increases. Baker, Harris, Young, swathes of strings and broody horns provide a backdrop that reflects this. Ron’s vocal is filled with sadness and regret, while the Sweethearts of Sigma and the rest of Love Committee add soulful, truly heartfelt harmonies. They’re the perfect accompaniment to Ron’s impassioned pleas, as he lays bare his soul for all to hear.
If You Change Your Mind is the second of the tracks written and produced by Allan Felder, Ron Tyson and Norman Harris. Jack Faith arranges what is a string laden ballad, with cooing harmonies from the Sweethearts of Sigma. Ron’s half-spoked, heartbroken vocal is answered by a falsetto that brings to life the sadness and heartache in the vocal. Slow, sad strings, a thoughtful Baker, Harris, Young, complete with Ron Baker’s pensive bass and Norman Harris’ pensive guitar. Layers of strings cascade, joining the cooing Sweethearts of Sigma while horns rasp as the vocal sees optimism and hope mixed with heartache and hurt. The result is one of the most beautiful tracks on Law and Order.
Cheaters Never Win see Baker, Harris, Young produce a track, that from the opening bars has Baker, Harris, Young’s name all over it. Shimmering strings, wistful, rasping horns and Norman Harris’ chiming guitar open the track, before it reveals its secrets. At the heart of the action are the Baker, Harris, Young rhythm section providing a pulsating, sometimes, pounding, dramatic heartbeat. Ron’s vocal is full of despair and frustration, with the Sweethearts of Sigma and the rest of Love Committee adding heartfelt, soulful harmonies. Add in the swathes of swirling strings, chiming guitars and Ron’s despair filled vocal and this brings this epic fusion of emotion and drama to a heartbreaking close.
Pass the Buck opens Law and Order and is another Baker, Harris, Young production, arranged by Ron “Have Mercy” Kersey. The track bursts into life, Ron’s powerful, vampish vocal accompanied by sweeping, swirling strings, a funky Baker, Harris, Young rhythm section and growling horns. With a burst of Earl Young’s drums and flourishes of piano, Ron delivers a vocal filled with searing social comment, about unfairness, poverty and injustice. Dramatic harmonies from the other members of Love Committee and the Sweethearts of Sigma prove the perfect foil for Ron’s angry, frustrated vampish vocal, Baker, Harris, Young join frantic strings and grizzled horns in providing the backdrop for one of Ron’s best vocals on Law and Order, where his vocal mixes anger, frustration and social comment, but with a real swing.
Put It In the Back of Your Mind was produced by Ron Tyson and arranged by Jack Faith. Swathes of strings, rasping horns, piano and a jazzy Baker, Harris, Young rhythm section build up the drama and emotion for an impassioned falsetto. Soon, Ron takes over the vocal, mixing power and passion. Harmonies from the Sweethearts of Sigma and Love Committee sweep in, and are delivered with a jazzy swing. The interplay between the lead vocal and harmonies are filled emotion and drama, while the big band style arrangement complete with rasping horns, swirling strings and punchy harmonies. They’re just the finishing touch to this uptempo slice of old time jazzy music.
Give Her Love is the third and final track written and produced by Allan Felder, Ron Tyson and Norman Harris, who arranges the track. The tempo drops way down, as Ron delivers one of his most moving vocals. Just a slow, considerate Baker, Harris, Young rhythm section, cooing harmonies from the Sweethearts of Sigma and Love Committee and lush strings build the drama, beauty and emotion. So when Ron’s vocal enters, he’s the perfect backdrop to lay bare his soul and feelings. Norman Harris’ chiming guitar, lush strings and wistful horns join harmonies, as Ron delivers a heartfelt, impassioned vocal. As the emotion in his voice grows, so does the drama in the arrangement. Ron emotively vamps his way through the track, resulting in a heartbreakingly beautiful song.
Closing Law and Order is Just As Long As I Got You, produced by Baker, Harris, Young. Written by Bruce Hawkes, Ron Tyson and T.G. Conway, this allows Love Committee to close Law and Order on a real high. The tempo increases and hooks are plentiful. Larry Washington’s congas, a pounding Baker, Harris, Young rhythm section, blazing horns, sweeping strings and a flourish of keyboards give way to tight, soulful harmonies. Ron’s vocal is a mixture of tenderness, power and passion. Soon, the vocal changes hands, with the falsetto taking charge. Norman Harris’ guitar, bursts of horns, swirling strings and dramatic flourishes of Earl Young’s drums combine, setting Love Committee up for a big finish. With the baton passed, they do their part Ron’s lead and the harmonies pushing the other to greater heights of hook laden, soulfulness.
That Love Committee’s debut album Law and Order wasn’t a much bigger commercial success, almost seems unjust. It’s one of these albums where you’re spellbound from the opening bars right through to the closing notes. Law and Order includes just eight songs, lasting forty minutes, where lead singer Ron Tyson, Michael Bell, Joe Freeman and Norman Frazier showcase their considerable vocal, and harmonic talents. Heartachingly beautiful, soul-baring ballads and hook-laden, uptempo tracks sit comfortably side by side. Mind you, given the personnel that played on Law and Order, this is no surprise.
On Law and Order, Love Committee were accompanied by some of Philly’s greatest musicians. This included Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and the legendary backing vocalists the Sweethearts of Sigma. Law and Order truly, featured a musical all-star cast. Arrangers like Ron “Have Mercy” Kersey, Bruce Hawkes and Jack Faith, plus producers like Baker, Harris, Young and the trio of Allan Felder, Ron Tyson and Norman Harris all played their part. That’s why Love Committee’s debut album Law and Order is such an accomplished album. Indeed, Law and Order is yet another of Philly Sou’s hidden gems. Not only that, but it’s one of the few albums released on Norman Harris’ Gold Mind Records not to be a commercial success.
Maybe part of the problem with Law and Order’s lack of commercial success was Gold Mind Records were experiencing financial problems. Just a year later, Gold Mind had to be rescued by Salsoul Records and absorbed into Salsoul. Sadly, all Norman Harris’ hard work and genius was for nothing. Love Committee’s debut album Law and Order way not have been one of the most successful albums Norman Harris was involved in, but it shows just how talented Norman was as a musician, songwriter and producer. Similarly, Law and Order which was recently released by BBR Records, demonstrates just how talented Love Committee were. Given the quality of music on Law and Order, the album most definitely deserved to be a much bigger commercial success. Standout Tracks: Law and Order, If You Change Your Mind, Cheaters Never Win and Give Her Love.
LOVE COMMITTEE-LAW AND ORDER.
PEABO BRYSON AND ROBERTA FLACK-BORN TO LOVE.
PEABO BRYSON AND ROBERTA FLACK-BORN TO LOVE.
Collaborations between successful solo artists don’t always work. Musical history proves this. There’s all sorts of pitfalls involved. Then there’s the fact that two egos are involved. So, what looks like being a musical marriage made in heaven, can quickly, turn into a nightmare. Rather than the album being a commercial success, it’s destined for the bargain bin. That isn’t always the case. Proof of this is an album that was released thirty years ago, Peabo Bryson and Roberta Flack’s Born To Love, which was recently released by SoulMusic Records.
Born To Love was released by Capitol Records on 22nd June 1983. This was three years after the pair released Live and More. It was well received by critics, and proved commercially successful, reaching number ten in the US R&B Charts. This was no surprise. After all, both artists had enjoyed successful careers.
Roberta Flack had released nine albums since her 1969 debut. She’d also released two albums with Donny Hathaway. Peabo Bryson only released his debut Peabo in 1976. This was the first of seven solo albums he released between 1976 and 1982. He’d also recorded an album with Natalie Cole. Now three years after Peabo Bryson and Roberta Flack released Live and More, the pair joined forces to record Born To Love.
For Born To Love, Capitol Records spared no expense. Capitol Records, it seemed, were determined that Born To Love, would be a commercial success. So they brought together the best songwriters and musicians to work on Born To Love. Michael Masser and Gerry Goffin cowrote Tonight I Celebrate My Love and Comin’ Alive. Burt Bacharach and Carol Bayer Sayer penned Blame It On Me, and cowrote Maybe with Marvin Hamlisch. Bob Crewe and Ben Gaudio wrote Heaven Above Me and with Jerry Corbetta, cowrote You’re Lookin’ Like Love To Me. Terry Skinner, Jerry Wallace and Ken Bell contributed I Just Came Here To Dance. Roberta Flack cowrote just one song, the album closer, Can We Find Love, with Al Johnson. Peabo Bryson only wrote one song, the title-track Born To Love. The nine songs that became Born To Love were recorded at various studio, with a variety of producers and musicians.
Among the studios used to record Born To Love, were A&M Records Studio, Studio Sound, Westlake Studios, Music Grinder New Sound Labs, Los Angeles and the Record Plant in New York. As if using seven separate studios wasn’t somewhat excessive, five producers were used. This included Roberta Flack, Peabo Bryson, Michael Masser, Bob Gaudio and Bob Crewe plus Burt Bacharach and Carol Bayer Sayer. Born To Love was certainly not going to have a uniform production style. Especially with so many musicians involved.
Each producer brought in their favored musicians. Born To Love involved a constantly revolving cast of musicians, working in different studios. Among them, were rhythm sections that consisted of either bassist Nathan East, drummer Carlos Vega and guitarist Paul Jackson, or bassist Abe Laboriel, drummer Jim Keltner and guitarists Paul Jackson Jr. and Dan Huff. Other musicians included percussionist Paulinho DaCosta, pianist Greg Phillinganes, drummer Buddy Williams, keyboardist Richard Tee and bassist and keyboardist Marcus Miller. Once nine tracks were recorded at five studios, by five producers and numerous musicians, Born To Love was ready to be released in June 1983.
Tonight I Celebrate My Love, was released as the lead single from Born To Love. It reached number five in the US Billboard 100 and number sixteen in the US R&B Charts. Born To Love was released on 22nd June 1983, reaching number twenty-five in the US Billboard 200 and number eight in the US R&B Charts. The other two singles didn’t fare as well as Tonight I Celebrate My Love. You’re Looking Like Love To Me reached just number fifty-eight in the US Billboard 100 and number forty-one in the US R&B Charts. Maybe then stalled at number sixty-eight in the US Billboard 100 and US R&B Charts. However, overall, Born To Love, which I’ll tell you about, have been a commercial success.
Opening Born To Love is is a familiar track, Tonight I Celebrate My Love. It was the most successful single from Born To Love. Keyboards accompany Roberta’s tender heartfelt vocal. When her vocal drops out, Peabo’s vocal takes centre-stage. Impassioned, and accompanied by lush strings and keyboards, the drama and emotion starts to build. The rhythm section help build the drama, as the song heads towards an emotive, dramatic and soulful crescendo.
There’s a change of style on Blame It On Me, which was written by Burt Bacharach and Carol Bayer Sayer. It’s a meandering, spacious track where funk and soul combine. Just a slow, thoughtful rhythm section joins synths and guitars. They leave space for Peabo’s powerful, emotive vocal. When Roberta’s vocal enters, it’s tender, but wistful. Growing in power, regret and confusion fill her vocal, before screaming guitars are sprayed all over the arrangement. Not only do they overpower Roberta’s vocal, but ruin what was shaping to be, a beautiful song about love gone wrong.
Eighties electronic drums and keyboards create the backdrop for Roberta and Peabo’s vocal. Uniting, their vocals soar above the arrangement. They deliver the lyrics as if they mean it. Their vocals are like a musical ying and yang, proving the perfect foil for each other. The arrangement is driven along by banks of synths while the drums add the heartbeat. Backing vocalists accompany what is, one of Peabo and Roberta’s most soulful and heartfelt performances.
Born To Love has a slow, spacious and funky arrangement. A bass meanders, wandering along the arrangement, while drums, synths and guitars combine. Peabo’s vocal is slow, filled with emotion and sincerity. Harmonies sweep in, adding to the emotion. So do the horns, as the vocal drops out and the band explore the song’s subtleties and nuances. Crucial to the song is the funkiest of bass lines and the sincerity and emotion in Peabo’s pleading vocal.
Just synths accompany Roberta’s tender vocal on Maybe. You focus on her vocal and her delivery of the lyrics. Harmonies accompany a vocal that’s tender and sincere. Then when Peabo’s vocal enters, it’s very different. He combines power, emotion and hope. When their vocals unite,the rhythm section, synths and percussion accompany them, while strings add to the finishing touch to this beautiful, hopeful ballad.
I Just Came Here To Dance was the B-side of Maybe, the second single released from Born To Love. Written and produced by Peabo Bryson, Peabo and Roberta are accompanied by a mid-tempo arrangement. Synths, Fender Rhodes, rhythm section and strings create the backdrop for their vocal. Again, it’s heartfelt and impassioned, growing in emotion and drama, as Peabo and Roberta get a chance to demonstrate their vocal prowess.
After a series of ballads and mid-tempo tracks, at last, Roberta and Peabo get the chance to kick loose on Comin’ Alive. Roberta unleashes a vampish vocal, while banks of synths, a pounding rhythm section and punchy harmonies accompany her. Soon, Peabo’s vocal enters. He matches Roberta’s power every step of the way. As they sing about “Comin’ Alive,” you sense this is true. They’re enjoying getting the opportunity to demonstrate their versatility, on a track that’s catchy and dance-floor friendly.
Although You’re Looking Like Love To Me is another ballad, it’s one of the best on Born To Love. What sounds like an uncomplicated arrangement accompanies Roberta and Peabo’s needy vocals. However, there’s more to the arrangement than you think. It’s multilayered, with synths at the forefront of the arrangement. Meanwhile, the rhythm section and percussion provide the heartbeat. Harmonies occasionally accompany the vocals, complimenting vocals that are needy and filled with longing.
Closing Born To Love is Can We Find Love Again, which was written and produced by Roberta Flack and Al Johnson. Synths, Fender Rhodes and meandering rhythm section accompany Roberta’s hopeful vocal. She combines power, passion and emotion, asking, pleading “Can We Find Love Again?” Accompanied by cooing, sweeping harmonies, the drama and emotion builds. Chiming guitars, keyboards and harmonies accompany Roberta on what is, the highlight of Born To Love.
While musical history is littered with collaborations that weren’t commercially successful, Peabo Bryson and Roberta Flack’s Born To Love was a commercial success. On its release in 1983, Born To Love reached number twenty-five in the US Billboard 200 and number eight in the US R&B Charts. This was helped by the commercial success of the lead single, Tonight I Celebrate My Love. It was one of four hit singles on Born To Love. Mind you, two of the singles were just minor hits. Born To Love surpassed the commercial success of Peabo Bryson and Roberta Flack’s previous collaboration, 1980s Live and More. However, given the way Born To Love was recorded, that might not have been the case.
Born To Love was a collaboration in the true sense of the word. The nine songs were written by eight songwriting teams, while five producers recorded Born To Love at seven studios. In these studios, each production team used their favored musician. Despite this, Born To Love works. Born To Love flows along, with ballads and mid-tempo tracks very much the flavor of the month. The exception was Comin’ Alive, when Roberta and Peabo kicked loose, demonstrating their versatility. However, rather than showcase Peabo Bryson and Roberta Flack’s versatility, Born To Love played to their strengths.
Ballads and mid-tempo tracks were where Peabo Bryson and Roberta Flack were at their best. On ballads, they could breath life, meaning and emotion into the lyrics. The only problem with this, was that Born To Love wouldn’t appeal to a younger audience. Maybe Capitol Records, realizing soul music wasn’t as popular with younger people, took the risk that Born To Love would appeal to an older, more mature audience. This proved to be the case. Tonight I Celebrate My Love and You’re Looking Like Love To Me were hits on the Adult Contemporary Charts, reaching numbers four and five respectively. Releasing an album that was aimed at an older audience was a gamble, one that paid of. Not only that, but Born To Love, which was recently released by SoulMusic Records, was the final and most successful collaboration between Peabo Bryson and Roberta Flack. Standout Tracks: Tonight I Celebrate My Love, Born To Love, Maybe and You’re Looking Like Love To Me.
PEABO BRYSON AND ROBERTA FLACK-BORN TO LOVE.
TAVARES-HARD CORE POETRY.
TAVARES-HARD CORE POETRY.
Most groups have just one lead singer, two if they’re really lucky. Not many groups however, have five lead singers. Tavares did. Ralph, Pooch, Chubby, Butch and Tiny each took turns of delivering the lead vocal on each of their albums, including Hard Core Poetry, their 1975 sophomore album, album which was recently released by SoulMusic Records. Released in 1975, Hard Core Poetry marked a change in Tavares’ fortunes.
By 1974, when Tavares released their debut album Check It Out, on Capitol Records, they were already musical veterans. Founded in 1959, they enjoyed a degree of success around New Bedford, Massachusetts. They were making a living, but weren’t known outside of New Bedford. That would change in the early seventies. Capitol Records were looking to strengthen their roster of R&B artists. The man given the job of doing this, was Brian Panella, a friend of the Tavares’ brothers. He suggested Tavares should be signed to Capitol. After all, Tavares were a group with potential. This would soon pay off.
Johnny Bristol was given the job of producing Tavares’ 1974 debut album, Check It Out. It stalled at number 160 in the US Billboard 200, but reached number twenty in the US R&B Charts. Of the two singles released from Check It Out, the title-track reached number thirty-five in the US Billboard 100 and number five in the US R&B Charts. That’s The Sound That Lonely Makes stalled at number seventy in the US Billboard 100, but reached number ten in the US R&B Charts. While Check It Out had been relatively successful, Capitol Records decided a change of producer was needed. This would lead to a change in Tavares’ fortunes
For their sophomore album Hard Core Poetry, Capitol Records hooked up Tavares with the experienced and talented songwriting and production team of Dennis Lambert and Brian Potter. They’d just enjoyed commercial success with The Four Tops, who’d just moved from Motown to ABC Dunhill Records. Their next project was turning the raw potential of Tavares into a polished product, one who’d enjoy commercial successful and critical acclaim.
Although Dennis Lambert and Brian Potter cowrote eight of the nine tracks on Hard Core Poetry, one track that really excited them, was She’s Gone. This was a cover of Daryl Hall and John Oates song, which featured on their album Abandoned Luncheonette. On its release as a single by Hall and Oates, it stalled at number sixty in the US Billboard 100 Charts. Dennis and Brian, realizing if the song was slowed down and the smoother edges taken off, could work. So, She’s Gone plus the other eight tracks that Dennis and Brian cowrote, would become Hard Core Poetry, which was recorded at Sound Labs, Los Angeles.
Dennis and Brian brought in some of the best session musicians of the seventies, to record Hard Core Poetry, at Sound Labs. They realized that it was false economy working with anything less that the best. The rhythm section included drummer Ed Greene, bassists Wilton Felder and Scott Edwards plus guitarists Larry Carlton, Dean Parks and Ben Benay. Michael Omartian and Dennis played keboards, while Gary Coleman and Brian contribued percussion. Strings came courtesy of Sid Sharp and The Boogie Symphony. Once Hard Core Poetry was recorded, it was released in September 1974.
The first single released from Hard Core Poetry, was Too Late, in 1974. It reached number fifty-nine in the US Billboard 100 and number ten in the US R&B Charts. She’s Gone was the next single. Released in 1975, it stalled at number fifty in the US Billboard 100, but reached number one in the US R&B Charts. This transformed the Tavares’ fortunes. After sixteen years together, they’d their first number one single, albeit a number US R&B single. Hard Core Poetry sold better than Check It Out, reaching number 121 in the US Billboard 200 and number eleven in the US R&B Charts. Remember What I Told You To Forget, which had been recorded by The Four Tops, was chosen as the final single from Hard Core Poetry. Reaching number twenty-five in the US Billboard 100, number four in the US R&B Charts and number thirteen in the US Disco Charts. This completed the transformation in Tavares’ fortunes, which began with Hard Core Poetry, which I’ll tell you about.
Someone To Go Home To, opens Hard Core Poetry, Tavares’ sophomore album. Literally bursting into life, stabs of piano, drive the arrangement along. Keyboards, dancing strings and rhythm section create a dramatic backdrop for the lead vocal. Delivered with emotion, the lyrics are about the strain of everyday life. It’s made worthwhile by having someone at home who loves you. Delivered with sincerity and feeling, the lead changes hands. Heartfelt, sweeping harmonies, driving guitars and swathes of strings join pounding drums provide the backdrop, for truly heartfelt delivery of some beautiful lyrics.
She’s Gone is instantly recognizable as it unfolds. Percussion, hissing hi-hats, keyboards and meandering bass accompany searing, Isley-esque guitars, which seem out of place. They’re joined by cooing harmonies, before the dual lead vocals feed-off each other. They drive each other to greater heights of emotion, drama and passion. Meanwhile, the rest of Tavares add tight, soulful harmonies. Strings sweep and swirl, adding to the drama and effectiveness of the reinvention of a familiar song. Good as this cover version is, Hall and Oates would recorded the definitive version of this song.
Straight away, you realise My Ship is something special. Driven along by a piano and galloping rhythm section, this dramatic, soulful song grabs your attention. They set the scene for vocal that’s a mixture of power and joy. Soon, this joy turns to hurt and pain. Tight, sweeping, harmonies and swathes of wistful strings accompany the lead vocal, on a track that’s been influenced by Philly Soul. Meanwhile the rhythm section provide the dramatic heartbeat, to what is, one of the best verses of Hard Core Poetry.
Leave It Up To The Lady is another track that’s been inspired by Philly Soul. Indeed, from the get-go, there’s a real Thom Bell sound to the arrangement. Guitars, piano and rhythm section provide a slow, almost understated backdrop for the lead vocal. That’s no bad thing, it’s impassioned and delivered with sincerity. Cascading harmonies and lush strings join the ever-present piano and guitar. Punchy, deliberate, harmonies provide the perfect accompaniment for the lead vocal that’s filled with contentment and gratitude, that comes from being in love.
Just a Hammond organ and rhythm section open To Love You, before a needy, half-spoken female vocal enters. It’s replaced by a vocal that’s heartfelt, but troubled. The root of this turmoil is that, he wants to tell her: “he wants to be free.” He didn’t mean to fall in love, but did. Harmonies veer between tight to cascading. They’re soulful, filled with emotion, adding to the drama. So do the searing guitars and keyboards, as Tavares at their soulful best, deliver one of the saddest, but soulful songs on Hardcore Poetry.
You sense Too Late is just about to explode into life. You’re not disappointed. Keyboards, percussion and punchy harmonies and hissing harmonies join guitars that again, are Isley-esque. Soon, strings are dancing and the rhythm section provide the heartbeat as the vocal enters and a delicious dance-track unfolds. Strings dance, bursts of harmonies and a sprinkling of percussion and poppy hooks join stabs of keyboards. Meanwhile, Tavares demonstrate, that whether it’s ballads or dance-floor friendly tracks, they’re equally at home.
Remember What I Told You To Forget is another piano lead ballad. Written by Dennis Lambert and Brian Potter, it’s perfect for Tavares. It plays to their strengths. The tempo is slow, with the combination of strings and piano adding a sense of melancholia. Drums slowly, and emotively, provide the backdrop for Chubby’s vocal. It’s filled with loneliness sadness. Cooing harmonies accompany him, as he pleads, laying bare his soul, asking for forgiveness and to come home, to the woman he loves.
What You Don’t Know is another uptempo track, one with a fuller, dramatic arrangement. From the opening bars, keyboards and rhythm section join with punchy harmonies. Then comes a strutting, powerful vocal. Strings sweep and swirl, while the rhythm section drive the arrangement along. Elements of funk, soul, rock and disco combine as the track heads towards its dramatic ending.
Closing Hard Core Poetry is the title-track. There’s a drop in the tempo, with just keyboards and percussion combining as Butch’s falsetto enters. Like so much soul music released during the early seventies, the song looks at the social issues of the time. Here, it does this from another angle, asking people to look at themselves before judging others. An understated rhythm section provide this ballad’s heartbeat as the lead vocal changes hands. Lush strings, weeping guitars and tender, wistful harmonies combine, on a track that again, is reminiscent of Thom Bell’s work with The Stylistics and Delfonics. That’s no bad thing, because it allows Tavares to showcase their vocal prowess and harmonic talents, on a song with some intelligent, thoughtful lyrics.
Capitol Records decision to change producer for Tavares sophomore album was vindicated. While Johnny Bristol gave Tavares a modicum of success, Dennis Lambert and Brian Potter took Tavares into the major league. Together, they cowrote eight of the nine tracks on Hard Core Poetry. They also spotted the potential in She’s Gone, which gave Tavares a number one US R&B single. What Dennis and Brian also did, was give Tavares smoother sound. The rawness of their debut album disappeared. Hard Core Poetry was a much more accomplished and polished album. It seemed the lead vocals and harmonies were tighter and much more soulful. As for the use of dual vocalists on some tracks, this brought the lyrics to life, inspiring the other vocalist to greater heights of soulfulness.
As for Dennis Lambert and Brian Potter’s production style, they’ve been influenced by several people. The first influence is Philly Soul, in particular, Thom Bell. This is apparent on several tracks, including My Ship, Leave It Up To The Lady and Hard Core Poetry. Not only is this apparent from the arrangement, but the harmonies. Given the success Thom Bell was enjoying, it’s no surprise other producers were inspired by his work. Another inspiration for Dennis and Brian, was The Isley Brothers. This is obvious on several tracks, with the Isley-esque guitars on She’s Gone and Too Late. On these tracks, the guitars sound as if they belong on an Isley Brothers’ album. Again, The Isley Brothers were enjoying the most successful period of their career, so other musicians and producers would pay homage to them, directly, or indirectly. Sometimes, this works, sometimes not.
Having transformed Tavares’ fortunes in the space of just one album, Dennis Lambert and Brian Potter only worked with Tavares for one more album, 1975s In The City. It reached number twenty-six in the US Billboard 200 and number eight in the US R&B Charts. Featuring another number one US R&B sings, In The City was Tavares most successful album. In The City marked the end of an era for Tavares. After that, their music headed in the direction of disco. That’s a great shame, and proved to a missed opportunity for Tavares.
Nobody can blame Tavares for jumping on the disco bandwagon. Every other group was doing this. However, Tavares, could’ve been one of the best, and most successful soul groups of the seventies. That wasn’t to be the case. While they enjoyed some commercial success, they never enjoyed the commercial success and critical acclaim their talent deserved. We can only wonder what would’ve happened if the partnership between Tavares and Dennis Lambert and Brian Potter had lasted longer? Would Tavares have become one of the most successful and feted soul groups of the seventies? If Tavares had continued to release albums like Hard Core Poetry, which was recently released by SoulMusic Records, that might could’ve been the case. Standout Tracks: My Ship, Leave It Up To The Lady, To Love You and Remember What I Told You To Forget.
TAVARES-HARD CORE POETRY.
BAKER, HARRIS, YOUNG-B-H-Y.
BAKER, HARRIS, YOUNG-B-H-Y.
By 1979 Ron Baker, Norman Harris and Earl Young were still the hardest working and most in-demand rhythm section in music. They were currently part of The Salsoul Orchestra and accompanying artists like the undisputed Queen of Disco, Loleatta Holloway, First Choice and Double Exposure. They’d done everything, from writing, arranging and producing artists. Norman Harris was even running his own record company Gold Mind Records, a subsidiary of Salsoul Records. Sadly, Gold Mind Records was in trouble, and soon, would become part of Salsoul. However, although the greatest rhythm section in music had done pretty much everything in music, the only thing they still had to do was release an album. This was soon to change, when Baker, Harris, Young released their debut album B-H-Y in 1979.
Change was also on the agenda at Salsoul, with the label changing since 1978. The changes at Salsoul were in many people’s opinion, not necessary for the best. Whereas previously, musicians like Norman Harris had produced albums, the Cayres had decided to allow DJs to not just to remix individual tracks, but whole albums. Remixers were even producing albums, some of whom were non-musicians.This divided opinion even within Salsoul. Norman Harris and Vince Montana Jr, who in 1978 had split from Salsoul weren’t convinced by the merits of the remixer. Even Baker, Harris, Young’s debut album B-H-Y would feature four tracks that had been remixed by DJ Bobby Guttadaro. Would these remixed tracks help make B-H-Y which was recently released by BBR Records a commercial success?
When Ron Baker, Norman Harris and Earl Young set about recording B-H-Y, they been making music together since the sixties. They’d worked with some of the biggest artists and producers. From playing on Thom Bell’s productions of The Delfonics, The Stylistics and Detroit Spinners, Baker, Harris, Young then went to work with two other legendary Philadelphia producers Gamble and Huff. As part of M.F.S.B., Baker, Harris, Young played on some of Philadelphia International Records’ most critically acclaimed and commercially successful albums. This included Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Ship Ahoy and Family Reunion, Harold Melvin and The Blue Notes’ I Miss You, Black and Blue and Wake Up Everybody and The Three Degrees’ The Three Degrees and International. Then in 1975, after a dispute with Gamble and Huff over money, many of M.F.S.B. left Philadelphia International, heading less than one-hundred miles away to New York, where they became part of The Salsoul Orchestra.
At Salsoul, Baker, Harris, Young flourished and were just as busy, if not busier. By 1979, they’d played on just about everything Salsoul released. Indeed, Baker, Harris, Young played on Salsoul’s greatest albums, including albums by The Salsoul Orchestra, Loleatta Holloway, First Choice, Double Exposure Carol Williams and Chora. On many of these albums, many of the personnel that appear on B-H-Y. These were some of Baker, Harris, Young’s Philly based friends, that among their number included singers, songwriters, arrangers and producers. They would all play their part in B-H-Y.
For B-H-Y Ron Baker wrote one track, Come As You Are, while Norman Harris cowrote two tracks with Eugene Curry. They were Handle Me With Love and Care and Take My Body Now. Earl Young cowrote three tracks with Bruce Gray, We Funk the Best, Marathon Dance and I Just Wanna Funk (With You). Together with Bruce Grey and Doug Getschal’s Touch Me While I Touch You and Brian Evans, these eight tracks comprised B-H-Y. Recording would take place in the familiar surroundings of Sigma Sound Studios.
Accompanying Baker, Harris, Young at Sigma Sound Studios were bassist Jimmy Williams and guitarists Ronnie “the Hawk” James, Bobby “electronic” Eli, Harold Wade, Brian Evans and T.J. Tindall. Adding The Salsoul Orchestra’s percussive sound were Larry Washington and Bobby Conga on congas, while Carlton “Cotton” Kent played keyboards and Eugene “Lambchop” Curry synths. Don Renaldo and His Strings and Horns were key to the “Salsoul” sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, plus Ron Tyson. Taking charge of lead vocals would be Ron Tyson and Bruce Grey. The eight tracks on B-H-Y were produced by Baker, Harris, Young, with George Bussey, Bruce Grey and Leon Mitchell helping out with arranging duties. Once the eight tracks were recorded, B-H-Y was set for release in 1979.
Before B-H-Y was released in August 1979, Come As You Are was released in July 1979. The timing couldn’t have been worse. As of 12th July 1979, disco sucked. The Disco Sucks backlash hit. Anything vaguely disco related was affected. This included Come As You Are, which failed to chart. Things didn’t look good for B-H-Y, when it was released in August 1979. Sadly, it wasn’t the commercial success it had been hoped for. B-H-Y failed to chart. One small crumb of comfort was that We Funk the Best gave Baker, Harris, Young a minor chart hit. Released in October 1979, We Funk The Best only reached number eighty-six in the US R&B Charts. It seemed like B-H-Y had been released a year too late, with disco’s popularity on the wane. However, is Baker, Harris, Young’s debut album B-H-Y another of Salsoul’s hidden gems? That’s what I’ll tell you, after I’ve told you about the music on B-H-Y.
Opening Baker, Harris, Young’s debut album B-H-Y is the lead single Come As You Are. Written by Ron Baker and arranged by Ron Baker, Earl’s thunderous drums power the arrangement along while Norman adds some jazz-tinged guitar licks. Then, with a flourish of keyboards the track reveals its secrets. A piano, tender harmonies from the Sweethearts of Sigma enter and Baker, Harris, Young unleash a funky juggernaut. Don Renaldo’s strings and horns sweep and blaze, while Earl’s drums are matched by Ron’s bass. The Sweethearts of Sigma add their joyous, tight harmonies as a jazzy piano combine with Baker, Harris, Young’s funky rhythm section. Although they’re the star of the album, Baker, Harris, Young don’t mind letting the rest of the band take their turn centre-stage as they produce an uplifting, joyful track where funk, soul and jazz are fused brilliantly.
Norman Harris cowrote Handle Me With Love And Care with Eugene Curry and it’s a track that explodes into life. Earl’s drums are at the heart of the arrangement, powering it along. Norman’s familiar guitar combines with the lushest of strings, punchy growling horns and cascading, gentle harmonies from the Sweethearts of Sigma. They drift in and out the track, as it reveals its secrets. A synth plays an important role, but it’s the Baker, Harris, Young section who are at the heart of the track’s sound and success, with Earl and Ron providing the track’s pulsating disco heartbeat and Norman’s inimitable jazzy guitar playing sprinkled across the arrangement. Together with Don Renaldo’s luscious strings and growling horns and the contrasting beauty of the Sweethearts of Sigma, this is quite simply a glittering hidden gem from Salsoul’s vaults.
Earl Young and Bruce Gray cowrote three tracks and We Funk The Best is the first. The sound of an FM radio station that sounds as if it’s from the planet funk can be heard as an uber-funky track unfolds. With the funkiest of arrangements so far from Baker, Harris, Young, they combine synths that add a sci-fi sound, with Don Renaldo’s horns that blaze and growl. Meanwhile, the Sweethearts of Sigma add punchy, funky harmonies as Ron Tyson adds a foxy vocal. You’re taken on a journey into planet funk, with Earl’s drums and Ron’s pounding, slap bass for company. It’s a thoroughly enjoyable journey, one you must take at least once.
Marathon Dancer the second Earl Young and Bruce Grey penned track unravels at breakneck speed. The Baker, Harris, Young rhythm section combine with chiming guitars, percussion and soulful and sweeping harmonies from the Sweethearts of Sigma. They accompany Ron Tyson’s lead vocal as one of the quickest, dance-floor friendly tracks on B-H-Y unfolds. Then during a breakdown, Earl’s drums are joined by Larry Washington’s congas as the track rebuilds. Soon, the guitars, dancing strings and rasping horns have returned, with Ron’s bass matching Earl’s drums every step of the way. Hearing Baker, Harris, Young in full flight, with some of Philly’s finest musicians is a hugely impressive sound. Especially on a track as good as this.
Touch Me While I’m Touching You sees the tempo drop, just slightly though. Guitars riff, while Earl’s pounding drums provide the track’s pulse. Gradually, the track builds with stabs keyboards, handclaps and sassy harmonies from the Sweethearts of Sigma before Bruce Grey’s punchy lead vocal enters. Soon, his vocal becomes heartfelt and powerful and he’s accompanied by the Sweethearts of Sigma who add soaring harmonies. Don Renaldo’s strings sweep and swirl, while horns growl and rasp. Bruce’s vocal becomes a powerful vamp, as stabs of synths and flourishes of strings accompany him. Everything falls into place and a hugely catchy, dance-floor friendly track that’s soulful and certainly not short of hooks.
Take My Body Now was the other Norman Harris and Eugene Curry penned track. It’s a track with “Made In Philadelphia” stamped all over it. This is the case from the opening bars. Ron Baker’s pounding, funky bass and Don Renaldo’s growling horns and lush strings are accompanied by impassioned harmonies from the Sweethearts of Sigma. Their tender harmonies are contrasted by Ron Tyson’s powerful, confident vocal. All the time, Baker, Harris, Young show why they were the greatest rhythm section of the seventies, as they lay down the track’s heartbeat. Ron’s bass playing is some of the best on B-H-Y and unites with Earl’s drums. Later, not to by outdone, Norman’s jazz-tinged guitar toys with the strings that cascade, dancing, as if in appreciation at the beauty of the Sweethearts of Sigma’s heartfelt harmonies. Together, Baker, Harris, Young and some of Philly’s finest musicians and Sweethearts of Sigma produce a track that’s dramatic, soulful and beautiful in equal measures.
I Just Want To Funk (With You) is the third of the Earl Young and Bruce Gray penned track, which they also arranged. There’s almost a P-Funk sound to the arrangement, with the Baker, Harris, Young rhythm section responsible for the funk-laden beat. Earl’s thunderous drums, Ron’s slapped uber-funky bass and chiming guitar combine with blazing, braying horns as percussion and searing, riffing guitars combine. Meanwhile George Bussey’s vocal is a tough, sassy, growl, while the Sweethearts of Sigma add breathy, sassy harmonies as the toughest, funkiest track on B-H-Y reveals its glorious secrets.
Closing B-H-Y is Opus BHY where Baker, Harris, Young combine as the track begins. Norman’s chiming guitar, sweeping, swirling strings, rasping, growling horns combine and are joined by joyous harmonies from the Sweethearts of Sigma. As the track progresses, the arrangement grows in boldness and drama. Searing, sizzling guitars, bursts of braying horns, dancing strings and percussion all join the mix. In fact, everything that made Salsoul great is combined as soul, funk, jazz and disco are fused seamlessly. Sometimes, the track heads in the direction of jazz, before soulful harmonies and then a funky rhythm and horn section change things around. Then, all too soon, the after less than five majestic minutes, the track and B-H-Y is over, leaving just magical memories of some great music from three legends of music, Baker, Harris, Young.
Although B-H-Y wasn’t the commercial success it deserved to be, it’s one of these hidden gems in Salsoul Records’ back-catalogue that’s waiting to be unearthed. It joins albums like Carol Williams’ ‘Lectric Lady and Charo and The Salsoul Orchestra’s Cuchi Cuchi, two other glistening gems. B-H-Y allowed three legendary musicians, Ron Baker, Norman Harris and Earl Young the chance to showcase their combined talents at Salsoul. For too long, Baker, Harris, Young had been either playing on other people’s albums or writing, arranging and producing them. Granted they were able to showcase their talents on these albums, and on The Salsoul Orchestra albums. However, given how innovative, imaginative and talented Baker, Harris, Young were, this album was long overdue. Yes, they’d played together on albums by The Trammps, but nothing at Salsoul.
Unfortunately for Baker, Harris, Young, by the time B-H-Y was released, disco’s popularity was waning and indeed after August 12th 1979, disco had almost died at Comiskey Park in Chicago, at Disco Derby night. Maybe if B-H-Y had been released a year earlier, it might have been a bigger success. WIth its combination of disco, funk, Philly Soul and jazz, it showed how versatile Baker, Harris, Young were. Indeed in some songs, they seamless flit between genres, incorporating three genres within a song. If B-H-Y had been released earlier, then it could’ve been released on Norman Harris’ ailing Gold Mind Records and given the label a boost. Sadly, by 1979, Gold Mind was almost insolvent and had to be incorporated into Salsoul. All Norman’s work and effort was in vein, and he was left with nothing to show for it. So, with his two longtime friends Ron Baker and Earl Young, Norman Harris headed to the familiar surroundings of Sigma Sound Studios, with some of his Philly-based musical friends and the result was B-H-Y.
Sadly, there was no followup to B-H-Y which was recently rereleased by BBR Records. It’s the only album Baker, Harris, Young ever recorded for Salsoul or any other label. It’s a fitting memory to soul, funk and disco’s greatest rhythm section. Tragically, Norman Harris died in 1987, aged just forty and Ron Baker died in 1990, aged just forty-three. Both of hugely talented men died way too young, but left an everlasting legacy that is their music, including some of the best music of the Philly Sound and also the disco era. Of Baker, Harris, Young, only Earl Young is left, a true musical giant and the man who single-handedly invented the disco beat and with Ron Baker and Norman Harris created some of the greatest music of the disco era, on disco’s greatest label Salsoul. Standout Tracks: Come As You Are, Handle Me With Love and Care, Marathon Dancer and Take My Body Now.
BAKER, HARRIS, YOUNG-B-H-Y.
IRMA THOMAS-IN BETWEEN TEARS.
IRMA THOMAS-IN BETWEEN TEARS.
There’s not many artists whose career spans six decades. Irma Thomas’ does. The Soul Queen of New Orleans released her debut single (You Can Have My Husband But) Don’t Mess With My Man on the Ron label in 1960. Since then, Irma has recorded for some of the best know soul labels, including Minit, Chess and Imperial. She was a contemporary of artists like Gladys Knight, Aretha Franklin and Dionne Warwick. Unlike her contemporaries, Irma never found the mainstream success they enjoyed. Sadly, her longevity didn’t translate into commercial success, but Irma Thomas is a hugely respected artist who has released over a dozen albums and over thirty singles. One of these albums was Irma’s third album In Between Tears, released in 1973 on the Fungus record label. This album was recently rereleased by Alive Records.
In Between Tears was Irma’s first album in four, long years. After a hurricane reeked havoc Irma’s beloved New Orleans in 1969, she had to move Los Angeles. Once there, her musical career was put on hold, with Irma working in the retail sector. That was until 1973, when Irma released the single She’ll Never Be Your Wife on the Fungus label. Her comeback was complete when she entered the studio with producer Swamp Dogg to record In Between Tears.
For In Between Tears, Swamp Dogg wrote all but one of the tracks. He also put together a tight and talented band. The rhythm section included bassist Robert Popwell, drummer Squirm and guitarist Duane Alman and Jesse Carr. Swamp Dogg played piano, Paul Hornsby organ and The Swamp Dogg Band supplied the strings. In total, seven tracks were recorded. They became In Between Tears.
When In Between Tears was released in 1973, it wasn’t a commercial success. Irma Thomas’ comeback wasn’t a successful one. However, like so many albums that aren’t a commercial success on their release, they’re only appreciated years later. That was the case the In Between Tears. Back in 1973, people were wondering why In Between Tears hadn’t been a bigger commercial success. Had Irma’s absence from the music industry affected her music, or was it the change in style and sound on Between Tears? After all, Swamp Dogg has his unique production style, one that wasn’t necessary suited to Irma Thomas.
In Between Tears opens with the title-track. It was written by Swamp Dogg and Doris Troy. Chiming guitars, rhythm section and piano accompany Irma. The tempo is quick, the sound full and Irma’s voice world weary, but strong. She’s backed by sweet, tight, female backing harmonies, a meandering bass and sweeping strings. They add a sense of sadness, while a piano and weeping guitar compliment their sound. Meanwhile, Irma gets across the sense of anger, sadness and betrayal in the lyrics, about a woman whose husband has left her. Soon, she makes the song her own. It’s as if she’s never been away from music. She sings the lyrics as if she’s lived them a thousand times, and combined with Swamp Dogg’s faster and fuller arrangement, made all the better by the addition of female backing vocalists, it’s the perfect track to open the album.
She’ll Never Be Your Wife ,was Irma’s comeback single, after a year year absence from music. A piano, swirling strings and the rhythm section combine, before Irma’s vocal enters. Her voice has a deep, husky sound, perfect for the heartache and pain in the song. The tempo is slower, the sound laden with emotion. Swathes of sweeping strings a wailing Hammond organ provide the backdrop to Swamp Dogg’s song about betrayal and a relationship breaking up. Mixing emotion, anger and defiance, you can imagine Irma refusing to sign the divorce papers, telling her man, she’ll never be his wife. Irma vocal is full of anger and bitterness at this betrayal, singing it like she’s lived it, you share her pain and hurt.
A dramatic combination of reverberating guitars, wistful strings, stabs of growling horns and the rhythm section that accompany Irma on These Four Walls. Her voice is strong and joyous, that’s she’s living with the man she loves. That’s despite him still being married, with a family to feed. Some day, whether in hope or belief, she says, they’ll be together. Accompanying her are harmonies, whose voices soar soulfully in unison, while the arrangement is slow and dramatic. Sadly, it’s slightly spoiled by the constant reverberating guitar. It’s a sound that you quickly tire of, and takes the shine of what could’ve been a minor classic. Regardless of this, Irma delivers a vocal that’s emotive and laden with hope and desire.
What’s So Wrong With You Loving Me has a slow, spacious introduction. Chiming guitars, rhythm section and piano combining before Irma’s strong emotive vocal. Harmonies soar, as the arrangement unfolds. The arrangement veers between a slower style and then quickens, allowing both Irma and her band to get across the drama in the lyrics. They’re about two married people having an affair, and how they have to lead a double life, flitting around in pursuit of their forbidden love. During this track, Irma’s voice is a combination of power and passion, constantly questioning. Swamp Dogg’s arrangement is dramatic, using drums, piano and strings to get across the duplicity and danger this relationship is fraught with. Together with Irma’s vocal, this is a potent combination.
Very different in sound and style is You’re the Dog (I Do the Barking Myself). Blazing horns, chiming guitars, piano and driving rhythm section accompany Irma’s powerful, dynamic vocal. She sings about how she feels the roles are reversed in the relationship, how she’s keeping her man and he needs to buck his ideas up. Behind her, chiming sometimes, screaming guitars accompany the bursts of braying horns and dramatic piano while, backing vocalists accompany a now, roaring, screaming Irma, whose frustration and anger has been unleashed. It’s very different from Irma’s usual style of delivery, but allows Irma to demonstrate her versatility as a vocalist.
Coming From Behind/I Wish Someone Would Care sees another change in style. It opens with a monologue from Irma. Veering between miserable and weary, to bitter and angry, Irma’s vocal is delivered against an arrangement that’s slow, spacious and interspersed with drama. Heartbroken, Irma’s man has left her. Despite this, she knows he’ll return. This brings out the anger and bitterness in her voice. Although this works well, it maybe goes on a bit too long. Things change when I Wish Someone Would Care starts. While the tempo’s still slow, the arrangement still features chiming guitars, piano and slow rhythm section. Irma’s voice grows in power, becoming a roar, laden with emotion and sadness, as she almost pleads for somebody to care for her. Her voice sits above the understated arrangement, allowing Irma’s voice to take centre-stage. As much as I enjoyed the monologue, I much prefer Irma’s emotive, pleas on I Wish Someone Would Car. It’s a truly impassioned performance.
When Turn My World Around bursts into life, it’s immediately apparent that this track is something special. From the bursts of blazing horns, guitars and driving rhythm section that combine with Irma’s weary vocal, the tempo is quick and the sound full. At a breakneck pace, a brilliant track unfolds, with Irma lost, needing love and affection, her lover having left her. Lush strings sweep in, joining harmonies and ever-present braying horns that match the passion and energy of Irma’s emotionally charged vocal. By the end of the track, Irma and Swamp Dogg have worked their magic, creating one of In Between Tears’ highlights.
When We Won’t Be In Your Way unfolds, I hear this unwelcome addition of rocky guitars. The introduction is drama laden with wailing Hammond organ, dramatic rhythm section and soaring, screaming guitars. They give way to a brow-beaten, weary Irma, who has gathered up her kids and left her husband. Horns cut in, briefly blazing, giving way to more screaming guitars. However, although they succeed in creating a sense of the turmoil Irma’s describing, they overpower everything else. This is unfortunate as it spoils the rest of the arrangement. What’s even worse is that this song features an outstanding and hugely emotive vocal from Irma. The sad thing is that this would’ve been a great song without the screaming, rock guitars.
In Between Tears closes with I’d Do It All Over You, an uptempo track that sees Irma forget about the sadness and heartache of a failed relationship. Defiantly, she sings how she’d do it all again. There’s a sense of defiance and bravado, even vulnerability in her voice. Behind her piano, rhythm section and guitars combine with blazing horns, which provide the perfect finishing touch. Together, they create a backdrop for Irma’s now, roaring, screaming vocal, which is laden with defiance and bravado. Given the drama and emotion, this seems a fitting finale to In Between Tears.
After four years away from the recording studio, Irma Thomas had lost none of her enthusiasm, energy and talent. On In Between Tears she delivers each song with a mixture of emotions. One minute she’s heartbroken and despairing, the next, she’s feisty, full of defiance and bravado. During some songs, there’s a world weary sound to her voice, as if she’s lived a dozen lives, when in reality, she was only thirty-two. This demonstrates one of Irma’s talents, the ability to bring the story behind the lyrics to life. When she does this, she becomes a masterful storyteller. Of the nine songs on the album Swamp Dogg, aka Jerry Williams Jr. wrote of cowrote eight of them. Not only that, but he produced the album as well. With a crack band behind her, the result was an album that deserved to do so much better. Unlike many albums, this album is long on quality and short on filler.
Sadly, In Between Tears wasn’t a commercial success. That’s no refection on the music on In Between Tears. Maybe the partnership betweenThe Soul Queen of New Orleans and Swamp Dogg was doomed to failure. Swamp Dogg had his trademark production style which didn’t exactly fit with Irma’s elegant and sophisticated style. Despite this unlikely musical marriage, In Between Tears worked. It allowed Irma Thomas to step out of her comfort zone and demonstrate her versatility. As she did this, she was transformed into a master storyteller, one who sounded like she’d lived the lyrics a thousand times. Providing a dramatic backdrop was Swamp Dogg’s band. Together, they created In Between Tears, a true hidden gem in Irma Thomas’ back-catologue.
Since its original release in 1973, In Between Tears has been rereleased several times, by a variety of labels. The latest label to do this was recently released by Alive Records. They’ve rereleased In Between Tears on both CD and vinyl. This gives music fans everywhere, the opportunity to rediscover or discover, In Between Tears, one of Irma Thomas’ hidden gems. Standout Tracks: In Between Tears, She’ll Never Be Your Wife, These Four Walls and Turn My World Around.
IRMA THOMAS-IN BETWEEN TEARS.
SYREETA-SYREETA.
SYREETA-SYREETA.
Syreeta had come a long way since she first joined Motown. Back then, she was a receptionist and part-time demo singer at Motown, who had dreams of becoming a successful solo singer. Sometimes, dreams come true. They certainly did for Syreeta Wright.
Having started work as a reception at Motown in 1965, she worked part-time as a demo-singer. Quickly, Motown executives realized that Syreeta was a talented singer and songwriter. She released her debut single in 1968, the same year she met Stevie Wonder.
Four years later Syreeta released her eponymous debut album Syreeta. During the last four years, she’d married Stevie Wonder, and played a huge part in transforming his career. By 1972, Syreeta wanted to concentrate on her own career. She released Syreeta on Mowest, a Motown subsidiary. It reached number seventy-three in the US Billboard 200 and number thirty-eight in the US R&B Charts. This was the first step in Syreeta’s solo career.
For Syreeta’s sophomore album, Stevie Wonder Presents Syreeta, the album was released on Tamla. The eleven tracks were written by Syreeta and Stevie Wonder. Like her debut album Syreeta, Stevie Wonder Presents Syreeta, it didn’t contain any hit singles. Released in 1974, reached number 116 US Billboard 200 and number fifty-three in the US R&B Charts. While not as successful as her debut album, Syreeta was establishing a reputation as one of Motown’s finest female vocalists.
There was a gap of three years between Stevie Wonder Presents Syreeta and her third solo album, One To One. During that time, internal politics at Motown frustrated Syreeta. She wanted more artistic control over her music. This would allow her to explore new ideas musically. During this three year period, Syreeta had married Curtis Robertson Jr. Together, they cowrote four tracks on One To One, which was produced by, Leon Ware, who was fresh from producing Marvin Gaye’s classic album I Want You. Sadly, One To One, which was released in 1977 failed to chart. It seemed that since Syreeta’s career was at a crossroads. How much longer would Motown stand by an artist who wasn’t a commercial success?
The next three years would see Syreeta’s fortunes mixed. She released an album of duets with G.C. Cameron. It too, failed to meet Motown’s sale’s forecast. Then in late-1979, Syreeta and Billy Preston enjoyed a hit with With You I’m Born Again. It featured on the soundtrack to Fast Break, a film that wasn’t a box-office hit. Reaching number four in the US Billboard 100, With You I’m Born Again rejuvenated Syreeta’s ailing career. Motown wanting to build on the success of With You I’m Born Again, decided the time was right for Syreeta to release her fourth solo album. Entitled Syreeta, which was recently rereleased by SoulMusic Records, would Syreeta rejuvenate and indeed, rescue Syreeta’s stalling career?
Syreeta, which became Syreeta’s fourth solo album, featured eleven songs. Of these eleven tracks, Syreeta cowrote just three of them. Two of them, Syreeta cowrote with her ex-husband Stevie Wonder. They penned Blame It On The Sun and Signed, Sealed and Delivered (|’m Yours) with Lee Garrett and Lulu Lardaway. The other track Syreeta cowrote was Dance For Me Children, which she cowrote with Curtis Robertson and Sheree Brown. Other tracks were written by various songwriters and songwriting teams.
Among the other tracks on Syreeta, were Bill Withers and Skip Scarborough’s Let Me Be The One, Kenneth Peterson’s You Bring Out The Love In Me and Here’s My Love, written by Anthony Miller and Keith Echols. Disco songwriter Bob Esty, and Michelle Aller, penned Love Fire, while the songwriting team of ex-Chantel Arlene Smith, George Goldner and Richard Barrett contributed Here’s My Love. The other two tracks were duets with Billy Preston.
After the success of With You I’m Born Again, Billy Preston and Syreeta joined forces on Jerry Peters’ One More Time For Love and Please Stay, penned by Carol Connors and David Shire. These tracks, plus the other nine tracks, were recorded at various studios.
To record Syreeta, four studios and four producers were used. Eleven tracks were recorded at Studio 55, Kendun Recorders, NSP Studio and Motown/Hitsville USA Studios. Accompanying Syreetaa were some of the top session musicians. This included, a rhythm section of drummer Michael Baird, bassist Freddie Washington and guitarist Ray Parker Jr. They were joined percussionist Paulinho DaCoasta, keyboardists Greg Mathieson and Billy Preston on piano, organ, clavinet, Fender Rhodes and backing vocals. Among the backing vocalists came courtesy of Sheree Brown, Terry Young, Gwen Mathews, Oma Drake and Monalisa Young. Once the eleven songs were recorded, Syreeta was released in 1980. Could Syreeta be about to make a comeback?
On its release in 1980, Syreeta reached number seventy-three in the US Billboard 200. While Syreeta wasn’t a huge commercial success, it was Syreeta’s most successful album since her 1972 debut album. The lead single, One More Time For Love gave Syreeta a minor hit, reaching just number seventy-two in the US R&B Charts. When Please Stay, a duet with Billy Preston, was released as a single, it failed to chart. At least Syreeta’s career had been rejuvenated. She’d been at a musical crossroads, but took the right turn. Syreeta, it seemed, was back. Why was Syreeta a commercial success? That’s what I’ll tell you, once I’ve told you about the music on Syreeta.
Opening Syreeta is a cover of Blame It On The Sun. Stevie wonder recorded the original on 1972s Talking Book. Some people might say it’s the definitive version. Syreeta seems in a no-win situation. How do you surpass a supposed classic? The arrangement has a languid, melancholy sound. That’s perfect for Syreeta’s emotive, tender vocal. Filled with hurt and sadness, her vocal grows in power and emotion. Just a deliberate rhythm section, guitars and keyboards accompany Syreeta. Gradually, she unleashes a vocal that’s dripping with emotion. Rueful and tinged with regret, Syreeta brings new life, meaning and a sense of melancholia to the track. So good is her version, that I much prefer it to the original.
An understated combination of weeping guitars, percussion and rhythm section open Let Me Be The One. A slow, subtle and spacious arrangement unfolds, allowing Syreeta’s vocal to take centre-stage. That’s where it belongs. Her heartfelt delivery is accompanied by harmonies. They reply to her call, matching her for passion and sincerity. Meanwhile, strings sweep in, as this slick, multilayered arrangement grows in power and drama, providing the perfect accompaniment to Syreeta’s needy, pleading vocal.
You Bring Out The Love In Me sees Syreeta’s all-star band break out the funk. The rhythm section provide the pulsating heartbeat. They’re joined bt a clavinet, Fender Rhodes and wah-wah guitars, as the track heads in the direction of P-funk. As for Syreeta, she seems to enjoy the change in style. Spurred on, she almost struts her way through the song, her vocal sassy and feisty, matched all the way by urgent, soaring harmonies.
Please Stay is the first of two duets with Billy Preston. Against a subtle keyboards, Syreeta’s tender, heartfelt vocal gives way to Billy’s. It’s equally tender and sincere. As the arrangement unfolds, lush, but wistful strings sweep in and the rhythm section provide the heartbeat. Midway through the song Syreeta and Billy’s vocals grow in power. They’re well matched, and drive each other to greater heights, as the track heads towards its dramatic and emotive crescendo, which for some people, may be somewhat overblown.
He’s Gone has a real retro sound. It sounds as if it should’ve been recorded in the early sixties, by The Crystals or Chantels. No wonder. It was co-written by ex-Chantel Arlene Smith. Punchy, doo-wop style harmonies accompany Syreeta while her band roll back years. They get in on the act, sounding as if they’re accompanying a sixties girl-group. The rhythm section provide the heartbeat, and are joined by searing guitars, as Syreeta delivers a vocal that’s a glorious reminder of what music used to sound like.
Prolific disco songwriter Bob Esty joined Michelle Aller to write Love Fire. It bursts into life. Flourishes of strings are joined by a thunderous rhythm section, percussion and cooing harmonies. When Syreeta enters, she’s donned the guise of disco diva, albeit a year too late. Demonstrating her versatility, she struts her way through the track. Strings dance, harmonies sweep in and the rhythm section keep things funky. Vamping her way through the track, Syreeta plays a starring role in this hook-laden, dance-floor friendly track.
From the opening bars of Here’s My Love, Syreeta’s vocal is reminiscent of Minnie Riperton. Produced by Jerry Peters, percussion, tender, sweeping harmonies, lush strings and weeping guitars accompany Syreeta. A deliberate piano and the rhythm section are crucial the slow tempo, as Syreeta delivers a needy vocal that longs for love.
Signed, Sealed, Delivered (I’m Yours) is rejuvenated by Syreeta. This is very different to the original. The song is totally reinvented. It has funky, soulful, celebratory sound. Keyboards, blazing horns and a funky rhythm section combine to create a funky backdrop. They’re joined by Syreeta, who feeds off her backing vocalists. Together, they transform the song into a joyous, celebratory song, that breathes new life into an old song.
Dance For Me Children is another uptempo, funky track. The rhythm section provide the heartbeat, while stabs of keyboards and horns are joined by percussion and chiming guitars. As for Syreeta, her vocal dances above the arrangement, encouraged along by the soulful, swinging strains of her backing singers. The result is a catchy, swinging fusion of soul and funk.
Closing Syreeta is One More Time For Love (Reprise). Just under a minute long, it’s a pensive, thoughtful song, where Syreeta, accompanied by a piano asks, “what’s it all about.” That’s a good question. This song poses many questions, but doesn’t provide any answers.
Before Syreeta released her fourth solo album Syreeta, her career was at a crossroads. If Syreeta hadn’t been a commercial success, who knows what might have happened? Maybe Motown would’ve cut their losses, and dropped Syreeta. That didn’t happen. Instead, Syreeta reached number seventy-three in the US Billboard 200. This was her most successful album since her 1972 debut album, also entitled Syreeta. What made Syreeta a commercial success, and an album that’s aged well, is the production and choice of songs.
Rather than use just one producer, four different producers worked on Syreeta. Jerry Peters, produced eight tracks, Hal Davis two and Billy Preston and David Shire produced Please Stay. While each producer had their own style, this combination of different styles worked. Taken together, they produced a fluid album where surprises aplenty were in store for the listener. Veering from ballads to dance-tracks, one minute the music was funky, the next it was soulful. Sometimes, it was funky and soulful. There’s even the disco of Love Fire, and a nod towards sixties girl groups, complete with doo-wop harmonies. One thing Syreeta always is, is entertaining. New tracks are introduced to the listener, as seamlessly Syreeta, demonstrating her versatility, moves between musical genres. Then on Blame It One The Sun and Signed, Sealed, Delivered (I’m Yours) she reinvents two tracks originally recorded by Stevie Wonder. Signed, Sealed, Delivered (I’m Yours) is rejuvenated, transformed into a celebratory, joyous track. Then there’s a cover of Bill Withers and Skip Scarborough’s Let Me Be The One. It featured on Bill’s 1977 album Menagerie. Again, it’s reinvented by Syreeta and her all-star band. Another thing that was reinvented was Syreeta herself.
Syreeta which was recently rereleased by SoulMusic Records, has a much more polished, poppy sound than previous albums. It was as if the album had been designed to appeal to a much wider audience. Soul, funk, disco, doo-wop and pop, it was all on Syreeta. Eclectic describes the music on Syreeta. So does accomplished and slick. Syreeta whose career had been at a crossroads, proved that she was still one of Motown’s finest female vocalists. While her career had stalled after her sophomore album Stevie Wonder Presents Syreeta, Syreeta was back, back with what was the finest album of her career Syreeta. Standout Tracks: Let Me Be The One, He’s Gone, Love Fire and Here’s My Love.
SYREETA-SYREETA.
NONA HENDRYX-NONA.
NONA HENDRYX-NONA.
Six years after the release of her debut album Nona Hendryx, Nona decided the time was right to return to the recording studio. Much had changed since 1977, when Nona last released an album. Disco which had been at the height of its popularity back then, had almost died in 1979. After that, music changed. It always did, and always would. Staying still wasn’t an option. In many ways it was not unlike Darwinian evolution. For Nona, her music would have to evolve to stay relevant. If not, she’d cease to be musically relevant. Many artists who refused to changed suffered this fate. Not Nona Hendryx. She wasn’t the type of artist to rest on her laurels. Instead, she was determined to push musical boundaries on Nona, which will be rereleased on 16th July 2013 by Funkytowngrooves.
Nona was Nona’s second album since leaving Labelle, an all-girl group which featured Patti La Belle, Sarah Dash and Nona. By 1976, amid musical and personal tensions, the Labelle decided to split-up. At the heart of their disagreements, was the future direction of the group, who’d released albums ranging from rock, soul, funk and R&B. Their most successful single was 1974s Lady Marmlade, which reached number one in the US Billboard 100 and US R&B Charts. This was from their 1974 platinum selling album Nightbirds, which reached number seven in the US Billboard 200 and number four in the US R&B Charts. That was all in the past. In 1976, Labelle went their separate ways, with each member embarking on a solo career.
First stop, for Nona Hendryx, when she left Labelle, was Epic Records. Having signed a recording contract, Nona started work on her debut album Nona Hendryx. On its release in 1977, Nona Hendryx was well received by critics, but wasn’t a commercial success. Most people expected Nona to start work on her sophomore album. That wasn’t the case. Instead, there was a gap of six years before Nona’s sophomore album was released. By then, Nona was an experienced singer, who’d enjoyed a long musical career, which I’ll tell you about.
When Nona left Labelle, it would be the first time she’d ever recorded an album as a solo artist. Previously, she’d always been part of a group, starting out with a short lived spell as a member of Del-Capris. After this, Nona aged just seventeen, became a lead singer of The Ordettes in 1961. The Ordettes featured Patti La Belle, Sarah Dash and Nona. Later, in 1962, a fourth member would join the group, Cindy Birdsong. After their debut single I Sold My Heart To the Junkman became a hit in 1962, the group changed their name to Patti La Belle and The Bluebelles. Then in 1967, disaster struck for the group, when Cindy decided to join The Supremes. This happened to coincide with a change in musical tastes. Suddenly, girl groups like The Chantels, The Supremes and Patti La Belle and The Bluebelles weren’t so popular. Deciding that a move to England might rejuvenate their career, Patti La Belle and The Bluebelles moved to England in 1971, where they’d gained a cult following.
Now based in England, Vicki Wickham set about changing the group’s image. This lead to a new name Labelle. Patti La Belle was resistant to the change of name, image and sound, but eventually, agreed. This would prove to be a wise move for Labelle. Between 1971 and 1976, they released six solo albums, plus 1971s Gonna Take A Miracle with Laura Nyro. Only 1973s Pressure Cooker failed to chart in the US R&B Charts, with the other albums all proving successful. Most successful was 1974s Nightbirds, which featured their number one single, Lady Marmalade. It reached number seven in the US Billboard 200 and number four in the US R&B Charts. However, just two years after this, Labelle split, amid tensions and recriminations. Now, Nona was now a solo artist, it was her chance to take centre-stage.
Although Nona Hendryx released her debut album Nona Hendryx in 1977, it would be another six years until she released the follow-up Nona. Nona’s debut album hadn’t been a commercial success, resulting in Epic dropping her from the label. After this, Nona recorded four singles for London based label Arista. Then Nona put her solo career on hold temporarily. This turned out to be six years.
Next stop for Nona, was singing backing vocals for Talking Heads, and touring with them. Nona’s also worked with Dusty Springfield, during her 1978 comeback. Nona wrote Checkmate, from Dusty’s It Begins Again album. It was during this period that Nona became lead singer with Zero Cool and with experimental funk group Material, who had a huge club hit with Busting Out. Two further club hits would follow for Nona, with a remake of The Supremes Love Is Like An Itching Heart. Her second club hit was when Nona sung lead vocal on The Cage’s Do What You Wanna Do. All this success must have played its part in Nona receiving a new recording contract with RCA. Six years after her debut solo album was released, Nona would record her second album. She hoped that it would fare much better than Nona Hendryx did in 1977.
For recording of Nona, Nona would assemble an all-star cast of musicians. This included a rhythm section of drummers Trevor Gale and Sly Dunbar and bassist Trevor Gale. They were joined by percussionist Daryl Burgee, pianist Valerie Simpson. Guest artists were even drafted in to play on just one track. Among them, were Niles Rodgers playing guitar on Keep It Confidential, and Laurie Anderson playing violin on Design For the Living. Nona featured some of the best musicians in America, and beyond. Not only did Nona played synths on Nona, but she co-produced Nona with Material, with whom Nona had collaborated with. In total, eight tracks were recorded, which would become Nona, an album that combined electro, synth pop, disco and rock.
On the release of Nona in 1983, it’s much more modern dance sound fared better than her debut album. It reached number eighty three in the US Billboard 200 and number twenty-five US R&B Charts. Critics also liked the album, believing that Nona’s second album was much more in keeping with the music of 1983. Two of the tracks from the album gave Nona chart success. Keep It Confidential gave Nona a minor R&B hit, reaching number ninety-one in the US Billboard 100, number twenty-two in the US R&B Charts and number twenty-five in the US Club Charts. B-Boys was remixed and became a huge success in clubs, reaching number twenty-five in the US Club charts. Overall, Nona Hendryx’s second album Nona, had proved to be the success that her talent warranted. However, what does the music on Nona sound like? That’s what I’ll now tell you.
Opening Nona is B-Boys, one of the two singles released from the album. Daryl Burgee play percussion and Kashif of BT Express plays keyboards alongside Raymond Jones. A beefy, bass line, keyboards and guitars combine before Nona’s sassy vocal enters. Accompanying her vocal is percussion, stabs of keyboards and the rhythm section, while backing vocalists augment Nona’s powerful, confident vocal. Funky and dance-floor friendly, echo is used sparingly, while Nona delivers a vocal that’s a mixture of power and sass. A combination of catchy lyrics, an arrangement that combines dance music with funk, and of course Nona’s powerful, sometimes sassy vocal make this one of Nona’s highlights.
Living On the Border sees the tempo increase to 116 beats per minute. Driven along by the rhythm section, guitar, keyboards and punchy, backing vocalists, Nona’s vocal is powerful, laden with passion and emotion, as the backing vocalists respond to her call. Meanwhile, the arrangement is perfect for Nona’s vocal and the lyrics. It’s equally powerful, with the rhythm section, keyboards and punchy harmonies, joining Nona. Later, a rocky guitar solo from Ira Siegel is unleashed. As it weaves its way across the arrangement, it adds to the drama. Although quite different from the opening track, the quality is the same on a track that features some of the best lyrics on Nona.
Keep It Confidential was the most successful single released from Nona. Once you’ve heard the track you’ll realize just why. After an understated opening where just keyboards slowly and dramatically play, Nona’s vocal enters. It’s gentle and thoughtful, but quickly grows in power and emotion. As the track starts builds, it reveals its charms and beauty. The keyboards, rhythm section and guitar played by Niles Rodgers combine, as Nona’s powerful vocal is full of emotion and feeling. She’s accompanied by soulful harmonies. Soon, her soulful vocal sits above the dance-floor friendly tempo of 123 beats per minute. Later, Kashif and Kenni Hairston’s keyboards combine, with the punchy, soulful interjections of the harmonies. When Nona’s vocal rejoins, the harmonies match Nona every step of the way for soulfulness, passion and emotion. They’re crucial to the track’s success and timeless sound.
Design For Living features two other hugely successful female artists in Valerie Simpson on piano and Laurie Anderson on violin. After a hesitant start, one of the most beautiful songs on Nona unfolds. Key to this success is Valerie Simpson’s paino playing, which accompanies Nona’s thoughtful, beautiful vocal. As the song unfolds, the arrangement and Nona’s vocal grows. The rhythm section, gospel tinged harmonies, Valerie’s piano and Laurie’s violin combine. Add to this a rocky guitar solo from Nancy Wilson and the result is a beautiful, dramatic and impassioned track, with an arrangement that features an all-star cast of female musicians.
Transformation is an aptly titled track, as Nona has undergone a transformation over the last few tracks. From the rocky sounding Living On The Border to the dance-floor friendly Keep It Confidential and B-Boys to the beauty of Design For Living, this is an album of a variety of styles. Here, the track opens with squelchy sounding synths, keyboards and pounding drums played by Sly Dunbar. This gives the track a real eighties sound. When Nona’s vocal enters, her vocal is strong and impassioned, accompanied by punchy, yet soulful soaring harmonies. Nona’s new, and latest sound works well, especially with Sly’s drumming and the wash of synths and keyboards that accompany her vocal. The result is, a track that with a real eighties sound.
Run For Cover sees the tempo increase, on a track that marries an eighties electronic sound with rocky guitars. This is similar to Living On The Border. Opening with rocky sounding guitars, rhythm section and keyboards, Nona’s vocal is softer, accompanied by dramatic harmonies. Meanwhile, Kevin Staples sprays his rocky guitar sound throughout the arrangement, while a pounding rhythm section and keyboards provide a contrast. For four and a half minutes, the arrangement is loud, powerful and dramatic, as Nona and her band combine an eighties electronic sound with rock music. Not only does this work well and sound great, but demonstrates Nona’s versatility as a singer, musician and producer.
On Steady Action we hear the return of drummer Sly Dunbar on the slowest track on the album. The track is just seventy-five beats per minute, with Sly laying down some slow, thoughtful beats, while Nona’s gives one of her best vocals on the album. Her vocal veers between gentle and thoughtful, to an impassioned and powerful style. Meanwhile backing vocalists accompany her throughout, their voices fusing perfectly with Nona’s. Meanwhile horns that sometimes, sound as if they belong on a reggae album augment the arrangement. All this works well, combining to produce a track that demonstrates a very different, impassioned and quite beautiful side to Nona’s music.
Closing Nona is Dummy Up, which opens with a keyboard solo, before the rhythm section and further keyboards enter. For a moment, Nona sounds a bit like Pat Benetar, as her vocal begins. It’s powerful, full of emotion, while harmonies augment her vocal. The arrangement mixes a punchy, dramatic sound where keyboards and the rhythm section are key to the sound. Later, a funky bass line makes an appearance, before quickly disappearing, as Nona and her punchy, backing vocalists take centre-stage on a track that has a slightly moody, broody and dramatic electronic sounding arrangement that’s perfect for Nona’s dramatic, powerful delivery of the lyrics.
Nona Hendryx’s sophomore solo album Nona, is an album that includes an eclectic selection of music. This includes dance-floor tracks like Keep It Confidential and B-Boys to the fusion eighties electronic sounds and rock guitars of Transformation and Living On the Border. That’s not forgetting the beautiful sounding Design For Living featuring Valerie Simpson on piano and Laurie Anderson on violin, which to me, is the most beautiful sounding track on Nona. Then there’s the laid-back sound of Steady Action featuring Sly Dunbar on drums, which features an impassioned and quite beautiful side of Nona Hendryx’s music. All of this demonstrates that Nona Hendryx is a multi-talented singer, musician and producer. Not only that, but Nona is versatile, and equally comfortable playing numerous different styles of music.
Some artists have a comfort zone, and are unable to operate out-with this musical comfort zone. Not Nona Hendryx though, her previous experience working and collaborating with a variety of artists and musicians helped her create such an eclectic sounding and quality album. This was the result of Nona’s twenty-two years experience of being a recording artist, which had seen her work with various singers, musicians and producers. Thankfully, Nona is available again, after being unavailable for far too long. It was rereleased by Funkytowngrooves on 16th July 2013, by Funytowngrooves, together with six bonus tracks. There are remixes and single versions of B-Boys, Keep It Confidential, Steady Action and Transformation. When this is combined with the eight tracks that feature on Nona, then this is an album that’s well worth either rediscovering or discovering. Nona is one of the few eighties albums that have stood the test of time. Eclectic, Nona, which is Nona Hendrys’s best album, will either appeal to anyone who either enjoys soul, dance and eighties new wave music. Standout Tracks: B-Boys, Keep It Confidential, Design For Living and Steady Action.
NONA HENDRYX-NONA.
MASAAKI HIRAO AND HIS ALL STARS WAGON-NIPPON ROCK ‘N’ ROLL THE BIRTH OF JAPANESE ROKABIRII 1958-1960.
MASAAKI HIRAO AND HIS ALL STARS WAGON-NIPPON ROCK ‘N’ ROLL THE BIRTH OF JAPANESE ROKABIRII 1958-1960.
The origins of the modern Japanese music industry can be traced back to the spring of 1958. Rockabilly was at the peak of its popularity. A generation of Japanese teenagers, were looking for something they could become part of. They wanted something they could identify themselves with. That’s where rockabilly came in. Here was a movement that they could become part of. This musical phenomenon had swept America, Britain and Japan. Soon, the musical phenomenon that was rockabilly swept Japan.
In Japan, rockabilly’s followers became known as rokabirii zuko, the rockabilly tribe. The rockabilly tribe’s heroes were the Rokabirii Sannin Otoko, The Three Rockabillies, Mickey Curtis, Keijiro Yamashita and Masaaki Hirao. These three singers vied for the title of the Japanese “Elvis.” Of this three, Masaaki Hirao had the toughest, most authentic sound. So it’s no surprise that Masaaki Hirao and His All Stars Wagon were signed to King Records, which was also home to James Brown. During the few years Masaaki Hirao was signed to King Records, he became Japan’s answer to Elvis Presley.
Exuding an air of danger, rebellion and cultivated menace, young men wanted to be Masaaki, while young women were won over by his looks and charm. Quite simply, Masaaki Hirao was a marketing man’s dream. Soon, his face filled newspapers, magazines and billboards. He regularly appeared on television and in films. Masaaki Hirao was seen the voice of generation. His opinion were sought on a wide range of subjects. All this wouldn’t be possible without Masaaki Hirao’s ability to sing. The man they refer to as the Japanese Elvis, is the King of Japanese rockabilly. Recently, Big Beat Records released a retrospective of his music, entitled Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960. Featuring twenty-three tracks, these are a mixture of live tracks and album cuts. Before I tell you about the music on Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960, I’ll tell you about Japanese rockabilly and Masaaki’s career.
The origins of Japanese rockabilly can be traced to the screening of Blackboard Jungle. Just like it had in America and Britain, it seemed to ignite a generation of Japanese young people. It’s as if it encouraged them cast of the shackles of tradition and expectations. The latest generation of Japanese youth weren’t content to be like their parents. They wanted to make their own way in the world, forging their own identity in the process. Youth movements including rokabirii zuko, the rockabilly tribe were part of this.
Rockabilly started to grow in popularity in Japan from 1956 onwards. There was only one problem though, a shortage of musicians who knew how to play rockabilly. Most Japanese musicians played country and western music, which they’d learnt to entertain American G.I.s. They soon adapted, providing the backdrop to a new generation of Japanese singers vying to be crowned Japan’s Elvis.
One of them, was Masaaki Hirao. He was playing jazu kissa venues in the early fifties. This was where Japanese artists covered American songs. Often this was country and western music, which since the end of the second world war, had grown in popularity. Masaaki Hirao was used to playing country music, but seeing rockabilly’s rising popularity, decided to sing a few rockabilly songs. Soon, he was establishing a large fan-base. No wonder. He was a charismatic, swaggering, showman, one who could get the audience dancing. Word soon spread about this charismatic singer. One night, about three-thousand queued outside a small venue. Before long, Masaaki outgrew the jazu kissa venues and embarked on a career as a rockabirii singer.
Although rockabilly grew in popularity, it wasn’t until 1956, that the first Japanese rockabilly single was released. This was a cover of Heartbreak Hotel, sung by Kazuya Kosaka and The Wagon Masters. They were one of the first bands to play outside of American airbases. A talented group of musicians, they quickly adapted to the demands of playing rockabilly. Then when they lost their lead singer, they changed their name to The Wagon Masters and Takatada. That wouldn’t be the last time The Wagon Masters would change their name.
By 1958, the rockabilly boom was well underway. Even Time magazine noticed this. The rockabilly boom can be credited to the Rockabrii Sannin Otoko at the Western Carnival. This brought rockabirii firmly into the public consciousness. Raucous and rebellious, guitars twanged, bodies writhed and the audience either rebelled, writhed or were overcome with emotion and hysteria. It was almost impossible to escape rockabirii. Not only had the performances proved controversial, but lead to even more people discovering this musical phenomenon. This was the perfect time for Japan to discover their “Elvis.” He was one of a trio of contenders vying to be crowned King Of Japanese Rockabilly.
Mickey Curtis, Keijiro Yamashita and Masaaki Hirao were the three contenders to be crowned Japan’s King of Rockabilly. They had all been stars of the Western Carnival. Masaaki Hirao was the youngest of the trio. He was an experienced singer, who’d gradually honed his act. Having originally established a reputation as a country and western singer, Masaaki realized music was changing. Jumping on the rockabilly bandwagon, success had come Masaak’s way over the past two years. This would cumulate in Masaaki Hirao signing for legendary American R&B label King Records.
It was 1958 when Masaaki Hirao signed to King Records. He’d timed his run perfectly. Rockabilly was at the peak of its popularity. Masaaki was now one of the heroes of the rokabirii zuko, the rockabilly tribe. Signed to one of America’s most prestigious labels, King Records, maybe he’d enjoy success around the world? After all, rockabilly was the most popular musical genre? Would that be the case?
1958 saw Masaaki Hirao and His All Stars Wagon release their debut album for King Records. It featured a combination of cover versions and Japanese rockabilly songs. Among the cover versions were Jailhouse Rock, Sittin’ In The Balcony and Little Darlin,’ Along with Japanese rockabilly tracks like Itsuki No Komoriuta Rock and Yuuyake Koyake, it seemed that Japan might have found their own Elvis. After all, this was rockabilly, Japanese style. Masaaki Hirao seems determined to pay homage to the King of rock ‘n’ roll. His vocal was Elvis-esque, while his backing band provide an authentic backdrop. This wouldn’t be the only album he released during 1958.
Following the success of Masaaki Hirao and His All Stars Wagon’s debut album, King Records decided to release a live album. This was a good opportunity to let people hear what Masaaki Hirao and His All Stars Wagon sounded live. After all, many people wouldn’t be able to hear Masaaki live. They did, however, own a record player. So although they couldn’t see Masaaki live, they were still able to hear what this charismatic performer was capable of. Known for driving audiences wild, and inducing a state of hysteria, Masaaki Hirao and His All Stars Wagon live was one of Japan’s most popular live acts. The eight live tracks that feature on Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960 are proof of this.
You realize just how good Masaaki Hirao and His All Stars Wagon’s are live from the opening bars of Lawdy Miss Clawdy. Masaaki is literally given a hero’s reception. This continues through Crazy Love, Wear My Ring Around Your Neck, Jenny Jenny, I Love You and Ooh My Soul. Screams and shrieks fill the air every time the band strike up. Masaaki Hirao and His All Stars Wagon’s receive a rapturous reception. They must have thought that the success they were enjoying would last forever.
That wasn’t to be the case. In 1959, Masaaki Hirao and His All Stars Wagon released their final album on King Records. Eight tracks from that album feature on Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960. There not all rockabilly. Far from it. Eclectic, describes the tracks. The first of these is a compelling and emotive cover of One Way Ticket. Even better is Miyo-Chan. Atmospheric and dramatic, with a heartfelt delivery from Masaaki, it’s one of the highlights of the compilation. Minami No Shima Wa Koi No Shima with its weeping guitars and vocal filled with emotion steals the show. A much more understated track, it meanders along, Masaaki’s vocal and guitars taking turns to take centre-stage. The later addition of vintage horn and the result is the best track on the compilation. Providing a fitting finale to the compilation is Blues De Memphis. It sounds as it’s paying homage to Elvis. That’s not the case. Laden with emotion, it demonstrates not just Masaaki’s versatility, but his ability to breath meaning into lyrics. This proves a fitting finale to Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960.
Before Masaaki Hirao signed to King Records, Japan was still looking for their “Elvis.” Three singers were vying for the title. The winner was Masaaki Hirao. He was crowned the King of Japanese rockabilly. That however, was something of an understatement. Why? Well, there’s much more to Masaaki Hirao than rockabilly.
Indeed, during the twenty-three tracks on Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960, we hear different sides to his music. Apart from rockabilly, he’s a talented balladeer, someone who sings with emotion and tenderness. He’s able to breath life and meaning into lyrics. Then the next song, Masaaki Hirao and His All Stars Wagon kick loose. They’re rocking, the atmosphere raucous, with jangling, twanging guitars. Delivering a vocal that’s best described as Elvis-esque, Masaaki Hirao lays his claim to be crowned King of Japanese rockabilly. That he was. Sadly, rockabilly’s popularity would soon peak. It was downhill after that for rockabilly and many Japanese singers.
That wasn’t the end for Masaaki Hirao. Not at all. He reinvented himself and enjoyed a long and successful career. In 1976, he briefly reinvented himself as a disco artist, releasing Disco Train for Atlantic Records. Then he released a quartet of albums in the eighties. However, Masaaki Hirao is best known as the King of Japanese rockabilly. Masaaki Hirao was Japan’s answer to Elvis. A remindee of this, is the music on Masaaki Hirao and His All Stars Wagon-Nippon Rock ‘n’ Roll The Birth Of Japanese Rockabirii 1958-1960, which was released on Big Beat Records. Without Masaaki Hirao’s contribution to Japanese music, then Japanese music, and Japanese culture, would be very different.
MASAAKI HIRAO AND HIS ALL STARS WAGON-NIPPON ROCK ‘N’ ROLL THE BIRTH OF JAPANESE ROKABIRII 1958-1960.
JAMES GOVAN WANTED THE FAME RECORDINGS.
JAMES GOVAN WANTED THE FAME RECORDINGS.
Back in 1967, many an aspiring soul singer headed to Memphis. No wonder. 1967 Memphis was soul central. Labels like Stax and Hi Records called Memphis home. Similarly, Memphis was home to many artists, bands, songwriters and producers. Memphis was also home to many an aspiring unsigned singer. This included a singer who in late 1967, was once seen as the heir to Otis Redding’s crown. His name was James Govan.
Jams Govan was born is Charleston, Mississippi in 1949. Then in the early fifties, the Govan family moved to Memphis. Little did any of the Govan family realize that this would prove serendipitous given James Govan’s future career choice. By the mid-fifties, James Govan was playing drums and guitars. He also possessed an impressive and much envied baritone voice. This first came to attention when James was a member of The Vans, a Memphis vocal band.
Whilst singing with The Vans, legendary singer, songwriter and producer George Jackson heard James. George liked James voice, and thought Rick Hall at FAME Records might be interested in adding James to his ever-growing roster of artists. So, George took James to FAME Records’ Memphis studio where he’d record a demo. This studio was somewhat no-frills. It’s best descried as a demo studio, which allowed unsigned artists to audition for FAME Records. James, with George acting as de facto producer recorded several songs that George had written. They were sent to Rick Hall in Muscle Shoals, Alabama.
When Rick Hall heard James Govan as 1967, he was astounded. James, Rick said was the nearest thing he’d heard to Otis Redding who’d died earlier in 1967. Realizing that James Govan had huge potential, Rick signed him to FAME Records. For a few years, FAME would be home to James Govan. During that time he released a couple of singles, plus twelve tracks that until now, have never before, been release. That is, until Kent Soul recently released James Govan Wanted The FAME Recordings. It features four singles James released between 1969 and 1971. Then there’s the small matter of twelve previously unreleased tracks that feature on James Govan Wanted The FAME Recordings. They’re a tantalizing taste of one of the most underrated artists in the history of Southern Soul, which I’ll now tell you about.
After Otis Redding tragically died in a plane crash, he left a huge void that needed filled. That wasn’t going to be easy. Not only was he one of the most successful artists in the history of Southern Soul, but helped bring Southern Soul to a wider audience. With Otis dead, Southern Soul needed a successor to the King of Southern Soul. James Govan was briefly the man who could be King.
James Govan was just eighteen when Rick Hall signed to FAME. Rick Hall had liked the demo George Jackson had recorded. When he heard it, he couldn’t believe the similarities with the late Otis Redding. Realising he’d signed such a talented singer, with great potential, wasn’t going to rush James Govan. Indeed, it would two more years before James Govan released his debut single.
Nearly two years after Rick Hall had signed James Govan, the time came for the release of James’ debut single. The song chosen by Rick Hall, was Wanted: Lover (No Experience Necessary). Penned by Leonard Caston and Lloyd Webber, it was released in 1969, with a cover of Hank Williams Jambalaya on the B-side. From the opening bars, it’s hard to believe that this is a debut single. Bursting into life, blazing horns, pounding drums and lush strings accompany James baritone. He pleas, power, passion and emotion filling his vocal. Later, it’s tender and needy, accompanied by sweeping harmonies. After that, confidence and sass returns, filling James vampish vocal. Sadly, Wanted: Lover (No Experience Necessary), wasn’t a commercial success. However, it was only James’ debut single. Surely things would get better? Success wouldn’t be far away for James, would it?
Over the next couple of years, Rick Hall didn’t give up on James Govan. He kept James signed to FAME, who had several talented vocalists, including Spencer Wiggins and George Jackson. James was regarded as the best of the trio by many people, including Harrison Calloway, who’d produce James’ next single.
Rather than a song written by FAME Records’ talented team of songwriters, the George Harrison penned Something was chosen, with You Get A Lot To Like the B-side. This seems a strange choice. After all, the definitive version had been recorded by The Beatles on Abbey Road. Since then, Something was an oft-covered track. Having said that, James delivers a vocal that’s impassioned, filled with emotion and sincerity. The arrangement compliments the vocal. Just a Hammond organ, weeping guitars and rhythm section are later joined by braying horns and soaring harmonies. The result is one of the best versions of Something you’ll ever hear. Sadly, it wasn’t a commercial success. It failed to chart, despite Rick Hall’s relentless promotion of the single. Something would prove to be the last single James released on FAME.
While James Govan only released two singles for FAME Records, he’d recorded numerous other tracks. Twelve of them feature on James Govan Wanted The FAME Recordings. These twelve tracks are a compelling combination of cover versions and tracks penned by FAME Records’ talented team of songwriters. Among them were George Jackson.
Like so many people who worked at FAME Records, George Jackson was multitalented. Singer, songwriter and producer, George was just as comfortable filling either role. He wrote three tracks on James Govan Wanted The FAME Recordings. These are I Bit Off More Than I Can Chew, Your Love Lifted Me and Oh Baby What You’re Doing To Me. George cowrote You Get A Lot To Like and Stuck On Her with Mickey Buckins. Each of these track showcase George’s songwriting talents. Two tracks stand out. I Bit Off More Than I Can Chew features a heartbroken rueful George, whose voice is filled with regret. Oh Baby What You’re Doing To Me features a desperate, pleading George, who vamps his way through the tracks. FAME Records’ songwriters contribute several other tracks on James Govan Wanted The FAME Recordings.
Among them, are You Left The Water Running, which Rick Hall cowrote with Dan Penn and Oscar Franck. Rick Hall also penned I’ve Gone Too Far with Mickey Buckins and Barry Beckett. It features a soul-baring vocal from George, whose vocal is filled with pain, hurt and desperation. Then there’s Take Me Just As I Am written by Dan Penn and Spooner Oldham, two legends of Southern Soul. Heartfelt and filled with emotion, George pleads, begging asking: “Take Me Just As I Am.” The other tracks on James Govan Wanted The FAME Recordings come from some unlikely sources.
Indeed, two Bob Dylan tracks are given a Southern Soul twist by James Govan. Just Like A Woman is totally transformed. It’s slowed down, with George unleashing a wistful, emotive vocal against an understated arrangement. The other Bob Dylan track is I Shall Be Released, which becomes a country soul ballad. What was originally a folk song is rejuvenated and given a soulful makeover. Another track that’s transformed is veteran bluesman Arthur Crudup’s That’s Alright Mama. It closes James Govan Wanted The FAME Recordings in style. Blues, rock and Southern Soul combine as James Govan struts through the track, with rocky guitars for company. That’s the perfect way to close this retrospective compilation of one of Southern Soul’s most underrated artists, James Govan.
During the few short years James Govan spent at FAME Records, he was the nearly man. the man who could’ve and should’ve been one of Southern Soul’s biggest names. James Govan certainly didn’t lack talent. The sixteen tracks on James Govan Wanted The FAME Recordings are proof of this. Once seen as the successor to the late Otis Redding, neither commercial success nor critical acclaim came James Govan’s way. That seems almost unjust. Surely James Govan deserved better? At least Rick Hall stuck with James Govan. That was until 1973.
In 1973, after releasing a couple of singles on FAME Records, James was asked to record a soul version of the country track Frumpy for the Fretone label. That he did. You can’t blame him for leaving FAME Records. Here was a label that wanted him to record and release a single. He hadn’t done much of that for FAME recently. Sadly, still commercial success eluded James. At least he was still a popular live performer in his native Memphis. That’s where producer David Johnson heard James playing with Tony Joe White.
Straight away, David knew he had to record an album with James. This was 1982, not a good time for soul artists or soul albums. Once David Johnson had recorded what became I’m In Need, he couldn’t get a label interested in the album. Then a few years later, it was picked up by an English record label. Although I’m In Need was popular with discerning soul connoisseurs, it didn’t give James Govan the commercial success his talent deserved.
Since 1993, James has been content to play at Rum Boogie Cafe in Beale Street, Memphis. Five years later, James Govan and The Boogie Band released A Night On Beale in 1998. Just like the music on Ace Records recently released James Govan Wanted The FAME Recordings this is a reminder of what James Govan was capable of. Indeed, back in 1967, when James Govan signed to FAME Records, he was seen as the man who could be crowned the King of Southern Soul. Sadly, that didn’t happen, but the music on James Govan Wanted The FAME Recordings is a reminder of why people believed, James Govan was destined for greatness. Standout Tracks: Wanted: Lover (No Experience Necessary), Something, I Shall Be Released and That’s Alright Mama.
JAMES GOVAN WANTED THE FAME RECORDINGS.
A ROAD LEADING HOME-SONGS BY DAN PENN AND OTHERS.
A ROAD LEADING HOME-SONGS BY DAN PENN AND OTHERS.
When eventually, someone decides to write the definitive history of Southern Soul, Dan Penn’s name will loom large. At last, one of Southern Soul’s reluctant heroes will receive the credit they deserve. A quiet, unassuming man, Dan Penn’s modesty belies that fact that, for over thirty years, he was one of the most influential and successful people in Southern Soul. During that period, Dan worked with Aretha Franklin, Irma Thomas, James Carr, Solomon Burke, Dionne Warwick and Janis Joplin. Along with a variety of songwriting partners, Dan Penn cowrote numerous Southern Soul classics.
Dan’s most successful songwriting partnership was with Spooner Oldham. Together, they cowrote numerous Southern Soul classics. The songs that Dan and Spooner cowrote are just a few of the near five-hundred tracks Dan Penn cowrote. Many of these were with various other songwriting partners. This includes the twenty-four tracks that feature on Ace Records recent compilation A Road Leading Home-Songs By Dan Penn and Others. It’s the followup to the critically acclaimed and award-winning compilation Sweet Inspiration: The Songs Of Dan Penn and Spooner Oldham which Ace Records released in 2011.
A Road Leading Home-Songs By Dan Penn and Others features tracks that Dan cowrote with Rick Hall, Chips Moman, Donnie Fritts and Marlin Green. These tracks were covered by everyone by Irma Thomas, The Sweet Inspirations, The Drifters, Esther Phillips, Bobby Patterson, Ronnie Milsap and Albert King. Familiar tracks and hidden gems feature on A Road Leading Home-Songs By Dan Penn and Others, which I’ll tell you about.
Opening A Road Leading Home-Songs By Dan Penn and Others is Ted Taylor’s Without A Woman. Released in 1968, Ted was something of a musical nomad before he signed to Stan Lewis’ Ronn Records. Without A Woman was the B-side of Honey Lou. Dan cowrote the song with Quin Ivy and Drew Miller. It was recorded at FAME Studios, and produced by Roger Hawkins and Jimmy Johnson of the Muscle Shoals rhythm section. Ted delivery’s is heartfelt, filled with sincerity and emotion, as he sings about what life would be like “Without A Woman” in his life. If the rest of tracks on the compilation are as good, we’re in for a treat.
Covering a track where another artist has already recorded the definitive version, is no-win situation. Regardless of whether the cover version is a minor classic, it’s always going to be second best. This is the case with Roy Hamilton’s cover of Dark End Of The Street. Dan cowrote the track with Chips Moman and in 1967, James Carr recorded the track. While that version will never be surpassed. Roy’s version comes close. Laden with emotion, it’s as if Roy’s lived and experienced, every word of this Southern Soul classic.
For many people, when you mention The Sweet Inspirations, they think of their work as backing singers. However, there’s more to The Sweet Inspirations than that. Formed in 1967, in New York, the released eight albums. Their most successful period was at Atlantic Records, where they recorded five albums between 1967 and 1970. Oh! What A Fool I’ve Been opened their 1967 debut album The Sweet Inspirations. Written by Dan with Spooner Oldham and Darryl Carter, gospel, Southern Soul and hooks are combined by the swinging Sweet Inspirations, soulfully and seamlessly.
By 1965, when The Drifters recorded Far From The Maddening Crowd their career was already twelve years old. This was a track from sixth album I’ll Take You Where Music’s Playing, released on Atlantic Records. Written by Dan Penn and Martin Greene, it was as if they’d written Far From The Maddening Crowd with The Drifters in mind. Spurred on, The Drifters raise the roof, fusing their trademark soulful strains with power and passion.
When someone suggested to Brenda Lee that she cover Do Right Woman, Do Right Man she must have realized that she was facing a near-impossible task. After all Aretha Franklin made this Dan Penn and Chips Moman penned song her own. Brenda’s version is quite different. Her husky, charismatic vocal is filled with emotion as she delivers the familiar lyrics. Then when you expect The Sweet Inspirations to sweep in, you realize they’ve been replaced by strings. They’re no match for The Sweet Inspirations’ fusion of soul and gospel. Despite this, Brenda Lee charismatic, husky vocal gives a familiar track a new twist.
Esther Phillips is one of these artists who should’ve enjoyed much more critical acclaim and commercial success than she did. As Little Esther Phillips, she enjoyed a degree of commercial success. Sadly, later, the success she’d enjoyed started to elude her. Sidetracked by personal problems, Esther never fulfilled her true potential. The most successful period of her career was at Kudu, during the seventies. Before that, she was signed to Atlantic, and released five albums. Cheater Man was one of the final singles Esther released on Atlantic. Written by Dan and Chips Moman, Esther combines charisma, sass and power. Soon, this slice of Southern Soul starts to swing, thanks to one of music’s best kept secrets.
From the opening bars of Percy Sledge’s Rainbow Road, you realize that something special is about to unfold. Soon, you realize that this is a minor Southern Soul classic. Dripping in emotion and sadness, Percy paints pictures with Dan and Donnie Fritts lyrics. Shut your eyes and you can see the scenes unfold before your eyes. You experience Percy’s hurt and sadness, as he grows old and weary dreaming of that Rainbow Road.
Irma Thomas’ Zero Willpower # 2 finds The Soul Queen Of New Orleans back to her best.Taken from 2000s My Heart’s In Memphis-The Songs Of Dan Penn. Penned by Dan, Spooner Oldham and Donnie Fritts, Irma delivers a heartfelt, Magnus Opus. Power, passion and emotive reading of this track. The result is a track that’s not only captivating and enthralling, but the highlight of A Road Leading Home-Songs By Dan Penn and Others.
Ronnie Milsap’s I Hate You was the first song Dan wrote that gave him a hit in the country charts. Previously, Dan’s music had been heard be a pop or R&B audience. This meant a whole new audience were hearing his music for the first time. Written by Dan and Leroy Daniels, it’s like an outpouring of emotion, frustration and hatred. Years and years of little things all come to the surface and Ronnie almost spits out the words: “I Hate You.”
Closing A Road Leading Home-Songs By Dan Penn and Others is Albert King’s Like A Road Leading Home. Written by Dan and Don Nix, this track closed the veteran bluesman’s 1971 album Lovejoy. Released on Stax and produced by Don Nix, a bluesy, soulful, soul-baring song unfolds. Vaguely reminiscent of Dark End Of The Street, it shows a very different, much more sensitive side to Albert King’s music.
To compile A Road Leading Home-Songs By Dan Penn and Others, compilers Bob Dunham and Tony Rounce have dug deep. They’ve discovered a compelling collection of tracks. Mind you, they’d plenty of choice. After all, Dan Penn wrote nearly five-hundred tracks during his long, illustrious and successful career. With so many tracks to choose from, narrowing this down to a mere twenty-four couldn’t have been easy. What Bob and Tony have chosen is a mixture of familiar tracks, classics and hidden gems. Each sit comfortably side-by-side on A Road Leading Home-Songs By Dan Penn and Others.
Many of these tracks on Do Right Woman, Do Right Man will be familiar, but not the versions of the tracks. Rather than include James Carr’s version of Dark End Of The Street. Roy Hamilton’s version is chosen. Similarly, Brenda Lee’s cover of Do Right Woman, Do Right Man is chosen rather than Aretha’s definitive, classic version. Both bring something new to each track. Having said that, surpass such stonewall classics was always a long-shot. However, there’s much more to Do Right Woman, Do Right Man than these track.
Apart from these tracks, Do Right Woman, Do Right Man reads like a who’s who of soul. Percy Sledge, The Drifters, Esther Phillips, Irma Thomas, The Sweet Inspirations and Bobby Patterson. Then there’s the country sound of Ronnie Milsap and veteran bluesman Albert King. It seems whether an artist was singing soul, R&B, country or blues, Dan Penn was just as comfortable writing songs for them. That’s something many other songwriters aren’t capable of. Dan Penn was no ordinary songwriter.
Describing Dan Penn as a songwriter as a songwriter is an understatement. He’s also a singer, musician and producer. Dan was just as comfortable working as a producer and produced The Box Tops, Esther Phillips, Solomon Burke and Patti LaBelle and The Bluebells. Then there was Dan’s career as a singer songwriter. Although it neither replicated the success he enjoyed as a songwriter, nor producer, Dan released a series of well received albums. It seemed that whatever Dan Penn did, he did well. Despite this, Dan Penn remains a quiet, unassuming and modest man. A Road Leading Home-Songs By Dan Penn and Others is Ace Records’ fitting and lovingly compiled tribute to a true legend of Southern Soul, Dan Penn. Standout Tracks: The Sweet Inspirations Oh! What A Fool I’ve Been, Esther Phillips Cheater Man, Percy Sledge Rainbow Road and Irma Thomas Zero Willpower # 2.
A ROAD LEADING HOME-SONGS BY DAN PENN AND OTHERS.
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