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.
SOPHISTICATED BOOM BOOM!-THE SHADOW MORTON STORY.
SOPHISTICATED BOOM BOOM!-THE SHADOW MORTON STORY.
Enigmatic. That’s a word that’s often used to describe Long Island songwriter and producer George Shadow Morton. In reality, that’s selling Shadow Morton short. It also overshadows the reality that Shadow Morton was an innovative and influential songwriter and producer, who enjoyed a long and successful career. His career started back in the late fifties, when Shadow’s family moved from Brooklyn, New York to Long Island.
The reason for this, was Shadow, who was born in 1941, was becoming increasingly involved in Brooklyn’s street gangs. By the time he’d entered his teens, he’d already been stabbed once. Things could only get worse. Realizing how this could play out, Shadow’s parents moved to Long Island. This would be the start of his musical career.
Having moved to Long Island, Shadow struggled to settle for the first few weeks. Then his mother sent him to the local diner for lunch. There he encountered between 150-200 gang members from all over New York. Their leader Bumpy, took Shadow under his wing. He would later became the inspiration for one of Shadow’s most successful songs, Leader Of The Pack.
In Long Island, Shadow’s love for music grew. Jazz was his favorite. When he listened to local radio, Nina Simone, The Modern Jazz Quartet and Miles Davis were his favorites. He was a regular caller to Symphony Sid, his favorite disc jockey. His eclectic taste helped shape Shadow’s musical tastes. Before long, rather than just listening to music, George would be recording, writing and producing music. Among the eclectic selection of artists Shadow Morton worked with, were The New York Dolls, Mott The Hoople, The Shangri-Las and Vanilla Fudge. These artists feature on Ace Records latest compilation Sophisticated Boom Boom!-The Shadow Morton Story. That was still to come. Before that, George would form his first band, aged just sixteen.
Aged just sixteen, Shadow formed his first band The Markeys, with four of his friends. One of The Markeys, Marty Monaco, his mother had a basic recording studio in her basement. For Shadow, this allowed to begin learning his craft. The Markeys wrote and recorded a demo, which they played to the owner of a record shop. He liked it so much, that he arranged for The Markeys to audition for RCA.
When RCA heard the demo, they didn’t wanted to sign The Markeys, just Shadow. They envisaged a solo career for Shadow. He stood firm. Loyal to his friends, RCA relented. However, rather than the Markeys, they were billed as The Markeys featuring Georgie Morton. Under their new name, The Markeys featuring Georgie Morton released their debut single in the summer of 1958. It opens Sophisticated Boom Boom!-The Shadow Morton Story. Best described as a youthful slice of rock ‘n’ roll, with doo wop harmonies, it was written by Shadow and Marty Monaco. This was the start of Shadow’s nascent career. He couldn’t have timed this better. The start of his musical career coincided with rock ‘n’ roll’s birth. Little did Shadow realize, that this was the first of many hit singles he’d write, produce or appear on.
The following year, Shadow graduated from high school. For a while, he drifted, working as a caddy, nightclub bouncer, hairdresser and selling ice-creams. Shadow was still involved in music. He recorded a number of singles using pseudonyms. His other release was I Want My Girl, which was credited to The Lonely Ones. Released on the Sir label, George delivers a heartfelt lead vocal, while the former The Markeys add harmonies. I Want My Girl was the last of Shadow’s music from the fifties to feature on Sophisticated Boom Boom!-The Shadow Morton Story.
As the sixties took shape, so too, did Shadow’s musical career. In 1964, Shadow became involved with one of the first girl-groups he’d work with, the Beattle-Ettes. He wrote Only Seventeen, which fuses elements of I Want To Hold Your Hand and I Saw Her Standing There. This resulted in two hook-laden minutes of finger-clicking pop perfection. The next time Shadow worked with a girl-group, it would be with The Shangri-las.
When anyone mentions The Shangri-las, inevitably one track is always mentioned, Leader Of The Pack. Shadow cowrote Leader Of The Pack with Jeff Barry and Ellie Greenwich. It was their sophomore single, released on Red Bird on 1964. Their debut was the joyous and catchy Give Him A Great Big Kiss, which Shadow wrote. He also wrote the followup to Leader Of The Pack, Remember (Walkin’ In The Sand). Rather than the original version, the version on Sophisticated Boom Boom!-The Shadow Morton Story features a previously unreleased version. Past, Present and Future is an understated track, one that’s filled with hurt and heartache. Inspired by the Moonlight Sonata, it’s quite unlike what you expect of The Shangri-las. Produced by Shadow, who cowrote the track with Artie Butler and Jerry Lieber, this dramatic and emotive opus is the best of the quartet of tracks from The Shangri-las. It surpasses I’ll Never Learn which is similarly dramatic and hurt-filled.
For a few short years, Ellie Greenwich and Shadow Morton’s careers were seemingly intertwined. Along with Jeff Barry, they were songwriting partners for The Shangri-las. Shadow and Jeff joined with Ellie to pen two of the singles she released in 1965. Baby and You Don’t Know were both released on Red Bird. Of the two tracks, You Don’t Know is the best. Her vocal is needy and filled with emotion and joy. Sadly, Ellie’s best known as a songwriter than singer, and only released two albums during her career.
Back in 1967, Shadow was hired to co-produce Janis Ian’s first session with George Sterner. Funded by Atlantic Records, three tracks were recorded. One became her debut single Society’s Child (Baby I’ve Been Thinking). It has a compelling arrangement, fusing everything from classical music, folk and pop with drama and emotion. Crucial to the arrangement is a harpsichord and organ, which provides the perfect accompaniment to Janis’ heartfelt vocal. The other track was Too Old To Go ‘Way Little Girl. It’s best described as a raunchy fusion of rock, country and folk. Both tracks were written by Janis, whose vocal breathes life and meaning into her lyrics.
While some girl groups like The Shangri-las enjoyed a degree of longevity, that wasn’t the case for The Nu-Luvs. They only released one single So Soft, So Warm in 1966, which is reminiscent of The Shangri-las. This heartfelt paean with elegant, sweeping harmonies is something of a hidden gem. Proving that this wasn’t a one-off is the B-side to So Soft, So Warm. It’s also arranged by Shadow and George Michael. Take My Advice is best described as a soul-baring, slow-burner where heartache and hurt are ever-present.m
Just like Janis Ian, Shadow worked with Vanilla Fudge at the start of their career. Shadow directed Vanilla Fudge’s 1967 debut single You Keep Me Hanging On. It was released on Atco, and featured on their debut album Vanilla Fudge. This version of the Holland, Dozier, Holland classic totally reinvents the track. Here, psychedelia and rock unite head on. A year later, Season Of The Witch Part 2 featured on Vanilla Fudge’s 1968 sophomore album Renaissance. Eerie, haunting and dramatic, rock, blues, jazz and psychedelia unite seamlessly.
My final choices from Sophisticated Boom Boom!-The Shadow Morton Story are The New York Dolls. Their unique fusion of rock ‘n’ roll and glam rock, has influenced several generations of musicians. So it’s fitting that they’ve two tracks on the compilation. These are their the raw and rocky Puss ‘n’ Boots and their 1974 single Stranded In The Jungle. Puss In Boots surpasses Stranded In The Jungle. It’s literally an explosion of energy that epitomizes everything The New Dolls music stands for.
Sophisticated Boom Boom!-The Shadow Morton Story, documents the musical life and times of an enigmatic and talented songwriter and producer. Covering the period between 1958 and 1980, this was the most successful period of Shadow Morton’s career. During that time, it’s no exaggeration to describe Shadow Morton as one of the best songwriters and producers of his generation. Shadow Morton was also an imaginative producer, one who strived to innovate. His determination to innovate, also helped launch and shape numerous band’s careers. Among them are The Shangri-las, Vanilla Fudge and New York Dolls. He also helped launch the careers of Janis Ian and Ellie Greenwich. Nearly all of these artists and groups went on to enjoy long and successful musical careers. Sadly, Shadow’s solo career didn’t enjoy the same success.
Like many successful songwriters and producers, Shadow’s solo career wasn’t as successful. Instead, he’s better known as a songwriter and producer. His production credits number seventy and he wrote or cowrote nearly 180 tracks. Much of the music he wrote and produced, was innovative and pushed musical boundaries. Often, musical genres and influences became one. Imaginative, this music would influence other musicians, songwriters and producers. So much of the music Shadow Morton wrote or produced is now seen as timeless.
Whether it’s his work with The Shangri-las, Vanilla Fudge or New York Dolls, every generation of music lover has to discover the music of Shadow Morton. It’s akin to a right of passage, or coming of age. Only after discovering the music of Shadow Morton, can you call yourself a true connoisseur of music. For those who have still to discover Shadow Morton’s music, then Ace Records’ recently released compilation Sophisticated Boom Boom!-The Shadow Morton Story is the perfect starting point.
Sophisticated Boom Boom!-The Shadow Morton Story tells Shadow’s story in music. To do this, compiler Mick Patrick chose twenty-four tracks. This includes songs he wrote, produced or sang on. Sadly, rather than paying tribute to Shadow Morton, Sophisticated Boom Boom!-The Shadow Morton Story ended up being a tribute to him. Sadly, he passed away on February 14th 2013, aged just seventy-two. That day, music had lost one of its innovators. Thankfully, he leaves behind some of the most innovative music of an era. This is music which has stood the test of time, and will continue to do so. Not only that, but as the music on Sophisticated Boom Boom!-The Shadow Morton Story demonstrates, will inspire future generations of musicians and music lovers. Standout Tracks: The Shangrilas Past, Present and Future, The Nu-Luvs So Soft, So Warm, Vanilla Fudge You Keep Me Hanging On and New York Dolls Puss ‘n’ Boots.
SOPHISTICATED BOOM BOOM!-THE SHADOW MORTON STORY.
TRES CHIC! MORE FRENCH GIRL SINGERS OF THE 1960s.
TRES CHIC! MORE FRENCH GIRL SINGERS OF THE 1960s.
Back in the sixties, the phenomenon that was ye-ye music swept through much of Europe. This included Italy, Luxembourg, Portugal and Spain. However, France was undoubtably the ye-ye capital of Europe. Especially after Serge Gainsbourg success helped popularize the genre. It was French female singer-songwriters that recorded some of the finest ye-ye music of the sixties. Among them were Françoise Hardy, Anne Kern, Jacqueline Taïeb, Michèle Arnaud, Valérie Lagrange, Annie Philippe and France Gall. Each of these artists feature on Ace Records recent compilation, Tres Chic! More French Girl Singers Of The 1960s. It’s the followup to C’est Chic: French Girl Singers Of The 1960s. For anyone yet to discover ye-ye music, Tres Chic! More French Girl Singers Of The 1960s is the perfect starting point. You’ll realize why when I tell you about Tres Chic! More French Girl Singers Of The 1960s.
Three years after Ace Records released C’est Chic: French Girl Singers Of The 1960s, in 2010, comes the followup C’est Chic: French Girl Singers Of The 1960s. Given how well received the first installment was, many people will welcome Tres Chic! More French Girl Singers Of The 1960s. Compilers Malcolm Baumgart and Mick Patrick have dug deep into the vaults of RCA, Riviera, Mercury, RCA, Phillips, Columbia, Disc, Pathe, Fontana, Impact/Festival and Ducretet-Thompson. Hidden in the vaults of these record companies, is the equivalent of ye-ye gold. For it’s within the illustrious back-catalogues of these record companies that some of the best ye-ye music every recorded can be found. Having dug deep into the vaults, Malcolm and Mick chose the twenty-four tracks that became Tres Chic! More French Girl Singers Of The 1960s. Before I pick the highlights of Tres Chic! More French Girl Singers Of The 1960s, I’ll briefly tell you what ye-ye music is.
Although ye-ye music’s origins can be traced back to the late fifties, it wasn’t until the sixties that what’s essentially a style of pop music grew in popularity. Sweeping Europe, this pan-European phenomenon didn’t have one “sound.” Instead, ye-ye, which is derived from “yeah-yeah,” came to incorporate everything from pop, R&B, rock ‘n’ roll, sixties girl groups, jazz and beat music. Many of the artists who ye-ye music were young, and sang in their own language. Across Europe, each country had its own ye-ye scene. This included both male and female singers. However, the majority and best ye-ye music came from female singers, especially French female singer-songwriters.
Soon, France became Europe’s ye-ye capital. That was where some of the best ye-ye music was being recorded. Much of this was being recorded by French female singer-songwriters. Many of them were young, charismatic, mysterious and attractive. Often they exuded an air of naivety. This was far from the case. Instead, they were crafting an image. While the artists were deliberately crafting an image, some of the lyrics they wrote would prove controversial.
While many people think of ye-ye music as throwaway pop music, that’s far from the case. It was often controversial. Lyrics were often full of sexual symbolism, double entendre and strewn with innuendo. Incredibly, given the early-sixties were less liberated times, these records were played on radios across Europe. Not all the lyrics to ye-ye records would prove controversial. Like pop music, any number of subjects were covered. This is apparent on Tres Chic! More French Girl Singers Of The 1960s, which I’ll pick the highlights of.
Opening Tres Chic! More French Girl Singers Of The 1960s, is Annie Philippe’s 1965 single On M’a Toujours Dit. This is the first of two tracks Annie contributes. The other is 1967s Pas De Taxi. Annie was just eighteen in 1965, when On M’a Toujours Dit was released. She’d made her debut in 1965. Later that year, Annie enjoyed a huge hit with a cover of The Supremes Baby Love. Sadly, neither the driving, dramatic On M’a Toujours Dit nor grandiose Pas La Taxi matched the success
Parisian Violaine was a reluctant ye-ye singer. Instead, musical dream was to be a folk-rock singer. Eventually, she relented and signed to Eddie Barclay’s Riviera label. Her debut E.P. featured J’ai Des Problèmes Décidément. It’s a stomping fusion of blues, pop and jazz. This gung-ho slice of ye-ye features a vocal that’s a mixture of charisma, confidence, emotion and power. As for her other contribution Il N’a Que Des Chansons, it featured on her second E.P. There’s a Dylan-esue sound to the arrangement, while Violaine’s vocal is pensive, mysterious and thoughtful. Sadly, Violaine’s career at Riviera ended after the commercial failure if her second E.P.
Released in 1966, France Gall’s Attends Ou Va-T’en has a quintessentially French ye-ye sound. France’s career began in 1963, when she was just sixteen. After that, she was constantly touring and recording. Attends Ou Va-T’en was released in 1965 and has a wistful, hopeful sound. Her other contribution is 1964s Jazz À Gogo, which demonstrates her vocal versatility. Proof of this is her scatted, jazzy vocal, which seamlessly copes with the rhythmic compilations of the track. Given her vocal prowess, it’s no surprise that in 1968, aged twenty-one, France decided her ye-ye career was over. Far from over was her musical career. She enjoyed a long and successful career, including working with Serge Gainsbourg.
Françoise Hardy is one of the biggest names in ye-ye music. She recorded in German, Italian, Portuguese, English and French.During the seven years Françoise was signed to Vogue she released twenty-nine singles. One of the best-known is Comment Te Dire Adieu, released in 1969, the year she left Vogue. Sultry, sensual and filled with sadness, her version of Margaret Whiting’s It Hurts To Say Goodbye surpasses the original for sheer emotion. Françoise also released Il Voyage in 1969. Dramatic, emotive and elegant thanks to the harmonies, Françoise delivers a truly heartfelt and captivating vocal.
Gillian Hills is proof that English singers were capable of becoming successful ye-ye singers. Born in Egypt, her mother was Polish, her father English and she went to school in Paris. She signed to Barclay Records in 1960, releasing twelve singles during the next five years. The three singles that feature on Tres Chic! More French Girl Singers Of The 1960s are all from 1965. Tomorrow Is Another Day was written by Gillian, who from 1963 onwards, wrote most of her own songs. Wistful, but filled with hope Gillian tenderly breaths life and meaning into the lyrics. Tut, Tut, Tut, Tut is a track from Gillian’s final E.P. Sung in French by Gillian, it’s a charismatic cover of The Lollipops’ Busy Signal. Her final single was the rueful, Look At Them, which features a heartbroken Gillian. Sadly, it didn’t sell well, and is something of a rarity, that’s much in-demand by connoisseurs and collectors of ye-ye.
For anyone whose not at their best early in the morning, Jacqueline Taïeb’s 7 Am is for them. In under two minutes, Jacqueline captures what it’s like and tells the story of those tortuous early mornings. Just the celebratory Bravo, it was written by Jacqueline and released on Fontana in 1968. Although born in France, Jacqueline was just as comfortable recording in English, as 7 Am proves. Multi-lingual and multitalented, that’s a fitting description of Jacqueline Taïeb.
Anna Karina’s Sous Le Soleil Exactement closes Tres Chic! More French Girl Singers Of The 1960s. Born in Denmark, Anna’s career encompasses music, modeling and acting. Written by Serge Gainsbourg, and released on Phillips in 1967, it’s a track that’s best described as evocative, dramatic, sensual and sultry. Quite simply, not only is this one of the highlights of Tres Chic! More French Girl Singers Of The 1960s, but given the drama and sensuality, is the perfect way to close the compilation.
For anyone yet to discover the charms and delights of ye-ye music, then Tres Chic! More French Girl Singers Of The 1960s is the perfect starting point. Recently released by Ace Records, it’s the followup to 2010s C’est Chic: French Girl Singers Of The 1960s. With these two compilations, you’ve the perfect introduction to ye-ye music. Or to misquote Woody Allen: “all you’ve ever wanted to know about ye-ye music but were afraid to ask.” Indeed, not only is Tres Chic! More French Girl Singers Of The 1960s an introduction to the ye-ye music, but to what was a pan-European phenomenon.
Back in the sixties, not many musical scenes swept Europe. Often they were only popular in parts of Europe. Not ye-ye music. It was popular throughout Europe. Thriving, exciting, vibrant and colorful is how Malcolm Baumgart and Mick Patrick’s sleeve-notes describe the ye-ye music scene. Their sleeve-notes give you an insight to the artists, record companies and the characters who populated the scene as it spread the length and breadth of Europe. Luckily, many of the artists were cosmopolitan. Françoise Hardy recorded in German, Italian, Portuguese, English and French. Other artists, including Jacqueline Taïeb was just as comfortable singing in English and Europe. Indeed, many of the ye-ye singers that feature on Tres Chic! More French Girl Singers Of The 1960s were bilingual and not averse to recording in numerous languages. This proves that ye-ye music was far from the throwaway pop that some of its critics said.
Populated by colorful characters, the ye-ye music scene lasted longer than most musical genres. Lasting the whole of the sixties, it outlasted even The Beatles. Sadly, ye-ye music wasn’t as successful. It did make a lasting impact on many people, and for a few short years, united Europe. That’s quite a feat, considering most politicians never have, and never will unite Europe. However, one country was responsible for the best ye-ye music..France
Ye-ye music is also a reminder of one of the most important, innovative and influential decades in history…the sixties. During this period, although there was a political, social, cultural and musical revolution throughout Europe. France however, was transformed during the sixties. By 1969, it was a very different country than it had been in 1960. For some, the changes made the country unrecognizable. While this major upheaval was taking place in France, a genre of music that epitomizes the sixties was providing the backdrop….ye-ye music. This includes the timeless music on Tres Chic! More French Girl Singers Of The 1960s, which epitomize the sights, sounds and changes of the sixties. Standout Tracks: Annie Philippe On M’a Toujours Dit, Violaine J’ai Des Problèmes Décidément, Jacqueline Taïeb’s 7 Am and Anna Karina Sous Le Soleil Exactement.
TRES CHIC! MORE FRENCH GIRL SINGERS OF THE 1960s.
GOING WILD! MUSIC CITY ROCK ‘N’ ROLL.
GOING WILD! MUSIC CITY ROCK ‘N’ ROLL.
Founded by Ray Dobard in the early fifties, his California based label, Music City, enjoyed a longevity very few other labels enjoyed. Partly, this is to do with Ray’s ability to find talented artists and groups. It was also to do with his ability to keep ahead of musical trends.
By 1957, rock ‘n’ roll was growing in popularity. Ray noticed an increase in people looking for rock ‘n’ roll records in his record shop at 1815 Alcatraz Avenue, San Francisco. The only problem was, a lack of rock ‘n’ roll records. Demand was outstripping supply. This was despite new independent labels springing up throughout the Bay area. At first, Ray didn’t change Music City’s release schedule to include rock ‘n’ roll records. Instead, Music City stuck to releasing singles by vocal groups. Then when Ray realized that rock ‘n’ roll was here to stay, he decided that Music City should expand into rock ‘n’ roll.
Before 1956, worried rock ‘n’ roll was a passing musical fad, Music CIty dipped its toe in the water of rock ‘n’ roll. By getting his groups to record a few rock ‘n’ roll records, Ray could gauge interest in the latest musical trend. A year later, Ray’s enthusiasm in rock ‘n’ roll had grown. Soon, Music City had jumped onboard the rock ‘n’ roll bandwagon. Among the artists that recorded for Music City were The 3 Honeydrops, Mike Smith, Willie Moore, The Pendleton, The Five Crytels, Ron and Don, The Dialtones and Sonny Raye. All these artists and more, feature on Ace Records latest compilation Going Wild! Music City Rock ‘n’ Roll.
Going Wild! Music City Rock ‘n’ Roll was released on 24th June 2013. It features twenty-four tracks. They were recorded between 1957 and 1961. Of the twenty-four tracks, sixteen have never been released before. They make their debut on Going Wild! Music City Rock ‘n’ Roll. Compiled by Alec Palao, Going Wild! Music City Rock ‘n’ Roll is described as: “rockabilly ravers, piano pounders and juke jivers.” Sounds good to me. Let’s pick some of the highlights of Going Wild! Music City Rock ‘n’ Roll.
Opening Going Wild! Music City Rock ‘n’ Roll, is The Honeydrops’ Rockin’ Satellite. Released in 1957, at the birth of the space race, it’s a reminder of another musical era. Reminiscent of Bill Haley and The comets, this finger popping tracks from Mel Larson, Lani Wood and Jerry Marcellino was a musical change in direction for the three journeymen musicians. This was one of two singles The Honeydrops released.
Honey Drop was the other. It’s the best of the two. Soulful and heartfelt accompanied by punchy harmonies, it’s an underrated slice of rock ‘n’ roll. As an added and welcome bonus, the previously unreleased Chickaboom features on Opening Going Wild! Music City Rock ‘n’ Roll.
Best described as a piano pounder, Jimmy Cicero Devil’s Child epitomizes everything that’s good about rock ‘n’ roil. It’s a rebellious and dangerous explosion of music. Growling horns, pounding piano and a vocal that draws inspiration from Jerry Lee Lewis, this is a true hidden gem. Recorded in 1960, the song lay unreleased in Music City’s vaults. That’s where compiler Alec Palao discovered it, and has chosen to share it with music lovers everywhere.
When Mike Smith signed to Music City, he was trying to rejuvenate his career. He’d enjoyed a minor hit single with Week Of Loneliness in 1959. Since then, his career had stalled. So Mike decided to jump onboard the rock ‘n’ roll bandwagon. He signed to Music City and released Coast To Coast, his first single for his new label. It looked a surefire commercial success. Sadly, that wasn’t the case. A year later, Mike was looking for a new label. Despite that, Coast To Coast is an irresistible and rollicking reminder of rock ‘n’ roll’s glory days.
Before finding fame with the Grateful Dead, Jerry Garcia was The Pendletons’ drummer. They released Now Is The Time on Music City.Their contribution to Going Wild! Music City Rock ‘n’ Roll is much better. Santa Rita Jail was written by Rod Gibino and Larry Gonzales. It’s a timeless tale about Alameda County’s main jail. Driven along by the rhythm section of drummer Jerry Garcia and bassist Jim Bedford, Larry Gonzales snarling, rocky vocal is full of angst and rebellion. If only the recording was better, this track would’ve been a classic.
The Holidays’ Hoochi Coochi Man was recorded in March 1958. Written by John and Louise Foster, for some reason, it was never released. Given the quality of this stomper, this is surprising. This wasn’t their only recording for Music City. The Oakland quintet released several tracks for Music City. Then when The Holidays were over, they became The Four Rivers. One wonders whether the released if Hoochi Coochi Man could’ve prolonged The Holidays’ career.
Oh That Train Aka Clickety Clack is one of the tracks The Five Crystels have on Going Wild! Music City Rock ‘n’ Roll. The other is Yay Yay. Their music is best described as eclectic. Veering between sensuous, raunchy, R&B right through to standards and novelty songs, their music is hard to categorize. Originally titled Clackety Clack, this fusion of rock ‘n’ roll, throwaway pop and R&B the title was changed to Oh That Train Aka Clickety Clack. Although very similar to Yakety Yak, it has one thing in common, its proliferation of poppy hooks. Yay Yay the other offering from The Five Crystels, features some of the best guitar playing on the compilation. It comes courtesy of Chuck “Big Guitar” Ernst, one of the best guitarists to walk through Music City’s doors.
Goofin’ Off is another piano pounder, this time from The Dialtones. Recorded in August 1957, Goofin’ Off was penned by Leslie and James Robinson of The Dialtones. They were one of the few groups on Music City who wrote their own songs. Good as this track is, and you’ll not hear better piano playing on Going Wild! Music City Rock ‘n’ Roll, problem with the way the vocal is recorded, lets the song down slightly. Given how basic recording equipment was in 1957, not only is this forgivable, but part of the track’s charms.
Roll On Little Mama by The Mandarins is my final choice from Going Wild! Music City Rock ‘n’ Roll. Recorded in 1957, it’s a piano pounding, finger-popping track. Searing guitars, whoops, hollers and handclaps accompany the lead vocal, while the punchy, cascading harmonies add the finishing touch to what was The Mandarins only single.
Although I’ve only mentioned eleven of the twenty-four tracks on Going Wild! Music City Rock ‘n’ Roll, there’s much more awaiting discovery on the compilation. This includes contributions from Frankie Daro, Ron and Don, The Emarks, Sonny Raye and Willie Moore. There’s even two tracks from artists whose identity compiler Alec Palao wasn’t able to discover. Vera Lee and Street Rock are credited to unknown artist. I wonder who these mystery artists were and what became of them? These two tracks add a taste of intrigue to Going Wild! Music City Rock ‘n’ Roll.
The twenty-four tracks on Going Wild! Music City Rock ‘n’ Roll which was recently released by Ace Records are just a taster of the music in Music City’s vaults. Having said that, Music City were neither the biggest, most prolific nor most successful rock ‘n’ roll label. Other labels can fight it out for these crowns. Nor is Music City the most collectable label. That’s because Music City is something of a well-kept secret. It was at its peak between 1957 and 1961. That’s when Music City were doing what they did so well, releasing rockabilly ravers, piano pounders and juke jivers aplenty. Standout Tracks: Jimmy Cicero Devil’s Child, The Pendletons Now Is The Time, The Holidays Hoochi Coochi Man and The Dialtones Goofin’ Off.
GOING WILD! MUSIC CITY ROCK ‘N’ ROLL.
GREATEST HITS FROM OUTER SPACE.
GREATEST HITS FROM OUTER SPACE.
Throughout history, there’s always been a fascination with outer space. It always has, and aways will, fire up people’s imagination. Part of the attraction is the sense of mystery. The appeal is the unknown. There’s still so much that is unknown about outer space. That’s despite billions of Dollars were spent on the space race. America and the former U.S.S.R. devoted vast resources on putting a man on the moon. Then in July 1969, America won the space race, when Neil Armstrong first set foot on the moon. Despite subsequent moon landings there’s still so much that’s unknown about space. Vast resources are still spent on research, while numerous books and thesis are written on the subject. Entire departments of universities devote their time and budget on discovering outer space’s secrets. However, it’s not just academics and writers that are fascinated by outer space. So are musicians.
From the birth of rock ‘n’ roll, outer space has fascinated musicians. Musicians from every genre have explored the subject of space. This includes soul, country, folk, blues, rock, reggae, jazz or classical music. Given so many songs about space have been released, it’s a wonder there haven’t been more compilation devoted to outer space. Ace Records have decided to rectify this with their latest compilation Greatest Hits From Outer Space, which was released recently.
Greatest Hits From Outer Space is a truly eclectic compilation. No musical genre is ruled out. Anything, it seems, goes. From folk, soul and rock ‘n’ roll, this journey through musical outer space heads towards jazz, library music, blues and classical musical. Often, things get just a little trippy during this eclectic, space-age journey. Featuring everyone from the Berlin Philharmonic Orchestra, Ella Fitzgerald, The Tornados, Lightnin’ Hopkins, Gene Vincent, Bobby Womack, The Byrds, David Bowie, Thelma Houston and John Stewart. As you’ll have realized, Greatest Hits From Outer Space is a musical journey with plenty of surprises in store. I’ll tell you about some of the surprises in store on the musical journey to the final frontier that is Greatest Hits From Outer Space.
It seems fitting that what’s probably the best known piece of music about space, opens Greatest Hits From Outer Space. This is Also Sprach Zarathustra, the theme to 2001: A Space Odyssey, played by the Berlin Philharmonic Orchestra. Recorded in 1958, this is a seminal piece of music. Dramatic, evocative and atmospheric, it’s the perfect start to this journey through outer space.
Many people mistakenly, believe that the theremin is a modern musical instrument. It’s not. Invented by Lev “Leon” Theremin in the 1920s, it’s featured in numerous sci-fi films. One of the first musicians to master it, was violinist Samuel J. Hoffman. He played the theremin on Les Baxter Orchestra’s Lunar Rhapsody. Released in April 1947, this was part of the six-song musical-suite Music Of The Moon. Eerie and evocative, it’s also a quite beautiful, melancholy track.
Ella Fitzgerald’s delivery of Two Little Men In A Flying Saucer demonstrates why she was crowned “Queen Of Jazz.” During the fifties, speculation about space was at its peak. Academics, authors and songwriters were inspired by the sense of the unknown. This included Arthur Pitt. He wrote Two Little Men In A Flying Saucer which was released in 1951. It shows another side to Ella. Frivolous and with sense of playfulness, you realize her tongue’s planted firmly in her cheek as she makes the song swing.
The Tornados’ Telstar is a truly timeless track. Written and produced by Joe Meek, a true musical innovator, this wasn’t the first song he’d written about space. He released the album I Hear A New World in 1960. Three years later, Telstar reached number one in the UK. With its unmistakable sound courtesy of the Unix Clavioline organ played by Geoff Goddard, Telstar’s space-age sound would forever by synonymous with Joe Meek.
Not many people would mention blues and space in the same sentence. Even blues players weren’t immune from the hype and speculation surrounding space. Indeed, a little-know fact is that Lightnin’ Hopkins penned a tribute to the fifth man to orbit the earth, John Glenn. Happy Blues For John Glenn was released in 1962 and features the veteran blues man at his best. Unlike so many of his songs, Lightnin’ Hopkins it’s a much more upbeat song. Featuring his languid, worldweary vocal and searing, bluesy guitar licks, a piano and percussion play their part in one of the highlights of Greatest Hits From Outer Space.
Gene Vincent released Space Ship To Mars in 1962. The same year, Lightnin’ Hopkins released Happy Blues For John Glenn and The Beatles released Love Me Do. Music in 1962, was certainly eclectic. Space Ship To Mars was recorded in Britain and featured in the film It’s Trad, Dad. Produced by Norrie Paramor and featuring British musicians, it’s fast, furious, and rocky.
Compiler Tony Rounce could’ve chosen two Bobby Womack about space. The best known is the classic Fly Me To The Moon. Not as well known is Everyone’s Gone To The Moon. This was a track from Bobby’s 1969 sophomore album My Prescription. Released on the Minit label, this is vintage Bobby Womack. He breaths life and meaning into the lyrics with his languid, gravelly vocal.
Mr. Spaceman was written by Roger McGuinn, and featured on The Byrds’ third album Fifth Dimension. When Mr. Spaceman was released, The Byrds’ manager insured the band members against being abducted by aliens. It was safe to say, that Lloyds of London’s would never be called upon to pay-out the million-Dollars. That would’ve been the ultimate publicity. Despite the lack of alien abduction, The Byrds’ fusion of folk, psychedelia and rock would influence further generations of musicians.
David Bowie musical breakthrough came with his 1969 album Space Oddity. Released five years after his first single Liza Jane was released in 1964, Space Oddity was the album that transformed his career. It reached number seventeen in the UK and number sixteen in the US Billboard 200. Several recording of Space Oddity exist. The version that features on Greatest Hits From Outer Space is a version recorded before David Bowie left Deram in 1968. Dramatic and moody, it’s an innovative fusion of rock, pop and psychedelia that shows another side of the track. This wouldn’t be the last time David Bowie used space for inspiration. Indeed, compiler Tony Rounce could’ve chosen Moonage Daydream, Life On Mars or Jean Genie? He’s chosen well, with this oft-overlooked version of Space Oddity.
Closing Greatest Hits From Outer Space is John Stewart’s Armstrong. I was pleased to discover this track on the compilation, as John Stewart is a hugely underrated artist. Best known as a member of the made-for-TV band The Monkees, John Stewart is a talented singer, songwriter and musician. Armstrong released as a single in 1973, and featured on his album Cannons In The Rain. Veering between hopeful and wistful country, folk and pop combines to close Greatest Hits From Outer Space with a pensive, beautiful song.
Greatest Hits From Outer Space is something of a musical rarity. Usually, compilations are genre specific. Not Greatest Hits From Outer Space. Compiler Tony Rounce is allowed total freedom. He’s able to choose from any musical genre and does so. This results in a truly eclectic compilation, one filled with many musical surprises. Featuring everything from folk, soul and rock ‘n’ roll, this space-age musical journey takes in jazz, library music, blues and classical musical. Often, things get just a little trippy during this eclectic, space-age journey. Forgotten treasures are rediscovered, hidden gems unearthed and old favorites revisited.
Demonstrating just how eclectic Greatest Hits From Outer Space is, iLeonard Nimoy’s version of the Theme From Star Trek. There’s even the BBC Radiophonic Workshop’ version of the theme from Dr. Who, which used to traumatize a generation of British children each Saturday. One of my favorite tracks was Space Flight which comers courtesy of I Roy with Perry. It’s a compelling slice of spaced-out dub. Then there’s Flying Saucers Rock ‘n’ Roll, Billy Lee Riley and His Little Green Men’s delicious slice of rock ‘n’ roll. As you’ll have realized, the best way to describe Greatest Hits From Outer Space is as eclectic. So, if you’ve an eclectic taste in music, then Greatest Hits From Outer Space, which was recently released by Ace Records, is a space-age musical journey you’ll enjoy. Featuring a truly eclectic selection of music, there’s plenty of surprises in-store Greatest Hits From Outer Space. Standout Tracks: Ella Fitzgerald Two Little Men In A Flying Saucer Lightnin’ Hopkins John Glenn. Happy Blues For John Glenn, The Byrds Mr. Spaceman and John Stewart Armstrong.
GREATEST HITS FROM OUTER SPACE.
PERSONAL LIFE-ONE STEP CLOSER.
PERSONAL LIFE-ONE STEP CLOSER.
With so much music being produced using synths, samples, sequencers and drum machines, it’s no wonder music has lost its soul. Sadly, that’s been the case since the eighties. Since then, much of the music being released has a cold, clinical and sterile sound. That’s resulted in many people losing interest in new music. Instead, they return to the music of the past, back to what many people consider music’s heyday, the sixties and seventies.
Back then, producers and artists didn’t have the technology that’s available nowadays. 64-track studios, auto-tune and Logic were a generation away. Despite that, artists and producers created sophisticated, hook-laden and timeless music. Much of this music was recorded quickly. Albums didn’t take years to complete. Instead, artists regularly released two albums a year. These albums were critically acclaimed and commercially successful, often being certified gold and platinum. They’ve also stood the test of time. So much so, that rather than buy modern music, many music lovers would rather listen to music from the past. That’s no bad thing. Much of the music has of the past has soul, something that’s missing from modern music. Thankfully, some musicians are beginning to realize that the modern way of making music isn’t necessarily the best way. This includes London based soul and jazz collective Personal Life, whose new album One Step Closer will be released on Tokyo Dawn Records, on 8th July 2013.
When Robert Strauss formed Personal Life in 2010, he was a man with a vision. His vision to make music that paid homage to music’s glory days. For Robert, the music should be full of poppy hooks, slick, sophisticated, commercially successful and have cultural significance. It should also have integrity. That’s something that so much modern music lacks. Nowadays, music is almost disposable, like so much of modern society. That didn’t use to be the case. Think of the music of Gamble and Huff. Their music was sophisticated, slick, culturally significant, was commercially successful and had that all important integrity. To achieve all of these things, Robert Strauss realized that three things were important, songwriting, production and musicianship. So, in his attempt to recreate music that can be compared with the music glory day’s. Stuart surrounded himself with talented songwriters and musicians.
For One Step Closer, Robert decided to surround himself with talented personnel. Robert cowrote the ten tracks on One Step Closer with Stuart Lisbie, Personal Life’s lead vocalist. Stuart, like many other members of Personal Life have worked with some of music’s biggest names, including Amy Winehouse, Jill Scott, Roy Ayers, Prince and Maceo Parker. The experienced and multitalented lineup of Personal Life headed to London’s Wax Recording Studio, to record the ten tracks that became One Step Closer.
At Wax Recording Studio, Personal Life’s lineup for the recording of One Step Closer included drummer Nathan Allen, percussionist Alselmo Netto, violinist Anna Croad and saxophonist Max Grunhard. Multi-instrumentalist Xantone Blacq played Fender Rhodes, while Scott Baylis played trumpet and piano. Adding backing vocals is Frida Mariama Touray, who many people believe is the future of Nu-Soul. Arranging and producing One Step Closer at Wax Recording Studio in London, was Personal Life’s founder, Robert Strauss. Did Robert achieve his aim and create an album the encompasses the qualities and values of music’s heyday? That’s what i’ll tell you, when I tell you about One Step Closer.
Opening One Step Closer is Morning Light, where soul and funk combine. The production has a slick, sophisticated sheen. A fusion of percussion, drums, Fender Rhodes and backing vocals accompany Stuart’s vocal. Heartfelt, impassioned and joyous describes his vocal, while stabs of blazing horns and swathes of strings drift in and out. Ever-present are the percussion and pounding drums. They create a pulsating heartbeat, as Stuart delivers a soul-baring vocal.
There’s a dramatic, funky backdrop to Classic Lady as it unfolds. A flourish of keyboards and bursts of horns signal the entrance of Stuart’s feisty, sassy vocal. Enveloped by stabs of braying horns, he delivers a powerful, strutting, old-school vocal accompanied by harmonies. Later, his vocal becomes a vamp. Soul, funk and Latin music combine, as Personal Life create a slick, hook-laden and dance-track.
The tempo drops slightly on Distance Can Be Sweet, but the drama and emotion increases. This meandering arrangement is sometimes, reminiscent of seventies jazz-funk, albeit with a Latin twist. Driven along by a bass, bursts of rasping horns and swirling strings accompany Stuart’s vocal. It’s needy. His needy vocal is filled with hurt and emotion. It grows in power as this heartbreaking and soulful song reaches its dramatic crescendo.
Unaccompanied and drenched in echo, Robert’s dramatic vocal opens Give Into The Night. Soon, Personal Life fuse jazz, funk, soul and hooks aplenty. Powered along by a funky rhythm section, stabs of blazing horns and keyboards, Robert’s vocal is delivered with power, passion and drama. Multi-tracked backing vocals accompany him, as this irresistible and infectiously catchy track wins you over.
A Fender Rhodes, finger-clicks and Robert’s scatted vocal open Bring It Back. Soon, braying horns and lush strings join pounding drums, which sometimes, seem too loud. An ethereal backing drifts in and out, as Robert unleashes a jazzy vocal. When his vocal drops out, a sultry saxophone solo takes centre-stage. This demonstrates Personal Life are no one man band. Then when the baton passes back to Robert, the rest of Personal Life join forces and fuse musical genres to create a slice of musical sunshine, one that has a real summery vibe.
One Step Closer literally bursts into life. A myriad of frenzied percussion, growling horns, Fender Rhodes and bass propel the arrangement along. Spurred on, Robert’s vocal is matches the rest of the band every step. To do this, he combines power, emotion and drama. Stabs of horns, percussion and the bass march the arrangement along as Robert’s emotively and dramatically vamps, accompanied by backing vocalists.
I Remember is a melancholy and moody track that meanders along. Cooing harmonies, percussion, Fender Rhodes and rhythm section accompany Robert’s heartbroken vocal. As memories come flooding back, hurt and emotion fills his vocal. An ethereal backing vocal reflects the sadness in vocal. Later, backing vocalists reflect the power and drama in his vocal, as the tempo quickens, drama grows and memories come flooding back causing Robert to remember.
Just wistful strings open It Is What It Is. Slow, spacious and pensive, the arrangement gradually shows another side to Personal Life. The slower tempo really works. So too does the much more understated arrangement. That doesn’t last long. Taking their lead from Robert’s vocal, the arrangement grows in power and drama. In some ways, this helps gets across the emotion and hurt in the lyrics.
The unmistakable sound of a Fender Rhodes opens Rainy Day In London (A Rainy Day in Monterey). Slowly, the thoughtful arrangement meanders along. Then, it’s all change. Robert scats, drums pound and the arrangement bursts into life. Not many people will see that coming. Jazz, funk and soul combine with Latin percussion. Robert is accompanied by a backing vocalist, while the rhythm section propel the arrangement along, as Personal Life provide the perfect remedy to a Rainy Day In London (A Rainy Day in Monterey).
There’s A Time For Everything closes One Step Closer. Like other tracks it has a summery sound. Stabs of braying horns, a funky rhythm section and Fender Rhodes provide the backdrop for Robert’s impassioned vocal. Lush strings sweep is as Robert sings: “seasons come and season go,” their wistful sound providing the perfect accompaniment as this jazz-tinged, funky, soulful track, where old and new unite closes One Step Closer.
Robert Strauss, realizing that right now, music is at a crossroads, decided to try to do something to rectify this. He wanted to create an album that could proudly stand shoulder-to-shoulder with music from music’s glory days. This was the sixties and seventies. Back then, music slick, sophisticated and filled with poppy hooks. It was also culturally significant, commercially successful and. That wasn’t going to be easy. Bringing together some of the best musicians and vocalists he knew, he created Personal Life. They recorded ten tracks that became One Step Closer. However, was Robert One Step Closer to achieving his aim?
Certainly the music on One Step Closer is slick, sophisticated and full of poppy hooks. It also has integrity. That’s something so much modern music doesn’t have. One Step Closer is a fusion of musical genres and influences. There’s everything from funk, house, jazz, jazz-funk, Latin, rock and soul on One Step Closer. Among Robert Strauss’ influences are seventies jazz-funk, Masters At Work, Incognito, Light Of The World and Gamble and Huff when it comes to production. The musical influences on One Step Closer are disparate and eclectic. They’re then combined by producer Robert Strauss. He produced what he perceives as an album that pays homage to, and hopes, will sit side-by-side albums from music’s glory years. Is that the case though?
If One Step Closer is to sit at music’s top table, it has to be a timeless, culturally significant and commercially successful. That’s the criteria Robert Strauss, founder of Personal Life set. Only by answering these questions will we know if Robert’s achieved his aim. One Step Closer is quite unlike so much of the music being released just now. It’s an innovative, exciting fusion of musical genres. It should, age well. That doesn’t mean One Step Closer is necessarily a timeless album. That’ll only be apparent in a few years time.
Is One Step Closer culturally significant? It features some well crafted songs. These songs will speak to people in 2013, and will be relevant in the future. Love songs and songs about hurt and heartbreak never go out of fashion. Hearts are always being broken.
Finally, will One Step Closer be a commercial success? It should be a commercial success. One Step Closer, musically, is a breath of fresh air. There’s not a sample, synth or drum machine in sight. While all around them are releasing sterile, soulless and synthetic music, Personal Life returned to the past to create the music of the future. This should strike a chord with disillusioned music lovers who are tired of disposable music. One Step Closer is One Step Closer to what music used to sound like, when music had a soul, and was made by musicians rather than machines. Standout Tracks: Morning Light, Classic Lady, I Remember and Rainy Day In London (A Rainy Day in Monterey).
PERSONAL LIFE-ONE STEP CLOSER.
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THE BEAT GOES ON: SALSOUL CLASSICS MIXED BY TOWA TEI.
THE BEAT GOES ON: SALSOUL CLASSICS MIXED BY TOWA TEI.
Recently, there seems to be no end of disco compilations being released. Every week, it seems, another batch of disco compilations hits the shops. Many people have been wondering why? Luckily for them, I can put them out of their misery. This is officially the summer of disco. It’s official. Disco, according to tastemakers and fashionistas, is back in fashion. So dust off your flares, polish your disco ball and recreate the heady, hedonistic days of disco.
With so many disco compilations being released, competition is fierce for the disco Dollar. Compilations vary in quality. So it’s very much a case of buyer beware. There’s everything from cheap and cheerful, budget compilations, right through to box sets of remixes by “superstar” DJs. Then there’s the DJ mix. There seems to be a resurgence in the DJ mix. The latest DJ mix is The Beat Goes On: Salsoul Classics Mixed By Towa Tei, which will be released by Octave Japan on 30th July.
The Beat Goes On: Salsoul Classics Mixed By Towa Tei is the third in Octave Japan’s series of DJ mixes. Following in the footsteps of DJ Nuro and DJ Norri, The Beat Goes On: Salsoul Classics Mixed By Towa Tei features fourteen tracks from Salsoul’s back-catalogue. This includes The Salsoul Orchestra, Loleatta Holloway, First Choice and Double Exposure. There’s also contributions from Instant Funk, Inner Life, Ripple, Skyy and Silvetti. At first glance, it seems that The Beat Goes On: Salsoul Classics Mixed By Towa Tei is crammed full of Salsoul classics. So, will The Beat Goes On: Salsoul Classics Mixed By Towa Tei be one of the disco compilation that provides the soundtrack to the summer of disco? That’s what I’ll tell, after I’ve told you about The Beat Goes On: Salsoul Classics Mixed By Towa Tei.
Opening The Beat Goes On: Salsoul Classics Mixed By Towa Tei is Larry Levan’s remix of Instant Funk’s I Got My Mind Made Up. Released in 1979, it sold over one-million copies and reached number one in the US R&B and US Disco Charts. This was a track from Instant Funk’s Salsoul debut Instant Funk. It reached number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. Soulful, funky, dramatic and full of hooks, musical genres unite seamlessly to create Instant Funk’s biggest hit.
Shep Pettibone’s remix of Chicago Bus Stop (Ooh I Love It) is the first of three tracks by The Salsoul Orchestra. This was a track from their 1975 debut album The Salsoul Orchestra. It reached number fourteen in the US Billboard 200, number twenty in the US R&B Charts and number four in the US Disco Charts. The Sweethearts of Sigma add breathy, sassy vocals. Baker, Harris, Young lock into a funky groove, while keyboards, guitars and percussion are joined by sassy, sensual harmonies. A sultry alto saxophone enters, as strings dance and the breathy vocal drifts in and out. Dramatic stabs of growling horns accompany the saxophone, while the rhythm section never miss a beat. They’re responsible for the mesmeric, almost hypnotic backdrop, as funk, Philly Soul, disco and Latin music are combined by The Salsoul with style, flair and a flourish.
Love Thang was a track from First Choice’s final album Hold Your Horses. It only reached number 135 and number fifty-eight in the US R&B Charts. Remixed by Tee Scott, 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 that’s got made in Philadelphia stamped right through it.
Inner Life released two albums for Salsoul. I Like It Like, which was remixed by Shep Pettibone, was a track from Inner Life II, which was released in 1982. This a track that you can almost date to 1982. It’s the combination of instruments that accompany Jocelyn’s vocal. The synths have an unmistakable early eighties sound, as do the drums. They’re joined by Jocelyn’s joyous vamp, while the rhythm section and eighties keyboards drive the track along. Having said that, the track still has an infectiously catchy eighties sound, made all the better by Jocelyn Brown at the height of her powers.
Ripple’s only released one album on Salsoul, 1977s Sons Of The Gods. It featured The Beat Goes On and On. Produced by Floyd Smith, husband of Loleatta Holloway, it’s an oft-overlooked, minor classic that epitomizes disco’s glory days.
Quite different from The Beat Goes On and On, is Skyy’s Let’s Celebrate, a track from 1981s Skyy Line, which transformed Skyy’s career. It reached number eighteen in the US Billboard 200 and number one in the US R&B Charts. Let’s Celebrate reached number sixteen in the US R&B Charts and number sixty-seven in February 1982. The funkiest of rhythm section joins eighties synths before tight, heartfelt and soulful harmonies sweep in. Solomon’s lead vocal is equally impassioned and soulful and joyous. Stabs of horns punctuate the arrangement, while rhythm section provide a funky heartbeat and a fitting backdrop for the soulful strains of Skyy as soul, funk and boogie unite.
Loleatta Holloway released Love Sensation in July 1980. With its combination of rhythm section, percussion, piano and cascading strings, you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta gives a vocal masterclass. Her voice becomes an impassioned roar, while backing vocalists accompany her. Providing the perfect accompaniment is an arrangement that’s a mass of lush strings, dramatic drums and blazing horns. Add Loleatta’s powerful vocal and the result is timeless, dramatic, classic.
Let No Man Put Asunder is a track from First Choice’s fourth album Delusions. Released in August 1977, it reached number 103 in the US Billboard 200 and number thirty-seven in the US R&B Charts. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps, Rochelle’s sassy vocal enters. She’s full of bravado and confidence, as harmonies accompany her. Rochelle literally vamps and struts her way through the track. Sizzling guitars, punchy harmonies, cascading strings and the pounding rhythm section accompany Rochelle’s fiery, defiant vocal on a true Salsoul classic.
Many tracks released during the disco era didn’t stand the test of time. Silvetti’s Spring Rain did. This was the title-track to Silvetti’s 1977 album. Spring Rain is best described as innovative, timeless and a track that influential. Indeed, several generations of house producers have been influenced by Spring Rain.
Not many DJs choosing a track by The Salsoul Orchestra would choose Take Some Time Out (For Love). This was a track from The Salsoul Orchestra’s final album Heat It Up. It featured a very different lineup and sound. Although it didn’t quite match the quality of earlier albums, Take Some Time Out (For Love) and Seconds are the highlights of Heat It Up, The Salsoul Orchestra’s swan-song.
Patrick Adams and Greg Carmichael cowrote Make It Last Forever, from Inner Life I. On its released as a single in 1982, it reached number fifteen in the US Dance Charts. Swathes of cascading strings are joined by the rhythm section and percussion. Then Jocelyn’s vocal heartfelt, impassioned enters. Tight, soulful harmonies accompany her. Her vocal and the way the strings are used are key to the track. They’re the perfect accompaniment to Jocelyn’s vocal. It’s augmented by the rhythm section, keyboards and percussion. As Jocelyn sings “Make It Last Forever,” so good is the track, that you wish this post-disco classic would last forever.
First Choice released the Norman Harris produced Doctor Love in April 1977. The arrangement almost bursts into life. Blazing horns, cascading strings and Baker, Harris, Young set the scene for Rochelle’s vocal. Its a mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, harmonies. Feeding off each other, First Choice and The Salsoul Orchestra drive each other to greater heights. A combination of Rochelle’s powerful, passionate vocal and Norman Harris’ production result in one of First Choice’s greatest tracks.
Double Exposure’s Ten Per Cent helped launch Salsoul as disco’s premier label. Released in November 1976, it was produced by Norman Harris. Earl Young’s pounding drums, percussion and shivering strings combine, before Baker, Harris, Young provide the track’s heartbeat. Hissing hi-hats, swirling strings, a sizzling guitar and stabs of keyboards all play their part before the impassioned vocal enters. Accompanied by tight soulful harmonies, the vocal is laden with emotion. As the arrangement unfolds, you realize it has everything you could want and more on a disco track. Strings, percussion, the tightest of rhythm section and an impassioned. It’s impossible to resist this tracks charms and delights of this majestic slice of disco.
Closing he Beat Goes On: Salsoul Classics Mixed By Towa Tei is Runaway, a track from The Salsoul Orchestra’s 1977 album Magic Journey. Here, Loleatta Holloway takes charge of the lead vocal. Earl Young’s thunderous drums are at the heart of the arrangement, as it builds. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful. Meanwhile, drums punctuate the arrangement and lush strings cascade. Vince Montana Jr. lays down a peerless vibes solos as the arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as she confident, defiant, vampish vocal on this timeless disco classic.
Featuring fifteen tracks, The Beat Goes On: Salsoul Classics Mixed By Towa Tei is the best of the three mix CDs Octave Japan have released so far. Much of the success of The Beat Goes On: Salsoul Classics Mixed By Towa Tei is to do with the track selection. Rather than dig deep into Salsoul’s illustrious, back-catalogue looking for left-field tracks and hidden gems, Towa Tei chooses a selection of Salsoul classics. This includes familiar favorites from The Salsoul Orchestra, Loleatta Holloway, First Choice, Double Exposure and Ripple. Then there’s post-disco tracks from Inner Life, Instant Funk and Skyy. Regardless of whether the music is classic disco or post-disco, it’s always innovative.
The fifteen tracks on The Beat Goes On: Salsoul Classics Mixed By Towa Tei demonstrates just how innovative a label Salsoul Records was. Without fail, Salsoul was ahead of the musical curve. This was the case from 1975, when Vince Montana Jr. helped transform Salsoul Records into disco’s premier label. From the release of The Salsoul Orchestra’s Salsoul Hustle in 1975, right through to disco’s near death experience in July 1979, During that period, Salsoul Records continued to push musical boundaries. Salsoul’s fusion of disco, Philly Soul, funk and Latin music was among the most innovative musical of the seventies. It was also some of the most influential music of the seventies.
Between 1975 and 1984, when Salsoul Records closed its door for the last time, Salsoul influenced numerous other labels and artists. However, other labels didn’t have the personnel that Salsoul Records had. This included some of the most talented songwriters, arrangers, producers and musicians of the seventies. They provided the material for Salsoul’s roster of artists, which included some of the most successful artists of the disco era. Among them were The Salsoul Orchestra, Loleatta Holloway, First Choice and Double Exposure. Each of these artists produced music that’s innovative, influential and is also timeless.
Nearly thirty years after Salsoul Records closed its door for the last time, interest in both Salsoul Records has never been higher. The reason for that is simple. Much of the music Salsoul Records released is timeless. Granted, Salsoul Records doesn’t have a monopoly on releasing timeless disco. However, Salsoul released much more timeless music than any other disco label. That’s why there are so many compilations or DJ mixes featuring the music of Salsoul Records. One of these is The Beat Goes On: Salsoul Classics Mixed By Towa Tei, which will provide a hook-laden, dance-floor friendly soundtrack to the summer of disco. Standout Tracks: The Salsoul Orchestra Chicago Bus Stop (Ooh I Love It), First Choice Doctor Love, Double Exposure Ten Per Cent and The Salsoul Orchestra Runaway.
THE BEAT GOES ON: SALSOUL CLASSICS MIXED BY TOWA TEI.
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