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.
DISCO RECHARGE-TANTRA-THE COLLECTION.
DISCO RECHARGE-TANTRA-THE COLLECTION.
The name Celso Valli means different things to different people. No wonder. In just six years, seamlessly, his musical career was transformed. Having joined Italian prog rock band Ping Pong, in 1971, the transformation of Celso Valli began in 1977, when he released Pasta and Fagioli. This was one of the first Italo Disco singles. After that, Celso worked as a songwriter, arranger, conductor and producer. Soon,Celso Valli’s name was synonymous with Italo Disco. So much so, that Celso was crowned King of Italo Disco. However, for disco lovers, Celso Valli’s name is synonymous with Tantra, the studio band that released a trio of albums between 1979 and 1982.
Tantra’s debut album was 1979s Hills Of Katmandu. It was released with little fanfare. Initially, only a small number of Hills Of Katmandu were pressed. They were snapped up, and soon word spread about Celso Valli’s latest musical creation. The same happened when 1980s Mother Africa was released. With Tantra’s reputation growing, Tantra’s first two albums were released as The Double Album on the Importe/12” label. Two years later, Tantra released their final album Tantra II. This was the post-disco era. Music had changed, changed almost beyond recognition. Celso realized this.
Refusing to stand still and forever the innovator, Tantra II was another album of cutting-edge, influential music. Tantra II-The Journey Continues was a fitting farewell from one of Celso Valli’s most successful projects. Since then, Tantra is regarded as one of Celso Valli’s finest projects. Innovative and influential, Tantra’s three albums will be rereleased by Harmless Records’ Disco Recharge imprint as Disco Recharge-Tantra-The Collection on 15th July 2013. Before I tell you about the music on Disco Recharge-Tantra-The Collection, I’ll tell you about Celso Valli.
Celso Valli was born in Bologna in 1950. Aged just sixteen, Celso became a student at Bologna’s prestigious Giovanni Battista Conservatory. Music seemed to come naturally to Celso. He was a talented student, who would make a career out of music.
By 1971, Celso Valli had graduated. He was about to embark upon a musical career. The first step on what would be and long and successful career, was when he joined Italian prog rock band Ping Pong. Their lead singer was Alan Taylor, who would play an important part in Tantra’s success. Alan wrote many of the lyrics, and would be a regular collaborator with Celso. He would also be a member of the next group Celso was in.
After Ping Pong, Celso and Alan Taylor became members of rock band, Bulldog in 1975. It was born from the ashes of Ping Pong. Bulldog released just one album, 1975s Doggy Doggy, and a string of singles. One of these singles was a cover of Que Sera Sera (Whatever Will Be, Will Be), which was released in 1978. By then, Celso’s music had moved in a very different direction.
The first sign of the future direction that Celso Valli’s career was moving in the direction of disco, was Pasta and Fagioli. Released in 1977, Celso and Alan Taylor cowrote the tracks, which Celso arranged and produced. This was one of the first Italo Disco singles ever released. A year later, Celso arranged and produced his first album, Azoto’s 1978 debut album Music Makers Ltd. Celso Valli’s reputation as an innovative and influential musical figure was born. After that, there was no stopping Celso Valli.
1979 was to be one of the most important years in Celso Valli’s career. He was a member of the Adal-Scandy Super Band when they released their single Piranha. Celso also wrote the single Pick Pack for The Mandrillo and Muppets Band. Most importantly, Celso Valli arranged and produced Tantra’s debut album Hills Of Katmandu.
HILLS OF KATMANDU.
Back in the disco era, things started to change. What had been musical norms, were challenged. Studio bands were de rigeur, replacing the traditional band. Rather than bands in the traditional sense, the studio band comprised session musicians and guest vocalists. This had it’s good and bad points. With a studio band, you were able to bring any musician or vocalist onboard. Budget permitting, you could use the best personnel available. This also presented a problem. Often, musicians or vocalists weren’t always available, so each album featured different lineups. A constantly changing lineup could affect the quality of music. Another change that occurred during the disco era, was albums comprising just two, three or four lengthy tracks. Hills Of Katmandu featured just two lengthy tracks.
Hills Of Katmandu featured just epic two tracks. The title-track which filled sIde one, was written by Celso, Anonnio Cocco and Brian Jackson. Celso and Brian then cowrote Wishbone, a sixteen minute epic which was spread over side two of Hills Of Katmandu. Recording of the two tracks took place at Stone Castle Studios, Carimate. Celso arranged Hills Of Katmandu, while La Drogueria Di Drugolo and Quilli Del Castello took charge of production. One Hills Of Katmandu was completed, it was released in 1979.
To say Hills Of Katmandu had a low key release is almost an understatement. Only a limited number of copies were pressed for release in Celso’s native Italy. By the time Hills Of Katmandu received an international release, Tantra had released his their sophomore album Mother Africa. Together, they were released internationally as The Double Album in 1980. When Hills Of Katmandu was released in the US as a single, it spent forty-five weeks on Billboard’s Dance Charts, reaching the top five. Given this was Tantra’s debut album, Hills Of Katmandu which I’ll tell you about, was the perfect way to start Celso’s career as a disco impresario.
Opening Hills Of Katmandu, is the title-track. It has a pulsating Euro Disco beat. Propelled along by percussion and rocky guitars, washes of synths and ethereal harmonies provide a contrast. Frenzied and frantic becomes haunting, dramatic and urgent. The urgency comes courtesy of the female vocal, which later, becomes sweet and soulful. Bursts of evocative, haunting Eastern sounds, bubbling synths, a myriad of percussion and an express train of a rhythm section take you on a musical journey. By now, disparate and eclectic musical genres and influences are combining. This continues throughout this sixteen-minute epic. Everything from Euro Disco, funk, jazz, soul, world music and classic American disco play their part in this truly captivating and innovative musical journey.
As Wishbone unfolds, you feel Tantra are teasing you. You wonder what direction the track is heading. Just thunderous drums, percussion and a seriously funky bass combine. Washes of synths and mystical Eastern sound provide contrasts, while drums dramatically punctuate the arrangement. By now, Tantra have locked into a hypnotic, mesmeric groove. It’s so good, you want it to last the rest of this fifteen-minute track. Although it doesn’t, the punchy, sensual vocals are a welcome replacement. They’re then replaced by atmospheric Eastern sounds. From there, Tantra revisit what’s gone before. The result is a track that’s funky, dance-floor friendly and often gloriously repetitive. East meets West, while funk, disco, Euro Disco and soul join forces to create a timeless dance track.
What’s truly remarkable about Hills Of Katmandu, is that thirty-four years after its release, it still has a contemporary sound. It’s a truly timeless album, which is akin to a musical adventure. Over two epic tracks, musical genres, influences and cultures combine. Listen carefully, and you’ll hear everything from classic American disco, Euro Disco, funk, rock and soul. Add to that African and Indian music. It’s a multicultural musical adventure, one that’s innovative, inventive and imaginative. Hills Of Katmandu is totally different from anything that other producers were releasing.
Indeed, Hills Of Katmandu was further proof that Europe was where some of the most innovative dance music was being produced. Having invented disco, the genres future was in the hands of producers like Celso Valli. Albums like Hills Of Katmandu were the future of dance music. American producers belatedly realized this. Far too many American disco producers were blindly recreating the music they’d been releasing since 1975. That’s something Celso Valli would never do.
MOTHER AFRICA.
When Tantra released their sophomore album Mother Africa, music had changed. It was the post-disco era. Euro Disco and boogie had picked up the baton from disco, whose popularity had plummeted during the second half of 1979. Luckily, Celso Valli was an innovative and inventive producer who constantly, was trying reinvent his style and sound. This he did on Tantra’s sophomore album Mother Africa.
Tantra’s followup to Hills Of Katmandu was Mother Africa. It was released in 1980. Many of the same personnel that worked on Hills Of Katmandu, worked on Mother Africa. One exception was Alan Taylor, who cowrote the six tracks with Celso. Alan and Celso went way back to their time in Ping Pong, so it’s no surprise he was brought onboard. Celso arranged what became Mother Africa, while La Drogueria Di Drugolo and Quilli Del Castello produced Tantra’s sophomore album. Just like Hills Of Katmandu, it was recorded at Stone Castle Studios, Carimate. That isn’t the end of the similarities.
Just like Hills Of Katmandu, when Mother Africa was released in 1980, it had a similarly low-key release. Again, a limited number of copies were pressed for release in Celso’s native Italy. Like Hills Of Katmandu, word soon spread about Mother Africa. Soon, it had a cult following in Italy, and much further afield. People who’d heard of Tantra and the mysterious Mother Africa, spoke about the album in hushed tones. With its slick production and soulful vocals, it’s no surprise Mother Africa was released internationally. Along with Hills Of Katmandu, Mother Africa was released as The Double Album. Quickly, Tantra’s music was providing the soundtrack to many a dance-floor and was the music of choice for discerning lovers of disco. You’ll realize why, when I tell you about Mother Africa.
Su-Ke-Leu opens Mother Africa, and is like a uplifting, spiritual call to dance. Percussion and deliberate drums accompany the joyous, semi-chanted vocals. When the vocals drop out, piano, synths and a pulsating, rhythm section propel the exotic, mysterious and captivating arrangement, before the celebratory vocal returns. It sets the scene for Mother Africa to burst into life. It’s a glorious fusion of soul, funk and disco. Bursts of blazing horns, lush dancing strings and a funk-laden rhythm section accompany the powerful, dramatic and soulful vocal. So do sweeping harmonies, which are the finishing touch, as the vocal becomes a vamp. Later, the arrangement is transformed. Best described as moody and broody, then eery and exotic. You wonder what’ll happen next?
Hallelujah has a similar beat to Mother Africa before the piano and braying horns combine. Soon, the vocal takes on a celebratory sound. Sung in a call and response style, and accompanied by stabs of horns and handclaps, hooks aren’t rationed. Soul, gospel, disco, funk and jazz combine as the best track on Mother Africa unfolds. Joyous, celebratory and uplifting, it’s the best track Tantra recorded.
Get Happy sees the tempo drop and the arrangement take on a much more understated sound. That’s just briefly though. Just pounding drums, flourishes of strings and slapped bass accompany the heartfelt vocal. Cajoling and encouraging: “Get Happy” the vocal encourages. This he does against a backdrop of synths, grizzled horns and percussion, seventies soul, funk and disco combine to produce a smooth, classy and memorable dance track.
Given its title, it’s no surprise Get Ready To Go bursts into life. A compelling combination of influences include Euro Pop, Euro Disco, rock and funk. This is very different from the previous tracks. It’s also very dramatic. Bubbling synths, sizzling guitars, stabs of braying horns and a thunderous rhythm section accompany the urgent vocal, as Tantra Get Ready To Go and make their escape from Mother Africa. While the track sounds very different to previous tracks, it conjurs up visions of dramatic escape in the dead of night.
Not only does Top Shot close Mother Africa, but it sees the drama continue. Rocky guitars, pounding drums and a funky bass provide a dramatic, galloping backdrop for the urgent vocal. Banks of synths and keyboards join searing guitars and drums in building the drama. You imagine scenarios that fit the dramatic music. There’s a cinematic quality to the music, which like the previous tracks, is totally different from the first four tracks. Instead, it replicates the sound and drama of the previous track, as Mother Africa reaches a dramatic crescendo.
Mother Africa is a truly compelling album. For four tracks, Mother Africa is an uplifting, joyous album, where musical genres and influences seamlessly become one. Soulful and spiritual, funky and dance-floor friendly, describes these four tracks. That’s thanks to a fusion of African Roots, disco, Euro Disco, funk and soul. The result was four joyous, mesmeric, irresistible and hook-laden tracks. Then it was all change.
After the first four tracks, Mother Africa was transformed. The music became dramatic. That’s thanks in part to rocky guitars. Then there was the Euro Pop influence. This came courtesy of the urgent vocals. While it was very different, this drama and sense of urgency painted musical pictures of escape and taking flight. It was as if Tantra were creating a film soundtrack. The final two tracks were the final two scenes in an epic film. You could almost picture the titles rolling during the last thirty-two bars of Top Shot. Tantra had done it again.
Not only did they reinvent their music on Mother Africa, but they kept ahead of the musical curve. Tantra’s music was still relevant and innovative. Proof of this was their sophomore album Mother Africa, which was filled with numerous nuances, surprises, subtleties and no end of joyous hooks. Sadly, two years later, in 1982, Tantra II-The Journey Continues would prove to be the end of Tantra’s musical journey.
TANTRA II-THE JOURNEY CONTINUES.
Two years after the release of Mother Africa, Tantra released Tantra II in 1982. This would prove to be Tantra’s musical swan-song. Music was still constantly evolving. Since Tantra released Hills Of Katmandu, the musical landscape had been transformed. Established disco artists and labels had disappeared. Even labels like Salsoul had been transformed. The music they released was very different. It included boogie and Euro Disco. Another important musical genre was one Celso had pioneered, Italo Disco. However, Tantra II-The Journey Continues wasn’t an Italo Disco album. Instead, it’s the most compelling and eclectic album Tantra released.
Tantra II-The Journey Continues has similarities with Hills Of Katmandu. Both albums feature two lengthy tracks. Where Tantra II-The Journey Continues differs, is it comprises two suites of music. The first is Macumba (The Macumba Suite), a three part suite that explores the practices of the Macumba religious cult. It was written by Ceslo, Antonio Cocco, Archibaldo and Hugo Vereker. A Place Called Tarot (Tarot Suite) is a five part suite that’s akin to a disco tarot reading. Both are written by Ceslo, Antonio Cocco, Arcibaldo and Hugo Vereker. Recording of Tantra II-The Journey Continues took place at Stone Castle Studios, Carimate.
At Stone Castle Studios, Carimate work on Tantra’s musical swan-song, Tantra II-The Journey Continues began. Tantra’s lineup included Dino D’Autorio, drummer Ellade Bandini and guitarist Paolo Gianolio. They were joined by percussionist Maurizio Preti and Celso Valli played keyboards and synths. Celso also arranged and co-produced Tantra II-The Journey Continues with Antonio Cocco. Once recording of Tantra II-The Journey Continues was complete, the album was released in 1982.
Released in 1982, Tantra II-The Journey Continues was perceived as an intriguing, innovative album. It didn’t however, replicate the commercial success of Tantra’s two previous albums. Tantra II-The Journey Continues is certainly an ambitious, captivating exploration of ritual set to dance, which I’ll tell you about.
Opening Tantra II-The Journey Continues is Macumba (Macumba Suite). This three-part suite is a fourteen-minute, musical exploration of a Brazilian religious cult. They use sorcery, dance and fetishes as part of their rituals. Tantra put this to music. Broody, moody, bouncy synths accompany a vocal that veers between deliberate, to almost joyous. Chanted harmonies respond to the call, as the arrangement bounds along. Synths play an important part in the arrangement. Later, they’re joined by a myriad of percussion, a funky, bubbling bass and washes of synths. Add to this chanted vocals, stabs of growling horns, searing guitars and ethereal harmonies. The result is, a track that’s intriguing and captivating, but variously sounds sinister, dramatic and ethereal.
A Place Called Tarot (Tarot Suite) sees neither a let up in the drama nor intrigue of the previous track. This is a five-part suite that lasts nearly sixteen-minutes. There are similarities in sound and style. A hypnotic, electronic beat is joined by chiming bells and buzzing synths. Vocals are deliberate, harmonies ethereal, and sometimes, haunting. Rolls of searing, sizzling rocky guitars add to the drama as the track reveals its secrets. Innovative and imaginative, it’s another reinvention of Tantra’s music on what was their swan-song.
There was no resting on their laurels for Tantra. After all, how many disco groups released concept albums which were musical explorations of Brazilian religious cults and tarot readings? Tantra did. Not only that, but they managed to make it work. The two tracks were variously dark and dramatic, ranged from ethereal to joyous and uplifting. They were also captivating, haunting, hypnotic, mesmeric and intriguing. Symbolism, fetishes and rituals are translated into music. That Tantra managed this in just thirty-minutes is quite an accomplishment and demonstrates music’s power and ability to tell a story, secrets et al.
What Tantra II-The Journey Continues also did, was see Tantra continue to reinvent their music. In doing so, their music stayed relevant and innovative. Tantra were still a group who influenced other groups and musicians. This is still the case thirty-one years after the release of Tantra II-The Journey Continues. Indeed, that’s the case with all of Tantra’s music.
Several generations of producers and musicians have been influenced by Tantra, the brainchild of Celso Valli. For those yet to discover Tantra’s music, then the release of Disco Recharge-Tantra-The Collection on 15th July 2013 is to be welcomes. This double-album contains Hills Of Katmandu, Mother Africa and Tantra II-The Journey Continues, plus eight bonus tracks, including Patrick Cowley’s remix. Disco Recharge-Tantra-The Collection brings together some of the most innovative, inventive and imaginative music of the disco era, music created by one of the most pioneering disco groups, Tantra. Standout Tracks: Wishbone, Su-Ke-Leu, Hallelujah and Get Happy.
DISCO RECHARGE-TANTRA-THE COLLECTION.
DISCO RECHARGE: THP ORCHESTRA-THP NO. 2 TENDER IS THE NIGHT AND GOOD TO ME.
DISCO RECHARGE: THP ORCHESTRA-THP NO. 2 TENDER IS THE NIGHT AND GOOD TO ME.
By 1978, when the THP Orchestra entered the studio to released their third album, THP No. 2 Tender Is The Night, the Canadian production team of Ian Guenther and Willi Morrison had just joined disco’s elite. Their previous album, Too Hot For Love, released on Butterfly Records, had been the biggest success of their career. Costing an estimated £100,000 to produce, this massive gamble paid off. Not only was it a critically acclaimed and commercially successful album, but it provided the soundtrack to North American dance-floors.
Spurred on, and determined to better their previous efforts, Ian and Willi set about recording THP No. 2 Tender Is The Night, which along with Good To Me, will be rereleased by Harmless Records’ Disco Recharge imprint on the 15th July 2013. Sadly, THP No. 2 Tender Is The Night would be the last album the THP Orchestra would release for Butterfly Records. Sadly, it would not be a happy ending to the THP Orchestra’s time at Butterfly Records. Instead, it would prove a frustrating and expensive end to their time at Butterfly Records. I’ll tell you why, after I’ve told you about THP No. 2 Tender Is The Night.
THP ORCHESTRA-THP NO. 2 TENDER IS THE NIGHT.
For what became THP No. 2 Tender Is The Night, Toronto based Ian Guenther and Willi Morrison got to work on what was the THP Orchestra’s third album. The pressure was on them after the success of Too Hot For Love. This neither bothered Ian nor Willi. After all, they had something many artists were desperate for, complete artistic freedom. Artist freedom meant that rather than recreate Too Hot For Love, they could change their sound.
Whereas Too Hot For Love has been sensual and steamy, THP No. 2 Tender Is The Night would be a much smoother, slicker album. It contained just four tracks, three of which Ian and Willi cowrote. The exception was Half As Nice. Weekend Two Step and Tender Is The Night were on side one, while Half As Nice and Music Is All You Need were on side two. For this change of sound, new vocalists were brought in. Replacing Barbara Fry, when the recording of THP No. 2 Tender Is The Night began were the Duncan Sisters, Helen and Phyllis.
Recording of THP No. 2 Tender Is The Night took place at Phase One Studios, Toronto. George Semkiw mixed and recorded and mixed the four tracks that became THP No. 2 Tender Is The Night. The lineup of the THP Orchestra included a rhythm section of bassist Errol Thomas, drummer and percussionist Barry Keane and guitarists Brian Russell and Michael Toles. They were joined by Dick Smith on congas and percussion, Carl Marsh on synths and keyboards plus a string and horn section. Once the four tracks were recorded, THP No. 2 Tender Is The Night was released in November 1978.
As was the fashion during the disco era, THP No. 2 Tender Is The Night was released on white vinyl. This didn’t come cheap. Featuring one Butterfly Records’ trademark erotic covers, THP No. 2 Tender Is The Night was well received by critics. While not matching the commercial success of Too Hot For Love, THP No. 2 Tender Is The Night provided the soundtrack to many a dance-floor. THP No. 2 Tender Is The Night was another commercial success for the production team of Ian Guenther and Willi Morrison. What with Grand Tour and the THP Orchestra, they were going to need armed guards when they went to collect their royalties. That wouldn’t be the case.
Opening THP No. 2 Tender Is The Night is Weekend Two Step. With the piano and handclaps, the introduction is briefly reminiscent of The Charleston. This marks the start of a a truly compelling, innovative and genre-sprawling musical journey. Over eight minutes, jazz, funk, disco, boogie and soul seamlessly unite. A gloriously, funky rhythm section, complete with wah-wah guitars, is joined by blazing horns, dancing, disco strings and a vocoder. Then there’s the soulful strains of The Duncan Sisters vocals. Percussion and synths punctuate the arrangement, which cascades joyously along. Best described as flamboyant and full of flair, subtle and not to subtle changes in musical direction are akin to a series of surprises. Soon, you realize not to second guess the THP Orchestra as they spread joy, hooks and surprises in equal measures.
A pulsating rhythm section and tender, cooing harmonies combine as Tender Is The Night unfolds. Keyboards and percussion join the fray. They’re joined by lush strings and rasping horns. Gradually, the arrangement is revealing its subtleties and secrets. Growing in power and drama, The Duncan Sisters heartfelt and cascading harmonies are the perfect accompaniment to the arrangement. It’s a mass of braying horns, swirling strings, pounding drums, keyboards and jazz-tinged guitars. Fusing jazz, funk, soul and disco, the THP Orchestra create an infectiously catchy, hypnotic backdrop, one that’s timeless, soulful and dance-floor friendly.
Half As Nice is a cover of a familiar track. Made famous by Amen Corner, you’ve never heard it like this. Swathes of strings, punchy growling horns and dramatic drums provide the backdrop for The Duncan Sisters. They add emotion and passion, while reinforcing the drama. Along with the THP Orchestra a familiar song is transformed. It becomes a joyous, anthemic dance-track. Elements of funk, rock, soul and disco are combined with Euro Disco. The result is a remarkable transformation. Filled with poppy hooks, joy and drama, resisting this tracks charms and delights isn’t easy.
Music Is All You Need closes THP No. 2 Tender Is The Night. It’s very different to previous tracks as it unfolds. There’s a cinematic, sci-fi sound as the arrangement bursts into life. A myriad of strings, rhythm section and bubbling synths combine with grizzled horns. They provide a dramatic, moody and cinematic backdrop for The Duncan Sisters. Their vocals are deliberate and dramatic. Above them strings sweep and swirl furiously. Meanwhile percussion and the rhythm section provide a frantic, frenzied backdrop, as the arrangement reaches a dramatic crescendo. This proves a fitting end to what’s been a genre-melting, innovative album.
While THP No. 2 Tender Is The Night didn’t match the commercial success of Too Hot For Love, that’s nothing to do with the music. Indeed, in some ways, THP No. 2 Tender Is The Night surpasses Too Hot For Love. It’s a much slicker, smoother record than Too Hot For Love. An innovative, fusion of disparate musical genres, THP No. 2 Tender Is The Night saw the THP Orchestra reinvent their music. Rather than recreate Too Hot For Love, their most successful album, the THP Orchestra decided to change their sound. This was brave. After all, many other disco artists churned out album after album of similar music. Not the THP Orchestra. Instead, everything from disco, jazz, funk, soul, Euro Disco and rock was thrown into the THP Orchestra’s musical melting pot. The result was another innovative and inventive album THP No. 2 Tender Is The Night. Sadly it never replicated the commercial success of Too Hot For Love. Maybe that’s to do with what happened next.
Having released THP No. 2 Tender Is The Night, Ian Guenther and Willi Morrison headed to the Butterfly Records’ Los Angeles to pick up their royalties. They were on the hottest streak of their career. Both Grand Tour and the THP Orchestra had enjoyed huge commercial success. Owed considerable sums of money, they lucked out. Ian and Willi just happened to arrive in LA to pick up their royalties, they the day before Butterfly Records literally flew away. The next day, Butterfly Records filed for Chapter 11 bankruptcy. Now all bets were off. With their record company now insolvent, they could kiss goodbye to their royalties.
Whether Butterfly Records’ impending financial meltdown affected the release of THP No. 2 Tender Is The Night is mere speculation. Did Butterfly Records have the budget to promote THP No. 2 Tender Is The Night? That we don’t know. It wouldn’t be the first time a record company’s financial problem impacted on an album’s commercial success. Maybe disco and the popularity of the disco orchestra was starting to wain. Sadly, the THP Orchestra’s luck didn’t improve. instead, it got worse.
GOOD TO ME.
Following Butterfly Records insolvency, Ian and Willi decided it was best to distance themselves from their former label. They’d lost huge sums of money. Sadly, there was nothing that could be done about that. It was a case of writing it off to experience and getting on with recording their fourth album Good To Me. They must have thought surely nothing else could go wrong for the THP Orchestra? How wrong could they be.
1979 saw labels start to change the music they were releasing. Disco was almost a spent force. The first waves of the anti-disco backlash was being felt. Suddenly, disco was starting to suck. This wasn’t good for labels who released disco. Nor was it good for the THP Orchestra, who were about to release their fourth album Good To Me in 1979 on Atlantic Records.
The five songs on Good To Me were written by ian and Wili, who produced the album. Again, Pete Pedersen was brought in to arrange, orchestrate and conduct the THP Orchestra on Good To Me at Phase One Studios, Toronto. Joining them, were the same personnel that featured on THP No. 2 Tender Is The Night. This included a rhythm section of bassist Errol Thomas, drummer Barry Keane and guitarists Brian Russell and Michael Toles. They were joined by Dick Smith on percussion, Carl Marsh on synths and keyboards plus a string and horn section. Taking charge of the lead vocals was Joyce Cobb. Once the four tracks were recorded, Good To Me was released in 1979.
Like so many albums, released in 1979, Good To Me was an album that was released at the wrong time. Disco orchestras had had their day. They were perceived as yesterday’s sound. Music was moving towards boogie and Hi-NRG. So Good To Me didn’t replicate the commercial success of previous THP Orchestra albums. That doesn’t make Good To Me a bad album. Far from it.
Dancin’ Is Alright opens Good To Me. Straight away, there’s a change of sound. Funk and Euro Disco combine. This shows how disco was changing. The traditional, classic disco sound was being replaced by the Euro Disco sound. Crucial to this is Joyce Cobb’s vocal. It’s feisty and sassy. She encourages and cajoles, reminding everyone that: “Dancin’ Is Alright.” Accompanying her vocal is a a hypnotic, funky beat, stabs of braying horns, piano, chiming guitars, percussion and handclaps. They provide the backdrop for her diva-esque performance as the THP Orchestra innovate, reinventing themselves, rather than risk standing still.
Two Hearts, One Love sees a continuation in the reinvention of the THP Orchestra. There’s a much more soulful sound to this dramatic, dance track. Again, Joyce Cobb’s powerful, dramatic vocal takes centre-stage. She delivers some of the most memorable lyrics on Good To Me. A driving, pounding, funky beat is accompanied by sweeping harmonies and bursts of blazing horns. Joyce combines power, passion and emotion as she breathes life and meaning into the lyrics on this soulful, stomper.
Dancin’ Forever explodes into life. It’s not so much a song, but a message and suggestion for a lifestyle choice. It comes courtesy of Joyce. Before she makes her entrance, keyboards and the rhythm section drive the arrangement along. Searing rolls of guitars set the scene for Joyce’s ethereal scat. That’s just a taste of what’s to come. Combining power, drama and soulfulness, Joyce’s message is: “Dancin’ Forever is all we need.” Given the way she makes the song swing, you’re almost convinced. Helped along by growling horns, cascading harmonies and the driving, choppy rhythm section, elements of Euro Disco, soul and funk become one. In doing so, they play their part in another irresistible dance track.
Hi-NRG. That’s what springs to mind when I hear the first few bars of Good To Me. Regardless of whether you like Hi-NRG or not, you can’t fault the THP Orchestra for being ahead of the musical curve. They were true innovators, way ahead of so many other producers. Their take on Hi-NRG is much better than certain British producers. Mixing elements of soul and Euro Disco to this proto Hi-NRG track, Joyce Cobb struts her way through the track adding drama, hooks and more than a little sass.
Closing Good To Me is Who Do You Love? This proved to be the THP Orchestra’s musical farewell. At least they ended their four album career on a high. A myriad of chiming guitars, funky rhythm section, stabs of braying horns, swirling strings and keyboards accompany Joyce as she unleashes a sassy vamp. Soon, it’s transformed into another impassioned, emotive vocal. Delivered with her trademark power and control, her soulful strains are accompanied by cascading, cooing harmonies. Add to that, an arrangement where Euro Disco, boogie and funk combine. Drenched in echo, Joyce’s vocal probes and questions, asking, pleading and wondering Who Do You Love as this genre-sprawling track, closes Good To Me.
The constant reinvention of the THP Orchestra continued on Good To Me. To their fusion of Euro Disco, funk, soul, disco and even rock, Hi-NRG was added. This was the latest disparate musical influence that featured during the title-track Good To Me. A combination of soulful stompers and Euro Disc interspersed with funk played their part in the evolution of the THP Orchestra. They strived to innovate and release influential, imaginative and inventive music. Sadly, this wasn’t enough. Disco suddenly sucked.
The winds of musical change blew through American music during 1979. Gradually, disco’s popularity began to plummet. This included disco orchestras. Whether it was The Salsoul Orchestra, John Davis and His Monster Orchestra or the THP Orchestra, their popularity plummeted. It didn’t matter how good the music was. Disco was no longer as popular. Everything came to a head on 12th July 1979, in Comiskey Park, Chicago. This was Disco Demolition Night, which was organized by the Disco Sucks movement. Thousands of disco records were blown up. The effects were wide reaching and almost destroyed disco. Suddenly, labels dropped disco artists, disco albums weren’t released and disco labels folded. For the THP Orchestra, Good To Me proved to be their final album.
From being one of the most successful disco orchestras, the THP Orchestra’s luck had changed drastically in the space of a two years. Thankfully, the resurgence in interest in disco, means the THP Orchestra’s music is back in fashion. Both THP No. 2 Tender Is The Night and Good To Me, will be rereleased by Harmless Records’ Disco Recharge imprint on the 15th July 2013. Like previous releases in the Disco Recharge series, this Special Edition is a double-album which features nine bonus tracks. Given this is the final installment of Ian Guenther and Willi Morrison’s music, that Disco Recharge will release, the rerelease of THP No. 2 Tender Is The Night and Good To Me is a fitting tribute to Canada’s disco Kings. Standout Tracks: Weekend Two Step, Tender Is The Night, Dancin’ Is Alright and Two Hearts, One Love.
DISCO RECHARGE: THP ORCHESTRA-THP NO. 2 TENDER IS THE NIGHT AND GOOD TO ME.
BLOODSTONE-WE GO A LONG WAY BACK.
BLOODSTONE-WE GO A LONG WAY BACK.
Eclectic. That’s the best way to describe Bloodstone’s music. Their music gradually evolved over the band’s lifetime. Bloodstone’s music has incorporated everything from doo-wop, soul, funk, R&B, rock, gospel and Latin music. It seems Bloodstone have constantly reinvented themselves musically. That’s no bad thing. Any group that stands still, risks becoming irrelevant. That didn’t happen to Bloodstone. Many other things happened to Bloodstone, who were formed in 1962, and originally called The Sinceres.
The life and times of Bloodstone are best described as an action-packed adventure. They’ve survived a change in name, several change in musical direction and various changes in lineup. Then there’s the thirteen albums Bloodstone released between their 1972 eponymous album and 2004s Now That’s What I’m Talking About. One of the thirteen albums Bloodstone released, was 1982s We Go A Long Way Back. It’s just been rereleased by Purpose Music Vaults, along with three bonus tracks. Before I tell you abut We Go A Long Way Back, I’ll tell you about the life and times of Bloodstone.
It was back in 1962, in Kansas City, that a group of high school students formed a doo wop band The Sinceres. Over the next few years, The Sinceres established a reputation as one of the area’s top live acts. Between 1967 and 1969, they were touring with another Kansas City band, The Smokin’ Emeralds. They provided the horn section for The Sinceres, including for their version of a Motown review. By 1971, The Sinceres decided to leave Kansas City behind, and headed to Los Angeles.
When The SInceres landed in Los Angeles, they met their managers, George Braunstein and Ron Ramady. Soon, changes were being made to The SInceres. Drummer Melvin Webb was replaced Eddie Summers, who lived in LA. The other change was their name. No longer were the band known as The SInceres. Now they were known as Bloodstone. Given that The Sinceres had been together for nine years, and established a reputation this was risky. It paid off.
The newly named Bloodstone headed to London, where they signed a recording contract with Decca Records. Two albums were released on Decca, 1972s Bloodstone and 1973s Natural High, which sold over one-million copies. This was the highpoint of Bloodstone’s career. Natural High also gave Bloodstone their first hit single. This was Natural High, which reached number ten in the US Billboard 100 and number four in the US R&B Charts. With a settled lineup, Bloodstone had just enjoyed what would be their most successful album and the first of thirteen hit singles they’d have between 1973 and 1984.
For Bloodstone’s next six albums, they were released on Decca and London Records, depending on the territory. Bloodstone’s music gained a reputation as both eclectic and innovative. From 1974s Unreal and I Need Time, right through 1975s Riddle Of The Spinx and 1976s Do You Wanna Do A Thing, Lullaby Of Broadway andTrain Ride To Hollywood, Bloodstone’s music contained elements of everything from funk, soul, gospel, doo-wop, Latin, R&B and rock. It was as if Bloodstone were trying to be all things to all men. Sadly, while they enjoyed a few hit singles, they never replicated the success of their sophomore album Natural High. However, in 1978, Bloodstone signed to what had once been, one of the biggest record companies in America.
Motown. What had been a musical Goliath was no longer the force it used to be. Despite this, it would be Bloodstone’s home for their ninth album Don’t Stop. Released in 1978, Don’t Stop didn’t replicate the commercial success and critical acclaim of Natural High. It seemed that for Bloodstone, trying to get a hit was akin to getting blood out of a stone. That would change. However, it would be another four years before Bloodstone’s luck changed.
In 1982, Bloodstone were signed to The Isley Brothers’ T-Neck record label. This would be where Bloodstone called home for two albums. The first was We Go Back A Long Way, which features just seven songs. For Bloodstone, this was make or break for their career. It had been nine years and seven albums since Natural High. It was Bloodstone’s career high. After that, Bloodstone had struggled to replicate this success. If what became We Go Back A Long Way, wasn’t a commercial success, Bloodstone’s very future could be in doubt. What they needed was a successful album, one that featured that elusive hit single. This meant Bloodstone needed quality songs.
Of these seven songs on We Go Back A Long Way, the members of Bloodstone who contributed songs were Charles Love and David Wilson. Charles Love wrote We Go A Long Way Back and Nite Time Fun. He also cowrote Go On and Cry with Kitty Sears. They then cowrote How Does It Feel with Curtis and Oscar Love. Ronald Wilson penned My Kind Of Woman and with McKinley Jackson, cowrote Funkin’ Around. McKinley joined Valerie and Shirley Jones of The Jones Girls in writing My Love Grows Stronger. These seven songs were recorded by Bloodstone at Conway Recording Studios, Los Angeles and produced by The Isley Brothers, who were enjoying the hottest streak of their career.
At Conway Recording Studios, Bloodstone joined by some top session musicians. Bloodstone’s lineup included vocalist and guitarist Charles Love, percussionist Henry Williams, guitarist Willis Draffen, Ronald Bell and Ronald Wilson. Augmenting Bloodstone were an experienced and talented rhythm section of drummer Leon Ndugu Chancler, bassist Freddie Washington and guitarists David T. Walker and Charles Fearing. Despite Bloodstone having two guitarists, producers The Isley Brothers hired two more. Clydene Clark played piano and Reggie Andrews synths, while David Jackson’s L.A. Strings and David Stout’s Horn Section were brought onboard. McKinley Jackson who cowrote two tracks, produced these tracks and arranged the horns and strings. Nothing it seemed, was left to chance. The Isley Brothers realized the importance of We Go Back A Long Way. They weren’t in the habit of being associated with albums that weren’t a commercial success. For the past few years, nearly everything they touched turned gold or platinum. Would this be the case with We Go Back A Long Way?
On the release of We Go Back A Long Way in 1982, it was reasonably well received. However, We Go Back A Long Way stalled at number ninety-five in the US Billboard 200, but reached a respectable number eleven in the US R&B Charts. The lead single We Go Back A Long Way, reached number five in the US R&B Charts. Go On and Cry then reached number eighteen in the US R&B Charts, while My Love Goes Stronger only reached number forty-four in the US R&B Charts. Although We Go Back A Long Way hadn’t been a huge commercial success, it featured a top ten US R&B hit. This was an improvement on their previous album. Sadly, it was a long way from Natural High. Would they Bloodstone ever experience another Natural High? That’s what I’ll tell you, once I’ve told you about We Go Back A Long Way.
Opening We Go Back A Long Way is the second single Go On and Cry. A roll of dramatic drums, piano and subtle percussion sets the scene for Charles’ half-spoken, hurt-filled vocal. Cooing harmonies and lush strings sweep in, as if trying to sooth his hurt. As the drama builds, this sets the stage for Charles’ heartbroken vocal. Filled with pain and despair, the emotion is almost tangible. His vocal is slow and thoughtful, as the understated arrangement unfolding behind him. It grows, not just in power, but in beauty and emotion. Swathes of strings, jazz-tinged guitar, percussion, dramatic, driving, drums, piano and tight, soulful and heartfelt harmonies. Against this emotive, dramatic, backdrop, Charles unleashes a heartbroken, powerful, vampish vocal. It’s equal measures melancholia, heartbreak, emotion and controlled power.
How Does It Feel has a similar understated arrangement. Meandering along, keyboards join the rhythm section, which features a jazzy guitar. They’re joined by tender, heartfelt harmonies and percussion. Soon, the falsetto lead vocal questions and probes, asking “How Does It Feel.” It’s a mixture of tenderness and insecurity. Soon, there’s a sense of urgency and drama to the arrangement. Harmonies sweep in. They’re accompanied by the bass and guitar and help drive the arrangement along. Later, a blazing horns adds to the emotion and drama, before the vocal becomes an emotive, pleading vamp. The interplay between the vocal and harmonies is peerless, and crucial to the success of this eleven minute epic.
The title-track We Go Back A Long Way was the lead single and reached number five in the US R&B Charts. No wonder. It’s another slow, sultry song. Just a piano and understated rhythm section combine with the vocal. Impassioned and filled with emotion, finger-clicks and harmonies accompany it. Here, Bloodstone revisit their doo-wop past, combining it with soul, jazz and funk. This proves really effective. A combination of a deeply soulful, needy, pleading lead vocal is accompanied by doo-wop harmonies. As for the arrangement, not only is it funky, but has a jazzy swing. This proves a compelling and effective combination, where Bloodstone’s musical past plays a huge part in the track’s success.
Funkin’ Around sees a real change in style. From the call of “1-2,” gone is the fusion of doo-wop, jazz, funk and soul. Replacing it is a hard driving fusion of P-Funk, funk and soul. The rhythm section unleash their inconsiderable skills and provide an uber funky backdrop. Joining them, are stabs of blazing horns and percussion. From the get-go, Bloodstone seem to revel in the change of sound. It’s like a party atmosphere. Again the interplay between the lead vocal and harmonies is peerless. They’re encouraging each other to greater heights. Tight, sweeping soaring, harmonies accompany a joyous lead vocal, as Bloodstone demonstrate their versatility.
My Kind Of Woman is another uptempo track, full of poppy hooks. Bloodstone combine soul, doo-wop and funk. The all-star band set the scene for Bloodstone, providing a choppy, funky backdrop. This comes courtesy of the rhythm section, keyboards, growling horns and jazz-tinged guitars. Bloodstone then do what they do so well. They combine soul and doo-wop. Just like the vocal, the harmonies are soulful, urgent and joyful. Sometimes, there almost chanted, as if in celebration. The result is a hook-laden, dance track that’s stood the test of time.
My Love Goes Stronger is an intriguing track. It has a foot in two decades. These were two very different decades. Straight away, you hear the harsh, early eighties, synths which blighted many an album. Much better is the seventies funk sound. It’s much more organic, and comes courtesy of the all-star rhythm section. They provide the backdrop for Bloodstone’s vocal prowess. It has a seventies classic soul sound. Feeding off the harmonies, Charles’ vocal mixes power, passion and emotion. He then heads off on one of his trademark vamps, which is one reason why the good outweighs the bad on this track.
Nite Time Fun, which sounds like a party in the studio, closes We Go Back A Long Way. Against a backdrop of chatter, percussion, rhythm section and synths combine. A holler signals the entrance of the vocal. Flanked by harmonies and handclaps, four minutes of good-time, party music unfold. It’s a fusion of musical styles, influences and decades and sees another change in style from Bloodstone. Forever striving to innovate, they realised that a new musical era had dawned. Standing still wasn’t an option, so they combined their old sound with the new, in an attempt to prolong their twenty-year career.
Bloodstone’s We Go Back A Long Way is an intriguing album. It’s very much an album of two sides. The three tracks that were on side one of the vinyl version of We Go Back A Long Way see Bloodstone at their very best. Go On and Cry, How Does It Feel and We Go Back A Long Way are a real fusion of styles. This includes soul and doo-wop. Add to this elements of funk and jazz, and the result is a flawless side of music. Much of this was thanks to the all-star band The Isley Brothers hired. They helped ensure that side one appealed to Bloodstone’s loyal fans. Side two was very different.
If side one was old Bloodstone, side two was the new Bloodstone. Starting with Funkin’ Around, it’s as if Bloodstone are reinventing themselves and in the process. As they showcase their versatility, Bloodstone become a good-time, party band. Fusing funk, soul and on occasions, eighties electronica, it was almost like the reinvention of Bloodstone. My Kind Of Woman was easily the best track on side two. Filled with poppy hooks, it’s a truly timeless track. On the penultimate track, the seventies and eighties collide head on. Saved by Blackstone’s vocal prowess and the all-star rhythm section, this sets the scene for the good-time sound Nite Time Fun. With its celebratory sound, it’s as if Bloodstone are toasting their reinvention. However, they celebrated too early.
While We Go Back A Long Way was relatively successful, it didn’t come close to replicating the success of Natural High. It fared better in the US R&B reaching a respectable number eleven, but stalled at a disappointing ninety-five in the US Billboard 200. At least the title-track reached number five in the US R&B Charts. Ironically, this featured Bloodstone’s “old” sound. That Bloodstone didn’t neglect their trademark sound is no bad thing. If they had, they’d have risked alienating their existing fan-base. Given it was shrinking with each album, that wasn’t as big a risk as it might have been. However, their trademark sound resulted in the top biggest singles from We Go Back A Long Way. Indeed, after We Go Back A Long Way, Bloodstone never reached the same heights.
Following We Go Back A Long Way, Bloodstone only enjoyed two more hit singles. They were from their 1984 album Party, which failed to chart. Neither 1999s Go On and Cry nor 2004s Now That’s What I’m Talkin’ About replicated the success of Natural High, Bloodstone’s most successful album. Commercial success was but a distant memory for Bloodstone. Despite this, Bloodstone still have a loyal fan-base, who will welcome Purpose Music Vault’s recent release of We Go Back A Long Way. While We Go Back A Long Way wasn’t Bloodstone’s most successful album, it demonstrates just how eclectic their music was, and how versatile a band they were and are. Standout Tracks: Go On and Cry, How Does It Feel and We Go Back A Long Way.
BLOODSTONE-WE GO A LONG WAY BACK.
ONE WAY FEATURING AL HUDSON-ONE WAY FEATURING AL HUDSON.
ONE WAY FEATURING AL HUDSON-ONE WAY FEATURING AL HUDSON.
Between 1977 and 1978, Al Hudson and The Soul Partners released a trio of albums on ABC Records. These three albums were a fusion of soul, R&B and funk. Then in 1979, Al Hudson and The Soul Partners changed their name to Al Hudson and The Partners. The other things that changed on the release of Happy Feet, was their sound. Disco was added to the equation. Happy Feet’s fusion of funk, soul, R&B and disco was well received. Despite this, this proved to be the only album the newly named Al Hudson and The Partners released.
Following the release of Happy Feet, Al Hudson and The Partners’ record company ABC Records was being taken over by MCA Records. This just happened to coincide with another name change for Al Hudson and The Partners. They changed their name to One Way featuring Al Hudson. This wasn’t the last name change the band would undergo. It would however, coincide with the most successful period of their career, including three top ten US R&B singles. This was all to come.
Now signed to MCA Records and called One Way featuring Al Hudson, work began on their debut. This would be 1979s One Way featuring Al Hudson, which was recently rereleased by Purpose Music Vaults. One Way featuring Al Hudson was the first of eleven albums One Way featuring Al Hudson released between 1979 and 1993. Before I tell you about the music on One Way featuring Al Hudson, I’ll tell you the background to the album.
For their debut album, the members of One Way featuring Al Hudson began work on what would become One Way featuring Al Hudson. SIx songs were written. This included Guess You Didn’t Know and Come Dance With Me, which Al Hudson and Cuba Gregory Jr. cowrote. Kevin McCord penned Music and cowrote You Can Do It with Alicia Myers. Dave Robertson and Valeria O’Neal cowrote I Am Under Your Spell, while Dick Bozzi and John Unger wrote Now That I Found You. These six tracks were then recorded at Pac 3 Studios, Dearborn, Michigan.
At Pac 3 Studios, recording of what became One Way featuring Al Hudson got underway. One Way’s lineup included vocalist Alicia Myers, bassist Kevin McCord, drummer Gregory Green, guitarists Dave Roberts and Cortez Harris plus Al Hudson, who played tambourine and syndrome. Joining One Way, were backing vocalist Brenda Wiley, keyboardists Gary Schunk and Leroy Hyter, who also played synths and saxophone. Rich Becker and One Way produced three songs each. They became One Way featuring Al Hudson which was released in 1979.
On the release of One Way featuring Al Hudson in 1979, it reached number 128 in the US Billboard 200 and number twenty-five in the US R&B Charts. Two singles were released from One Way featuring Al Hudson. Neither Music, nor You Can Do It charted. While this was disappointing, at least One Way featuring Al Hudson was a commercial success. However, why was One Way featuring Al Hudson a commercial success and should it have been a bigger commercial success? That’s what I’ll tell you after I’ve told you about Opening One Way featuring Al Hudson.
Opening One Way featuring Al Hudson is Now That I Found Now. Written and arranged by Dick Bozzi and John Unger, it was produced by One Way. A burst of searing guitar gives way to a piano, pounding drums and synths. Accompanied by a meandering, prowling bass, Al’s thankful, heartfelt vocal grows in power and sincerity. The piano adds to the emotion and beauty, while the rhythm section provide a pulsating, beating heartbeat. Combined with the vocal, the result is a quite beautiful, emotive and heart-wrenching song.
As Now You Can Do It bursts into life, it’s reminiscent of the type of music Earth, Wind and Fire were recording during the late-seventies. Stabs of horns, strings and keyboards join a funky, Chic-influenced rhythm section. They provide a thunderous heartbeat and set the scene for One Way’s vocal interplay. It’s crucial to the track’s sound and success. Sitting atop the pounding arrangement, it’s sung in a call and response style. It has a hypnotic sound. That’s thanks to the interplay between the lead vocals and chanted harmonies. Then when Alicia Myers unleashes her lead vocal, it steals the show. Her powerful vocal impressively and soulfully, soars above the arrangement. In doing so, it adds the finishing touch to this hook-laden, dance track where soul, funk and disco combine.
Guess You Didn’t Know sees the tempo drop and One Way Featuring Al Hudson demonstrate another side to their music. Al takes charge of the lead vocal. Impassioned, filled with emotion and hurt, synths, percussion and an understated rhythm section join sweeping, almost dramatic bursts of harmonies. As the song unfolds, the drums grow in power, reflecting the drama, loneliness and emotion in Al’s vocal.
A driving rhythm section, bubbling synths and chiming guitars open Music. This isn’t any style of music. Not at all. It’s funky, soulful, good-time music. Breathy, punchy harmonies give way to keyboards as Al’s vocal takes centre-stage. It’s tender but joyous, as the rest of One Way add harmonies. This they do while delicious rhythms unfold. Then when the vocal drops out, synths bubble, Dave Robertson adds Nile Rogers’ style guitar and a jazzy piano combine as the track become a glorious seven-minute jam.
Come Dance With Me sees a change in style. One Way don’t play in such a loose, fluid way. They’re more rigid, deliberate and dramatic. This is obvious from when synths and the rhythm section combine. Alicia’s vocal and the harmonies deliberate and dramatic. Gradually, her vocal grows in power. As she unleashes her vocal, she tries to make the song swing. Helping her in her quest are a prowling bass and sci-fi synths. While the song doesn’t quite swing, it’s certainly a dramatic, hypnotic dance track. That’s partly down to the strummed guitar, drums and harmonies. Good as the track is, I wonder how different it could’ve been if One Way had played with more fluidity?
Closing One Way featuring Al Hudson is I Am Under Your Spell. Hissing hi-hats, deliberate drums and pounding bass join atmospheric synths, piano and funky, chiming guitars. It’s as if the song doesn’t want to reveal its nuances, subtleties and surprises too soon. No wonder. What follows is a quite beautiful, laid-back fusion of musical genres and influences. Meandering along, the arrangement combines jazz, funk and soul, which comes courtesy of Alicia’s languid, soulful vocal. This proves the perfect way to close One Way featuring Al Hudson.
Although One Way featuring Al Hudson only featured six tracks, not only was it a taste of what they were capable of, but what lay ahead. While One Way featuring Al Hudson was the newly founded group’s debut album, One Way were far from musical novices. Granted they were hardly veterans, but they’d previously recorded four albums. So, One Way were an experienced, accomplished and talented group. Indeed, their experience shines through on One Way featuring Al Hudson. In Al Hudson and Alicia Myers, One Way were fortunate enough to have two talented vocals. Each had their own unique and memorable style. As for One Way’s rhythm section, they provided the heartbeat of each of the six songs. Locking into a groove, they were capable of switching between soul, funk, jazz and dance music. This isn’t easy, but One Way managed it. It also provided a successful start to the newly founded group’s career.
It’s this combination of talented personnel, versatility and eclectic mix nature of the music on One Way featuring Al Hudson that resulted in the album’s commercial success. That’s not forgetting, some strong songs and tight production. Everything it seemed was in place for One Way featuring Al Hudson to be a commercial success, possibly an even bigger commercial success than it was. Sadly, that wasn’t the case. Possibly, the winds of musical change that were blowing through American music were to blame. Either that, or that One Way featuring Al Hudson was just too eclectic. It was neither a soul, funk nor a dance album. It was a bit of each musical genre. Whatever the case, at least One Way hadn’t hitched a ride on disco’s bandwagon. If they had, their career would’ve been somewhat short-lived. Instead, it was just the first step in an eleven album career.
Not many groups are as versatile as One Way featuring Al Hudson were. This was crucial, allowing them to enjoy the longevity that other groups didn’t enjoy. If they’d blindly followed one musical genre, their career could’ve been cut short. This is what happened to groups that hitched a ride on disco’s bandwagon. Instead, One Way’s career lasted eleven albums that were released over a fourteen year period. This included another name to change to One Way and changes in personnel. This included Alicia Myers’ departure from One Way in the early eighties. She was never properly replaced. That’s no surprise, given her undeniable talent. Although she returned towards the end of One Way’s recording career, for 1993s One Way WIth Alicia Myers and Friends, it was too little, too late. The end was neigh for One Way. Rather than One Way, it was Wrong Way. This however, was still to come.
Fourteen years before One Way released their final album, the future looked bright for One Way featuring Al Hudson. Their debut album had been well received and was relatively successful. One Way featuring Al Hudson which was recently rereleased by Purpose Music Vaults, along with four bonus tracks, was the start of One Way’s musical adventure. Soulful, funky, jazz-tinged and dance-floor friendly describes One Way featuring Al Hudson, an intriguing, eclectic album that features ballads, jams and dance tracks filled with poppy hooks, emotion, drama and joy.
ONE WAY FEATURING AL HUDSON-ONE WAY FEATURING AL HUDSON.
THE RITCHIE FAMILY-AFRICAN QUEENS.
THE RITCHIE FAMILY-AFRICAN QUEENS.
Just like The Ritchie Family’s three previous albums, their fourth album, 1977s African Queens which will be rereleased by Gold Legion on 27th July 2o13, was a disco concept album. Their 1975 Latin-tinged debut album Brazil was The Ritchie Family’s most successful album. Brazil, which featured The Sweethearts of Sigma’s vocals set the bar high for The Ritchie Family’s future albums. Critically acclaimed and commercially successful, The Ritchie Family looked like becoming one of the biggest groups of the disco era.
Then in 1976, The Ritchie Family lineup changed. This was the first of five different lineups of The Ritchie Family. Gwen Oliver and Cassandra Wooten, who had been members of Honey and The Bees. Joining them were Cheryl Jacks. With this new lineup, Arabian Nights was released in 1976. While Arabian Nights was a commercial success, it didn’t match the success of Brazil. Having sought musical inspiration in two separate continents, The Ritchie Family decided to seek inspiration closes to home for their third album.
1977s The Best Disco In Town saw The Ritchie Family fuse a thirties theme with their trademark disco sound. The Best Disco In Town was only moderately successful. Indeed, of the three albums The Ritchie Family had released, The Best Disco In Town was the least successful. So, when The Ritchie Family returned to the studio later in 1977, to record their fourth album African Queens, they really needed a commercial success. What they really needed was for African Queens to replicate the success of Brazil. Would The Ritchie Family’s latest disco concept album Arabian Nights match the success of their first concept album Brazil?
For Arabian Nights, again, The Ritchie Family decided to follow in the footsteps of Gloria Gaynor’s Never Can Say Goodbye. Side One of Arabian Nights featured a suite of five tracks lasting fourteen minutes. Just like the three tracks on Side Two of African Queens, they were penned by Henri Belolo, Jacques Morali and Phil Hurtt. These seven tracks became African Queens, which was recorded at Philly’s Sigma Sound Studios.
When recording got underway, The Ritchie Family were accompanied by a band that included a rhythm section of bassist Alfonso Carey, drummer Russell Dabney and guitarist Rodger Lee, while Jimmy Lee played lead guitar. Adding the authentic African sound were Charles Payne on djembe, J.M. Diatta on n’goma and Babatunde Olatunji on n’goma, shekere and bongos. Nathaniel Wilke played electric piano and clavinet, Mario Grillo timbales and Raph McDonald added percussion. Gwen Oliver, Cassandra Wooten and Cheryl Jacks were responsible for The Ritchie Family’s vocals, while Jacques Morali produced African Queens. Once African Queens was recorded, it was released in 1977. Would Arabian Nights mark a change in fortune for The Ritchie Family?
On the release of African Queens in 1977, it stalled at number 164 in the US Billboard 200 and number fifty-seven in the US R&B Charts. While African Nights hadn’t matched the success of The Ritchie Family’s first two albums, it was still a commercial success. However, what does the music on African Queens sound like? That’s what I’ll now tell you.
Side One of the original version of African Queens was a five track medley, opening with African Queens. A pounding beat, funky bass and dancing strings combine with a myriad of percussion and punchy harmonies. Then The Ritchie Family add tight, soaring and cascading harmonies and a strutting vocal. Dramatic, urgent backing vocals join blazing horns, percussion and thunderous drums. By now, you realize that this what The Ritchie Family do so well. This is disco, but with a twist. The twist is that it’s a concept album. Soon, you’re taken on a musical journey where you meet two African Queens. During Theme of Nefertiti, Theme of Cleopatra and Theme of The Queen of Sheba the music is variously soulful, dramatic, urgent and always, dance-floor friendly with a pulsating disco beat. Finally, on African Queens Reprise, you get the chance to revisit some of the highlights and delights of Side One of African Queens again. Although Side One lasts just under thirteen minutes, it’s thirteen magical, memorable and captivating minutes where disco is given an African twist, thanks to Jacques Morali and The Ritchie Family.
Side Two of African Queens opens with Summer Nights. The now familiar combination of hissing hi-hats, pounding beats and growling horns are joined by sweeping, swirling strings. Flourishes of harpsichord give way to a confident, sassy and joyous vocal. It marches along, with the bass leading the way. Harmonies cascade, strings dance and percussion punctuates the arrangement. The now fashionable clavinet adds a tougher sound, while a mass of strings and horns provide the backdrop for The Ritchie Family’s vocals. Sweet, soulful, sensuous and sometimes sassy, the vocals and harmonies are all these things and more. For his part, Jacques arrangement combines disco, funk, jazz and African music. It’s a glorious combination and with The Ritchie Family delivering their best vocals. The result is the best track on African Queens.
Quiet Village gradually reveals its secrets. Just thunderous drums, funky bass and wah-wah guitar enter. They’re joined by percussion, pensive vocals and shivering, quivering strings. The understated vocals play a secondary role to the arrangement. Soon, it grows in power and drama. Synths, growling horns, percussion and harpsichord add contrasting sounds. Sometimes, the dated synths dominates the arrangement. Other times, percussion and strings play important roles. Their sounds are timeless. When the vocal returns it’s needy, sassy and beckoning. From there, the vocals and arrangement take turns of grabbing your attention. Everything fits nicely together, like a musical jigsaw, which Jacques Morali has painstakingly put together. To do this, he’s sought inspiration from a variety of musical genres and influences.
Voodoo closes African Queens, The Ritchie Family’s fourth album. It’s as if everything has been building towards this track. From the opening bars, you’re spellbound. You wonder where the track is heading. Punchy horns, dramatic percussion and urgent, but soulful harmonies combine. Then the then arrangement becomes a musical juggernaut. It’s driven along by blazing horns, rhythm section and African percussion. Harmonies sweep in, they cascade and like the growling horns, sounds as if they’re giving thanks for the music that’s gone before. Hypnotic, and pulsating, disco, soul, funk, jazz and African music unite, as The Ritchie Family close African Queens with a captivating track.
While African Queens failed to replicate the success of The Ritchie Family’s first two albums, it was certainly an innovative and groundbreaking album. Here, The Ritchie Family had fused American disco with African music. To that fusion, they’d added elements of jazz, funk and Philly Soul. African Queens was a captivating and compelling album for The Ritchie Family. However, it was the end of an era, for two reasons.
African Queens was The Ritchie Family’s fourth disco concept album. It was also their final one disco concept album. For their next album, 1978s American Generation, The Ritchie Family’s music moved more towards Euro Disco and Euro Pop. The other reason African Queens marked the end of an era, was that it was the final album to feature Gwen Oliver, Cassandra Wooten and Cheryl Jacks. At least they’d finished their career with The Ritchie Family with such an innovative, groundbreaking album. However, this was just the first of five changes in The Ritchie Family’s lineup. Indeed, if you count The Sweethearts of Sigma as the original vocalists, then there were really six different lineups of The Ritchie Family. For many people, myself included, the first four The Ritchie Family albums were the best. Starting with 1975s Brazil, then 1976s Arabian Nights, 1977s The Best Disco In Town and African Queens, this four album period marked the best music of The Ritchie Family’s career. Standout Tracks: African Queens, Summer Nights, Quiet Village and Voodoo.
THE RITCHIE FAMILY-AFRICAN QUEENS.
BOOKER T.-I WANT YOU.
BOOKER T.-I WANT YOU.
It’s no exaggeration to refer to Booker T. Jones as a musical prodigy. Born in Memphis in 1944, Booker T’s musical talents were obvious from an early age. Whilst still at Booker T. Washington High School, Booker T. was already able to play piano, organ, oboe, saxophone and trombone. Aged sixteen, Booker T. then made his professional debut. He played baritone saxophone on Rufus and Carla Thomas’ Cause I Love You. It was released on Satellite Records, which in 1961, would become Stax Records, a label whose success, Booker T. would play a huge role in.
Aged just eighteen, Booker T. cofounded Booker T. and The MGs who became Stax Records house-band. Later in 1962, Booker T. wrote the Green Onions, one of the greatest instrumentals ever recorded. That was just the start of a fruitful eight year period he’d spend at Stax.
For the first few years, Booker T. divided his time between his studies at Indiana University and working as a professional musicians. He a member of Booker T. and The MGs, who released ten albums between 1962 and 1970. They were Stax’s studio band, accompanying many of Stax’s other artists, including Otis Redding, Albert King, Rufus Thomas and William Bell. Booker T. was also a songwriter and producer, who collaborated with Eddie Floyd, David Porter and Isaac Hayes. Then in 1970, Booker T. stopped playing on Stax sessions.
Unhappy at the way he was perceived as an employee rather than a musician, Booker T. moved to California. No longer was he playing on sessions for Stax. The only problem was, he was still under contract to the label. Despite this, he played on Stephen Stills’ eponymous debut album. A year later, Stax released Melting Pot, which was the last album Booker T. and The MGs released on Stax. What this also meant, was that Booker T. could get on with the rest of his career.
1971 saw the Booker T. and his wife Priscilla Coolidge, sister of Rita, release their first album. Entitled Booker T and Priscilla, it was followed by 1972s Home Grown and 1973s Chronicles. Then in 1974, Booker T. made his bow as a solo artist.
Evergreen, released in 1974, was Booker T’s debut solo album. Commercially successful and well received by critics, Evergreen set the bar high for future albums. There was a gap of four years to his 1978 sophomore album Try And Love Again. During this gap of four years, during he was busy writing and producing other artists. Among them were Bill WIthers, Rita Coolidge and The Memphis Horns. While the different aspects of Booker T’s career continued apace, Booker T. released his third album The Best Of You. It didn’t replicate the commercial success of his earlier albums like Evergreen. While Booker T. was working his magic with other artists, commercial success and critical acclaim eluded his solo album. Would this change with I Want You, which was recently released by Purpose Music Vaults?
For I Want You, Booker T. wrote Electric Lady and cowrote six other tracks. With Michael Stoles he penned I Want You and Don’t Stop Your Love. They also cowrote Power In Your Love with Marlo Henderson. Booker T. cowrote Treasure Chest with Jean Hancock, You’re The Best with Jay Kessler and I Came To Love You with Leon Ware. The other track was Prize Possession, written by Sam Dees. These eight tracks were recorded at A&M Recording Studio B in Hollywood. Accompanying Booker T, were an all-star band, featuring some of the best session musicians of the time.
Accompanying Booker T. on I Want You was bassist Freddie Washington, guitarist Paul Jackson and drummers John F. Robinson and Raymond Lee Pounds, who played on You’re The Best. They were joined by percussionist Paulinho De Costa and vibraphonist Gary Coleman, while Chuck Finley lead the horn section. Backing vocalists included Jim Gilstrap, Myrna Matthews, Marti McCall and John Lehman.
Benjamin F. Wright arranged the strings and horns. As for Booker T, he played clavinet, guitar, piano and arranged the vocals and rhythm section. Once I Want You which was produced by Michael Stoker, was recorded, it was ready for release in 1981. Would I Want You rejuvenate Booker T’s career?
On the release of I Want You in 1981, it reached number forty-nine in the US R&B Charts. Neither I Want You nor You’re The Best, which were released as singles, charted. This was disappointing. However, at least I Want You was more successful than Booker T’s previous album The Best Of You.
The relative success of I Want You has to be taken on context. Music had, and was, changing rapidly. Artists who had enjoyed commercial success just a few years ago, were no longer as popular. This included many soul and funk artists. So, that I Want You had even enjoyed the limited success it had, was something of a victory. Should I Want You have been a bigger commercial success?
Power In Your Love proves the perfect track to open I Want You. It grabs your attention. Straight away, you realize something special is unfolding. Urgent and dramatic bursts of harmonies accompany an uber funky rhythm section. Then when the stabs of growling horns, harmonies and flourishes of strings combine, you’re reminded of Earth, Wind and Fire. Having set the scene, Booker T’s heartfelt, tender vocal enters. It’s enveloped by a myriad of swirling strings, rasping horns and sweeping harmonies and a pulsating heartbeat that comes courtesy of the all-star rhythm section. Here, elements of disco, soul and funk are combined seamlessly to create a hook-laden and infectiously catchy dance track.
As I Want You opens, Booker T. throws a curveball. You think the arrangement is about to burst into life. Instead, it’s a slow, sensual and sultry. The rhythm section provide a slow, funky backdrop, while lush strings accompany Booker T’s needy, pleading vocal. Washes of Hammond organ, stabs of grizzled horns and equally heartfelt harmonies accompany Booker T. on what is a beautiful, soul-baring ballad.
Treasure Chest almost floats, lazily into being. It has a subtle, understated sound. Wistful horns, percussion and the lushest of strings combine. Booker T. taking his lead from the band, delivers a tender, thoughtful vocal. Emotion fills his vocal, while flourishes of harp, cooing harmonies and swathes of strings provide a backdrop that’s understated and beautiful. Featuring some beautiful lyrics, an impassioned delivery and sympathetic arrangement, this song is a musical Treasure Chest whose secrets you must hear.
Don’t Stop Your Love sees an increase in the tempo. It’s a dance-floor friendly, funky track. Chiming guitars, pounding drums, dancing strings and bursts of growling horns. They’re joined by percussion and a slap bass. Gradually, the arrangement reveals its subtleties and nuances. Like Power In Your Love, Booker T’s vocal is enveloped by the arrangement. It’s tender, eschewing power for effectiveness. Punchy, gospel-tinged harmonies accompany Booker T’s emotive, needy and sometimes, sassy vocal. When all this is combined, the result is an anthemic dance track where musical genres melt into one.
Electric Lady has a very different sound. It’s best described an instrumental, with a dramatic, sci-fi sound. That’s thanks to the clavinet and guitars. As for the band, the combine funk with dramatic, cinematic strings. This compelling combination shows that despite being into the third decade of his career, Booker T. was still striving to innovate.
Prize Possession was written by one of the most underrated singer and songwriters, Sam Dees. From the get-go, you realize this ballad is perfect for Booker T. So is the arrangement. Understated, with layers of strings and flourishes of strings at the heart of the arrangement, guitars reverberate atmospherically, while drums and cymbals are caressed. Even when the arrangement threatens to burst into life, that never materializes. Instead, pizzicato strings, percussion and heartfelt harmonies play their part in what’s the highlight of I Want You.
It seems that I Want you veers between ballads and uptempo tracks. You’re The Best is another uptempo, dance track. Stabs of growling horns join the funky rhythm section, complete with chiming Chic-style guitars. Booker T. serenades the one he love. Appreciatively, he serenades: “You’re The Best,” his voice becoming a powerful scat, which is not unlike Stevie Wonder. By then, soul, funk and disco have been combined to create a mid-tempo dance-track that’s an appreciative paean.
I Came To Love You closes I Want You. Accompanied by layers of lush strings, percussion, flourishes of strings and an understated rhythm section, Booker T’s vocal is a combination of sincerity and emotion. As the vocal drops out, the meandering arrangement is a mass of strings and melancholy horns which drift in and out. Dreamily and lazily, it meanders along gradually and almost reluctantly revealing its many subtleties and surprises, not forgetting the beauty that’s omnipresent.
That Booker T’s fourth solo album, I Want You, wasn’t a bigger commercial success is almost unjust. After all, it’s an almost flawless album. Ballads and dance-tracks sit comfortably side-by-side on I Want You. Both have one thing in common…their quality. Whether it’s ballads or dance-floor friendly tracks, Booker T. is equally comfortable. His vocal may not be the most powerful, but it’s incredibly effective. The tenderness of his vocal means you focus on the lyrics. That’s no bad thing, given their quality. Of the eight tracks, Booker T. wrote one and cowrote six other tracks. Good as every track is, on I Want You’s ballads, Booker T. is at his very best. Heartfelt, impassioned and tender, he brings the lyrics to life. Breathing meaning into the lyrics, it’s as if each song and the story behind it, is personal to Booker T. That Booker T. had such talented songwriting partners, is part of I Want You’s success. Playing a part in making I Want You such a timeless, hidden gem of an album is the personnel that worked on the album.
Given that Booker T. was an experienced and accomplished bandleader, he wasn’t scared to surround himself with talented personnel. Less experienced musicians and producers are often wary of working with talented musicians. Not Booker T. He brought in some of the best session musicians and backing vocalists. Then there was arranger Benjamin F. Wright and producer Michael Stoker. This was an all-star lineup. While this couldn’t guarantee commercial success, it guaranteed that the music on I Want You would be of the highest quality. It also resulted in I Want You becoming a timeless album. Thirty-two years later, I Want You sounds just as good as it did in 1981. Thankfully, after being unavailable on CD for eleven years, Purpose Music Vaults have issued a newly remastered version of I Want You. This comes complete with two bonus tracks. That I Want You is now available again on CD, will allow music fans old and new, to discover or rediscover a timeless, hidden gem of an album that soon, will become a firm favourite. Standout Tracks: Power In Your Love, I Want You, Prize Possession and I Came To Love You.
BOOKER T.-I WANT YOU.
BACK TO MY ROOTS: DJ NORRI’S SALSOUL MIX.
BACK TO MY ROOTS: DJ NORRI’S SALSOUL MIX.
Nine years after the release of The Salsoul Orchestra’s debut single Salsoul Hustle in 1975, what had been disco’s premier label, closed its doors for the final time. Having released 100 albums and 200 twelve inch singles, Salsoul Records had enjoyed a longevity few other disco labels enjoyed. Salsoul had watched labels come and go. Many were perceived as potential pretenders to Salsoul’s crown. None of them came close to performing a musical coup d’etat. No wonder.
Salsoul Records released some of the most critically acclaimed and commercially successful music of the disco era. This included music from artists like First Choice, Double Exposure, Loleatta Holloway, The Salsoul Orchestra, Instant Funk and Carol Williams. Crucial to the success these artists enjoyed, were some of the best songwriters, arrangers, producers and musicians.
Among them, were Vince Montana Jr. the founder, conductor and producer of The Salsoul Orchestra’s first few albums. Then there was Norman Harris, of the Baker, Harris, Young rhythm section. He ran Gold Mind Records, a subsidiary of Salsoul which signed some of Salsoul’s most successful artists. Along with musicians like percussionist Larry Washington, guitarist Bobby “Electronic” Eli, backing vocalists The Sweethearts of Sigma plus songwriters and producers Alan Felder and Ron Tyson Salsoul was awash with creative and talented personnel. That’s why in the twenty-nine years since Salsoul closed its doors, people have never lost interest in disco’s premier label. Indeed, recently, there’s been a real resurgence in interest in Salsoul records. Labels worldwide have been rereleasing Salsoul’s illustrious back-catalogue. That’s not forgetting compilations and mixes, including Back To My Roots: DJ Norri’s Salsoul Mix, which was released on 26th June 2013 by Octave Japan.
Back To My Roots: DJ Norri’s Salsoul Mix is the second mix album Octave Japan have released recently. The first was Muro’s Diggin’ Salsoul Breaks. It was an eclectic mix, which saw DJ Muro pursue the perfect break. Norri’s mix is similarly eclectic. Just like Muro, Norri eschews many of the familiar and predictable tracks that you’ll find on other Salsoul mix CDs. Granted there’s still contributions from Salsoul favorites The Salsoul Orchestra and Loleatta Holloway, but apart from that, there’s some surprises in store. Among them, are tracks by The Strangers, Logg, Skyy, Aurra, Rafael Cameron, Bunny Sigler and Claudia Barry. As you’ll realize, when I tell you about Back To My Roots: DJ Norri’s Salsoul Mix, this is no ordinary Salsoul mix.
Opening Back To My Roots: DJ Norri’s Salsoul Mix is Seconds, the first of three tracks by The Salsoul Orchestra. Featuring Loleatta Holloway’s vocal, Seconds was a track from Heat It Up, The Salsoul Orchestra’s final album. Released in 1982, Heat It Up featured a very different lineup of The Salsoul Orchestra. Written by Sam Dees and Roy “Have Mercy” Kersey, Seconds was arranged and produced by Patrick Adams. The version chosen by DJ Norri is the Shep Pettibone 12” Special Club Version. Although very different from the music on The Salsoul Orchestra’s early album, Seconds is the best of what was a very average album.
The first curveball DJ Norri throws is his choice of The Strangers’ Step Out Of My Dream. This was a track from their eponymous album The Strangers. Released in 1983, funk and boogie are combined by Edward Moore, Howard King and Hubert Eaves III. Here, Shep Pettibone’s 12” Dream Version is a reminder that Salsoul still released some quality music after disco’s demise.
Logg are another of Salsoul’s post-disco signings. This was a short-lived Leroy Burgess project. They only released one album Logg in 1981. One of the highlights was (You’ve Got) That Something. Rather that choose the original, the Greg Carmichael and John Morales’ 12” version was chosen by DJ Norri. It’s best described as soulful, funky and hook-laden dance-track. The same can be said of Skyy’s Here’s To You. Skyy released seven albums between 1979 and 1984. Here’s To You was a track from Skkyport, their third album. Produced by Randy Muller and Solomon Roberts Jr, this further reinforces that at Salsoul, there was life after disco.
Rafael Cameron released three albums for Salsoul between 1980 and 1982. Without doubt, Boogie’s Gonna Get You is his best known track. This is a track from his 1981 sophomore album Cameron’s In Love which is produced by Skyy’s Randy Muller. Elements of soul, funk and boogie combine on Francois Kevorkian’s 12” instrumental mix this minor post-disco classic.
There’s an increase in the tempo on the original 12” mix of Aurra’s In The Mood (To Groove). Sassy, feisty and hypnotic, this was a track from their 1980 eponymous debut album which was released on Dream Records. This brought them to the attention of Salsoul Records. Soon, they were signed to Salsoul and released three further albums. However, they never quite matched In The Mood (To Groove), which remains the highlight of their career.
By the time The Salsoul Orchestra released How High in 1978, they’d lost their founder, conductor and producer Vince Montana Jr. He’d left Salsoul after a dispute over royalties. There was life after Vince Montana Jr. Proof of this is the title-track. It features Cognac’s vocal. Literally bursting into life, the Baker, Harris, Young rhythm section provide the arrangement’s heartbeat. Meanwhile, keyboards, percussion and Don Renaldo’s lush strings and growling horns signal the arrival of the vocal. Her vocal is a mixture of power and passion, with tight, soaring, soulful harmonies accompanying it. Vibes, pounding, funky rhythm section and percussion combine, while the horns blaze, almost ever-present and crucial to the track’s sound and success.
By The Way I Dance (I Knew It Was You) was a track from Bunny Sigler’s second album for Gold Mind Records, I’ve Always Wanted To Sing…Not Just Write Songs. Released in 1979, the title was a description of the situation Bunny found himself in at Philadelphia International Records. Although he released a trio of albums for Philadelphia International, Bunny felt himself writing songs when he wanted to record them. Signing for Gold Mind allowed Bunny to get his recording career back on track. Sadly, despite releasing three albums for his new label, he never enjoyed the success his talent deserved. One listen to By The Way I Dance (I Knew It Was You) demonstrates this.
Candido was signed to Salsoul Records in 1979 and released two albums for disco’s premier label. The first was 1979s Dancin’ and Prancin’ which featured Thousand Finger Man. Produced by Joe Cain, the arrangement is laden in drama and is reminiscent of a seventies sci-fi movie. Soon, drama becomes understated and almost elegant. Then the two unite. Synths and piano are at the heart of the action. When thunderous drums, percussion and ethereal vocals enter, it’s a very different track. There’s still drama and elegance, but the vocal brings a haunting beauty. Keyboards join the funkiest of rhythm sections and heartfelt harmonies as the track reveals its secrets. The result in a track that’s veers between dramatic and elegant but is funky, soulful and dance-floor friendly.
Street Sense was released by The Salsoul Orchestra in 1979. It was one of their least successful albums, failing to chart. Despite this, Street Sense featured some quality music. This includes 212 North 12th written by Tom Moulton and Thor Baldursson penned tracks. Keyboards give way the familiar combination of a pulsating disco beat created by the rhythm sectio. Stabs of keyboards join the mix, before Don Renaldo’s of strings and horns play important roles in the arrangement. Strings sweep and swirl, while horns blaze. Bursts of punchy horns and percussion add drama as the funky rhythm section provide a relentless, pulsating disco beat as this multilayered fusion of disco, jazz and funk reaches a dramatic crescendo.
Claudja Barry released her debut album Sweet Dynamite on Jurgen Korduletsch’s Lollipop Records in 1976. Lollipop Records wanted their music distributed in America. To do this, Lollipop hooked up with Salsoul. This was to be the start of a fruitful relationship. Over the next few years, Gaz and Claudja Barry brought a Euro Disco influence to Salsoul. Given Salsoul epitomized everything that disco stood for, this seems quite incredible. Given the way disco started to change, this proved to prophetic.
Love Is Blue is a track from Paul Mauriat and His Orchestra’s 1976 album. Originally released in 1968, the 12” version is transforms the track into something of a hidden disco gem. It has a hard funky sound. That’s thanks to banks keyboards, percussion and a rhythm section who create a pulsating funky beat. Adding a soulful twist are sweeping harmonies in a track where soul, funk and disco unite seamlessly.
Closing Back To My Roots: DJ Norri’s Salsoul Mix is Walter Gibbons 12” mix of Loleatta Holloway’s We’re Getting Stronger. This was a track from Loleatta’s 1976 album for Norman Harris’ Gold Mind Records, Loleatta. As the track opens, Loleatta scats while braying horns, cascading strings and a pounding rhythm section accompany her. Stabs of keyboards and a searing guitar accompany Loleatta’s powerful, passionate vocal. Her vocal soars, while backing vocalists accompany her. Swathes of strings dance above her vocal, as she vamps her way through the track. It’s an inspirational, uplifting performance from Loleatta, on a track that for far too long, has been a hidden gem of Loleatta’s back-catalogue.
If anything, Back To My Roots: DJ Norri’s Salsoul Mix is even more eclectic than DJ Muro’s Diggin’ Salsoul Breaks. Despite disregarding the familiar, the quality doesn’t suffer. Norri eschews the familiar tracks that feature on other compilations and mixes. Don’t expect contributions from First Choice, Double Exposure and Instant Funk. There are contributions from The Salsoul Orchestra, Loleatta Holloway and Bunny Sigler. That’s not forgetting Love Is Blue, a hidden gem from Paul Mauriat and His Orchestra. However, much of the music is from the post-disco era. This is somewhat ironic, given Salsoul Records are perceived as the archetypical disco label.
Among Salsoul Records’ post disco artists are Logg, Aurra, Skyy, The Strangers and Rafael Cameron. This part of Salsoul’s back-catalogue is often overlooked. Maybe that’s because it divides opinion. Often, people who loved Salsoul’s classic disco sound were turned off by the post-disco sound. For many, a line is drawn in the sand and anything that’s post-disco is off-limits. That’s a great shame, as Salsoul were still releasing some quality music in the post-disco era, albeit not in the same vast quantities.
Apart from the disco and post-disco tracks that feature on Back To My Roots: DJ Norri’s Salsoul Mix there’s Euro Disco courtesy of Claudja Barry. Then there’s the fusion of Latin, funk, soul and disco that’s Candido’s Thousand Finger Man. When all this is combined with the disco and post-disco tracks, the result is a compelling, intriguing and eclectic mix.
Indeed, the selection of music on Back To My Roots: DJ Norri’s Salsoul Mix is guaranteed to provoke debate and dissent among discerning Salsoul fans. Whether you enjoy, approve or agree with the music on Back To My Roots: DJ Norri’s Salsoul Mix will depend on your taste. Although I prefer the Salsoul’s trademark disco sound and don’t regard myself as a huge fan of the post-disco sound, I enjoyed Back To My Roots: DJ Norri’s Salsoul Mix. That’s because of DJ Norri’s brave and bold track selection. Eschewing the familiar and predictable tracks that feature on so many other Salsoul compilations and mixes, Back To My Roots: DJ Norri’s Salsoul Mix is an adventurous musical journey, with many a surprise in store for the unsuspecting listener. Standout Tracks: The Salsoul Orchestra How High, The Salsoul Orchestra Street Sense, Candido Thousand Finger Man and Loleatta Holloway We’re Getting Stronger
BACK TO MY ROOTS: DJ NORRI’S SALSOUL MIX.
PETER KING-MILIKI SOUND.
PETER KING-MILIKI SOUND.
It’s almost ironic that Peter King, one of Nigeria’s best musicians, is better known in Europe and America than in his home country. Peter King’s is widely regarded as one of Nigeria’s most talented musicians. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Miliki Sound was also the title of Peter King’s 1975 debut album, which was recently released by the Brighton based Mr. Bongo Records. This was the first of seven albums Peter King recorded between 1975 and 2002. However, there’s much more to Peter King’s career than seven albums. Here is a man who invented a musical genre, founded his own musical school, studied at London’s prestigious Trinity College of Music and performed in the middle of a war zone. Then there was Peter’s time as a member of the African Messengers who doubled as a backing band for Diana Ross, The Four Tops and The Temptations. Action packed describes Peter King’s long career, which I’ll tell you about. After that, I’ll tell you about his 1975 debut album Miliki Sound.
Born in 1938 in the Enugu region of Nigeria. Growing up, he moved between Lagos, Port Harcourt and Lokoja. Then in 1957, aged just nineteen, Peter moved to Ibadan and joined the Roy Chicago Band. Initially, he was playing double bass andalto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. When the time came to spread his wings musically, he headed to London.
1960 saw Peter moved to London to study music. He played saxophone, flute, piano, drums, double bass and violin when ge studied at various colleges. This included the Central School of Music, the Guild Hall in 1961 and Trinity College of Music in 1963. Graduating in 1966, Peter formed his first band in London, the African Messengers.
Following his graduation Peter met trumpeter Mike Falana and drummer Boyo Martins. Together, they became the African Messengers. They were they prolific group. Not only were they a prolific live act, but released numerous singles. Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. Among them were Diana Ross, The Four Tops and The Temptations. Not content with playing in one group whilst in London, Peter King formed the Blues Builders. Like the African Messengers, The Blues Builders were a prolific live band, playing all over Europe and north Africa. However, when Peter returned home in 1969, he formed another group.
On his return home to Nigeria, Peter’s formed another group, Voice of Africa. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London in 1971, it was with Shango, his latest band. They toured Britain, Europe and America, further reinforcing Peter’s reputation as a musician.
By 1971, critics were comparing Peter to some musical legends. His playing style was compared to John Coltrane, Gene Ammons and Sonny Rollins. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. No wonder. Peter King was into his third decade as a professional musician. One thing he hadn’t done, was record a solo album. He would rectify this in 1975. Indeed, for the next couple of years, Lagos studios were home to Peter King. His first album was Miliki Sound, which I’ll tell you about.
For Mikki Sounds, Peter King wrote and arranged six songs. He played tenor and alto saxophone, flute, piano, violin, percussion and sang. Accompanying him were trumpeter Eddie Tantan, alto saxophonist Dudu Pukwana and tenor saxophonist Mfon Idem. Sonny Roberts produced Miliki Sound which I’ll now tell you about.
Opening Miliki Sound is Jo Jolo, a track that will be recognizable to anyone with a passing interest in Afrobeat. It’s an explosion of joyous music. The rhythm section create a pulsating, pounding beat, while percussion, piano and stabs of growling horns accompany Peter’s impassioned, pleading vocal. As the vocal drops out, the bank lock into the tightest of grooves. Then taking centre-stage is Peter and his trusty saxophone. He unleashes a frenzied, frantic solo. When it drops out, as if spent and exhausted, percussion, flute and his vocal pick up the baton. Each play their part in what is, an infectiously catchy Afro-beat classic.
Boleya Koya sees the tempo drop slights. Just drums, percussion, flute and bursts of gnarled horns join forces. Soon, Peter and his band are creating another sensual groove. This is thanks to the rhythm section who provide the arrangement’s heartbeat. Peter’s vocal is heartfelt, emotive and sincere. Add to that jazz-tinged guitars, grizzled, bluesy horns and funkiest of rhythm section, and it’s a potent combination. Here elements of jazz, blues, soul, funk and Afro-beat are combined. They’re responsible to this invitation to dance, one that you neither resist nor help submitting to.
Iya La Jole opens with a mesmeric and uplifting combination of percussion and stabs of blazing horns. Propelling the arrangement along is the rhythm section. Meanwhile, Peter’s vocal plays a crucial part in a track that’s best described as a carnival-esque slice of musical sunshine.
Dramatic and urgent bursts of horns open Ijo Olomo. It’s as if their raison d’aitre is to grab your attention. Having done this, the joyous celebratory sound of previous tracks returns. Percussion and the rhythm section provide an irresistible rhythm, while the horns bray and blaze. Peter’s playing is peerless and flawless. Like his vocal, he plays with passion and a sense of urgency. This seems to spur his band on. They rise to his level, playing with the same energy, urgency and enthusiasm.
A mass of violins, horns, percussion and the rhythm section open Elelzy. It’s an impressive wall of sound. Here, Peter plays violin which sounds slightly shrill, percussion and saxophone. Incredibly, he’s just as proficient on each instrument. As if that’s not impressive enough, he delivers the vocal. Unlike other tracks, it’s much more tender, and is also heartfelt and sincere. Then Peter’s saxophone takes centre-stage. He unleashes another flawless solo. When it’s finished, you realize just why Peter King was held in such high regard as a saxophonist by his contemporaries and peers.
Closing Miliki Sound is Gvinmi Komo. Straight away, you realize that something special is unfolding. There’s a much more understated sound. Gone are the blazing horns. Instead, the rhythm section and percussion accompany Peter’s vocal. A pounding bass drives the rhythm section along. As it provides the track’s heartbeat an alto-saxophone makes brief appearance. Later, the horns braying bid a farewell to Miliki Sound. That seems fitting, given how important a role they’ve played in the album. Having said that, they’re used much more sparingly. This proves just as effective, as Peter’s vocal cajoles and encourages the band to close the album on a high. They don’t let him down.
For anyone yet to discover Peter King’s music, there’s no better place to start than Miliki Sound. It’s easily his most accessible album. Not only that, but it’s truly irresistible album filled with delicious rhythms. Although only six songs and thirty minutes long, it’s an almost flawless album. From the opening bars of Miliki Sound right through to the closing notes of Gvinmi Komo, it’s a joyous, uplifting and irresistible musical experience. I’d describe Miliki Sound as a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. There’s more to Miliki Sound than some delicious rhythms. Much more.
Intricate, multilayered and complex, Miliki Sound is filled with numerous subtleties, surprises and nuances. Musical genres and influences are thrown into the musical melting pot by Peter King and producer Sonny Roberts. This included everything from Afro-Beat, soul, funk, jazz and blues. Add to this Afro-Jazz, high life and wild life. It’s a glorious and unique fusion of styles and influences. Miliki Sound also proved to be a hugely influential album. So influential, that it gave birth to a new musical genre, Miliki Sound. This is a fitting tribute to the quality of music on Miliki Sound, Peter King’s debut album. Having earlier described Miliki Sound not just as an infectiously catchy, irresistible album, I’d add to that innovative, imaginative and influential. Standout Tracks: Miliki Sound, Boleya Koya, Elelzy and Gvinmi Komo.
PETER KING-MILIKI SOUND.
UNDER THE INFLUENCE VOLUME 3-A COLLECTION OF RARE SOUL AND DISCO.
UNDER THE INFLUENCE VOLUME 3-A COLLECTION OF RARE SOUL AND DISCO.
2013 year has hardly been a vintage year for compilations. So far, I’d say it’s been a decidedly average year. The mountain of compilations released have certainly been eclectic, but have varied greatly in quality. Ranging from the good, bad and the ugly, we can but hope things get better during the next few months. Sadly, not enough labels are releasing innovative, imaginative compilations. Too many labels it seems, are playing it safe.
In what’s a difficult market for record labels, labels seem risk adverse. They’re concentrating on already established compilation series. To record companies, they’re the equivalent of a “brand.” These “brands” usually have released several volumes of a compilation. Often, they’re released in conjunction with a well known club night. Other times, they enjoy the patronage of a DJ. This can range from the “superstar” DJ, through to the specialist DJ.
The “superstar” DJ is often a musical veteran. They’ve a long track record when it comes to DJ-ing. Often they’ve parallel careers as a producer and remixer. The specialist DJ is much lower down the musical food chain. They concentrate on one specific genre. This could be anything from Acid House, boogie, disco, house Northern Soul or rockabilly. These DJs have a loyal following of like minded travelers. For a record company, this still equates to sales. In a fiercely competitive compilation market, this record companies believe, will gives them a head-start when it comes to sales. Whether that comes to fruition, only time and sales will tell. Other factors affect the success of a compilation.
If an established compilation series loses its compiler, the series can suffer badly. Cafe Del Mar and Hed Kandi are proof of this. Then there’s the compilation series that outstays its welcome. Some compilations series can last eight or nine volumes before the quality suffers. Others compilation series’ don’t enjoy any real longevity and disappear after a couple of volumes. Other misguided compilations last just one volume. However, for a compilation series to enjoy longevity and commercial success they must avoid all these obstacles. Otherwise a compilation series will find itself at a musical crossroads. One compilation series which is at a crossroads, is ZR Records Under The Influence series.
When ZR Records released Under The Influence Volume 1 back in 2011, Red Greg was the compiler. He chose twenty-four slices of rare soul and disco, many of which he edited. Given the quality of Under The Influence Volume 1, I eagerly awaited the next installment. Sadly, Under The Influence Volume 2 saw a change of compiler. Paul Phillips replaced Red Greg. The music also changed. There was a much more boogie influence. It wasn’t just the music that changed. So too had the quality. I felt Volume 2 wasn’t as good. Far from it. When I said this last year, this resulted in a deluge of hate-mail. From the spelling and content, most of this was from near illiterate boogie lovers. They were clutching the electronic equivalent of green pens. However, I stand by what I said. Under The Influence Volume just wasn’t as good as Volume 1. That presented a problem.
From what had been one of the compilations of 2011, the Under The Influence compilation series was at a crossroads. I felt that Under The Influence Volume 3 would be crucial. It would either make or break what could be a long-running and successful compilation series.
Under The Influence Volume 3 was released on 10th June 2013. Again, there was a change of compiler. That was no bad thing. After all, a change of compiler was what I felt was needed to rejuvenate the series. The DJ chosen to do this, was James Glass.
Born in London, the best way to describe James Glass musical taste is eclectic. Through British radio and television shows, James discovered punk and new wave. Then through pirate radio, a lifelong love of soul, jazz and disco was born. This grew when he moved to New York in the late-eighties. During his time in New York, he was exposed to the city’s legendary eclectic and vibrant dance music scene. After leaving New York, James moved to San Francisco. That’s not forgetting regular trips to Tokyo to DJ at the Lifeforce parties.
In San Francisco the fusion of dance and rock music was at the height of its popularity. This influenced James. Later, James would influence San Francisco’s music scene. He provided a soulful alternative to the city’s rave scene. To do this, his carefully planned and seamlessly mixed sets saw James mix house, disco and soul. This is reflected on Under The Influence Volume 3, which is described as: “a collection of rare soul and disco,” which I’ll tell you about,
DISC ONE.
Just like the two previous volumes of Under The Influence, Volume 3 is a double-album. James Glass has chosen twenty-four tracks, including his edit of Nadie La Fond’s Three Way Situation. It’s one of the twelve tracks on Disc One. There are also contributions from Broken Glass, Manteca, Sweet Talk, The Electric Chairs, Jimmy Roma and Rexy. One the face of it, James Glass has been on quite a crate-digging expedition for Under The Influence Volume 3. Has it been a successful one though.
Given how important the opening track on any album or compilation is, choosing Broken Glass’ Rather You Than Me to open Under The Influence Volume 3 is a minor masterstroke. James has chosen well. Released in 1981, on Citysound Records, Broken Glass were a Boston band that featured Joe Egan and Gil Stone. This was the only single they released. Telling the tale of less than salubrious night on the town, elements of soul and funk meet head-on. The vocal and bass line play starring roles in the success of this sleazy tale of hedonism.
One of the most compelling tracks is Harold Butler’s Do It Anyday. This is a reggae version of People’s Choice Do It Any Way You Wanna, Do It Anyday featured on Harold’s 1978 album Gold Connection. It’s a remarkable transformation. You can’t quite believe it’s the same song. What was a familiar song is given a joyous makeover, and becomes a musical slice of sunshine. Key to this are the choppy beats, Fender Rhodes and heartfelt joyful vocal.
Sweet Talks’ Do The Beat literally explodes into life. From just bongos, an epic is born. Released as a single in 1979, Do The Beat featured on the album Sweet Talks. It’s an infectiously catchy call to dance where Afro-Beat, disco, soul and funk are fused. Soulful, funky and incredibly dance-floor friendly, what more could you want?
Beyond The Galaxy seems a fitting description of Jimmy Roma’s 1978 single. Released on American label Virtue Records, it’s like a journey into outer space. You’re propelled along by bongos and the rhythm section, complete with funky, chiming guitars. Lush, orchestral disco strings and soulful harmonies provide the soundtrack to your journey, while synths provide a futuristic backdrop to this hidden gem.
The last track I’ve chosen from Disc One of Under The Influence Volume 3 is Attitude’s Pretty Little Girl. From the opening bars, you’re smitten. At breakneck speed, this uptempo soul cut reveals its delights. This means the sass and strut of Prince combined with Jimi Hendrix’s searing, guitar licks. Add to that, banks of keyboards and a pounding rhythm section. Only then do you get close to realizing how good this track is.
While I’ve only mentioned five of the twelve tracks on Disc One of Under The Influence Volume 3, I could just as easily have mentioned several other tracks. There’s the Afro-Cuban delights of Manteca’s Afro Funky, Doug Heam Blunt’s Gentle Persuasion, James Glass’ edit of Nadie La Fond’s Three Way Situation or Energy Crisis’ Energy. They’re of a similar quality to the tracks I’ve mentioned.
Of these tracks, the moody, lo-fi, sci-fi sound of Doug Heam Blunt’s Gentle Persuasion has a hypnotic, mesmeric quality. As for the futuristic funk of Energy Crisis’ Energy, it’s a truly innovative track. Indeed, it was way ahead of its time musically. Then there’s Rexy’s Nervoso. Eclectic and unique are a fitting description of this four minute track. Best described as a fusion of funk, new wave, synth pop and jazz, it has to be heard to be believed. Overall, Disc One is pretty much all killer. There is one exception,
With a compilation consisting of twenty-four tracks over two discs, not every track can be top quality. There will be some filler. This includes The Electric Chairs’ So Many Ways. It seems a strange choice for a track that’s allegedly rare soul and disco. Produced by David Cunningham of the Flying Lizards, it’s reminiscent of his former band. Best described as new wave with a dance beat, have your remote ready to press next. It’s track that makes you realize that’s four minutes of my life I’ll never have again. Apart from that one musical faux pas, Disc One of Under The Influence Volume 3 sees The Under The Influence compilation series back to its best. Will this continue on Disc Two?
DISC TWO.
Disc Two of Under The Influence Volume 3 has another twelve tracks. They prove to be just as eclectic as Disc One. There are contributions from Expansives, Popcorn, Magnum, Eleanore Mills, TCB Band, Robbie Cee, S.P.G. and Batiste Brothers Band. For anyone who likes their soul and disco compilations filled with familiar faces, this will be not unlike a step into the unknown. Be brave though. You might just enjoy yourself.
Prophet’s You Really Turn Me On was a track from their 1984 album Right On Time. Released on the Treasure label, very little is known about the album. Recorded in Oslo and Zurich, it features the Edward’s brothers. They sound uncannily like Prince. The longer the track progresses, the more it sounds like Prince. Accompanied by banks of synths and keyboards, this is eighties electronica, funk and soul combine, to create one of the highlights of Disc Two.
Popcorn’s Song For You is far from the best track on Under The Influence Volume 3. It’s very much a song that’s of its time. Straight away, before reading the sleeve-notes, I figured this song was released around 1983 or 1984. Released in 1983, this fusion of soul and funk sounds of its time and has a slightly twee, generic sound. Indeed, it reminds me of so many songs released during this time, which sadly, was hardly a vintage time for music.
Much better is Eleanore Mills’ Same Routine. Released in 1974, from Eleanore’s debut album This Is Eleanore Mills, it was produced by Ray Goodman and Harry Ray of The Moments. This is what soul used to sound like. Layers of lush strings and sweeping harmonies accompany Eleanore’s heartfelt vocal. Growing horns and a rhythm section that provide a pulsating heartbeat combine seamlessly as Eleanore gives a vocal masterclass.
TCB Band’s Children Of The Future is a joyous musical explosion. Literally, bursting into life, it’s driven along by the rhythm section and guitars. Having set the scene, an urgent falsetto takes centre-stage. Impassioned, heartfelt and emotive, there’s a sense of urgency in the vocal. Punchy and urgent, it briefly becomes a scat. Combined with a glorious hook, it’s a truly irresistible track.
My final choice from Disc Two of Under The Influence Volume 3, is one of the most welcome inclusions. It’s the Batiste Brothers Band’s Never Leave You Baby. This was a track from their 1982 album Freeze. For four-minutes, the Batiste Brothers Band seamlessly combine soul, funk and jazz. Not only is it a delicious musical stew, but the perfect introduction to one of music’s best kept secrets.
When it comes to quality, Disc Two of Under The Influence Volume 3 is similar to Disc One. Mostly, James Glass has chosen well. There’s soul, funk, disco, new wave and jazz on Disc Two. Some tracks are a fusion of several tracks. The Batiste Brothers Band’s Never Leave You Baby is a good example of this, combining jazz, funk and soul. Other tracks are truly innovative. Proof of this is Expansives’ hypnotic Life WIth You and Prophet’s You Really Turn Me On, which is not unlike a lost track from Prince. It’s an enigmatic hidden gem, I’d like to know more about. Apart from the tracks I’ve mentioned, there are other delights awaiting discovery on Disc Two. Among them are Jady Kurrent Band’s Standing There, Ben’s I Would Have To Be A Fool, Sapphire’s Come And Dance With Me, Robbie Cee’s Beautiful People or S.P.G’s Loveland. This demonstrates the consistency of the music. Apart from a couple of tracks, Disc Two of Under The Influence Volume 3 is back to the quality of Volume 1.
Apart from Popcorn’s Song For You which I feel has a twee, generic sound, only Magnum’s Squivatch proves disappointing. On its release, it was the B-side. Maybe, that backs up what I’m saying. It was always destined to be the musical bridesmaid. However, with ten out of the twelve tracks passing muster on Disc Two, the consistency of quality is similar to Disc One of Under The Influence Volume 3. So, Under The Influence Volume 3 is a return to form in the Under The Influence series?
Yes, it is. Whilst Under The Influence Volume 2 was somewhat disappointing, especially when compared to Under The Influence Volume 1, Under The Influence Volume 3 is the comeback kid. That’s thanks to James Glass’ crate-digging and musical choice. His choice of music was innovative, imaginative and intriguing. Mostly killer with little filler, what was a make or break installment of Under The Influence saved the “brand’s” future. After all, it’s hard for any compilation series to recover from consecutive flops. That wasn’t the case with the Under The Influence compilation series. Thankfully, Under The Influence Volume 2 was merely a blip. Under The Influence Volume 3 the latest installment in the Under The Influence series, is very much a return to form and sees the series get back on track. Standout Tracks: Sweet Talks Do The Beat, Attitude Pretty Little Girl, Prophet You Really Turn Me On and Eleanore Mills Same Routine.
UNDER THE INFLUENCE VOLUME 3-A COLLECTION OF RARE SOUL AND DISCO.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
Of all the albums released in the first six months of 2013, you’ll be hard pushed to find more enchanting album than the Runaway Orchestra’s eponymous debut album Runaway Orchestra. Released by Brighton’s Mr. Bongo Records, I was going to saw the Runaway Orchestra give ten familiar tracks a makeover. That however, would be an understatement. Transformation is nearer to the truth. This is Bob Dylan, T-Rex, The Turtles and Sonny and Cher as you’ve never heard them. Runaway Orchestra is akin to alchemy. Songs are transformed majestically. They’re totally reinvented and rejuvenated. Sometimes, they’re given new life and meaning. What’s even more remarkable, is that the Runaway Orchestra is just an adjunct to Sophie Madeline’s successful solo career. Before I tell you about the music on Runaway Orchestra, I’ll tell you about Sophie’s career so far.
Away from the Runaway Orchestra, Sophie Madeline is a ukelele-playing folk singer. The ukelele wasn’t Sophie’s original choice of musical instrument. Like many people, the piano was her introduction to music. Then came the ukelele, which Sophie taught herself to play. Along with her unique, D.I.Y. approach to music, it’s fair to say that Sophie is something of a musical maverick. Eschewing traditional recording studios, her flat has doubled as a makeshift studio. That has worked for Sophie, who divides her time between Brighton and New York.
Sophie’s recording career started back in 2009, when she released her debut album, the wonderfully titled Love Life, Love Ukelele. Two years later, Sophie release her sophomore album The Rhythm You Started in 2011. Since then, Sophie has dived her time between recording her third album, playing live and recording the Runaway Orchestra’s debut album Runaway Orchestra.
For recording of Runaway Orchestra, Sophie Madeline hooked up with Tom Valentine. They chose ten cover versions, many of which most people will be familiar with. Songs by Bob Dylan, Nick Drake, T-Rex, Sonny and Cher, Pete Doherty and Wolfman were chosen. This however, was no album of slavish cover versions. Not at all. Instead, each song was given a folk makeover. Songs were slowed down, strings added, Sophie Madeline played ukelele and added her breathtaking vocals. The result was both enchanting and spellbinding. You’ll discover that, as I tell you about Runaway Orchestra.
Opening Runaway Orchestra is a cover of The Turtles’ Happy Together, which is totally transformed. The tempo is slowed way, with hypnotic drums providing the heartbeat. String are at the heart of the arrangement. They sweep in, providing the perfect accompaniment to Sophie’s tender, heartfelt vocals. Soon, the drama builds. Pizzicato strings, punchy harmonies and rolls of drums add to the drama, before the strings sweep and swirl. Brief flourishes of harp add the finishing touch to a what’s now a beautiful, dramatic and heartfelt love song.
Just an acoustic guitar and Sophie’s wistful vocal open T Rex’s Life’s A Gas. Here, the Runaway Orchestra don’t stray far from the original. Soon, the arrangement reveals its subtleties and beauty. Subtle drums, layers of melancholy strings and cooing harmonies combine. They provide melancholy backdrop for Sophie’s bravado. She’s been hurt, but tries to hide it. This she can’t do. Her hurt and heartbreak shines through, despite the bravado of her easy come, easy go attitude. Although T-Rex set the bar high, the Runaway Orchestra pay a fitting homage to Marc Bolan. Their version further reinforces the heartbreak, emotion and beauty of this timeless song.
For Lovers was recorded by Pete Doherty and Wolfman in 2004. It’s quite different to this version. It’s much more understated and thoughtful. Strings play an important part in the arrangement. Slow and lush, they’re joined by a combination of drums, flute and guitar. Seamlessly, they become one, as if forming part of some bigger picture. Sophie’s vocal suits the song perfectly, transforming it into a tender, but wistiful paean For Lovers everywhere.
Covering such a well known track as Bob Dylan’s It’s Not For You isn’t easy. After all, the definitive version has been recorded. Anything else will come up short. That said, the Runaway Orchestra’s version brings something new and innovative to the song. In doing so, they combine folk, country, Americana and rock. To do this, keyboards, keyboards, guitar and drums create a slow, pensive and spacious arrangement. The space is crucial. It’s akin to a dramatic pause, that adds to what is an evocative arrangement. As for Sophie’s vocal, it’s joyous and soulful, as she gives thanks for the love she’s found.
It’s a Beautiful Day has a much more contemporary sound than other tracks. There’s even a broken-beat influence. Sophie delivers another joyful, thankful vocal. Strings veer between subtle to lush. They’re complimented by a harp. Meanwhile, the rhythm section create a choppy arrangement, which is reminiscent of a summer’s day on the beach.
Run With Us was written by Steve Lunt and was the theme tune to eighties television show The Raccoons. It was then covered by Lisa Loughheed in 1987 and Spray in 2009. This version is quite different. Sophie’s tender, impassioned vocal is accompanied by her trusty ukelele, glockenspiel and cooing harmonies. Providing the heartbeat are drums and booming bass. Seamlessly, this all fits beautifully together, just like a jigsaw puzzle. What makes this the definitive version of the song, is the interplay between Sophie’s vocal and the cooing harmonies. They play their part in making this the highlight of Runaway Orchestra.
What makes a project like Runaway Orchestra so compelling is how a familiar song is transformed into something the writer never imagined. This is the case with The Beat Goes On, written by Sonny Bono. It’s a much more subtle song. That’s down to the understated drum arrangement. Then there’s the way Sophie’s vocal and lead melody interact. They’re like a musical ying and yang, They also play leading roles in this compelling cover of a familiar track.
The River Song has a jaunty, mid-tempo arrangement thanks to the guitar and drums. The drums are played by Miggy Barradas of The Divine Comedy. This makes sense. Their influence is all over the track. Sophie’s vocal is equal parts power and emotion, while a standup bass helps power the arrangement along. A wonderfully wistful trumpet solo, adds a jazzy twist to the arrangement. It sets the scene for the rest of this thoughtful, but quite beautiful song.
True Love Will Find You in the End was written by Daniel Johnson. Only ninety-seconds long, it’s a tantalizing glimpse of Daniel Johnson’s skills as a songwriter. Strident guitars, drums, bass and piano accompany Sophie’s vocal. Hopeful and reassuring, her vocal becomes pensive and almost unsure. A mandolin is added at just the right time, as Sophie hopes, but isn’t convinced, that True Love Will Find You in the End.
Closing Runaway Orchestra is Two Of Us written by Lennon and McCartney. It featured on Let It Be, Anthology 3 and Let It Be…Naked. Rather that reinvent the musical equivalent of the wheel, the Runaway Orchestra stick closely to the original song. Accompanied by just guitars, percussion and bass, Sophie accompanied by backing vocals delivers a heartfelt and hook-laden homage to The Beatles that’s best described as Beatles-esque.
Rather than slavishly recreate ten familiar songs, the Runaway Orchestra have taken a very different, unique and innovative approach on Runaway Orchestra. They’ve taken ten original songs and in many case, totally transformed them. The best examples are The Turtles’ Happy Together, Pete Doherty and Wolfman’s For Lovers, Bob Dylan’s It’s Not For You and Sonny and Cher’s The Beat Goes On. In the case of Happy Together, For Lovers and The Beat Goes On, I much prefer the Runaway Orchestra’s version. They’ve revitalized and rejuvenated both tracks. For Lovers with its understated, lush string drenched sound takes on new meaning as its inherent beauty shines through. On other tracks, the Runaway Orchestra take a different approach.
While many tracks on Runaway Orchestra saw the Runaway Orchestra reinvent and rejuvenate songs, other songs are akin to paying homage to the original artist. However, this is far from a slavish cover version. Instead, it’s the original with a captivating twist. Two examples are T-Rex’s Life’s A Gas and The Beatles’ Two Of Us. Both are a fitting tribute to two of Britain’s most successful groups. Along with the reinvention of familiar songs, Runaway Orchestra is an enchanting and captivating album.
For anyone yet to discover the delights of Runaway Orchestra, it’s probably the most enchanting album of 2013 so far. Playing an important part in the success of Runaway Orchestra are the understated, folk-tinged arrangements which feature a compelling and eclectic selection of instruments. The piece de resistance is Sophie’s vocal. Variously tender, wistful, melancholy and joyous, it helps breath new life and meaning into the ten songs on Runaway Orchestra. What started off as a adjunct to Sophie’s solo career could turn out to be something much bigger. Given the plaudits that have come the Runaway Orchestra’s way, Runaway Orchestra can’t be a one-off. There must be a sequel to Runaway Orchestra. Surely, given the quality of music on Runaway Orchestra it won’t be long before we hear from Runaway Orchestra again? Standout Tracks: Life’s A Gas, For Lovers, Run With Us and True Love Will Find You in the End.
RUNAWAY ORCHESTRA-RUNAWAY ORCHESTRA.
R.M HUBBERT-THIRTEEN LOST AND FOUND.
R.M HUBBERT-THIRTEEN LOST AND FOUND.
That R.M. Hubbert’s sophomore solo album Thirteen Lost and Found won the Scottish Album of The Year Award is particularly fitting. R.M. or Robert McArthur Hubbert, to give Hubby his Sunday name, is an unsung veteran of Glasgow’s music scene. He formed his first band Me, Hubby and Thom in 1991, ever since, has been involved in Glasgow’s vibrant and thriving music scene. Hubby has watched bands come and go. Some made it big, others disappeared without trace. Many of these musicians have become friends with Hubby. However, back in 2009, Hubby realized that over the past five years, he’d lost touch with some of his best friends. So rather than just picking up the phone and arranging a night out, Hubby hit on a novel idea. This idea would lead to Thirteen Lost and Found being crowned Scottish Album of The Year.
Eschewing the somewhat traditional idea of a night out in Glasgow, Hubby decided to ask some of his old friends to join him in the studio. Then he decided to take the idea further. Why not ask some of the younger musicians who he didn’t know so well? Invitations were sent out, and some of Scotland’s finest musicians joined Hubby. This included Marion Kenny, Paul Savage, Stevie Jones, Alistair Roberts, Aidan Moffat of Arab Strap, Emma Pollock of The Delgados and Alex Kapranos of Franz Ferdinand who produced Thirteen Lost and Found. There were also appearances from Rafe Fitzpatrick, Shane Connolly, John Ferguson and Luke Sutherland. The result was ten eclectic and captivating tracks that became Thirteen Lost and Found, R.M. Hubbert’s sophomore solo album. However, there’s more to Hubby’s career than two solo albums.
Hubby was born in Paisley, twelve-miles outside Glasgow, in 1974. Aged seventeen, Hubby made tentative steps into the always vibrant Glasgow musical scene. This was in 1991, when he formed Me, Hubby and Thom with Thom Falls. Thom was also drummer for The Blisters, who featured a young Alex Kapranos.
Through Thom, Hubby and Alex Kapranos became friends. Soon, they were running a club night and were bandmates. Hubby and Alex took over the running of the long lamented Kazoo Club. It was held at The 13th Note in Glasgow. When the original promoter suddenly left, the very future of the Kazoo Club was at risk. Enter Alex and Hubby. Saving the day, they took over promoting the club. Further cementing their friendship, Hubby joined The Blisters as second guitarist. This didn’t last long. Hubby left The Blisters in 1992, to join another Glasgow band Glue, Having spent three years as a member of Glue, Hubby joined the band where he made his name.
El Hombre Trajeado were formed in 1995. Consisting of Hubby, Stevie Jones, Ben Jones and Stef Sinclair, El Hombre Trajeado released three albums over the next ten years. Their debut album was Skipafone, released in 1998. Three years later, they released Saccade in 1998. Shlap was their final album. It was released in 2004, the year before the band split. During the ten years El Hombre Trajeado were together, they built a large, loyal following. This resulted in them being chosen to support Nick Cave and The Delgodos.
After El Hombre Trajeado disbanded, it was another four years before Hubby released any more music. He was constantly touring, supporting. Franz Ferdinand, The Delgados, Mogwai, Emma Pollock and The Twilight Sad. Then tragedy struck for Hubby when his parents died. This inadvertently lead to Hubby’s debut solo album.
Trying to rid his mind of the tragedy he’d experienced, he recorded nine solo guitar tracks. They were just a way of taking his mind of what had happened. First and Last featured Hubby playing guitar, using flamenco style and structure. To give the music a more modern sound, Hubby took a different approach to melody. Once First and Last was finished, Hubby released it himself. Well received by critics, Glasgow’s premier label, Chemikal Underground then signed Hubby in 2010. Now he was among his own kith and kin, First and Last was reissued in early 2011. With his debut album released, and signed to a new label, Hubby looked to the past for his future.
Hubby had first thought about what became Thirteen Lost and Found back in 2009. Now with friends old and new, Hubby set about bring his idea to fruition. Alex Kapranos of Franz Ferdinand was chosen to produce Thirteen Lost and Found. Indeed, some of the recording took place at his studio in Glasgow. At three studios, eleven tracks were recorded with some of Scotland’s top musicians. Aidan Moffat, Emma Pollock, Alex Kapranos, Marion Kenny, Paul Savage, Stevie Jones, Alistair Roberts, Rafe Fitzpatrick, Shane Connolly, John Ferguson and Luke Sutherland all passed through the studio doors playing either walk-on or starring roles. What had started as the alternative to a reunion, Thirteen Lost and Found, was now about to transform R.M. Hubbert’s career.
Thirteen Lost and Found was released on Chemikal Underground Records in January 2012. Critics were won over by Thirteen Lost and Found. They hailed it as a Magnus Opus of a collaboration, one that was innovative and imaginative. It was all that and more.
So it’s no surprise Thirteen Lost and Found featured on the long-list for the Scottish Album of The Year Award. The competition was fierce. Some of Scotland’s best artists were in contention for this prestigious award, including Paul Buchanan, Lau, Calvin Harris and Emile Sande. While most people fell for the curveballs that were Calvin Harris and Emile Sandy, the smart money was going on R.M. Hubbert’s Lost and Found. That proved a smart move. Neither Calvin Harris nor Emile Sande were on the shortlist. R.M. Hubbert’s Lost and Found was. Along with nine other contenders for the Scottish Album of The Year Award Hubby headed to Glasgow’s legendary Barrowland Ballroom last week. That night, R.M. Hubbert’s Lost and Found won Scottish Album of The Year Award. This was well deserved. You’ll realize why, when I tell you about Thirteen Lost and Found.
We Radioed, which opens Thirteen Lost and Found sees Hubby and Luke Sutherland join forces. Thunderous waves of flamenco guitar weave their way across the arrangement. As drama and power combines, the result is emotion and anger.
Guitars then pounding drums give way to Aidan Moffat’s visceral, gutteral half-spoken vocal on Car Song. Sounding like a refugee from Irvine Welsh’s Skagboys, Aidan’s sings how his journey is an escape from pills and paranoia. Just for the weekend though. Memories come flooding back as he makes his temporary escape. Where he smoked his first cigarette, the first girl he kissed and the school he was expelled from. Veering between bleak, honest and humorous, this is no tragi-comedy. Instead, it’s real life.
For Joe has a wistful, melancholy sound. Just guitars pensively and thoughtfully make their way across the arrangement. Gradually, the power increases. Using the same power that featured on We Radioed, the emotion and energy increases. It becomes an outpouring of grief and frustration that asks why?
Gus Am Bris An Latha translates from Gaelic as until the day breaks. Joining Hubby, is John Ferguson. What follows is a captivating and pensive track, which benefits from Celtic sound. A slow, deliberate and ponderous guitar is joined by a banjo. It’s punchier, quicker and has an uplifting sound. Soon, guitars and banjo are joined by percussion. Sometimes sounding melancholy and ponderous, at others, the track, like a new day, offers hope.
Sunbeam Melts the Hour features Marion Kenny and Hanna Tuulikki. Along with Hubby, they contribute towards a multilayered, genre-melting track. Eastern and Western influences combine majestically and eclectically. Moody and mesmeric, cinematic becomes ethereal and elegant when Hanna’s vocal enters. As the drama and energy builds, the music becomes frenzied and frantic. From this crescendo, the track energy dissipates, returning to a broody, cinematic sound.
Just Hubby and his acoustic guitar open V. The influences range from classical to flamenco. Hubby uses his guitar to paints evocative pictures. Meandering, the music is hopeful and beautiful. You find yourself creating scenarios that match the music. Uplifting, hopeful and happy it’s three minutes of musical sunshine.
Stevie Jones and Paul Savage join Hubby on Sandwalks. Dark and dramatic, a piano dominates the guitars. Painting gothic pictures the piano sets the mood of the track. Soon, strident guitars add to the sense of drama. It’s as if they’re modus operandi is to create the musical equivalent of a storm. Waves crash onto the beach destroying everything in their path. Later, there’s respite from gothic drama. As the waves start to subside, a calmness and serenity join the omnipresent beauty.
Half Light sees Hubby joined by Emma Polock and Rafe Fitzpatrick. The result is a truly compelling, atmospheric track. It’s like Jane Austen set to music. Fusing elements of folk, flamenco and classical musical, guitars and weeping strings create a sense of sadness. This is perfect from Emma’s heartfelt, heartbroken vocal. Harmonies interject, sympathizing with Emma’s pain and hurt in what’s an evocative, atmospheric epic.
With a title Hungarian Notation, you’re wondering what’s about to unfold. You’re expecting something leftfield, mysterious and innovative. Hubby doesn’t disappoint. Drawing inspiration from a variety of influences, Shane Connolly, MJ McCarthy and Alex Kapranos combine guitars, accordion, drums and percussion. They produce a track that veers between understated and melancholy to briefly flamboyant and dramatic. Folk, flamenco and Celtic music prove an inspirational fusion of influences. Switches Part 2 seamlessly picks up where the previous track left off. Using a similar combination of influences and instruments, flamboyance and drama unite. Key to this is the flamenco guitar and drum. Their infectious call to dance is the perfect foil for a Celtic wistfulness that always there.
Closing Thirteen Lost and Found is The False Bride, which features Alistair Roberts vocal. There’s a traditional Scottish sound to this heartbreaking lament. Alistair’s voice brings out the sadness, heartache and melancholia in the lyrics. Accompanied by just guitars, this allows his vocal to take centre-stage. That’s where it belongs. You’re spellbound by the sheer emotion is his vocal. This proves a fitting, beautiful and poignant way to close Thirteen Lost and Found.
Many people were surprised when R.M. Hubbert’s Thirteen Lost and Found won the Scottish Album of The Year Award. It wasn’t one of the favorites for Scotland’s prestigious music award. When the long-list was awarded, many people thought that one of big three of Paul Buchanan, Calvin Harris or Emile Sande would win it. Then when the shortlist was announced, neither Calvin Harris nor Emile Sande were on it. Now Paul Buchanan and Django Django were many people’s tip for the award. They’d forgotten one man and his album. Overlooking Paisley’s R.M. Hubbert and his eclectic epic Thirteen Lost and Found was a big mistake.
Thirteen Lost and Found was one of the most captivating, eclectic and emotional musical journeys of 2012. It drew inspiration from disparate musical influences and genres. Folk, country, flamenco, Celtic, indie, Americana and Eastern music were thrown into the mix. Then there was what seems like a musical cast of thousands. It seems anyone whose anyone in Scottish music played their part in the making of Thirteen Lost and Found. This demonstrates how highly thought of Hubby is. He’s one of Scottish music’s good guys. Among the musicians who played an important role in Thirteen Lost and Found were Aidan Moffat, Emma Pollock and producer Alex Kapranos. They were like a musical holy trinity. Their influence was crucial to Thirteen Lost and Found. However, Thirteen Lost and Found was Hubby’s brainchild. He was there when it was born and was their when Thirteen Lost and Found flew the musical nest. Three years in the making and a sixteen months after the release of Thirteen Lost and Found, R.M. Hubbert deservedly won the Scottish Album of The Year Award. No wonder.
Best described as eclectic, intricate, emotive and multilayered, Thirteen Lost and Found is full of surprises, subtleties and nuances. Thirteen Lost and Found is an innovative, imaginative album and totally unique album from R.M. Hubbert. He throws curveballs aplenty. With every listen, you hear something new. Another subtlety or nuance decides to reveal itself. This allows you to discover even more of the drama, beauty and emotion on Thirteen Lost and Found, R.M. Hubbert’s award-winning sophomore album. Standout Tracks:We Radioed, Car Song, Half Light and The False Bride.
R.M HUBBERT-THIRTEEN LOST AND FOUND.
RICK REDBEARD-NO SELFISH HEART.
RICK REDBEARD-NO SELFISH HEART.
All too often, when I pore through each week’s new releases, I wonder where music is heading? It seems that nostalgia is now officially the future. A deluge of third-rate reissues seems to be all some record companies are releasing. Then there’s compilations. Like greetings cards, there are compilations for every occasion. Many record shops now seem to be musical equivalent of Hallmark. Not content with albums of Christmas music, we’re now treated to compilations for St. Valentine’s Day and fathers day. I’m fully expecting some enterprising record label to release an album for Bar Mitzvahs, first communions or even, music to celebrate the passing of your nearest and dearest. With songs like First Cut Is The Deepest, Little Ole Wine Drinker Me and Another One Bites The Dust, a new revenue stream awaits enterprising record companies. Even worse, there’s the D.I.Y. music.
With music software much more affordable, everyone thinks they’ve got what it takes to be a “star.” Sadly, that’s not the case. Sadly, each copy of Logic doesn’t come with talent enclosed. Worse still are edits. They’re are usually made by wannabe DJs lacking the talent to make remixes. Incredibly, record companies are now releasing compilations of edits. Seriously, you couldn’t make this up. Of course, maybe we’re getting the music we deserve?
Living in the age of so called talent shows, “stars” are created over a period of weeks. Like so much of modern society, music is now instant and disposable. “Stars” are created almost overnight. Over a period of eight weekly hour shows, a star is born. So, it’s no surprise that their music is disposable. This weeks talent show winner is next month’s shelf stacker. Their music is equally disposable. Empty, vacuous and lacking in meaning and depth, their music is next month’s landfill. Thankfully, there is an alternative.
Despite all this and more being wrong with music, very occasionally, along comes an album that restores my faith in music. It makes up for everything I’ve described. At last, the musical Gods are smiling on me. When this happens, the constant search for quality music becomes worthwhile. This was the case when I came across Rick Redbeard’s latest album No Selfish Heart. It was released on Glasgow’s premier label, Chemikal Underground in January 2013. A long time in the making, at long last, Rick Redbeard’s debut album No Selfish Heart was out. Before I tell you the subtleties, nuances and melancholy delights of No Selfish Heart, which was eight years in the making, I’ll tell you about Rick Redbeard.
Although No Selfish Heart is Rick Redbeard’s debut album, it’s not his musical debut. Quite the opposite. That was with The Phantom Band. Using his real name, Rick Anthony, he’s been lead singer of one of Glasgow’s leading bands since hey released their debut single Throwing Bones in 2007. Two years later, they released their critically acclaimed debut album Checkmate Savage on Chemikal Underground. Just a year later, The Phantom Band were back with their sophomore album The Wants. Since then, The Phantom Band haven’t released another album. That gave Rick the opportunity to finish the No Selfish Heart, an album his alter-ego started eight years ago.
Work on No Selfish Heart began eight years before its release. The idea was to give Rick an outlet for his more pensive, thoughtful music. It was too good to lay unreleased, but unsuitable for The Polar Band. So, Rick invented his alter-ego Rick Redbeard. He was the polar opposite to the hard rocking lead singer of The Polar Band. Rick Redbeard was the perfect musical vehicle for these songs. Among the artists who have influenced No Selfish Heart are Tom Waits, Bruce Springsteen, Leonard Cohen and Nick Cave. To that, I’d add Paul Buchanan of The Blue Nile, Chris Thompson of The Bathers and the books of Alistair Gray and James Joyce. All these influences and more can be heard on the nine tracks on No Selfish Heart, which was recorded in unusual circumstances.
Eschewing Glasgow’s top recording studios, Rick took a different approach to recording No Selfish Heart. He split his time between his between two places. This included his flat in Glasgow’s West End, the city’s artistic quarter and his parent’s house in rural Aberdeenshire. From a technical viewpoint, this isn’t ideal. Listen carefully and you can hear imperfections like a piano stool creaking. While this might not make sense to many people, the intimate and familiar surroundings allowed an outpouring of emotion. In allowing Rick’s sensitive and pensive side to shine through. Eventually, after eight years hard work, No Selfish Heart, a true labor of love was completed.
When Rick Redbeard came to release No Selfish Heart, it made sense to release it on Chemikal Underground. After all, it was The Phantom Band’s label. Released in January 2013, No Selfish Heart was released to critical acclaim. Superlatives were exhausted by critics. They marveled at Rick Redbeard’s debut album No Selfish Heart. Eight years in the making, it had been time well spend. You’ll realize that too, when I tell you about No Selfish Heart.
Opening No Selfish Heart is Clocks. It features the unmistakable sound of a shruti-box, which is crucial to the song’s lament like sound. It accompanies Rick’s weary, wistful vocal. Pondering and wondering, he seems consumed by the sense that time is running out. It’s as if he’s realized that every minute, of every hour, of every day, of every year time is slipping. Mournful and melancholy it’s a wake up call that nobody is immortal.
Just an acoustic guitar and subtle strings accompany Rick’s vocal on Old Blue. Needy and lonely suffering from the breakup of a relationship, time, isn’t healing his hurt. Backing vocals sweep in. They seem sympathetic and share his hurt. This doesn’t matter. Still his loss is akin to a gaping wound, in that it still hurts badly.
There’s a country influence to Any Way I Can. It’s Rick’s vocal and the guitars that lead to this comparison. Expressive and evocative describe Rick’s lyrics. His voice paints pictures. It’s hardly one of domestic bliss. Instead, it’s a relationship on the rocks. Rick the lyricist, is like a latter day Johnny Cash. He sings: “put down the blade and come to bed…I won’t take back the things I’ve said… and..I can’t undo the things I’ve done.” Powerful, evocative and emotive, their love still lingers.
A Greater Brave is another example of Rick’s songwriting skills. Again, he paints pictures with his lyrics. It reminds me of The Blue Nile on A Walk Across The Rooftops describing a city as darkness falls. The understated arrangement, where acoustic guitar and punchy harmonies accompany his heartfelt, emotive vocal. Later, Josephine Anthony’s ethereal vocal joins the harmonies. It’s the perfect foil for Rick and his lyrics which seem inspired by James Joyce and Alistair Gray.
We All Float has a melancholy, some would say mournful introduction. No me. Instead, I’d describe it as pensive and beautiful. As Rick sings about man’s mortality, his voice is filled with emotion and sadness. There’s almost a sense surprise at this sudden realization that comes with age.
Kelvin Grove is a traditional Scottish song. It’s a love song given a makeover by Rick. Just acoustic guitars and strings accompany him. His vocal is slow, impassioned and emotive. Taking care with the lyrics, he delivers them thoughtfully, as if he’s singing them to someone. In doing so, he brings out the beauty in this traditional song.
Just his trusty acoustic guitar and percussion accompany Rick on Now We’re Dancing. It’s a song about the breakup of a relationship. Here, Rick sings about how his life seemed to stop when this happened. He describes it as: “my evolution’s come undone.” Memories come flooding back of happier times. They’re long gone. Rueful and almost superstitiously, as if scared to mention her name, he sings: “I would love to say your name, if only for the sake of it.” Poignant and filled with pathos, Rick’s hurt seems almost real.
Cold As Clay (The Grave) is a track whose roots are firmly in folk music. Here, Rick’s vocal is reminiscent of James Grant of Love and Money. Accompanied by accordion, guitar and strings, Rick’s vocal is a cathartic outpouring of hurt, grief and pain. Raw and heartfelt the reality of death is the cause of his pain. The only consolation is, that one day, he believes, they’ll be together again.
Wildlove features another outpouring of emotion from Rick. With just a guitar for company, he unleashes a vocal that’s equal parts power and pain. Conjuring up feelings emptiness and even grief, the lyrics, deal with love lost and the vacuum it leaves behind.
Closing No Selfish Heart is the title-track. A slow, deliberate guitar sets the scene for Rick’s vocal. He delivers lyrics that are evocative, expressive, poetic and Baroque. They take you on a musical journey, to another time and place. Rick’s vocal is heartfelt and filled with emotion and sincerity. Painting pictures with his lyrics, he sings of the woman who transformed: “his selfish heart.”How did he do this? “Only love can change a selfish heart,” one that seems unattainable and tantalizingly out of reach.
Although the ten songs on No Selfish Heart took eight years to record, they were well worth the wait. This was the same with The Blue Nile. They were far from a prolific group. Like The Blue Nile, Rick’s music is the polar opposite to so much modern music. Rather than being instant and disposable, it’s intelligent, evocative, expressive, poetic and thoughtful. Rick Redbeard sings of hurt and heartbreak, love and loss, life and death. Poignancy gives way to pathos, while there’s a sense of melancholia and wistfulness on several tracks. Indeed, several tracks are like a coming of age for Rick. There’s a realization that no longer he’s immortal. That’s something that comes with age, experience and maturity. Other songs, they’re akin to an outpouring of grief and loss. Rick’s vocal is at the heart of these songs, while the mostly acoustic arrangements are understated and subtle. Despite this, the songs are intricate and multilayered. Subtleties, surprises and nuances await discovery.
Rick Redbeard’s No Selfish Heart is similar to Paul Buchanan’s debut solo album Mid Air. Like Paul Buchanan, Rick has a lived-in, world-weary sound. Both albums feature music that’s moody, broody, but sometimes hopeful. The music is also introspective, poignant and wistful music. That’s what I’d expect from Scotland’s latest troubled troubadours. Maudlin but beautiful, heartbreaking but hopeful and always heartfelt, Rick Redbeard’s No Selfish Heart, is well worth discovering. Indeed, Rick Redbeard’s No Selfish Heart, like Mid Air, is pensive and reflective music, that’s perfect for late-night listening. Standout Tracks: Clocks, Any Way I Can, Kelvin Grove and Wildlove.
RICK REDBEARD-NO SELFISH HEART.
CANDIDO-CANDI’S FUNK.
CANDIDO-CANDI’S FUNK.
1979 was one of the most important years in the history of Salsoul Records. That year, disco died and briefly, Salsoul returned to its Latin roots. This happened when veteran Cuban percussionist signed to Salsoul Records. Dancin’ and Prancin’ his Salsoul debut, consisted of just four infectiously catchy, genre-sprawling tracks. Despite it indisputable quality, Dancin’ and Prancin’ failed to chart. It seemed that the Cayre brothers decision to revisit the past to ensure Salsoul’s future in the post-disco musical landscape hadn’t paid off. Maybe Candido’s followup to Dancin’ and Prancin,’ Candi’s Funk, which was recently reissued by Octave Japan would see a change in both his and Salsoul’s fortunes. Would that be the case?
By 1979, Salsoul Records had changed almost beyond recognition. No longer was Salsoul consistently releasing the hits it once was. What had been disco’s equivalent of Goliath had been slain. Many of its top artists had either left the label. Things had started to go wrong after Vince Montana Jr, left Salsoul following a dispute over royalties. Then when Norman Harris’ Gold Mind Records lost its distributor, things took a turn for the worse. Vince and Norman had been responsible for much of Salsoul’s success. Those trying to fill their shoes didn’t have the Midas Touch. What didn’t help matters, was music was changing beyond recognition. Salsoul’s biggest stars were no longer as successful.
Double Exposure, First Choice and Loleatta Holloway had been signed to Norman Harris’ Gold Mind Records, which was an imprint of Salsoul. Along with The Salsoul Orchestra, they were Salsoul’s biggest acts. That was all in the past. Music had changed, changed beyond recognition. They were still signed to Salsoul, but were no longer as successful. While Loleatta, First Choice and Double Exposure remained, many of the classic lineup of The Salsoul Orchestra had left the label. The ones that remained, they either played a smaller part or were gradually being sidelined. Even the music was changing and changing quickly.
Disco was no longer as popular. For a disco label like Salsoul, this hit them hard. Sales were down. Neither disco nor Salsoul enjoyed the widespread commercial success of even a year ago. Since 1975, Salsoul’s fusion of salsa, Philly Soul and disco was at its strongest. This was the case right through to 1979, when Candio signed to Salsoul. Now music had changed and new groups were signed to Salsoul. This included groups like Instant Funk, Aurra, Inner Life and Logg. They were perceived as the future of Salsoul. So too was Candido whose music was said to epitomise the Salsoul sound.
What turned out to just a brief stopover at Salsoul didn’t start well for Candido. Neither his Salsoul debut Dancin’ and Prancin’ nor the singles had charted. That wasn’t to do with the quality music. Instead, it was to do with the style of music. The music on Dancin’ and Prancin’ epitomized the traditional Salsoul sound. That was the problem. It was no longer fashionable. Music had evolved. So Candido’s music had to evolve. If it didn’t then his Candi’s Funk would suffer the same fate as Dancin’ and Prancin.’ That wasn’t an option. If that happened, the Cayre’s critics would see Candido’s signing as steeped in sentimentality. To save them from this fate, Candi’s Funk needed to be a success. Was that the case.
Just Dancin’ and Prancin,’ an old friend of Candido’s, Joe Cain produced Candi’s Funk. The pair had worked together on albums like Thousand Finger Man and Beautiful. Joe had been brought to Salsoul by the Cayres, as General Manager of Salsoul Salsa and Mericana. During his career, Joe had produced over 400 Latin albums. However, when it came to disco, Joe was lacking in experience. His apprenticeship was Dancin’ and Prancin.’ Having served what was an all too brief apprenticeship, Joe Cain and Candido got to work on Candi’s Funk.
Candi’s Funk, just like Dancin’ and Prancin,’ featured only four tracks. They were lengthy tracks which filled both sides of the vinyl. Side one featured Candi’s Funk and Do You Wanna Dance, while Samba Funk and Super City featured on side two. That was the only similarity. The musicians accompanying Candido on Candido’s Funk were different to those that featured on Dancin’ and Prancin.’ The winds of change it seemed, were blowing through Salsoul.
Accompanying Candido on Candido’s Funk, was a rhythm section of drummer Woody Cunningham, bassist Bob Blank and guitarists Marty Horne and Joe Caro bassist Bob Blank. Norman Durham only played bass on Do You Wanna Dance, while Carlos Franzetti played synths and keyboards. They were joined by a horn section and backing vocalists that included Jocelyn Brown, Isabelle Cole, Yvonne Lewis, Chris Wiltshire and Al-Yasha Anderson. Candido, he played everything from congas, bongos, cowbells, jawbone, clave, quinto and tumbao. Producing this compelling fusion of musical genres was Joe Cain. However, would Candido’s Funk succeed where Dancin’ and Prancin’ failed?
The answer to that is no. On the release of Candido’s Funk in 1979, it failed to chart. History was repeating itself. When the title-track Candido’s Funk was released as a single it too failed to chart. Signing Candido hadn’t proved to be the Cayre’s best idea. Why was this? Was it that Candido represented Salsoul’s past rather than future? That’s what I’ll tell you, once I’ve told you about Candido’s Funk.
Opening Candido’s Funk is the title-track Candi’s Funk, which is guaranteed to leave a lasting impression. Bursting into life, thunderous, pounding drums, blazing horns, percussion and rocky guitars grab your attention. Having set the scene, celestial harmonies sweep in. Soon, an irresistible fusion of funk, jazz, salsa and Latin music combines. Add to that searing, sizzling guitars that drive the arrangement along, join forces growling horns and a myriad of percussion. By now you’re hips are swaying to this truly hypnotic music. Then as if that’s not enough, tantalizingly brief soulful vocal makes a welcome, but sadly fleeting appearance. Innovative, dance-floor friendly and timeless, Candido’s Funk is much more than funky.
Do You Wanna Dance? If Candidio is providing the music, the answer is an unequivocal yes. Especially to such a catchy, genre-sprawling track. Indeed, it’s an eight-minute epic. Chiming guitars, congas, bongos and synths propel the arrangement along. Vocals drift in and out, to be replaced by tender, sensual harmonies. Soon, the vocal becomes feisty and punchy as it probes, asking Do You Wanna Dance? As the tempo increases, a flute and bubbling bass join forces. Their raison d’etre is to help drive the arrangement along. Stabs of piano add to the sense of drama. Candido relying on his years of experience, deploys his trusty percussion. When bursts of joyous harmonies drift in, that proves to be the finishing touch. They inject a sense of urgency and soulfulness to a track where music-genres and influences seamlessly, unite.
Quickly, Samba Funk becomes an unstoppable musical juggernaut. Candido drives the arrangement along at breakneck speed, while the funkiest of rhythm section, keyboards, blazing horns and woodwind combine. Breathy, seductive vocals sweep in and out. The triumvirate of guitars, bass and keyboards unite. They inject further drama and energy. By now, it really is like being onboard an unstoppable juggernaut. Applying the brakes is a waste of time. Best just to sit back, relax and enjoy the journey which lasts eight mesmeric minutes.
The irresistible and infectiously catchy Super City closes Candi’s Funk. Thunderous drums, percussion, growling horns and keyboards combine funk, jazz and salsa. Locked in the tightest of grooves, flourishes of keyboards, jazz guitars, lung-bursting horn solos and urgent, sweeping harmonies provide the backdrop for Candido. So too do synths, have an experimental sound. Even they don’t spoil things. Candido decides to showcase his inconsiderable skills. Yet he’s not afraid to let other members of the band take centre-stage. Quite the opposite. He’s a generous bandleader who it seems, wants his band to showcase their talents. This works to his advantage. Super City is best described as a frantic, frenzied and funky, irresistible and infectiously catchy, outpouring of creativity, passion and talent.
Despite Candi’s Funk failing commercially, just like its predecessor Dancin’ and Prancin,’ the quality of music can’t be faulted. Candi’s Funk, like Dancin’ & Prancin,’ was a fusion of funk, Philly Soul, jazz, rock, disco, salsa and Latin music. Seamlessly, musical genres and influences melted into one. It was a complex, multilayered album full of subtleties, nuances and surprises. If anything, Candi’s Funk was even more irresistible, infectiously catchy and dance-floor friendly. It also had a stronger disco influence. Sadly, Candi’s Funk didn’t see Candido innovate. There was no progression from Dancin’ & Prancin’ to Candi’s Funk. Canido was treading water. He’d stood still.
In the post-disco landscape, standing still wasn’t an option. Disco’s popularity had plummeted. Music was quickly evolving. Alhough Candi’s Funk wasn’t a disco album per se, it had a strong disco influence. Granted there’s more to Candi’s Funk than disco. Sadly, some people however, couldn’t see past Candi’s Funk’s disco influence. To them, the disco influence was a turn off. The Cayre’s decision to look to Salsoul’s past to help move the label forward had backfired. This isn’t surprising.
If Candido had been signed to Salsoul in 1975 or 1976 and released albums like Dancin’ & Prancin’ and Candi’s Funk, they’d have been commercially successful and critically acclaimed. Instead, they were released too late. Candido’s background was in jazz, Cuban and Latin music. However, with some hugely talented and experienced personnel involved in both albums, especially Candi’s Funk. With their help, Candido was transformed into a disco artist, one who produced two soulful, fabulously funky and dance-floor friendly albums that are irresistible and infectiously catchy.
CANDIDO-CANDI’S FUNK.
MURO-DIGGIN’ SALSOUL BREAKS.
MURO-DIGGIN’ SALSOUL BREAKS.
Despite closing its doors nearly thirty years ago, interest in Salsoul Records has never been higher. A new generation of music lovers are rediscovering what was undoubtably disco’s premier label. So too, are a new generations of DJs. Realizing that Salsoul Records’ illustrious back-catalogue is a goldmine for killer tracks and elusive breaks aplenty, any self-respecting DJ has to have a healthy supply of Salsoul albums in their collection. These are both a DJ and producer’s secret weapon. For a DJ whose losing the dance-floor, drop a Salsoul classic and normality is restored. Similarly, for a producer suffering from writer’s block and looking for “inspiration,”a killer break from Salsoul’s back-catalogue could transform a track. That’s no exaggeration.
In the early days of house music, certain producers created many a successful track around a Salsoul break. Who can forget Black Box’s Ride On Time which sampled Loleatta Holloway’s Love Sensation. That’s just one of a plentiful supply of breaks awaiting discovery for the determined crate-digger. One man whose a crate-digger, DJ and producer is DJ Muro. Recently, he combined his DJ-ing and crate-digging skills on his new mix CD, Diggin’ Salsoul Breaks. Released on Octave Japan, DJ Muro incorporates twenty-two Salsoul breaks in just under eighty minutes. Best described as a compelling and education musical journey through Salsoul Records’ back-catalogue.
Diggin’ Salsoul Breaks is just the latest mix CD DJ Muro has released in his twenty-five year career. Muro’s name is synonymous with his King Of Diggin’ series. It’s through that series that DJ Muro’s name became so widely recognized outside his native Japan. Whether it’s Europe, North America or Africa, DJ Muro is widely recognised. His reputation extends beyond DJ-ing. He’s established a reputation as a prolific producer. Then there’s DJ Muro’s crate-digging exploits. Over the past three decades, he’s gained the reputation as a crate-digger’s crate-digger. There’s nowhere DJ Muro won’t travel in pursuit of the perfect break. Proof on this is Diggin’ Salsoul Breaks, which I’ll pick the highlights of.
Unlike many Salsoul compilations or mixes I’ve heard, DJ Muro takes a different approach on Diggin’ Salsoul Breaks. Rather than fill Diggin’ Salsoul Breaks full of Salsoul classics, he’s dug deeper in search of the perfect break. Spoiled for choice, what he’s come up with, is a compelling combination of tracks from familiar faces and some leftfield choices. Among the familiar faces, are contributions from Loleatta Holloway, The Salsoul Orchestra, Double Exposure, First Choice, Inner Life and Instant Funk. These tracks don’t include the “greatest hits.” Rather than Dreamin’ or Love Sensation from Loleatta Holloway, All About The Paper Is Chosen. As for First Choice, there’s neither Dr. Love nor Let No Man Put Asunder. Instead, Love Thang is chosen. The same goes for The Salsoul Orchestra, Double Exposure, Instant Funk and Inner Life. Rather than this being a case of a contrary DJ, it’s a case of searching for what DJ Muro sees as the perfect break. To do that, he has to eschew the familiar and dig deep, deeper than many DJs would dare to dig.
In his pursuit of the perfect break, DJ Muro has dispensed with the familiar. Instead, there’s contributions from Joe Bataan, Kongas, Tierra, Sound On Sound, Tierra and Dr. Perri Johnson. There’s also hidden gems from Candido and Skyy. Diggin’ Salsoul Breaks you’ll realize, is no mix of Salsoul Records’ greatest hits. Not at all. It’s a educational musical adventure where the far corners of Salsoul’s vaults have been searched for that elusive, perfect break. However, it may not be for everyone. After all, DJ Muro has eschewed the familiar. For me, that’s no bad thing. The most important thing is, the quality of music on Diggin’ Salsoul Breaks. That’s what I’ll tell you about.
The first three tracks on Diggin’ Salsoul Breaks demonstrate with varying degrees of success how post-disco, Salsoul changed. It was a case of evolving to survive. Instant Funk’s The Funk Is On was the title-track to their third album for Salsoul. Given this was the post-disco age, with boogie now flavor of the month, this is quite unlike the music that made Salsoul disco’s premier label. Fusing funk and boogie, it demonstrates how both Instant Funk and Salsoul were evolving to survive. So too, does Dr. Perri Johnson’s Psyched Up, which was released in 1982. Although this is an “instrumental version bursts of cartoon vocals can be heard. They’re combined with flourishes of harpsichord and synths, and result in a quite un-Salsoul track. Indeed, it’s not worthy of baring the Salsoul label. The proto rap of Sound On Sound Productions The Incredible Hump is a slight improvement. It further demonstration of Salsoul’s evolution of a label and how they still were striving to release innovative music.
An earlier track was Gaz’s Sing SIng. Originally recorded by German label Lollipop, producer Jurgen Korduletsch wanted Salsoul to distribute the track. His decision to do so was rewarded. It’s since become a minor Salsoul classic. Released in 1978, it’s a joyous track, with a real feel-good sound. Crucial to the track was another of Jurgen’s discoveries Claudia Barry. She was responsible for the vocal. Pounding drums and guitars, are joined by the bass, percussion and strings before Claudia Barry’s vocal enters. Her vocal is answered by a male vocalist, while the rhythm section is augmented by rasping horns, keyboards and percussion. Soon, the best of European and US disco unites as one, resulting in a minor Salsoul classic.
Love Thang featured on First Choice’s second album for Norman Harris’ Gold Mind Records, Hold Your Horses. It only reached number 135 and number fifty-eight in the US R&B Charts. Penned by Melvin and Mervin Steals with McKinley Jackson, who arranged and produced the track. From the opening bars, you realize that something special is about to unfold. With a pounding, punchy rhythm section, shimmering strings and percussion combining First Choice add sweet and sassy vocals. With handclaps accompanying them, the track swings along, with Rochelle strutting her way through the track. Horns rasp, strings sweep and swirl, while the rhythm section produce the track’s funky heartbeat. Together they play their part what’s a musical Magnus Opus.
Inner Life II wasn’t just their final album for Salsoul, but the final album of their short career. It neither matched the quality nor success of Inner Life I. One of the two singles which charted was I Like It Like That, ia track that you can almost date to 1982. It’s the combination of instruments that are deployed to 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.
Of all the disco orchestras, The Salsoul Orchestra were the best. That’s indisputable. This was obvious from their 1975 million-selling, debut album The Salsoul Orchestra, which features Chicago Bus Stop (Ooh I Love It). Here, The Sweethearts of Sigma add breathy, sassy vocals, while The Baker, Harris, Young rhythm section lock into a funky groove. Meanwhile keyboards, guitars and percussion are joined by sassy, sensual harmonies. A sultry alto-saxophone enters, strings, dance and harmonies drift in and out. Dramatic stabs of growling horns accompany the saxophone. Baker, Harris, Young never miss a beat. They’re responsible for the mesmeric, hypnotic backdrop, as flourishes of woodwind and percussion add a Latin flavor. Here, funk, Philly Soul, disco and Latin are fused with flair and a flourish and aplomb to irresistible effect.
Everyman which was a track from Double Exposure’s debut album Ten Per Cent, is an example of what made Salsoul disco’s leading label. Released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts in August 1976. When Everyman was released in October 1976, it reached number eighty-four in the US R&B Charts and number eight in the US Disco Charts. It deserved to fair much better. Bursting joyously into life, a flourish of piano, the funky Baker, Harris, Young rhythm section, blazing horns, dancing disco strings and Vince Montana’s vibes give way to Jimmy’s vocal. Mixing power, passion and joy, he brings out the meaning in the lyrics. Harmonies sweep in, with the Sweethearts of Sigma augmenting Double Exposure. As Double Exposure and The Salsoul Orchestra kicked loose, it’s a joy to behold. Everyone plays their part in this anthemic, inspirational and uplifting song’s success.
Another example of the music that made Salsoul great is Loleatta Holloway’s All About The Paper. This was a track from her 1979 album Loleatta Holloway, which failed to chart. Despite that, it’s become a Salsoul classic and a favorite of DJs, remixers and compilers. Chiming guitars, punchy blazing horns and a pounding rhythm section combine to create the perfect backdrop for Loleatta’s vocal. Briefly, you can hear similarities with Chic’s Good Times. When Loleatta’s vocal enters, it’s a sassy, feisty, strutting vamp. She makes the song her own, demonstrating just why she was the Queen of Disco. Strings dance with delight, while the Sweethearts of Sigma add tender harmonies and bursts of horns punctuate the arrangement. What really makes the song is Loleatta’s vocal, one that feisty, fiery and sassy. Combined with a what’s simply a timeless, dance-floor friendly arrangement and the result is vintage Loleatta.
Flakes’ Sugar Frosted Lover was a track from their 1981 eponymous Flakes. It’s a track that combines Salsoul old and new. Featuring a deeply soulful vocal that’s reminiscent of Philly Soul, the funky, arrangement relies upon synths. in many ways, it’s a track that straddles two decades. It has a post-disco sound, but is definitely soulful.
Getaway is another example of The Salsoul Orchestra in their prime. Taken from their 1977 album Magic Journey. It reached number sixty-one the US Billboard 200 and number fifty-one in the US R&B Charts. When Getaway was released as a single, it reached number thirty-three in the US R&B Charts. Just subtle bongos and congas combine before The Salsoul Orchestra create an uber funky track. This means the rhythm section, blazing, horns and swirling strings join percussion, wah-wah guitars and keyboards. Horns growl, soaring above the arrangement as searing guitars and cascading strings demonstrate just why The Salsoul Orchestra were by 1977, disco’s premier orchestra.
Candido released Dancin’ and Prancin’ in 1979. It featured Jingo, which dramatically opens. That’s an understatement. It’s not unlike Jimi Hendrix teasing you with a guitar solo before diving head first into a familiar track. Instead, it’s keyboards that take centre-stage. Then pounding drums and percussion drive the arrangement along. Combining elements of rock, jazz, Latin and dance music it’s a captivating track. Layers of music unfold, revealing subtleties and nuances aplenty. Urgent, punchy harmonies enter. They soar above the arrangement. By now, you’re swept along atop what’s akin to a musical roller coaster. Candido’s trusty percussion plus banks of synths and keyboards join a powerhouse of a rhythm section, on what is a truly captivating, compelling and genre-sprawling track.
Gary Cris’ medley of The Girl From Ipanema and Brazilian Nights closes Diggin’ Salsoul Breaks. It featured on his 1978 album Rio De Janeiro, which failed to chart. Just a myriad of percussion creates a Latin backdrop before Gary’s sensually scats and the arrangement unfolds. Gradually, horns growl, while the rhythm section, percussion and keyboards provide the mainstay of the Latin arrangement. Gary lounge-style vocal is understated, but ensures the songs swings. He’s accompanied by gentle, cooing harmonies who prove a perfect foil for Gary. Then on Brazilian Nights, Gary’s vocal grows in power and passion. He’s accompanied by swathes of lush strings, subtle harmonies and percussion. Accompanied by John Davis and The Monster Orchestra drive each other to greater heights, fusing musical genres and creating a beautiful, dramatic and dance-floor friendly track.
Diggin’ Salsoul Breaks is easily a mix CD that could be overlooked. The first three tracks DJ Muro chose aren’t exactly classics. They’re somewhat average and disappointing fare. Instant Funk’s The Funk Is On, Dr. Perri Johnson’s Psyched Up and Sound On Sound Productions The Incredible Hump may be blessed with killer breaks, but they’re far from the three best tracks Salsoul ever recorded. For a newcomer to Salsoul, they’d be wondering what the fuss was about. By then, many a listener will be looking for their receipt for Diggin’ Salsoul Breaks. After three tracks a refund seems appealing. Worry not, things do get better.
Contributions from Gaz, Inner Life, The Salsoul Orchestra, First Choice, Double Exposure and Loleatta Holloway see an increase in quality. Mind you, many of these tracks aren’t exactly obvious choices. Examples of this are Loleatta’s All About The Paper and First Choice’s Love Thang. For DJ Muro, lest we forget, it’s all about the breaks. Sometimes his pursuit of the perfect break results in the quality of music suffering. This isn’t the case with Double Exposure’s Everyman and Loleatta Holloway’s All About The Paper. They prove to be a musical marriage made in heaven. Following it up with Skyy’s High and then Edwin Birdsong’s Win Tonight works really well. Other times the mix seems to lose momentum through the choice of track. Then just as you’re about to despair and wonder where your remote control has gone, things improve.
From Chocolat’s El Caravanero right through Candido’s Jingo and Konga’s Konga’s Fun the mix is building to a crescendo. This is happening without a Salsoul classic in sight. Instead, the strong Latin influence propels the arrangement along. Things go slightly awry with Joe Bataan’s When We Get Married. It breaks the momentum built up by his Latin Strut. DJ Muro then makes up for this with Gary Cris’ medley of The Girl From Ipanema and Brazilian Nights, which sees Diggin’ Salsoul Breaks reach a dramatic crescendo.
DJ Muro’s Diggin’ Salsoul Breaks has been a compelling music journey. It’s one that’s far from flawless, but one that’s been intriguing. Muro’s musical choice is guaranteed to provoke debate and dissent among discerning Salsoul fans. Whether you enjoy, approve or agree with the music on Diggin’ Salsoul Breaks is a matter of choice. For me, Diggin’ Salsoul Breaks started badly but got better. The first three tracks were the wrong tracks despite the quality of the breaks. At least DJ Muro rectified this and got Diggin’ Salsoul Breaks back on track. While Diggin’ Salsoul Breaks is far from the best Salsoul mix I’ve heard, it’s certainly not the worst. Mixed in his tradmark style, DJ Muro’s pursuit of the perfect break on Diggin’ Salsoul Breaks is an adventurous and eclectic selection of tracks. Standout Tracks: The Salsoul Orchestra Chicago Bus Stop (Ooh I Love It), Double Exposure Everyman, Loleatta Holloway All About The Paper and The Salsoul Orchestra Getaway.
MURO-DIGGIN’ SALSOUL BREAKS.
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