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.
NANCY WILSON-THE SOUND OF NANCY WILSON AND NANCY.
NANCY WILSON-THE SOUND OF NANCY WILSON AND NANCY.
Eight years and over a dozen albums after Nancy Wilson released her debut album Something Wonderful in 1960, she was now one of the biggest draws in jazz music. She was hailed as the “heir apparent to Ella Fitzgerald by Time Magazine” in 1964, the year she won her first Grammy Award. Over the next three years, her spellbinding performances enthralled listeners. Nancy Wilson’s shows were now one of the hottest tickets in town. Meanwhile, Nancy was broadening her horizons.
Seemingly not content with a career in music, Nancy embarked on an acting career. During the mid-sixties, Nancy appeared on The Killers, Burke’s Law, The Red Skeleton Hour and I-Spy. Then in 1967, Nancy Wilson became one of the few singers to host their own television shows. However, music was where Nancy Wilson made her name. In just seven years, she’d become one of the world’s top jazz singers. That in some ways was the easy bit. The hard part was staying there.
While Nancy tried her hand at acting and had her own television show, she was wasn’t neglecting her recording career. Quite the opposite. She remained a prolific recording artist. During 1968 she released The Sound Of Nancy Wilson and in 1969, released Nancy, which were recently reissued on one CD by SoulMusic Records. Would The Sound Of Nancy Wilson and Nancy ensure Nancy remained one of the world’s top jazz singers? Was Nancy worthy of inheriting Ella Fitzgerald’s crown as the First Lady Of Music?
THE SOUND OF NANCY WILSON.
Music, society and indeed the world were very different from when Nancy released her debut album. In 1968, when she started work on The Sound Of Nancy Wilson, The Vietnam War was raging, while the civil rights movement was determined to bring about equality in America. Then in April 1968, tragedy struck. Dr. King was assassinated. Meanwhile, The Age of Aquarius continued, while Jimi Hendrix, The Beatles, Cream, The Grateful Dead provided a psychedelic soundtrack for a new generation. This new generation perceived Nancy’s music as cocktail jazz, that was safe and inoffensive. To them, it was neither innovative nor socially relevant. Despite this, there was still a healthy appetite for artists like Nancy Wilson. Indeed this audience was bigger than ever.
Now that Nancy had a network television show The Nancy Wilson Show meant every American home was exposed to her music. This could really increase her popularity. To do this, Nancy and her producer David Cavanaugh stuck to their winning formula for albums. They’d use this formula before successfully, and would do so again on The Sound Of Nancy Wilson. Their winning formula was to combine cover versions, standards and new material.
Familiar tracks on The Sound Of Nancy Wilson included Out Of This World, When The Sun Comes Out, The Other Side Of The Tracks and Black Is Beautiful. Cy Coleman and Carolyn Leigh who penned The Other Side Of The Tracks, also contributed The Rules Of The Road. Arthur Schwartz and Howard Dietz cowrote By Myself and Gail Fisher and Oliver Nelson penned Below, Above. Other tracks included Jerry Herman’s It Only Takes A Moment and Ronnel Bright’s Alone With My Thoughts Of You. Having carefully chosen the material for The Sound Of Nancy Wilson, Nancy headed into the studio with producer David Cavanaugh.
For the recording of The Sound Of Nancy Wilson, Capitol Records didn’t scrimp on the musicians accompanying Nancy. No wonder. After The Beatles, Nancy was Capitol’s most successful artist in America. So, a full orchestra was brought in to accompany Nancy. A woodwind, horn and string section joined the rhythm section in providing the accompaniment to Nancy’s vocals. Would the expense incurred by Capitol for The Sound Of Nancy Wilson be worthwhile?
On the release of The Sound Of Nancy Wilson in 1968, it only reached a disappointing 122 in the US Billboard 200 and number twenty in the US R&B Charts. The lead single, Peace Of Mind, reached number fifty-five in the US Billboard 100 and number twenty-four in the US R&B Charts. Neither The Sound Of Nancy Wilson, nor Peace Of Mind had proved to be a huge commercial success. Granted her existing fans were won over by the music on The Sound Of Nancy Wilson, but she wasn’t attracting new fans. Indeed, sales were down. Something was wrong and it needed to be sorted. What was that? I’ll tell what, after I’c
Choosing the right track to open an album is always crucial. Nancy’s choice of Out Of This World is perfect for The Sound Of Nancy Wilson. It allows Nancy to showcase her inconsiderable vocal prowess. Accompanied by punchy, rasping horns, Nancy mixes power, control and emotion. In doing so, she demonstrates her jazz pedigree. Building and building, to a dramatic crescendo, it’s a truly irresistible way to open any album.
A much more reflective and almost melancholy Nancy features on This Bitter Earth. Accompanied by a slower, understated arrangement that mixes jazz and blues, Nancy takes care with the lyrics. She delivers them to get maximum effect. As for the arrangement, like a flower, it gradually blossoms and grows. Nancy’s delivery is thoughtful and wistful. Her use of space adds to the poignancy and potency of the lyrics. Be Myself is driven along by a standup bass, piano and bursts of braying horns. Again demonstrates Nancy’s ability to make the lyrics about the breakup of a relationship come to life. From the heartbreak and hurt, to the bravado and defiance that fills her voice, Nancy’s portrayal of the lyrics is realistic and deeply moving. The heartbreak and sadness continues on When The Sun Comes Out. Again, Nancy brings out the subtleties and nuances of the lyrics. She’s accompanied by an understated, wistful and vintage sounding arrangement. Like so many other arrangements, it sounds as if it belongs on an album from the fifties not sixties. Despite this, it demonstrates that in the sixties, Nancy was one of the great jazz vocalists.
Despite Alone With My Thoughts Of You seeing the tempo increase, Nancy’s heartache and hurt remains. Her vocal is slow, rueful and emotive, drifting in and out of the jaunty, shuffling arrangement. It’s the perfect foil for her captivating and compelling vocal. This is the case with It Only Takes A Moment. From the opening bars, the drama builds. Elements of gospel, jazz and soul combine as Nancy kicks loose. Her vocal veers between power and passionate to seductive and sultry. Peace Of Mind sees a similar combination of jazz, soul and gospel combine as Nancy seeks for that elusive Nirvana. Fusing emotion, sincerity and raw power, a different side tp Nancy emerges.
Almost bursting into life, The Other Side Of The Tracks is propelled along by the rhythm section, percussion and blazing horns. Having set the scene, Nancy literally struts her way through the track, injecting sass and swing into an old standard. The polar opposite is Below, Above, a heartbreaking tale of love that’ll never be. Here, Nancy’s skills as a storyteller come into their own, while the understated, but dramatic arrangement helps paint evocative pictures.
The Rules Of The Road has a real late-sixties jazz sound. Nancy’s languid vocal is sensual and sassy, while the arrangement has a slightly more contemporary sound. Stabs of horns, bursts of drums and jazzy guitar punctuate the arrangement as Nancy delivers one of her best vocals. Black Is Beautiful also has a subtle, contemporary sound. This allows Nancy’s slow, emotive and strident vocal to bring out the meaning in the lyrics. Written at the height of the civil rights movement, the lyrics are filled with hope and pride, and without doubt, result in the most powerful song on The Sound Of Nancy Wilson.
While there’s no denying the quality of music on The Sound Of Nancy Wilson. From the opening bars of Out Of This World, right through to Black Is Beautiful, Nancy showcases her inconsiderable vocal talents. Backed by a full orchestra, this was a joy to behold. Emotive, impassioned and heartfelt, Nancy’s performances were also feisty, sassy and sensual. With the help of the orchestra, she brought the eleven tracks to life. This was jazz like it used be. It was like a trip back to the fifties. That was the problem. There was a problem though. It was now 1968,
Released in 1968, the music on The Sound Of Nancy Wilson sounded as if it belonged in the fifties. Blessed with a vintage jazz sound, this type of music was no longer as popular. This was reflected in the album and single sales. It seemed Nancy’s music had to evolve. If it didn’t, then her music would cease to be relevant. For Capitol Records, this was a huge problem. Apart from The Beatles, Nancy was Capitol’s most successful artist. So, if Nancy’s popularity declined, the label’s finances would suffer. However, transforming an artist’s career who still had a large, albeit declining following was risky. You could end up alienating the artist’s existing fans. The last thing any label wanted was a warehouse full of unsold albums. So, what had to happen was rather than a sudden transformation, gradually, the music had to evolve. This would result in Nancy’s music being given a makeover, without forgetting about her roots. What she really needed was an album that combined her vintage jazz sound with a more contemporary sound. The result was Nancy.
NANCY.
Between the release of The Sound Of Nancy Wilson and Nancy in 1969, Nancy hardly stopped recording. She released three albums, 1968s Easy and Son Of A Preacher Man and Hurt So Bad in 1969. These three albums saw Nancy’s fortunes vary. Easy had proved a much bigger success than The Sound Of Nancy Wilson. Not only did it reach number fifty-one in the US Billboard 200 and number five in the US R&B Charts, but featured Nancy’s biggest hit single in four years Face It Girl It’s Over. Son Of A Preacher Man wasn’t as successful, stalling at number 122 in the US Billboard 200 and number twenty in the US R&B Charts. Hurt So Bad marked a slight upturn in Nancy’s fortunes, reaching number ninety-two in the US Billboard 200 and number nineteen in the US R&B Charts. For what would be Nancy Wilson’s last album of the sixties, she needed and wanted to end the decade on a high.
Sticking to what recently, had hardly proved a winning formula, Nancy featured a mixture of the familiar and new songs. Among the familiar faces, were Only Love (From Zorba), You’d Better Go, What Do You See In Her and We Could Learn Together. These songs, it seemed, were perfectly suited for Nancy. So too was I’m Your Special Fool and Look Back. Nancy could breath life, meaning and emotion into these songs. Heartfelt to heartbroken Nancy scales the whole gambit of emotions on Nancy. Assisting her are an orchestra conducted by Jimmy Jones, while David Cavanaugh takes charge of production on Nancy. Would Nancy rejuvenate the career of Nancy Wilson?
The answer to that is no. Nancy only reached number 117 in the US Billboard 200 and number thirty-eight in the US R&B Charts. In A Long White Room failed to chart. A small crumb of comfort was it reached number thirty-one in the Adult Contemporary charts. You Better Go fared better, reaching number forty-four in the US R&B Charts. It seemed the commercial success that Nancy enjoyed a few years earlier, was starting to elude her. Had she lost her Midas Touch? That’s what I’ll tell you, once I’ve told you about the music on Nancy.
I’m Your Special Fool opens Nancy. It has a a poppy sound. There’s an urgency in Nancy’s voice, while cooing harmonies help the rhythm section and horns drive the arrangement along. Later, Nancy using her full vocal range, unleashes a powerful vocal, as her music heads in a new direction. This continues on Prisoner Of My Eyes, where the tempo drops. With just piano, rhythm section and later, rasping horns for company, Nancy’s vocal is pensive and tender. Mixing soul, jazz and what could be described as Adult Contemporary, her vocal is heartfelt, sincere and sensual, while the arrangement provides the perfect accompaniment.
If the previous two tracks were examples of Nancy’s music evolving, Player Play On is a return to Nancy’s usual style of music. Written by actor Tony Curtis, it’s far from one of the highlights of Nancy. Sounding not unlike Marlena Shaw, Nancy tries her best to make the song work. Despite her best efforts, the song lets her down. In all honesty, Tony Curtis proves a better actor than songwriter.
One of the most familiar tracks is Only Love, which features in the movie Zorba. Nancy’s reading of the lyrics is moving and powerful. Slow, dramatic and emotive, swathes of strings and harpsichord accompany Nancy’s vocal resulting in a quite beautiful track.
Looking Back continues the reinvention of Nancy. There’s a soul jazz sound to the track, which takes on a smokey, late-night sound. Key to this are a Hammond organ, guitar and braying horns. This is perfect for Nancy. Spurred on, she breathes emotion, sadness and a sense of melancholia to the song. Flourishes of urgent strings open If We Only Have Love. They provide a dramatic backdrop for Nancy’s vocal. Bursts of horns and woodwind punctuate the arrangement as it heads towards its dramatic climax. It doesn’t take carbon dating or a D.N.A. test to work out the age of In A Long White Room. Quite the opposite. There’s a real late-sixties sound to the song. Pop, soul and jazz are fused, while the arrangement has an unusual time-signature. Veering from smooth to edgy and jumpy, it continues what is an eclectic album.
You’d Better Go was a cover of a track made famous by Anthony and The Imperials. Here, Nancy accompanied by sweeping harmonies, mixes pop, soul and jazz, transforms the track whilst delivering a pleading, heartfelt vocal. Quiet Soul is the perfect track to follow You’d Better Go. Just an understated arrangement allows Nancy’s crystalline, tender and beautiful impassioned vocal to take centre-stage. What Do You See In Her has a similar understated arrangement. However, it has a vintage jazz sound. Horns blaze while a piano and bass meander and wander across the arrangement. Meanwhile, Nancy feisty, frustrated and angry asks What Do You See In Her?
Closing Nancy is We Could Learn Together. It’s an uptempo track with a jaunty arrangement. Drawing inspiration from soul, jazz, pop and country, Nancy’s vocal veers between languid, powerful and heartfelt. As her vocal grows in power, she probes and suggests, We Could Learn Together.
Three albums after the release of The Sound Of Nancy Wilson, Nancy was released. To some extent, it brought Nancy’s music up to date. It still contained her trademark sound. That hadn’t been dispensed with. Doing that, would risk the wrath of Nancy’s fans and warehouses filled with unsold albums. That wasn’t the case.
Nancy was an eclectic album, where jazz, soul, pop, gospel and blues combined head on. Mixing the “old” and “new” sides of Nancy Wilson, the idea was to win back fans who’d become tired of what was perceived an outdated sound. It was also meant to win over a new generation of fans. This it didn’t do. Nancy was less popular than her previous album. Still it seemed, Nancy’s music wasn’t winning over a new generation of music lovers. Maybe that’s not surprising.
Jazz was no longer the force it once was. Psychedelia, rock and pop provided the soundtrack to a generation. Nancy’s music was perceived as the music their parents listened to. To them, it belonged in another era and wasn’t socially relevant in an era of heightened political and social awareness. Music either was or wasn’t fashionable. In the anything goes, swinging sixties, that didn’t extend to music. The exception was if an artist was endorsed by one of the “stars” of the day. Muddy Waters and Howlin’ Wolf’s careers were given a boost by the patronage of The Beatles and Rolling Stones. Sadly, their patronage didn’t extend to one of Nancy Wilson. While she didn’t inherit Ella Fitzgerald’s crown as the First Lady Of Music, she is one of the greatest jazz singers in the history of music. Standout Tracks: The Rules Of The Road, Black Is Beautiful, You’d Better Go and What Do You See In Her.
NANCY WILSON-THE SOUND OF NANCY WILSON AND NANCY.
THE O’JAYS IN PHILADELPHIA.
THE O’JAYS IN PHILADELPHIA.
When Kenny Gamble saw first saw The O’Jays, they were on the same bill as The Intruders. This was October 1968. The Intruders just had the biggest hit of their career with Cowboys To Girls, which Kenny and Leon Huff cowrote. Despite this, it was The O’Jays that grabbed Kenny’s attention. He was transfixed. Here he realized, were a group with potential, one that he and Leon Huff could transform their career which seemed to have stalled.
Now signed to Bell Records, The O’Jays career was following a familiar pattern, sporadic success followed by commercial failure. The O’Jays were in Philly promoting their latest single The Choice. It was the followup to their label debut I’ll Be Sweeter Than Tomorrow, which reached number eight in the US R&B Charts. Neither The Choice nor Look Over Your Shoulder were a commercial success. This was nothing new for The O’Jays. It had been the story of their career.
Founded in Carlton, Ohio in 1957, The O’Jays released their first single in 1963, and since then, had released a string of singles and four albums. Despite being blessed with an abundance of talent, The O’Jays weren’t consistent. Success was sporadic. This had lead to The O’Jays moving from label to label. Like musical nomads, The O’Jays searched for the right label. By 1968, they’d released singles or albums on five labels. Soon that would be six.
After the commercial failure of The Choice and Look Over Your Shoulder, The O’Jays decided they needed a change of label. Gamble and Huff just happened to be at the right place at the right time. They’d just founded a new label Neptune Records. The O’Jays would be their first signing. It didn’t take much to convince The O’Jays that Neptune Records was the label for them. All they had to do, was look at Gamble and Huff’s track record. They’d produced hits for Archie Bell and The Drells, Jerry Butler, The Intruders and The Soul Survivors. Convinced that Gamble and Huff could transform The O’Jays career, they signed to Neptune Records. Their first album for Neptune Records, was The O’Jays In Philadelphia, which was recently released by BBR Records.
For The O’Jays In Philadelphia, seven of the tracks were penned by Gamble and Huff. They also cowrote Let Me In Your World with Alan Felder. The other two tracks were the Eugene Dozier and Keni St. Lewis composition You’re The Best Thing Since Candy, and a medley of Bob Russell’s Little Green Apples and George Harrison’s Something. The only track written by members of The O’Jays, was It’s Too Strong, written by Eddie Levert and Walter Williams. These eleven tracks were recorded in 1969 at Joe Tarsia’s Sigma Sound Studios.
At Sigma Sound Studios in 1969, lead vocalist Eddie Levert, Walter Williams, Bobby Massey and William Powell were joined by an early lineup of M.F.S.B. Like so many sessions, details are vague about who played on The O’Jays In Philadelphia. It’s thought the lineup included the Baker, Harris, Young rhythm section plus guitarists Roland Chambers and Larry Washington. They were joined by percussionist Larry Washington, vibes virtuoso Vince Montana Jr. and pianist Eugene Dozier. Strings came courtesy of Don Renaldo while and Sam Reed provided the horns. Arrangers included Richard Rome, Thom Bell and Bobby Martin, while Gamble and Huff took charge of production. With The O’Jays In Philadelphia recorded, the lead single was released in June 1969.
The lead single from The O’Jays In Philadelphia was One Night Affair, which was released in June 1969. It reached number sixty-eight in the US Billboard 100 and number fifteen in the US R&B Charts. Branded Bad stalled at number forty-one in the US R&B Charts in October 1969. Deeper (In Love With You), released in February 1970, reached number sixty-four in the US Billboard 100 and number twenty-one in the US R&B Charts. The last singles was Looky Looky (Look At Me Girl) which reached number ninety-eight in the US Billboard 100 and number seventeen in the US R&B Charts in July 1970. That month, The O’Jays In Philadelphia was released, but failed to chart. For The O’Jays history was repeating itself. Many people must have thought The O’Jays were going nowhere. How wrong they would be.
Fast forward to April 1973, and The O’Jays fortunes had been transformed. Now signed to Gamble and Huff’s new label, Philadelphia International Records, The O’Jays 1972 album Back Stabbers had just been certified gold. The lead single, Back Stabbers had reached number one in the US R&B Charts. Then Love Train reached number one in the US Billboard 100 and US R&B Charts. This resulted in Love Train being certified gold. So, Gamble and Huff decided to rerelease The O’Jays In Philadelphia in April 1973. Although it charted, it stalled at number 156 in the US Billboard 200 and number thirty-seven in the US R&B Charts. The O’Jays In Philadelphia didn’t replicated the success of Back Stabbers. Did The O’Jays In Philadelphia replicate the quality of Back Stabbers?
Opening The O’Jays In Philadelphia, is One Night Affair, one of seven Gamble and Huff penned tracks. Arranged by Thom Bell and Bobby Martin, the track is driven along by piano and the Baker, Harris, Young rhythm section. Having set the scene, Eddie’s pleading, needy vocal enters. It’s swept away amidst lush strings. Stabs of piano and rasping horns join bursts of sweeping harmonies in adding to the sense of urgency. Eddie’s vocal takes center-stage. Power, passion, sass and feisty, he struts, bravado giving way to pleas and desperation. No strings attached, all he wants is a One Night Affair.
You’re The Best Thing Since Candy has an understated, Bobby Martin arrangement. Just Ron Baker’s bass, a subtle sprinkling of Vince Montana Jr’s vibes and lush strings combine. A sharp burst of Earl Young’s drums signal the arrival of Norman Harris’ chiming guitar and Eddie’s heartfelt, joyous vocal. Eddie throws himself into the lyrics. Despite his best efforts, he’s let down by the somewhat saccharine lyrics. The arrangement more than makes up for this. Here, the nascent lineup of M.F.S.B. demonstrate they’re a tight, slick and well-schooled band, that can transform a mediocre track.
As Branded Bad opens, it sounds as if it belongs on the soundtrack to a western. It’s the strummed guitars and flourishes of strings that lead to this comparison. Soon, it’s all change. The O’Jays and M.F.S.B. hit their stride. Eddie, his vocal welling up with emotion and frustration, mixes raw power as passion, as he probes and questions. Why despite all he’s achieved is he: “Branded Bad?” All he did was fall in love and marry you. Sympathetic harmonies sweep in, adding to the drama. Baker, Harris, Young, waves of Hammond organ, swirling strings and growling horns add to, and reinforce the drama, complimenting Eddie’s soul-baring vocal.
Thom Bell, who arranged Should Be Your Love seems to determined to build the drama and sense of anticipation. Rolls of timpani, Ron Baker’s bass and braying horns combine with harmonies and strings are all deployed. Then Eddie’s vocal soars above the arrangement, a fusion of power, sadness and regret. It works. However, throughout the track, The O’Jays’ harmonies are reminiscent of The Temptations. Despite that, Eddie and the other O’Jays drive each other to greater heights. Feeding off each other, it’s as if they’re saying: “let’s take this higher.” They do. M.F.S.B. get in on the act. Just like The O’Jays, they demonstrate what they were capable of.
The piano which opens Looky Looky (Look At Me Girl) seems like a reminder of another musical age. In truth, it’s an amuse bouche that teases your musical palette. What follows is a delicious dish best tasted often. Bursting into life, it’s a joyous, hook-laden, explosion. Eddie’s vocal bristles with energy and enthusiasm, before Baker, Harris, Young and a piano drive the arrangement along. Horns growl, strings dance and harmonies sweep in and out. Eddie’s vocal becomes a strutting, preening vamp, as The O’Jays and M.F.S.B. unite to demonstrate their inconsiderable talent and versatility on this truly irresistible track.
Deeper (In Love With You) is another delicious dance track, which showcases The O’Jays vocal prowess as they mix Philly Soul, jazz and doo wop. Eddie’s lead vocal and William, Bobby and Walter’s doo wop harmonies unite seamlessly. Meanwhile, Bobby Martin’ arrangement has a stomping Motown beat, which is powered along by Ron Baker’s jazz-tinged, standup bass. Swathes of strings and rasping horns add the finishing touch, to a track that’s reminiscent of Jackie Wilson’s Higher and Higher. That’s how infectiously catchy this seamless fusion of musical genres is.
Let Me In Your World sees The O’Jays drop the tempo, as they become masters of the bedroom ballad. The lushest of strings, Norman Harris’ jazz-tinged guitar and dramatic bursts of Earl Young’s drums provide the backdrop for Eddie’s pleading, needy vocal. Desperation filling his voice, which is filled with emotion: “Let Me In Your World” is his plea on this beautiful, heartbreaking, ballad.
Flourishes of urgent strings, urgent waves of piano and rolls of timpani open Just Can’t Get Enough. Having set the scene, Eddie struts centre-stage. Soon, he’s pleading, his desperation and infatuation there for all to see. Behind him, the arrangement is dramatic. It’s a mass of blazing horns, dancing strings, flourishes of piano and powerhouse of a rhythm section. They provide the perfect backdrop for Eddie who: isn’t too proud to beg
I’ve Got The Groove sees The O’Jays In Philadelphia head in the direction of funk, and even psychedelic soul. Philly Soul isn’t forsaken though. Nor is drama. Baker, Harris, Young are at the heart of the drama. So too are waves of Hammond organ and Vince Montana Jr’s vibes. Eddie’s vocal is a mixture of power, sass, confidence and power. Waves of harmonies sweep in, while flourishes of strings add to the drama, of this innovative track, which sees musical genes melt into one.
A medley of Little Green Apples and Something seems an unlikely pairing. Just a subtle, understated arrangement featuring Norman Harris’ jazzy guitar and occasional bursts of drums combine. Almost unaccompanied, Eddie transforms Little Green Apples. Then, suddenly, it’s all change. Something sees the drama increase. Soon, M.F.S.B. have kicked loose. Baker, Harris, Young, growling horns, keyboards and vibes combine as Eddie and the rest of O’Jays match M.F.S.B. for drama, power and passion. The result is a compelling pairing of cover versions that are polar opposites.
Closing The O’Jays In Philadelphia is It’s Too Strong, written by Eddie Levert and Walter Williams. Just wistful strings, Earl Young’s drums and urgent harmonies combine before a heartbroken Eddie enters. Norman Harris’ chiming guitar and strings add to the sense of heartbreak and hurt. Meanwhile, the rest of the rhythm section and O’Jays provide the necessary drama to a track that occasionally, reminds me of The Four Tops It’s The Same Old Song.
While The O’Jays In Philadelphia didn’t exactly see a Damascan transformation in The O’Jays fortunes, it marked an improvement in everything they’d previously released. The O’Jays In Philadelphia was a much more slicker, accomplished album. That’s no surprise. Look at the quality of personnel involved. Previously, The O’Jays hadn’t been blessed with the same quality of songs or worked with such talented musicians, arrangers and producers.
One thing any artist needs is quality songs. That wasn’t lack on The O’Jays In Philadelphia. Seven were penned by Gamble and Huff, who also cowrote cowrote Let Me In Your World Alan Fender. Gamble and Huff would enjoy unrivaled success as songwriters and producers, as would Alan Fender would work closely and successfully with Norman Harris. Then there were was the early lineup of M.F.S.B. who accompanied The O’Jays. This was an all-star band. Featuring Baker, Harris, Young, Roland Chambers, Vince Montana Jr. and Larry Washington, this lineup provided the soundtrack to the late-sixties and seventies.Arrangers included Thom Bell and Bobby Martin, while Gamble and Huff, who took charge of the production desk. As you can see, the scene was set for The O’Jays. All they had to do, was produce the performance of their career.
There’s no denying it, The O’Jays In Philadelphia wasn’t a commercial success. It did result in a quartet of minor hit singles. With its combination of irresistible, hook-laden dance tracks and heartfelt, heartbreaking ballads, The O’Jays didn’t let Gamble and Huff down. Drawing upon twelve years of experience, they surpassed everything they’d released previously. With more killer than filler, The O’Jays In Philadelphia didn’t disappoint. Gamble and Huff must have realized that The O’Jays could be moulded into one of their new label’s flagship acts. That didn’t quite turn out to be the case.
Rather than The O’Jays becoming one of the flagship acts for Neptune Records, it was at Philadelphia International Records that commercial success and critical acclaim came their way. Two years after the release of The O’Jays In Philadelphia, Gamble and Huff were rewarded for their patience. Back Stabbers, released in 1972 transformed The O’Jays’ faltering career. It was certified gold and featured two number one US R&B singles, including Back Stabbers and Love Train, which was also certified gold. The O’Jays In Philadelphia proved to be just the first step in transforming The O’Jays career, where with Gamble and Huff’s help, three of their albums were certified gold and five platinum. Standout Tracks: One Night Affair, Looky Looky (Look At Me Girl), Deeper (In Love With You) and I’ve Got The Groove.
THE O’JAYS IN PHILADELPHIA.
THE ISLEY BROTHERS-WINNER TAKES ALL.
THE ISLEY BROTHERS-WINNER TAKES ALL.
That The Isley Brothers called their 1979 album Winner Takes All, seems almost fitting. After all, The Isley Brothers were on what was the hottest streak of their long career. Since 1973, when The Isley Brothers released 3 + 3, commercial success and critical acclaim had been ever-present. They’d released six albums, with one being certified gold, three platinum and two double-platinum. Indeed, their success was almost unrivalled. That’s no surprise. The Isley Brothers were innovators, who’d kept ahead of musical fashions. They’d been trendsetters, who’d influenced other groups. So, it was no surprise The Isley Brothers were celebrating twenty-five years in music. While The Isley Brothers were undoubtably innovators, they didn’t put all their eggs in one musical basket. Proof of this is Winner Takes All, which was recently rereleased by BBR Records.
Winner Takes All was a suitably eclectic album to celebrate The Isley Brothers twenty-five years in music. Disco, funk, soul and quiet storm featured on Winner Takes All. While The Isley Brothers ensured their music remained relevant, they weren’t going to bet their musical futures on the latest musical trend. That’s why The Isley Brothers enjoyed such a long and successful career. Better to stay ahead of trends and innovate than jumping onboard a bandwagon, especially one that didn’t look roadworthy. That just happened to be disco.
While other artists and groups were desperately jumping onboard the disco bandwagon, including many who were trying to rescue their flagging careers, the end looked neigh for disco. It wasn’t quite being read the last rites, but the patient was looking decidedly peaky. The Disco Sucks bandwagon was rolling, ready to crush anyone in its path. Times had changed. For the past few years, disco had previously been the most popular musical genre. Not any more. The Disco Sucks backlash was building and building. This would cumulate on 12th July 1979, at Comiskey Park, Chicago. Luckily for The Isley Brothers, they’d released Winner Takes All two months before. Fortune it seemed favored the brave. The Isley Brothers run of commercially successful albums stayed in tact. They were seven for seven. To their run of gold, platinum and double-platinum albums, Winner Takes All gave The Isley Brothers the second gold album of their career. If Winner Takes All had been released a few months later, The Isley Brothers unrivaled run of success might have been broken. Before I tell you why, I’ll tell you about Winner Takes All.
For what was their seventeenth album, each of The Isley Brothers played their part in the album. They decided Winner Takes All would be a double-album. A double-album they reasoned, meant double the advance. Setting to work, the five Isley Brothers, Ernie, Marvin, Ronald, O’Kelly and Marvin joined Chris Japer in writing the fourteen songs on Winner Takes All with Chris Jasper. With enough material for a double-album, the democracy that started with songwriting, extended to arranging and producing Winner Takes All.
Recording of Winner Takes All took place at the famous Bearsville Studios in New York. Ernie played guitars, drums, timbales, percussion and congas, while Marvin played bass and percussion. Chris Jasper, the honorary Isley Brother, played keyboards, congas and percussion. Arranging and producing the fourteen track were the six members of The Isley Brothers. This couldn’t have been easy. Indeed, it easy. For some groups, having six producers, would’ve been akin to production by committee. Not The Isley Brothers. They made this work. Winner Takes On saw the commercial success and critical acclaim The Isley Brothers had come to enjoy and expect continue.
Before the release of Winner Takes All, I Wanna Be With You was released as the lead single in March 1979. It reached number one in the US R&B Charts. The commercial kept on coming. When Winner Takes All was released in May 1979, it reached number fourteen in the US Billboard 200 and number three in the US R&B Charts. While not matching the success of their previous albums, Winner Takes All was certified gold. Considering music was in the throes of what would be a cataclysmic and catastrophic upheaval, Winner Takes All had been a huge success. Then when Winner Takes All was released as a single in June 1979, it stalled at number thirty-eight in the US R&B Charts. Things were about to get a whole lot worse in the music industry. Luckily, The Isley Brothers, one of music’s great survivors, had timed the release of Winner Takes All exquisitely. A couple of months later, and Winner Takes All might not have been a commercial success. Before I tell you why, I’ll tell you about some of the highlights of Winner Takes All.
With any double-album, the problem facing any artist or group is quality. It’s difficult to keep up the quality for a single album, never mind a double album. Often, with a double-album, by the time side four came along, the quality that was on side one was lacking. Filler replaced killer. That’s one of the pitfalls attached to a double-album. Even given the commercial success and critical acclaim that had accompanied The Isley Brothers, a double-album like Winner Takes All, could adversely affect a group’s reputation. Among the accusations were that a double-album could be self-indulgent. This brings to mind singing drummers or bass players who’ve never previously written a song, being given the chance to showcase their hidden talents. So, it’s crucial that The Isley Brothers get Winner Takes All off to a strong start.
That they do. Winner Takes All opens with the lead single, I Wanna Be With You (Parts 1 & 2). It reached number one in the US R&B Charts. No wonder. Sultry and sensuous, it’s a funky, dance-floor friendly track. Trademark Isley Brothers’ handclaps punctuate the arrangement while a bubbling bass and breathy vocal from Ronald are crucial to the track’s success. The quality continues with Liquid Love (Parts 1 & 2). Opening with Ronald’s irresistible guitar solo it’s another dance track, where musical genres melt into one. The arrangement is funky, with rocky guitars, while Ronald’s heartfelt vocal is soulful and accompanied by tight, punchy harmonies. Drawing inspiration from disparate and eclectic sources, seamlessly, they merge into one. Winner Takes All is another irresistible dance-track. Funky and innovative, driven along by bubbling bass and chiming guitars, this is dance music, not disco. Add in congas, percussion and Ronald’s feisty, sassy, vocal and the result is a hook-laden, toe-tapping, timeless track.
Life In The City (Parts 1 & 2) has The Isley Brothers’ name written large all over it. That’s thanks to Ronald’s signature guitar and vocal. Propelled along relentlessly by rhythm section and percussion, Ronald’s vocal paints pictures of a time and place. That time was circa 1979, when The Isley Brothers provided the soundtrack to clubs worldwide. The same can be said of It’s A Disco Night (Rock Don’t Stop) (Parts 1 & 2). This is a delicious reminder of disco courtesy of The Isley Brothers. It literally explodes into life. Propelled along by thunderous handclaps, chiming guitar, keyboards and funky rhythm section, Rudolph takes charge of the vocal. His vocal is a fusion of energy, enthusiasm and joy. The result is a dramatic, soulful, funky and dance-track, that demonstrates just how versatile The Isley Brothers in their prime were.
(Can’t You See) What You Do To Me, with its stomping beat, is reminiscent of many a Motown track. That doesn’t spoil the track. No. It’s Motown with a much more fuller, richer arrangement. Even better, you’ve got Ronald Isley delivering the lead vocal. Soulful and emotive, accompanied by bursts of sweeping harmonies this might be a dance-track, albeit one that’s deeply soulful.
It’s not just uptempo tracks that feature on Winner Takes All. There’s several stunning ballads. Indeed Winner Takes All follows a pattern. After a suite of uptempo tracks, The Isley Brothers drop the tempo, allowing the soulful side of The Isley Brothers to shine through. The first ballad is Let’s Fall In Love (Parts 1 & 2), which benefits from an understated arrangement. Just a weeping guitar, keyboards and percussion accompany Ronald’s tender, needy, pleading vocal. It’s one of the best vocals on Winner Takes All and crucial to what’s a beautiful song. It gives way to another beautiful ballad, How Lucky I Am (Parts 1 & 2). It too, has an understated arrangement, one that’s not unlike the previous track. Again it allows the vocal to take centre-stage, as Ronald demonstrates he’s a master of balladry. Completing a suite of four consecutive ballads two more beautiful tracks, You’re The Key To My Heart and You’re Beside Me (Parts 1 & 2).
Let Me Into Your Life (Parts 1 & 2) sees the tempo start rise slightly. It’s nowhere near the earlier tracks and still falls into the category of ballad. The track also features a slightly busier arrangement. This is thanks to the rhythm section, complete with bubbling bass and chiming guitars. Deliberate stabs of keyboards accompany Ronald’s needy, wistful vocal. Soulful and funky, Ronald’s vocal breathes meaning and emotion into the lyrics as he pleads and begs desperately asking Let Me Into Your Life. Having increased the tempo, it drops again for Love Comes And Goes (Parts 1 & 2). Again, the arrangement is pared back, with just acoustic guitar, drum and percussion combining. That’s all that’s needed. Ronald surpassed himself. His vocal is wistful, melancholy and rueful, Ronald’s vocal is tinged with regret and reality.
Go For What You Know sees The Isley Brothers up the tempo as they return to the funky, dance-floor friendly side. Having said that, they don’t throw the soul out with the bathwater. Percussion, chiming guitars and edgy, funky rhythm section power the arrangement along, while whispery backing vocals provide a contrast to Ronald’s airy, soulful falsetto. Bringing Winner Takes All to a dramatic close is Mind Over Matter (Parts 1 & 2). Pounding drums, snakelike guitars and bass join handclaps and congas in setting the scene for Ronald’s dramatic, feisty vocal. There’s an urgency to his vocal, as he shrieks and scats, while keyboards add to the drama and darkness. Building and building towards a crescendo, The Isley Brothers eschew filler for killer. To do that takes much more than Mind Over Matter, but skill, talent and versatility.
Although other artists were jumping on the disco bandwagon, The Isley Brothers resisted that temptation on Winner Takes All. Realizing that a musical career was for life, while a musical genre lasted a matter of a few years at best, The Isley Brothers only paid a brief homage to disco on Winner Takes All. That was the hook-laden, joyous explosion of energy and electricity that is It’s A Disco Night (Rock Don’t Stop). Apart from that, the uptempo tracks were dance tracks. There was a difference by 1979. By then, many disco tracks had a synthetic, formulaic sound. The same would be the case with Acid House. These tracks have aged as well as an ageing film star after a cheap facelift. Maybe The Isley Brothers had been around too long, and realized hitching their career could have disaster. Instead, The Isley Brothers concentrated on creating timeless dance tracks. The result is, these tracks are timeless. Thirty-four years later, they’ve stood the test of time and would still fill a dance-floor. Compare then with a formulaic disco track and there’s no comparison. It ostensibly was a shameless, money grasping opportunity by artists whose careers were over bar the shouting. That was far from the case with The Isley Brothers.
Winner Takes All saw the hottest streak of The Isley Brothers’ career continue. They were seven from seven. Their double-album Winner Takes All, saw soul, funk and disco were combine seamlessly. Beautiful ballads and uptempo dance tracks sit comfortably side by side, as The Isley Brothers showcase their considerable talent, vast experience and sheer versatility. Following Winner Takes All The Isley Brothers’ winning streak continued. 1980s Go All The Way was certified platinum and 1981s Grand Slam gold. Sadly, ten in a row didn’t happen. The winning streak was broken by 1981s Inside You. That wasn’t the end of The Isley Brothers. Far from it. They enjoyed three further platinum and one more gold disc. That’s much better than those that hitched a ride on he disco bandwagon.
On 12th June 1979, at Comiskey Park, Chicago, the Disco Sucks movement almost killed disco. On what was named Disco Demolition Night, thousands of disco records were blown up at half-time in a double header between Chicago White Sox and the Detroit Tigers. What seemed like a publicity stunt, had a huge affect on disco. Its popularity plummeted. Suddenly, radio stations weren’t playing disco music and record companies weren’t releasing disco albums. Disco artists suffered. They became musical pariahs. Many were dropped by their labels. Some disco labels folded. Disco was Knocking At Heaven’s Door. Despite being given the last rites and being pronounced dead, disco didn’t die. Instead, it went underground and continues to survive, and some would say thrive. Disco it seems never quite died, nor did it enjoy the same success as The Isley Brothers enjoyed after Winner Takes All. Standout Tracks: It’s A Disco Night (Rock Don’t Stop), Let’s Fall In Love (Parts 1 & 2), How Lucky I Am (Parts 1 & 2 and Love Comes And Goes (Parts 1 & 2).
THE ISLEY BROTHERS-WINNER TAKES ALL.
PAUL EVANS-FOLK SONGS OF MANY LANDS & 21 YEARS IN A TENNESSEE JAIL.
PAUL EVANS-FOLK SONGS OF MANY LANDS & 21 YEARS IN A TENNESSEE JAIL.
Music it seems, has dominated Paul Evans life. Some of his earliest memories revolve around. As a child, he sat around the kitchen table with his family, listening to the popular music of that time. Doris Say, Eddie Fisher, Dinah Shore and Perry Como were popular stars. Than music change. Chuck Berry, Little Richard and Fats Domino. This was more like it. Soon, Paul’s taste grew eclectic. Country, folk, pop and rock provided the soundtrack to Paul Evans life. Not everyone shared his taste in music. His father, disapproving of his new found love of rock ‘n’ roll. When Paul played his radio in the basement, his father didn’t share his son’s enthusiasm. That’s no surprise. Rock ‘n’ roll was the music for Paul’s generation, not his. What Paul’s father didn’t realize, was the basement was where Paul Evans career was born.
Adding a tape recorder and record player to his basement set up, Paul was able to make basic recordings. Soon, the basement studio was home to Paul’s friends. Paul began writing and recording songs. As he sang and played guitar, his friends would often accompany Paul. By now, Paul Evans was immersed in music. Helping fuel his interest in music was his elder sister Estelle.
His elder sister Estelle, told Paul about folk music, introducing him to the music of Pete Seeger, Woody Guthrie, Joan Baez, Judy Collins, The Kingston Trio and Peter, Paul and Mary. Later in his life, Paul Evans would be acknowledge how important Estelle’s influence had been. After all, what had started as a interest, became Paul Evan’s career, and has been for over fifty years. His career started in the fifties, which along with the sixties, was the most successful period of his career. During that time, Paul wrote and recorded numerous hit singles. Among Paul’s hits are Seven Little Girls Sitting In The Back Seat, Midnight Special and Happy Go Lucky Me. Paul also released two of his best known albums during this period. These two albums, Folk Songs Of Many Lands and 21 Years In A Tennessee Jail, were recently rereleased by Ace Records. Before I tell you about Folk Songs Of Many Lands and 21 Years In A Tennessee Jail, I’ll tell you about Paul’s career.
For Paul Evans, life as a professional musician began when he enrolled as a student at Columbia University. Not only did Paul host a radio show on the campus radio station, but had a weekend gig at Basile’s, Far Rockaway, New York. Although this only involved singing what was populist, popular music, it meant Paul was a professional musician. Listening to the music he was singing, including Roy Orbison’s far from memorable Ooby Dooby, Paul realized he could write as good, if not better songs. He wasn’t wrong.
With the support of his family, Paul decided to take a year off from his course. Considering he’d been awarded a scholarship, this was a brave decision. Having made this decision to become a professional songwriter, Paul headed to the famous Brill Building. Having knocked on numerous doors, most were firmly closed. Then when he knocked on the door to Fred Fisher Music, Paul’s luck changed.
Behind the doors of Fred Fisher Music was Stan Cooper. Not only did he become Paul’s first manager, but hooked Paul up with his first songwriting partner Jack Reardon. They hit the jackpot straightaway. When was recorded by The Kallin Twins. It reached number five in the US and number one in the UK. With a hit under his belt, Paul had rewarded the faith his family had in him. Even better was to come.
Having written a hit single, Paul signed his first recording contract with RCA. None of his singles proved successful. So, to make ends meet, Paul sang on demos for songwriters who wanted to showcase their songs. After RCA, Paul signed to Decca and then Atco, where his luck changed.
When Paul was singed to Atco, they had a strong roster of artists, including Bobby Darrin and The Coasters. Given the competition, Paul felt his chances of having a hit were slight. Luckily, when Paul discovered a novelty song and recorded a demo of it, his luck changed.
Seven Little Girls Sitting In The Back Seat was the novelty song. The demo of the Lee Pockriss and Bob Hilliard song was released on Joe Carlton’s Guaranteed Records. It reached the top ten in 1959. Building on the success of Seven Little Girls Sitting In The Back Seat, Paul was sent out on tour. Apart from his hit single and Midnite Special, Paul mostly sang folk music. Despite this, his tour went ahead and was a success. Paul released four further singles on Guaranteed during 1960. The singles were Midnite Special, Happy-Go-Lucky-Me, The Brigade Of Broken Hearts and Hushabye Little Guitar. Only Happy-Go-Lucky-Me reached the top ten, while The Brigade Of Broken Hearts stalled at eighty-one. Paul also released his debut album Paul Evans Sings The Fabulous Teens in 1960. For his next albums, Hear Paul Evans In Your Home Tonight and Folk Songs Of Many Land, Paul was promoted to Guaranteed Records’ parent label Carlton Records.
FOLK SONGS OF MANY LANDS.
1961 was a busy year for Paul Evans. He released four singles and two albums during 1961. The first was Folk Songs Of Many Lands. In February 1961, Carlton Records’ marketing team started promoting Paul’s second album Folk Songs Of Many Lands. Hailing Paul as: “America’s favorite young minstrel,” “February is Paul Evans Month” announced Carlton’s marketing campaign. Folk Songs Of Many Lands featured seventeen folk songs that were reinterpreted by Paul Evans.
Recording of Folk Songs Of Many Lands took place at Associated Recording Studios, New York. During a four week period, seventeen songs were recorded with a band that included drummer Buddy Salzman, bassist Dick Romoff and guitarists Everett Barksdale, Charlie Macy and Al Gorgoni. They were joined by pianists Leroy Glover and Frank Owens. Hailed as The Mountain Ramblers, they provided the accompaniment for what could be described as Paul’s first album. Folk after all, was Paul’s first love. Of the seventeen songs, which included several folk classics, they were all rearranged. Paul also wrote new lyrics to several tracks. This included Wee Cooper O’Fife, Mister Hangman, Wayfarin’ Stranger and The Bomb. He also add extra lyrics Samuel Hall. The idea was to give the songs on Folk Songs Of Many Lands a more contemporary sound.
Released in February 1961, at the same time as Hear Paul Evans In Your Home Tonight, Folk Songs Of Many Lands saw old and familiar songs given a makeover. For some folk purists, this must have proved controversial. After all, these songs had passed from generation to generation. Then suddenly, they’re changed. Even the lyrics are rewritten. For some purists, this was a step too far. However, Paul you could argue, had a good reason for doing this. The songs had to remain relevant at what was a crucial period in history. 1961 was the height of the Cold War, racism was rife in America and throughout the world, war, poverty and economic problems were rife. So folk music had to reflect society’s problems.
Some songs were written in other languages or vernacular. This included Los Cuatros Generales, which was written during the Spanish Civil War and celebrated “those who defended Spain bravely.” It had to be translated from Spanish. Paul certainly didn’t shy away from controversy. Among them are Irish folk songs, The Bomb, which Paul considered leaving off the reissue of Folk Songs Of Many Lands. It’s song praising anarchists throwing bombs at Czarists in Russia. The same could be said of Wearing Of The Green, Kevin Barry and British Grenadiers. While that might have been a good idea, given the world is a very different place, that’s akin to censorship. It also means that Folk Songs Of Many Lands wouldn’t be the same album. It would a shadow of its former self.
Regardless of whether you agree of disagree with the sentiments of these songs, you can’t fault Paul Evans for his passion. It shines through on Folk Songs Of Many Lands. His vocal is heartfelt, as he brings to life the stories of rebels and martyrs alike. With emotion and passion, Paul’s vocal veers between heartfelt to angry, frustrated and joyous. Other times, Paul’s sincerity becomes earnest and judgmental. Along with his band, he brought each of these songs to life. His band were tight and talented. Their reworking of the seventeen songs, gave them a much more contemporary sound. This was Paul’s attempt to bring folk music to a wider audience. Folk music was popular, but sadly Folk Songs Of Many Lands wasn’t a commercial success. Nor was Hear Paul Evans In Your Home Tonight. Indeed, Folk Songs Of Many Lands marked the end of Paul’s time at Carlton Records. At least he had his other career as a songwriter to fall back on.
Since he first entered the music business, Paul had established a reputation as a talented songwriter. His songs were recorded by some of the biggest names in music. Jackie Wilson, Elvis Pressley, The Coasters, Pat Boone, Bobby Vinton, Cliff Richard, Count Basie and Skeeter Davis. Of the numerous songs Paul wrote, four were certified gold. This includes The Kallin Twin’s When, Bobby Vinton’s Roses Are Red and Elvis Presley’s I Gotta Know and Next Step Is Love. So while Paul’s recording career wasn’t as successful as his early days at Guaranteed Records, he was still making a living from music.
When Paul left Carlton Records, his recording career stalled. He found himself working with Dave Kapp, one of the most respected men in music. Dave told Paul that his problem was, that he was too versatile. What he needed to do, was record one style of music. The problem would be, which style of music?
Over the next two years, Paul Evans released six pop singles for Kapp Records. In 1962 he released Feelin’ No Pain. D-Darling and Gilding The Lily, while he released We’ve Got Something On You, Ten Thousand Years and I’m Gonna Build A Girl in 1963. These singles weren’t commercially successful, and in a way, were proof that was what was Paul’s greatest asset, his versatility, was his Achilles’ heel. So, Paul decided country folk was the direction his career should head.
21 YEARS IN A TENNESSEE JAIL.
Three years after the release of Folk Songs Of Many Lands, Paul released his fourth album 21 Years In A Tennessee Jail. Recorded in Nashville, with The Mountain Ramblers, who included many of the same musicians that featured on Folk Songs Of Many Lands, 21 Years In A Tennessee Jail saw Paul transformed. Sadly, 21 Years In A Tennessee Jail wasn’t a commercial success. Nor was it any more successful in 1964, when it was rereleased as Another Town, Another Jail. For Paul, this must have been a huge disappointment, given country folk seemed to suit his voice and delivery.
From the opening bars of Ninety-Nine Years, Paul seems comfortable with the change in style. His worldweary vocal, rueful and filled with regret, brings the lyrics to life. He becomes a storyteller, telling of how his life took the wrong turns it did. Now he finds himself on Alcatraz, where he’ll spend the next Ninety-Nine Years. By the end of the track, you realize that maybe, just maybe, Paul Evans has found his musical niche. This seems to be the case as Shackles And Chains unfolds. With weeping guitars and a vocal filled with misery and heartbreak, its one of the highlights of 21 Years In A Tennessee Jail. Paul, a sense of resignation filling his voice, waits the inevitable knock on the door. Realizing he’s about to he taken away in: “Shackles And Chains” he tells of how he’ll always love his wife and will: “gaze through the bars.”
Prisoner’s Song is the first of several songs with a much more traditional sound. Steel guitars and harmonies, accompany Paul as he looks lovingly at the prison walls and dreams of escape. This uptempo track where optimism and pathos meet head-on, is followed by Another Town, Another Jail. Paul who is persona non gratis in every town he visits, sounds not unlike Johnny Cash. Again, the arrangement has a much more traditional country sound. It doesn’t sound like a song recorded in 1964. It sounds as of it was recorded in late fifties, when Paul and Jack Reardon penned it. Despite that, it’s a compelling fusion of country and folk. So too is, the understated Allentown Jail. Here the folk influence outweighs the country.
I Got Stripes is an uptempo track, which has Nashville written all over it. It’s a delicious example of country music. Even though it was recorded in 1964, it’s reminiscent of the fifties. That’s thanks to the fiddles, guitars and harmonies accompany Paul’s vocal. Despite this, nearly sixty years later, this track has stood the test of time. The same could be said about In The Jailhouse Now, which is catchy and uptempo. Paul sounds as if he was born to sing country music.
Two of the slower songs demonstrate how Paul can bring lyrics to life. Twenty-One Years has an understated arrangement. Just a guitar and tender, sweeping harmonies accompany his impassioned vocal. Even better is Marie Marie. Heartfelt, needy and pleading describes Paul’s vocal. It’s a soul-baring track, written from the point of view of a man in prison, with just a year until his release. Paul delivers a heartfelt vocal. He breathes life and meaning into the lyrics, as the song reveals its subtleties, nuances and beauty.
Betty And Dupree’s Blues has a real bluesy sound from the get-go. It also has what was much more contemporary sound for 1964. What follows, is a fusion of blues and country. Key to the song’s success are The Mighty Ramblers and the backing vocalists. As the song ends, I’m left wondering whether, 21 Years In A Tennessee Jail should’ve featured more songs like this?
As Columbus Stockade Blues opens you think Paul’s about to combine folk and country. That is the case for much of the song. The familiar combination of rhythm section, piano and harmonies accompany Paul’s weary vocal. Then briefly, a searing guitar duck walks across the arrangement. Too soon, this tantalizing taste of what might have been is gone.
Closing 21 Years In A Tennessee Jail is John Hardy, a traditional, oft-coved song. Choosing such a familiar track to close the album is risky. However, Paul makes the song work. With what’s a mixture of distaste and disgust. Paul almost spits out the lyrics about John Hardy. Considering 21 Years In A Tennessee Jail was Paul’s first country album, it’s fitting he closes it with a country classic.
It’s somewhat ironic that 21 Years In A Tennessee Jail, Paul Evans’ fourth album, saw him find a style of music that suited him, just as music changed beyond recognition. 21 Years In A Tennessee Jail saw Paul Evans transformed into a country singer. He didn’t forsake his beloved folk music. Indeed, the best way to describe 21 Years In A Tennessee Jail is a fusion of country and folk music. Sadly, neither country nor folk were as popular in 1964. Five or six years earlier, 21 Years In A Tennessee Jail would’ve been a much bigger success. Indeed, back then, 21 Years In A Tennessee Jail would’ve sounded contemporary. Much of the music on 21 Years In A Tennessee Jail didn’t sound as if it was recorded in 1964. It was a welcome reminder of another musical era. It’s not a case that 21 Years In A Tennessee Jail sounded outdated, it’s just music had changed so much in the past few years. That’s almost an understatement. SInce the late fifties, music had been transformed beyond recognition.
Since The Beatles released Love Me Do, music had never been the same. By 1964, two years later, finally, America “got” The Beatles. They were joined by rest of Britain’s musical invaders. Suddenly, nothing else mattered musically. Pop and one particular brand of music was King. Given how vibrant and eclectic a country America was musically, it’s ironic that this was the case. Perfectly good jazz, country, soul and folk albums were overlooked. Among them were 21 Years In A Tennessee Jail, which saw the reinvention of Paul Evans musically. Paul Evans, one of the most versatile singers of the early sixties, had at last, found his niche musically. Country music, albeit fused with folk, was where Paul Evans belonged musically. Sadly, Paul Evans’ 21 Years In A Tennessee Jail was released at the wrong time. On its release in both 1964 and three years later in 1967, as Another Town, Another Jail, music had just changed beyond recognition. 21 Years In A Tennessee Jail, one of the best albums of Paul Evans’ career, was lost amidst the music of the British invasion and psychedelia. Standout Tracks: Ninety-Nine Years, Shackles and Chains, Marie Marie and Betty And Dupree’s Blues.
PAUL EVANS-FOLK SONGS OF MANY LANDS & 21 YEARS IN A TENNESSEE JAIL.
ENCHANTMENT-UTOPIA.
ENCHANTMENT-UTOPIA.
Enchantment’s sixth album Utopia, may not have resulted in Enchantment heading off in pursuit of Sir Thomas More’s mythical and idealized island, but it did mark a change in the lives and music of the veteran band. They maybe never knew it when they began recording Utopia, but seventeen years after they were formed in Detroit, Michigan: “the end was near” for Enchantment. To quote the Chairman Of The Board, Enchantment were about to: “face the final curtain.” Considering all they’d been through, they’d lasted well. Any groups that survives seventeen years together, releases five albums, and in the process, only loses one member and one manager have been doing something right. They had been early on in their career.
Their first two albums, 1976s Enchantment and 1977s Once Upon A Dream were certified gold. Commercial success and critical acclaim came the way of Enchantment. As the song says: “nothing last forever,” Enchantment released three further albums, but never enjoyed the same commercial success. Even when Bobby Green replaced Carl Cotton in 1980, the commercial success and critical acclaim Enchantment had enjoyed never returned. Maybe the problem was Enchantment hadn’t kept up with musical fashions?
Realizing that they were behind the musical curve, Enchantment decided to change tact musically. So, in 1983, when Enchantment headed into the recording studio to record Utopia, which was recently released by BBR Records, they decided to innovate. The idea was, that through innovation, Enchantment would become relevant musically, and a commercially success. This was the last throw of the dice for Enchantment. Utopia was aptly titled. What Enchantment were searching for was just as elusive as Utopia…commercial success. Did Enchantment find Utopia?
Utopia consisted of nine tracks, six of which Michael Stokes cowrote. The most prolific songwriting partnership was the Stones and Stones, who cowrote Get It While It’s Hot. They cowrote three other tracks with various songwriting partners. This included Could Be My Lover, Somebody’s Loving You and Here’s Your Chance with lead vocalist Emanuel Johnson, who penned I’m Dreaming and Gotta Find A Love. Having more that one talented songwriter in Enchantment set them apart from their rivals. Emanuel Johnson and Michael Stokes, who it had numerous songwriting partners, had been responsible for so many of Enchantment’s best songs. That’s why Enchantment had two gold discs. That seemed a long time ago. WIth Utopia written, Enchantment headed into the studio.
Accompanied by a rhythm section of James Gadson and Mike Baird, bassist Eddie Watkins and Freddie Washington plus guitarist Charles J. Fearing. Michael Stokes, Clarence McDonald and Wayne Lindsay played piano, Gary Coleman and Carl Small percussion while John Barnes, Michael Stokes and Dave Erwing played synths. Producing the “new” Enchantment which featured on Utopia was Michael Stoker.
Before the release of Utopia, Here’s Your Chance was released as a single in November 1982. It failed to chart. This wasn’t a good start. When Utopia was released in December 1982, it stalled at number sixty-three in the US R&B Charts. The second single, Don’t Fight The Feeling was released in January 1984 at number sixty-four in the US R&B Charts.
From the opening bars of Give It Up, which opens Utopia, you realize this is a very different side of Enchantment you’re hearing. The music is tougher, funkier and reliant on synths. Emanuel and David take charge of the vocal on this boogie track. As the vocal changes hands, urgent harmonies sweep in. Ever-present are eighties synths and an uber funky rhythm section. Mixing funk, eighties electronica, soul and synth pop, Enchantment show another side to their music. While not quite revolution, it’s certainly evolution.
Come Be My Lover has dramatic, near space-age synth sound. Primarily, that’s the result of the banks of synths that dominate the arrangement. This is an unlikely homage to the pursuit of love. Maybe a homage to 22nd Century romance, but not like romance as we know it. Bristling with energy, Emanuel delivers a sassy vocal, while drums pound and dramatically, harmonies respond to his call. Compelling and enthralling, it’s hard to believe this track is thirty years old.
Love Struck sees a change of style. This Sam Dees and Ron “Have Mercy” Kersey is Utopia’s highlight. It’s like Philly Soul with an eighties makeover. A drum machine provides the heartbeat, synthetic strings and keyboards accompany Emanuel’s heartfelt, impassioned and lovestruck vocal. Tight, soulful harmonies drift in and out, while a deliberate keyboard helps anchor this beautiful ballad. Add to that the bells that ring joyously, and this is what Enchantment do so well.
Here’s Your Chance sees Enchantment find inspiration from a fusion of eighties electronica, P-funk and synth pop. They don’t throw out their trademark soulfulness, thankfully. While synths beep and buzz, percussion is ever-present. Enchantment’s harmonies are equally potent and soulful. Urgent and tight, they have a similar energy as the rest of arrangement. Dance-floor friendly and dramatic this track was far too innovative. It was way ahead of its time musically. This was Daft Punk way before they discovered a vocoder and dawned a ridiculous helmet. Maybe, the problem was, people neither understood nor appreciated this track.
Don’t Fight The Feeling sees Enchantment return to their trademark balladry. While synths sweep, drums crack and percussion punctuates the arrangement. As harmonies sweep in, tight, soulful and heartfelt, Enchantment are on familiar territory. Jobie’s vocal is tender, soothing and sympathetic. Urging, pleading and promising, he asks his girlfriend: “to give love one more try.”Harmonies sweep in, trying to help mend her broken heart. Strings sweep, their lush sound at one with the harmonies that drift in. Jobie pleads and begs, desperation filling his vocal as he asks: “Don’t Fight The Feeling,“ resulting in a bedroom ballad par excellence.
Following such a beautiful track isn’t easy. So Enchantment change tact with Somebody’s Loving You. Still it’s a romantic track, filled with emotion and sensuality, but with a faster, electronic arrangement. Pounding electronic drums, synths and chiming guitars combine as Emanuel delivers a vocal that’s a mixture of power, passion and emotion. Heavy in poppy hooks, with their Enchantment’s trademark harmonies, it’s a sweet and soulful.
I’m Dreaming written by Emanuel Johnson, is another ballad. Again, this is another example of what Enchantment do so well. With percussion, synths and drums combining with tight, sweeping harmonies, the stage is set for Emanuel. He doesn’t disappoint. Knowing love is out of reach,his vocal is wistful, tinged with regret, but grateful that friendship for the friendship he’ll always have. Laying bare his soul, Emanuel, breathes emotion, meaning into some articulate and intelligent lyrics, that many people will be able to relate to.
Get It While It’s Hot has busy, dramatic introduction. It’s as if something special is about to unfold. You feel a musical epic is about to reveal its secrets. Just then, the song bursts into life. Synths, swirling strings, thunderous drums and funky bass combine with a sassy vocal. The vocal veers between a sassy snarl, playful and tender. Harmonies accompany him, drifting in and out, while strings dance and provide a contrast to the electronic arrangement. The result is a track that’s slick, catchy and poppy.
Closing Utopia is Gotta Find Love. Given Utopia proved to be Enchantment’s farewell album, it’s fitting this is a ballad. Slow, understated and beautiful, the arrangement doesn’t rely as heavily on synths and drum machines. That’s no bad thing, given the song. This much more subtle arrangement allows impassioned Emanuel’s vocal to take centre-stage. Cooing harmonies provide the perfect foil for his tender, heartfelt vocal, which plays its part in a fitting, poignant finale to Enchantment’s career.
Utopia is a compelling album where two sides of Enchantment fight for your attention. The first side is “new” Enchantment, where synths and drum machines play their part in songs that are an amalgamation of P-funk, eighties electronic, synth pop and boogie. The songs have a harder, funkier edge. They’re edgier and quite unlike what you’d expect of Enchantment. This was their attempt to stay relevant musically. They were into their third decade together and had seen musical genres come and go. While the style of music that made them famous wasn’t as fashionable, such a radical change could’ve, and maybe did, alienate fans.
Possibly, many of Enchantment’s loyal fans weren’t prepared for the new direction Utopia saw Enchantment heading. To many of their fans won over by their soulfulness, was akin to revolution. Of these tracks, Here’s Your Chance was the most innovative. Thirty years later, music like this timeless track sees an artist hailed as a genius. Enchantment were doing this thirty years ago. While Utopia was meant to win over a new generation of fans, it maybe alienated older, loyal fans. At least older fans could revel in Enchantment’s balladry.
Ballads were what Enchantment did so well. On Utopia, the ballads are the best tracks. Love Struck, Don’t Fight This Feeling, I’m Dreaming and Gotta Find Love are vintage Enchantment. That sees the members of Enchantment utilize their combined talents. The lead vocal and harmonies are the equivalent of musical ying and yang. If you listen to the vocal on Somebody’s Loving You, which combines the two sides of Enchantment, it’s the vocal and harmonies that shine through. Ballads are what made Enchantment commercially successful and critically acclaimed. So it’s no surprise that the ballads are the highlights of Utopia.
Listening to Utopia with the benefit of hindsight, I wonder whether Utopia should’ve been an album celebrating the old and new? For the ballads, record them in the old school way. No synths or drum machines. Instead, real instruments. A proper string section and drums and bass that graced seventies soul albums. That would be side one, so it would attract the attention of old fans. Side two would see “new” Enchantment, with their synths and drum machines. Marketed as The Two Sides Of Enchantment, rather than Utopia, this may have attracted a wider audience?
Having said that, Utopia, which was recently rereleased by BBR Records, is a compelling and eclectic album. Bravely, Enchantment decided to be bold and innovate. To some extent, this paid off. Reaching number sixty-three in the US R&B Charts, what proved to be Enchantment’s musical finale, Utopia, was a commercial success. While Utopia didn’t replicate the success of Enchantment or Once Upon A Dream, it proved that after seventeen years together, Enchantment, unlike other bands, were still musically relevant. Standout Tracks: Love Struck, Don’t Fight This Feeling, I’m Dreaming and Gotta Find Love.
ENCHANTMENT-UTOPIA.
GWEN MCCRAE-MELODY OF LIFE.
GWEN MCCRAE-MELODY OF LIFE.
By 1979, Gwen McCrae’s career and private life were going through tough times. Her marriage to George McCrae was over. As for her music career, well, it seemed a long time since her number one US R&B single Rockin’ Chair. It was only four years. A lot had happened since then. Gwen had recorded Together with George, which was released in 1975. She also released two solo albums. 1976 saw the release of her sophomore album Something So Right. Released two years after her debut album Gwen McCrae, which had reached number 121 in the US Billboard 200 and number eighteen in the US R&B Charts, Something So Right failed to chart. Neither did 1978s aptly-titled Let’s Straighten It Out. To say things weren’t going well for Gwen is almost an understatement. Her career desperately needed rejuvenated.
Clarence Reid had been Gwen’s producer. However, after Let’s Straighten It Out, Gwen realized she needed a change of producer. She was even considering abandoning secular music, due to her Christian faith. Then Betty Wright, singer, songwriter and producer entered the equation. Not only would Betty produce Gwen’s fourth album Melody Of Life, which was recently released by BBR Records, but cowrote six of the seven tracks. Would Betty Wright rejuvenate Gwen McCrae’s career with Melody Of Life? That’s what I’ll tell you.
Betty Wright would play a major role in Melody Of Life. She cowrote six of the seven tracks on Melody Of Life. Her co-writers for four of the tracks were members of the band that played on Melody Of Life. Jeremiah Burden, Lynn Williams and Betty cowrote All This Love I’m Givin’ and I Found A Love, while Burden and Betty cowrote Maybe I’ll Find Someone New with Garry Greene and Eternity. Betty also cowrote Ease The Pain with Kevin Kendrick. Along with three other tracks, I Can Only Think Of You, The Joy and The Melody Of Life, Gwen was ready to enter the studio for her fourth album. This was make or break. That proved to be the case for T.K. Records.
Joining Gwen in the studio for recording of Melody Of Life at Quadradial Studios, North Miami was a rhythm section of drummer George Wilkerson, bassist Michael Wilkerson and lead and rhythm guitarist William E. Bridgeforth. They were joined by percussionist Robert Webb, Garry Greene on clavinet and Minimoog while Kevin Kendrick played acoustic and electric Fender Rhodes, ARP polyphonic and Crummar synths. Betty brought along the Betty Wright Showband, Eternity, and her backing vocalists, while a horn and string section were used. Melody Of Life was no budget production. Would Melody Of Life revitalize Gwen’s career?
On the release of Melody Of Life in 1979, it followed a familiar patter and failed to chart. This was Gwen’s consecutive album that failed to chart. Making matters worse, neither of the singles, The Melody Of Life, nor All This Love I’m Giving Charted. Worse was still to come though. Before I tell you about that, I’ll tell you about Melody Of Life.
Opening Melody Of Life Is This Love That I’m Givin, which almost explodes into life. Gwen it seems, has been rejuvenated by Betty. A new Gwen McCrae struts centrep-stage. As she does, the rhythm section, squelchy synths and stabs of horns accompany Gwen’s sassy, feisty vocal. Harmonies sweep in urgently, horns rasp and guitars chime. Meanwhile the bass synth is almost ever-present. What is ever-present, is the sass, soulfulness and confidence in Gwen’s vocal.
I Can Only Think Of You sees the tempo drop. Swathes of the lushest strings, piano and flute combine while the rhythm section anchor the arrangement. Gwen’s vocal is slow, heartfelt and veers between needy, sultry and sad. Flourishes of woodwind, stabs of keyboard and a meandering rhythm section allow Gwen to take centre-stage. Harmonies prove the perfect foil to Gwen, almost stealing the show. Adding the finishing touches to a truly beautiful song are the strings and understated piano.
Blazing, growling horns, jazz guitar and flourishes of piano open Maybe I’ll Find Somebody New. By the time Gwen’s vocal enters, the band have set the scene. Soon, the track starts to swing, revealing its sensuous secrets. Mixing passion, power and drama, Gwen unleashes her full vocal range. As her band combine jazz, soul and funk, Gwen unleashes a powerhouse of a vocal. Sassy, sensual, sultry and with a hint of humor, flourishes of strings flit above Gwen’s vocal as she teases, mischievously: “Maybe I’ll Find Somebody New.”
Rolls of drums and bursts of horns open I Found A Love, which is a very different track. It sees Melody Of Life head in the direction of gospel, albeit with a healthy does of soul and funk. Gwen is rejuvenated, testifying and strutting her way through the track. Betty Wright’s arrangement is one of the best. Growling horns, swathes of strings, pounding rhythm section and cooing, sweeping harmonies. Gwen. She lives and believes the lyrics. Her vocal is powerful and impassioned, becoming confident as she struts her way through the lyrics fusing elements of soul, blues and gospel.
The introduction to The Joy is similar to the two previous tracks. Braying horns and rhythm section give the track a bluesy, soulful sound. Guitars chime, hi-hats hiss and Gwen scats, before her vocal becomes sassy and sultry. Enveloped by blazing horns and a funky rhythm section, tender, cooing harmonies sweep in, providing the perfect accompaniment and contrast to the power and confidence in Gwen’s vocal. Later, she unleashes what’s best described as a vocal Magnus Opus. Scatting and ab-libbing, Gwen and her backing vocalists feed off each other. Feverishly, they drive each other to previously unattained heights of soulfulness.
Ease The Pain sees the tempo drop. The arrangement is deliberate and dramatic. This suits Gwen’s vocal. Just drums, keyboards and cooing harmonies accompany her hurt-filled vocal. Indeed, the cooing harmonies seem to be soothing her heartbreak. Pleading and needy, Gwen missing the man she loves, wants him to “hurry home…ease the pain..like you promised me.” Soulful, emotive and heartfelt, Gwen demonstrates her versatility, and ability to breath life and meaning into lyrics.
Closing The Melody Of Life is The Melody Of Life. Flourishes of floaty strings and a jaunty and funky rhythm section, powered along by the bass accompany Gwen. Keyboards, braying horns and bursts of urgent harmonies accompany Gwen, who tries to dawn the guise of dance-floor diva. Helped along by hook-laden and funky track, that’s dance-floor friendly, she manages to do so.
That Melody Of Life wasn’t a commercial success seems almost unjust. After all, Melody Of Life was the best album Gwen McCrae had recorded since her debut. That was five years ago. Her musical partnership with Clarence Reid was over. If truth be told, it had run out steam a while ago. So, it’s no wonder Gwen was considering her future. She badly needed a new start. After all, not only was her career on the rocks, but very publicly, her marriage to George McCrae had broken up. To give Gwen a new start, she needed someone who was multi-talented, enthusiastic and energetic. That’s where Betty Wright came in.
Betty Wright, singer, songwriter and producer was just the woman to do this. Not only did she cowrite six of Melody Of Life’s tracks, but produced the album. The result was an album, Melody Of Life, that was variously soulful, funky, gospel-tinged and dance-floor friendly. It almost defied categorization. Probably soulful was the best way to describe Melody Of Life. Sadly, soul albums weren’t popular. Disco albums were even less popular. They were akin to finding a rattlesnake in a lucky dip. In 1979, when Melody Of Life was released, music was changing. These changes were huge and wide ranging.
Soul hadn’t been popular for several years. The Disco Sucks movement almost killed disco. It was on a ventilator, and lurking nearby, were the zealots who despised disco. They longed to unplug disco’s ventilator. Even funk was changing. Music it seemed would never be the same again. Synths and drum machines were taking over. They were stealing music’s soul. The eighties would be a soulless decade the decade that taste forgot. 1979 wasn’t much better. Unfortunately, for Gwen McCrae, she was just about to release Melody Of Life.
After two albums which failed to chart, Melody Of Life repeated that feat. With three consecutive albums failing to chart, you’d think things couldn’t get worse for Gwen McCrae. They did. Later that year. T.K. Records became insolvent and Gwen found herself without a record company. A small crumb of comfort for Gwen McCrae was that, at least her final album for T.K. Records, Melody Of Life, was one of the best albums of her career. One listen to Melody Of Life which was recently rereleased by BBR Records, and you’ll realize that it’s a hidden, soulful gem. Eclectic, soulful and sensual, Gwen McCrae’s Melody Of Life should be part of the soundtrack to your life. Standout Tracks: I Can Only Think Of You. I Found Love, The Joy and Ease The Pain.
GWEN MCCRAE-MELODY OF LIFE.
THE SEEDS-FUTURE.
THE SEEDS-FUTURE.
For any band with what might be described as a “generous” recording budget, the temptation to experiment and push musical boundaries must be tantalizing. Especially back in 1967, at the dawn of the psychedelic era. For The Seeds, resisting this temptation was impossible. The Seeds can’t be criticized for this. After all, during the last two years, The Seeds had worked tirelessly to build a reputation as of the most innovative and eclectic bands of the era. They’d released two albums, A Web Of Sound and The Seeds, which featured Pushin’ Too Hard, the biggest single of their career. After this success, The Seeds decided to push musical boundaries to their limits for their third album Future.
Future didn’t see The Seeds push musical boundaries to their limits. Instead they blew these limits away. The result was a mind-blowing fusion of psychedelia, garage, rock and pop. Veering towards jazz and soul, eclectic doesn’t even come close to describing Future. This was a long way from The Seeds roots as a garage band. This was very different. Maybe too different. Since 1967, when Future was released, it’s perceived as a minor classic. Despite that, it wasn’t a huge commercial success. Now nearly four decades later, Future has been rereleased by Ace Records’ Big Beat Records’ imprint. This is no ordinary reissue.
Big Beat Records’ rerelease of Future is best described as a luxurious double album. Disc One features the original stereo version of Future, plus twelve bonus tracks, entitled the: “mono mixes.” Then on Disc Two, we find the Contact High: The “Future” Sessions. This includes fifteen tracks, which include alternate mixes and takes. It’s a fascinating insight into the direction The Seeds’ music was heading. It’s an eye-opening, insightful document into the experimental nature of the music. Then there’s the sleeve-notes. As someone whose been lucky enough to write sleeve-notes, Alec Palao’s sleeve-notes are a labor of love. In-depth, articulate and insightful, there’s everything you want to know about The Seeds, but were afraid to ask. Quite simply, if you’re a fan of The Seeds, sixties psychedelia or even are just curious about this minor classic, then Future, which I’ll tell you about, is well worth investigating.
By 1967, the four members of The Seeds, Sly Saxon, Daryl Hooper, Jon Savage and Rick Andridge were enjoying the fruits of their musical labors. They’d enjoyed two hit singles, Pushin’ Too Hard and Can’t Seem To Make You Mine. This brought commercial, critical acclaim and a much higher profile. It also afforded The Seeds the opportunity to push musical boundaries further.
No longer were The Seeds a garage band. That was in the past. Music was changing and so were The Seeds. The Beatles’ psychedelic masterpiece Sgt. Pepper’s Lonely Heart’s Club Band was the way music was heading. It was unique, a musical one-off. No other band could replicate Sgt. Pepper’s Lonely Heart’s Club Band. They could be inspired directly or indirectly. After all, it had worked its way into music fan’s subconscious. That would be the case with Future.
Just like the two previous Seeds albums, the eleven tracks were written by the band. The Seeds leader, Sly Saxon, was at the heart of Future, playing his part in each track. He wrote four tracks, Painted Doll, Flower Lady and Her Assistant, Two Fingers Pointing At You and Six Dreams and penned Out Of The Question with Russ Serpent collaborating. Sly and Daryl Hooper proved a potent songwriting partnership. They penned Intro/March Of The Flower Children and Fallin,’ They pair also cowrote Travel With Your Mind, Now A Man and A Thousand Shadows with Jon Savage. With more than enough material, and a more generous budget than previous albums, The Seeds headed into the Future.
Work on what became Future first started on 3rd November 1966. The first track recorded was Travel With Your Mind. Guitarist Sky Saxon was absent for laying down the rhythm tracks. Only three Seeds were present. They were drummer Rick Andridge, guitarist Jon Savage and keyboardist Daryl Hooper. Playing bass Harvey Sharpe. Later, Hammond organ, tremolo guitar and cymbals were overdubbed. Then a reverberating bass, Sky’s vocal and tambourine were overdubbed. At last Travel With Your Mind was recorded. Now The Seeds headed out on tour.
16th January 1967. The first track they recorded was March Of The Flower Children. On what was day one of recording, The Seeds were experimenting. They were joined by trumpeters Ray Caton and Oliver Mitchell. Thinking on their feet, The Seeds experimented. Sixteen takes later, and having incorporated a myriad of studio trickery, on what was essentially basic studio equipment, The Seeds had a take. Now they went on tour.
After nearly two weeks on tour around Northern California, The Seeds returned to Gold Star Studios. Again, recording was an involved process. Numerous takes and an eclectic selection of instruments were used to record what became The Flower Lady and Her Assistant and Rides Too Long. Two more songs in the bag, that was the only recording session until 3rd February. Slow progress describes the recording of Future.
That proved to be the case. The recording sessions on 3rd February proved to be fruitful. They worked on Rides Too Long, Sad and Alone and Flower Lady. Even better, a new song, Two Fingers Pointing At You was recorded. Demonstrating the experimental and eclectic nature of what became Future, a harpsichord and maracas were brought in. This was the start of a pattern that would emerge.
Recording stretched into March, April and May. Numerous session musicians were brought in to play on Future. This included Beach Boys’ drummer Hal Blaine, a string section, tuba player George Callendar, harpist Gayle Levant and multi-instrumentalist Tjay Cantrelli, who played flute, vibes, clarinet, woodwind and harmonica. Even an unknown tabla player came and went like a ghost. For anyone who happened to be around the studio, watching Future unfold must have been tantalizing. Eventually, recording was over. The Seeds had more music than enough music for Future. Having whittled Future down to eleven tracks, Future was released during the second half of 1967.
Before the release of Future, A Thousand Shadows was released as a single. It stalled at just number seventy-two in the US Billboard 100. Future didn’t do any better. It stalled at just eighty-seven in the US Billboard 200. While Future hadn’t been a huge commercial success, it proved to be a minor classic. It’s best described as a mind-blowing, genre-sprawling, slice of sunshine-psychedelia. Quite simply, what I’m about to tell you about is a musical tour de force of trippiness.
Opening The Seeds third album Future is Intro / March Of The Flower Children. Flourishes of harp accompany drawling half-spoken vocal. This understated backdrop gradually fills out. Organ, guitar and a tuba panned hard left are joined by growling horns and piano panned hard right. Whips crack, while the almost surreal, whimsical lyrics aren’t so much sung, but half-spoken. Psychedelia, folk, jazz and pop are rolled into one. Think of excerpts of J.R.R. Tolkien’s Hobbit put to song, and you’re getting close.
Searing guitars open Travel With Your Mind which The Seeds dedicated to everyone who was incarcerated in institutions. Quickly, the track combines rock and Eastern music. As two continents music meet head on, Sly’s earnest vocal is enveloped by layers of eclectic, enthralling sounds. Giving the track a particularly trippy sound is the way very different instruments are panned left and right. Mind you, that’s no bad thing. The guitars which are panned right dominate the right half of the mix while tablas, percussion and bongos adds an exotic Eastern influence. Along with what are easily the best lyrics on Future, this is an early contender for the highlight of Future.
Out Of The Question sees is very different from previous track. Here, The Seeds become a hard rocking garage band, while Sly’s vocal is best described as proto-punk. The Seeds haven’t forgotten the psychedelia. There’s still a lysergic influence as towards the end of the track, The Seeds remind me of The Doors. I keep expecting them to launch into: ”break on through to the other side” from L.A. Woman. Chameleon-like, The Seeds veer almost seamlessly between garage, proto-punk, and rock.
Straight away, you realize Painted Doll is played at the tempo of a waltz. Adding to what’s a compelling nature of the track are sweeping doo-wop harmonies. Meanwhile Sly becomes a fifties crooner. With weeping strings, harpsichord and piano for company, it’s a heartbreaking, melancholy combination. Especially, when Sly delivers a soul-baring vocal. By the end of the track you’re confused and excited at the sheer eclectic nature of the track. I’d describe it as what you’d get if Bing Crosby jumped onboard the Magic Roundabout with Frankie Lymon’s Teenagers.
Sounding like the soundtrack for a sixties horror film, Flower Lady And Her Assistant unfolds. Soon, it’s all change. It’s psychedelia time. Keyboards, driving rhythm section and tambourine accompany Sly’s strutting, Jagger-esque vocal. As the tempo increases, harmonies sweep in, as the track fuses rock, psychedelia, garage rock and even a twist of folk. Again, there’s more than a hint of The Doors buried in the mix. Having said that, that’s just one of a myriad of influence you encounter. The lyrics? They’re surreal and lysergic and have a trademark sixties sound. Best described as an eclectic fusion, its charms are hard to resist.
Dramatic. That describes the introduction to Now A Man. Sounding like The Who, a driving rhythm section power The Seeds along. Chiming guitars and chugging bass accompany a preening, boastful, strutting vocal. It comes across as ironic. Whether that was the idea, who knows? If it was, then the lyrics could be seen as a scathing comment on what it takes to become a man. Pop your cherry and suddenly, you become invincible. Even though many critics have criticized the lyrics on Future, this is proof that The Seeds could write a great three-minute pop song.
Haunting, moody and dramatic. That’s what A Thousand Shadows sounds like before it explodes into life. It’s another fusion of musical genres and influences. Everything from folk, psychedelia, rock and jazz are rolled into one. As the rhythm section drive the galloping arrangement along, a chiming guitar replies to Sly’s gnarled, dramatic vocal. Two minutes later, A Thozacateusand Shadow have set. One of Future’s most dramatic and evocative tracks is over all too quickly.
Searing Hendrix guitars, shakers and harpsichord join a broody bass as Two Fingers Pointing On You unfolds. Like so many tracks, it’s a melting pot of influences, instruments and surprises. By now, you’ve realized don’t second guess The Seeds. It’s like climbing onboard a psychedelic roundabout. Tubas, organ, thunderous drums and jangly pianos assault your senses. They’re all in the mix. Sly struts and snarls, while cascading harmonies add to this mind-altering, gene-sprawling opus.
It’s all change again on Where is the Entrance Way to Play. Sly scats as harmonies accompany him. Soon stabs of keyboards, harpsichord and woodwind join The Seeds rhythm section. Sly’s vocal is languid drawl, while the arrangement is bristling with energy and electricity. Proof of this is the piano, which is pounded. The keys are punished. It’s worth it though, as this fusion of folk, psychedelia and rock reaches a dramatic crescendo.
When rolls of thunder give way to floods and thunderstorms at the start of Six Dreams, I’m fully expecting the Four Horsemen of The Apocalypse to arrive at my door. Dramatic, broody and moody describes the arrangement, while Sly dawns a disguise. It fits the bleak backdrop. His vocal is reminiscent of Jethro Tull and a whole host of prog rock bands. Veering between broody, moody, haunting and disturbing, by the end of the track I’m hiding behind the sofa, fearing the arrival of either the Four Horsemen of The Apocalypse or the rapture. That’s how evocative a track this is. Indeed, it’s a demonstration of The Seeds versatility and creativity.
Closing Future, is Fallin,’ a near eight-minute epic. It picks up on the drama of Six Dreams. Flourishes of harpsichord, pizacato strings and the rhythm section join forces. Sly’s vocal is a dramatic, snarl as the frenzied track unfolds at breakneck speed. Again the piano is punished, before theatrical sound-effects sweep in. Later, fuzzy guitars, washes of Hammond organ, rolls and fills of drums join feedback. Briefly, Sly’s vocal is akin to primal scream therapy. Fast and furiously, the track unravels. Curveballs and surprises flit in and out. Brief bursts of harmonica, further flourishes of harpsichord and a cacophony of spirited harmonies and shrieks combine. By now, it’s like a freeform jam session. Everyone does their own thing. Remarkably, it all makes sense. As the track ends, The Seeds are nearly spent, exhausted at the effort expended in this grande finale.
As an added bonus, Disc One includes the mono mixes. These twelve tracks include most of the tracks on Future. For purists, the mono mixes are a welcome addition. Even better are the contents of Disc Two. Entitled Contact High: The”Future” Sessions, this includes fifteen bonus tracks. Among them, are alternate takes and alternate mixes. There’s even Take 7 of A Thousand Shadows. These tracks are an intriguing insight into The Seeds modus operandi. They were perfectionists it seems. That may not be obvious listening to Future, but they were. Future it seems, were a prolific band.
In total, there are ten tracks that were recorded for Future, but weren’t included on the album. That’s nearly enough for an album. Many a band would’ve sneaked these tracks out as an album. That they didn’t, again demonstrates the Seeds were perfectionists. Quality control was important to them. There are some hidden gems on Disc Two. This includes Rides Too Long, Chocolate River, Sad and Alone and Contact High. They’re the best of the tracks that didn’t make the cut on Future. These tracks are to go to lay unheard. Indeed, there’s merit in every track’s inclusion. Not only are they a snapshot of The Seeds as a band, and how they were evolving, but how music was in a transitional phase. That makes Disc Two an important and insightful musical document, that’s enlightening musically.
Describing The Seeds’ third album Future as eclectic is an understatement. It draws inspiration from disparate musical genres and influences. Everything from rock, garage rock, psychedelia, folk, jazz, doo-wop, free jazz, proto-punk and even prog rock, before the genre was invented. With every listen, further surprises and subtleties reveal their hidden secrets. Rather than seamlessly flowing from one genre-specific track to another, Future is like a musical chameleon. Every track is like a surprise, with hidden depths. Bravely, The Seeds even change tempo. 4/4 isn’t enough, a 3/4 waltz beat is introduced. Similarly, a diverse selection of instruments are deployed. Joining The Seeds rhythm section and keyboards, are a string section, woodwind, tuba, harp, harmonica, clarinet, percussion, piano and Hammond organ. Then there’s tablas. Indian instruments are used extensively on Future.
Indian music and instruments are used throughout Future. That’s not unusual. What The Beatles did, everyone copied. That’s including their psychedelic masterpiece Sgt. Pepper’s Lonely Heart’s Club Band. Future is no Sgt. Pepper’s Lonely Heart’s Club Band. Granted Future is a fusion of influences, including psychedelia, but it lacks the polish of Sgt. Pepper’s Lonely Heart’s Club Band. Considering The Seeds started life as a garage band, that’s no surprise. It would be easier to say that The Seeds were influenced by Frank Zappa, Thirteenth Floor Elevators, even the nascent Doors, The Who and the British invasion bands. After all, there’s more than a healthy twist of flower power combined with The Seeds psychedelia. Listen again, and other influences reveal themselves. There’s jazz and doo-wop which less than a decade earlier, was popular musical genre.
As I said earlier, Future which was recently rereleased by Ace Records’ Big Beat Records’ imprint, is a genre-sprawling album. It’s also a genre-defying album. Future which is a genre classic, defies definition. Magpie-like, The Seeds seem to collect musical genres and influences, put them into their lysergic melting pot and sprinkle some secret ingredients. What comes out of The Seeds melting pot was Future, the aural equivalent of lysergic acid. Under appreciated upon its release, that’s no longer the case. Now we realize that Future is a mind-blowing, boundary breaking and genre-defying album, which saw The Seeds tear up the rule book and rewrite it. Standout Tracks: Travel With Your Mind, Out Of The Question, Painted Doll and Six Dreams.
THE SEEDS-FUTURE.
THE DJOON EXPERIENCE.
THE DJOON EXPERIENCE.
Ideally situated in the vibrant Eastern quarter of Paris, the Djoon Club has gained a reputation as one of Paris’ leading clubs. DJ and dancers alike, make a pilgrimage to Djoon. Indeed, some of the biggest names in music have headed to Djoon. However, it’s not just a stopover for superstar DJs. Quite the opposite. Unknown artists and DJs have rocked Djoon’s dance-floor ,with their unique brand of music. They’ve provided a soundtrack that’s been truly eclectic. Everything from Chicago house, Afro-Beat, techno, deep tech and soulful house has kept Djoon’s dance-floor filled. Soulful, funky, eclectic, innovative and cutting-edge describes Djoon’s eclectic soundtrack. That’s why dancers flock to Djoon’s doors from around the world. For many, it’s not unlike a spiritual awakening.
For dancers, heading to Djoon is not unlike a pilgrimage. Their place of worship is Djoon’s wooden dance-floor. To globetrotting dancers in search of salvation, rather than visit cathedrals and temples, clubs like Djoon are where they gather to worship. Religion it seems, is so passe. It was for previous generations. Instead, dancers seek out the best clubs, which undoubtably, for anyone who heads to Paris, means Djoon.
It’s no wonder dancer, DJs and artists make regular pilgrimages to Djoon. Always ahead of musical trends, innovative and influential, describes Djoon, one of Europe’s top clubs. The reason for this, are Djoon’s DJs. They’re leaders rather than followers. So, it’s no surprise that Djoon is about to celebrate its tenth anniversary. To celebrate this landmark anniversary, Djoon decided to release a CD. The Djoon Experience was released by BBE Music on 27th May 2013 is the perfect way to celebrate Djoon’s tenth birthday.
The Djoon Experience is a double album, which was compiled and mixed by Black Coffee and Joe Clausell. Joe Clausell’s mix features on Disc One, while Black Coffee’s mix is on Disc Two. The two mixes are a tantalizing taster of what a night at Djoon is like. Both mixes are an eclectic, with Joe Clausell and Black Coffee showcasing not just their unique style of DJing, but their taste in music. For anyone whose yet to make a pilgrimage to Djoon, The Djoon Experience is a tantalizing taste of what you’re missing. After hearing The Djoon Experience, which I’ll now tell you about, you’ll be packing your bags and heading to Djoon to join the faithful and worship the gospel according to Djoon.
DISC ONE.
Managing to secure the services of a superstar DJ for The Djoon Experience shows how well respected the club is. During his hectic DJ-ing schedule, that sees Joe Clausell traverse the world numerous times, Joe found time to record a set for The Djoon Experience. This wasn’t the most orthodox mix though. One night, when he was playing in Tokyo, Joe set up turntables, mixer and tape machine in his hotel room. With the equipment ready, Joe called a few friends. They partied in his room, creating the right vibe for the master to get to work. What follows Joe says, isn’t: “about the perfect beat, but the soul and the funk.” Amen. Let the party start.
For Joe’s mix, he’s selected twelve tracks, which in his Tokyo hotel room, he mixes together over seventy-eight minutes. This is a musical journey you want to experience. Setting the scene is DJ Fudge and Ezel’s Call My Name, which features Mani Hoffman. It’s a slow burner, but when after two minutes, the dramatic, soulful vocal is replaced by a myriad of percussion and later piano. Gradually, the track reveals its secrets and undeniable beauty. You just hope Joe’s not set the bar too high?
He hasn’t. After all, this is Joe Clausell we’re talking about. Although essentially a house mix, Joe explores the different sub-genres. This he describes as a collage of the music he plays and loves. In making this collage, Joe doesn’t forget about the soul and funk. From the pulsating, hypnotic, deep house sound of Distant People’s My Love Song, we move to tech house, which comes courtesy of Ron Trent’s Cross Roads one things stays the same…the soulful vocals. During these tracks, Joe uses the EQ and effects well, but moves through the gears on The Bayara Citizens’ Electric Afrika. Remixed by Joe, he becomes a Jimi Hendrix of the turntable, jamming, transforming the turntable and mixer into an instrument. That takes skill. You bow at Joe’s altar, which is the DJ booth. Then knowing it would be hard to replicate what’s gone before, he throws a curveball.
As if to let dancers draw breath, the tempo drops, thunderous drums take centre-stage, before my favorite track unfolds. Geoffrey Oryema KelKweyo, remixed by Joe is a real fusion of styles. Everything from Afro-Beat, jazz, soul, Acid House, funk and soul is thrown into the musical melting pot. Add Geoffrey’s heartfelt, spiritual and soulful vocal and the result is the highlight of the mix. Next up is The Kick and Bass Rerub of Gregory Porter’s 1960 What. This seems fitting. One impassioned vocal following another. Accompanied by blazing horns and backing vocals, this jazzy track is given a makeover. Dramatic, enthralling and uplifting, it’s truly irresistible.
Miranda Nicole’s Kissing You sees Joe drop the energy slightly. Not much. Just a little. Josh Milan’s Honeycomb Vocal Mix seems to energize the track. It bursts into life, with Nicole’s sultry, soulful vocal drifting above the jazzy arrangement. From there, the energy continues to build.
Joe’s decision to pair Kuniyuki’s Set Me Free then Sean Kuti and Egypt 80 back to back is a minor masterstroke. The two tracks work so well together. It’s as if Kuniyuki is setting the scene for seven glorious minutes of Afro-Beat courtesy of Sean Kuti and Egypt 80. If you’ve not realized it by now, a night a Djoon is a very special place, with an eclectic and irresistible soundtrack. Continuing in a similar vein is Joe Clausell’s With More Love. A mass of percussion and pounding drums, there’s a real pulsating Afro-Beat influence. Gradually, it decides to reveal its subtleties and surprises. Spanish guitar, celestial synths, keyboards and a loved-up, soulful vocal play their part in this twelve-minute epic. Through dudicious use of the EQ, plus high and low pass filters, Joe drops parts of the track out. Relentlessly, he teases the listener as the mix reaches a crescendo. Has Joe peaked too early?
No. There’s no drop in energy when he drops Reggie Dokes’ Once Again. It’s literally an explosive bundle of energy and electricity. Dramatic, with thunderous drums, percussion and washes of twisting synths, it’s another scene setter. As the baton passes to The Djoon Experience’s Old Landmark, which features house veteran Kenny Bobien, the track takes on a spiritual quality. This is fitting, giving how a visit to Djoon is the modern equivalent of heading to worship. Clubs are temples, DJs preachers and music is the word. Kenny, complete with gospel harmonies, has the believers dancing in the aisles. Having worked the faithful into a frenzy, Joe Claussel says amen, and the word, it is house.
DISC TWO.
With The Djoon Experience being a double album, and Joe having thrown down the gauntlet with one of the best mixes I’ve heard in many a year, the pressure is on South African DJ Black Coffee.
Back in his native South Africa, he is a legend. Forget Coldplay, Mumford and Son or any number of tedious bands, which I wish I could, back in South Africa Black Coffee and DJs of a similar stature, are treated like rock stars. House music provides the soundtrack to everyday life. Everywhere you go, house music fills the air. Not any kind on house music. Pulsating, percussive and vocal lead house music. That’s the type of music you hear on Black Coffee’s mix.
Black Coffee opens his mix with Black Coffee’s We Are One, which features a true musical legend, Hugh Masakele. Straight away, you’re hooked. Soulful and heartfelt, thanks to Hugh’s vocal, the arrangement is percussive and incredibly melodic. It benefits from a lazy, laid-back sound. This slice of musical sunshine puts the vocal at the centre of the arrangement. Hugh with passion and sincerity, pleas as the arrangement meanders along. Seamlessly, G Family’s People With Bullets proves to be the perfect track to follow We Are One. Both songs have understated, laid-back arrangements which, gradually, unfold. Similarly, both tracks feature vocalists who deliver a message. Here it’s Nombongo, who has a different style, but is equally effective. Another equally talented vocalist is, Tumelo, who on All Alone, is joined by Vikter Duplaix. Together, they produce a deeply soulful, melodic track, whose arrangement is subtle, allowing the vocal to take centre-stage. There are similarities with the previous two tracks. Just keyboards, percussion and drums accompany the vocals. This proves perfect, as is Black Coffee’s song selection so far. As the tempo increases slightly, the soulfulness and vocal led tracks continue with Julian Gomes Love Song. Sultry, seductive and soulful, stabs of synths, drums and harmonies accompany Bobby’s vocal. Then it’s all change.
DJ Kent’s Sunrise has a darker, edgier sound to the previous tracks. That’s until the vocal sweeps in. It transforms the arrangement with it seductive, soulful sound. It’s a perfect contrast to the rest of the arrangement. After a change in style, we return to familiar territory.
Natz Efx’s Surroundings, sees another change in style. It’s still house, but with jazzy twist. This is thanks to a flute. The percussion that features on most of the tracks is ever-present. So is another soulful, impassioned and needy vocal from Cherieyes. She’s accompanied by strings, flute and guitar as the track takes on a graceful, elegant, jazzy sound. A perfect way to follow Surroundings, is with Sai and Ribatone’s Avenue Of Dreams. It features yet another deeply soulful. This time, it comes courtesy of Thiwe. The songs could’ve been made for each other. They fit perfectly.
When Black Coffee drops another of his own tracks, Don’t You Give Up, it’s guite different from the two previous tracks. It features a fuller arrangement, where synths, drums and percussion combine. They combine a meandering, hypnotic arrangement. One thing however, stays the same..the vocal. It’s soulful and is delivered by Vuyo with power and passion, that’s crucial to the track’s success. Bucie’s Get Over is another example of Black Coffee’s ability to pick the right track, at the right time. With stabs of horns, keyboards, washes of synths and thunderous drums, gradually, the track reveals its secrets. The tempo increases slightly, while the vocal is at the heart of the arrangement. Sassy, feisty and dismissive, it’s all these things and more. Very gradually, the tempo increases with Martin East Project’s Making Memories. Vocal led and soulful, wistful strings providing the perfect as the drama increases, and elements of jazz and soul combine with house. It’s a compelling combination, one that sets the scene for the closing track.
With Key’s Snow’s You and Me closing Black Coffee’s peerless mix, you’re hoping that he doesn’t blow it now. He’s one more hurdle to jump and he’s created a flawless mix. Straight away, this slice of deep house chugs along. A standup bass and emotive, pleading vocal are at the centre of the arrangement. Joining them are hissing hi-hats, drums, washes of Hammond organ and harmonies. As the song gradually reveals its secrets, you realize Black Coffee has chosen well. Uplifting, hook-laden, soulful and irresistible, Black Coffee has cast his spell over the dancers. They become his followers, his disciples, and as the track finishes, his disciples give thanks to Black Coffee, thanks for the soundtrack, one that’s soulful and dance-floor friendly.
The two mixes that comprise The Djoon Experience come courtesy of two leading DJs. These mixes have several things in common…quality and song selection are two. Another is the DJs passion. That becomes apparent in the approach taken to the mix.
Both mixes that comprise The Djoon Experience, which was released by BBE Music on 27th May 2013, are very different when it comes to style. Joe Clausell’s mix isn’t a smooth, seamless mix. He admits that. For Joe, it’s all about the music, the soul and funk. He literally throws himself into the mix. Frantically, he works EQ and effects. Deploying low and high pass filters, echo, delay and numerous other DJ Ninja tricks, he’s constantly transforming the sound. Cutting and adding bass and treble, Joe’s constantly working the EQ. This is to boost the energy and dynamics of the mix. Increasing and decreasing the drama, Joe does both. Confident in his song selection, he throws himself into the mix. So what if the beats briefly clash. This is live music, while the party people create a vibe in Joe’s Tokyo hotel room. That’s what makes the mix so compelling. Joe you realize, has given part of himself while create this mix. For that, we should be grateful.
Black Coffee’s mix is very different to Joe’s. It’s smooth and seamless. He eschews the effects and EQ that Joe uses so widely. It’s as if Black Coffee wants the music to take centre-stage and shine through. It does. His song selection is flawless. Songs blend beautifully into each other. It’s as if they were separated at birth. Melodic, percussive and pulsating, the vocal is at the heart of each track. Mostly that vocal is deeply soulful. For many people, they may think this is yesterday’s sound. It’s not. I could just as easy argue it’s tomorrows sound and that a new musical trend is unfolding in South Africa. After all, every musical trend starts somewhere?
Of the two mixes, which you prefer is down to personal taste. I like both mixes, but for different reasons. Joe’s mix is vibrant, bristling with electricity and energy, and like a double shot expresso, is incredibly potent. Black Coffee’s mix soulful, percussive and melodic, smoothly and seamlessly mixed. Which mix you prefer, will be down to taste and which style of DJ-ing you prefer. Personally, I think both the mixes on The Djoon Experience are a fiting homage to Djoon, which over the past ten years, has established a reputation as one of Europe’s top clubs. Indeed, Djoon is where discerning pilgrims in Paris, searching for salvation and spiritual awakening head. Until you can make your pilgrimage to this musical nirvana, then at least The Djoon Experience will give you a tantalizing taste of what awaits the musical pilgrim. Standout Tracks:he Bayara Citizens Electric Afrika, Reggie Dokes Once Again, Black Coffee We Are One and Tumelo All Alone.
THE DJOON EXPERIENCE.
ROMARK RECORDS-KENT HARRIS’ SOUL SIDES.
ROMARK RECORDS-KENT HARRIS’ SOUL SIDES.
From the fifties right through the sixties and seventies, all over America, small independent record labels sprung up. From Chicago, Detroit, Memphis, Philly and Los Angeles, small labels were founded. They released everything from blues, doo wop, pop, garage and soul music to varying degrees of success. Sadly, much of the music many of these labels released, never found a wider audience. Due to distribution problems, many releases were just regional hits. For many labels, this was deemed a success. Other labels weren’t even that successful. No wonder. Back then, the music business was very different. It was a cutthroat business. Many people running independent labels weren’t cut out for the Machavellian machinations of the music business. As a result, many labels folded after just a few short years. Romark Records lasted longer than many labels.
Having released its first single in 1963, Romark Records closed its doors a decade later. In 1973, founder Kent Harris decided he’d had enough of the music business. Now forty years later, fittingly, Kent Soul have released a compilation of Romark Records’ releases. Romark Records-Kent Harris Soul Sides, which was compiled by Peter Gibbon and Ady Croasdell, was released on Kent Soul on 27th May 2013. It features twenty-two tracks from Romark Records’ back-catalogue. Of the twenty-five tracks on Romark Records-Kent Harris Soul Sides, four have never been released before. This is a tantalizing prospect. So is that at long last, Romark Records’ music will be heard by a much wider audience. Before I tell you about Romark Records-Kent Harris Soul Sides, I’ll tell you about Romark Records.
Kent Harris was a successful R&B singer, songwriter and producer when he decided to found his own label, Romark Records. He’d released two singles as Boogaloo and His Gallant Crew on the Crest label in 1956. Cops and Robbers reached number nine in the US R&B Charts. This proved to be the end of Kent’s recording career. Instead, Kent decided to concentrate on A&R, songwriting and production.
Among Kent’s discoveries, were Brenda Holloway, James Shaw and The Duals. Having discovered an artist, Kent wrote and produced their single, which he then placed with a variety of labels, including several Los Angeles based labels. This included singles by The Lon-Genes and The Phillips Sisters, plus veteran blues’ players Cry Baby Curtis and Ray Agee. Towards the end of 1963, Kent decided rather than place his recordings with other labels, he’d found his own label, Romark Records.
Romark Records was founded by Kent Harris towards the end of 1963. Kent named his new label after his son. His nascent label managed to release two singles in 1963. The first was The Phillips Sisters’ After Night. It was followed by I’ll Come Back To You by The Mighty Hannible. Complete with spelling mistake The Mighty Hannible marked the start of what would be a ten year musical journey for Kent Harris.
Over the next ten years Kent Harris would continue to look for new artists for Romark. Among the artists he signed were Donoman, Eddie Bridges & His Lowriders, Faye Ross, The Francettes, Larry Atkins, Marcene Harris, Marshall McQueen, O’Malley Jones, Obie Jessie Seeds Of Freedom and Ty Karim. They were joined by The Lon-Genes and Ray Agee, plus Romark’s house-band, Romark’s Wrecking Crew. Kent wrote and produced songs for these artists, which were released between 1964 and 1973, when Romark Records closed its doors. Each of these artists feature on Romark Records-Kent Harris Soul Sides. So does Jimmy “Preacher” Ellis. Tough Competition may show another side to Jimmy, but demonstrates why they called him the “preacher.” While Tough Competition is one of the highlights of Romark Records-Kent Harris Soul Sides, there’s many more soulful delights awaiting discovery on this compilation. I’ll now tell you about them.
The track that opens Romark Records-Kent Harris Soul Sides is Ty Karim’s All At Once. It sets the standard for Romark Records-Kent Harris Soul Sides. All At Once was the B-side to her 1965 single You Really Made It which was recorded in Ray Charles’ studio. Written by Kent with Larry Jackson, it was arranged by Jerry Long. This is a mid-tempo ballad, which has a dramatic, Northern Soul sound. Key to this are the blazing horns and sweeping, urgent harmonies that accompany Ty’s heartbroken vocal. By the time this soul-baring track closes, you realize why Ty Karim would soon be regarded as Romark’s biggest star.
When Ray Agee recorded It’s Hard To Explain in 1972, he was something of a musical veteran. Originally, he’d been a blues singer, but had with Kent’s guidance, became a soul singer. Here, blues, soul and gospel are combined. A wailing, atmospheric Hammond organ adds a gospel sound, while a blues guitar and lush soul strings add to the emotion, sadness and frustration in Ray’s vocal. Reminiscent of B.B. King and Ray Charles, this isn’t just a minor classic, but a reminder of one of the most underrated, but talented singers of his generation.
Given that The Phillips Sisters released Romark Records’ first single, it’s fitting that one of their singles feature on Romark Records-Kent Harris Soul Sides. 1964s Where Did You Stay Last Night sees The Phillips Sisters at their best. Their vocals are feisty, frustrated and angry, while growling horns, handclaps and driving rhythm section accompany them. Although the sound is raw and gritty, it’s certainly not lacking in emotion and energy. Indeed, it’s what you’d get if you combined of Ike and Tina Turner with The Supremes.
Larry Atkins has three tracks on Romark Records-Kent Harris Soul Sides. Good as they all are, one stands out for me, Ain’t That Love Enough. Released in 1967, this is another track that will appeal to Northern Soul fans. With a stomping beat and sweeping, cooing harmonies, Larry’s worried vocal is filled with emotion. He feeds off the backing vocals, mixing power and passion, he pleas and questions on this hidden soulful gem.
Another of Kent’s pre-Romark discoveries was The Lon-Genes. Kent realizing they were a talented group, signed them to Romark. That was a good decision. Proof of this is the mid-tempo ballad, Dream Girl. From its sound, you could guess that it was released in 1964. Driven along by piano and percussion, the lead vocal is filled with loneliness and longing. Harmonies sweep in, as is trying mend a broken heart. Nothing could do this, apart from a “Dream Girl.” Wistful, melancholy and beautiful, this song is all this and more.
Deborah Foster released Bye Bye Baby (I’m Leaving You) in 1984, despite Romark closing its doors in 1973. By then, music had changed. You can hear that here. Synths are used extensively. This was the norm though, when electronica and soul met head on. Even that doesn’t spoil this soulful farewell. As Deborah bids farewell to the man she loved, her vocal soars high above an arrangement, which features piano, synths and rhythm section. It’s as if she’s been freed and her life is about to start all over. Backing vocalists sweep in, as Deborah, mixing gospel and soul, says goodbye and soulfully, heads to destination unknown.
Earlier I said that Jimmy “Preacher” Ellis’ Tough Competition was one of the best tracks on Romark Records-Kent Harris Soul Sides. I haven’t changed my mind. Released in 1972, Jimmy was a well travelled singer. Previously, he’d been a member of The Centuries, but when they split-up, became a blues singer. On Tough Competition, Jimmy fuses blues, gospel and soul, pleading, preaching, questioning and unleashing power, passion and emotion.
My final track from Romark Records-Kent Harris Soul Sides is Marshall McQueen’s If I Can’t Stop You. Marshall penned the track with Jesse Roberts. It’s one of two songs Marshall has on the compilation. Sadly, neither were ever released. This is the first time this track has ever been released. That it’s not been released before seems almost unjust. His whispery vamp quickly becomes a soaring soulful falsetto. As Marshall pleads and begs, his vocal is filled emotion, hurt and heartache. Describing this track as soulful and heartbreaking, doesn’t even come close.
That Romark Records outlasted many other labels is no surprise. If you listen to Romark Records-Kent Harris Soul Sides you realize why. Quite simply, Romark Records released better music, music that changed as musical fashions changed. Owner and founder Kent Harris realized that this was crucial. Music was constantly evolving, so labels had to evolve. Another reason for Romark Records success, was they were always looking for new artists.
With Kent Harris in charge of A&R, Romark Records were constantly discovering talent. These new artists were transformed. Their talent was then honed. After all, there was no point an artist releasing a single before they were ready. Then, when they were ready to release a single, Kent would often write it. He would take charge of production. Sadly, many of Romark Records’ releases weren’t huge commercial successes. This wasn’t a reflection on the music. Instead, it was about Romark Records’ size.
Other “independent” labels, including Stax, Hi, Motown and Philadelphia International Records’ music were backed by majors. Romark Records weren’t. This put them at a huge advantage. As a result, many of their releases weren’t the commercial successes their quality deserved. So, by 1973, and after ten years in business, Kent Harris decided that Romark Records would close its doors. Soul lost another label. Now just a handful of labels, with their trademark sounds, dominated soul. Soul, it seemed, had lost some of its soul.
Thankfully, Kent Soul decided to rectify this. They decided to delve into the vaults of Romark Records. The result was Romark Records-Kent Harris Soul Sides, which was released on 27th May 2013. Romark Records-Kent Harris Soul Sides included twenty-five soulful reminders of back when soul was a whole lot more soulful. Standout Tracks: Ty Karim All At Once, Ray Agee It’s Hard To Explain, The Lon-Genes Dream Girls and Jimmy “Preacher” Ellis Tough Competition.
ROMARK RECORDS-KENT HARRIS’ SOUL SIDES.
THE NUTOPIANS-LENNON RE-IMAGINED.
THE NUTOPIANS-LENNON RE-IMAGINED.
With so many artists and bands being inspired by John Lennon’s music, it’s no surprise his music is so widely covered. For many artists, it’s their way of paying homage to one of the most articulate, perceptive and intelligent songwriters in the history of modern music. Sadly, the results however, have varied greatly. Some have been far from memorable. They haven’t come close to producing a fitting tribute to one of the most important, innovative and influential singer, songwriter and musicians ever. Other artists however, have produced fitting, poignant and beautiful homages to John Lennon and his music. The latest band to do this, are The Nutopians.
The Nutopiains’ sophomore album Lennon Re-Imagined, like 2010s Imagined, celebrates the undisputed genius of John Lennon. Lennon Re-Imagined will be released on 1st July 2013, with a percentage of the profits being donated to WhyHunger, the Artist Against Hunger and Poverty Program. Similarly, The Nutopians donate a percentage of the ticket sales from each show to WhyHunger. This is especially fitting, and is The Nutopians’ way of honouring John Lennon’s “social and political activism.” Even more fitting are the thirteen tracks on Lennon Re-Imagined. Ranging from poignant and powerful, to beautiful and emotive, Lennon Re-Imagined is one of the best homages to John Lennon you’ll ever hear. Before I tell you why, I’ll tell you about The Nutopians.
For anyone yet to discover the music of The Nutpoians, they’re an eight-piece band that comprise some of the most accomplished folk-rock musicians of their generation. Indeed, the pedigree of The Nutopians’ founding members is unrivaled. Rex Fowler is a member of Aztec Two-Step, while Tom Dean is a member of Devonsquare. Both bands were part of the seventies folk-rock movement.
Aztec Two-Step’s recording career started back in 1972, when they were signed to Elektra Records. For any folk-rock group, Electra was the record label to sign to. Sadly, Aztec Two-Step was their only release on Elektra. Next stop was RCA, where they released three albums between1975 and 1978. Two’s Company, released in 1978, was the last album Aztec Two-Step released on a major label. Their career was far from over.
After that, Aztec Two-Step continued to tour and record. While they might not be signed to a major label, they’d build up a large and loyal fan-base over the years. As bands that once were their contemporaries split-up, Aztec Two-Step went from strength to strength. Anniversaries came and went. Twenty-five years became thirty, and then in 2011 Aztec Two-Step celebrated their fortieth anniversary. A year later, came the release of Aztec Two-Step’s eleventh studio album Cause and Effect. Not many bands could match the longevity Aztec Two-Step enjoyed. Four decades later and they’re still touring and regularly. Devonsquare come close, but not quite close enough.
Devonsquare were formed by Tom Dean, Alana MacDonald and Herb Ludwig in 1976. This was the start of a musical journey that would last thirty-five years and see Devonsquare released five albums. Their debut album was Devon 2, which was released in 1984. A year later, Devonsquare released their sophomore album Night Sail. Like their debut album, it was independently released. Soon, the three members of Devonsquare’s lives would be transformed.
Ammet Ertegun founder and chairman of Atlantic Records happened to hear Devonsquare’s song Walking On Ice. Realizing Devonsquare were a group with potential, they were signed to Atlantic Records. This was the musical equivalent of The Nutopians hitting a series home runs.Their first album for Atlantic was Walking On Ice, which was released in 1988. Four years later, Devonsquare released their second album on Atlantic. Bye Bye Route 66 was released in 1992. While it wasn’t a huge commercial success, it featured several critically acclaimed singles, including If They Could See Me Now. Following Bye Bye Route 66, Devonsquare left Atlantic. Like Aztec Two-Step, their career was far from over.
Having left Atlantic, Devonsquare continued to tour and released one more album. Their trademark three-part harmonies had attracted a loyal fan-base. Devonsquare toured extensively, usually to packed concert halls. Then in 1996, Devonsquare released their fifth album Industrial Twilight. Developing themes from Bye Bye Route 66, including the influence of the beat poets on modern sensibility and language, Industrial Twilight was hailed a minor classic.
Although Devonsquare didn’t release any further albums, Tom Dean released two solo albums. His debut album was 1999s Your Own Backyard. Then after a gap of five years, Tom released Pennies. Sadly, a year later, tragedy struck for Devonsquare.
2005 saw founding member of Devonsquare Herb Ludwig died. He’d been undergoing heart surgery, but died from complications. This hit other members hard. Eventually, a decision was made to make bassist Ted Gledon and guitarist Robby Coffin members of Devonsquare, who continued to tour. However, from 2009, the members of Devonsquare were dividing their time between Devonsquare and The Nutopians.
When Rex Fowler of Aztec Two-Step and Tom Dean of Devonsquare met, they discovered they both shared a love of the music of John Lennon. That wasn’t the other thing they shared. They came from similar musical backgrounds. So, in 2009, they decided to form a band to celebrate the genius of John Lennon. Their idea was, to record an album of John Lennon’s music. This was their way of paying tribute to, and celebrating a true musical visionary. Another way to do this, was to give a percentage the profits from the album and their live shows to WhyHunger, the Artist Against Hunger and Poverty Program, which was founded by Harry Chapin. Considering John’s record of “social and political activism,” this is particularly poignant. When Yoko Ono heard about this project’s involvement with WhyHunger, she gave it her blessing and christened the band The Nutopians. For non-students of John Lennon, Nutopia was the fictitious country John founded in the early seventies, when he was promoting world peace. Now the newly christened Nutopians would enter the studio to record ten John Lennon songs.
Comprising members of Aztec Two-Step and Devonsquare, The Nutopians headed into the studio. The result was The Nutopians‘ debut album Imagined, which contained a combination of Beatles and John Lennon songs. Released to critical acclaim, Imagined was hailed as poignant, homage to John Lennon’s creativity and genius. Imagined then won the Independent Music Awards Vox Pop 2010 Tribute Album of the Year Award. Meanwhile, The Nutopians were touring the world, and in the process, were sharing the stage with Bruce Springsteen, Jackson Browne and Bonnie Riatt. By now, word had spread of The Nutopians’ live show. They were perceived as one of the best bands of the time. Considering the collective experience of its members this is no surprise. Soon, it was time for The Nutopians to record their sophomore album.
For recording of Lennon Re-Imagined, Rex Fowler of Aztec Two-Step was joined by Tom Dean, Alana MacDonald, Teg Glendonof and Robby Coffin of Devonsquare. Joining them were Robby’s daughter Maggie, Gary Schreiner and Jordan Jancz. The eight Nutopians covered thirteen John Lennon songs. Again, this was a mixture of Beatles’ songs and songs from John’s solo career. These songs were given an innovative and inventive twist by The Nutopians. To do this, they combine an eclectic selection of instruments. This includes a cello, violin, accordion, percussion, mandola and twelve-string guitars. The result is Lennon Re-Imagined is a truly captivating and enthralling album, which will is a fitting, poignant, powerful and beautiful homage to John Lennon, which I’ll tell you about.
Opening Lennon Re-Imagined is a melancholy, but beautiful interpretation of You’re Gonna Lose That Girl. Key to that is Tom Dean’s heartfelt lead vocal. Filled with emotion and even a hint of sadness, Tom tells his friend: “You’re Gonna Lose That Girl.” As he sings that lyric, it’s almost with a hint of resignation. That adds to the sense of melancholia. So too does Gary Schreider’s contribution. He adds a chromatic harmonica and accordion, before urgent, soulful harmonies sweep in, playing their part in the best covers of this song I’ve heard.
A really subtle, understated version of No Reply is the perfect way to follow You’re Gonna Lose That Girl. Rex Fowler takes charge of lead vocal, delivering his vocal with passion and feeling, while the arrangement combines elements of folk-rock and alt-country. This is a potent combination, that results in heartachingly beautiful interpretation of a Beatles’ classic.
Beautiful Boy is the first of the songs from John Lennon’s solo career. Again, the arrangement is understated, allowing Alana MacDonald’s vocal to take centre-stage. Gradually, the arrangement decides to reveal its secrets. Layers of music unfold. Strings, guitars, percussion and bass. With each listen, something new is revealed. However, what makes the song, is Alana MacDonald’s emotive vocal.
On, Dear Prudence, an oft-covered Beatles song, The Nutopians reinvent the song. While other covers of Dear Prudence have much fuller, electric arrangements, this arrangement is a much more spartan, acoustic arrangement. It still stays trues to the song’s sixties roots. Slow, spacious and sometimes, spacey, the song has a sixties sound. The rest of the band set the scene for Maggie Coffin, whose just seventeen years old. Delivered against strings, Maggie’s vocal, has a sixties sound and influence. This a fitting way to pay homage to not just John Lennon, but one of the finest songs on The White Album.
A medley of Cry Baby Cry and Bungalow Bill sees Rex Fowler sound not unlike John Lennon. The similarity is uncanny. This is the first time I’ve noticed this. Accompanied by urgent harmonies, strident guitars and percussion, the tracks take on a real sixties sound.
Although credited to Lennon and McCartney, it’s thought that I’ll Be Back was written by John Lennon. This is one of the best tracks from A Hard Day’s Night. Here, Tom Dean’s impassioned, heartbroken vocal is filled will emotion and regret. Just acoustic guitars, accordion and backing vocal accompany Tom. They stay firmly in the background, allowing Tom to deliver what is one of the best and most beautiful vocal on Lennon Re-Imagined.
One thing you learn about The Nutopians, is don’t try to second guess them. Proof of this is And Your Bird Can Sing. It bursts into life. Energy and emotion fill Alana MacDonald’s lead vocal, which has a country sound. Rex adds backing vocals. Again, he sounds not unlike John Lennon. As for the arrangement, it’s a majestic mass of guitars, accordion and bass, which has a real country sound and feel.
When it comes to protest songs, Revolution is one of the best. It’s an articulate plea for change. While The Beatles version was a mass of energy, passion, frustration and anger, The Nutopians version is very different. Slow, understated and hesitant, the song is transformed. One thing the song doesn’t lack, is passion, thanks to Maggie Coffin’s vocal.
If I Fell has a real wistful, melancholy sound. That’s in part down to Alana MacDonald’s tender, pensive vocal, but mostly down to Gary Schreiner’s chromatic harmonica and the harmonies.
The second medley on Lennon Re-Imagined features Please Please Me/It Won’t Be Long. Featuring Rex on lead vocal, the similarities with John are uncanny. He adds backing vocals, answering his own call. With the addition of harmonies and acoustic guitars, you wonder whether you’ve stumbled across a lost Beatles or John Lennon song. That’s how close to the original these tracks are.
From the opening bars of Love/Oh My Love I was spellbound. I was totally enthralled by Rex’s tender, impassioned vocal. His delivery was perfect, breathing life and meaning into the lyrics from a song that features on John Imagine album. Accompanied by piano and harmonies, Rex delivers what is his best vocal on Lennon Re-Imagined.
if I had to pick any Beatles or John Lennon song to close Lennon Re-Imagined, i’d pick the same song as The Nutopians, All You Need Is Love. An uplifting, joyous, inspirational song about unity is given a makeover, and totally transformed by The Nutopians. Opening with samples of John Lennon set against strings, guitars and harmonica, when John says: “the message is love,” the song unfolds. Rex delivers the vocal with power and passion. Accompanied by harmonies, harmonica and guitars a truly anthemic track proves a poignant way to close this homage to the genius of John Lennon.
Lennon Re-Imagined, The Nutopians’ sophomore album, is an album that anyone belongs in the record collection of anyone with even a passing interest in the music of John Lennon. It surpasses their debut album Imagined. That’s no surprise, given the combined experience and talent of The Nutopians. Their experience is put to good use on Lennon Re-Imagined. Thirteen songs are given a musical makeover, totally transformed. In the hands of The Nutopians, they become variously understated, subtle, emotive, beautiful, poignant, powerful, inspiring and joyous. Combining elements of folk-rock, pop and country music, John Lennon’s music is a remarkable reinvention of familiar, much loved music. Nothing is lost in the process. Still John’s music is innovative, influential and inspirational.
Maybe, Lennon Re-Imagined which will be released on 1st July 2013, will introduce a new generation of music lovers to the music of a true musical genius. I hope it does. After all, music has become bland and anodyne. What it lacks is someone of the stature of John Lennon, someone who wrote music that was innovative, influential and inspired a generation. Lennon Re-Imagined is a poignant reminder of John Lennon’s music. It’ll certainly find its way into the collections of all fans of John Lennon’s music. When it does, a percentage of the profits from Lennon Re-Imagined and ticket sales are donated to WhyHunger, the Artist Against Hunger and Poverty Program, founded by Harry Chapin. John Lennon would’ve approved of this, and would’ve approved of The Nutopians’ homage to his music Lennon Re-Imagined. Standout Tracks: You’re Gonna Lose That Girl, No Reply, If I Fell and Love/Oh My Love.
THE NUTOPIANS-LENNON RE-IMAGINED.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
Whether it’s music or life, there aren’t many people who can be described as both an innovator and visionary. That however, is fitting description of Tom Moulton, whose one of the most important figures in the history of dance music. During his career, Tom Moulton invented remix and the twelve-inch single. That’s quite a feat. Tom’s career as the world’s greatest remixer is now into its fifth decade. His remixing career started way back in the seventies. Five decades and 5,000 remixes later, Tom Moulton is one of the most celebrated and highly respected figures in dance music. Despite five decades crafting the finest remixes, Tom Moulton isn’t for slowing down. Not at all. On 24th June 2013, the long-awaited Philly Re-Grooved 3-Tom Moulton Remixes, will be released by Harmless Records.
Philly Re-Grooved 3-Tom Moulton Remixes, features nineteen brand new remixes from Tom, plus sleeve-notes from myself. Long awaited, but well worth the wait, Philly Re-Grooved 3-Tom Moulton Remixes is a surefire bet to be one of the best compilations of 2013. After all, a Tom Moulton remix is still quite rightly perceived as a sign of quality. Still, Tom Mouton is the go-to-guy for anyone wanting a a top class remix. The nineteen tracks on Philly Re-Grooved 3-Tom Moulton Remixes are proof of this. These remixes see at his best, Tom casting his net even wider than in the first two volumes of Philly Re-Grooved.
On Philly Re-Grooved 3: The Tom Moulton Remixes Tom delves into the back-catalogues of Atlantic Records, Atco, Buddah Records, Chelsea, Columbia and Roxbury. They prove to be a veritable treasure trove for Tom. He was absolutely spoiled for choice. Eventually, he settled on nineteen tracks. This included tracks by The Spinners, The Trammps, Blue Magic, Bettye Swann, Melba Moore and Philly Devotions. Tom takes these tracks and totally transforms them. Using his five decades of experience, the Godfather or the remix somehow, does the impossible, and improves stonewall Philly Soul classics. That might sound like an exaggeration, but it’s not. Proof of this are The Spinners’ Could It Be I’m Falling In Love, which is transformed into a seven-minute masterpiece, while Bettye Swann When The Game Is Played On You becomes an eleven-minute epic. Then there’s The Trammps’ hook-laden Hold Back The Night, which magically and seamlessly, takes on new meaning. There’s much more to Philly Re-Grooved 3: The Tom Moulton Remixes than a trio tracks though. Much more.
DISC ONE.
For the nine tracks on Disc One of Philly Re-Grooved 3: The Tom Moulton Remixes, Tom Moulton has dug deep into the vaults of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury. The nine tracks he chose, include a combination of familiar tracks and hidden gems. Among the familiar faces are The Spinners, Blue Magic and Philly Devotions. They’re among the biggest names in Philly Soul. However, it’s not just the giants of Philly Soul that feature on Disc One of Philly Re-Grooved 3: The Tom Moulton Remixes.
The Sons Of Robin Stone, The Modulations and New York City were neither the biggest nor most successful names in Philly Soul. Despite this, they were responsible for some memorable musical moments. Much of their music is vastly underrated and is well worth discovering. Proof of this Disc One of Philly Re-Grooved 3: The Tom Moulton Remixes, which features New York City’s classic I’m Doing Fine. Another classic comes courtesy of Melba Moore.
Melba Moore names doesn’t immediately spring to mind when you mention Philly Soul. Nor does Bettye Swann’s. However, both enjoyed Philly Soul makeovers. Tony Bell and Phil Hurtt gave Bettye a Philly Soul makeover on When The Game Is Played On You. It’s transformed into an absolute epic by Tom Moulton. On Standing Right Here, Melba Moore into a strutting disco diva by McFadden and Whitehead. These two tracks are just a tantalizing taster of Disc One of Philly Re-Grooved 3: The Tom Moulton Remixes. So, let’s pick the highlights of Disc One.
What better way is there to open Disc One of Philly Re-Grooved 3: Tom Moulton Remixes, than with a million-selling single, that’s also a Philly Soul classic. The Spinners’ Could It Be I’m Falling In Love, which was written by Melvin and Mervin Steals under the pseudonym Mystro and Lyric. This was a track from The Spinners’ third album Spinners, released in 1974, on Atlantic Records. Spinners marked a change in fortune for The Spinners. Produced by Thom Bell, and featuring Philadelphia International Records’ house-band M.F.S.B. Spinners reached number fourteen in the US Billboard 200 and number one in the US R&B Charts in 1973. Could It Be I’m Falling In Love then reached number four in the US Billboard 100 and number one in the US R&B Charts. Here, Tom extends in the introduction and allows M.F.S.B. to take charge. Having set the scene, Bobby Smith delivers the lead vocal, with Phillip Wynne acting as closer. Adding the finishing touch, are The Sweethearts of Sigma heartfelt harmonies. Tom Mouton’s remix does what’s seemingly impossible, and improves a stonewall Philly Soul classic.
Probably New York City’s best known song is I’m Doing Fine. It was the title-track to their 1973 album, which was released on Chelsea Records. It was produced by Thom Bell, who produced their 1974 album Soulful Road. Written by Sherman Marshall and Thom Bell, I’m Doin’ Fine gave New York City the biggest hit of their short career. Since its release in 1973, I’m Doin’ Fine has remained something of a hidden soulful gem, so Tom Moulton’s remix gives everyone the opportunity to rediscover and revel in this track’s soulful delights all over again.
When Blue Magic released their eponymous debut album Blue Magic in 1974,it was the start of a journey that saw them release nine albums in twenty-three years. Blue Magic, which was produced by Norman Harris and featured the classic lineup of M.F.S.B.On its release in 1974, Blue Magic reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. Helping sales of Blue Magic was their milion-selling single Sideshow. Another single was Look Me Up, written by Alan Felder and Norman Harris, it reached number thirty-six in the US R&B Charts. This was a classic Norman Harris production, incorporating elements of Philly Soul, funk, jazz and disco. Given Blue Magic featured tracks of the quality of Sideshow and Look Me Up, it’s no surprise that Blue Magic proved to the most successful album of their career.
Between 1975 and 1977, Melba Moore released four albums for Buddah. Starting with 1975s Peach Melba, through 1976s This Is It and Melba, Melba’s career at Buddah ended with 1977s A Portrait Of Melba, which included the single Standing Right There. Of the four albums, A Portrait Of Melba was her least successful album, failing to chart. Despite this, Standing Right There reached number sixty-two in the US R&B Charts. It was written and produced by McFadden and Whitehead with Victor Castarphen. Now thirty-six years after its release, Standing Right There has been given a disco makeover by Tom Moulton, which totally transforms the track. Not only is the track transformed, but so is Melba. She becomes a feisty, sassy, strutting disco diva, against a backdrop that say’s “made in Philly.”
Just like Melba Moore, Bettye Swann’s name isn’t exactly synonymous with Philly Soul. Blessed with an abundance of talent, Bettye neither enjoyed the critical acclaim nor commercial success her talent deserved. By 1972, she’d been signed to several record labels. Her next stop was Atlantic Records, where she worked with Tony Bell and Phil Hurtt of The Young Professionals. They cowrote and produced When The Game Is Played On You. It benefits from one of the finest arrangements on the compilation. Key to this, are swathes of elegant, lush harpsichord which envelop Bettye. Tom makes this a feature of his remix, highlighting their beauty, which compliments Bettye’s vocal. The result is a Cinderella like transformation, one that’s beautiful, elegant, sometimes dramatic, always soulful and thanks to the Godfather of the remix, dance-floor friendly.
Disc One of Philly Re-Grooved 3: Tom Moulton Remixes certainly delivers. Indeed, there’s more than the five tracks I’ve mentioned. There’s much to come on Disc One. There are contributions from The Modulations, Son’s Of Robin Stone, Philly Devotions and Ron Hall and The Motherfunkaz featuring Marc Evans. As you see, Disc One is crammed full of quality Philly Soul. Having dug deep into the vaults of Atlantic, Atco, Buddah, Chelsea, Columbia and Roxbury, Tom chosen wisely.
Choosing a combination of Philly Soul classics and hidden gems, Tom Moulton, Master of Mixology and Doctor of Disco, reinvents the nine tracks. In some cases, he improves the original. This includes Bettye Swann’s When The Game Is Played On You. Tom breathes new life, meaning and energy into it, as only he can. The result is that, Disc One is Philly Re-Grooved 3: Tom Moulton Remixes is all killer and no filler. Will that be the case on Disc Two?
DISC TWO.
On Disc Two of Philly Re-Grooved 3: Tom Moulton Remixes, three artists who feature on Disc One, make another appearance, and a welcome one at that. The Spinners, Bettye Swann and New York City. They’re joined by luminaries that include William DeVaughn, The Ebonys,The Trammps and Double Exposure. That’s not forgetting Loose Change, David Morris Jr and Vicki Sue Robinson. As you can see, the Godfather of the remix has dug deep. His crate-digging has been productive. Tom’s come up with long forgotten gems and combined them with a sprinkling of stonewall Philly Soul classics. Taking these tracks, the master works his musical magic. The fruits of his labor are the ten tracks on Disc Two of Philly Re-Grooved 3: Tom Moulton Remixes, which I’ll pick the highlights of.
One of the most recognizable songs on Philly Re-Grooved 3: Tom Moulton Remixes, is William DeVaughn’s Be Thankful For What You’ve Got. Instantly, you recognize it. It’s that unmistakable introduction that grabs your attention. Tom takes the introduction and lengthens it. Again, Tom improves on a delicious Philly Soul classic and transforms it, a song which totally transformed William DeVaughn’s life in 1974. He went from being a drafting technician to writing and recording a two-million selling single. He’d written a song called A Cadillac Don’t Come Easy, which was then rewritten to become Be Thankful For What You’ve Got. The song was then given a smoother arrangement by Allan Felder. Once completed, William and members of M.F.S.B. entered Joe Tarsia’s Sigma Sound Studios in Philly. On its release it reached number four in the US Billboard 100 and number one in the US R&B Charts, selling over two-million copies. This resulted in the single being certified platinum. In the hands of Tom Moulton, the original is totally transformed, surpassing even what is one of the most recognisable tracks on Philly Re-Grooved 3-Tom Moulton Remixes
Following The Ebonys departure from Philadelphia International Records, they signed to Neil Bogarty’s Buddah Records. Making Love Ain’t No Fun (Without The One You Love), was their first single for Buddah. It was written by Allan Felder and Norman Harris. Norman arranged and produced the track, while Tom Moulton remixed the single. However, when The Ebonys’ 1976 sophomore album Sing About Life was released on Buddah Records, Making Love Ain’t No Fun (Without The One You Love) didn’t feature on the album. Now for Philly Re-Grooved Volume 3 Tom Moulton Remixes, Tom has reinvented the track, transforming it into an eight-minute masterpiece. This to me, is one of the most welcome inclusions on Philly Re-Grooved Volume 3 Tom Moulton Remixes, and for that, Tom Mouton deserves our thanks for this epic remix.
When Tom Moulton’s brother Jerry discovered the members of Loose Change, they were performing under a different name. Tom felt the group’s name didn’t suit the songs he had in mind for them. So Becky Anderson, Donna Beene and Leah Gwin became Loose Change for their 1979 album Loose Change, which was released on Casablanca Records. Recording of their eponymous album took place at Philly’s Sigma Sound Studios.The album opener, Babe was written by Tom and Thor Baldursson, who Tom worked with at Salsoul cowrote Babe. It features members of M.F.S.B. who accompany Loose Change. The result was a track that’s Euro Disco, albeit with a twist. On the release of Loose Change in 1979, it failed to chart. However, Loose Change is seen as one of the finest albums of its type and Babe a tantalizing reminder of the talents of Loose Change.
For more years that I care to remember, I’ve championed Bettye Swann’s career. Kiss My Love Goodbye is another of the singles she released on Atlantic in 1974. It was written by Phil Hurtt and Tony Bell who arranged the track. Under the guise of The Young Professionals, Phil and Tony Kiss My Love Goodbye with LeBaron Taylor. Like When The Game Is Played On You, it demonstrates that Bettye Swann, one of soul music’s best kept secrets, should’ve enjoyed a much more successful career. Maybe, Tom Moulton’s masterful remix of Kiss My Love Goodbye will rekindle interest in Bettye’s music, and finally, her talents will recognized, albeit somewhat belatedly.
My final choice from Disc Two of Philly Re-Grooved 3: Tom Moulton Remixes, I’ve chosen The Trammps’ Hold Back The Night. For many people, The Trammps are disco’s most soulful group. Mind you, with the legendary Jimmy Ellis as their lead singer, that’s so surprise. Hold Back The Night features Jimmy at his very best. Written by Ron Baker, Norman Harris and Earl Young with Allan Felder. It was arranged by Norman Harris and produced by Baker, Harris Young. On its release in 1975 on Buddah, it gave The Trammps the biggest hit of their career, reaching number thirty-five in the US Billboard 100 and number ten in the US R&B Charts. Over in the UK, Hold Back The Night reached number five and is one of Jimmy Ellis’ finest moments as lead singer of The Trammps. No wonder. Hook-laden and dance-floor friendly, here Philly Soul and disco meet head-on. The result is fitting reminder of Jimmy Ellis who sadly, died in March 2012, aged seventy-four and is the perfect track to close Philly Re-Grooved Volume 3 Tom Moulton Remixes.
The remixes on Philly Re-Grooved 3-Tom Moulton Remixes,are the result of five decades experience and work. It takes time, experience, dedication and a huge amount of skill to create remixes as good as those on Philly Re-Grooved Volume 3-Tom Moulton Remixes. From the opening bars of The Spinners’ Could It Be I’m Falling In Love on Disc One, right through to the final notes of Double Exposure’s Soul Recession which closes Disc Two, Tom Moulton never once lets his standards drop. Always, the remixes are of the highest quality. Compare these tracks to the other remixers and there’s no comparison.
Other remixers are just pretenders to Tom’s throne. Tom’s remixes are some of the most innovative and influential in the history of music. Similarly, Tom’s one of the most innovative and influential people in the history of music. Without Tom Moulton, music, especially dance music wouldn’t be the same. There would be no remixes, no twelve inch singles and maybe, no superstar DJs. So anyone who either makes their living from music or loves music, owes Tom Moulton a real debt of gratitude. He truly is one of the heroes of music, worthy of being referred to as an innovator and visionary.
I would also refer to Tom Moulton one of the architects of Philly Soul. He deserves to be mentioned in the same breath as producers like Gamble and Huff, Thom Bell, Norman Harris and Vince Montana Jr. Tom gave their music a new lease of life. He totally transformed Philly Soul and is introducing what is the greatest soul music to another generation of music lovers. That ensures that Philly Soul, the music that I love, will continue to be one of the most popular and memorable musical genres of the past sixty years. For keeping Philly Soul alive, Tom Moulton deserves great credit and our thanks. He also deserves our thanks for creating the nineteen stunning new remixes which feature on Philly Re-Grooved 3-Tom Moulton Remixes. The nineteen remixes on Philly Re-Grooved 3-Tom Moulton Remixes, are among the finest remixes of Tom Moulton’s long and illustrious career and are proof, if any is needed, that Tom Moulton is a true musical visionary, who quite rightly, deserves to be called The Master. Standout Tracks: The Spinners Could It Be I’m Falling In Love, Bettye Swann When The Game Is Played On You, William DeVaughn Be Thankful For What You’ve Got and The Trammps Hold Back The Night.
PHILLY RE-GROOVED 3-TOM MOULTON REMIXES.
DAN GREER BEALE STREET SOUL MAN.
DAN GREER BEALE STREET SOUL MAN.
When someone finally writes the definitive history of Memphis Soul, Dan Greer’s name should loom large. Dan was a singer, songwriter, producer and head of A&R at the Sounds of Memphis label. It’s no exaggeration to say Dan Greer was one Memphis’ most talented songwriters and producers. He worked with some of the giants of soul music. James Carr, Wilson Pickett and Candi Staton, not forgetting The Ovations and then, later, Chaka Khan during his long and illustrious career. However, while most conisseurs of Southern Soul are familiar with Dan’s career as a songwriter and producer, they may not be aware of his recording career.
During his time at Sounds Of Memphis, Dan Greer was a prolific recording artist. Sadly, Dan’s music was never released. Instead, it lay unheard and unappreciated in Sounds Of Memphis’ vaults. Then when Kent Soul started rereleasing Sounds Of Memphis’ back-catalogue, two Dan Greer tracks featured on the Sounds Of Memphis’ compilation. Suddenly, people realized there was much more to Dan Greer that his work as a songwriter and producer. So did the good people at Kent Soul. Compiler Dean Rudland compiled a collection of twenty-two of Dan Greer’s recordings. Released as Dan Greer Beale Street Soul Man, on 27th May 2013, on Kent Soul, at long last, Southern Soul fans were able to discover one of Memphis’ best-kept secrets. Before I tell you about some of the highlights of Dan Greer Beale Street Soul Man, I’ll tell you about Dan Greer’s career at Sounds Of Memphis.
While Dan Greer wasn’t born in Memphis, Holy Springs in Mississippi wasn’t far away. Born into a farming family in 1942, two things were central to life in the Greer family…the church and music. A variety of musical instruments lay around the family home. Dan’s father played blues and gospel and soon, Dan was soon able to play the piano. Then when his parent’s marriage broke-up, Dan moved to Memphis. For someone who loved music, Memphis was the place to be,
Having settled in Memphis, Dan and his mother joined the local church. Soon, they were singing in the local church. Meanwhile, Memphis was vibrant. It had a thriving musical scene. This was when Beale Street was thriving. Providing the soundtrack were B.B. King, Bobby “Blue” Bland and Junior Parker. Memphis was alive and Dan Greer was absorbing this melting pot of musical styles. However, it was at school that Dan met what be some of the next generation of great Memphis musicians.
When Dan attended Leath Elementary School, he met Louis Williams, the future lead-singer of The Ovations. They forged a lifelong friendship. Then at Booker T. Washington High School, Dan met what reads like a who’s who of Memphis music. William Bell, Maurice White, David Porter and Homer Banks. That’s not forgetting The Mad Lads and the Wiggins’ brothers Percy and Spencer. Thankfully, the pupils indisputable musical talent was encouraged. By the time they left school, the next generation of Memphis’ musicians were about to play their part in one of the most successful eras in the city’s musical history.
Although other nascent musicians embarked upon musical careers, Dan studied art in Holy Springs. He didn’t give up music though. Instead, his music career was part-time, running parallel with his studies. Then once his studies were finished, Dan returned to Memphis. First stop was Stax, where he spent some time. While he didn’t record any music, he was using the experience to learn about music and the music business. After leaving Stax, next stop for Dan was the Fleetwood Studio, where he recorded his first song.
Owned by Slim Wallace, Fleetwood Studios had been built on the proceeds of Thomas Wayne and The DeLons million-selling single Tragedy. At Fleetwood, Dan met Scotty Moore. The pair recorded a single Old Beale Street, which although it wasn’t a commercial success, started Dan’s recording career. Not long after that, Dan met George Jackson at Fleetwood. This would be someone that would play an important part in Dan’s career. Especially at Sounds Of Memphis. Before that, Dan’s career would take a few twists an turns.
By now, Dan was embarking on a career as a singer and songwriter. Working with producer Dorothy Hester he recorded two singles. He also released a further two singles for Nashville label Dot. During this period, Dan was working as a songwriter for Goldwax Records. His songwriting partner was George Jackson. They penned tracks for James Carr, Spencer Wiggins and The Ovations. While Dan and George forged a potent songwriting partnership, it was one that didn’t last.
In 1966, Dan Penn decided to leave FAME Records. He decided to join Chips Moman at American Studios. For Rick Hall, owner of FAME, suddenly, he found himself looking for a new songwriter. Hearing good things about George Jackson, Rick Hall signed him to FAME. Now Dan Greer was sans a songwriting partner. This prompted a change in career for Dan.
Rather than look for a new songwriting partner, Dan decided to concentrate on his sign-writing business, DSigns. He still wrote songs and released the occasional single. Another venture was production. Dan produced Marjorie Ingram’s singe A Good Man Is Hard To Find. It was released on Burnett Records, a New York label, owned by Eugene Bennett. He was an admirer of Dan’s work, so pointed him in the direction of Ode Records, who released Dan’s single Curiosity Killed The Cat. Sadly, the single wasn’t commercially successful. Despite this, Ode Records decided to release an album by Dan. So rather than record it in New York, Dan recorded it at Sounds Of Memphis’ studios, which was owned by Gene Lucchesi and Mike Curb, who just so happened to be president of MGM.
Gene Lucchesi’s family were originally in the liquor trade. Their’s was the biggest company in the mid-west. Profitable though liquor was, Gene realized there was money to be made in music. So Gene founded several labels and publishing companies. One of the labels was XL Records. In 1965, it released a novelty single by Sam The Sham and The Pharaohs, Wooly Bully, which worldwide, sold several millions copies. Sam The Sham and The Pharaohs released several more hits, which were distributed via MGM. With the profits, Gene invested them into a cutting-edge recording studio. Even though Gene had the latest equipment, he neither had an A&R man, nor a songwriter. That is, until Dan Greer arrived on the scene. Dan filled a huge void. Not only was he a songwriter, but he was producer. Then when he’d time, he was a recording artist. Sadly, none of the songs Dan Greer recorded at Sounds Of Memphis has ever been recorded, that is until Kent Soul released Dan Greer Beale Street Soul Man, which I’ll pick the highlights of.
Shell Of A Man, which has never been released before, is my first choice from Dan Greer Beale Street Soul Man. From the opening bars, when the song explodes into life. George’s vocal is equal parts hurt and heartbreak. It’s filled with emotion and delivered with power and passion. Matching George all the way, are the rhythm section and Hammond organ. They provide a dramatic and emotive backdrop for George’s heartbroken Magnus Opus of a vocal.
Take A Look At Yourself is a very different song. It shows a different side to Dan Greer. His versatility as a songwriter shines through. Similarly, it demonstrates how he can breath life and meaning into a song. This is a song whose roots are in the church, with its almost judgmental lyrics. Here, almost Dan takes on the role of preacher and moral arbiter, albeit a soulful one at that.
I Love You But You Don’t Love Me has a much more understated and pensive arrangement. This suits the lyrics, which if you listen carefully, are written from a woman’s point of view. That’s the way Dan sings it. Just a piano, percussion and subtle rhythm section, Dan’s vocal takes centre-stage. George defensively delivers the lyrics, protesting at the accusations made against his cheating woman. Protective, anger, frustration and emotion fill his vocal, but deep down, he knows he’s only kidding himself. Of all the songs on the compilation this is one of the best and most moving, by far.
Washes of Hammond organ and rhythm section open Bless You, while George combines power, passion and sincerity. With the Hammond and piano key to the arrangement’s sound and success, it’s a potent partnership. The third member of this triumvirate is Dan. As memories come flooding back, his dramatic vocal is laden with passion and sincerity. As Dan sings: “Bless You.”George’s vocal is heartfelt, and sometimes, takes on a spiritual quality.
Listening to Dan Greer Beale Street Soul Man, Dan’s at his best on the slower songs. This is the case with How Does It Feel. Again, the arrangement is understated, with keyboards and rhythm section accompanying Dan. Having set the scene, Dan unleashes one of his best vocals, one that’s bristling with emotion, hurt and disbelief.
What Good Is A Man is another of the slow songs. Just chiming guitars, piano and rhythm section accompany Dan’s half-spoken vocal. It’s world-weary, as if he’s lived the lyrics. Then when he unleashes his vocal, pathos and irony are ever-present, as if: “What Good Is A Man,” was the last thing his girlfriend said, as she headed for the door. You get the sense that having learned from experience, and the hard way, Dan won’t this mistake again.
Mistaken Identity has a jaunty, upbeat arrangement.Piano, rhythm section, complete with guitars which answer Dan’s call, provide the backdrop for his powerful vocal. Dan kicks loose, while protesting his innocence. Using the familiar defense of: “Mistaken Identity.” As Dan pleads not guilty, his vocal mixes power, passion and pain, while, like Dan, his tight, talented band demonstrate their versatility.
My final choice from Dan Greer Beale Street Soul Man is When Will It All End. This is a track with a real Southern Soul sound. Washes of Hammond organ and rhythm section accompany George’s impassioned, powerful vocal. Backing vocalists sweep in, adding to the drama and Southern Soul sound. Then Dan plays the role of a son questioning his father. When Dan replies, his lyrics are full of social comment. He rails against the Vietnam War and pollution. His frustration at his inability to change things leads to anger and a sense of hopelessness. All this wells up, and spurred on, Dan delivers one of his most impassioned and effective vocals.
That most of the songs on Dan Greer Beale Street Soul Man have lain unloved and unreleased in the dusty vaults of Sounds Of Memphis is almost unjust. These songs deserved to be heard long ago. Indeed, when they were recorded, these songs should’ve been released. Dan Greer deserved better. Maybe, if they’d been released, and Dan’s career had taken off, then he’d have given up his job as songwriter, producer and A&R man at Sounds Of Memphis and XL Records? Or maybe Dan was happiest working with other artists. Maybe Dan Greer was a reluctant soul singer. That’s not unheard of. Whatever the reason, the important thing is that, at long last, Dan Greer’s music is available for the first time. The people responsible for this are Kent Soul and compiler of Dan Greer Beale Street Soul Man Dean Rudland. They deserve every credit for doing so. Now when people mention Dan Greer, they won’t just refer to him as a songwriter and producer. No. Now they’ll refer to Dan Greer as a multitalented singer, songwriter and producer, thanks to the release of Dan Greer Beale Street Soul Man. Standout Tracks: Shell Of A Man, Take A Look At Yourself, How Does It Feel and What Good Is A Man.
DAN GREER BEALE STREET SOUL MAN.
BLUESIN’ BY THE BAYOU.
BLUESIN’ BY THE BAYOU.
Bluesin’ By The Bayou, which was released by Ace Records in 27th May 2013, is described as: “low down, dirty and greasy blues from Louisiana.” As if that wasn’t enough reason to discover the delights of Bluesin’ By The Bayou, compiler Ian Saddler had added some zydeco for good measure. I was hooked. After all, blues and zydeco are a potent combination. That’s not even taking into account fourteen previously unreleased tracks. That was it. I had to grab a copy of Bluesin’ By The Bayou and see what all the fuss was about. Was Bluesin’ The Bayou the real deal? Would Bluesin’ By The Bayou live up to the hype, or was this just over enthusiastic marketing? That’s what I’ll tell you, when I pick the highlights of Bluesin’ By The Bayou.
The twenty-eight tracks that feature on Bluesin’ The Bayou were recorded by J.D. Miller and Eddie Shuler at their studios in Louisiana. Both men were talent spotters, who spent time finding and developing up and coming musicians. However, both J.D. Miller and Eddie Shuler took different approaches to recording their artists.
When Eddie Shuler’s career started, he had no studio. So he had to take his artists to radio stations to record them. Eventually, when he became a successful producer and label owner, he had his own studios in Lake Charles. That was where Eddie recorded countless singles. Eddie continually studied his artists, watching their technique and was constantly, looking for ways they could improve them as artists. Once Eddie had his own studio, this was easier, because he wasn’t constantly having to think of the budget. This allowed him to take longer, and produce better music. In many ways, Eddie and J.D. were similar.
J.D. Miller is best described as a perfectionist. He set his standards high, and was known to constantly rerecord a track over and over, in his constant quest for perfection. While J.D. would rerecord tracks, he was known to constantly rebuild his studios. Many times, J.D. stripped his Crowley studio and rebuilt it. All this was in his quest for perfection. However, both J.D. and Eddie shared one trait..they were blessed with good ears, as many producers are. Listening to the twenty-eight tracks on Bluesin’ The Bayou, which I’ll pick the highlights of, you’ll realise this.
Many time, I’ve mentioned the importance of the first track on an album. It has to grab your attention. That’s the case with Bluesin’ By The Bayou. Silas Hogan’s Just Give Me A Chance, literally explodes into life. It’s as if Silas was making up for lost time. No wonder. He was fifty when he first met J.D. and entered a recording studio. By then, his unique brand of electric blues had a harder sound. This is apparent from the get-go. Silas grabs your attention. He doesn’t let go. You’re captivated. Driven along by his searing guitar licks, Silas’ powerful, pleading vocal is answered by bursts of harmonica. Describing this track as: “low down, dirty and greasy,” doesn’t even come close. Let’s just say mesmeric and majestic.
Lazy Lester’s Late In The Evening has a sound you associate with juke joints. You can imagine Lazy Lester providing the soundtrack to a smoke-filled club, late at night, as bourbon and beer goes down easy. That’s the sort of music this song paints. Born Leslie Johnson, the future Lazy Lester learnt to play harmonica listening to Little Walter and Sonny Boy Williamson, he became part of Lightnin’ Slim’s band. Despite being overshadowed by his boss, Lazy recorded enjoyed a long and productive career. His languid vocal style, coupled with his impassioned harmonica playing was a potent partnership, as Late In The Evening and the emotive I’m Gonna Leave You Baby prove.
While some artists feature more than once on Bluesin’ By The Bayou, only Lightnin’ Slim features three times. Discovered by J.D. Miller, Slim, like many of J.D’s artists, signed to Excello, where he spent much of his career. Big Fat Woman is his first contribution. Driven along by Lazy Lester’s harmonica, the rhythm section provide the heartbeat. Meanwhile, Slim and Lazy are at the heart of the action. Lazy answers Lightnin’s call, each driving the other to greater heights. Slim’s other contributions, Stranger In Your Town and especially, I Ain’t Got No Money demonstrate just how good a blues guitarist and bandleader he was.
Although Joe Rich only cut a handful of tracks with J.D. Miller, they were some of the best of his career. Dreaming, Dreaming features a needy, desperate Joe pleading his way through the track. Accompanying him, are a chiming guitar and haunting harmonica. This proves a potent partnership, which also feature on Lonesome Lover Blues. It’s a slow, moody, but moving and impassioned paean to the woman he loves. His emotive, impassioned vocal, is delivered against a glorious blues-drenched backdrop.
Boogie Jake’s Early Morning Blues is a truly irresistible track. So why it has never been released before, doesn’t make sense. Thankfully, Ian Saddler, who compiled Bluesin’ By The Bayou, discovered this hidden gem. It was recorded in 1958, in J.D. Miller’s Crowley studio, but never released. That is, until now. Driven along by pounding, boogie woogie piano and guitar, Boogie Jake’s vocal is a mixture of heartache, hope and frustration. When the vocal and driving arrangement become one, the result is, one of the highlights Bluesin’ By The Bayou.
Talton Miller had the pleasure of working with both J.D. Miller and Eddie Schuler. He even recorded Long Journey (Life’s Journey) for both men. This is the version he cut with J.D. The version he recorded with Eddie was released as Life’s Journey, while Talton become Taj Miller. Long Journey (Life’s Journey) which has never been released before, features some stunning bluesy guitar licks. Indeed, I’d go as far as saying, this track features some of the best guitar playing on Bluesin’ By The Bayou.
Lonesome Sundown, who was born in Baton Rouge, Louisiana. He was self-taught musician, who could play guitar and piano. Having travelled to Texas, where he became a laborer, suddenly Lonesome became a musician, when he joined Clinton Chernier’s band. Playing rhythm guitar, he travelled all over America. Then in 1955, having discovered he was a talented singer, left the band. A year later, he recorded I’m A Samplin’ Man which demonstrates Lonesome’s twin talents as guitarist and singer.
While Leroy Washington was blessed with an abundance of talent, his life was cut tragically short. He died in 1966, aged just thirty-four, after a concert in Oakdale. So, we’ll never know the heights Leroy might have reached. This makes listening to Lost Love Letter Blues, which has never been released before, a poignant experience. Recorded at J.D’s Miller’s studio, from the opening bars, Leroy’s guitar playing is reminiscent of Jimi Hendrix. With the tempo slow, the piano and drums provide a moody, atmospheric backdrop. Having set the scene, Leroy as he delivers a vocal that’s filled with hurt and heartache. The result is a stunning track that leaves you wondering what if?
My final choice from Bluesin’ By The Bayou is Sylvester Buckley’s I Can Be On My Way. For many a long year, Sylvester Buckley played harmonica in Silas Hogan’s band. Now, his talents as a harmonica player are widely recognised and indisputable. However, few realized how good a vocalist he was. That’s because this track has never been released before. Now blues’ fans can hear the hidden talents of Sylvester Buckley, harmonica player and now, vocalist, thanks to compiler Ian Saddler uncovering this glittering hidden gem.
Described as: “low down, dirty and greasy blues from Louisiana,” Bluesin’ By The Bayou is all these things and more. From the opening bars of Silas Hogan’s Just Give Me A Chance, you embark on a mesmeric musical journey. That’s thanks to Ian Saddler’s crate-digging skills. He’s dug deep to come up with twenty-eight tracks this good. He combines blues and zydeco, including fourteen tracks that never before, have seen the light of day. That’s almost the musical equivalent to a Greek tragedy. Music this good, doesn’t belong in the vaults of a record company. Instead, it should be where people can enjoy. That’s the case here. Indeed, just as you think you’ve heard a track that can’t possibly be bettered, it is. That’s no mean feat. All killer, filler describes Bluesin’ By The Bayou perfectly. Just authentic dirty, greasy blues that conjurs up images of Louisiana.
The moment you start listening to Bluesin’ By The Bayou, if you close your eyes, it’s like sitting in a juke joint down in Louisiana. All that’s missing, are the Marlboro, bourbon and beer. That, I’m sure can be rectified. Along with Bluesin’ By The Bayou, which was released by Ace Records on 27th May 2013, a good night is guaranteed for all. No wonder, Bluesin’ By The Bayou, with its combination of blues and zydeco, is one of the best blues compilations of 2013. Standout Tracks: Silas Hogan Just Give Me A Chance, Lazy Lester Late In The Evening, Boogie Jake Early Morning Blues and Leroy Washington Lost Love Letter Blues.
BLUESIN’ BY THE BAYOU.
NUTRITIOUS-FLASH IT.
NUTRITIOUS-FLASH IT.
Nutritious’ latest single Flash It, which will be released on 25th June 2o13, on SpinSpinNYC is undoubtably his most ambitious project. Why is this? Well DJ, remixer and producer Nutritious, decided to create a track that pays homage to his hometown, New York. That my friends, is no easy task. Anyone whose been to New York will realize that. New York means different things to every one of its twelve-million residents. So trying to create a track that pays homage to New York, is a bit like trying to climb Everest in a tutu, wearing just ballet shoes. Devilishly tricky. However, if anyone can, Nutritious can. After all, Nutritious isn’t just any producer. Indeed, there’s more to Nutritious’ career than production.
Over the last few years, Nutritious has forged a reputation as one of the best producers in New York. Considering the fierce competition, that’s quite an achievement. Anyone who heard Nutritious Presents Duke Williams and The Extremes, will know that Nutritious is a producer with a big future. That’s why Nutritious’ reputation and fan-base is quickly growing. Not only that, but he’s received the backing of Soul Clap and Boddhi Satva. Not only has Nutritious won the respect of his peers, but his music is critically acclaimed. Nutritious it seems, is well on his way to becoming one of the best deep house producers. Maybe Nutritious is what house music needs just now? After all, he’s innovative, bold and is certainly not lacking in talent. Not at all. Multitalented. That best describes Nutritious, a man with several strings to his musical bow.
Apart from production, Nutritious is one of New York’s top DJs. He throws some of the best parties in his hometown. Then there’s SpinSpinNYC, Nutritious’ record label. Based in Brooklyn, SpinSpin NYC has gained a reputation as a record company who release innovative music. This includes Nutritious Presents Duke Williams and The Extremes, Internal Device’s Life In Stereo and Cubez’s Skams. To that that trio of innovative releases, we can now add Nutritious’ Flash It, where he pays homage to his hometown of New York.
As Flash It unfolds, it’s like New York awakening. You picture a city collectively awakening, stretching and gradually coming to life. Just slow, deliberate stabs of wistful keyboards paint this picture. Soon, the day is underway. Drums, hissing hi-hats and meandering synths set the scene as New Yorkers go about their business. Still the arrangement is understated. That’s okay though. it’s early. The city’s night owls are just shaking the sleep from its eyes. Meanwhile, Nutritious combines the lushest of strings and melancholy synths. Watching the accompanying video proves effective. A sea of faces, each one seemingly alone, wander the streets of NYC. Nobody looks near another soul. Every man or woman is an island. By the time dark falls, the city is transformed. Trains depart from stations, destinations unknown. Then it’s time for the city to show another side to its metamorphic character.
Coming in from the boroughs, are New York’s party people. They’re ready to head out to play. Shrouded in mystery, with a whisper of promise, the city beckons. Providing an alluring backdrop for the hedonism and adventure the city promises, is Nutritious, with his unique brand of deep house. Now the nights unfolding, it becomes a seething, heaving mass of humanity, united in the pursuit of nirvana like hedonism. By now Nutritious’ soundtrack tales on harder, edgier sound, thanks to thunderous bass-lines and his trusty filters. As the city sleeps, the glitteratti party. Then as dawn breaks the party’s over. Home-time, time to comedown for the party people. Meanwhile, the New York awakes and the fun begins again.
Somehow, Nutritious managed to achieve what seemed like the impossible. He managed to pay homage to his hometown in a seven-minute single Flash It. Nutritious is one seven-minute track, tells the story of a day in the life of New York. That’s quite a feat. Many producers wouldn’t have been up to the challenge. Nutritious was. However, he’s one of New York’s best producers. He’s also an innovator, whose not afraid to take risks. Proving this, is Flash It, Nutritious’ latest single, which will be released on 25th June 2013, on SpinSpinNYC. With Nutritious providing the soundtrack to a city at work, play and partying, you become an onlooker, watching the scenes unfold. You’re enthralled. What will happen next. The video that accompanies Flash It, brings the music to life. It brings meaning to Nutritious’ music. As the music unfolds, the video is in synch with the music. It’s seamless. This marriage of music and video increasing the power of both mediums. However, even without the video, this is an inventive and innovative slice of deep house.
Without the video, Flash It still works. It would be easy to argue it works just as well. After all, your imagination is left to paint the pictures that the video supplies. You’re left to visualize New York, during a twenty-four hours period. That’s easy. Flash It is an evocative, powerful and innovative piece of music. Describing Flash It isn’t easy. It ranges from cerebral, pensive, wistful and melancholic, to uplifting, mesmeric, seductive and sensual. Nutritious’ new single Flash It, is all that and more, while Nutritious is much more than a producer.
Referring to Nutritious as a DJ is an understatement. That’s like saying Picasso wasn’t bad with a pot of paint. Let’s get this straight, Nutritious is no ordinary producer. He’s one of the best producers in New York. Flash It, his latest single proves this. Flash It is the latest adventure in the life and times of Nutritious, DJ, remixer and producer of deep house for the discerning party-goer and connoisseur of quality music.
NUTRITIOUS-FLASH IT.
M.F.S.B.-M.F.S.B.
M.F.S.B.-M.F.S.B.
By 1973, Philadelphia International Records was well on the way to becoming one of the most successful record labels of all time, whilst supplying the soundtrack for the seventies, and a generation. Critically acclaimed and commercially successful albums started flowing out of Philadelphia. This included The O’Jays’ Backstabbers, Harold Melvin and The Blue Notes’ I Miss You and Billy Paul’s 360 Degrees of Billy Paul. Each of these albums have one thing in common, the musicians that played on these albums. Known as M.F.S.B, not only would they accompany the artists on Philadelphia International Records, but became one of the label’s most successful groups. M.F.S.B. would released eight studio albums between 1973 and 1980. Their debut album was 1973s M.F.S.B. which featured the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, percussionist Larry Washington and Don Renaldo and His Strings and Horns. These legendary musicians, were responsible for shaping and defining what became known as the Philly Sound. Sometimes, these musical legends don’t receive the credit they’re due. All too often, when someone mentions Philadelphia International Records, people think of Gamble and Huff. However, without the combined talents of M.F.S.B, who were much more than just musicians. People like Ron Baker, Norman Harris, Lenny Pakula and Vince Montana Jr, were songwriters, arrangers and producers, whose creativity and in some cases, sheer genius made Philadelphia International Records the musical force it became. All this creativity, talent and indeed, genius, shines through on the six songs that became M.F.S.B, which was rereleased by BBR Records on 27th May 2013. Before I tell you about M.F.S.B, I’ll tell you about the background to the album.
Way before Philadelphia International Records was founded, the various musicians that became M.F.S.B. played together. They regularly played together in sessions for a whole host of artists. Look at any album by The Delfonics, The Detroit Spinners, The Stylistics or any number of artists and the same names played on each album. If Earl Young played drums, then Ron Baker would play bass and Norman Harris guitar. This would continue even during M.F.S.B’s time at Philadelphia International. The members of M.F.S.B. would have side projects, say working with producer Thom Bell or as producers in their own right. Norman “The Machine” Harris and Bobby “Electronic” Eli both worked as successful producers. Whoever they worked with, they’d pick up the phone to the rest of M.F.S.B. and instantly, an all-star backing band was in place. However, one thing these musicians had never done, was record as a band. Their debut album would come when they recorded M.F.S.B’s debut album M.F.S.B. in 1972.
Six songs were chosen for M.F.S.B’s debut album M.F.S.B. This included covers of Curtis Mayfield’s Freddie’s Dead, Sly Stone’s Family Affair and Poinciana, written by Buddy Bernier and Nat Simon. The other three songs were written in-house at Philadelphia International. This included one of their early success story’s, Backstabbers, previously a hit for The O’Jays and the title of their 1972 album. It had been written by McFadden and Whitehead with Leon Huff, who also contributed Lady In Low. Kenneth Gamble’s only contribution was Something For Nothing, which he cowrote with Thom Bell and Roland Chambers. These six tracks would be recorded at Sigma Sound Studios in Philly.
The lineup of M.F.S.B. was what’s become known as the classic lineup. Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers T.J. Tindall and Reginald Lucas. Anthony Jackson also played bass, and drummers included Karl Chambers and Norman Farrington. Vince Montana Jr, played vibes and Larry Washington congas and bongos. Lenny Pakula played organ, Eddie Green and Harold Williams piano and Leon Huff electric piano. Joining Don Renaldo and His String and Horn Section were saxophonist and flautist Tony Williams and alto-saxophonist Zach Zachary. Gamble and Huff produced the six tracks that became M.F.S.B, which was released in 1973.
On the release of M.F.S.B. in 1973, it reached number 131 in the US Billboard 200 and number twenty in the US R&B Charts. Only one single was released from M.F.S.B, Family Affair, which failed to chart. However, for a debut album M.F.S.B. had been a commercial success. M.F.S.B was just the beginning though, but what a way to start their career.
Opening M.F.S.B is a cover of Freddie’s Dead, arranged by Bobby Martin. The track explodes into life, searing guitars, cinematic strings, percussion and a pounding, dramatic Baker, Harris, Young rhythm section. Ron Baker plays standup bass, while Zach Zachary unleashes a blistering, blazing alto saxophone solo. Joining him are rasping horns, a dramatic rhythm section, chiming guitars and percussion. Later, Vince Montana Jr. lays down a vibes solo, while behind him, waves of dramatic, frenzied music unfold. M.F.S.B. deliver the music with equal amounts of drama, urgency and passion. It’s almost as if they pride themselves are their ability to seamlessly fuse jazz, soul and funk during seven minutes of scintillating, music. If Freddie’s Dead, then this is the most fitting tribute.
Another of the cover versions on M.F.S.B. is Sly and The Family Stone’s Family Affair. Not for M.F.S.B. the loose, laid back sound of the original. There’s much more urgency and drama in the music. Sometimes, M.F.S.B. even outdo Sly Stone for sheer funkiness. Waves of pounding, punchy and dramatic music unfold. Horns punchy and growling join a thunderous Baker, Harris, Young rhythm section and melodic keyboards. Bobby “Electronic” Eli lays down a dramatic guitar line, while funk, soul and jazz combine. Wah-wah guitars, grizzled horns, a driving rhythm section and keyboards provide the engine to this powerhouse of a track, that masterfully totally reinvents Sly Stone’s classic.
Something For Nothing was the only song Kenny Gamble cowrote on M.F.S.B. He cowrote the song with Roland Chambers and Thom Bell, who arranged the track. Just a pensive piano panned left, explores the arrangement, before it’s all change. A thunderous rhythm section, dramatic piano, Vince Montana Jr’s vibes and horns, complete with Thom Bell signature sound combine. Strident, dramatic and with a sense of urgency, the arrangement unfolds. Waves of horns, swathes of strings and the Baker, Harris, Young rhythm section in full flight combine dramatically. Vince’s vibes sit in the background, as wave upon wave of dramatic, theatrical music unfold majestically and symphonically.
Backstabbers had given The O’Jays a huge hit, but here M.F.S.B. totally reinvent the song. It becomes something it was never meant to be, but thank goodness. From the get-go, M.F.S.B. kick loose. It’s as if arranger Lenny Pakula dares them. A flute, thunderous, dramatic Baker, Harris, Young rhythm section are joined by blazing horns, searing guitars and a Lenny Pakula’s wailing Hammond organ. Having given the track a jazzy twist, they add elements of funk, rock and soul. As the horns kick loose, they reveal a heartfelt, soulful, emotive sound, that draws you in. Searing rocky guitars explore the track’s nuances, while the rhythm section add drama whilst providing the track’s pulsating heartbeat. Vince Montana Jr’s vibes and percussion are almost a calming contrast to the drama, energy, enthusiasm and power of the rest of M.F.S.B. For six minutes plus, they take Backstabbers, explore its subtleties, secrets and nuances, deconstructing and then reconstructing the track. In doing so, they rebuild, revitalize and reenergize a classic track, M.F.S.B. style.
Lay In Low is arranged by Norman Harris and given a delicious, jazzy twist. Space, beauty and emotion are ever-present, with just Vince Montana Jr’s vibes, Earl Young’s thoughtful drums and Norman Harris jazz-tinged guitar combining. Sultry horns are joined by Lenny Pakula’s Hammond organ and percussion courtesy of Larry Washington. Soon, M.F.S.B. have locked into the tightest, sultriest and most beautiful jazzy grooves. So good and so beautiful is the track, you hope it goes on forever and that you find the secret of eternal life, so the track can massage your weary soul.
Closing M.F.S.B. is Poinciana, arranged by Vince Montana Jr. He gives the track an orchestral sound, using swathes of the lushest strings and dramatic flourishes of grandiose piano. This time, the rhythm section’s role is to provides a steady heartbeat. The piano, flute and quivering, shivering strings take centre-stage. They’re the stars of the show, while bursts of wah-wah guitar drift in and out. Later, Norman Harris steps forward, adding a jazzy guitar solo, while layers of strings sweep above, providing an emotive backdrop. The result is a dramatic, grand and orchestral track, where Vince Montana Jr, shows how innovative, talented and creative an arranger he was.
Having previously provided the musical backdrop for artists like The O’Jays, Harold Melvin and The Blue Notes and Billy Paul, it was time for M.F.S.B. to show they were more than the hottest house-band in America. It was like a challenge. Not only did M.F.S.B. rise to the challenge, but revelled in it. They kicked back and then kicked loose, showing that now was the time they stepped out of the shadows. Suddenly, all this creativity was unleashed. Cover versions new and old were reinvented. Songs subtleties, secrets and nuances were explored. Then the song was deconstructed and then reconstructed in a way that had never ever been envisaged. Proof of this are Freddie’s Dead, Backstabbers and Family Affair, where funk, soul and jazz become one. Proving M.F.S.B. were no one trick pony, is the jazz-tinged beauty of Lay In Low and the majestic, orchestral sound of Poinciana. While M.F.S.B. which was released by BBR Records on 27th May 2013, might not have been M.F.S.B’s most successful album, it showed their versatility and creativity. It also showed that M.F.S.B. were an innovative, multitalented band.
Without M.F.S.B, Philadelphia International Records might not have become the success story it became. Maybe, critical acclaim and commercial success might have eluded them. History may have been very different. Thankfully, that wasn’t the case. At least Gamble and Huff realised just how talented M.F.S.B. were. They went on to become one of Philadelphia International Records’ most successful artists. The album that started this off was M.F.S.B. It’s proof, if any were ever needed, of just how versatile, creative and innovative a band M.F.S.B. were. Standout Tracks: Freddie’s Dead, Backstabber, Family Affair and Lay In Low.
M.F.S.B.-M.F.S.B.
THE LONDON AMERICAN LABEL YEAR BY YEAR 1964.
THE LONDON AMERICAN LABEL YEAR BY YEAR 1964.
1964 proved to be an important year in the history of music. In January 1964, America finally “got” The Beatles. Coast to coast, Beatlemania swept the states. This kick-started the British invasion. Suddenly, American artists no longer monopolized the American charts. Instead, British artists stole the limelight from their American counterparts. Considering America invented rock ‘n’ roll, this was somewhat ironic. Despite the impending British invasion, American artists were releasing an eclectic selection of music. This music was still popular in Britain.
Over the Atlantic, many British music fans still preferred American music. That was the case when it came to soul, R&B and rock ‘n’ roll. They’d been introduced to American music by labels like London American Recordings. Through London American, British music lovers heard the music being released by Chess, Atlantic, Sun, Dot, Imperial and Speciality. 1964, was a particularly good year for London American.
London American released singles by Jerry Lee Lewis, The Drifters, Solomon Bourke, Ben E. King, Del Shannon, Rufus Thomas, The Ronettes and Otis Redding. All these artists feature on the latest installment of The London American Label Year By Year 1964, which was released by Ace Records on 27th May 2013. In total, twenty-eight singles from 1964 feature on The London American Label Year By Year 1964, which I’ll pick the highlights of.
Getting The London American Label Year By Year 1964 off to an explosive start is Jerry Lee Lewis’ Lewis Boogie. This sees The Killer at his very best, with a track that was originally released in America in 1958. Since then, a lot had happened to Jerry. Due to this controversy, Jerry hadn’t toured the UK. By 1964, it was time for Jerry to make a comeback in the UK. He released an album entitled Breathless, with Lewis Boogie the single that accompanied it. Despite its undoubtable quality, Lewis Boogie failed to chart, but remains a reminder of Jerry Lee Lewis at his very best.
Formed in 1953, The Drifters celebrate their sixtieth anniversary this year. 1964 was a good year for The Drifters. In the US, they released two stonewall classics, Under The Boardwalk and Saturday Night At The Movies. Before that, they released One Way Love. It reached number thirty-six in the UK. This was one of the first tracks that featured Johnny Moore’s lead vocal. He’d returned after the death of Rudy Lewis. Despite a seven year absence from The Drifters lineup, it was as if Johnny had never been away. His vocal was just as soulful, impassioned and needy, as another chapter in The Drifters’ story unfolded.
Philly-born Solomon Bourke is just one of many great soul singers born in the city of brotherly love. He’s widely regarded as the greatest practitioner of deep soul, including by none other than Dave Godin. After just a few bars of Goodbye Baby (Baby Goodbye), penned by Bert Berns and Wes Farlell, you realize just how talented Solomon is. Accompanied by The Sweet Inspirations, Goodbye Baby (Baby Goodbye) features a heartbroken, soul-baring vocal from Solomon.
Ever since Del Shannon released his debut single Runaway, he’d been huge star on both sides of the Atlantic. He was also an astute businessman. Not content with writing his own songs, including 1964s That’s The Way Love Is in 1964, Del had decided to form his own record label, Berlee. That’s The Way Love Is was the second single he’d released on Berlee. It was the last single he’d release in the UK on London American. Penned by Del, his vocal is needy and rueful, tinged with regret and pathos, on this fitting farewell to London American.
Jimmie Rodgers had signed to Dot in 1962, and since then, had released three singles and the 1963 album Honeycomb and Kisses Sweeter Than Wine. However, in 1964, Dot’s ten-year deal with London American was about to expire. One of Dot’s final releases was meant to be Jimmy’s 1964 single The World I Used To Know. Sadly, the deal had expired before the single was released. What music lovers missed was an understated, wistful and poignant song, that’s a reminder of what music once sounded like.
After leaving The Drifters, Ben E. King embarked on a solo career. Having released the seminal Stand By Me in 1961, that set the bar high for future singles. Although Ben never surpassed Stand By Me, he was a consistent artist. In 1964, Ben released That’s When It Hurts in the US, it stalled at number sixty-three. However, it was the B-side, Around The Corner many people preferred. So, London American decided to release Around The Corner as a single. Despite Around The Corner being a better track, it failed to chart and was a disappointing way for Ben to end his career at London American.
Having started their carer as The Darling Sisters and then Ronnie and The Relatives, it was case of third case lucky when they change their name to The Ronettes. Teaming up with Phil Spector, hits like Baby I Love You and Be My Baby followed in 1963. 1964 would see The Ronnettes release two further singles for London American. The first was Do I Love You, which at stalled number thirty-five in the UK. Arranged by Jack Nitzsche, it showcased producer Phil Spector’s inimitable and innovative sound, where elements of pop, soul and doo wop are seamlessly fused.
When Otis Redding released Come To Me, which he cowrote with Phil Walden, he was just twenty-three and a relative unknown in the UK. You wouldn’t realize this from his performance on Come To Me. He delivers a needy vocal, one that’s heartfelt and laden with emotive. Sadly, Come To Me stalled at number sixty-nine in the UK. A year later, Otis became a household name, when he released I’ve Been Loving You To Long and Respect. Then in 1967, Otis Redding life was tragically cut short, when the plane he was traveling in crashed. That’s what makes Otis performance on Come To Me so moving and poignant.
My final choice from The London American Label Year By Year 1964 is Louis Armstrong and His Friends’ Hello Dolly. This was the title-track from Louis’ 1964 album. It’s a real anomaly, sounding as if it belongs in another era. Despite that, it has a real feel-good sound. This resulted in the track reaching number one in the US and number four in the UK.
The London American Label Year By Year 1964 is a fascinating musical document. It demonstrates the sheer variety of music being released in 1964. Featuring everything from soul, R&B, jazz, country, rock ‘n’ roll and pop, eclectic is the best way to describe The London American Label Year By Year 1964. Compiled by Peter Gibbon and Tony Rounce, they should be congratulated for the way they’ve approached this compilation. Rather than choose the most successful singles released by London American during 1964, they’ve chosen an eclectic selection of tracks, both hits and misses.
While sixteen of the tracks on The London American Label Year By Year 1964 charted, that doesn’t mean that the other twelve that didn’t are bad tracks. Far from it. Jerry Lee Lewis’ Lewis Boogie, Ben E. King’s Around The Corner and Jerry Wallace’s Even The Bad Times Are Good are a trio of glittering gems unearthed by Peter and Tony. Often, these hidden gems surpass their more successful musical cousins. That’s what makes compilations like The London American Label Year By Year 1964 such an enthralling and magical musical journey. Like Forest Gump’s box of chocolates: “you never know what you’re gonna get.” That’s half the fun. All of a sudden, you come across a track that you’ve never heard before. Suddenly, you’re day’s gotten a lot better. Maybe you’ll find a hidden gem that makes your day a whole let better, on The London American Label Year By Year 1964? Standout Tracks: The Drifters One Way Love, Del Shannon That’s The Way Love Is, The Ronnettes Do I Love You and Otis Redding Come To Me.
THE LONDON AMERICAN LABEL YEAR BY YEAR 1964.
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