THE MUGGSY STORY.
THE MUGGSY STORY.
Although Johnny De Mairo’s name is synonymous with Henry Street Records, the label he founded with Tommy Musto in 1993, that wasn’t the only label he founded. Not at all. Once Henry Street Records was an established label, and had forged a reputation as one of the most innovative and influential labels in house music, Johnny D decided to found a new label. There was a good reason for this. Henry Street Records had established a reputation for specializing in releasing soulful house that had been influenced by disco. Johnny wanted to release a much more eclectic selection of music. So, a few years after founding Henry Street Records, Johnny D founded Muggsy Records.
Originally, Johnny planned to release music with a more tribal sound on Muggsy Records. This tribal sound would launch Johnny D’s nascent label. The problem was, finding the right track. That wasn’t going to be easy. Then fate, luck or the musical gods intervened. Chris “TKC” Staropoii approached Johnny D with a track entitled Black Jack. It was the perfect track, with the sound Johnny was looking for. Not only was it tribal, but had a harder sound and was innovative. Without hesitation, Johnny D signed Chris “TKC” Staropoii to Muggsy Records. Black Jack became the first single released on Johnny D’s newly founded Muggsy Records. Soon, Muggsy Records were releasing tracks by some of house music’s luminaries, including Chicago’s Robbie Rivera and Ralphi Rosario, Miami’s Mike “Da Mooch” Mucci and New York’s Kenny Dope and Johnick, Kenny D’s studio partnership with Nick Palermo. Tracks from each of these innovative producers feature on The Muggsy Story, which will be released by BBE Music on 27th May 2013. Before I tell you about the music on The Muggsy Story, I’ll tell you about Johnny D’s career.
Johnny DeMairo was just twelve when he started learning to mix. Armed with a pair of Lafayette T-2000s, Johnny took the first step in his DJ-ing career. Quickly, Johnny managed to master his set of Lafayette T-2000s. A year later, Johnny graduated from the Lafayette T-2000s to a new set of Technics 1200 Mk IIs. Soon, Johnny was DJ-ing in his local neighborhood. Next step were block parties, where he’d meet older and more experienced DJs. Undeterred, and with an impressive array of records, Johnny soon won over the older DJs, with his skill and choice of music. His selection of music was eclectic to say the least. Italo disco and Led Zeppelin sat next to classics on the West End and Prelude labels. Having impressed his peers with his skills, he’d soon meet a DJ whose skills would impress Johnny no end.
Aged fourteen and helped by a fake id, Johnny gained entry to New York’s hottest nightclub, Studio 54, where he meet resident DJ Leroy Washington. His mixing skills on a set of Thorens’ turntables blew Johnny away. Leroy mixed every type of music, all with impeccable timing and stunning mixing skills. Leroy was just one of a series of people who’d inspire Johnny, and a year later, Johnny would have his own residency.
When Johnny was fifteen, he met Danny Cole, a Brooklyn DJ who had a residency on Friday and Saturday nights at Brooklyn’s Plaza Suite. Danny invited Johnny to join him. This wasn’t Johnny’s only job. He played at parties and held down a job in his family’s business. This allowed him to continue building his record collection, which now numbers eighty-thousand records. These records would find their way into his DJ sets. Around this time, he met another DJ who’d become a huge influence in Johnny’s career, Shep Pettibone.
Back then, Shep Pettibone was one of the hottest DJs on New York radio. Along with Frankie Crocker, they ruled New York’s airwaves on Kiss FM. Johnny was impressed by Shep’s reediting and mixing skill. Lke Leroy Washington, Shep influenced Johnny’s career. So too did freestyle DJs The Latin Rascals and The Dynamic Duo. All of these DJs influenced Johnny’s DJ career.
Through meeting DJ at record pools and in clubs, Johnny soon had numerous contacts among New York’s music community. However, he needed contacts further afield. To do this, he got a job at Vince Pellegrino’s promotion company the Street Information Network. This allowed Johnny to network with DJs worldwide. After leaving the Street Information Network, Johnny worked for Atlantic Records. During this time, Johnny founded Henry Street Records in 1993 with Tommy Musto. Five years later, Henry Street Records was an established label. The time was right for Johnny D to launch his new label Muggsy Records, which released a much more eclectic selection of music. You’ll realize that when I tell you about The Muggsy Story.
Opening The Muggsy Story is the single that launched Muggsy Records. This is TKC’s Black Jack. Released in 1998, Black Jack it’s a real slow burner. Gradually, the arrangement unfolds. It’s if not wanting to reveal its secrets. Having said that, it’s well worth the wait. The arrangement has a tribal sound from the get-go, before TKC introduces a sample of Steely Dan’s Do It Again. Its familiar sound is swathed in filters, percussion and echo. From there, TKC relentlessly teases you, gradually revealing its secrets, subtleties and charms.
Brutal Bill has three tracks on The Muggsy Story. The first is Brutal Bill Presents The Funkryders’ Woman of Angels. This four-track E.P. was released in 1998 and features three different mixes of Woman Of Angels, including the Whiskey-A-Go-Go Mix. Produced by “Brutal Bill” Marquez, Woman Of Angels samples The Doors’ classic Riders On The Storm. Here musical influences old and new are combined, including house and sixties, psychedelic rock. Adding a trademark house sound are thunderous drums. They’re joined by hissing hi-hats and percussion, which add to the drama. Having built up the drama, they’re joined by that unmistakable sample. Memorable and moody, it floats in, proving the perfect foil for the jacking arrangement. The result is a dramatic, memorable and melodic track.
The second track from Brutal Bill is the Club Mix of Do You Know About Love. This was Brutal Bill presents Soul Function’s single from 2000. Produced by “Brutal Bill” Marquez, this is quite different to Woman Of Angels. It’s best describes as a track that’s soulful, jazz-tinged and funky. Seamlessly, this fusion of musical influences unites, resulting in an irresistibly catchy, dance-floor friendly track.
Da Mooch’s Twist The Knob was released back in 1998. It was a five-track E.P. produced by Miami producer Mike “Da Mooch” Mucci. From the opening bars, you’re smitten. Resisting the charms and delights of this track isn’t easy. No wonder. Like so much of the music Henry Street Music released, here it’s house music with a strong disco influence. Waves of the arrangement unfold, while a diva-esque vocal delivers a strutting, vocal Magnus Opus.
Most people know Kenny Dope as one half of Masters At Work. That’s unfair though. Kenny has enjoyed a successful solo career, both as a producer and DJ. Proof of this is Kenny “Dope” Presents DBX’s And There Aint. Released in 1998, And There Ain’t was a three-track E.P, which featured Troopa’s Deep Mix. Opening with a sample of Young and Company’s I Like (What You’re Doing To Me), you embark upon a hypnotic and irresistible journey. Hectic, funky, soulful and melodic, here’s a track guaranteed to still fill any dance-floor.
Next up, are two back-to-back tracks from JohNick Presents The Sopranos. First up is, Is It Really Real, the title-track from an E.P. released in 2000. It has that trademark JohNick sound, where house has been heavily influenced by classic disco. That’s definitely the case here. Uplifting, joyous and with a plentiful supply of hooks, this is house with a strong disco influence. Quite simply, it’s the best track on The Muggsy Story. Coming a close second is the other contribution from JohNick presents The Sopranos. This is First and Henry, a track from their 1999 Untitled E.P. Quite simply, this is a totally timeless and irresistible track. One listen and you’ll be smitten.
Brutal Bill’s third contribution is Disko-Tek, a track from his 1999 E.P, The Disko-Tek. It’s drama-laden from the opening bars. Wave upon wave of driving, dramatic music unfolds. Classic seventies disco and nineties house become one. It’s as if the eighties never existed, and that the decade that taste forgot, was but a nightmare. With the cascading vocal, stomping beat and memorable melody, you’re swept along, above waves of glorious music.
Da Mooch’s other contribution to The Muggsy Story is That’s What It Is. Listening to this track, it’s hard to believe that it was released in 1999, as part of the That’s What It Is E.P. Given how good a track Twist The Knob was, Da Mooch has a lot to live up to. He rises to the challenge, mixing his familiar fusion of classic disco and house. Key to the disco influence is the strident, sassy vocal. He adds to this, elements of soul and jazz. The result is an eclectic track, one worthy of baring the Muggsy Records’ label.
Closing The Muggsy Story is Ralphi Rosario’s You Used To Hold Me. Released in 1998, this version is Ralphi’s Salsa Mix. It doesn’t take long before you discover that what an infectiously catchy track. Keyboards, percussion and crispy drums accompany a vocal that’s best described as a strutting diva. The vocal is crucial to the track’s success, transforming a good track into a great track.
The ten tracks on The Muggsy Story are the perfect introduction to Johnny De Mairo’s “other” label. While most people remember Johnny D for Henry Street Records, overlooking Muggsy Records is something they should do at their peril. After all, Muggsy Records was a label that was synonymous with innovative, influential and eclectic music. Indeed, one of Johnny D’s reasons for founding Muggsy Records, was to release a much more eclectic selection of music. This was music that Henry Street Records might not release. Given Johnny D’s reputation within the music industry, he’d soon, some luminaries of house music beating a path to his new label’s door. With producers of the standard of Kenny “Dope” Gonzalez, Robbie Rivera, Ralphi Rosario, Mike “Da Mooch” Mucci, Brutal Bill and JohNick on their roster, Muggsy Records concentrated on quality not quantity. Better to release ten great tracks than twenty average tracks seems to be Johnny D’s thinking. So, while Muggsy Records may not have been one of the most prolific record labels, their releases had one thing in common…their quality. The ten tracks on The Muggsy Story which will be released by BBE Music on 27th May 2013 are proof of this. Standout Tracks: TKC Black Jack, JohNick Presents The Sopranos Is It Really Real, JohNick Presents The Sopranos First and Henry Street and Brutal Bill Disko-Tek.
THE MUGGSY STORY.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 3.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 3.
It doesn’t seem like a year since I was telling you about the delights of Keb Darge and Little Edith’s latest compilation Keb Darge and Little Edith’s Legendary Wild Rockers 2. However, a year has passed and during the previous twelve months, Keb Darge and Little Edith have been compiling another compilation. This is Keb Darge and Little Edith’s Legendary Wild Rockers 3, which will be released by BBE Music on 10th June 2013. Keb Darge and Little Edith’s Legendary Wild Rockers 3 features twenty slices of the rarest rockabilly and surf music from the fifties and sixtes. Now if Keb Darge and Little Edith’s Legendary Wild Rockers 3 matches the quality of Keb Darge and Little Edith’s Legendary Wild Rockers 2, then this compilation will be a must-have for music lovers everywhere. Is that the case though? That’s what I’ll tell you, once I’ve reminded you about the lift and times of Keb Darge DJ, record collector extraordinaire, compiler and founding father of “deep funk.”
Keb Darge was born in Elgin, Scotland, and from an early age, was absorbed in music. His first exposure to music was as a record collector. Having accumulated an impressive record collector, DJ-ing was the next step for Keb. He travelled around Scotland and eventually, to Wigan. The road to Wigan was a well travelled road for Scottish soul fans. Most headed to the Wigan Casino, whereas Keb landed a DJ residency near the casino. He continued to DJ until he was twenty-two, then decided to move to London.
After moved to London, Keb quit DJ-ing. Promoters persisted in asking him to DJ. Eventually, he relented, allowing London’s club-goers to experience the Northern Soul sound. Then disaster struck for Keb in 1987. His divorce saw him forced to sell his beloved record collection. Obviously, without records, a DJ-ing career wasn’t feasible. Heading out into civvy street, Keb tried various jobs to make ends meet. Then, when he rediscovered some records in his loft, this would change his career, and life.
The pile of records that Keb discovered in his loft were what Keb called “junk records.” They included what was the beginning of what would become “deep funk.” Keb took this junk records to the Wag Club in 1989. Although this was the height of the Acid House’s popularity, the Wag Club was best known for Acid Jazz. After the night ended at The Wag Club, Keb met fellow DJ and record collector Snowboy. This was the start of a long and successful partnership.
Snowboy and Keb transferred their deep funk night to another venue. Due to the popularity of house music, the night never gathered momentum. From there, they headed to Soho. This was the perfect venue. Their Legendary Deep Funk night became hugely successful. It was so successful that the new venue quickly establishing itself as a club. Keb continued to DJ at the Legendary Deep Funk night lasted until 2010, when he decided to quit. He still continues to DJ at a variety of venues, spinning his own unique brand of Northern Soul, rockabilly, early R&B and jump-blues. However, by 2010, Keb’s career was heading in different directions. Not only was he busy compiling compilations for various labels, but was running Kay Dee, a label he founded with Kenny Dope.
By 2010, Keb Darge had compiled various compilations, including several volumes of his Legendary Deep Funk, plus Soul Spectrum, Funk Spectrum and Lost and Found with Paul Weller. 2010 saw the release of the first of Keb Darge and Little Edith’s collaborations. In 2010, Keb Darge and Little Edith released Keb Darge and Little Edith’s Legendary Rockin’ R&B. Then in 2011, came the first installment in Keb and Little Edith’s new compilation series.
Keb Darge and Little Edith’s Legendary Wild Rockers was released in July 2011, with Keb Darge and Little Edith’s Legendary Wild Rockers 2 following in July 2012. Now just eleven months later, Keb Darge and Little Edith’s Legendary Wild Rockers 3. Given how critically acclaimed Keb Darge and Little Edith’s Legendary Wild Rockers 2 was, Keb Darge and Little Edith’s Legendary Wild Rockers 3 has a lot to live up to. Can Keb Darge and Little Edith’s Legendary Wild Rockers 3 somehow surpass the quality of its predecessor? That’s what I’ll tell you, once I’ve told you about some of Keb Darge and Little Edith’s Legendary Wild Rockers 3 highlights.
Choosing the perfect track to open any album of compilation is never easy. Keb and Little Edith’s decision to open Keb Darge and Little Edith’s Legendary Wild Rockers 3 with Gamimian & His Oriental Music’s Come With Me To The Casbah, is a masterstroke. This is a track from the 1959 album Come With Me To The Casbah, which was released on Atco Records. After an intriguing introduction, a scorching slice of frantic R&B, with blazing horns driving the arrangement along, unfolds. Irresistibly catchy, funk, jazz, blues and world music crammed inspire and influence this track.
Anyone who loves surf music will love Angie & The Citations’ Headache. Quite simply, this is a track you must hear once in your life. That’s easier said than done. Only 150 copies of Heartache were pressed in 1963, when it was released by Angela Records. Some of the band didn’t even get a copy of Headache. They’re missing a stunning slice of surf music. After an understated introduction, the track literally explodes into life. Waves of music pour out of your speakers, and your taken of a magical, joyous musical journey. So good is this journey, that once it’s over, you can’t stop yourself reliving it again.
The great thing about compilations like Keb Darge and Little Edith’s Legendary Wild Rockers 3, is that you’re able to hear tracks that are extremely rare for the price of just one CD. Another of these tracks is Johnny Knight’s Rock & Roll Guitar. It was released in 1958, on Morocco Records. From the opening bars, the track is an explosion of energy, emotion and power that’s best described as rock ‘n’ roll and rockabilly combined.
Choosing just a few tracks from Keb Darge and Little Edith’s Legendary Wild Rockers 3 isn’t easy. After all, the quality of the music is so high. Indeed, on another day I might choose different tracks. One track I’d still choose is Tony & Jackie Lamie With The Swing Kings’ Sunset Blues. Released in 1958, on Sunset Records, country and rockabilly meet head-on, creating one of the compilation’s highlights.
Ever wondered where The Beatles got the inspiration for Magical Mystery Tour? Well, listen to the opening bars of The Shindigs’ Thunder Reef and you could have the answer. The similarities may be brief, but like Magical Mystery Tour, Thunder Reef is quality all the way. Rather than psychedelia, it’s surf music The Shindigs specialise in. Thunder Reef was the B-side to Wolfman, a single released in December 1964 on Mustang Records. Ironically, Thunder Reef was a much better track than Wolfman, never reaches the same heights as the flip side. Quite simply, Thunder Reef is a hidden gem and much better than Wolfman.
Johnny Powers With The Band Of Stan Getz & Tom Cats’ Rock Rock is another B-side. It was the B-Side to Johnny’s second single Long Blond Hair is, Red Rose Lips, which was released on Fox Records in 1957. Good as the A-side Long Blond Hair is, Red Rose Lips is, the irresistible and infectiously catchy Rock Rock surpasses it. So, it’s no wonder that Johnny enjoyed a long and successful musical career, signing to Sun Records and then Motown.
Eddie Gaines And The Rockin’ Five’s Be-Bop Battlin’ Ball was was the B-side to Try This Heart For SIze. It was released on Summit Records, in April 1958. Best described as raw, explosive and emotive, instantly, you’re transported back to the birth of rock ‘n’ roll by this vintage slice of vintage rockabilly.
The best way to describe Ray Taylor & Alabama Pals’ Connie Lou is a real fusion of musical genres. There’s elements of blues, rockabilly and country during this three minute track. As for Ray’s vocal, it’s not dissimilar to Johnny Cash in delivery and sound. While Connie Lou was the B-side to My Hamtramck Baby, it yet again demonstrates that you should always check the B-side to a single. If you don’t, you’re liable to miss hidden gems like Connie Lou.
Joe Lee and Orchestra’s Hang Out is quite different from other tracks on Keb Darge and Little Edith’s Legendary Wild Rockers 3. It was released on 1959, on Fernwood Records. Produced by the legendary Scotty Moore, again, it’s a captivating and dramatic, fusion of influences, including jazz, rockabilly and exotica.
Fittingly, my final choice from Keb Darge and Little Edith’s Legendary Wild Rockers 3 is the final track from the compilation. This is The Country Dudes’ Have A Ball. Released on 1959, on Dallas’ label Azalea, Have A Ball features a weary, wistful vocal from Clay Allan as seamlessly, The Country Dudes fuse country and rockabilly. Given the vocal and the lyrics, this is the best track on Keb Darge and Little Edith’s Legendary Wild Rockers 3.
Earlier I wondered whether Keb Darge and Little Edith’s Legendary Wild Rockers 3 would match or better the quality of their previous compilations? That’s a question I also posed a year ago. This year I wondered if this was possible to surpass their previous efforts? After all, they’d set the bar high. To do this, would be the musical equivalent of a Fosbury Flop. Then I wondered whether the previous volumes of Keb Darge and Little Edith’s Legendary Wild Rockers had exhausted their supply of hidden surf and rockabilly gems?
Thankfully, having set the bar high, Keb Darge and Little Edith’s Legendary Wild Rockers 3 surpasses the quality of the two previous volumes. This is testament to Keb’s encyclopedic knowledge of music. Quite simply, he knows where to dig for hidden gems. Keb knows where there are a few musical treats lying undiscovered, including many of the twenty slices of surf music and rockabilly that feature on Keb Darge and Little Edith’s Legendary Wild Rockers 3. It seems that Keb Darge and Little Edith haven’t exhausted their supply of hidden gems. Not at all. Keb Darge and Little Edith’s Legendary Wild Rockers 3 features another twenty glistening rockabilly and surf gems for your enjoyment.
Indeed, whether your preference is for rockabilly or surf, there’s plenty there for you to enjoy on Keb Darge and Little Edith’s Legendary Wild Rockers 3. From the opening bars of Gamimian & His Oriental Music’s Come With Me To The Casbah right through to the closing notes of The Country Dudes’ Have A Ballyou’re enthralled, captivated and in awe of Keb and Little Edith’s flawless musical taste. During Keb Darge and Little Edith’s Legendary Wild Rockers 3 you’ll continually wonder where this music has been all year life? However, many of these tracks are extremely rare. Even if you could find copies of the twenty tracks, you’ll need a second mortgage to buy them. Thankfully, you can save yourself the money, time and effort by buying a copy Keb Darge and Little Edith’s Legendary Wild Rockers 3, which will be released by BBE Music on 10th June 2013. If you can’t wait that long, you can always investigate the delights of Keb Darge and Little Edith’s Legendary Wild Rockers and Keb Darge and Little Edith’s Legendary Wild Rockers 2. By the time you’ve savored their delights, then it’ll be time for the release of Keb Darge and Little Edith’s Legendary Wild Rockers 3. Standout tracks: Angie & The Citations Headache, The Shindigs’ Thunder Reef, Joe Lee and Orchestra Hang Out and The Country Dudes’ Have A Ball.
KEB DARGE AND LITTLE EDITH’S LEGENDARY WILD ROCKERS 3.
ROBERTA FLACK-KILLING ME SOFTLY.
ROBERTA FLACK-KILLING ME SOFTLY.
In a previous article about Donny Hathaway, I mentioned how closely he had worked with Roberta Flack during his tragically, short career. I also mentioned how the pair were recording an album of duets just before his death. Ironically, the album that preceded Killing Me Softly, which was rereleased by WEA Japan on 30th April 2013, was an album of duets with Donny Hathaway. This was the first album of duets the pair had recorded entitled Roberta Flack and Donny Hathaway. At the time of Donny’s death in 1979, they were recording a second album of duets, but had only recorded two songs before Donny tragically died. The two songs were released on Roberta Flack Featuring Donny Hathaway, which was released in March 1980. Like the first album of duets, it was certified gold, reaching number twenty-five in the Billboard 200 and number four in the US R&B Charts. However, it’s the album that followed 1972s’ Roberta Flack and Donny Hathaway the first album of duets, that this article is about. That album is Roberta Flack’s 1973 album Killing Me Softly, which would become her biggest selling album.
By the time Killing Me Softly was released in 1973, Roberta Flack was a hugely successful artist. Three of her four previous albums had been certified gold, and the other platinum. Her debut album First Take, released in 1969, reached number one in both the US Billboard 200 and US R&B Charts, and was certified platinum. This was quite remarkable for a debut album, but when she released Chapter Two in 1970, it only reached number thirty-three in the Billboard 200. It however, was certified gold, as was her next two albums. They were 1971s’ Quiet Fire which reached number eighteen in the Billboard 200 and Roberta Flack and Donny Hathaway, released in 1972, which reached number three in the Billboard 200. So, when Killing Me Softly was released in August 1973, on Atlantic Records, she was hoping to replicate the success of previous albums. Little did she know, that Killing Me Softly would prove to be the biggest selling album of her career. On the album’s release, it reached number three in the Billboard 200 and number two in the US R&B Charts, and was certified double platinum, selling over two million copies. In 1974, the album was nominated for a Grammy Award, but lost out to Stevie Wonder’s album Innervisions. This was just one of four Grammy Awards that Roberta had been nominated for. The other three were for a song that she would become synonymous with.
One thing that must have helped sales of the album, was the success of the title track, Killing Me Softly WIth His Song, when it was released as a single. It reached number one in the Billboard Hot 100, spending four weeks there. Roberta won three Grammy Awards in 1974 for her version of the song, winning Song of the Year, Record of the Year and Best Pop Vocal By A Female Performer. Since then, a multitude of artists have recorded Killing Me Softly WIth His Song, but it’s widely recognized that Roberta’s version is the definitive version. One of the most recent versions was by hip hop group The Fugees in 1996. In 1999, Roberta’s version of the song was inducted into the Grammy Hall of Fame, and both Rolling Stone magazine and Billboard include the Killing Me Softly in their lists of the greatest songs of all time. Killing Me Softly is also the track that opens the album, which I’ll now tell you about.
Killing Me Softly opens with the title track, and a song that regardless of what she did before or after, Roberta Flack will always be synonymous with. Written by Charles Fox and Norman Gimbel and originally recorded by Lori Lieberman in 1971, it was two years later in January 1973, that Roberta made the song a huge hit. When the track opens, straight away, you’re enveloped in the song’s beauty. Roberta sings gently and tenderly, as multi-tracking backing vocals accompany her. Keyboards melodically play, a gentle acoustic guitar is strummed while a slow, thoughtful bass, subtle percussion and metronomic, atmospheric, drums accompany Roberta’s vocal. It’s a combination of tenderness and thoughtfulness, she delivers the lyrics with, bringing the beautiful lyrics to life. Meanwhile, guitars chime, while the bass sits at the bottom of the mix. Drums and percussion are used sparingly. The keyboards are at the heart of the arrangement, their soft melodic sound key to the success of the track. However, what made this track such a huge hit and a timeless classic is Roberta Flack’s delivery of some beautiful lyrics. Her voice and the key she sings the song in, is just perfect. Combine that with an arrangement that’s subtle and sympathetic, and you’ve the recipe for a timeless classic.
The song that has to follow Killing Me Softly has a lot to live up to. After all, how do you follow one of the best songs ever recorded? Here, the track chosen is Jesse, written by Janis Ian, another slow and gentle track. It opens with piano and strings drenching the arrangement in pathos and sadness. When Roberta sings the lyrics she gets across the sadness of the lyrics about someone who is missing, and how they still await their safe return years later. Her delivery is perfect, bringing the lyrics to life, so much so, that you can almost picture the scenes unfolding before your eyes. Like Killing Me Softly, the arrangement is subtle, but here, it’s stripped down to piano, strings and bass. This is effective, suiting the song and Roberta’s delivery. Overall, it’s a lovely song, beautifully sung and arranged, even though lyrics have a slight saccharine quality.
No Tears (In the End) opens with a piano grandly playing before percussion enters. Things move up a gear when funk laden, chiming guitars reverberate, and the rhythm section enter. Roberta’s voice is louder and stronger, her delivery considered and confident. Horns blazing, inject their rasping sound, while the funky guitars and rhythm section help drive the song along. Later, what sounds like a gospel influenced choir of backing vocalists unite soulfully and brilliantly. They really help lift this song. Their voices combine really well with Roberta’s. A combination of great vocal and a much fuller, joyous sounding arrangement, make this an irresistible and excellent track. By the end of this bright, uptempo sounding track, a very different side of Roberta has become apparent.
After a much more uptempo track, Roberta drops the tempo on I’m the Girl. It’s a song about love lost, and an old love affair, where she knew her partner loved someone else. Written by James Allan Shelton, it features another understated arrangement from producer Joel Dorn. Again, a piano and strings combine to accompany Roberta’s strong vocal, which again is thoughtful, but tinged with sadness. Apart from Roberta singing and playing piano, the arrangement features just strings and a really subtle contribution from an upright bass. This really suits the song, allowing Roberta’s vocal and delivery of the lyrics to take centre-stage. Her delivery of the track is hugely powerful, bathed in sadness, tinged with regret at what might have been. Like other tracks, she brings the song to life, allowing the listener to imagine the scenario unfolding scene by scene.
River, has a different sound and feel. Chiming guitars and rhythm section combine. Drums pound repetitively, their sound metronomic, controlled, before Roberta’s vocal enters. When it does, her voice is high, but always in control. Then, backing vocalists unite, accompanying her with their joyous, gospel tinged sound. This meeting of voices and styles really lifts the track, improves it. Still, the arrangement features just the guitars and rhythm section, with the drums at the forefront of the arrangement. Offering some variety are strings which sweep in, while the guitars seem to want to inject a modicum of funk into proceedings. What’s almost a wah-wah sound is straining at the leash, but is never unleashed. The same can be said of the track. Throughout it, I always expect it to break out into something joyous and beautiful, maybe Roberta interacting and feeding off the backing vocalists. Sadly this never happens, and it seems a missed opportunity. Instead, the track has a slightly flat feel and sound. Although not a bad track, it isn’t the best on the album by a long shot.
Hopefully, Conversation Love will make amends for the previous track, River. Straight away, things sound promising, when a piano, flute, string and rhythm section combine with Roberta’s voice which is deeper, richer and charismatic. The arrangement is fuller, grander, with lush strings sweeping while the piano’s contribution is subtle, while the rhythm section provide the track’s heartbeat. Waves of music rise and fall dramatically, with the strings shimmering and sweeping beautifully, responsible for this. This is a much better track, mainly because of Roberta’s beautiful, considered delivery of the lyrics, and the much fuller arrangement, which is bathed in drama and atmosphere. It’s very much a return to form for Roberta, after the slight disappointment of the previous track.
Things change quite dramatically in terms of style on When You Smile, when Roberta rolls back the years, delivering the song in a style that brings to mind ragtime and big band music. The track bursts into life with rhythm section, piano and banjo combining with Roberta’s vocal. Her delivery of the lyrics is in a dramatic, big band style, with horns serenading her. Talking of the lyrics, they’ve a lovely sentiment, and you can’t help but smile when you hear them. Quite simply, you can’t help but be seduced by the catchiness of the track, it’s totally melodic and hook laden. A combination of an excellent vocal and infectiously catchy arrangement by Joel Dorn easily make this one of the track’s highlights.
Killing Me Softly closes with a cover of a Leonard Cohen track Suzanne, which Roberta delivers dramatically and thoughtfully, against a suitably subtle arrangement. It’s an epic version of this song lasting nine and a half minutes, and is up there with Leonard Cohen’s version of the song, as the definitive version. As the track opens it’s just piano and percussion that combine before keyboards and bass then enter. They play gently, subtly and thoughtfully before Roberta’s tender and gentle vocal enters. Straight away, it’s apparent Roberta’s slowed down version is transforming the song totally. She seem to enliven the lyrics, so much so, that you can visualize and empathize with Suzanne’s plight. During the track, the tempo rises and falls, with the arrangement a mixture of subtle and dramatic. Both the piano and strings are responsible for increasing both the tempo and drama, while a combination of melodic keyboards, gentle chiming guitars, percussion and rhythm section all play with a subtlety. Like the arrangement, Roberta’s vocal rises dramatically, demonstrating her power and versatility, delivering the lyrics with drama, passion and soul. By the end of the track, I’ve come to the conclusion that this is my favorite version of the song. I even prefer it to Leonard Cohen’s original version. To me, the combination of Roberta’s excellent vocal and an arrangement that’s a mixture of drama and subtlety transform this song totally. Just as the album opened with a brilliant song in Killing Me Softly, Suzanne provides a fitting ending to the album.
I’d long planned to write about Killing Me Softly, hich was rereleased by WEA Japan on 30th April 2013, since I wrote about Donny Hathaway’s album Everything Is Everything. My reason for wanting to write about this album is that when people talk about R&B and soul music nowadays, people seem to forget about Roberta Flack. This to me is strange considering how hugely successful a career she had. Between 1969 and 2003, she had seven albums and five singles that were certified gold and three albums that were certified platinum. That demonstrates just how huge a star she was. Nowadays, people seem to remember her for two of her most successful singles The First Time I Ever Saw Your Face and Killing Me Softly. One of my reasons for writing this article was to remind people that there was much more to Roberta’s career than these two singles. Granted both are brilliant songs, with Killing Me Softly being the outstanding track on the album Killing Me Softly. On that album, Roberta demonstrates her versatility and talent as a vocalist, singing songs in different styles, including soul, jazz and R&B. Killing Me Softly is an excellent album, containing some wonderful music. Apart from Killing Me Softly, the album contains an outstanding version of Suzanne, a Leonard Cohen song, and When You Smile which features an arrangement that has its roots in ragtime and big band music. These are just some of the great tracks to be found on this album. Should you have never heard Roberta Flack’s music, Killing Me Softly and First Take are the perfect introduction to the career of a hugely talented singer, songwriter and musician. Standout Tracks: Killing Me Softly WIth His Song, I’m the Girl, When You Smile and Suzanne.
ROBERTA FLACK-KILLING ME SOFTLY.
SWEAT BAND-SWEAT BAND.
SWEAT BAND-SWEAT BAND.
After George Clinton and his manager Archie Ivy formed Uncle Jam Records, the nascent label’s first release was the debut album from Bootsy Collins newly formed P-Funk supergroup Sweat Band. Formed out of the ashes of Bootsy’s Rubber Band, Sweat Band was a short-lived P-Funk group, who released just one album in 1980. This was Sweat Band, which was recently rereleased by BBR Records. However, Sweat Band were no ordinary band. Instead, they’re worthy of being described as a P-Funk supergroup, albeit with a soulful twist. Before I tell you about Sweat Band, I’ll tell you about the background to the band and their only album Sweat Band.
Sweat Band were formed out of the ashes of Bootsy Collins’ previous group, Bootsy’s Rubber Band. They were one of a number of P-Funk spin-off groups, formed by members and former members of Parliament and Funkadelic during the seventies. This included Parlet, Quazar and Mutiny. However, not every P-Funk group enjoyed the success of Bootsy’s Rubber Band. Between 1976 and 1980 they released four albums, including the critically acclaimed and commercially successful sophomore album Ah, The Name Is Bootsy, Baby. Everything was going well for Bootsy’s Rubber Band, until a folk group challenged their legal right to use the name “Rubber Band.”
When the case came to court, Bootsy Collins lost the right to use the name Bootsy’s Rubber Band. So, what might have become the fifth album by Bootsy’s Rubber Band became Sweat Band’s debut album. Despite the change of name, Sweat Band featured many of the same members as Bootsy’s Rubber Band.
For Sweat Band, Bootsy Collins, wrote Body Shop and cowrote the other six tracks. With Gary Shider and Carl Small he cowrote We Do It All Day Long and We Do It All Day Long (Reprise). The trio also cowrote Freak To Freak with Jeanette Washington. Bootsy and Joel Johnson cowrote Hyper Space, while Bootsy and Maceo penned Love Munch. Maceo and Bootsy then cowrote Jamaica with Robert Johnson. These seven tracks became Sweat Band’s debut album Sweat Band.
When Sweat Band began recording at Detroit’s United Sound System, it was a P-Funk supergroup that Bootsy had put together. Bootsy was a one-man rhythm section, playing bass, drums and guitar, while also playing percussion. Augmenting his efforts were drummer Jerry Jones plus guitarists Garry Shider and Michael Shider. They were joined by keyboardists Bernie Worrell and Joel Johnson, percussionist Carl Small and The Horny Horns, who included Fred Wesley, Maceo Parker, Richard Griffith and Larry Hatcher. The backing vocalists included Ray Davis, Michael Payne and ex-Spinner Phillip Wynn whose Wynn Jammin’ was due for release at the same time as Sweat Band. Once Sweat Band was recorded, it was due for release in November 1980, a controversial release date if there ever was one.
Before the release of Sweat Band, Freak To Freak was released as the lead single in September 1980. It reached number twenty-five in the US R&B Charts and number forty-seven in the US Disco Charts. Controversially, Sweat Band was released in November 1980, on the same date at Bootsy’s fifth album for Warner Bros. Ultra Wave. Sweat Band reached number 150 in the US Billboard 200 and number twenty-two in the US R&B Charts. The second single Body Shop, released in December 1980, failed to chart. Despite Sweat Band’s all-star lineup, it wasn’t a commercial success. Maybe this was why Sweat Band was the only album Sweat Band released? However, was this a missed opportunity and if Sweat Band had been given time, could’ve been a successful P-Funk group like Bootsy’s Rubber Band?
Opening Sweat Band is Hyper Space, an instrumental penned by Bootsy and Joel Johnson. Although there’s a strong Parliament and Funkadelic sound, elements of jazz, boogie and disco shine through. Driving the arrangement along, are synths and Sweat Band’s uber funky rhythm section and hypnotic handclaps. By now, there’s a much more mellow, laid-back sound. Gone is the really heavy funk of other P-Funk groups. Even when percussion, bubbling, sci-fi synths and searing, rocky guitars are added this doesn’t spoil things. Quite the opposite. They play there part in a track that’s variously mellow, jazz-tinged, hypnotic, dramatic and dance-floor friendly.
Freak To Freak has a much heavier P-Funk sound, and is the polar opposite of the opening track. Key to this is Bootsy’s elastic, slapped bass. He hollers and ad-libs as the Sweat Band kick loose, combining funk, soul and blues. Chiming guitars, blues harmonica, handclaps, stabs of piano and sweet, soulful harmonies join the hypnotic handclaps. Soon, the Sweat Band are in the tightest and funkiest of grooves. You wish they would stay there for much longer than seven minutes. Especially with harmonies this sweet and soulful adding the finishing touch.
Love Munch is another instrumental, where Bootsy and Co. demonstrate their versatility. There’s a real jazzy sound as horns rasp and strings sweep, providing a wistful backdrop for the piano, percussion and rhythm section. The arrangement literally floats along. Described by some people as smooth jazz, that’s a misnomer. Smooth jazz equals bland. This is far from bland. While the percussion provide a shuffling backdrop, the horns take centre-stage. Not only are they played with passion, but controlled power that results in one of Sweat Band’s highlights.
We Do It All Day Long sees a return to the P-Funk sound of Freak To Freak. This version of We Do It All Day Long is only two minutes long. Despite the track’s brevity, you’re smitten from the get-go. Sweet and sassy sing-along vocals accompany growling horns, dark synths, handclaps and a funk-laden rhythm section. Irresistible and infectiously catchy, the only thing wrong with the track is its brevity. However, at least the Reprise is an eight-minute epic.
Jamaica is something of a misnomer. You’re expecting a reggae track, perhaps something paying homage to Jamaican music? Not at all. This is no reggae track. Instead, it’s an explosive slice of funk. It’s like the type of track you’d expect to find on the soundtrack to a seventies Blaxploitation movie. When the track bursts into life, you can imagine a high speed car chase. Driven along by the rhythm section and keyboards, horns growl and blaze. Sassy, feisty and chatter, percussion and harpsichord augment the horns and rhythm section. Crucial to this storming and joyous track’s success is Bootsy’s bass playing. Quite simply he delivers a masterclass in how to play an uber funky bass.
Body Shop was written by Bootsy Collins. After Bootsy hollers: “I like your body,” sassy, feisty female backing vocals strut in. They’ve a slight hip hop sound. That’s the signal for the arrival of some heavy duty P-Funk. Soon, the Sweat Band are into the tightest and funkiest of grooves. Bootsy unleashes some of his trademark bass lines, while scorching guitars, Hammond organ and haunting, moody male vocals accompany him. By now, the arrangement fuses everything from P-Funk through hip hop, psychedelia, seventies funk, jazz and rock. This results in a captivating, genre-sprawling track whose influences span three decades.
Closing Sweat Band is We Do It All Day Long (Reprise). While the original version was just a mere Amuse Bouce, this is a much more substantial musical meal. Slow, thunderous drums are joined by a Hammond organ, bubbling, sci-fi synths and sassy harmonies. As Bootsy’s bass weaves its way across the arrangement, disco strings dance, guitars chime and urgent harmonies soar above the arrangement. Together, they create the tightest of grooves. Crucial to the song’s success are the singalong vocals. They delivers the cheeky hook with just the right combination of sass and sensuality, while the rest of Sweat Band combine to create a nine-minute, hook-laden musical Magnus Opus.
Although Sweat Band stalled at number 150 in the US Billboard 200 and number twenty-two in the US R&B Charts, it’s a much better album than that. After all, Sweat Band featured some of the best funk musicians of their generation. Lead by Bootsy Collins, and featuring the combined talents of Fred Wesley, Maceo Parker, Bernie Worrell, Carl Small and ex-Spinner Phillip Wynn, Sweat Band was a multitalented, versatile, all-star band. Indeed, there’s much more to Sweat Band than P-Funk.
With its combination of P-Funk, jazz, boogie, disco and soul, there’s much to commend Sweat Band. Tracks like Freak To Freak, We Do It All Day Long, Body Shop and We Do It All Day Long (Reprise) feature the trademark and familiar P-Funk sound. During these tracks, Sweat Band kick loose and do what they do so well. For lovers of P-Funk, then these four tracks feature Bootsy and Co. rolling back the years. The other three tracks are very different, demonstrating another side to Sweat Band’s music.
On Sweat Band’s other three tracks, a different side of Sweat Band emerges. Hyper Space features a mellower sound and like Love Munch, features a jazzier sound. Indeed. Love Munch is the highlight of Sweat Band. Jamaica, rather than a reggae track, is a storming slice of seventies funky music. Gone is the P-Funk sound, with Bootsy and Co. just laying down some peerless funky licks. Which side of Sweat Band you prefer will be down to personal preference. Of the two sides to Sweat Band, I much prefer it when they move away from the P-Funk sound. After all, that was the same sound Funkadelic, Parliament and their various spin-off groups had been releasing since 1970. New and innovative as P-Funk was a few years earlier, this was now 1980, and music was changing. The various P-Funk groups, including the newly formed Sweat Band had to change to stay relevant.
Maybe the reason Sweat Band wasn’t a commercial success, was that P-Funk was no longer as fashionable. It had been overtaken by new musical genres. Granted funk was still popular, but not as popular as during the seventies. So, possibly, Sweat Band was possibly the wrong album at the wrong time? A new decade had dawned, and music fans were looking for new and innovative music. This was certainly something Sweat Band were capable of. Proof of this is Hyper Space, Love Munch and Jamaica. These three tracks saw Sweat Band take their music in a new, innovative and exciting direction. It’s just a pity Sweat Band, with its all-star lineup, didn’t take this innovation further. After all, Sweat Band were a new band, and this was the perfect opportunity to do this. Having said all that, Sweat Band with its mixture of familiar P-Funk and innovative music is an album that’s well worth discovering.
Whether you’re a newcomer to P-Funk, or a veteran of many a Funkadelic and Parliament album, then Sweat Band is well worth discovering. There’s neither faux pas nor filler on the seven tracks that comprise Sweat Band which was recently released by BBR Records. Instead, Sweat Band never miss a beat as they seamlessly veer between P-Funk, jazz, boogie, disco and soul. Sadly, Sweat Band was their only album. This to me, is a missed opportunity. Who knows what direction Sweat Band’s music would’ve headed in. Maybe they’ve forsaken their beloved P-Funk, in an attempt to create new, exciting and innovative music that would’ve inspired a new generation of musicians? That, however, wasn’t the case. Instead, Sweat Band remains a tantalizing reminder of what might have been. Standout Tracks Hyper Space, Love Munch, Jamaica and We Do It All Day Long (Reprise).
SWEAT BAND-SWEAT BAND.
THE GAP BAND-THE GAP BAND VII.
THE GAP BAND-THE GAP BAND VII.
For The Gap Band, commercial success didn’t come overnight. Quite the opposite. Instead, it took three albums. Neither 1974s Magician’s Holiday nor 1977s The Gap Band charted. Then when The Gap Band signed to Mercury Records, their third album The Gap Band reached number seventy-seven in the US Billboard 200 and number ten in the US R&B Charts. This was just a taste of the commercial success that was about to come The Gap Band’s way.
Starting this run of commercially successful albums was The Gap Band II, which was The Gap Band’s second album for Mercury Records. Not only did The Gap Band II reach number forty-two in the US Billboard Charts and number three in the US R&B Charts, but was certified gold.
This success was surpassed with 1980s The Gap Band III, which reached number sixteen in the US Billboard 200 and number one in the US R&B Charts. Having sold over one million copies, The Gap Band III was certified platinum. Ironically, just as The Gap Band were about to become one of the biggest bands of the early eighties, they left Mercury Records.
Having left Mercury after The Gap Band III, next stop for brothers Ronnie, Robbie and Charlie Wilson was Lonnie Simmons’ Total Experience Records. Things started well for The Gap Band at Total Experience Records. The Gap Band IV was their most successful album. It reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. This gave The Gap Band their second platinum disc. A year later, in 1983, The Gap Band V-Jammin’ reached number twenty-eight in the US Billboard 200 and number two in the US R&B Charts, resulting in a second gold disc for The Gap Band. However, this proved to the beginning of the end of the commercial success The Gap Band had enjoyed.
Although 1984s The Gap Band VI reached number one in the US R&B Charts, it stalled at number fifty-eight in the US Billboard 200. This meant there was neither a platinum, nor gold disc for The Gap Band. The Gap Band’s ninth album, The Gap Band VII, which was recently released by BBR Records, this found a group at the crossroads. Was The Gap Band VI just a minor blip, or was the beginning of the end of The Gap Band’s popularity?
For The Gap Band VII, much of the the same personnel that had worked on their two previous albums for Total Experience Records would play an important role in the album. This included Jonah Ellis and Oliver Scott. Not only were they producers, but songwriters. Jonah Ellis penned three of the nine tracks on The Gap Band VII. This included Desire, Ooh, What A Feeling and I Want A Real Love. Oliver Scott wrote I Need Your Love, while Jerry Peters penned Going In Circles and Raymond Callhoun wrote I Know We’ll Make It. The Wilson brothers cowrote Bumpin’ Gum People, while Charlie Wilson, Anthony Walker and Billy Young cowrote Automatic Brain and Lil’ Red Junkin’ Hood. These nine tracks became The Gap Band VII, which was recorded at Total Experience Recording Studios in Hollywood, California.
When recording began at Total Experience Recording Studios in Hollywood, California, Charlie Wilson took charge of lead vocals, keyboards, percussion. Ronnie Wilson played horns, keyboards and percussion, while Robert Wilson played bass and percussion. Accompanying them were some of Total Experience Records’ house-band, including producers Jonah Ellis and Oliver Scott. Once the nine tracks that became The Gap Band VII were recorded, the album was released in December 1985.
On the release of The Gap Band VII it stalled at number 159 in the US Billboard 200 and number six in the US R&B Charts. This was The Gap Band’s least successful album since their third album The Gap Band. Desire was released as the lead single in November 1985. It reached number forty-six in the US R&B Charts. When Going In Circles was released in January 1986, it reached number two in the US R&B Charts. Automatic Brain was the last single released from The Gap Band VII, and stalled at number seventy-eight in the US R&B Charts. The Gap Band VII was The Gap Band’s least successful album since their third album The Gap Band. This wasn’t just a minor blip. Indeed, it looked like it was the beginning of the end of The Gap Band’s popularity. However, why didn’t The Gap Band VII match the commercial success of the Gap Band’s earlier albums?
Opening The Gap Band VII is Desire. Subtle chiming guitars proved to be something of a curveball, as the arrangement bursts into life. Soon, The Gap Band kick loose. A driving rhythm section, featuring pounding drums and Rolling Stones influenced guitars provide the heartbeat. They’re joined by keyboards and washes of synths. By now the arrangement is a busy combination of synth-funk and rock. There’s just enough space in the arrangement for Charlie’s lead vocal. It’s equally dramatic, feisty and confident.
A bluesy harmonica and slow, moody rhythm section open Going In Circles. Straight away, you realize this track is something special. Charlie’s vocal is heartfelt, tender and filled with hurt. The Gap Band are totally transformed. You hear another side to their music. No longer are they an eighties synth-funk group. Instead, they combine balladry with blues, resulting in one of The Gap band VII’s highlights.
Automatic Brain is a dance track with a sound that’s reminiscent of Cameo. Drums crash, while synths weave their way across the arrangement. Anthony “Baby Gap” Walker and Billy Young lay down raps against a backdrop of searing, rocky guitars and harmonies. Combining synth funk, rap and rock guitars, the result is a track that’s infuriatingly catchy.
L’il Red Funkin’ Hood sees The Gap Band seek inspiration from George Clinton. That’s where the P-Funk sound comes from. Synths, harmonies, percussion and an uber funky rhythm section combine. Then the arrangement reveals its surprises. Rather than a vocal, it’s more akin to a rap, laden with quick-witted witticisms. Its augmented by sweet, soulful harmonies. They’re joined by screaming rocky guitars, thunderous drums and a funky bass line. The finishing touch is a carefree, uplifting, melody and you’ve a track that’s full of surprises and curveballs.
Ooh, What A Feeling is another track penned by Jonah Ellis. R&B and funk meet head on as the track opens. Buzzing synths, stabs of keyboards and crashing drums provide the dramatic backdrop for Charlie’s vocal. He matches the arrangement for drama, his vocal a mixture of power and emotion. Urgent harmonies accompany him, before sweeping elegantly in as soul, funk and R&B combine seamlessly.
I Want A Real Love sees the tempo drop, and Charlie Wilson deliver one of his best vocals. Impassioned, emotive and wistful describes Charlie’s delivery. Charlie demonstrates he’s equally at home on ballads on uptempo, funky tracks. The arrangement sees a slow, rhythm section, synths and keyboards accompany his soul-baring vocal.
Bumpin’ Gum People has similarities with L’il Red Funkin’ Hood. Both tracks have been influenced by P-funk. Percussion, rhythm section and synths combine as Charlie lays down a vocal that’s full of hollers, chuckles and one-liners. The best is: “even ET bumped his way home.” Backing vocals accompany him, while Charlie’s vocal veers between ad-libs, raps and scats. This he does against a P-funk inspired backdrop.
I Know We’ll Make It is best described as a post-disco track. It shows that there was life after disco. This is a dance track that takes its inspiration from disco, boogie and eighties pop, it’s a captivating and eclectic combination. Stabs of piano, crashing drums, percussion and squelchy synths provide a hypnotic backdrop for Charlie’s heartfelt, but assured vocal. Dance-floor friendly, hypnotic, soulful and captivating, this track’s all these things and more.
Closing The Gap Band VII is I Need Your Love. As the track reveals its secrets, its reminiscent of something Chicago or Foreigner would’ve released. Having said that, it’s still a very beautiful track. With just piano, cascading harmonies and an understated rhythm section for company, Charlie’s vocal is needy, emotive and filled with loneliness. Although very different from other tracks on The Gap Band VI, it’s a very beautiful, emotive track, which demonstrated how versatile a group The Gap Band were.
During the nine tracks on The Gap Band VII, The Gap Band veer between P-funk, ballads, synth-funk and soul. Add to that, eighties electronica and rock and you’ve an album that’s truly eclectic. Taking inspiration from numerous musical influences and genres, The Gap Band VII is filled with surprises and subtleties aplenty. This allowed The Gap Band to demonstrate just how versatile a group they were. While other eighties groups were one-trick ponies, you certainly couldn’t accuse The Gap Band of that. The nine tracks on The Gap Band VII are proof of this. Despite being an accomplished and eclectic album, The Gap Band VII didn’t replicate the commercial success of earlier albums.
The Gap Band VII didn’t replicate the success of the four albums The Gap Band released between The Gap Band II and The Gap Band V-Jammin.’ Having said that, The Gap Band VII still reached number six in the US R&B Charts and featured some quality music. However, by 1985, when The Gap Band VII was released, The Gap Band’s most successful era was behind them. Sadly, 1983s The Gap Band V-Jammin’ proved to be the end of an era for The Gap Band. After that, The Gap Band never ever, replicated the commercial success of that four year period. Although they released six further albums, they only released two more albums for Lonnie Simmons Total Experience Records. Neither 1986s The Gap Band 8 nor 1988s Straight From The Heart were commercially successful and saw The Gap Band’s popularity continue to decline.
However, between 1979 and 1984, The Gap Band were one of the most successful groups in America. Two of their albums were certified gold, two platinum and three reached number one in the US R&B Charts. Although The Gap Band VII, which was recently rereleased by BBR Records, didn’t match the commercial success of their earlier albums, it’s an album that demonstrates just how talented and versatile The Gap Band were. Whether its synth-funk, ballads, P-Funk and soul, The Gap Band VII features all that and more. Standout Tracks: Desire, Going In Circles, I Want A Real Love and I Need Your Love.
THE GAP BAND-THE GAP BAND VII.
BILLY PAUL-LATELY.
BILLY PAUL-LATELY.
Having founded Philadelphia International Records in 1971, Gamble and Huff made Billy Paul one of the first signings to their new label. Gamble and Huff had know Billy since 1967, when he was working on his debut album Feelin’ Good At the Cadillac Club. Billy’s debut album needed some work to complete it, so Kenneth Gamble helped him complete it, and released it on his Gamble Records. For Billy’s 1970 sophomore album Ebony Woman, it was produced by Gamble and Huff and released on their Neptune Records. So, when Gamble and Huff founded Philadelphia International Records in 1971, it was no surprise that Billy Paul was one of their first signings.
Later in 1971, Billy released Going East, which was the first of eight studio albums he’d release for Philadelphia International Records. However, it was 1972s 360 Degrees Of Billy Paul that transformed Billy’s career. Not only did 360 Degrees Of Billy Paul feature the single Me and Mrs Jones which reached number one in the US Billboard 100 and US R&B Charts, but was the most successful album of Billy’s career. It reached number seventeen in the US Billboard 200 and number one in the US R&B Charts. Over the next eight years, Billy Paul would release six more albums which, although they reinforced Billy’s reputation as Philadelphia International Records’ first male superstar, didn’t match the success of 360 Degrees Of Billy Paul. Then 1979s First Class, proved to be Billy Paul’s final album for Philadelphia International Records, a label whose fortunes were changing.
By 1979, Philadelphia International Records was no longer soul music’s most successful, innovative and influential label. Not only had the hits nearly dried up, but the calibre of artists signed to Philadelphia International Records was nothing like the label’s glory days between 1972 and 1976. The O’Jays were the only artists from the label’s glory days, and even their run of commercial success was ending. Philadelphia International Records’ most successful artist was Teddy Pendergrass. As the eighties dawned, things got worse for Philadelphia International Records.
In 1982, Teddy Pendergrass was involved in a car accident that left him paralyzed. Although he recovered, and his recording career continued, the last two album Teddy released for Philadelphia International Records 1982s This One’s For You and 1983s Heaven Only Knows failed to match the commercial success of his previous albums. Following Heaven Only Knows, Teddy left Philadelphia International Records. This meant Philadelphia International Records had lost their most successful artist. Then when Billy Paul’s contract was due for renewal, Gamble and Huff decided not renew it. This meant Philadelphia International Records’ first male superstar and his successor had both left the label. Luckily, Lonnie Simmons, who owned Total Experience Records, wanted to sign Billy. The result was Billy’s 1985 album Lately which was recently rereleased by BBR Records.
Lonnie Simmons was a self-made man. He had made his money running nightclubs in Los Angeles, before he founded Total Experience Records. The label’s roster included The Gap Band, Pennye Ford and Prime Time. For Total Experience, The Gap Band were their big success story, with their albums being certified gold and platinum. Previously, Total Experience’s fusion of synth-funk and R&B had been distributed by Polygram, but by 1984, RCA had signed a multimillion dollar deal to do so. With RCA distributing Total Experience, the future looked good for Lonnie Simmons’ label. So six years after the release of First Class, Billy Paul was back with his eleventh studio album Lately.
For Lately, Total Experience’s resident songwriter would contribute five tracks, including Fire In Her Love, Sexual Therapy, Hot Date, Get Down To Lovin’ and Me and You. Oliver Scott penned I Search No More and Let Me In, while Marvin Jenkins contributed Lately. Along with covers of I Only Have Eyes For You and On A Clear Day, these ten tracks became Billy’s eleventh album Lately.
Recording of Lately took place to Total Experience Recording Studios in Hollywood, California with Jonah Ellis and Oliver Scott producing the ten tracks. Accompanying Billy Paul were drummer Gerry Brown, bassist Nathan East and Jonah Ellis, who also played lead guitar, electronic drums, percussion and sang backing vocals. Oliver Scott, played keyboards, synths, electronic drums and sang backing vocals. Playing synths and keyboards were David Tillman and Juan Luiz Cabaza. Adding backing were Marva King and The Waters Sisters. Once Lately was recorded, it was released in August 1985.
On the release of Lately in August 1985, it reached number fifty-seven in the US R&B Charts. Of the two singles released from Lately, neither Lately released in July 1985, nor Sexual Therapy released in September 1985 charted. Sexual Therapy did reach number eighty in the UK. However, why wasn’t Lately a bigger commercial success, given Total Experience’s fusion of synth-funk and R&B was proving popular? That’s what I’ll tell you?
Opening Lately, is Fire In Her Love, one of five tracks written by Jonah Ellis. Just wistful keyboards and subtle percussion give way to synths and electronics drums. With their dramatic, eighties sound, it’s as if they’re setting the scene for Billy’s vocal. It’s lost none of its qualities. Best described as smooth, sultry and filled with emotion, Billy breathes life and meaning into the lyrics. By now, the melody will be reminding you of a familiar track. It’s The O’Jays Darlin’ Darlin’ Baby. Tender soulful harmonies and bursts of guitar accompany Billy, as synths, keyboards and drums provide a backdrop to his heartfelt vocal.
During Sexual Therapy it’s as if Billy is paying homage to his old friend Marvin Gaye. So closely related are both tracks, they could be musical brothers. With synths, drums and a bass creating a slow, sensual and funky backdrop, Billy’s vocal is sensual, seductive and pleading. Tight, sweeping and needy harmonies provide the perfect accompaniment as one soul great Billy Paul, pays tribute to another Marvin Gaye with a sultry, bedroom ballad.
Just a pensive piano and washes of synths open Lately. Having set the scene for Billy, he delivers a heartbroken vocal, filled with hurt and confusion. With a much more understated arrangement accompanying him, Billy’s vocal brings out the heartbreak, hurt and loneliness he’s experiencing. He sings the lyrics about a relationship crumbling as if he’s lived the hurt he’s singing about. The result is a poignant, moving reading of some hurt-filled lyrics.
From the get-go, I Search No More has an eighties sound. Synths, pounding hypnotic drums and soaring harmonies accompany Billy as one of his favorite tracks from Lately unfolds. Gone is the hurt and heartbreak of the previous track, replaced by hope and joy. Soulful, funky and featuring what was a contemporary sound, this saw Billy’s music given an eighties makeover. This worked well, given the tracks infectiously catchy sound.
I Only Have Eyes For You is a classic track, which is given an eighties makeover by producer Johan Ellis. While Gamble and Huff would’ve given the track a string laden, big band sound, Jonah goes for a more contemporary sound. This means synths and electronic drums play an important role in the arrangement. They join chiming guitars and stabs of piano. Billy’s vocal is heartfelt and filled with emotion. Harmonies answer his call, sweeping in, their tight, soulful sound the perfect foil to Billy’s vocal as he reinvents a classic track.
Hot Date sees Billy combine soul, funk and poppy hooks. Written by Jonah Ellis, you’re smitten by the tracks charms from the opening bars. Synths, chiming guitars, funky bass and harmonies accompany Billy. His vocal is filled with hope and happiness, that maybe, tonight will be the night, he meets miss right. When keyboards and synths replace Billy’s vocal, their raison d’etre is setting the scene for Billy’s vampish vocal. Picking up the baton, Billy unleashes an emotive, impassioned vocal, rolling back the years in the process.
Get Down To Lovin’ sees searing guitars, strident drums and moody keyboards set the scene for Billy Paul, bedroom balladeer supreme. Smooth, sultry and sensual this is what Billy does so well. Keyboards add a dramatic contrast to Billy’s needy, vampish pleas as he delivers a vocal Magnus Opus.
Let Me In sees the tempo drop, with Billy doing what he does so well, deliver romantic ballads. With just synths and drums providing the backdrop for Billy, the arrangement gradually unfolds. Soon, Billy is delivering one of his trademark seductive vocals. Tight, soulful harmonies prove the perfect foil for Billy, as he pleas, heartfelt and hopeful, Let Me In.
Me And You sees synths, drums and bass combine to create a dramatic backdrop for Billy’s vocal. Needy and tinged with longing, Billy’s vocal grows in power, drama and emotion, while the arrangement pays homage to Me and Mrs Jones. Guitars and percussion join the arrangement. Like Billy’s vocal, it grows in power. Using his four decades of experience, Billy breathes emotion and meaning into Jonah Ellis’ lyrics.
Closing Lately is a cover of On A Clear Day. Washes of synths, keyboards and powerful drums create a moody backdrop to Billy’s vocal. A repetitive bass line accompanies Billy’s vocal, before he unleashes a powerful, strident vocal. Using his full vocal range, he draws upon his jazzy roots. So too, the band, with the piano picking up where Billy left off. When Billy’s vocal reenters, he’s determined not to be outdone, so ups his game, closing Lately on a jazz-tinged, but soulful and dramatic high.
Six years after Billy Paul released his final album for Philadelphia International Records, First Class, Billy made his comeback. Total Experience Records were a label that wanted Billy Paul, and were determined to rejuvenate his career. Lonnie Simmons set his best songwriters, musicians and producers to work. Jonah Ellis and Oliver Scott played important roles. Not only did Jonah write five tracks, but produced eight tracks, while Oliver wrote and produced two tracks. Total Experience’s house-band accompanied Billy and although they were no M.F.S.B. circa 1972-1975, they worked well with Billy, giving his music an eighties makeover. While Total Experience did everything they could to make Lately a success, so did Billy Paul.
For his part, Billy doesn’t disappoint, rolling back the years on Lately. Ballads, standards and uptempo tracks, Billy Paul breathes life, meaning and emotion into them. Where Billy’s at his best is delivering ballads. Seductive, sultry and sensuous, Billy’s vocals are needy, pleading and heartfelt. Despite not having released an album in six years, Billy Paul was still one of the finest soul singers of his generation. This neither guaranteed that Lately would be a commercial success nor critically acclaimed.
Sadly, Billy and everyone at Total Experience’s best efforts were in vain. Lately which was recently rereleased by BBR Records, stalled at number fifty-seven in the US R&B Charts. This meant that there was no followup to Lately on Total Experience Records. For everyone involved with Lately, this must have been a huge disappointment. Lonnie Simmons’ Total Experience Records didn’t release another Billy Paul album. Indeed, following Lately, Billy Paul only released one more album Wide Open. This concluded Billy Paul’s career, a career that lasted nearly forty years and twelve studio albums.
Of the twelve studio albums Billy Paul released, Lately demonstrates another side to Billy’s music. Jonah Ellis and Oliver Scott gave Billy an eighties makeover. Billy’s music was given a more contemporary sound using synths, sequencers and electronic drums. However, one thing remained the same…the quality of Billy Paul’s vocals. During the ten tracks on Lately, Billy Paul rolls back the years and when delivering ballads, is at his very best. Heartfelt, seductive and sensual describes the ballads on Lately, which is something of a glittering hidden gem, awaiting discovery in Billy Paul’s back-catalogue. Standout Tracks: Fire In Her Love, Sexual Therapy, Get Down To Lovin’ and Let Me In.
BILLY PAUL-LATELY.
THE SPINNERS-YESTERDAY, TODAY AND TOMORROW.
THE DETROIT SPINNERS-YESTERDAY, TODAY AND TOMORROW.
For The Detroit Spinners, their 1977 album Yesterday, Today and Tomorrow would mark an end of an era for the group. Yesterday, Today and Tomorrow was Phillip Wynn’s final album as lead singer of The Detroit Spinners. This wasn’t the only thing to change. Unlike their five previous studio albums, there were no songs written by Thom Bell and Linda Creed. Similarly, there was a change in the personnel that accompanied The Detroit Spinners.
No longer was the classic lineup of M.F.S.B. providing the musical backdrop for The Detroit Spinners. Granted guitarist Bobby “Electronic” Eli, percussionist Larry Washington and legendary backing vocalists The Sweethearts of Sigma all feature on Yesterday, Today and Tomorrow. Given much of Yesterday, Today and Tomorrow was recorded at the same time as Happiness Is Being With The Spinners, the Baker, Harris, Young rhythm section didn’t provide the Yesterday, Today and Tomorrow heartbeat. The biggest difference with Yesterday, Today and Tomorrow was its commercial performance. Between 1973s Spinners, through 1974s Mighty Love and New Improved then 1975s Pick of The Litter, The Detroit Spinners and 1976, The Detroit Spinners and Happiness Is Being With The Spinners had enjoyed five consecutive gold albums. That was about to change, as you’ll find out, when I tell you the background to The Detroit Spinners’ seventh album Yesterday, Today and Tomorrow.
For Yesterday, Today and Tomorrow, eight songs were chosen. Thom Bell only cowrote one track, Honey, I’m In Love With You, with Leroy and Tony Bell. Sherman Marshall cowrote four tracks on Yesterday, Today and Tomorrow. He penned Me and My Music and You’re Throwing A Good Love Away with Ted Wortham, plus I Found Love (When I Found You) and Just To Be With You with Phillip Pugh. Charles Simmons and J.B. Jefferson wrote I Must Be Living For A Broken Heart and I’m Riding your Shadows Down To Love with Bruce Hawkes. Phil Terry and Michael Burton cowrote You’re The Love of My Life. These eight tracks became Yesterday, Today and Tomorrow. Like the Happiness Is Being With The Spinners, recording of Yesterday, Today and Tomorrow was split between Philly’s Sigma Sound Studios, but also at Kaye Smith Studios in Seattle. Indeed, much of Yesterday, Today and Tomorrow was recorded at the same time as their Happiness Is Being With The Spinners.
When the recording sessions began at the two studios, Philly’s Sigma Sound Studios, but also at Kaye Smith Studios in Seattle, little did The Detroit Spinners realize that Yesterday, Today and Tomorrow would be the final album released by the classic lineup. This included the three lead singers Phillip Wynn, Bobby Smith and Henry Fambrough. They were joined by Billy Henderson and Pervis Jackson. John Edwards makes his Spinners’ debut on You’re Throwing A Good Love Away. Accompanying them, were joined by a tight, talented band. This included a rhythm section of drummer Andrew Smith, bassist Bob Babbit and guitarists Tony Bell and Bobby “Electronic” Eli. Pervis Jackson also played bass on Yesterday, Today and Tomorrow. They were joined by keyboardist Thom Bell and percussionist Larry Washington. Adding backing vocals were legendary backing vocalists the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Thom Bell arranged and produced Yesterday, Today and Tomorrow, which would be released in 1976.
In the release of Yesterday, Today and Tomorrow in 1977, it reached number twenty-six in the US Billboard 200 and number eleven in the US R&B Charts. This became The Detroit Spinners’ least successful album since signing to Atlantic. There was no sixth gold disc for Yesterday, Today and Tomorrow. However, considering that disco was now at the height of its popularity, this is no surprise. Indeed, for a soul album, Yesterday, Today and Tomorrow had been a commercial success. After all, disco was now King. Over in the UK, Yesterday, Today and Tomorrow didn’t fare any better, stalling at number thirty-six. By the time Yesterday, Today and Tomorrow was released, Phillip Wynn had announced his departure from The Detroit Spinners. You’re Throwing A Good Love Away was the lead single from Yesterday, Today and Tomorrow, reaching number forty-three in the US Billboard 100 and number five in the US R&B Charts. Me and My Music then stalled at number thirty-nine in the US R&B Charts. While Yesterday, Today and Tomorrow, and the singles released from the album weren’t as successful as previous releases, this was the end of an era for The Detroit Spinners. DId this era end on a high? That’s what I’ll tell you, when I tell you about the music on Yesterday, Today and Tomorrow.
Opening Side One of Yesterday, Today and Tomorrow, is Me and My Music, the second single released from the album. A piano, rhythm section and chiming guitar combine, before growling horns enter. They set the scene for Phillip’s joyous vocal, which swings along. He seems to be holding back, doesn’t quite unleash his vocal. Punchy harmonies and braying horns accompany him, while the rhythm section provide the arrangement’s heartbeat. There’s quite a different sound and feel from The Detroit Spinners’ previous albums. Although the band are tight, they don’t have the slick, polished sheen of M.F.S.B. Having said that, it’s still a good song, although not a classic from The Detroit Spinners.
Just subtle, pizzicato strings opens I Found Love (When I Found You), Straight away, this much more like what you’d expect from The Detroit Spinners. The tempo is slow, with layers of lush, emotive strings and wistful horns accompanying Phillip’s heartfelt tender vocal. Meanwhile, the rhythm section provide an understated backdrop, while harmonies from the other Spinners and The Sweethearts of Sigma sweep in. They provide the perfect accompaniment and play their part in a track that has “Philly Sound” written all over it.
I’m Riding Your Shadows (Down To Love) picks up where the previous track left off. Here, the tempo is slow. Thom Bell’s arrangement combines swathes of sweeping strings, keyboards, pensive horns and a subtle rhythm section. When the lead vocal enters, Henry takes charge, and then shares lead vocal with Pervis. The vocals are beautiful and impassioned vocal. The contrast between the vocal styles adds to the emotion of the lyrics, as do the tight, soulful harmonies. Flourishes of harpsichord punctuate the arrangement, adding to the beauty and emotion of this tender ballad, something The Detroit Spinners do so well.
You’re The Love of My Life is another track that has The Detroit Spinners’ name written all over it. Growling horns and swirling strings swirl are at the heart of the arrangement. The rhythm section and Larry Washington’s percussion combine, as the band build the drama. Having set the scene, Henry’s grateful, needy vocal enters. He goes on to deliver one of his best vocals on Yesterday, Today and Tomorrow with Phillipe Wynne singing the hook Harmonies from the Spinners and The Sweethearts of Sigma sweep in. They match the emotion and sincerity of the lead. Meanwhile, strings dance and horns punctuate the arrangement, as The Detroit Spinners roll back the years, one more time.
I Must Be Living For A Broken Heart, written by Charles Simmons and J.B. Jefferson closes Side One of Yesterday, Today and Tomorrow. It’s a hurt-filled ballad, where each of The Detroit Spinners play their part. Just piano, the rhythm section, complete with Southern Soul guitars and harmonies combine to create an emotive backdrop. Then Pervis, Henry and Philippe take turns of delivering the lead vocal. Phillip’s delivers his vocal with equal amounts of hurt and heartache. Quivering strings and piano add to the melancholy sound of the arrangement. Later, harmonies from the Spinners and The Sweethearts of Sigma. They add to the sheer emotion and heartache, as The Detroit Spinners demonstrate how they were capable of breathing life and meaning into lyrics.
A chiming, funky guitar opens Honey, I’m In Love With You, which opens Side Two of Yesterday, Today and Tomorrow. Soon, things get uber funky, thanks to the rhythm section, wah-wah guitars, percussion and growling horns. The tempo increases, as the arrangement mixes funk, soul and disco. John Edward makes his Spinners’ debut, combining power and passion. Sometimes, it becomes vampish, complete with hollers and whoops Punchy, soaring harmonies accompany him, while sometimes, the horn riffs seem to “borrow” from David Bowie’s Fame. It’s a very different track from The Detroit Spinners, straddling musical genres, as they attempt to keep up to date with musical fashions
Just an understated combination of piano and drums opens Just To Be With You. It’s the first of two eight-minute epics on Side Two of Yesterday, Today and Tomorrow. Gradually, the arrangement builds. The bass and half-spoken, almost ironic vocal are joined by the lushest of sweeping strings. Then come the wistful horns and Phillip’s hopeful, needy vocal as Thom Bell’s arrangement reveals its beauty and secrets. Heartfelt harmonies join the deliberate piano, swathes of strings as the rhythm section create a beautiful, emotive backdrop as Phillip delivers a captivating, soul-baring vocal, that demonstrates how important he was to The Detroit Spinners’ success story.
Closing Yesterday, Today and Tomorrow and Phillip Wynn’s time as lead vocalist of The Detroit Spinners is You’re Throwing A Good Love Away. This eight minute epic, is a fitting finale from Henry singing lead and Phillipe following him. Bursts of rasping horns, cascading strings and a rhythm section complete with hissing hi-hats give way to a melancholy vocal. Flourishes of harpsichord, bursts of braying horns and dancing strings see the vocal change hands. Soulful, heartfelt harmonies cascade, while Thom Bell adds jazz tinged piano and Larry Washing adds piano. Here, The Detroit Spinners deliver some of their tightest, most soulful harmonies, demonstrating just why this was the classic lineup of The Detroit Spinners.
In many ways, Yesterday, Today and Tomorrow closed a chapter in The Detroit Spinners’ career. Not only was Yesterday, Today and Tomorrow Phillip Wynn’s final album as lead singer of The Detroit Spinners, but ended a run of five gold albums. From 1973s Spinners, through 1974s Mighty Love and New Improved then 1975s Pick of The Litter, The Detroit Spinners could do no wrong. This incredible run of critically acclaimed and commercially successful music ended with Happiness Is Being With the Spinners. While Yesterday, Today and Tomorrow was still a commercial success, it didn’t match the success of The Detroit Spinners’ five previous albums. This wasn’t helped by the lack or material from the songwriting team of Thom Bell and Linda Creed. Although they’d only written two tracks on Happiness Is Being With the Spinners, they contributed no songs for Yesterday, Today and Tomorrow. Similarly, the lack of the Baker, Harris, Young who for so long, had provided the heartbeat on The Detroit Spinners’ albums, including Spinners, Mighty Love, New and Improved and Pick of The Litter, were badly missed. Granted the rhythm section that played on Yesterday, Today and Tomorrow were tight and talented, they were no match for The Mighty Three. Another problem for The Detroit Spinners was the change in musical tastes.
By 1977, when The Detroit Spinners released, Yesterday, Today and Tomorrow, disco was the most popular musical genre. Soul groups, even commercially successful and critically Philly Soul groups weren’t as popular. So in some ways, that Yesterday, Today and Tomorrow was as commercially successful bucked musical trends. Phillip Wynn, seeing how musical tastes were changing, decided it was time to part company with The Detroit Spinners. In January 1977, Phillip announced he was leaving The Detroit Spinners. When, Yesterday, Today and Tomorrow was released, John Edwards was chosen as Phillip Wynn’s replacement. Although The Detroit Spinners still enjoyed sporadic success, they never replicated the success they enjoyed with Phillip Wynn as one of the three lead singers. Yesterday, Today and Tomorrow marks Phillip Wynn swan-song. Although not as consistent as previous Detroit Spinners albums, Yesterday, Today and Tomorrow demonstrates just why The Detroit Spinners were one of the most commercially successful and critically acclaimed groups in the history of Philly Soul, which their five albums between Spinners and Pick of The Litter proves.
THE DETROIT SPINNERS-YESTERDAY, TODAY AND TOMORROW.
CANDIDO-DANCIN’ AND PRANCIN.’
CANDIDO-DANCIN’ AND PRANCIN.’
Two of the most innovative record labels in the history of modern music are Blue Note and Salsoul Records. However, there was only one artist who released albums on both labels. That artist is legendary Cuban percussionist, Candido, who released two albums for Salsoul in 1979. Candido’s Salsoul debut was Dancin’ and Prancin,’ which was recently rereleased by BBR Records. Not only was Dancin’ and Prancin’ an innovative album, but it epitomized the Salsoul sound. By 1979 when Salsoul released Dancin’ and Prancin,’ their trademark sound was just about to change, change beyond recognition. Before I tell you about Dancin’ and Prancin,’ I’ll tell you how the Salsoul sound came about, and why, and when, it changed.
Originally, Salsoul was a small label that specialized in releasing Latin music. That wasn’t what Ken Cayre, one of the owners of Salsoul wanted. What he wanted was an orchestra similar to Philadelphia International Records house-band M.F.S.B. Ken’s vision was an orchestra who could fuse salsa, Philly soul and disco. Ken got his disco orchestra after a fortuitous meeting with Vince Montana Jr.
Vince Montana Jr. approached Ken Cayre about bringing a Latin vocal to Mericana, another of Salsoul’s labels. Ken wasn’t interested in Mericana, but explained his vision to Vince. He explained that he was looking for an orchestra similar to M.F.S.B. Having explained his vision to Vince, Ken wrote Vince a cheque. In return, Vince would deliver three songs where Philly Soul, disco and salsa were fused. Without even looking at the cheque, Vince headed back to Philadelphia to record three songs with M.F.S.B. Eventually, Vince looked at the cheque. He was shocked to discover it was for $10,000. Back in Philly, M.F.S.B. recorded Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle.
After the three tracks were delivered to Ken Cayre, he took Salsoul Hustle to CBS who’d first refusal on Salsoul releases. Unluckily for CBS, they were busy releasing albums by Bob Dylan and Barbara Streisand. CBS passed on Salsoul Hustle, as did Atlantic and Polydor Records. So Salsoul released and distributed Salsoul Hustle. Immediately, Salsoul had a hit single on their hands. This proved to be the best $10,000 Ken Cayre had ever spent. Then in Philly fate intervened again.
Less than a hundred miles away from Salsoul’s New York headquarters, problems were afoot at Philadelphia International Records in 1979. Gamble and Huff were locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. When this dispute couldn’t be resolved, members of M.F.S.B. quit Philadelphia International Records and headed to New York where they became The Salsoul Orchestra. In one fell swoop, Ken Cayre had his orchestra.
From Salsoul’s earliest releases in 1975, the fusion of salsa, Philly Soul and disco was at its strongest. This was the case right through to 1979, when Candio signed to Salsoul. Commercial success and critical acclaim were never far away. However, by 1979, Salsoul’s trademark sound was changing and had become diluted. The reason for this was the change in personnel at Salsoul. Some of the musicians, arrangers, producers and songwriters who were crucial to Salsoul had left the label.
With Vince Montana Jr. at the helm of The Salsoul Orchestra, the fusion of influences Ken Cayre wanted was at its strongest. After Vince left following a disputed with the Cayres over royalties, this was the start of dilution of the trademark Salsoul sound. The dilution of the Salsoul sound continued when other key personnel either left Salsoul or played less important roles. This included the Baker, Harris, Young rhythm section and Bobby “Electronic” Eli. Playing an important role were remixers, including Larry Levan, Walter Gibbons and Tom Moulton, who’d also produce and write tracks for Salsoul. The music Salsoul was releasing began to change. Recent signings included Silvetti, Claudja Barry, Gary Criss, The Miami Disco Band and Skyy. However, after Candido signed to Salsoul, the music changed dramatically. Candido’s Dancin’ and Prancin’ would mark the end of an era at Salsoul.
Candido was born in August 1921, on the outskirts of Havana in Cuba. From an early age, Candido was immersed in music. He started to learn music when he was four. His uncle taught him to play bongos and then Canido learned to play the tres, a three stringed Cuban guitar. By the time Candido was a teenager, he’d mastered the congas. This lead to him performing at the Tropicana nightclub in Havana. Soon, he was backing Carmen y Rolando, a dance duo whose reputation was worldwide. This lead to Candido accompanying them to New York, where he gained a reputation as a true musical innovator.
In New York, when Candido was accompanying Carmen y Rolando, their budget couldn’t stretch to hiring two conga players, which were needed. Candido, realizing that the only way round this, was to play two congas simultaneously. He’d watched tympani players doing something similar, so realized it was possible. When the time came, Candido played two congas simultaneously. This had never been done before and people were mesmerised. Then Candido took things even further. Soon, he was playing three congas, all tuned at different pitches simultaneously. After this, American jazz legends began to take notice of the name Candido. So it made sense for Candido to move to America.
Now living in America, Candido played alongside Duke Ellington, Charlie Parker, Billie Holliday and Tito Puente. They were able to experience firsthand this visionary percussionist. Then in 1956, the wider public were able to hear Candido when he released his debut album. Candido was released on ABC-Paramount. Over the rest of the fifties, Candido featured on albums by The Billy Taylor Trio, The Lecuona Cuban Boys and The Don Elliot Octet. There was also numerous appearances on albums by everyone from Gene Ammons, Kenny Burrell, The Jazz Messengers, Dizzy Gillespie and Duke Ellington. Candido also released two more solo albums, 1957s The Volcanic and 1958s In Indigo. If the fifties had been busy for Candido, then the sixties would be even busier.
During the sixties, Candido’s solo career continued alongside his collaborations with other artists. He released 1962s Conga Soul,1963s Congas Comparsa and featured on Jazz At The Philharmonic In Europe. However, Candido was gaining the reputation as the busiest percussionist in jazz music. Grant Green, Wes Montgomery, Elvin Jones, Donald Byrd and Gene Ammons all called upon Candido when it came to percussion. Little did Candido realize, as the sixties became the seventies, that he’d release albums on two of the most important labels in the history of music.
Candido’s first album of the seventies, was one the best albums of his career. Thousand Finger Man was released in 1970, on jazz’s premier label Blue Note, with Beautiful following in 1971. Apart from the two albums for Blue Note, Candido only released two other albums before signing to Salsoul. These were 1971s Brujeras De Candio/Candido’s “Latin McGuffa’s Dust” and 1973s Drum Fever. For the remainder of the seventies, Candido worked as a session player, working with everyone with Elvin Jones, Randy Weston, Duke Wellington and Sonny Rollins. Then in 1979, having started the seventies signed to a label synonymous with jazz, Candido ended the seventies signed to disco’s premier label…Salsoul.
In many ways, Candido was similar to Joe Bataan, one of the Cayre’s earliest signings for Salsoul. Joe’s music was a fusion of Latin, soul and disco. He’d two spells at Salsoul. His first spell resulted in his best known track, a cover of Gil Scott-Heron’s The Bottle. So maybe, Joe could replicate the success of Joe Bataan?
Producing what became Dancin’ and Prancin,’ was an old friend of Candido’s, Joe Cain. 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. That wouldn’t stop Joe Cain and Candido trying to produce an album worthy of baring the Salsoul logo. That album would be Dancin’ and Prancin.’
Accompanying Candido on Dancin’ and Prancin,’ were the members of Kleer, who when working with Patrick Adams, Greg Carmichael and Leroy Burgess, were known as The Universal Robot Band. Kleer included a rhythm section of drummer Woody Cunningham, guitarist Richard Lee and bassist and keyboardist Norman Durham. Completing the lineup of Kleer was percussionist Paul Crutchfield. Kleer would play an important part in Dancin’ and Prancin.’ Not only did they accompany Candido, but cowrote two of Dancin’ and Prancin’s tracks.
Dancin’ and Prancin’ consisted of four lengthy tracks. The title-track Dancin’ and Prancin’ and Thousand Finger Man were penned by Woody Cunningham and Louis Small, while Carlos Franzetti wrote Rock and Shuffle (Ah-Ha). Jingo was written by Michael Olatunji. Recording of Dancin’ and Prancin’ took place at The Power Station in New York.
Joining Candio and Kleer, were a horn section, backing vocalists, drummer Jimmy Young, bassist Ken Payne, guitarists Sandy Santana and Joe Caro. Adding keyboards and synths were Louis Small and Carlos Franzetti. Candido played everything from congas, bongos, cowbells, jawbone, clave, quinto and tumbao. Producing this compelling fusion of musical genres was Joe Cain. However, would Dancin’ and Prancin’ be a commercial success?
On the release of Dancin’ and Prancin’ in 1979, it failed to chart. The lead single Jingo, reached number twenty-one in the US Disco Charts, while Dancin’ and Prancin’ failed to chart. Although Dancin’ and Prancin’ hadn’t been a commercial success, it was well received by critics, who hailed Dancin’ and Prancin’ as a minor classic. Why was that?
Opening Dancin’ and Prancin’ is the title-track Dancin’ and Prancin.’ Straight away, thunderous drums grab your attention, and provide a dance-floor friendly backdrop. They’re joined by flourishes of keyboards, cowbells and a myriad of percussion, including congas, bongos and jawbone. Having set the scene, soulful and sassy harmonies sweep in. They add to the irresistible dance-floor friendly backdrop where soul, funk, disco and Latin music seamlessly combines. Keyboards drift in and out, while strings float elegantly and gracefully. Ever-present are the drums that provide a pulsating heartbeat. Horns growl while synths prove their perfect foil. When the soulful harmonies return, they’ set the scene for a virtuoso performance from Candido. Quite rightly, his percussion is at the centre of the mix. You’re enthralled by his jazz-tinged style. Not only is it dramatic and inspirational, regardless of whether he’s improvising or not, but features Salsoul’s trademark sound.
Saying Jingo has a dramatic start is almost 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.
As Thousand Finger Man begins, the arrangement is laden in drama, reminiscent of a seventies sci-fi movie. Soon, drama becomes understated and almost elegant. After that, the two unite, with synths and piano at the heart of the action. When thunderous drums, percussion and ethereal vocals enter, it’s a very different track. Granted there’s still drama and elegance, but the vocal brings a haunting beauty. Keyboards join the funkiest of rhythm sections and heartfelt harmonies. From there, the track reveals its secrets. The result is a track that’s funky, soulful and dance-floor friendly. Add its Latin influence and it’s a track that’s dramatic, elegant, tinged in beauty and filled with secrets and surprises.
Closing Dancin’ & Prancin’ is Rock & Shuffle (Ah-Ha). From the get-go, the arrangement is like a call to dance. Resistance is impossible. As keyboards, a funk-laden rhythm section, blazing horns and percussion combine, you’ll be on your feet and Dancin’ & Prancin.’ Bursts of soulful harmonies sweep in and out while this tight, talented band kick loose. It’s a joy to behold. Fusing musical influences and genres seamless, Candido and his band never miss a beat. Driven along by blazing horns, rhythm section and percussion, keyboards and harmonies add the finishing touch to what is, the best track on Dancin’ & Prancin.’ Quite simply, it’s a hook-laden and infectiously catchy fusion of musical genres like you’d expect on a track released by Salsoul.
For fans of Salsoul, Candido’s Dancin’ & Prancin’ was a landmark album in the history of disco’s premier label. Dancin’ & Prancin’ was one of the final albums to feature what had been the trademark Salsoul sound. This was a mixture of salsa, Philly Soul and disco. After Dancin’ & Prancin,’ disco nearly died. Its popularity nosedived, so Salsoul had to evolve to survive. It was a case of change or die. Other disco labels had folded, so Salsoul change was vital. Salsoul started signing what I’d describe as “post-disco” artists. Aurra, Inner Life and Logg joined groups like Instant Funk and Skyy. Disco was replaced by boogie, while funk and eighties electronics started making inroads into post-disco Salsoul. Suddenly, Salsoul’s trademark sound could no longer be heard on Salsoul releases. One of the final albums to feature Salsoul’s trademark sound was Candido’s Dancin’ & Prancin,’ which was a minor classic. However, there was much more to Dancin’ & Prancin’ than the Salsoul sound.
Listen carefully to Candido’s Dancin’ & Prancin’ and you’ll hear a complex, multilayered album. Dancin’ & Prancin’ has been influenced by numerous musical genres and influences. There’s everything from jazz, funk, disco, Latin, Philly Soul and even rock during the four tracks on Dancin’ & Prancin.’ Soulful, fabulously funky and dance-floor friendly, Candido’s Dancin’ & Prancin’ is a truly timeless album that’s irresistible and infectiously catchy. Featuring some hugely talented and versatile musicians, Candido’s Dancin’ & Prancin’ which was recently released by BBR Records, is a reminder of Salsoul’s trademark sound. Thirty-four years after the release of Dancin’ & Prancin,’ it’s still perceived as a minor classic. If anything, Dancin’ & Prancin’s’ importance has grown, as a new generation of music fans discover its delights. Sadly, Candido’s Dancin’ & Prancin’ marked the end of a musical era. Following Dancin’ & Prancin’ Salsoul Records’ sound changed. It was no longer disco’s premier label. Although disco hadn’t died, it had been badly wounded. It was no longer King. Its rein was over and disco lover’s marked the end of a musical era. However, what better way is there to end an era than with Candido’s Dancin’ & Prancin,’ an album that’s an irresistible and infectious fusion of musical genres.
CANDIDO-DANCIN’ AND PRANCIN.’
SKYY-SKYY LINE.
SKYY-SKYY LINE.
By the time Skyy released their fourth album for Salsoul Records, Skyy Line, which was recently rereleased by BBR Records, Salsoul, and indeed music, had changed dramatically. Between 1975 and 1979, Salsoul Records had established a reputation as disco’s premier label. Salsoul Records gained a reputation as an innovative and influential label, who released commercially successful and critically acclaimed albums. Among Salsoul’s success stories were Loleatta Holloway, First Choice, Double Exposure and The Salsoul Orchestra, whose members were crucial to the success of Salsoul.
The Salsoul Orchestra were no ordinary disco orchestra. Quite the opposite. They were the best and were made up of some of the most talented songwriters, musicians, arrangers and producers of the disco era. Lead by Vince Montana Jr, and featuring the combined talents of the Baker, Harris, Young rhythm section, percussionist Larry Washington and guitarist Bobby “Electronic” Eli, they were crucial to Salsoul’s success. First to leave was Vince Montana Jr, after a dispute with the Cayre brothers over royalties. Gradually, other musicians, including Baker, Harris, Young played less of a part in Salsoul’s music. Norman Harris, who ran Gold Mind Records, a subsidiary of Salsoul was a huge loss. He was more than a songwriter, musician, arranger and producer, he was a talent scout, who discovered First Choice and Double Exposure. By 1979, The Salsoul Orchestra had lost some of its biggest names. Then in 1979, disco almost died.
During 1979, there was a huge backlash against disco. The Disco Sucks movement came to a head on 12th July 1979, at Comiskey Park, Chicago. Spectators heading to a Chicago White Sox game were offered the chance to get in for 99 cents if the brought along a disco record. Later, thousands of disco records were blown up, nearly taking with it the stadium. That night, disco almost died. It was read the last rites and on its recovery, headed underground. After that, disco became hugely unpopular. Labels dropped disco artists who were now, really unpopular, disco labels folded and disco was no longer played on radio. Unlike other labels, Salsoul survived and lived through the turmoil.
Having survived the turmoil surrounding disco’s near death experience, Salsoul as a label, had to adapt to survive. No longer could they continue releasing the same music. So, disco changed, evolving and reinventing itself. Boogie was one of the musical genres that replaced disco. However, one group on Salsoul survived the as attempted assassination of disco and flourished in the post-disco era. They were Skyy, founded by Randy Muller and Solomon Roberts Jr, back in 1973, when disco was just about to stretch its wings.
Back in 1971, Randy Muller was a member of Brass Construction, who’d just released their debut single. Around that time, in Brooklyn, New York he first met four sisters who were known as The Sounds Of Soul. This included Denise, Delores and Bonne Dunning, three sisters who were students at Franklin Delano Roosevelt High School in Bensonhurst. Soon, The Sounds Of Soul were opening for Brass Construction. However, Brass Construction wasn’t the only band Randy was involved with.
Randy Muller while trying to refine Brass Construction’s sound, was working with B.T. Express, managed by Jeff Lane. Jeff asked Randy to arrange the strings on B.T. Express’ 1974 debut, Do It To Your Satisfied. Later in 1974, he arranged Isis’ single Bobbie and Maria. This was just the start of Randy’s career in arranging and production. Later in 1974, he arranged Isis’ single Bobbie and Maria. Still, Brass Construction were without a record deal. That changed in 1975.
Having been searching for a record deal for some time, Randy Muller’s Brass Construction finally, signed to United Artists in 1975. Their first album was Brass Construction, which was produced by Randy Muller. It featured the hook-laden number one single Movin.’ With Brass Construction signed to United Artists, The Sounds Of Soul were out on a limb. Luckily, Randy introduced The Sounds Of Soul to Solomon Roberts Jr.
Solomon Roberts Jr. was working with guitarist Anibal Sierra. They’d decided to put together a band comprising four female vocalists. The Sounds Of Soul fitted the bill. Unfortunately, the fourth member decided to leave. This left Denise, Deloroes, Bonne Dunning and Sierra. Soon, bassist Gerald Lebon and drummer Tommy McConnel joined the band. Using what he’d learnt working with Brass Construction and B.T. Express, Solomon started honing Skyy’s sound. Needing a name, Solomon hit on Skyy, which he felt not only summed up the seventies, but brought to mind a myriad of moods. When keyboardist Larry Greenberg joined Skyy, the lineup was complete. Now Skyy could record their debut album.
Before Skyy recorded their debut album, Solomon Roberts Jr. and Randy Muller formed their own production company Alligator Bit Him Productions. By the time Solomon and Randy formed Alligator Bit Him Productions, Randy had produced Brass Construction’s first five albums. Randy was an experienced songwriter, arranger and producer and produced Skyy’s debut album. Once Skyy was recorded, Randy and Solomon pitched the album to record companies.
Having pitched Skyy to various record companies, some labels wanted the band, others just wanted The Sounds Of Soul. Then Salsoul heard Skyy and decided that here was an album of unique and innovative music. Soon, Randy and Solomon signed Skyy to Salsoul.
Now signed to Salsoul, First Time Around was released as Skyy’s debut single in 1979. It reached number twenty in the US R&B Charts, while Skyy’s debut album Skyy reached number 117 in the US Billboard 200 and number forty in the US R&B Charts. This was a good start to Skyy’s nascent recording career. However, things would get even better.
1980 saw the release of Skyy’s sophomore album Skyway. It reach number sixty-one in the US Billboard 200 and number seventeen in the US R&B Charts. The lead single from Skyway, High reached number 102 in the US Billboard 100 and number thirteen in the US R&B Charts. This was Skyy’s biggest hit single so far.
Later in 1980, Skyy released their second album of 1980 Skyyport. It nearly matched the success of Skyway, reaching number eighty-five in the US Billboard 200 and number sixteen in the US R&B Charts. However, all that would be surpassed by Skyy’s fourth album Skyy Line, which featured their most successful single Call Me.
For what became Skyy Line, Randy Muller wrote Call Me, Girl In Blue and Get Into The Beat. Solomon Roberts Jr. penned Jam The Box and When You Touch Me. He also cowrote Gonna Get On with Gerald Leon, while Tommy McConnel contributed Let’s Celebrate, which was apt given the success coming Skyy’s way.
Once Skyy Line was recorded, Call Me was released in October 1981. Call Me was a huge commercial success, reaching number twenty-six in the US Billboard 100, number one in the US R&B Charts and number three in the US Disco Charts. Then when Skyy Line was released in November 1981, it reached number eighteen in the US Billboard 200 and number one in the US R&B Charts. Let’s Celebrate reached number sixteen in the US R&B Charts and number sixty-seven in February 1982. When You Touch Me was released in May 1982, reaching number forty-three in the US R&B Charts. Skyy Line had transformed Skyy’s career, with commercial success and critical acclaim coming their way. However, why was Skyy Line such a successful album?
Opening Skyy Line is Let’s Celebrate, where the funkiest of rhythm section joins eighties synths before tight, heartfelt and soulful harmonies sweep in. Solomon’s lead vocal is equally impassioned and soulful, expressing a sense of joy, satisfaction and sometimes, disbelief. This is apparent from the lyric: “walking on clouds.” Stabs of horns punctuate the arrangement, while the rhythm section play an important part in the song’s success. Tommy McConnell’s drums provides a steady heartbeat while Gerald Lebon’s bubbling bass weaves its way across the arrangement. Both provide a fitting backdrop for the soulful strains of Skyy as seamlessly, soul, funk and boogie unite.
Written by Randy Muller who produced Call Me with Solomon Roberts Jr, this single gave Skyy the biggest hit of their career. From the opening bars, it’s apparent something special is unfolding. The arrangement marries elements of funk with a disco beat. Above the loping bass line, crisp driving beats and chiming guitars sits a dramatic vocal accompanied by sweeping harmonies. Later, bursts of keyboards and rocky guitars add an element of drama to this career defining track. Not only was Call Me the best track on Skyy Line, but the best track they ever recorded.
A James Brown inspired holler and drum roll signal something funky is unfolding. Girl In Blue has a sassy, P-Funk sound from the get go. A loping bass, hypnotic drums, searing rocky guitars and synths accompany Solomon’s sassy, feisty vocal. He struts his way through the track, with stabs of blazing horns and percussion for company. Solomon delivers a vocal that’s not just sassy, but dripping with confidence against an uber funky backdrop.
Jam The Box is a track with a variety of influences. Funk is the biggest influence, although Talking Heads and boogie can be heard throughout the track. The rhythm section have a foot in two decades. The drums have an eighties sound, while Gerald Lebon’s bass has a seventies sound as it provides the arrangement’s heartbeat. Solomon’s vocal is powerful and confident vocal, as he sings call and response with the former The Sounds Of Soul. Making their first appearance on Skyy Line are Skyy’s trademark Skyyzoos. They play their part in giving this track its infuriatingly catchy sound.
When You Touch Me sees the tempo drop, and soon, a beautiful ballad unfolds. Just an understated combination of chiming guitars, piano and subtle drums combine. Then a dramatic burst of drums signals the arrival of a beautiful, tender female vocal. Harmonies sweep in, complimenting and reinforcing its beauty. Drums add to the drama as the vocal grows in power, beauty and sheer soulfulness. Although very different, it’s a gorgeous track, that shows another side to Skyy.
Gonna Get It On sees Skyy continue to demonstrate their versatility. After the chiming guitars, Skyy throw a curveball, when a real reggae influence enters. The rest of rhythm section enter, and are joined by rasping horns, synths and piano. Solomon’s vocal is needy and sensual, while the Dunning sisters add sweeping, soulful harmonies. The result is a slice of musical sunshine, that demonstrates Skyy’s versatility.
Closing Skyy Line is Get Into The Beat, written by Randy Muller. The tempo is slow, with just the rhythm section, chiming guitars and flourishes of strings producing an arrangement that seems to pay homage to Chic. When a female vocalist enters, her vocal veers between urgent to tender and sensual. It’s the perfect foil to the rest of the arrangement, which brings back memories of Chic at their best, during disco’s glory days.
So what made Skyy’s fourth album Skyy Line such a successful album? Well, by 1981, when Skyy Line was released, Skyy had already released three albums. Skyy had also just released a number one US R&B single Call Me. For newcomers to Skyy’s music, Call Me was the perfect introduction. Soon, Skyy, who’d been a successful band, were on their way to becoming one of the biggest dance groups of 1982. Not only that, but Skyy were now on their way to becoming Salsoul Record’s most successful group of the post-disco era.
Not only were Skyy a successful band, who’d gained a reputation for producing music that was unique, innovative and influential. That was key to the success of Skyy’s music. However, they took this further on Skyy Line. It’s best described as a genre-sprawling album. The nine tracks saw Skyy veer between boogie, disco, soul, funk and on Gonna Get It On, reggae. Some tracks were a fusion of several musical genres, which Randy and Solomon seamlessly combined. That’s what attracted people to Skyy’s music. Masterminded by Randy Muller and Solomon Robert Jr, Skyy released seven albums between 1979 and 1984. However, their most commercially successful and critically acclaimed was Skyy Line, which was recently rereleased by BBR Records. For anyone yet to discover the music of Skyy, the critically acclaimed and commercially successful Skyy Line is the place to start. Standout Tracks: Let’s Celebrate, Call Me, When You Touch Me and Get Into The Beat.
SKYY-SKYY LINE.
THE TRAMMPS-DISCO INFERNO.
THE TRAMMPS-DISCO INFERNO.
Eight months after The Trammps released Where The Happy People Go in April 1976, they released their third studio album Disco Inferno In December 1976. A year after The Trammps released Disco Inferno, which was rereleased by WEA Japan on 30th April 2013, their career was totally transformed. This transformation took place when Disco Inferno featured on the soundtrack to a low-budget movie. Little did anyone realize the effect Saturday Night Fever would have on disco and the career of everyone involved.
Saturday Night Fever was a low-budget movie, produced for only $2.5 million dollars, produced by Robert Stigwood and featuring John Travolta. It featured music from M.F.S.B, The Bee Gees, Tavares, Yvonne Eliman and The Trammps’ Disco Inferno. Even when Saturday Night Fever was released, little did anyone connected with the project realize its impact. Soon, Saturday Night Fever became one of the biggest films of the seventies. At the box office, Saturday Night Fever grossed $282.4 million. As for Saturday Night Fever’s soundtrack it was certified platinum fifteen times, selling over fifteen-million copies and staying at number one in the US Billboard Charts for twenty-four weeks between January and July 1978. For every artist or group who featured on the Saturday Night Fever, this was a career game-changer. Disco Inferno became synonymous with The Trammps. However, when The Trammps released their third album in December 1976, it was a very different story.
The Trammps had signed to Atlantic Records in 1975 and released their sophomore album Where The Happy People Go in April 1976. It had reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. Now The Trammps had to build on the momentum of Where The Happy People Go. For their third album, Disco Inferno lead Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade got to work with a few of their Philly friends.
For what became Disco Inferno, Earl Young’s two musical collaborators Norman Harris and Ron Baker would contribute three tracks. Norman cowrote Body Contact Contract with Bruce Gray and Jimmy Hendricks and Starvin’ with Earl Young and Ron Tyson. Ron Baker wrote I Think I’ve Been Living (On the Dark SIde of the Moon). Leroy Green and Ron “Have Mercy” Kersey cowrote the title-track Disco Inferno. Little did they know that Disco Inferno would become a legendary disco anthem. T.G. Conway, Allan Felder and Ron Tyson cowrote Don’t Burn No Bridges. You Touch My Hot Line was written by Jerry Atkins, Victor Drayton, Reginald Turner and Johnny Belmon. These six tracks were recorded in the familiar surroundings of Philly’s Sigma Sound Studios.
Joining the five members of The Trammps, Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade at SIgma Sound Studios were an all-star cast of Philadelphia’s musicians. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli and T.J. Tindall the guitars. Larry Washington and Robert Cupit played congas, while Bruce Grey, Carlton Kent, Ron “Have Mercy” Kersey and T.G. Conway keyboards. Evette Benton, Carla Benson and Barbara Ingram, The Sweethearts of Sigma added backing vocals and Don Renaldo Strings and Horns played an important part in Disco Inferno’s sound. Producers included Norman Harris, Ron Baker, Earl Young and Ron “Have Mercy” Kersey. Once Disco Inferno was recorded it was released on 29th December 1976, at the height of disco’s popularity.
Disco Inferno was chosen as the lead single from Disco Inferno and reached number fifty-three in the US Billboard 100 and number nine in the US R&B Charts. Over in the UK, Disco Inferno reached number sixteen. On the release of Disco Inferno on on 29th December 1976, it reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. This was an improvement on That’s Where The Happy People Go. When the Ron Baker penned I Think I’ve Been Living (On the Dark SIde of the Moon) was released as a single, it reached number fifty-two in the US R&B Charts. Although The Trammps must have been pleased that their second album for Atlantic Records had been such a success, little did they know what was about to happen. That was still to come. However, what does the music on Disco Inferno sound like? That’s what I’ll now tell you.
Opening Disco Inferno is Body Contact Contract, arranged and produced by Norman Harris. The track bursts into life with the Baker, Harris, Young rhythm section, growling horns, dancing strings and keyboards producing a pulsating heartbeat. Bobby “Electronic” Eli adds a searing solo and Robert Upchurch’s barotone adds punchy backing vocals. That sets the scene for Jimmy Ellis’ vocal. It veers between tender and a grizzled growl. He grabs the song and brings the lyrics to life. With Earl Young’s thunderous drums driving the arrangement along, harmonies sweep in urgently, joining flourishes of keyboards and bursts of Robert’s baritone drift in and out. Meanwhile, frenzied strings dance, horns blaze and bray while Baker, Harris, Young produce a powerhouse of backbeat. It’s the perfect song to open Disco Inferno, dramatic, urgent, soulful and dance-floor friendly, providing a showcase for the twin-talents of The Trammps and their all-star backing band. Now The Trammps have your attention, they won’t let go.
Starvin’ is another track Norman Harris cowrote, arranged and produced. He cowrote the track with Earl Young, Allan Felder and ex-Temptation Ron Tyson. Again, Baker, Harris, Young provide the heartbeat, while melodic keyboards, cascading strings and blazing horns combine to create a dramatic backdrop for Jimmy Ellis’ vocal. His vocal’s full of emotion and pain, as he sings “I’m Starvin’ for your love.” Loneliness and heartache fill his voice, before his vocal becomes a vamp, pleading and begging. Robert Upchurch’s interjections are timed to perfection, proving hugely effective. Similarly, the band provide a dramatic, emotive backdrop. Strings sweep and swirl, horns rasp and Baker, Harris, Young give a masterclass. Ron Baker’s bass and Earl Young’s drive the arrangement along and Bobby “Electronic” Eli adds his trademark funky licks. Meanwhile, sweeping, cooing harmonies from the other Trammps and the Sweethearts of Sigma provide the finishing touch, to Jimmy’s needy pleas.
Ron Baker wrote, arranged and produced I Think I’ve Been Living (On the Dark SIde of the Moon). Earl Young’s issing hi-hats and Ron Baker’s lightning-fast bass combine, as the arrangement unfolds. Crystalline guitar licks from Norman Harris and then banks of keyboards unite to build the drama. After a minute, dramatic bursts of Earl’s drums and keyboards signal the arrival of Jimmy Ellis’ pleading, heartfelt, vampish vocal. Tender harmonies from The Trammps and the Sweethearts sweep in. Soon, they grow in power and soulfulness. Meanwhile, the arrangement grows and grows. Philly Soul, funk, jazz and disco unite. Strings dance joyously, horns growl, keyboards add dramatic flourishes and Baker, Harris, Young produce a powerful, dramatic and funky heartbeat. Handclaps and harmonies give the track a gospel twist, as Jimmy Ellis unleashes one of his most impassioned vamps on Disco Inferno.
Disco Inferno literally bursts into life. It’s arranged and produced by Ron “Have Mercy” Kersey. The Baker, Harris, Young section are like a musical juggernaut, with drummer Earl Young driving the track along his hi-hats hissing. Ron Baker’s tough, funky bass matches Earl every step. Don Renaldo strings swirl frantically and his horns growl. Hypnotic keyboards play their part. Then when Jimmy Ellis delivers his vocal, he’s like a disco preacher. His powerful, grizzled vocal grabs the song. Soon, he’s waving his magic, like a disco wand. Punchy, sweeping and cooing harmonies from The Trammps and the Sweethearts of Sigma grow in power. It’s as if they realise something special is unfolding. It is. From the opening bars to the closing notes, Baker, Harris, Young are at the heart of the action. Earl and Ron provide a pulsating heartbeat, while Norman Harris’ jazz tinged guitar playing is subtlety personified. The result is a ten-minute disco Magnus Opus; an anthemic track featuring disco preacher extraordinaire Jimmy Ellis with The Trammps and Philly’s finest musicians produce one of disco’s greatest, most iconic tracks.
Following such anthemic track as Disco Inferno isn’t easy, but Don’t Burn Any Bridges has to do this. Comparisons are almost unfair. Produced by Norman Harris, T.G. Conway’s arrangement has a jaunty, uptempo opening. Flourishes of quizical strings, bursts of drums and grizzled horns combine. Then with a flamboyant flourish of keyboards, urgent harmonies sweep in. When they drop out, Jimmy Ellis takes on the role of preacher, spreading wisdom and advice with a powerful, impassioned vocal. It’s filled with energy, emotion and totally heartfelt. Behind him, strings slip and dance, horns blaze and Earl Young reflects the power and passion in Jimmy’s vocal. Tight soulful harmonies from The Trammps and the Sweethearts of Sigma accompanying Jimmy, as he delivers one of his most heartfelt, sincere and soulful vocals on Disco Inferno.
Closing Disco Inferno is the Earl Young produced You Don’t Touch My Hot Line, arranged by T.G. Conway. Searing guitar licks from Bobby “Electronic” Eli join the Baker, Harris, Young rhythm section, while strings sweep and swirl. Soon, Jimmy Ellis delvers a vocal that’s a combination of passion and power. It’s also deeply soulful, like The Trammps tight, sweeping harmonies. They’re joined by lush strings and blazing horns, while Bobby Electronic” Eli and Norman Harris’ guitars provide contrasts. Horns growl and Earl Young’s drums inject power and drama as Jimmy and rest of The Trammps vamp their way through the rest of the track, closing Disco Inferno on a song that has made in Philly written all over it.
It seems that The Trammps picked up where they left off on Where The Happy People Go. Not only did The Trammps build on the momentum created by their sophomore album, but Disco Inferno saw The Trammps take their music to even heights of soulfulness and dance-floor friendliness. Philly Soul, funk, jazz and disco were all poured into The Trammps musical melting pot. The result was a delicious and timeless fusion of musical genres. From the opening bars of Body Contact Contract, right through tracks like I Think I’ve Been Living (On the Dark SIde of the Moon), Disco Inferno and the deeply soulful strains of You Don’t Touch My Hot Line, The Trammps never miss a beat.
A combination of The Trammps vocal prowess, plus some of Philly’s best songwriters, arrangers, producers and musicians saw to this. Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Earl Young all deserve credit for their productions on Disco Inferno. So do the all-star line of musicians, featuring some legendary Philadelphia musicians. Especially with such a charismatic vocalist as Jimmy Ellis bringing each song to life with power, passion and emotion. The Trammps and Sweethearts of Sigma’s harmonies were just the finishing touch. When you look at the personnel involved in Disco Inferno and hear the six tracks, you wonder why the album wasn’t a much bigger success. Then a year later, somewhat belatedly, one of the tracks on Disco Inferno which was rereleased by WEA Japan on 30th April 2013, became an anthemic, iconic disco classic.
When Saturday Night Fever was released, the title-track Disco Inferno became disco’s anthem worldwide. Fifteen-million copies of the Saturday Night Fever soundtrack were sold and suddenly, everyone knew The Trammps and their music. Some of the artists that featured on the Saturday Night Fever soundtrack didn’t enjoy the longevity of The Trammps. Thirty-six years later, The Trammps music is just as popular. Indeed, many of The Trammps songs, including Disco Inferno , have become anthemic, iconic tracks, part of disco’s rich and vibrant history. Standout Tracks: Body Contact Contract, Starvin’, Disco Inferno and Don’t Burn Any Bridges.
THE TRAMMPS-DISCO INFERNO.
BLUE MAGIC-MYSTIC DRAGONS.
BLUE MAGIC-MYSTIC DRAGONS
The story of Blue Magic, is far from unique. Their eponymous debut album Blue Magic, released in January 1974, reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in Blue Magic being certified gold. Blue Magic featured the million-selling Philly Soul classic Sideshow, written by Vinnie Barrett and Bobby “Electronic” Eli. Sadly, after their debut album, Blue Magic failed to replicate the success of Blue Magic.
The Magic of The Blue, released in December 1974, reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. Even when the Vinnie Barrett and Bobby “Electronic” Eli, penned Three Ring Circus was released as a single, it stalled at number thirty-eight in the US Billboard 100 and number five in the US R&B Charts. Blue Magic’s fortunes improve during 1975.
1975 saw Blue Magic embark on their first world tour. It lasted sixteen grueling and exhausting weeks. However, their luck was about to improve. Blue Magic won an Ebony Award for the best new group. Then in September 1975, their third album, Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. With Blue Magic’s fortunes improving, work began on their third album Mystic Dragons which was rereleased by WEA Japan on 30th April 2013. For Mystic Dragons, there would be some changes.
Unlike Blue Magic’s first three albums, Norman Harris wasn’t producing Mystic Dragons. Neither would Norman provide any of the songs on Mystic Dragons. Given Norman had co-written eleven songs on Blue Magic’s three previous albums this would be a huge void. Another void was the loss of the Baker, Harris, Young rhythm section. They’re didn’t provide Mystic Dragon’s heartbeat. Only Norman Harris would play on Mystic Dragons. For Mystic Dragons, Bobby “Electronic” Eli would produce and cowrote six of the nine tracks.
Mystic Dragons featured nine tracks, with Bobby “Electronic” Eli contributing six tracks. With Vinnie Barrett, Bobby “Electronic” Eli penned To Get Love (You Must Give Love). Bobby cowrote Freak-N-Steln, Mother Funk, Summer Snow and Making Love To A Memory with Len Barry. They then penned Rock ‘N’ Roll Revival with Keith Barrow, who wrote It’s Something About Love. Blue Magic’s lead singer wrote Spark of Love and cowrote See The Bedroom with Keith Beaton. These nine tracks became Mystic Dragons, which was recorded at Philly’s Sigma Sound Studios.
Blue Magic returned to Philly’s Sigma Sound Studios for the recording of Mystic Dragons. They were accompanied by some of Philly’s best musicians. The rhythm section included bassists Larry LaBes and Michael “Sugarbear” Forman, drummers Jerry James and Larry James plus guitarists Bobby “Electronic” Eli, Norman Harris, T.J. Tindall and Ted Cohen. Vince Montana Jr, played vibes, Larry Washington congas and percussion and Evette Benton tambourine. Carlton “Cotton” Kent, Ron “Have Mercy” Kersey and Erskine Mills played keyboards, while Dexter Wansell and Travers Huff played synths. Alto saxophonist Jack Faith and violinist Don Renaldo were part of the woodwind, string and horn section that featured on Mystic Dragons. Add backing vocals were The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Once Blue Magic had finished recording Mystic Dragons, it was released in 1976.
On the release of Mystic Dragons in 1976, it was the least successful album of Blue Magic’s career. It stalled at number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. Three singles were released from Mystic Dragons during 1976. Freak-N-Steln only reached number seventy-three in the US R&B Charts. It’s Something About Love then reached number forty-eight in the US R&B Charts. Summer Snow proved to be the most successful single, reaching number forty in the US R&B Charts. This must have been hugely disappointing for Blue Magic. This was a long way from their million-selling album Blue Magic and single SIdeshow. So, why wasn’t Mystic Dragons a commercial success? That’s what I’ll tell you, after I’ve told you about the music on Mystic Dragons.
Opening Mystic Dragons is Freak-N-Steln, penned by Bobby “Electronic” Eli and Len Barry. Straight away, you hear a very different sound to Blue Magic. It’s a tougher, funkier sound, but still soulful. Searing guitars, stabs of keyboards and a funk-laden rhythm section combine, before a powerful, almost dramatic vocal enters. Sweeping harmonies provide the soulful side of the track. Growling horns add to the tough, funky side, while soaring synths from Dexter Wansell provide another new side to Blue Magic. Although a long way from the dreamy, wistful sound of Sideshow and Three Ring Circus, it’s almost as Blue Magic are trying to reinvent themselves. While it’s still a quality track, maybe the new sound alienated Philly Soul lovers?
To Get Love (You Must Give Love) has a much more Blue Magic sound. Written by Bobby “Electronic” Eli and Vinnie Barrett, the track has a dreamy, melancholy sound. It features Ted Mills’ first lead vocal. The tempo slows, keyboards, a wandering bass and Vince Montana Jr’s bass combining. Then comes Ted’s tender, heartfelt vocal. Accompanying him, are harmonies from The Sweethearts of Sigma and the rest of Blue Magic. A piano and bass play a crucial role in the arrangement, while the drums reflect the drama and emotion in Ted’s vocal. Synths are deployed, and thankfully, don’t detract from the arrangement. Norman Harris’ chiming guitar makes an appearance, on this beautiful ballad, that quite simply, is one of the highlights of Mystic Dragons.
See The Bedroom sees another change in style. There’s everything from rock, funk and soul combining. Sometimes, there’s even a psychedelic era Beatles sound in the mix. The rhythm section, searing guitars and blazing horns combine with vocal, before the track heads in a dramatic and soulful direction. It’s the vocal that provides the soulfulness, while the rhythm section, horns and synths that add the drama. Cascading harmonies and searing guitars accompany Ted’s vocal, as Blue Magic combine elements of Philly Soul, psychedelia and funk. Drama and soulfulness are combined, as Blue Magic continue to reinvent themselves with this experimental track. Ironically, the previous track, which had Blue Magic’s name written all over it, is what they do best.
Given the title Mother Funk, it’s no surprise the track has a heavy-duty funky sound. It’s like Blue Magic trying to reinvent themselves as Funkadelic. From the get go, riffing guitars, blazing horns and a pounding, funky rhythm section accompany the vocal. It’s edgy, tough and sassy. Cascading, soulful harmonies and percussion join an arrangement where, a driving rhythm section, growling horns and riffing guitars combine. Then Don Renaldo unleashes a violin solo. Country and folk are his reference points. Somehow, Blue Magic have managed to pull off the impossible, by combining elements of Philly Soul, funk and Southern Rock. By then, Blue Magic’s mystical, heady brew of musical genres suddenly all makes sense. This seems a fitting way to close Side One of Mystic Dragons.
Summer Snow opens Side Two of Mystic Dragons, with a much more Blue Magic sounding track. They return to their Philly Soul sound. Just a combination of the rhythm section, piano, Vince Montana Jr’s vibes and chiming guitars accompany Ted’s tender vocal. Suddenly all is well with the world, as Blue Magic do what they do so well. I can even forgive the use of the synths. When the vocal changes hands, Blue Magic showcase their combined vocal prowess. Similarly, their harmonies are tight, heartfelt and soulful, as they do what they do best, deliver soulful, beautiful music.
As Rock ‘N’ Roll Revival unfolds, it’s as if Blue Magic are in church, testifying. Then having given thanks, the arrangement explodes. Searing guitars and a driving rhythm section accompany the powerful, joyous vocal. Funk, rock and soul combine. Slide guitar and piano play leading roles, complete with handclaps and gospel harmonies from Blue Magic and The Sweethearts of Sigma. The result is an infectiously catchy, genre-sprawling track, hooks-laden track.
Just an understated arrangement opens It’s Something About Love. Synths, a subtle rhythm section and flute combine, before Ted’s vocal enters. The only problem is the synths, which jar. This means Ted’s vocal is forced to compete with the synths. His vocal is a mixture of hope and happiness, but tinged with confusion. Subtle sweeping, cooing harmonies, piano and rasping horns combine, as the vocal changes hands. From there, Ted’s vocal grows in power, passion and joy, complete with some delicious harmonies. Apart from the synths, which seem out of place and jar somewhat, this is a gorgeous Philly Soul ballad, which demonstrates that even by 1976, Blue Magic had neither lost any of their soulfulness nor magic.
Making Love To A Memory is the last of the Len Barry and Bobby “Electronic” Eli songs. Just Vince Montana Jr’s vibes and keyboards combine, before a burst of drums signals the cooing, tender harmonies to sweep in. Blue Magic are joined by The Sweethearts of Sigma as the lead vocal is delivered with sadness and regret. Harmonies answer the vocal, sweeping in, as if sympathizing with the plight. Meanwhile, the arrangement allows the vocal and harmonies to take centre-stage. Just the rhythm section, keyboards and percussion accompany Blue Magic, as they roll back the years, delivering a vintage slice of Philly Soul.
Closing Mystic Dragons is Spark of Love, penned by Ted Mils. The rhythm section build the drama and emotion, before the lead vocal enters. It’s hurt-filled and emotive, with the synths providing an accompaniment. Sometimes, it seems out of place, competing with the vocal and harmonies. Here, it’s a case of the synths are overused. A little goes a long way. They should’ve been used sparingly. It’s a shame, as Blue Magic are at their soulful, dramatic and emotive best. The arrangement cascades along, like a merry-go-round. Just the rhythm section, piano provide the accompaniment to Blue Magic. For their part Blue Magic seem to drive each other to greater heights of emotion, drama and sheer soulfulness.
So, Blue Magic’s fourth album Mystic Dragons, produced by Bobby “Electronic” Eli saw a change in sound and style from one of Philly Soul’s giants. With Norman Harris no longer producing Blue Magic, their familiar Philly Soul sound changed. Gone were the lush strings of the three previous albums. Similarly, the horns were used much more sparingly. The Baker, Harris, Young rhythm section were also badly missed. So too, were the songwriting skills of Norman Harris and his various songwriting partners. Having said that, this doesn’t mean Mystic Dragons is a bad album. Quite the opposite. There’s much to commend Mystic Dragons
Producer Bobby “Electronic” Eli combined elements of funk, rock and even psychedelia with Philly Soul. Freak-N-Steln and the Funkadelic inspired are very different to Blue Magic’s previous music. Of the two tracks, Mother Funk works best. On See The Bedroom, Philly Soul, funk and Southern Rock are fused. Somehow this works, and works well. Rock ‘N’ Roll Revival is a hook-laden track where Blue Magic and The Sweethearts of Sigma testify their way through the track, fusing Funk, rock, soul and gospel. Ironically, although each of these tracks see producer Bobby “Electronic” Eli take Blue Magic out of their comfort zone, it was the Philly Soul tracks which stand out.
Bobby “Electronic” Eli and Vinnie Barrett, who penned Blue Magic’s biggest single Sideshow, cowote The To Get Love (You Must Give Love). This was the best track on Mystic Dragons. It had a lovely, dreamy, wishful sound, just like Sideshow and Three Ring Circus. Of the other four tracks, Summer Snow and Making Love To A Memory see Blue Magic back to their soulful best. Both are tracks quite beautiful slices of Philly Soul. So too are It’s Something About Love and Spark of Love, which could’ve been an even better tracks if the synths hadn’t been used during the track. Overall, the five Philly Soul tracks were what Blue Magic did so well. However, given the change in musical tastes, Blue Magic’s music had to change.
Disco was now the most popular musical genre. Funk was also a popular musical genre. Philly Soul was no longer as popular. So it made sense for Blue Magic to change direction. However, Mystic Dragons didn’t sell well. Indeed, Mystic Dragons which was rereleased by WEA Japan on 30th April 2013, was the least successful album of Blue Magic’s career. While Mystic Dragons is a good album, it doesn’t match the quality of their first three albums. For anyone looking to discover the music of Blue Magic, then Blue Magic, The Magic of The Blue and Thirteen Blue Magic Lane are the place to start. After that, Mystic Dragons is an album to explore and enjoy, as Blue Magic open the next chapter in their career. Standout Tracks: To Get Love (You Must Give Love), Summer Snow, It’s Something About Love and Making Love To A Memory.
BLUE MAGIC-MYSTIC DRAGONS.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
Recently, I’ve come to the conclusion that the most overused word in the English language is the word “classic.” Nowadays, something can’t just be good, it must be a classic. It doesn’t matter if someone is talking about a book, cuisine, technology, a architecture or art, the word classic is used to describe anything that rises above average. Whether it’s a book, building, painting, phone or automobile, chances are, critics will refer to it as a classic. Nowhere is the word classic more overused than in music. Anyone who reads the music press will see the word classic both overused and misused. In truth, very few of the hundreds of thousands of albums ever recorded, deserve to be called classics. However, one album that certainly deserves that accolade, is Aretha Franklin’s breakthrough album I Never Loved A Man the Way I Loved You which was rereleased by WEA Japan on 26th March 2013.
By the time Aretha Franklin recorded I Never Loved A Man the Way I Loved You, she was not only a hugely experienced singer and recording artist, having released ten previous albums. Three of those albums Running Out of Fools released in 1964, 1965s Yeah! and Soul Sister, released in 1966, had all reached the top ten in the US R&B Charts. That however, was the extent of her commercial success. Her previous album 1966s Take It Like You Give It had failed to chart. All this would change considerably, in 1967, when she took a trip to Muscle Shoals to record her next album.
Aretha Franklin’s destination was the legendary Fame Recording Studios, where she recorded with the Muscle Shoals rhythm section, who’d graced numerous Southern Soul hits. Once there, she recorded a track that would change her career I Never Loved A Man the Way I Loved You, a track where Aretha’s gospel influence shines through. On returning to New York, she cut the B-side of what would be her next single, I Never Loved A Man the Way I Loved You. The B-side Do Right Woman, Do Right Man. On the single’s release, I Never Loved A Man the Way I Loved You reached number nine in the US Billboard 100 and number one in the US R&B Charts, resulting in the first gold disc of Aretha’s career.
Following this success, an album was released, I Never Loved A Man the Way I Loved You, which had been recorded at the Fame Recording Studios n Muscle Shoals and Atlantic Recording Studios in New York, during January and February of 1967. With the Muscle Shoals Rhythm Section Aretha recorded a total of eleven tracks, including a cover of Sam Cooke’s A Change Is Gonna Come and Otis Redding’s Respect. Aretha’s cover of Respect reached number one in both the US Billboard 100 and the US R&B Charts, earning Aretha another gold disc. On its release in March 1967, I Never Loved A Man the Way I Loved You reached number two on the US Billboard 200 and number one in the US R&B Charts. This lead to the album being certified platinum, having sold over one million copies.
Although most critics loved the album, Rolling Stone magazine had a number of criticisms. They criticized the Muscle Shoals Rhythm Section’s “lack of versatility,” with the drums and guitar incurring the wrath of Fame’s finest musicians. Another person coming in for criticism was producer Jerry Wexler. His “production lacked polish,” was their opinion. Whether any of this either reached or bothered the Muscle Shoals Rhythm Section, Jerry Wexler or even Aretha Franklin, is unknown. After all, everyone concerned had just played their part in a platinum selling album. However, after a volte-face in 2002, the same magazine made the album number one in their Women In Rock: 50 Essential Albums list. A year later, after their volte-face they included I Never Loved A Man the Way I Loved You at number eighty-three in their list of the 500 Greatest Albums of All Time. Since its release, back in 1967, I Never Loved A Man the Way I Loved You is still perceived as one of the greatest albums Aretha Franklin ever released, and it’s that album I’ll now tell you about.
I Never Loved A Man the Way I Loved You opens with a cover version of the Otis Redding track Respect, albeit with a change in the lyrics. Whereas, Otis’ version was from the perspective of a desperate man, willing to do whatever it takes to please his woman, Aretha sings the song from the perspective of a confident, independent woman. She knows what he wants, never does him wrong and demands his respect. Making her point, she spells out R-E-S-P-E-C-T, while behind her, backing singers unite to sing “sock it to me.” The song became an anthem to the feminist movement, and earned Aretha two Grammy Awards in 1968. When the songs opens, it’s a combination of blazing horns, chiming, searing guitars and driving rhythm section that accompany Aretha’s sassy, confident vocal. Behind her, The Sweet Inspirations, Aretha’s backing vocalists unite soulfully, their voices a contrast to Aretha’s power and confidence. Together with the Muscle Shoals Rhythm Section, they help drive the track quickly, along. The result is not only a timeless, track, but a feminist anthem.
Drown In My Own Tears was a track previously covered by Dinah Washington and Ray Charles. Here, Aretha reinterprets the track written by Henry Glover. It’s just a piano that opens the track, giving way to a hugely powerful and emotive vocal from Aretha. Drums join the piano, played gently, as they should be on this track, while Aretha injects both beauty and emotion into the lyrics. Later, rasping horns enter, and like The Sweet Inspiration, punctuating the rest of the track. Jerry Wexler’s arrangement is perfect, allowing Aretha’s vocal to take centre-stage, where it soars emotively and beautifully, as she offers up a beautiful interpretation of the song.
The track that really launched Aretha’s career after eleven years and ten albums of trying was I Never Loved A Man (the Way I Loved You). Written by Ronny Shannon, it gave Aretha her first US R&B number one single. It’s that familiar combination of piano, organ and drums that open the track, before Aretha’s frustrated, angry vocal enters. She’s despairing at being in love with a no-good, good cheating guy, who treats her badly, but can’t leave him because of how he makes her feel. Rasping horns punctuate the track, while, the piano is key to the track. Occasionally The Sweet Inspirations accompany Aretha, adding to the already emotive and dramatic sound. Soon, horns accompany Aretha’s energetic, desperate soaring vocal as she sings how she’s never loved a man like him. In just under three minutes, Aretha covers a gambit of emotions from angry and frustrated, to lovestruck and desperate and everything in between. It’s a very real story the mistreating, cheating guy and the woman who would and should leave him, but can’t because she loves the way he makes her feel. However, no-one can tell the story like Aretha. Her version of this seminal, career changing track is peerless.
Aretha changes things on Soul Serenade, which features a truly tender vocal. Just Aretha and the piano combine, before blazing horns and the rhythm section enter. The horns enter into call and response with Aretha and are at the heart of the sound. This proves really effective.
Don’t Let Me Lose This Dream features a much more powerful vocal from Aretha, who co-wrote this track with her husband Ted White. Just the rhythm section and backing vocalists accompany Aretha. Whether this song is autobiographical one wonders, given the lyric “if I lose this dream, it’s goodbye love and happiness?” Although the lyrics are good enough, they and the song don’t quite match the quality of its predecessors. Sinilarly, Jerry Wexler’s production gives the track a dated sound.
Baby, Baby, Baby was written by Aretha and her sister Carolyn. A combination of piano and Hammond organ that accompany Aretha’s hugely emotive and sad vocal. Hurt by the man she loves, the rhythm section and The Sweet Inspirations gently accompany Aretha on this slow, sad song. Emotive and impassioned, her love for her man is almost tangible. This becomes sadness and desperation, when rasping, horns and soaring harmonies join. Truly, it’s a powerful track, full of emotion, thanks to Aretha’s reading of some heartbreaking lyrics.
Another track Aretha and Ted White penned was Dr Feelgood (Love Is A Serious Business). Straight away, there’s a real Southern Soul feel as a Hammond organ and piano combine, before the rhythm section and Aretha enter. They’re accompanied by bursts of horns and guitar, while Aretha gives a thoughtful, slightly angry vocal. She’s angry as she sings about neither wanting anyone, nor anything, to come between her and her man. Aretha sings the lyrics with frustration, anger and passion, combining soul and jazz seamlessly.
Aretha covers two Sam Cooke tracks on I Never Loved A Man the Way I Loved You. The first of these is Good Times, where Aretha makes the song swing with the help of the Muscle Shoals rhythm section. Along with blazing horns, Aretha gives a sassy, swinging rendition of Sam Cooke’s lyrics. Her delivery is jazzy, but still soulful as the makes Sam Cooke’s lyrics swing,
Dan Penn and Chips Moman cowrote Do Right Woman, Do Right Man. Although this track has been covered many singers, Aretha’s version is the definitive version. Key to this is the gospel influence, which continues to the bridge. Just the piano, Hammond organ played by Aretha and rhythm section accompany Aretha’s gospel tinged vocal. Behind her, The Sweet Inspiration contribute peerless harmonies. Aretha’s vocal is laden with emotion, as she urges men to treat women as their equals, as well as treating them well, not cheating on them or abusing them, and certainly, never to take them from granted. The other theme of the lyrics is temptation, and how women can be tempted towards infidelity, but resisting temptation, can have its rewards. Aretha’s vocal is laden with emotion and sincerity, as she demonstrates her gospel roots, while delivering the definitive version of a classic track.
Save Me was written by Aretha and Carolyn Franklin with Curtis Ousley. Searing guitars and the rhythm section accompany Aretha’s pleas, as she almost screams for someone to save her, to love her and take away her hurt. Later, short, sharp bursts of horns punctuate the arrangement, while the guitars and rhythm section drive the track along. As the track progresses, Aretha’s pleas become even more desperate, full of emotion, sadness and passion. This results in a track that’s drenched in drama, emotion and desperation.
Closing I Never Loved A Man the Way I Loved You is Sam Cooke’s A Change Is Gonna Come. Of all the songs Sam Cooke wrote, this is one of the most powerful and became synonymous with the civil rights movement. Although the song was only a minor hit for Sam Cooke in 1963, the song’s impact was huge and important. When it’s sung by either Sam Cooke or Aretha Franklin, it has the capacity to bring a multitude of emotions to the surface. It makes you sad, frustrated and angry at the injustice of the early sixties when the song was released by Sam Cooke, but happy and joyous that by 1967, slowly change was indeed coming. Just a piano accompanies Aretha’s tender, determined and thoughtful vocal. As a Hammond Organ enters, her voice soars. Aretha brings life and meaning to Sam Cooke’s lyrics, her voice soaring from tender to a powerful, emotive and impassioned style. By the end of the this outstanding, hugely emotional paean of hope, you can’t failed to be moved and be uplifted by this beautiful song, which is a fitting and poignant way to end I Never Loved A Man the Way I Loved You.N
Not only did I Never Loved A Man the Way I Loved You launch Aretha Franklin’s career at Atlantic Records, but it was the album that saw her make a commercial breakthrough. Critically acclaimed and certified gold, I Never Loved A Man the Way I Loved You, which was rereleased by WEA Japan on 26th March 2013, is one of Aretha’s greatest albums. Quite simply, I Never Loved A Man the Way I Loved You is a stunning album, with some hugely powerful music on it. Among the highlights of I Never Loved A Man the Way I Loved You are Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come. These are four tracks not only feature Aretha at her best, but demonstrate her ability to bring life and meaning to lyrics. There’s e confident, independent and sassy Aretha on Respect. Compare this to the Aretha on Never Loved A Man (the Way I Loved You), where she’s been mistreated, cheated on, but still can’t stand to leave. The difference is huge, but the portrayal are very real. Then there’s the message of equality on Do Right Man and the positivity and emotion of A Change Is Gonna Come. This allows you to see how Aretha Franklin could bring a song to life, make to you believe in the lyrics and emotions behind it. Although I’ve just mentioned these four songs, there are many other great tracks on the album. Aretha’s interpretation of Henry Glover’s Drown In My Own Tears is both emotive and very beautiful. Overall, I Never Loved A Man the Way I Loved You is one of the few that deserves to be rightly called a classic album. Nowadays, this accolade is given to too many unworthy albums. However, I Never Loved A Man the Way I Loved You richly deserves the accolade.
Having released ten albums before signing to Atlantic Records, I Never Loved A Man the Way I Loved You was a career defining album. It saw Aretha on her way to being crowned Queen Of Soul. However, this was just the start of a string of critically acclaimed and commercially successful albums. From 1967s Aretha Arrives, Lady Soul, Aretha Now, through 1969s Soul ’69 and 1972s Young Gifted and Black Aretha Franklin was the undisputed Queen Of Soul. Nobody else came close. These were the best albums of Aretha’s long and illustrious career. However, the album that started Aretha Franklin’s career was I Never Loved A Man the Way I Loved You, which transformed her career and deserves to be called a classic. Standout Tracks: Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
Sometimes, when people discuss the great soul singers, they forget about Donny Hathaway, whose career was tragically cut short. During his career, Donny Hathaway only released three studio albums, one soundtrack album and two albums with Roberta Flack. Donny Hathaway’s debut album was 1970s Everything Is Everything, which was rereleased by WEA Japan on 26th March 1970. Everything Is Everything is regarded by critics as his greatest album, his musical Magnus Opus, which I’ll tell you about
Donny Edward Hathaway was born in October 1945, in Chicago. He was the son of Drusella Huntley, but was brought up by his grandmother Martha Pitts, a professional gospel singer. While many children are referred to as a musical prodigy, this was true of Donny. At the age of three, Donny joined his grandmother in her church choir. After graduating from Vashon High School, he headed to Howard University in Washington’ DC to study music on a fine arts scholarship. During his time at Howard, Donny formed a jazz trio. He was joined by drummer Ric Powell, and they played around the Washington area. In 1967 Donny received various offers to work within the music industry.
After leaving university, Donny’s first job within the music industry was as session musician, songwriter and producer. His first job was with Twilight Records in Chicago. Later he worked as an arranger, and was responsible for the arrangements on two of The Unifics singles Court of Love and The Beginning of My End. Donny went on to work with The Impressions, Aretha Franklin, Jerry Butler, The Staple Singers, Leroy Hutson and Curtis Mayfield.
Woking with Curtis lead to Donny becoming house producer at Curtis Mayfield’s Curtom Records. It was there, that Curtis started recording as one of the Mayfield Singers. In 1969, he recorded his first track under his own name. This was a duet with June Conquest entitled I Thank You Baby, with another duet by the pair Just Another Reason as the B-side. Later in 1969, Donny signed to the Atco Records label. This came about after being spotted by King Curtis, a musician and producer at a music industry trade convention. This lead to Donny releasing his first successful single The Ghetto Part 1, which he cowrote with friend Leroy Hutson. Like Donny, Leroy Hutson would later go on to find success as a singer, songwriter and producer.
Now signed to Atco, Donny Hathaway began work on his eponymous debut album Everything Is Everything. Of the nine tracks, Donny wrote Thank You Master (For My Soul) and cowrote four other tracks. Donny penned Sugar Lee with Richard Powell, and with Leroy Hutson, cowrote Tryin’ Times and The Ghetto. WIth Phil Upchurch, Donny and Leroy penned Je Vous Aime (I Love You). Phil Upchurch also cowrote Voices Inside (Everything Is Everything) with Richard Evans and Ric Powell. Along with covers of Nina Simone’s To be Young, Gifted and Black and Ray Charles’ I Believe To My Soul, these nine tracks became Donny’s debut album Everything Is Everything.
Recording of Everything Is Everything took place with an experienced band of musicians. The rhythm section included guitarist King Curtis, drummer Ric Powell, bassists Louis Satterfield and Phil Upchurch, who also played guitar. Donny played electric piano and organ. Joining this tight band were a horn section. Producers included Donny, Ric Powell and King Curtis. Once recording of what became Everything Is Everything was completed, it was ready for release in 1970.
On its release of Everything Is Everything, it was critically acclaimed. It reached number seventy-three on the Billboard 200 album charts and number thirty0three in the US R&B Charts. The Ghetto Part 1 was released as a single, reaching number eighty-seven in the US Billboard 100 and number twenty-three in the US R&B Charts. Although Everything Is Everything wasn’t a huge commercial success, it was critically acclaimed as seen as Donny Hathaway’s best album. You’ll realize why when I tell you about it.
Everything Is Everything begins with Voices Inside (Everything Is Everything). It has an understated sound, just a bass being plucked and drums playing. Soon, you think a slice of funk is unfolding. This increases when Donny shouts “let’s get down now,” and then a piano plays. Backing singers join in, Donny scats. By now the arrangement has grown, and is a glorious mixture of horns, harmonies, handclaps and piano. Donny’s style is loose, ad-libbing, whooping and hollering. As the track closes the end of the track, you realize you’ve been privileged to hear four-minutes of masterful music, where soul and funk unite.
Just drums and testifying backing singers combine, before a guitar accompanies Donny. His voice on Je Vous Aime (I Love You) is full of emotion and sincerity. It’s soulful with a capital S. He delivers some heartfelt lyrics, about how times have been tough, yet he still loves her. Soulful and gospel tinged harmonies compliment Donny’s voice perfectly. Apart from the harmonies, it’s just drums, and guitars which feature in the arrangement. When you listen to this track, it’s hard to believe that this is Donny’s debut album, such is the maturity and confidence he displays during such a beautiful track.
I Believe To My Soul has a dramatic opening, it’s a mixture of drums, keyboards and horns. To misquote James Brown it’s loud and it’s proud. When Donny joins in the tempo increases, the arrangement gets fuller and the drama increases. He sings about mistrust and betrayal, his voice loud, strong and soaring powerfully. Behind him, horns blaze. They almost upstage Donny with their performance, punctuating the track with a virtuoso performance. Along with Donny, they play their part in setting the scene for Donny’s tale of distrust and betrayal.
After such an energetic workout as I Believe To My Soul, Misty sees Donny return to his gospel roots. From the start, Misty has a gospel influence. This is apparent is both Donny’s vocal and the arrangement. Donny takes the tempo way down, as he sings. Behind him, a piano plays and are joined by stabs of horns. Not only is the tempo slow, but Donny and his band leave space within the arrangement. This adds to the drama while Donny’s vocal is heartfelt and laden with emotion. Here Donny’s at his soulful best, his passionate performance amongst Everything Is Everything’s highlights.
When Sugar Lee begins to reveal its secrets, a bass is accompanied by whoops, hollers and handclaps. The arrangement is looser, less structured, albeit with a funk and jazz influence. Drums and piano join the bass as you realize this track is very different from previous tracks. Sometimes, the sound veers towards chaotic, but thankfully, that never quite happens. It’s best described as experimental sound, with its roots in jazz and funk. After the quality of previous tracks, Sugar Lee disappoints.
When Tryin’ Times begins, it’s just Donny testifying accompanied by a piano and bass. With real feeling and emotions, he sings about the poverty and society’s problems. The lyrics are powerful, potent and still relevant today. Like most of the tracks on Everything Is Everything the song benefits from a good arrangement, one that’s understated. Forty years after Leroy and Donny penned Tryin’ Times its lyrics are just as relevant.
Thank You Master (For My Soul) is the only track Donny wrote himself. It’s a track with its roots in the church, and features spiritual lyrics. In the lyrics Donny gives thanks, for everything he has, especially his soul. When he does, he gives another heartfelt performance. The arrangement gradually unfolds, subtly revealing its secrets. Slowly, a piano plays, before drums, keyboard and horns enter. What starts of as an understated arrangement, eventually turns into almost a jazz workout, with his band showcasing their musical abilities. It’s almost a song of two parts, and during the second part of the song, Donny is joyous, thankful for what he has. His voice becomes passionate, and sincere, as he gives thanks. You can’t fail to be moved by Donny’s moving and heartfelt performance on this track.
The Ghetto Part 1 is a track most people will recognize. Again, it’s a track with a much looser arrangement. Much of the track is an instrumental with Donny ad-libbing. He whoops as a bass plays, then proudly announces “this is the ghetto.” From there the track meanders along for over seven minutes. Keyboards, percussion, handclaps and the rhythm section are joined by harmonies that interject Occasionally, Donny sings. Mostly, the track meanders along, slowly and beautifully. Whoops, hollers and screams can be heard. The improvisational style of track works well. Here, Donny has borrowed this style from jazz, and this looser style works brilliantly, ending up with one of Donny’s best known tracks.
To Be Young Gifted and Black closes Everything Is Everything. Here, Donny takes a risk, by covering a song made famous by Nina Simone and Aretha Franklin. Many people regard Aretha’s version as the definitive version. However, Donny’s version is good, very good, and runs Nina Simone’s version close. He sings this song about poverty and inequality brilliantly. His rendition is passionate, he sings it as if he’s angered by these things, he sees them rightly, as a blight on society. The arrangement allows Donny’s vocal to shine. Again there’s a gospel influence present and space is left within the arrangement as Donny gives a vocal masterclass. Towards the end of the track, soaring harmonies add the finishing touch to what’s quite simply, the highlight of Everything Is Everything. With its lush, gospel arrangement, this is one of the best songs Donny Hathaway ever recorded.
For anyone yet to discover the music of Donny Hathaway, then the perfect place to start is his debut album Everything Is Everything, which was rereleased by WEA Japan on 26th March 2013. Of the three albums Donny Hathaway recorded, Everything Is Everything is his best album. It was critically acclaimed upon its release. Considering Everything Is Everything was a debut album, it’s an accomplished and mature album. Just nine songs long, Everything Is Everything is a fusion of soul, funk, jazz and gospel, where Donny Hathaway breathes new life, meaning and energy into new and old songs. Whether it’s songs about love, hurt and heartache or songs filled with social comment or spiritual, Donny’s delivery is equally potent and powerful
Of the new songs on Everything Is Everything, The Ghetto Part 1, Tryin’ Times and Thank You Master (For My Soul) are the highlights, while Donny’s cover of To Be Young Gifted and Black is almost as good as Aretha’s. Only Sugar Lee which seems to lack direction, disappoints. Apart from that, Everything Is Everything is one of the best soul albums you could ever hope to hear. The nine tracks on Everything Is Everything feature some of the best tracks Donny Hathaway ever recorded. Here, Donny’s voice is at its best. He’s backed by some hugely talented musicians and the production is almost perfect. That’s why Everything Is Everything is the best album Donny ever released in his tragically, short career.
Although Donny Hathaway only recorded three studio albums, they’re three great albums. If you’ve never heard Everything Is Everything, which was rereleased by WEA Japan on 26th March 2013, is an album that belongs in every record collection. Indeed, I’d thoroughly recommend Everything Is Everything to anyone. Not only is Everything Is Everything an album that once you’ve heard it, you’ll fall in love with it. Donny Hathaway had one of the best voices in soul music, it’s tragic that his life and career were so short. However, we should be thankful that during his lifetime, he recorded such wonderful music, including the majestic Everything Is Everything. Standout Tracks: Voices Inside (Everything Is Everything), Tryin’ Times, Thank You Master (For My Soul) and To Be Young Gifted and Black.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
ROBERTA FLACK-FIRST TAKE.
ROBERTA FLACK-FIRST TAKE.
Mention Roberta Flack’s name, and most people automatically think of two songs, The First Time I Saw Your Face and Killing Me Softly. The story of First Take is one where if fate hadn’t intervened, might have resulted in the album forever remaining a hidden gem. Having been released in 1969, First Take which was rereleased by WEA Japan on 26th March 2013 wasn’t a commercial success. Remarkably, when First Take was released in 1969, The First Time I Ever Saw Your Face wasn’t released as a single. Instead, Compared To What was the first single released from First Take. It wasn’t until two years later, in 1971, when fate intervened and The First Time I Ever Saw Your Face featured in the Clint Eastwood movie Play Misty For Me. This lead to the song being released as a single, giving Roberta her first US number one single. Spurred on by sales of The First Time I Ever Saw Your Face, First Take started selling, transforming Roberta’s career. Two years after its release, First Take would go on to sell over one-million copies, resulting in the album being certified platinum. However, things might have been very different, if The First Time I Saw Your Face hadn’t featured in Play Misty For Me. Before I tell you about the music on First Take, I’ll tell you about the background to the album.
First Take was Roberta Flack’s debut album for Atlantic. She was then thirty-two, and had been working as a teacher, while singing at weekends before signing to Atlantic. Les McCann had been in the audience when Roberta performed at a benefit concert for the Inner City Ghetto Children’s Library Fund. Having been smitten by Roberta’s performance, Les arranged for Roberta to audition for Atlantic. During the audition, Roberta played forty-two songs in three hours for producer Joel Dorn. Soon, Roberta found herself signed to Atlantic, recording thirty-nine songs in less than ten hours in November 1968. After this, the next time Roberta was in a recording studio would be record her debut album First Take.
Recording of First Take was scheduled to take place at Atlantic’s Recording Studios in New York. Eight songs were chosen for First Take, none of which were written by Roberta. Among these tracks were Gene McDaniels’ Compared To What, Donny Hathaway and Leroy Hutson’s Tryin’ Times, Leonard Cohen’s Hey That’s No Way To Say Goodbye and Our Ages of Our Hearts which Donny Hathaway and Robert Ayers cowrote. One other track was Euan McColl’s The First Time I Ever Saw Your Face, a track which two years later, would prove crucial in Roberta’s future career.
Once recording of First Take was underway at Atlantic’s Recording Studios in New York, Roberta’s band didn’t waste time. Together, guitarist John Pizzarellli, bassist Ron Carter and drummer Ray Lucas accompanied Roberta, who played piano. Recording started on 24th February 1969, ending on 26th February 1969. In total, First Take was recorded in just ten hours. Later, strings and horns were overdubbed, with First Take set for release in June 1969.
On the release of First Take on June 20th 1969, but the album wasn’t a commercial success. Only one single was released from First Take Compared To What, which failed to chart. This must have been hugely disappointing for Roberta, Les McCann who’d discovered Roberta and producer Joel Dorn. However, that wasn’t the last that would be heard of First Take
Fast forward two years to 1971. By then, Roberta had release the followup to First Take, 1970s Chapter Two and 1971s Quiet Fire. Both albums had proved commercially successful, being certified gold. First Take must have seemed a long time ago for Roberta, until a film was released. Clint Eastwood released the movie Play Misty For Me in 1971 and It featured The First Time I Ever Saw Your Face, which was a track on First Take. Given the success of the film and how many people loved The First Time I Ever Saw Your Face, Atlantic decided to release the track as a single. This resulted in First Take becoming belatedly, becoming a huge commercial success.
The First Time I Ever Saw Your Face was released in January 1972, reaching number one in both the US Billboard 100 and US R&B Charts. Spurred on by the success of The First Time I Ever Saw Your Face, First Take reached number one in both the US Billboard 200 and US R&B Charts. Eventually, First Take sold 1.9 million copies, resulting in the album being certified platinum three years after its original release. I’ve always wondered whether this commercial success might have happened sooner if The First Time I Ever Saw Your Face had been released as a single instead of Compared To What back in 1969? At least First Take found the success it deserved, if somewhat belatedly. However, why did it take three years for First Take to become a commercial success? That’s what I’ll tell you, after I’ve told you about the music on First Take.
Opening First Take is Compared To What, the only single originally released from the album. Written by Gene McDaniels, the track is jazz-tinged from the start. Just a standup bass and piano accompany Roberta’s vocal. Her voice quickly grows in power, full of emotion and frustration that’s perfect for the thoughtful, powerful lyrics. Bursts of blazing horns dramatically punctuate the arrangement, while Roberta’s small band leave space for her vocal, which is impassioned and emotive.
Flourishes of piano and a slow moody bass combine, creating a spellbinding combination as Angelitos Negros opens. Then Roberta’s vocal enters, accompanied by a light military beat, quivering strings and Spanish guitar. She articulates the lyrics beautifully, delivering them in such a way that’s deeply moving and powerful. Later, strings add to the track’s beauty, and are the perfect accompaniment to Roberta’s heartfelt, poignant vocal.
Donny Hathaway and Robert Ayers cowrote Our Ages Or Our Hearts. Here, producer Joel Dorn’s understated arrangement allows Roberta’s vocal to take centre-stage and shine. It’s just Roberta on piano, accompanied by strings that evoke a sense of sadness that precede the introduction of her vocal. When her vocal enters, it’s poignant, full of sadness and regret. The reason for this at the thought of two lovers being kept apart because of the difference in their ages. Wistful strings are ever-present, a constant companion to Roberta’s vocal on this very beautiful, but poignant song.
I Told Jesus is a traditional song, arranged by Roberta. Lush strings sweep slowly, while an equally slow, meandering standup bass accompanies it. As Roberta’s vocal arrives, it’s thoughtful and considered. Gradually, it grows in power and emotion, with bursts of rasping horns punctuating the arrangement. The longer the song progresses, the better Roberta’s vocal gets. It takes on a spiritual quality, growing in power, feeling and emotion.
Having heard various versions of Hey, That’s No Way To Say Goodbye written by Leonard Cohen, this has always been one of my favorites. Roberta songs unaccompanied, before a the piano, acoustic guitar and bass enter. So good is Roberta’s vocal, that you find yourself mesmerized by it. There’s both a warmth and passion in her vocal, resulting in her bringing out the beauty in Leonard Cohen’s lyrics. She’s just accompanied by flourishes of strings, before guitar, bass and piano take over. This understated arrangement, allows you to focus on not just one of Roberta’s best vocals on First Take, but one of producer Joel Dorn’s best arrangements.
Why The First Time Ever I Saw Your Face wasn’t released as a single when the album was released in 1969 seems strange? Quite simply, it’s the best song on the album. It was written by folk singer Euan McColl, and producer Joel Dorn’s arrangement brings out the beauty in the song and its lyrics. Key to the song’s success are a beautiful, but subtle arrangement. Just an acoustic guitar, bass and Roberta on piano accompany her vocal. Roberta’s vocal is slow, delivering the song with feeling, articulating the lyrics gently and softly. Wistful strings drift in and out of the track, as Roberta’s almost half-speaks the lyrics, delivering the as if she means them, feels them. Her delivery of some stunning lyrics, plus Joel Dorn’s arrangement results in not just a beautiful, very romantic song, the highlight of the album, but a true classic song.
Tryin’ Times is another song Donny Hathaway cowrote, this time with Leroy Hutson. As the track begins, Roberta’s band play subtly. Drums are played with brushes, while the bass is slightly more prominent, repeating the same line over and over again. Then when Roberta’s vocal enters, it offers a contrast. It’s louder, much more powerful, but full of frustration and disappointment at the Tryin’ Times Americans are experiencing. Poverty, inequality and conflict are the cause of Roberta’s disappointment and frustration. Later, percussion, piano and the bass combine, playing with a similar power as Roberta’s vocal. This helps Roberta reinforce Donny and Leroy’s message, doing so with equal amounts of sincerity, sadness and frustration.
Closing First Take is Ballad Of The Sad Young Men, a track where Roberta seems to have saved one of her best vocals. She’s accompanied just by swathes of strings, flourishes of acoustic guitar and drums played with brushes. This works really well, allowing Roberta to demonstrate just how talented and versatile a vocalist she truly is. Her vocal is tinged with sadness and a poignancy that suits the lyrics.
For a debut album, First Take, which was rereleased by WEA Japan is an accomplished album where Roberta Flack demonstrated just how talented a vocalist she was. This talent had been honed and refined over many years, before she signed to Atlantic Records in 1968. Having released her debut album First Take in 1968, she must have been hugely disappointed and saddened that it wasn’t a commercial success. Then luck, fate or whatever you want to call it intervened, when The First Time I Ever Saw Your Face featured in the Clint Eastwood film Play Misty For Me. It resulted in The First Time I Ever Saw Your Face being released as a single. It reached number one in both the US Billboard 100 and US R&B Charts, while First Take reached number one in both the US Billboard 200 and US R&B Charts. By then Roberta had released two other albums, both of which had been certified gold. However, The First Time I Ever Saw Your Face is a song that’s become synonymous with Roberta Flack. Together with Killing Me Softly, these are two of Roberta’s best known songs. While The First Time I Ever Saw Your Face is the best known track on First Take, it’s an album with much more to offer than just one track. Listening to First Take thirty-three years later, it’s an album that doesn’t sound like it was recorded in 1968 and released in 1969. Instead, it jazz-tinged sound sounds like it was recorded earlier, with just the understated combination of standup bass, drums and guitar accompanying Roberta. That’s part of First Take’s charm and beauty. It allows Roberta’s vocal to shine, and you to wallow in its quality, emotion and beauty. On the eight tracks on First Take, Roberta interprets them is such a way that she brings out their nuances, subtleties and charms. In doing so, Roberta Flack produced in First Take a classic album, which belatedly found the commercial success and critical acclaim it deserved. Standout Tracks: Angelitos Negros, The First Time I Ever Saw Your Face, Hey That’s No Way To Say Goodbye and Our Ages Or Our Hearts.
ROBERTA FLACK-FIRST TAKE.
BEN E. KING-I HAD A LOVE.
BEN E. KING-I HAD A LOVE.
In 1975, Ben E. King returned to Atlantic Records, where he’d spent much of the sixties. The success he’d enjoyed back in the sixties was eluding him. Maybe going back to the label where he enjoyed the most successful period of his career. This proved to be the case. Ben’s first album for Atlantic Records was Supernatural, which was produced by Bert De Coteaux and Tony Silvester. Supernatural had proved a commercial success. It reached number thirty-nine in the US Billboard 200 and number thirteen in the US R&B Charts. While this had rejuvenated Ben’s career, music was changing, and changing quickly. Although Bert De Coteaux and Tony Silvester were highly regarded and successful producers, it was decided that for the followup to Supernatural, 1976s a new producer would work with Bert and Tony.
The followup to Supernatural was I Had A Love, which was rereleased by WEA Japan on 26th March 2013. Production was spilt on I Had A Love. Bert De Coteaux and Tony Silvester would produce four of the nine tracks. The other five tracks would be produced by one of the most successful and hottest producers of the time, Norman Harris.
By 1976, Norman Harris had established a career as a successful producer. Having worked with producers like Thom Bell and Gamble and Huff, Norman had a good grounding in production. He’d struck out on his own in the early seventies, and enjoyed commercial success and critical acclaim ever since. Previously, he’d been a member of M.F.S.B, Philadelphia International Records’ legendary house-band. Following a dispute with Gamble and Huff, Norman Harris and many of the founder members of M.F.S.B. had left Philadelphia International Records, becoming a member of The Salsoul Orchestra. At Salsoul, the Cayre brothers, who owned Salsoul, gave Norman his own label to run, Gold Mind Records. He ran Gold Mind from an office in Philly, bringing artists like First Choice, Double Exposure and Loleatta Holloway to Gold Mind Records. Still, Norman found time to produce other artists and would produce five tracks on I Had A Love. Would I Had A Love replicate the success of Supernatural?
After the success of Supernatural, Ben E. King was keen to build on its success. Since his days at Atco and later Atlantic, Ben’s career had stalled. He hadn’t replicated the success of the early sixties. It seemed musical fashions had overtaken Ben. So for I Had A Love, some of the best songwriters of the time contributed songs to I Had A Love.
Among the songwriters contributing tracks to I Had A Love, were Ashford and Simpson. Ever since their Motown days, had established a reputation as talented songwriters and producers. Their contribution was the title-track I Had A Love. Sam Dees penned No Danger Ahead, and cowrote three other tracks. Fredrick Knight and Sam wrote I Betcha Didn’t Know That and Tower of Strength, while Sam and Clinton Moon penned Standing In The WIngs of Heartache. Patrick Grant and Gwen Guthrie contributed You’re Stepping On My Heart, while Everybody Plays The Fool was a Clark, Williams, Bailey composition. Norman Harris’ Philly friends wrote the other two tracks. Alan Felder and T.G. Conway cowrote Smooth Sailing and with Bruce Gray wrote We Got Love. These nine tracks became I Had A Love.
With two producers working on I Had A Love, this meant recording took place at different studios with different musicians. At Sigma Sound Studios, the musicians working with Norman Harris were former members of M.F.S.B. and now, members of The Salsoul Orchestra. Providing I Had A Love’s heartbeat, were the Baker, Harris, Young rhythm section. They were joined by Bobby “Electronic” Eli, percussionist Larry Washington and vibes virtuoso Vince Montana Jr, while Bruce Gray and T.G. Conway played keyboards. Strings and horns came courtesy of Don Renaldo. Providing backing vocals were the Sweethearts of Sigma, Barbara Ingram, Evette Benson and Carla Benson. Once I Had A Love was completed, it was released in 1976.
On the release of I Had A Love in 1976, rather than build on the success of Supernatural, it failed to chart. The Ashford and Simpson penned title-track I Had A Love was released in 1975, and reached number twenty-three in the US R&B Charts. When I Betcha Didn’t Know was released as a single, it failed to chart. That I Had A Love hadn’t charted wasn’t unusual. Ben E. King was no longer as popular. Indeed,1975s Supernatural had been Ben’s first album of the seventies to chart. It seemed Ben E. King’s music was no longer as fashionable. This was a long way since his time with The Drifters and the early years of his solo career. However, was the commercial failure of I Had A Love purely down to Ben E. King’s music no longer being as popular? That’s what I’ll tell you, when I tell you about I Had A Love.
The title-track I Had A Love opens I Had A Love. Produced by Norman Harris, the tempo is slow, with a real Philly Soul sound from the opening bars. A drum cracks, before a piano and Vince Montana Jr’s vibes combine. Then Earl Young’s drums dramatically signal the entrance of lush strings and The Sweethearts of Sigma’s cooing, sweeping, sweet harmonies. Having set the scene for Ben, he delivers a heartbroken vocal. Hurt, heartache and regret fill his voice. Baker, Harris, Young provide the heartbeat, harmonies and strings reflect the hurt in Ben’s vocal, while growling horns and pounding drums add drama. Together, this provides the perfect backdrop for Ben’s heartbroken, soul-baring vocal Magnus Opus.
I Betcha Didn’t Know is another Norman Harris production. He picks up, where he left off with the opening track. Baker, Harris, Young, percussion, rasping horns and cascading strings dramatically open the track. Ben’s vocal is powerful, filled with passion and joy. Providing the perfect foil are The Sweethearts of Sigma’s heartfelt, soaring harmonies. Meanwhile, Norman Harris lays down one of his trademark guitar lines, Vince Montana Jr’s adds vibes and Earl Young’s drums provide a thunderous, strident heartbeat. The horns which punctuate the arrangement at just the right time, have a Thom Bell influence. Ben and The Sweethearts of Sigma seem to drive each other to greater heights of emotion and soulfulness, as Ben rolls back the years, returning to his soulful best
Norman Harris and Alan Felder cowrote Smooth Sailing with T.G. Conway, who produced the track. Swathes of the lushest strings float in, quivering and shivering. Horns growl, hi-hats hiss and Baker, Harris, Young provide an understated heartbeat. Ben’s deliberate, emotive vocal grows in power, while tender harmonies and punchy, braying horns accompany him. The arrangement flows along, with percussion, piano and strings at its heart. Earl Young’s drums inject drama, as Ben’s vocal veers between tender and powerful, but is always impassioned and heartfelt.
Baker, Harris, Young produce No Danger Ahead which explodes joyously into life. They provide the pulsating, urgent heartbeat, as Philly Soul and funk combine. Ron Baker’s bass and Norman Harris’ guitar join growling horns and dancing strings. The Sweethearts of Sigma add sweet, cooing harmonies. All this seems to inspire Ben. His vocal is powerful, confident and assured. He literally struts his way through the arrangement. Horns blaze, strings swirl and woodwind get in on the act. With The Sweethearts of Sigma adding joyous, cascading harmonies. They’re the finishing touch, as Ben confidently and assuredly, soulfully struts his way through this Sam Dees song.
Everybody Plays The Fool is the first of four Bert De Coteaux and Tony Silvester produced tracks. A piano, guitar, slow strings and gospel tinged harmonies combine, before Ben’s pensive, melancholy vocal enter. Straight away, you realize the production has a rawer sound. It lacks the polish of Side One, resulting in a good track failing to become a great track. You could argue, that given the gospel influence this is fitting. What are fitting are the gospel-tinged harmonies. Ben’s delivery is thoughtful, filled with emotion, which suits the track and the lyrics.
Standing In The WIngs of Heartache sees Ben and the band kick loose. From an understated opening, the rhythm section explode into life. They drive the arrangement along, fusing funk and soul. Drums pound, harmonies sweep in, soaring above the arrangement. Layers of strings sweep, while Ben’s vocal is a powerful vamp as his band fuse funk with soul.
We Got Love sees Norman Harris take charge of production duties. Straight away, there’s a much more polished sound. Baker, Harris, Young add a pulsating beat, as an uplifting, joyous track unfolds. Strings dance in appreciation and The Sweethearts of Sigma add tight, soulful harmonies. Ben seems to have found his sparkle, delivering the lyrics with power, passion and joy. Bobby “Electronic” Eli adds his trademark funky guitar, Vince Montana Jr adds vibes and Norman Harris adds a jazzy guitar solo. Strings dance, harmonies sweep in and and Ben and the band lock into a groove, where funk and Philly Soul unite seamlessly. This results in the best track on Side.
Tower of Strength was penned by Sam Dees and Fredrick Knight. It has a real Sam Dees sound. There are similarities in production to Everybody Plays The Fool. It’s the way the harmonies have a dramatic, soaring gospel sound. That’s no bad thing. This is a dramatic, soulful song with a gospel twist, where Sam literally rolls back the years. Helping him every step of the way are the harmonies. Swathes of strings, rasping horns and a dramatic, strident rhythm section, make this the best of the Bert De Coteaux and Tony Silvester productions.
You’re Stepping On My Heart (Tearing My World Apart) closes I Had A Love. After the drama of the previous track, this track has a much more understated sound. Ben’s vocal is tender, needy and filled with hurt. Just the rhythm section, growling horns and percussion combine before, a burst of drums signals the arrival of Ben’s vocal. Muted horns, subtle percussion and understated rhythm section are joined by melancholy horns as Ben lays bare his hurt and heartache for all to hear.
Listening to I Had A Love, it seems strange that production was split between Norman Harris and the production team of Bert De Coteaux and Tony Silvester? Norman Harris and his production partners rejuvenate Ben E. King. His music is given a Philly makeover. The four Norman Harris produced tracks on I Had A Love are the best on the album. When the changeover in producer takes place, Ben’s vocals fall short of the quality of the Norman Harris produced tracks. On Everybody Plays The Fool, the rawer sound stopping a good song becoming a great one. Similarly, on Standing In The WIngs of Heartache’s good as the production is, it falls short of the Norman Harris’ productions. Things improve on We Got Love, produced by Norman Harris, while Tower of Strength is the best of the four Bert De Coteaux and Tony Silvester productions. You’re Stepping On My Heart (Tearing My World Apart) brings I Had A Love to an understated, soul-baring close, as Ben E. King rolls back the years. I suppose, using two producers or production teams will always lead to comparisons.
The production team of Bert De Coteaux and Tony Silvester had a successful track record, and were talented producers. So too, did Norman Harman Harris. Indeed, since Norman Harris’ had struck out on his own as a producer, he’d enjoyed commercial success and critical acclaim with a variety of artists. He’d enjoyed commercial success with artists that included Major Harris, Blue Magic and First Choice. Ben E. King was the latest to enjoy a Philly Soul makeover from Norman and his Philly friends. While it’s a matter of opinion, I feel that it would’ve been best if Norman Harris produced all the tracks on I Had A Love. Norman seemed to get the best out of Ben E. King. Granted Bert and Tony had revitalized Ben’s career with Supernatural, but Ben E. King and Norman Harris seemed a dream team. WIth Norman Harris, came his colleagues in The Salsoul Orchestra and The Sweethearts of Sigma. The five tracks ons Ben E. King’s I Had A Love produced by Norman Harris and his Philly friends, are the highlights of the album. While I Had A Love is one of Ben E. King best albums of the seventies, it could’ve been an even better album, if Norman Harris had produced the whole album. Maybe then, Ben E. King’s second album for Atlantic Records I Had A Love which was rereleased by WEA Japan on 26th March 2013, would’ve matched the commercial success of Supernatural? Standout Tracks: I Had A Love, I Betcha Didn’t Know, Smooth Sailing and No Danger Ahead.
BEN E. KING-I HAD A LOVE.
THE SPINNERS-SPINNERS.
THE SPINNERS-SPINNERS.
Nineteen years after The Spinners were formed in Detroit in 1954, commercial success and critical acclaim came their way. It had been a long time coming and many groups would’ve walked away from music. Luckily, The Spinners were made of stronger stuff. Their determination and perseverance was eventually rewarded in 1973, when they released their third album Spinners, which was rereleased by WEA Japan on 26th March 2013. Spinners reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. This was the first of five consecutive Spinners’ albums to be certified gold. Not only that, but Spinners featured a trio of number one US R&B singles, I’ll Be Around, Ghetto Child and the Philly Soul classic Could It Be I’m Falling In Love penned my Melvin and Mervin Steals. For The Spinners, this was the start of the most successful period of their career. Commercial success and critical acclaim were ever-present until 1976s Happiness Is Being The Spinners. However, this commercial success and critical acclaim wouldn’t have happened without two men men, Phillip Wynne and Thom Bell.
Before The Spinners released Spinners in April 1973, commercial success had eluded them. Their recording career started in 1961 with That’s What Little Girls Are Made Of. It reached number twenty-seven in the US Billboard 100 and number five in the US R&B Charts. During the next few years hit singles were scarce. Apart from 1965s I’ll Always Love You and 1970s It’s A Shame the majority of The Spinners’ singles failed to chart. During this period, The Spinners released just two albums. Their debut albums was 1967s The Original Spinners, which was released on Motown. It failed to chart. Then three years later, in 1970, when 2nd Time Around was released on V.I.P. Records, it reached just number 199 in the US Billboard 200 and number forty-six in the US R&B Charts. Then in 1972, a new member joined The Spinners, Phillip Wynne. This was just the start of a change in The Spinners’ fortunes.
1972 proved to be an important year in The Spinners’ history. It was the year that they signed to Atlantic Records and the year Phillip Wynne joined The Spinners. Before Phillip joined The Spinners in, Bobby Smith had been the lead singer. When Phillip joined, Bobby and Phillip would share lead vocals. This was the case on their Atlantic Records’ 1973 debut album Spinners. As if signing a new member and signing to a major label Atlantic Records, The Spinners were about to work with a successful and innovative producer and songwriter Thom Bell.
For The Spinners Atlantic Records’ debut, Spinners, a number of songwriters worked on the album. Vinnie Barrett penned Just Can’t Get You Out Of My Mind, Bruce Hawkes wrote I Could Never (Repay Your Love) and Joseph B. Jefferson contributed One Of A Kind (Love Affair). Yvette Davis wrote three tracks, Just You And Me Baby, We Belong Together and How Could I Let You Get Away. The songwriting team of Jerry Akines, Johnny Belman, Victor Drayton and Reginald Turner cowrote Don’t Let The Green Grass Fool You. Melvin and Mervin Steals’ contribution was a love song they’d written a few years earlier. Originally, they envisaged the track as an uptempo track. Producer Thom Bell disagreed. He decided that Could It Be I’m Falling In Love should be slowed down and transformed into a ballad. This was a masterstroke that was the finishing touch to a Philly Soul classic. Thom Bell cowrote the other two track. With Phil Hurtt he cowrote I’ll Be Around and with his songwriting partner Linda Creed, he cowrote Ghetto Child. These ten tracks would become Spinners, which was recorded at Joe Tarsia’s Sigma Sound Studios.
Joining the five Spinners, Henry Fambrough, Billy Henderson, Pervis Jackson, Bobby Smith and lead Phillip Wynn at Sigma Sound Studios in Philly, were Philadelphia International Records’ house-band M.F.S.B. This included the Baker, Harris, Young rhythm section plus guitarists included Bobby “Electronic” Eli and Roland Chambers. They were joined by vibes virtuoso Vince Montana Jr, percussionist Larry Washington, Don Renaldo’s string and horn section and the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Once recording of Spinners was completed, it was released in April 1973. Little did anyone realise, that Spinners would transform The Spinners career.
On the release of Spinner, it was released in April of 1973. It reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. Having sold over 500,000 copies, the album was certified gold. This was the first of five consecutive album released by The Spinners that would be certified gold. It was also the first of thirteen consecutive albums The Spinners released on Atlantic that entered the US Billboard 200. As if having such a successful debut album for their new label, Spinners featured five singles of which three would reach number one in the US R&B Charts.
The first single released was in 1972, and was How Could I Let You Get Away WIth It, which reached number seventy-seven in the US Billboard 100 and fourteen in the US R&B Charts. I’ll Be Around was the second single, and the first in a trio of consecutive US R&B number ones. It also reached number three in the US Billboard 100. Could It Be That I’m Falling In Love was the last single released in 1972, and reached number four in the US Billboard 100. Of the two singles released in 1973, One of A Kind (Love Affair) reached number eleven in the US Billboard 100. Later in 1973, Ghetto Child reached number twenty-nine in the US Billboard 100 and four in the US R&B Charts. With five successful singles, and a number one US R&B album, behind them, The Detroit Spinners move to Atlantic had been a huge success, transforming their careers. However, what made Spinners such a hugely successful, album and what did it sound like? That’s what I’ll now tell you.
Spinners opens with Just Can’t Get You Out of My Mind and has a trademark Philly sound with lush, swirling strings, and the brillinat Baker, Harris, Young rhythm section combining with rasping horns before the heartfelt lead vocal enters, singing about how he can’t get his ex-girlfriend out of his mind. Meanwhile, the rest of the group contribute sweet, tight harmonies, accompanied by chiming guitars, sweeping strings and rasping horns. Together, this beautiful combination combines perfectly with the sadness and heartbreak of the lead vocal, resulting in a great song, with a contemporary, timeless sound.
Just You and Me Baby has a slow, dramatic opening, with blazing horns, a slow drama laden rhythm section, percussion and chiming guitars, before a soft, thoughtful lead vocal enters. It’s accompanied by harmonies from the other four Spinners, while the arrangement has a much more understated, sound, as it meanders along. Slow, strings enter, their sound gentle, as the sweep in the background. This is perfect for the tender lyrics, about being with the one you love. The strings combine with the horns and rhythm section to punctuate the arrangement with occasional burst of drama, which highlight parts of the song. Mostly, however, the songs has a lush, understated sound, thanks to arranger and producer Thom Bell. His arrangement and production results in a tender, quite beautiful sounding song.
It’s a real old fashioned jazzy, big band sound that opens Don’t Let the Green Grass Fool You. Blazing horns, a standup bass and gentle jazzy drums accompany a lead vocal that swings along. The rest of The Spinners combine gentle, cooing harmonies, while horns rasp and M.F.S.B. are transformed into a tight little jazz band. They do this brilliantly, with drummer Earl Young and bassist Ronnie Baker seemingly relishing this new role. Meanwhile, The Spinners are swinging too, giving a similar sumptuous, jazz drenched, performance that’s absolutely irresistible.
A piano slowly plays, while guitars chime, strings sweep in and horns gently, rasp as I Could Never Repay (Your Love) begins. They give way to a gentle, considered vocal while the piano and careful, rhythm section accompany it. This works well, allowing you to focus totally on the vocal, and the beauty of the lyrics, how he’ll never, ever be able to repay the love she’s shown to him. As if the arrangement is good enough, Thom Bell decides to add some deliciously lush strings. Together with the piano they provide the perfect backdrop for an emotive and passionate vocal. Later, a wailing, atmospheric Hammond organ enters, while the other Spinners provide dramatic backing vocals. Over seven minutes, this epic song gets even better, the sound developing and a lush, dramatic and hugely emotive gradually reveals itself.
I’ll Be Around see Bobby Smith takes the lead vocal, pledging his loyalty to his girlfriend whose left him again, for another man. Still he hopes she’ll return to him. This he does against a mid-tempo arrangement, which has a lovely smooth sound, where chiming guitars play an important part in the sound, while percussion, the rhythm section, organ, rasping horns and sweeping strings all play their part in the success of the song. Female backing vocalists that include Linda Creed, Barbara Ingram, Carla Benson and Yvette Benton punctuate the track, providing a soulful, contrast to Bobby’s hopeful vocal. Together, Bobby’s vocal and Thom Bell’s arrangement and production combine to create one of the album’s best tracks. No wonder this track reached number one in the US R&B Charts, with such a great sound.
One Of A Kind (Love Affair) is another track that gave The Detroit Spinners a US R&B number one single. Here, the lead vocal is shared by Bobbie Smith and Phillipe Wynne. When the single was released it caused controversy, because there was confusion and debate whether it featured a profanity. This lead to the song being edited, to end this confusion. Regardless of this, it’s still an fantastic song, opening with Earl Young’s brilliant slow, dramatic drumming, which gives way to chiming guitars, keyboards and swirling strings. It’s only then the lead vocal enters, all the time with Earl Young’s dynamic and energetic drumming punctuating the track. There’s a sadness in the vocals, caused by a girlfriend whose left her boyfriend. Adding to the sense of sadness is a combination of swirling, sweeping strings and piano. Their addition combined with the vocals is a masterstroke, that succeeds in tugging at your heartstrings, and brings out a feeling of sadness and empathy. The same goes for the rest of the track. Throughout the track it’s a combination of a beautiful arrangement and vocals that evokes a sense of sadness and empathy in the listener. That a song can manage this is testament to The Detroit Spinners and producer Thom Bell.
A searing guitar, piano, and dramatic rhythm section combine, before the group sing backing vocals, giving way to the sad and thoughtful lead vocal as We Belong Together opens. Bursts of rasping horns, reverberating guitars and lush, swirling strings provide the backdrop for the heartfelt vocal. He pleads to start their love affair again, so it’ll be like it was before. We belong together he implores, as drums and strings punctuate the arrangement, adding a sense of sadness and drama. Meanwhile, the rest of the group contribute gentle backing vocals. Together, the arrangement, backing vocals and the lead vocal combine to make a track laden in sadness and drama, but one that’s quite beautiful.
Ghetto Child was written by Thom Bell and Linda Creed. It has a faster, fuller and dramatic opening. A combination of lush, sweeping strings, rasping horns, chiming guitars and a powerful rhythm section open the track, before the lead vocal enters. Quickly, the lead vocal changes hands, with each vocalist contributing a mixture of emotion and passion as they deliver Thom Bell and Linda Creed’s lyrics. Meanwhile, the lushest of swirling, sweeping strings, blazing horns and Earl Young’s dynamic yet thoughtful drumming all play important parts in the success of track’s sound. They all provide a gorgeous sounding backdrop for the vocals, which are equally good, drenched in drama and emotion. Add to this Thom Bell’s arrangement and production and the result is an outstanding track, one that I’ll never, ever tire of hearing.
How Could I Ever Let You Get Away is something many people must have wondered at one time in their lives. There will be many people you go through life wishing they’d never let the woman that was the one for them slip away. If you’re one of these people, you’ll think The Detroit Spinners are singing this to you. A slow combination of Earl Young’s drums, quivering, shivering strings, chiming guitars, percussion and rasping horns combine before the vocal enters. It’s full of sadness and regret, at the woman he let slip away. A Hammond organ enters, adding to the sense of sadness, while guitars chime, strings sweep and horns blaze. Meanwhile the group contribute soaring, emotive backing vocals, as the arrangement just gets better and better. By the end of this thoughtful, emotive track, you wonder why, wishing you could turn the clock back, and wonder how different things would’ve been?
Spinners closes with the original version of Could It Be I’m Falling In Love, written by Melvin and Mervin Steals. Again, Bobbie Smith and Phillipe Wynne share the lead vocal on the track. Lush, sweeping strings, blazing horns, the rhythm section and chiming, shimmering guitars combine before the vocal enters. When Bobbie and Phillipe sing lead vocal, The Sweethearts of Sigma accompany them, while grand strings swirl and sweep. Meanwhile, Baker, Harris, Young rhythm section demonstrate why they were the tightest, hottest rhythm section of the time. Later, horns bray, drenching the arrangement with their sound, while the lead and backing vocals similarly soar. When all of these things are combined, and Thom Bell sprinkles some of his magic all over it, the result is a fantastic track, and an uplifting and joyous way to end the album.
Playing their part in the success of The Spinners’ first album for Atlantic Records Spinners, was Philadelphia music royalty. Along with the five Spinners, M.F.S.B. and The Sweethearts of Sigma contributed towards making the The Spinners first album for Atlantic Records a huge commercial success. With Earl Young, Ronnie Baker and Norman Harris providing the rhythm section and other members of M.F.S.B. like Bobby Eli and Vince Montana both playing on the album, The Detroit Spinners had some of the most successful and most talented musicians in Philadelphia backing them Add to this Thom Bell, who arranged and produced Spinners, who produced ten songs that are a brilliant combination of lush and gritty. Swathes of the lushest strings, a proliferation of rasping, blazing horns and in M.F.S.B. the greatest house band in Philadelphia.
These talented musicians and producer provided the backdrop for the five Detroit Spinners Billy Henderson, Bobby Smith, Phillipe Wynne, Henry Farmbrough and Pervis Jackson, who were transformed from Motown also rans to superstars on Atlantic Records. This was just the start in a run of thirteen consecutive albums on Atlantic that entered the US Billboard 200. On Spinners, The Detroit Spinners sang beautifully and brilliantly on ten songs, many of which were love songs. Regardless of whether it was love lost, love gone wrong or falling in love, the five Detroit Spinners excelled themselves, giving a glimpse of what would come in years to come. Spinners was just chapter one in the long and successful story of The Detroit Spinners, one of the biggest, most successful and soulful groups in America during the seventies. Spinners which was rereleased by WEA Records on 26th March 2013, was the album that established The Spinners reputation as a member of Philly Soul royalty. Standout Tracks: Don’t Let the Green Grass Fool You, I’ll Be Around Ghetto Child and Could It Be I’m Falling In Love.
THE DETROIT SPINNERS-SPINNERS.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3 INSTRUMENTALS.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3 INSTRUMENTALS.
Compilations of John Morales’ remixes are a bit like London buses, you wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3 Instrumentals. Both were released by BBE Music on 29th April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3 Instrumentals. Why I hear you ask is John Morales Presents The M&M Mixes Volume 3 Instrumentals such an intriguing and captivating compilation?
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Each track features a truly compelling vocal. To prove my point, listen to John Morales’ remixes of Jean Carn’s Was That All It Was, Sandy Barber’s I Think I’ll Do Some Stepping (On My Own), Loleatta Holloway’s Hit and Run and Instant Funk’s Crying. When you listen to each of these track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Although there are numerous examples of this on John Morales Presents The M&M Mixes Volume 3-Instrumentals, two that spring to mind are Barry White’s Never, Never Gonna Give You Up and Jean Carn’s Was That All It Was. These are just two examples. There are many more on John Morales Presents The M&M Mixes Volume 3-Instrumentals, where seventeen songs reveal their subtleties, surprises and hidden depths. I’ll now tell you about some of them.
DISC ONE.
Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals features nine John Morales dub remixes of soulful, funky, disco, some of which has a real Philly Soul influence. This includes tracks from the back-catalogues of Philadelphia International Records, Salsoul Records, West End Records and T.K. Records. Among the artists that feature on Disc One are Barry White, Jean Carn, Loose Joints, Sandy Barber and Teddy Pendergrass. Without the instantly recognizable vocals, these anthemic dance tracks are very different. That’s no bad thing. You listen to the music in a different way. Not only that, but you hear parts you’ve previously overlooked. Layers upon layer of music reveal themselves. Soon, you discover previously overlooked subtleties and surprises within John Morales peerless dub remixes. However, what are the best tracks from Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals? That’s what I’ll now tell you.
Back in 1973, Barry White was about to release his sophomore album Stone Gon’ on 20th Century Records. It reached number twenty on the US Billboard 200 and number one in the US R&B Charts. One of the singles released from Stone Gon’ was Never, Never Gonna Give You Up, which reached number seven in the US Billboard 200 and number two in the US R&B Charts. Written and produced by Barry White, this is a stonewall classic. John Morales’ remix transformed the track into a sultry, sensual eight minute epic. Without the vocal, it’s a very different track. Swathes of the lushes string that sweep and swirl, come to the fore. They’re joined by rasping horns while a pulsating rhythm section provide the heartbeat to this bedroom ballad par excellence.
During a five year spell at Philadelphia International Records, Jean Carn, who was blessed with a five octave voice, released a quartet of albums. One of these was her 1979 album When I Found You Love. Featuring Was That All It Was, which was written by Jerry Butler, Linda Conlon and John Usry Jr. With John arranging and producing the track, Jean was transformed into a sassy, disco diva. Good as the original was, John Morales remix transforms Was That All It Was. In his hands, it became a ten-minute epic. The instrumental version however, is shortened to eight minutes. That should be eight captivating, dramatic minutes. Latin percussion, bubbling synths, growling horns and flourishes of disco strings join a chiming guitar solo. Seamlessly, John Morales’ remix breathes new life and meaning to a delicious slice of disco.
Often I refer to a track as a hidden gem. That’s the perfect description of Sandy Barber’s I Think I’ll Do Some Stepping On My Own. This is a track from Sandy’s 1977 album The Best Is Yet To Come, which was released in on Olde Worlde Records. Although The Best Is Yet To Come wasn’t a commercial success, I Think I’ll Do Some Stepping On My Own became a favorite of DJs worldwide. John Morales’ near nine-minute instrumental is akin to embarking on a musical journey. During that journey, John brings out the best in Clyde Otis’ production. This means stabs of keyboards, Latin percussion, an uber funky bass, dancing strings, chiming guitars and later, thunderous drums. The result is a hypnotic, pulsating and captivating instrumental version of a timeless classic.
Mahogany didn’t exactly have a long and illustrious career at West End Records. They only released one single. However, if you’re only going to release one single, make it one as good as Ride On The Rhythm. Releasing in 1982 and featuring the vocal prowess of Bernice Watkins, whose vocal was key to the track’s success. Without that diva-esque vocal, would it be the same track? Gradually, combining the funkiest of rhythm section, Latin percussion and stabs of grizzled horns John begins to reinvent an eighties classic dance track. Bringing the horns, bass and percussion further forward, they become the focus of you attention. Adding a contrast are lush strings. They glide gracefully and elegantly across the arrangement. Mixing jazz, funk, disco and drama John Morales remix more than makes up for the absence of the vocal. He reinvents and re-imagine the track, in the way only a true musical innovator could.
Although I’ve only mentioned four of the eight tracks on Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals, there’s nothing whatsoever wrong with the other four tracks. Far from it. The problem is choosing between eight great tracks. Truly, it’s quality all the way. The other tracks include contributions from Loose Joints, Hamilton Affair, T-Connection and Teddy Pendergrass. Just like John Morales Presents The M&M Mixes Volume 3, John totally reinvents tracks and re-imagining them. In John’s hands, classic tracks are reinvented, bringing new life, energy and meaning into them. Not many people can do this. However, a true musical innovator like John Morales, who has been remixing since 1976 can. On Disc Two of Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals, John transforms nine other tracks.
DISC TWO.
The quality keeps on coming on Disc Two of Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals. There’s a real Philly Soul influence, with tracks from the back-catalogues of Philadelphia International Records and Salsoul Records. Keeping the flag flying for Philadelphia International Records are Teddy Pendergrass andThe Jones Girls. Representing Salsoul Records are Loleatta Holloway and Skyy. Completing the Philly influence are John Davis & The Monster Orchestra. Along with tracks from Marvin Gaye, Third World, Curtis Hairston and Raw Silk, you’ll realize that choosing the best tracks from Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals won’t be easy. However, here goes.
Only You is the second track from Teddy Pendergrass on John Morales Presents The M&M Mixes Volume 3-Instrumentals. This is a track from his 1978 sophomore album LIfe Is A Song Worth Singing. It reached number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in Teddy’s second platinum disc. John’s original remix features an impassioned vamp from Teddy, accompanied by growling horns and a funky, bubbling backdrop. Having removed the vocal, bubbling synths, a funky rhythm section, hypnotic percussion and stabs of blazing horns take centre-stage. Later, John strips the arrangement backs to the drums, before unleashing a dramatic combination of soulful, funky and dance-floor friendly music. The result is a captivating combination of jazz, funk, soul and disco, which melts seamlessly into one.
In 1976, Loleatta Holloway signed to Norman Harris’ Gold Mind Records, a subsidiary of Salsoul. Her first album for Gold Mind was Loleatta, released in 1976. It featured Hit and Run a stonewall disco classic Loleatta was the first of four albums she released between 1976 and 1980. On its release as a single, Hit and Run sold over 300,000 copies, establishing Loleatta’s reputation as the undisputed Queen of Disco. John’s instrumental version of Hit and Run sees him reduce the tempo from 111 to 108 beats per minute. Without Loleatta’s sassy, strutting vocal, you get the chance to hear The Salsoul Orchestra in full flight. Disco doesn’t get better than this. With the Baker, Harris, Young rhythm section providing the pulsating heartbeat, they’re joined by lush strings, blazing horns, percussion and Vince Montana Jr’s vibes. The result is a fitting tribute to the greatest disco orchestra ever…The Salsoul Orchestra, lead by the late, great Vince Montana Jr. who passed away recently.
Mention the The Jones Girls, and many people will instantly think of Nights Over Egypt. However, there’s more to their music than one track. They released four albums between 1979 and 1984 for Philadelphia International Records. Their 1979 debut album The Jones Girls featured a Jones Girls’ classic You Gonna Make Me Love Somebody Else. It was written and produced by Gamble and Huff, and rivals Nights Over Egypt as the best track Shirley, Brenda and Valerie ever recorded. For John’s instrumental remix, he slows the track down from 107 to 104 beats per minute. This adds to the drama, as do the thunderous drums and bubbling synths which are brought forward in the mix. They’re designed to grab your attention. Listen beyond them, and layers of music unfold, giving the track a really contemporary sound. The result is totally timeless track, that would still fill any dance-floor and sounds as good today, as did in 1979.
Earlier, I said The Salsoul Orchestra were disco’s greatest orchestra. Coming second were John Davis and The Monster Orchestra. They released four peerless albums for SAM Records between 1976 and 1979. Their sophomore album was Up Jumped The Devil. John Morales has remixed the title-track Up Jumped The Devil, which John Davis wrote. He’s taken the six minute track and transformed it into eight dramatic, pulsating minutes. At the heart of the action are pounding drums, percussion, wah-wah guitars and blazing horns. Action packed and drama-laden funk, Philly Soul and disco are combined. Given the dramatic sound, it could easily be part of soundtrack to a Blaxploitation movie. So good is John’s instrumental, that it almost surpasses the original. One listen, and surely, you’ll agree.
My final choice from Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals is Marvin Gaye’s I Want You. Released in 1976, during the most productive period of Marvin’s career, I Want You reached number four in the US Billboard 200 and number one in the US R&B Charts. When I Want You was released as a single, the Leon Ware and Arthur “T Boy” Ross penned track reached number fifteen in the US Billboard 100 and number one in the US R&B Charts. John’s remix breathes new life and meaning into a familiar track. Even without Marvin’s needy, pleading vocal, it’s a captivating track. Thunderous drums, percussion and a sensual, meandering saxophone combine. Soon, the track begins to reveal its charms. Subtle stabs and flourishes of keyboards and congas are added, before quivering strings enter. Their grace and elegance provides a contrast to the drums and percussion. Almost seamlessly and effortlessly, everything falls into place. The result is stunning remix of one of Marvin Gaye’s classic tracks.
Unlike many double albums, the music on Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals is just as good as the music on Disc Two. John’s choice of music is flawless. Every track has been chosen with the greatest care, with one eye on how he can transform the original track. That’s one of the reasons his nine remixes on Disc Two are truly peerless. He doesn’t take a wrong turning once. Every track deserves to be included. Along with the five tracks I’ve mentioned, there’s contributions from Skyy, Curtis Hairston, Raw Silk and Third World. There’s neither faux pas nor filler on Disc Two. Considering this wasn’t an ordinary compilation of remixes, John Morales is to be be applauded.
What made this project doubly hard, was that this was a compilation of instrumental remixes. By taking away the most compelling part of the tracks, John Morales really gave himself a challenge. After all, for many people, what makes the tracks on John Morales Presents The M&M Mixes Volume 3-Instrumentals instantly recognizable, are the vocals. The vocals are what people focus on and are the most captivating part of the track. By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. For example on Loleatta Holloway’s Hit and Run, you’re able to hear The Salsoul Orchestra in full flight. Truly, that is a joy to behold. Similarly, hearing John Davis and The Monster Orchestra on Up Jumped The Devil takes your breath away. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which was released by BBE Music on 29th April 2013. John Morales Presents The M&M Mixes Volume 3-Instrumentals demonstrates just why John Morales is one of the greatest remixers of his generation. Along with Tom Moulton, John Morales is head and shoulders against any of the new breed of remixers. They are just pretenders to John and Tom’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3. Standout Tracks: Barry White Never, Never Gonna Give You Up, Jean Carn Was That All It Was, Loleatta Holloway Hit and Run and John Davis and The Monster Orchestra Up Jumped The Devil.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
THE LAST SKEPTIK-THANKS FOR TRYING.
THE LAST SKEPTIK-THANKS FOR TRYING.
Having previously released critically acclaimed hip hop albums from the Visioneers, DJ Vadim, J Dilla and Pete Rock, BBE Music will soon release what’s sure to be one of the best hip hop albums of 2013…The Last Skeptik’s Thanks For Trying. It’ll be released by BBE Music on 6th May 2013. However, Thanks For Trying is no ordinary hip hop album. Far from it. Instead it’s a much more sophisticated and complex album of pioneering hip hop.
While other hip hop producers refer to their music as old school, The Last Skeptik’s music is very much of the Nu School of hip hop. Rather than relying on what are usually, a hip hop producer’s best friend, beats, samples and synths, The Last Skeptik is joined by what seems like a musical cast of thousands. That’s not to say The Last Skeptik has forsaken beats, samples and synths. Not at all. He’s augmented them with a talented team of musicians. They provide the accompaniment to The Last Skeptik as fifteen tracks of orchestral and cinematic music unfold on Thanks For Trying. As the fifteen tracks that comprise Thanks For Trying unfold, you realize that The Last Skeptik has come a long way since his debut single in 2004.
It was back in 2004 that The Last Skeptik released his debut single Wordsearch on the Netgroove label. With The Last Skeptik laying down the beats, Wordsearch featured Squared with cuts by Jazz T and Dr. Zygote. Later in 2004, as Skeptik, he contributed a rap to a compilation Deprogrammed Productions Presents…”Friends Of The Family.” Little did The Last Skeptik realize it, but this was the start of what would be a successful career. This was a long way from when a young Last Skeptik skipped school to make his own beats.
Throughout his nine year career The Last Skeptik has collaborated with many artists. During 2005, The Last Skeptik was involved in two collaborations. There was his collaboration with Conflix on the Think Twice E.P, whichI was released on the Filthy Habits label. His other collaboration was Kashmere featuring The Last Skeptik and Diversion Tactics’ E.P. This six-track E.P. was released on Boot Records. Two years later, The Last Skeptik would collaborate on what was his debut album.
Over the next two years, The Last Skeptik wasn’t just establishing a reputation as a talented producer. He was also the go-to-guy for anyone looking for a DJ, MC and remixer. Then in 2007, The Last Skeptik collaborated with Verb T on The Broken Window. While The Broken Window was Verb T’s fourth album, it was The Last Skeptik’s debut album. Released on the Silent Soundz label, The Broken Window was well received. So too was Satisfied, a single from The Broken WIndow. The Last Skeptik’s reputation and fan-base grow. Things were looking good for The Last Skeptik.
Between 2008 and 2010, The Last Skeptik continued working as a songwriter, producer, remixer and DJ. During this period Conspicuous, The Streets, Daniel Meariweather, Brad Strut, David’s Lyre, Loudmouth Melvin and Marina and The Diamonds were among the artists remixed by The Last Skeptik. Twelve of the fourteen tracks that featured on The Last Skeptik Presents Same Day Different Sh*t compilation were written and remixed by The Last Skeptik. The fourteen tracks eclectic tracks that comprised The Last Skeptik Presents Same Day Different Sh*t resulted in a genre-sprawling album, one that demonstrated just how innovative a producer The Last Skeptik was fast becoming.
Two years after the genre defying The Last Skeptik Presents Same Day Different Sh*t, The Last Skeptik hooked up with rapper Rewd Adams. The result was the critically acclaimed How Not To Make A Living. Released in 2012, not only did it receive widespread radio play, but further enhanced and reinforced The Last Skeptik’s reputation as a groundbreaking producer. Now a year after the success of How Not To Make A Living, The Last Skeptik’s has somehow, found time to produce his sophomore album Thanks For Trying.
Since the release of How Not To Make A Living, The Last Skeptik has been busier than ever. He has a residency at London’s premier hip hop night Livin’ Proof and has spent time touring the US. The Last Skeptik also has spent time writing, remixing and producing artists. This includes being commissioned by major labels to produce musical luminaries like Kate Nash and Gorillaz. Given how busy The Last Skeptik has been, it’s hard to believe he’s found time to record his sophomore album Thanks For Trying, which will be released on BBE Music on 6th May 2013.
Joining The Last Skeptik for his sophomore album Thanks For Trying, are what seems like a musical cast of thousands. Legendary British hip hop star Jhest, who previously, has released five influential albums, including 2002s The Return Of The Drifter and 2003s Falling Down. Since then, Jhest has influenced a generation of British hip hop artists. So, it’s something of a coup having Jhest feature on Lullaby. Another guest artist is Gavin Fitzjohn, a saxophonist, trumpeter and arranger. He’s previously toured extensively with Paolo Nutini. So the addition of such talented personnel will ensure that The Last Skeptik’s Thanks For Trying, joins the list of critically acclaimed albums BBE Music have released in the past few years. Will that be the case though?
It doesn’t take long before you realize that Thanks For Trying is a very special album. From the opening bars of Those Ones, the word eclectic springs to mind. A fusion of musical influences and genres melt into one. There’s everything from The Beatles circa Abbey Road, lush orchestral strings, a laid-back, jazz-tinged flute and the soundtrack to a sixties spy thriller. If you close your eyes, pictures unfold before your eyes. The Last Skeptik and his cast of equally talented musicians use their musical palette’s full potential to seamlessly paint these pictures.
Then on Park Champ, bursts and swathes of drama unfold. It’s a tantalizing taste of what might have been. During just seventy seconds of music, The Last Skeptik sees how many musical influences he can cram in. Bursts of eighties rock, World Music, ambient and drum ‘n’ bass all merge into one. Frantic, compelling and captivating you’re scared you miss anything. All too quickly, Park Champ is over and Wig begins to unfold. It picks up the baton in terms of eclecticism. Drums pound, providing a strident heartbeat, while a moody backdrop of synths, rasping horns and percussion compete for your attention. Each play their in the track’s success. From their we head to The Best Part, an aptly titled track. Comprising samples, crispy beats and a proliferation of sweet, and sometimes sensual hooks, it’s not unlike what Nightmares On Wax were doing back in the nineties. It’s similarly complex and multilayered, but equally effective and hook-laden.
Enjambment has a much more understated sound, as it gradually begins to reveal its subtleties and charms. Crunchy beats join the unmistakable sound of a Rhodes, while a vocal floats in and out. Jazzy horns rasp while guitars chime and musical genres become one. Vintage hip hop, jazz and ambient music influence this laid-back, melodic and smokey sounding track.
Probably, the best track on Thanks For Trying is the irresistibly catchy and hook-laden Be There. Quite simply, it’s three of the most memorable minutes you’ll spend listening to music. The sweet vocal floats in and out, while everything else plays a supporting role and fits seamlessly into place.
Pick Your Battles is very different from everything that’s gone before. It has an orchestral, cinematic sound. Dramatic and moody, the track only begins to reveal its secrets after two minutes. Thunderous drums add to the moody orchestral sound, which could be soundtrack to a surreal movie that’s yet to be made. Like Pick Your Battles, That Old has an orchestral sound. It’s combined with Eastern influences and hip hop drums. The result is a melancholy and wistful track, that’s also quite beautiful. Horseplay sees Eastern influences, buzzing synths, crispy drums and swathes of strings combining to give the track an orchestral sound. Somehow, this works. This is to the credit of The Last Skeptik. To this compelling combination of influences, a healthy supply of drama is added, resulting in a track with a real cinematic sound. Following in the footsteps of Horseplay is Ask Myself, which has a similar foreboding, moody and dramatic Eastern sound. The way the four previous tracks have been programmed its like listening to a movie soundtrack, one that’s enthralling and completely captivating.
Lullaby features guest artist Jehst, who lays down one of his trademark raps. This he does against a backdrop of bullets, scratches and ethereal backing vocals. It’s as if Thanks For Trying has been building up to this moment, when the album’s underlying drama would boil over. As Lullaby fades into the distance, it’s not unlike the moment when a violent storm subsides and normality returns. Here, normality means Hero Mask.
From the get-go Hero Mask has a real old school sound. With that comforting sound of crackling vinyl, drums crack, while stabs of keyboards join wistful strings and bursts of rasping horns. Taking its reference points as hip hop, jazz, classical and music the result is another genre sprawling track.
As Mission Failed unfolds, the sound is reminiscent of black and white films from the early days of cinema. Flamboyant flourishes of piano take centre-stage before gradually the melancholy strings, reverberating synths, crunchy drums and braying horns enter. It’s like a musical roller coaster, full of twists and turns, drama and surprises aplenty.
I Hate June has a really understated, subtle and melancholy sound. Just a lone acoustic is responsible for this. Here, less is more and with just the later addition of a keyboard, results in one of the highlights of Thanks For Trying. Closing Thanks For Trying is Well, Well. It has a similar sound to I Hate June. With just a meandering guitar joined by a melancholy strings and percussion the track’s understated sound is captivating. Gradually, The Last Skeptik adds crispy drums as the track combines Eastern European, jazz, hip hop and classical music with drama, beauty and latterly, vintage jazz. This seems a fitting way to close such an innovative, genre sprawling album.
Earlier, I boldly forecasted that The Last Skeptik’s Thanks For Trying would be one of the best hip hop albums of 2013. Not only do I stand by that statement, but think that when the lists of the best albums of 2013 are compiled, The Last Skeptik’s Thanks For Trying will be on it. Incorporating everything from hip hop, jazz, classical, rock, ambient and Eastern music, it truly is a genre sprawling album. Thanks For Trying is much more than a hip hop album. It’s a compelling, captivating album of eclectic music from one of the most inventive, influential and innovative producers of his generation. Filled with subtleties and surprises aplenty, the fifteen tracks that comprise Thanks For Trying is like an enthralling musical journey. So good is the music on Thanks For Trying, that your attention never wanders. If it did, you’d be scared you might miss something. That’s how good an album The Last Skeptik’s Thanks For Trying is.
Thanks For Trying is an album that once you’ve heard it, you never forget it.Quickly, its subtleties and charms get under your skin, weaving their way into your soul. It reminds you just why you love music, especially music as good as this. From the opening bars of Those Ones, right through to the closing notes of Well, Well, Thanks For Trying is a musical adventure through a multiplicity of musical genres. So good is this musical adventure, that once it’s over, you want to relive it and all its glories. With each listen, more of Thanks For Trying’s subtleties, charms and secrets reveal itself. This complex, multilayered cinematic, orchestral album has many subtleties, charms and secrets awaiting discovery. Luckily, you don’t long before you can discover the delights of The Last Skeptik’s Thanks For Trying. It’ll be released by BBE Music on 6th May 2013, when you too, can discover the glorious fusion of musical genres that is Thanks For Trying. Standout Tracks: Those Ones, The Best Part, Be There and Hero Mask.
THE LAST SKEPTIK-THANKS FOR TRYING.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
Back in 1978, when Bob Marley and The Wailers released Kaya, critics and fans accused Bob Marley of selling out. Kaya was a much more laid-back album, whereas previous albums had been politically charged and crammed full of social comment. Previously, Bob Marley was seen as Jamaica’s social conscience. He was someone who spoke on behalf of Jamaica’s oppressed. So when Kaya was released in 1978, critics and fans discovered a was a very different album. Unlike previous albums, Kaya didn’t feature militant and outspoken music filled with social comment. Instead, Kaya had a much more relaxed, laid-back and optimistic sound. Many of the songs were about love, while others were about marijuana. This resulted in the cries of sell-out from critics and fans. They accused Bob Marley and The Wailers of going soft, being more concerned with commercial success than political problems. Given the backlash Kaya faced upon its release in 1978, not many people would’ve forecasted that Kaya would become one of Bob Marley and The Wailers’ classic albums?
Thirty-five years later, Kaya is seen as a classic album. A Deluxe Edition of Kaya, which is a double-album was recently rereleased. Disc One features the original version of Kaya and a bonus track Smile Jamaica, while Disc Two features the legendary Live At Ahoy Hallen concert in Rotterdam. However, with bonus tracks and live concerts, does Kaya deserve to be referred to as a classic album? That’s what I’ll tell you, after I’ve told you about the rise and rise of Bob Marley and The Wailers.
Ever since Bob Marley and The Wailers had signed to Chris Blackwell’s Island Records, their career had been transformed. Their first release for Island Records was their fifth album Catch A Fire. Released in April 1973, Catch A Fire proved more popular in Britain than America. It reached number 171 in the US Billboard 200 and number fifty-one in the US R&B Charts. Critically acclaimed upon its release, Catch A Fire was certified silver in the UK and is featured in Rolling Stone magazine’s list of 500 best albums of all times. Six months after the release of Catch A Fire, came the album that broke Bob Marley and The Wailers in the US.
Burnin’ wasn’t just the album that broke Bob Marley and The Wailers in the US, but was also the last album to feature Peter Tosh and Bunny Wailer. After the release of Burnin’ in October 1973, they embarked upon solo careers. At they did so, with a gold disc. On its release, Burnin’ reached number 151 in the US Billboard 200 and number forty-one in the US R&B Charts. This resulted in a gold disc in America, while it was certified silver in the UK. Featuring classics like Get Up, Stand Up and I Shot The Sheriff, Burnin’ marks the debut of the militant, confrontational Bob Marley. If Burnin’ marked the birth of a reggae revolutionary, Bob Marley picked up the baton on Natty Dread.
Natty Dread was released a year after Burnin,’ in October 1974. The wait was worthwhile though. Here was an album which featured Bob Marley at his militant and confrontational best. He was like a reggae revolutionary, protesting against injustice, on an album that’s politically charged and full of social comment. Featuring No Woman, No Cry and Them Belly Full (But We Hungry) Bob rails against poverty, while Rebel Music (3 O’Clock Roadblock) and Revolution are akin to a call to arms). On it release, Natty Dread was more popular in the UK than US. It was certified gold in the UK, but only reached number ninety-two in the US Billboard 200 and number forty-four in the US R&B Charts. Following three commercially successful and critically acclaimed albums, it would be another two years before Bob Marley and The Wailers released another studio album.
While Bob Marley and The Wailers didn’t release another studio album until 1976, they released their first live album. Released in December 1975, and simply entitled Live, this gave fans an opportunity to hear what Bob Marley and The Wailers live sounded like. Recorded on 18th and 19th July 1975, Live was a tantalizing taste of one of the best live groups of the seventies. Fans and critics agreed, with Live reaching number ninety in the US Billboard 200. This resulted in Live being certified gold in the US and silver in the UK. Although Live and their three previous studio albums had been successful, their next album would surpass everything they’d previously released.
When Rastaman Vibration was released in April 1976, it became Bob Marley and The Wailers’ only album to enter the top ten in the US Billboard 200. Not only that, but Rastaman Vibration featured Bob Marley and The Wailers’ most successful single in the US. The was the Vincent Ford penned Roots, Rock, Reggae, which reached number fifty-one in the US Billboard 100. Rastaman Vibration reached number eight in the US Billboard 200 and number eleven in the US R&B Charts. Unlike previous albums, Rastaman Vibration featured synths alongside the Wailers famed rhythm section. This added a contrast to the power of rhythm section, and are part of Rastaman Vibration’s success. Good as Rastaman Vibration was, Bob Marley and The Wailers next album was a stonewall classic…Exodus.
After an attempted assassination on 3rd December 1976 in Jamaica, Bob Marley took up residence in London. Although he’d been shot in the chest, he’d been lucky. Things could’ve been much worse. So rather than record the remainder of Exodus in Jamaica, parts of it were recorded in London. When Exodus was released in June 1977, it was the album that transformed Bob Marley into a worldwide star. Side Two of Exodus is crammed full of quality music. Opening with Jamming, through Waiting In Vain, Turn Your Lights Down Low, Three Little Birds and closing with One Love/People Get Ready, this is one of the best sides of music ever. Quite simply, it’s peerless. If Side Two is peerless, Side One doesn’t disappoint with Natural Mystic, Heathen and Exodus. Critics referred to Exodus as a classic album and it features in Rolling Stone magazine’s list of 500 best albums of all times. Fans loved Exodus. It reached number twenty in the US Billboard 200 and fifteen in the US R&B Charts. This resulted in Live being certified gold in the US and UK. Having released a timeless classic album, Exodus, Bob Marley and The Wailers tried to repeat this feat with Kaya.
Much of Kaya had been recorded at the same time as Exodus. Two of the tracks, Kaya and The Sun Is Shining had featured on Bob Marley and The Wailers 1973 compilation African Herbsman, which was released on Trojan Records. When Kaya was released in March 1978, it reached number fifty in the US Billboard 200 and US R&B Charts, resulting in Kaya being certified gold in the US. Kaya reached number four in the UK, and was certified gold. While Kaya was a commercial success, it would face a backlash from critics and fans.
Rather that revolution, Kaya was an album that saw Bob Marley and The Wailers’ music evolve. Bob Marley wrote the ten tracks on Kaya with saw Jamaican and Western music combined. Kaya was a fusion of two musical cultures that Bob Marley embraced. This was similar to previous albums, going back to Burnin.’ Where things differed were with Kaya’s lyrics. Whereas previous albums were politically charged and filled with searing social comment, Kaya focused on a variety of themes, including love and marijuana. Indeed, the word “Kaya” is synonymous with marijuana in Jamaican culture. When critics heard the songs on Kaya, they accused Bob Marley and The Wailers of selling out. The music on Kaya was much more laid-back and relaxing. Soon, critics and fans accused Bob Marley and The Mailers of selling out. Was that the case though?
Not only did critics accuse Bob Marley and The Wailers of selling out on Kaya, but they accused him of penning a ten track love letter to marijuana. That’s unfair though. While much of Kaya was about love, and there were tracks about marijuana, there was much more to Kaya than that. Subjects like unity, togetherness, commonality and spirituality. SWhile the music lacked the militancy of previous albums, it had a much more laid-back, understated sound. Proof of this is the rhythmic delights of Satisfy My Soul. This showed another side to Bob Marley and The Wailers’ music, one that was captivating and appealed to a wide range of music fans. Like most Bob Marley and The Wailers’ albums, Kaya contained a couple of classics. These timeless classics, the hopeful and optimistic hopeful Easy Skanking and Is This Love. Showing another side to Kaya, was the broody, moody and thoughtful Running Away. Despite the lack of politically charged songs, there was still a spiritual side to Kaya. Similar to other albums, Bob continues to seeks help and guidance from Jah. So Kaya was much more than a ten-track love letter to marijuana. Instead, there was much more to Kaya. It touched on several themes, and in the process, demonstrated another side to Bob Marley and The Wailers’ music.
Critics and fans accused Bob Marley and The Wailers of selling out when Kaya was released. This wasn’t the case. Instead, Kaya saw Bob Marley and The Wailers music evolving. Kaya was a much more subtle album, both in its content and style of music. With themes ranging from love, marijuana, unity, togetherness and spirituality, Kaya was a much more complex album than people realized. Originally, Kaya’s accusers had said it was no more than a love letter to marijuana. How wrong they were. The ten tracks on Kaya contained intelligent, thoughtful, introspective and beautiful music. These tracks demonstrated that Bob Marley and The Wailers were a versatile band, determined not to continue releasing albums of similar music. Instead, they wanted their music to be constantly evolving. This meant their music neither risked becoming stale nor predictable.
While not as overtly militant as previous albums, Kaya’s ten tracks were all written by Bob Marley. Unlike Exodus, which featured numerous songwriters, Kaya was all Bob Marley’s own work. It offered an insight to an intelligent, complex and spiritual man. Having gained a reputation as Jamaica’s social conscience, Bob Marley’s demonstrated another side to his songwriting skills. Love songs sat side-by-side with pleas to unity, paeans to marijuana and songs about spirituality. While Kaya wasn’t immediately hailed a classic, in the intervening thirty-five years, critics have performed a volte face.
Now Kaya thirty-five years after critics cried sell-out, Kaya is perceived as one of Bob Marley and The Wailers classic albums. Recently and fittingly, a Deluxe Edition of Kaya has been released to celebrate Kaya’s thirty-fifth anniversary. This Deluxe Edition of Kaya pays homage to one of Bob Marley and The Wailers classic albums with a luxurious and lovingly compiled double album. Disc One featuring the original version of Kaya with a bonus track Smile Jamaica added. This is the same as the 2001 rerelease of Kaya. Then Disc Two of Kaya features the legendary Live At Ahoy Hallen concert in Rotterdam. Although this is only part of the legendary concert, it’s a tantalizing taste of who good a live band Bob Marley and The Wailers were. While many albums are referred to as classics, Bob Marley and The Wailers’ Kaya truly is a classic. Kaya deserves to be spoken about in the same breath as Burnin,’ Natty Dread and Exodus. Quite simply, Kaya is hugely important and potent album which feature some intelligent, thoughtful, introspective and beautiful music. Standout Tracks: Easy Skankin,’ Is This Love, Sun Is Shining and Satisfy My Soul.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
MAJOR HARRIS-JEALOUSY.
MAJOR HARRIS-JEALOUSY.
As someone whose a huge fan of Philly Soul, one thing that continues to frustrate me, is that many Philly Soul albums haven’t yet made it to CD. I can think of numerous Philly Soul classics waiting for their CD debut. Considering CDs are nearly thirty years old, that’s disappointing, to say the least. After all, there’s a captive audience who’d purchase reissues of these elusive Philly Soul classics. One album I’ve been hoping would be reissued was Major Harris’ 1976 sophomore album Jealousy. Thankfully, WEA Japan have realized that there’s a captive audience for Philly Soul, and recently, have released five classic albums, which I’ll tell you about. The first of these is Major Harris’ Jealousy, which was released on 30th April 2013.
WEA Japan’s rerelease of Jealousy comes just six months after the tragic death of Major Harris. Major Harris died on 9th November 2012, aged just sixty-five. He was one of legends of Philly Soul. He’d enjoyed a long and successful career, one that spanned over five decades. This success came as part of groups like The Delfonics and as a solo artist. After being a member of The Delfonics between 1971 and 1975, during which time they recorded two albums. Then as The Delfonics career seemed to stall, Major Harris embarked upon his solo career. Between 1975 and 1984, Major Harris released four solo albums. His solo career started with 1975s million-selling My Way. It featured the number one US R&B single Love Won’t Let Me Wait. A year later, in 1976, Major Harris released his sophomore album Jealousy. Would Jealousy match the success of My Way? Before I tell that, I’ll tell you about Major Harris’ career.
Major Harris was born on February 9th 1947, in Richmond, Virginia. During his nascent career, Major Harris was a member of The Charmers, The Teenagers, The Jarmels and Nat Turner’s Rebellion. Later, Major Harris released singles a few singles on the Okeh and Laurie labels. Then in 1971, Major Harris caught a break. He replaced Randy Cain in The Delfonics. It seemed Major Harris’ luck was changing.
Unfortunately, Major Harris joined The Delfonics as their fortunes changed. Thom Bell, who had produced their first three albums, and cowrote many of their songs with Linda Creed. However, no longer would Thom Bell be The Delfonics’ producer. For Major Harris’ Delfonics debut, 1972s Tell Me This Is A Dream, Stan Watson, owner of Philly Groove Records, The Delfonics’ label, would coproduce the album with Thom Bell. On its release it reached just number 123 in the US Billboard 200 and number fifteen in the US R&B Charts. If that was disappointing, worse was to come.
Alive and Kicking was released in 1974. Not only would it prove to be The Delfonics’ least successful album, but was their final album. It reached number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. So with The Delfonics’ career on the slide, Major Harris decided that the time was right to launch his solo career.
With Major Harris embarking on his solo career, his debut album My Way was released in 1975. My Was was released to critical acclaim and huge commercial success. My Way reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. If that was good, then things would get even better. After years of trying, Major Harris enjoyed a number one single. Each Morning I Wake Up reached number five in the US Billboard 100 and number one in the US R&B Charts. Not only did this vindicate his decision to leave The Delfonics, but surpassed the success of any of their singles. Having released his debut album in 1975, his sophomore album Jealousy was released in 1976.
For Jealousy, the same personnel that worked on My Way reconvened. This included many members of The Salsoul Orchestra, who previously, had been members of Philadelphia International Records’ legendary house-band M.F.S.B. Norman Harris, Major Harris’ cousin cowrote Ruby Lee with Ron Baker. Bobby “Electronic” Eli and Vinnie Barrett who cowrote the number one US R&B single Love Won’t Let Me Wait, penned Walkin’ In the Footsteps and Talking To Myself, while Bobby cowrote It’s Got To Be Magic with Terry Collins. The other four tracks, Jealousy, I Got Over Love, Tynisa (Goddess of Love) and What’s the Use In the Truth were written by Joseph B. Jefferson and Charles B. Collins. These eight tracks became Jealousy, which was recorded at Philly’s Sigma Sound Studios.
Many of the musicians who played of My Way would also play on Jealousy. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli played guitar. Joining them were Vince Montana Jr, on vibes, Larry Washington played congas and keyboardist Carlton “Cotton” Kent. Ron “Have Mercy” Kersey also played keyboards and synths. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Various arrangers and producers worked on Jealousy, including Major Harris, Norman Harris, Bobby “Electronic” Eli and Ron “Have Mercy” Kersey. Once Jealousy was recorded, it was released in 1976.
On the release of Jealousy in 1976, it reached number 153 in the US Billboard 200 and number thirty-three in the US R&B Charts. Jealousy had failed to match the success of My Way. I Got Over Love was released as the lead single, reaching number twenty-four in the US R&B Charts. It’s Got To Be Magic then reached number ninety-one in the US R&B Charts. The last single was the title-track Jealousy, which reached number seventy-three in the US Billboard 100 and number forty-six in the US R&B Charts. Sadly, none of the three singles replicated the success of Love Won’t Let Me Wait, the number one US R&B single from My Way.
Jealousy opens with the title-track Jealousy, arranged by Norman Harris, who produced the track with Ron “Have Mercy” Kersey. Just melodic keyboards and swathes of strings combine, before Norman Harris adds his subtle, jazzy guitar. They set the scene for Major Harris. His vocal is strong, deliberate and heartfelt. The Sweethearts of Sigma match his emotion and fervor. Their vocals sweep in, soaring above the arrangement. Meanwhile Larry Washington’s congas, Vince Montana Jr’s vibes, lush strings combine, as Baker, Harris Young provide a pounding heartbeat. Like the harmonies, the arrangement matches the sheer emotion, power and fervor in Major Harris’ voice. This ensures Jealousy gets off to a memorable start.
The tempo drops on I Got Over Love, with a heartbroken female vocalists pleading with Major not to go. Wistful, melancholy horns and emotive strings join Norman Harris’ chiming guitar and Vince Montana Jr’s pensive vibes. When Major Harris’ vocal enters, it’s filled with sadness, regret and even hope, hope for the future. He delivers the lyrics tenderly and thoughtfully. Equally ender, subtle and soulful harmonies from The Sweethearts of Sigma accompany him. They playing a leading role, in the track’s sound and success. Although tinged with sadness and regret, it’s also a very beautiful, melancholy song.
Bobby “Electronic” Eli and Vinnie Barrett cowrote Walkin’ In the Footsteps, which Bobby arranged and produced. This is one of the uptempo songs, allowing Major Harris and his band to kick loose. Stabs and flourishes of piano are joined by sweeping, swirling strings, rasping horns and Baker, Harris, Young. They inject power and drama into the arrangement. By then, Major Harris delivers one of his best vocals on Jealousy, It’s powerful, passionate and filled with emotion. He’s joined by The Sweethearts of Sigma, who add tender, beautiful and soulful harmonies. Soon the band hit their stride. Now the arrangement is a mass of dancing strings, growling horns and bursts of drama from the rhythm section. Add to that the unmistakable sound of Bobby “Electronic” Eli’s guitar and Vince Montana Jr’s vibes and the result is a truly delicious uptempo slice of Philly Soul.
Tynisa (Goddess of Love) was arranged by Ron “Have Mercy” Kersey who produced the song with Norman Harris. An urgent combination of the Baker, Harris, Young rhythm section, braying horns and cascading strings grab your attention. Then when Major Harris vocal enters, the arrangement takes on a more understated sound. Major’s vocal is pensive and wistful, accompanied by The Sweethearts of Sigma’s heartfelt harmonies. When Major’s vocal grows in power, so does the arrangement. Horns, strings and the rhythm section reinforce and reflect the drama in the vocal. For his part, Major Harris’ delivers a vocal that’s a mixture of melancholia, emotion, power and sadness.
It’s Got To Be Magic was arranged and produced by Bobby “Electronic” Eli. The tempo drops, swathes of strings sweep slowly above the arrangement, setting the scene for this sensual bedroom ballad. Major Harris’ vocal is sensual, joyful and thankful. Subtle, sensuous harmonies from The Sweethearts of Sigma prove the perfect foil for Major’s vocal. Vince Montana Jr’s vibes, Norman Harris’ jazzy guitar and keyboards provide the perfect backdrop. Later, the rhythm section reflects the playful, sassy and vampish nature of Major’s vocal during this bedroom ballad par excellence.
Ruby Lee was written by Ron Baker and Norman Harris who arranged and produced the song. It’s a song with a strong narrative, filled with social comment and almost ironically, marches along. Growling horns, swirling strings and a pulsating heartbeat from Baker, Harris, Young are joined be Major Harris. His vocal is quick, filled with joy and hope. The Sweethearts of Sigma add cooing, soaring harmonies as the arrangement takes on a hustle sound. By now the band have kicked loose. It’s an impressive sound. A myriad of dancing strings, bursts of blazing horns and a punchy rhythm section march along. Later, there’s a twist. Major’s vocal grows in power, becoming a hurt-filled vamp, as he lays bare his soul. Two years he’s been away, fighting for his country. Now he’s back, Ruby Lee’s gone and his house is up for sale. He’s heartbroken, desperate and has lost hope. Of all the songs on Jealousy, this must be the most moving, powerful and potent. One listen and you’ll understand why.
Talking To Myself was the second Bobby “Electronic” Eli and Vinnie Barrett composition on Jealousy. Just Vince Montana Jr’s, braying horns and Baker, Harris, Young combine to create a slow, understated backdrop for Major’s vocal. Quivering strings signal the arrival of his heartbroken vocal. The Sweethearts of Sigma add harmonies, while shimmering strings, rasping horns and Norman Harris’ sparse, jazzy guitar combine. With Norman’s guitar playing, it’s sometimes what he doesn’t play that makes his playing so effective. Earl Young’s drums reflect the drama and hurt in Major Harris’ vocal as he unleashes one of his most heartfelt vocals, where hope and happiness seem a long way away.
Closing Jealousy is What’s the Use In the Truth. The tempo drops, but the drama and emotion doesn’t. Growling horns, percussion and Vince Montana Jr’s vibes combine with Baker, Harris, Young. They provide an understated backdrop for Major Harris’ wistful, melancholy and dramatic vocal. Soon, The Sweethearts of Sigma add punchy, dramatic and impassioned harmonies. They seem to drive Major Harris to greater heights. His vocal is deliberate, questioning and probing. “What’s the Use In the Truth if you can’t tell a lie sometime” ponders Major Harris, as he delivers one of his most poignant, pensive and impassioned vocals. This seems a fitting way to close Jealousy.
So, that’s the story of Major Harris’ 1976 sophomore album Jealousy. Sadly, neither Jealousy, nor any of the singles released from Jealousy, matched the success of My Way. Part of the problem was that musical fashions were changing quickly. Disco had became the most popular musical genre. For soul singers like Major Harris, this presented a problem. Granted some of the songs on Jealousy are dance-floor friendly, but that didn’t help make Jealousy the commercial success it deserved to be. With an all-star cast of Philly songwriters, arrangers, producers and musicians working on Jealousy, there was nothing whatsoever wrong with the eight tracks on Jealousy. Norman Harris, Major Harris’ cousin, played an important part in the making Jealousy. He cowrote Ruby Lee with Ron Baker, and arranged and produced three tracks on Jealousy. Bobby “Electronic” Eli who cowrote three tracks on Jealousy played an equally important part. This included Walkin’ In the Footsteps and Talking To Myself with Bobby “Electronic” Eli and Vinnie Barrett. Unfortunately, neither of these tracks could replicate the success of Love Won’t Let Me Wait. Following Jealousy, Major Harris wouldn’t release another album on Atlantic Records.
Two years after the release of Jealousy, Major Harris released How Do You Take Your Love in 1978, on RCA Victor. This would be Major Harris penultimate album.1984s I Believe In Love was Major Harris’ final solo album. After that, Major Harris’ musical career continued. Tragically, Major Harris passed away on 9th November 2012, aged just sixty-five. Philly Soul had lost another of its legends. Major Harris left behind a rich musical legacy, including two albums he recorded with The Delfonics and four solo albums. Of these four solo albums, Major Harris‘ best two albums were 1975s My Way and 1976s Jealousy, which was released by WEA Japan on 30th April 2013, includes some sumptuous, smooth Philly Soul. Standout Tracks: Jealousy, Walkin’ In the Footsteps, Ruby Lee and Talking To Myself.
MAJOR HARRIS-JEALOUSY.
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