THE HOLY GHOSTS-OLD SCHOOL ROCK AND ROLL WITH ATTITUDE.
THE HOLY GHOSTS-OLD SCHOOL ROCK AND ROLL WITH ATTITUDE.
Recently, when I wrote an article on Shooting Stansfield, one of Scotland’s hottest bands, I mentioned that the Scottish musical scene was enjoying something of a resurgence. Whether it’s established bands or new bands, Scotland is leading the way, leaving Manchester, Liverpool, Newcastle and London trailing in its wake. Music, is something Scotland does well.
Indeed, since the late seventies, when Aztec Camera, Orange Juice, Josef K and The Go-Betweens blazed a trail with The Sound Of Young Scotland, Scotland’s produced some of the most innovative and influential music. After that, The Blue Nile, Lloyd Cole and The Commotions, Deacon Blue, Belle and Sebastien, The Bathers, Primal Scream, Franz Ferdinand kept the flag flying for Scottish music. As you can see, Scotland has produced some of Britain’s most commercially successful and critically acclaimed bands. Now a new name can be added to this list…The Holy Ghosts.
For anyone yet to discover The Holy Ghosts’ music, you’ve a treat in-store? The Holy Ghosts, who comprise Jack Sandison, Rory Penman, Jon MacKenzie, Jonny Rapeseed and Andy Barbour, are a five-piece band from Edinburgh. They only played their first concert back in January 20012. SInce then, it’s been a case of onwards and upwards, with their fusion of rock ‘n’ roll, country and blues attracting an ever-increasing fan-base. That’s no surprise.
The best way to describe The Holy Ghosts’ sound, is not unlike the Rolling Stones circa Exile On Main Street. With dueling guitars, bluesy harmonica and a piano straight out of a honky tonk on Route 66, and you think things can’t get better. They do. Add to this, three part harmonies that are soulful. They’re the finishing touch to The Holy Ghosts’ unique sound which has been winning over fans during 2012 and 2013.
To hone their sound, The Holy Ghosts have been touring throughout Scotland. This is what bands used to do. Back then, it was a case of traveling up and down the motorways of Britain in a beaten up old transit van. This gave bands the opportunity not just to hone and tighten their sound, but build a following. It seems The Holy Ghosts seem to be playing the long game. They’re unwilling to take shortcuts in an attempt to try to make a commercial breakthrough. That commercial breakthrough will come for The Holy Ghosts. It’s not a case of if, but when The Holy Ghosts sign a recording contract. Meanwhile, The Holy Ghosts have released two E.P.s.
Devil On Your SIde was The Holy Ghosts’ debut E.P. Released on 24th March 2012, it featured three tracks, Ol’ Snake Hips, Devil On Your Side and the brilliant Staring Down The Barrel. The three tracks on Devil On Your SIde features The Holy Ghosts’ at their very best, mixing blues, country, rock ‘n’ roll and honky tonk. A year later, came the followup to Devil On Your SIde… Voodoo Shakedown.
Then on the 1st March 2013, The Holy Ghosts were back with their sophomore E.P. Voodoo Shakedown. Again, Voodoo Shakedown featured a variety of influences. There’s a real country influence alongside the Americana, rock ‘n’ roll, blues and honky tonk. Featuring When We Were Kings, Don’t Come Knockin,’ Let It Die and Flippin’ Out Fifties, Voodoo Shakedown features a band that have really grown and matured. Proof of this is the blistering Don’t Come Knockin’ where The Holy Ghosts are transformed into the storming, strutting rock ‘n’ roll band. Then when you hear Flippin’ Out Fifties, there’s a real vintage country influence. These four tracks are a tantalizing taster of The Holy Ghosts debut album, which will be released later this year.
By the time The Holy Ghosts release their debut album later this year, I’m sure that they’ll have signed to a major record label. Indeed, it’s not a case of if, but when The Holy Ghosts sign to a major label. They’ve a huge future ahead of them. The Holy Ghosts are keeping the flag flying for Scottish music. Less than eighteen months after The Holy Ghosts first took to the stage, they’re establishing a reputation as a band with a big future. Their irresistible fusion of rock ‘n’ roll, blues, country and honky tonk has seen them win over audiences not just in Scotland, but further afield. This summer, The Holy Ghosts will be playing festivals throughout the UK. If you get the chance to see The Holy Ghosts live, then you’ll be privileged to see one of the best up-and-coming bands of 2013.
THE HOLY GHOSTS-OLD SCHOOL ROCK AND ROLL WITH ATTITUDE.
CAN YOU JACK? CHICAGO HOUSE AND EXPERIMENTAL HOUSE 1985-1995.
CAN YOU JACK? CHICAGO HOUSE AND EXPERIMENTAL HOUSE 1985-1995.
Hot on the heels of Soul Jazz Records recent critically acclaimed compilation of Acid House and Chicago House, Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, Can You Jack?Chicago House and Experimental House 1985-1995 will be released on 29th April 2013. However, Can You Jack?Chicago House and Experimental House 1985-1995 isn’t a new compilation. Not at all. It was originally released way back in 2005. Now seven years later, just as the Chicago House is about to celebrate its thirtieth anniversary, Soul Jazz Records have decided to rerelease Can You Jack?Chicago House and Experimental House 1985-1995. That’s no bad thing though.
With Chicago House about to celebrate its thirtieth anniversary, there will be numerous compilation released to celebrate house’s descent into middle age. As usual, these compilations will range from the good, the bad to the downright ugly. There will be lovingly compiled compilations right through to cynical cash-ins designed to separate the music lover from their money. To save you wasting your money, I’m going to separate the wheat from the chaff, when it comes to Chicago House. This will allow you to choose the best compilations as they’re released. The last Chicago House compilation I released was Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93.
Having recently reviewed Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, I’d suggest that it’s top of your shopping list when it comes to Chicago House compilations. However, you’ll need more than one compilation to get a flavor of what made Chicago House and Acid House such influential musical genres. A possible companion to Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is Can You Jack?Chicago House and Experimental House 1985-1995. It’s compiled by Soul Jazz Records, who compiled the excellent Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93. Will Can You Jack? Chicago House and Experimental House 1985-1995 make a fitting companion to Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93? That’s what I’ll now tell you.
DISC ONE.
Looking through the track-listing of Disc One of Can You Jack? Chicago House and Experimental House 1985-1995, it’s certainly not short of Chicago House legends. There are eight full-length tracks from some of the pioneers of Chicago House. This includes contributions from Sweat Boyz, Virgo, Mr. Fingers, Phuture and Roy Davis. There are also contributions from Maurice, Tyree and Fresh.
Interestingly, the Can You Jack? Chicago House and Experimental House 1985-1995, covers a ten-year period. However, unquestionably, the golden years of Chicago House and Acid House were between 1985 and 1989. So maybe, the compiler would’ve been better concentrating on music released during that period. Conversely, if the compiler had concentrated on just that four-year period, then they’d have missed out on some pioneering and groundbreaking music, which I’ll pick the highlights of.
Little did Maurice Joshua realize when he released This Is Acid as Maurice in 1989, that he’d just released a hypnotic house classic. Released on Vendetta Records, Maurice wrote and produced This Is Acid. It’s now perceived as an anthemic house classic, that twenty-four years later, still fills dance-floors worldwide.
One of the most influential figures in the development of Chicago House was Marshall Jefferson. He was there at the dawn of a new musical era. Originally, he was a DJ, who became a producer and remixer. Using a variety of aliases, including Virgo, he released numerous singles, E.P.s and albums. Many of them were groundbreaking and innovative, which influenced a new generation of producers. This includes Go Wild Rythm Trax No. 3, from the album Go Wild Rhythm Trax, released on Other SIde Records. This demonstrates just how innovative and inventive a producer Virgo was.
Larry Heard was one of the pioneers of the Chicago House scene. As Mr. Fingers, he released countless house classics. Beyond The Clouds was a track from Mr. Fingers’ 1986 E.P. It was released on the legendary Trax Records. The other two tracks on the E.P. were Washing Machine and Can You Feel It. Each of the three tracks were written and produced by Larry Heard, and featured on his 1989 album Amnesia. The quality of these tracks are testament to a producer who deservedly, can be referred to as a pioneer and innovator. Mr. Fingers’ music would influence further generations of producers.
Roy Davis’ Acid Bass is my final choice from Disc One of Can You Jack? Chicago House and Experimental House 1985-1995. Just like Marshall Jefferson, Roy was a DJ and producer, who was part of the second generation of Chicago House producers. His career started in 1992, when he released Learn To Live. Although Acid Bass was released in 1995 on The Wild E.P. Part 2, it has a real old school sound. Thunderous drums, crashing cymbals and squelchy synths take you on a trip back to 1985.
Each of the four tracks I’ve mentioned from Disc One of Can You Jack? Chicago House and Experimental House 1985-1995 are representative of the quality of music. Quite simply, there are no poor tracks. Each track is a classic slice of Chicago House. I could just as easily have picked any of the eight tracks. Some tracks picked themselves including Virgo’s Go Wild Rhythm Trax and Mr. Fingers. As for Maurice’s trippy, hypnotic This Is Acid, to me it epitomizes a musical era. However, there’s more to Disc One than four tracks. There’s tracks from Adonis and DJ Pierre under the guises of Sweat Boyz and Phuture. That’s not forgetting Tyree’s Acid Crass and Fresh’s Dum Dum. However, having set the bar high with Disc One of Can You Jack? Chicago House and Experimental House 1985-1995, will the continue on Disc Two?
DISC TWO.
All too often, I’ve come across compilations which are double albums, and the first disc is crammed full of classic tracks. Then when you get to the second disc, it’s a major disappointment. However, looking at the track-listing for Disc Two, I don’t think that’ll be the case here. After all, there’s contributions from Sleazy D, DJ Pierre, Lll Louis, Green Velvet, Two Of A Kind and Armando. There’s also further tracks from Virgo, Tyree and Phuture. If anything, the music on Disc Two looks better than that on Disc One of Can You Jack? Chicago House and Experimental House 1985-1995. Is that the case though?
My first choice from Disc Two of Can You Jack? Chicago House and Experimental House 1985-1995 is Sleazy D’s I’ve Lost Control. Released on Trax Records in 1986, I’ve Lost Control was written by Virgo, who produced the track with Sleazy D. It quickly became a classic track, and is one of the best tracks on Can You Jack? Chicago House and Experimental House 1985-1995. The reason for this, is it epitomizes an era when anything seemed to go, both musically and socially.
Lil Louis was one of the most popular Chicago House producers of the late eighties. He’s best known for his 1989 sensual house classic French Kiss. A year earlier, he released The Original Radio Clash in 1988. This was a truly innovative track, that will bring back memories for people of a certain vintage. Listening to Video Clash is not unlike the soundtrack to an old school, eighties video game. Lo-fi, but captivating, a combination of the squelchiest of synths and drums that crack like gunshots have your attention. Even though the technology used to make Video Clash was quite lo-fi, the track has aged well and has an almost timeless sound.
Armando Gallop was one of the most innovative Chicago House producers. His career started in 1987, when as Armando, he released Land Of Confusion. Two years later, in 1989, Armando released Downfall, which he wrote and produced on Housetime Records. From the opening bars, Overload has a truly hypnotic sound. Sadly, Armando’s career was cut short in 1996, when tragically, he died of leukemia. That day, Chicago House lost one of its founding fathers and pioneers.
Fittingly, my final choice from Disc Two of Can You Jack? Chicago House and Experimental House 1985-1995 Phuture’s Acid Trax. Phuture was the alias of DJ Pierre, who cowrote this track. Released in 1987, on Trax Records and mixed and produced by Marshall Jefferson, the compilers have kept one of the best tracks to last. With a combination of squelchy Roland TB-303 and pounding drums, Acid Trax is epitomizes all that’s good about late eighties Acid House as you embark on a nostalgic musical journey back to the heady days of 1987, when anything was possiible.
Earlier, I wondered whether the music on Disc Two of Can You Jack? Chicago House and Experimental House 1985-1995 would surpass the quality of Disc One? That wasn’t going to be easy, given that Disc One featured numerous Chicago House classic. So too, did Disc Two. This included Sleazy D’s I’ve Lost Control, Virgo’s Take Me Higher, Lil Louis Video Clash and Phuture’s Acid Trax. Then there’s contributions from other Chicago House pioneers, including Armando and Green Velvet. As you’ll realize, the quality of music on Disc Two pretty much matches that on Disc One. Choosing which disc features the best music would be like spinning a coin. That to me is pointless. What I would say, is that the music on Can You Jack? Chicago House and Experimental House 1985-1995 features some of the best music in the history of Chicago House.
I’d also say that rather than limiting the music from 1985-1989, which were the golden years of Chicago House, extending this to 1995 worked well. It allowed the compiler to include music from the second wave of producers. This new generation of producers took Chicago House in a new direction. Sometimes, this meant a more experimental direction. Ironically, many people didn’t think Chicago House would enjoy any longevity. They doubted whether it would survive beyond a few years. Many people were surprised Chicago House was still going strong in 1989. The same people were astounded that by 1995, Chicago House music was reinventing itself. Now as Chicago House approaches its thirtieth anniversary, house music has continued to evolve, with numerous sub-genres have been born. That’s ensured Chicago House neither becomes stale, nor predictable. However, as Chicago House approaches its thirtieth anniversary, there’s been a resurgence in interest in the music’s roots and history. One way to find about Chicago House’s roots and history is by buying Can You Jack? Chicago House and Experimental House 1985-1995, which was be released on 29th April 2013. Not only does Can You Jack? Chicago House and Experimental House 1985-1995 feature some of the greatest, most influential and innovative music in the history of Chicago House, but features a lengthy and informative fifty-two page booklet. Together, with Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, Can You Jack? Chicago House and Experimental House 1985-1995 is the perfect starting point for anyone wanting to discover the roots and history of Chicago House music. Standout Tracks: Maurice This Is Acid, Mr. Fingers Beyond The Clouds, Armando Downfall and Phuture’s Acid Trax.
CAN YOU JACK? CHICAGO HOUSE AND EXPERIMENTAL HOUSE 1985-1995.
SALSOUL PRESENTS-PHILLY SOUL FLAVAS.
SALSOUL PRESENTS-PHILLY SOUL FLAVAS.
There aren’t many musicians who played their part in making two separate record labels the most critically acclaimed, commercially successful, innovative and influential labels in the history of music. However, back in the late sixties in Philadelphia, a group of supremely talented musicians began working together. This included the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr and percussionist Larry Washington. Then in 1971, when Gamble and Huff founded Philadelphia International Records, they became the nascent label’s legendary house-band M.F.S.B. They played on albums by Harold Melvin and The Blue Notes, The O’Jays, The Three Degrees, Billy Paul and released a string of commercially successful albums as M.F.S.B. However, there was more to M.F.S.B. than their work at Philadelphia International Records.
When not working at Philadelphia International Records, played on albums by some of the most successful groups of the Philly Soul era. This included playing on albums by The Spinners, Blue Magic, The Stylistics and The Delfonics. By then, members of M.F.S.B. like Norman Harris, Bobby “Electronic” Eli and Vince Montana Jr. were working as songwriters, arrangers and producers. Indeed, Norman Harris and Vince Montana Jr. were architects of Philly Soul. Until 1975, members of M.F.S.B. happily combined their work at Philadelphia International Records with outside work. Then in 1975, Gamble and Huff became locked in a dispute with members of M.F.S.B. over money.
Throughout most of 1975, M.F.S.B’s dispute with Gamble and Huff continued. Then fate intervened. Ken Cayre, who with his brothers owned Salsoul Records, wanted to import the Philly Sound to Salsoul. Ken’s dream was to have an orchestra similar to M.F.S.B. His wish was granted when he met Vince Montana Jr, who wanted Ken to sign Latin group Mericana to Salsoul. Ken wasn’t interested, but explained his vision to Vince. Then Ken wrote Vince a cheque and in return, Vince would deliver three songs where the Philly Sound was fused a Latin, salsa influence. Without even looking at the cheque, Vince headed back to Philadelphia to record the three songs. On the bus back to Philly, Vince looked at the cheque, and found it was for $10,000.
With some of Philly’s legendary musicians, three tracks were recorded, Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle. After these 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 meant Salsoul needed more songs, enough for an album. To record this album, Ken Cayre needed his orchestra. Luckily, this coincided with the disputed between Gamble and Huff and M.F.S.B. coming to a head.
The dispute between Gamble and Huff and M.F.S.B. couldn’t be resolved. So many key members of M.F.S.B. left Philadelphia International Records, and one-hundred miles to New York, where they became The Salsoul Orchestra. At Salsoul Records, the former members of M.F.S.B’s influence resulted in many Salsoul recordings having a Philly Soul influence. Proof of this is Salsoul Presents-Philly Soul Flavas, which I’ll pick the highlights of. It features tracks by Loleatta Holloway, Double Exposure, First Choice, Eddie Holman and Bunny Sigler, many of which were either written, arranged or produced by former members of M.F.S.B.
Legendary guitarist, songwriter and producer Norman Harris recommended that Ken Cayre sign Double Exposure to Salsoul Records. Double Exposure released three albums between 1976 and 1979. Their most successful album was 1976s Ten Percent, which featured Salsoul classics like Ten Percent, Everyman and My Love Is Free. Its followup was 1978s Fourplay, which featured Falling In Love and I Declare War. Of the two tracks, the Norman Harris I Declare War is the best. With a dramatic arrangement, Jimmy Williams’ lead vocal combines power and passion. Accompanied by the tightest of soulful harmonies, this is a true hidden gem, which epitomises Philly Soul.
During their time at Gold Mind Records, a subsidiary of Salsoul run by Norman Harris, Love Committee only released one album. This was 1978s Law and Order. Although it wasn’t a commercial success, it’s one of the most underrated albums in Gold Mind Records’ back-catalogue. Proof of this is the Ron Tyson and Eddie Moore penned Tired of Being Your Fool. It features a soul baring vocal from Ron, against a broody backdrop. Adding to the song’s sheer soulfulness are truly heartfelt harmonies from The Sweethearts of Sigma.
Eddie Holman is another artist who only released one album for Salsoul Records, 1977s This Will Be A Night To Remember. It was produced by Baker, Harris, Young who were given the job of rejuvenating Eddie’s career. Sadly, This Will Be A Night To Remember failed to chart. However, it’s a reminded of just how talented and versatile a singer Eddie Holman was. Two tracks penned by Ron Baker demonstrate this perfectly, All My Life and This Will Be A Night To Remember, which Ron cowrote with Ron Tyson. Both tracks see a confident Eddie strutting his way through the tracks spreading hooks and happiness in his wake.
In 1976, The Salsoul Orchestra released their sophomore album Nice ‘N’ Nasty. Featuring the classic lineup of The Salsoul Orchestra, Nice ‘N’ Nasty reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. Unsurprisingly, of the ten albums The Salsoul Orchstra released, Nice ‘N’ Nasty is one of the best. Standing and Waiting On Love was written by Floyd Smith with Vince Montana Jr, who arranged, conducted and produced this track. The best way to describe this track is an uplifting, joyous slice of sunshine, featuring The Salsoul Orchestra at their very best.
Before signing to Gold Mind Records, Instant Funk had accompanied some of the legends of Philly Soul. They’d also released two albums for Philadelphia International Records. However, it was at Gold Mind Records where commercial success came their way. Their debut single When I Got My Mind Made Up (You Can Get It Girl) was released in December 1978, reaching number twenty in the US Billboard 100 and number one in the US R&B Charts and US Disco Charts. Then Instant Funk was released on January 1979 the success continued. It reached number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. The best track from Instant Funk was Crying, which only reached number forty-one in the US R&B Charts. Despite this, it’s regarded a true Salsoul classic, with an irresistibly catchy, hook-laden sound. The other track from Instant Funk on Salsoul Presents-Philly Soul Flavas is Can You See Where I’m Coming From, a track from their 1980 album The Funk Is On, a track that’s funky and soulful.
Often, when compilers are compiling a Salsoul compilation, they tend to stick with tracks many people are familiar with. That’s not the case here. True Example’s Love Is Finally Coming My Way is something of a hidden gem, so its inclusion on Salsoul Presents-Philly Soul Flavas is to welcomed. This 12” single was True Example’s only release Gold Mind Records. Written by Alan Felder, Ron Tyson and T.G. Conway, who produced the track, it was mixed by Walter Gibbons. The result was a delicious and truly memorable combination of Philly Soul and disco.
Metropolis’ 1978 album The Greatest Show On Earth featured the vocal prowess of legendary Philly backing vocalists The Sweethearts of Sigma. The unmistakable harmonies of Barbara Ingram, Evette Benton and Carla Benson feature on nearly every Philly Soul classic of the seventies. Producing The Greatest Show On Earth were Tom Moulton and Thor Baldursson. Given the personnel involved, The Greatest Show On Earth should’ve been a huge commercial success. Sadly, that wasn’t the case. Instead, Metropolis’ fusion of Euro Disco, Philly Soul and disco has remained an underrated, hidden gem that’s awaiting discovery. Proof of this is Here’s To You, one of the highlights of The Greatest Show On Earth.
Bunny Sigler released a trio of albums for Gamble and Huff’s Philadelphia International Records before signing to Gold Mind Records. Sadly, they weren’t commercially successful. Next stop for Bunny was Norman Harris’ Gold Mild Records, which was a subsidiary of Salsoul. Bunny was a member of The Salsoul Orchestra and worked as a songwriter, arranger and producer. Between 1977 and 1980, he released three albums, Let me Party With You in 1977 and 1979s I’ve Always Wanted To Sing…Not Just Write Songs. His third album Let It Snow, released in 1980, was released on Salsoul, after Gold Mind’s demise. Cry My Eyes Out featured on I’ve Always Wanted To Sing…Not Just Write Songs and sees Bunny deliver a vocal laden with heartbreak, hurt and emotion.
The first Lady of Salsoul was, without doubt, Loleatta Holloway. She released four albums for Gold Mind Records between 1976 and 1980. The Ron “Have Mercy” Kersey produced That’s How Heartaches Are Made is a track from Loleatta’s 1976 album Loleatta. It demonstrates her soulful rooots, while the other track on Salsoul Presents-Philly Soul Flavas features Loleatta Holloway disco diva.Two SIdes To Every Story is a track from Loleatta’s 1978 album Queen Of The Night. Here, Loleatta delivers an outstanding performance. She’s sassy, confident and struts her way through the track giving a masterclass in soulfulness. No wonder Loleatta Holloway is remembered as one of the greatest divas of the disco era.
Another welcome inclusion on Salsoul Presents-Philly Soul Flavas is Moment Of Truth’s Come On In. This is a track from their only Sasoul album Moment Of Truth. Released in 1977, the eights songs were written by Norman Bergen and Reid Whitelaw, who produced the album. One of the highlights of Moment Of Truth, which was a captivating fusion of Philly Soul and disco was Come On In. For anyone yet to discover the delights of Moment Of Truth, then it’s an album I’d thoroughly recommend.
My final choice from Salsoul Presents-Philly Soul Flavas is First Choice’s Sittin’ Pretty. This was a track from their final album Breakaway. Released in 1980, Breakaway wasn’t a commercial success, and since then, has remained a hugely underrated album. Sittin’ Pretty was one of two tracks written by the successful songwriting team of Melvin and Mervin Steals with McKinley Jackson. Lead vocalist Rochelle Fleming unleashes a vocal tour de force. She’s matched all the way by The Salsoul Orchestra. The result is a hook-laden, timeless dance track.
Unlike so many Salsoul Records compilations, the compiler of Salsoul Presents-Philly Soul Flavas hasn’t just picked a selection of the best known tracks released on Salsoul and Gold Mind Records. Having said that, this doesn’t mean the compiler has ignored tracks by some of Salsoul’s biggest names. Granted there’s still contributions from First Choice, Double Exposure, Loleatta Holloway andThe Salsoul Orchestra, but mostly, tracks that many people won’t be familiar with. Rather than Runaway or Hit and Run from Loleatta Hollway, Two SIdes To Every Story and That’s How Heartaches Are Made. Similarly, there’s Dr. Love or Let No Man Put Asunder from First Choice, with Sitting Prett’ chosen instead. This is a refreshing from previous Salsoul compilations crammed full of predictable tracks.
What’s also refreshing is the inclusion of several hidden gems. Among the hidden gems on Salsoul Presents-Philly Soul Flavas are Love Committee’s Tired of Being Your Fool, Eddie Holman’s This Will Be A Night To Remember, Metropolis Here’s To You and Moment Of Truth’s Come On In. This quartet of tracks are a departure from the familiar tracks that fill many Salsoul compilations. It also demonstrates that, if a compiler is willing to dig deeper, then they can compile a compilation that has an eclectic and captivating selection of tracks. Given how many predictable Salsoul compilations have been released, then compilations like Salsoul Presents-Philly Soul Flavas are to be welcomed and encouraged.
Most of the tracks on Salsoul Presents-Philly Soul Flavas have one thing in common, the Philly Soul influence that’s their musical D.N.A. That’s no surprise. Many of the musicians who played on numerous Philly Soul classics feature on many of the tracks on Salsoul Presents-Philly Soul Flavas. Indeed, musicians like the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr and percussionist Larry Washington had been playing together since the late sixties. They’d then been part of M.F.S.B. before they became part of The Salsoul Orchestra. Their musical influence runs through many of the tracks on Salsoul Presents-Philly Soul Flavas. As I said, it’s part of the music’s D.N.A. of the sixteen tracks on Salsoul Presents-Philly Soul Flavas. Not only that, but Salsoul Presents-Philly Soul Flavas demonstrates just why the members of M.F.S.B. who became The Salsoul Orchestra were some of the most talented, innovative and influential musicians of the seventies. Standout Tracks: The Salsoul Orchestra Standing and Waiting On Love, Loleatta Holloway That’s How Heartaches Are Made, Eddie Holman This Will Be A Night To Remember and Instant Funk Crying.
SALSOUL PRESENTS-PHILLY SOUL FLAVAS.
MILLIE JACKSON-THE MOODS OF MILLIE JACKSON.
MILLIE JACKSON-THE MOODS OF MILLIE JACKSON.
When it comes to female soul singers, It’s no exaggeration to say that Millie Jackson was one of the most talented and charismatic female vocalists of the seventies and eighties. Millie Jackson was born in Thomson, Georgia, but when her mother died, she moved to Newark, New Jersey with her father. Then when Millie was a teenager, she moved to Brooklyn to live with an aunt. It was in New York that Millie Jackson’s career began in 1964. One of Millie’s friends dared her to enter a talent contest in Harlem nightclub. Having entered the talent competition, Millie won it. This proved to be the start of Millie’s nascent musical career. Six years later, in 1970, Millie recorded her first single for MGM Records. A year later, in 1971, Millie signed to the record company where she would establish her reputation as one the most talented, versatile and charismatic female vocalists of her generation.
Having started her career at MGM Records in 1970, a year later Millie signed for Spring Records. Working with Spring Records’ in-house producer Raeford Gerald, her 1971 singe A Child Of God gave Millie the first hit single of her career. It reached number 102 in the US Billboard 100 and number twenty-two in the US R&B Charts. This proved to the start of the most successful period of Millie Jackson’s long career. During her time at Spring Records, she released what’s undoubtably, the best music of her career. Millie was a truly prolific artist, who released sixteen studio albums for Spring Records between 1972 and 1983. Three of these albums, 1974s Caught Up, 1977s Feelin’ Bitchy and 1978s Get It Out’cha System were certified gold. Each of these albums feature a truly versatile artist. However, some of the best music Millie Jackson recorded at Spring Records were ballads.
When it comes to ballads, Millie Jackson breathes life, meaning, emotion and often, hurt and heartache into them. Whether Millie is laying bare her soul or is delivering heartfelt, impassioned performances, her ballads are peerless, and truly breathtaking. Now twenty of the ballads Millie Jackson recorded at Spring Records feature on a new compilation entitled The Moods Of Millie Jackson. Compiled by Sean Hampsey and was released by Kent, The Moods Of Millie Jackson is a reminder of one of the most talented, versatile and charismatic female vocalists of the seventies and eighties. You’ll realize why, when I tell you about The Moods Of Millie Jackson.
1971s A Child Of God (It’s Hard To Believe) was Millie’s first hit single for Spring Records. Written by Millie and Don French, it was produced by Spring Records’ in-house producer Raeford Gerald. It reached number 102 in the US Billboard 100 and number twenty-two in the US R&B Charts. Millie’s vocal is filled with frustration and anger at people’s double standards and hypocrisy. Here, Millie brings the lyrics to life, so much so, you can sense her frustration and anger. When Millie’s released her debut album Millie Jackson in 1972, it featured A Child Of God (It’s Hard To Believe) and I Just Can’t Stand It, penned by Millie and Billy Nichols. Laden with heartache, hurt and emotion, I Just Can’t Stand It shows how Millie could breath life and meaning into a song.
Millie Jackson’s sophomore album was 1973s It Hurts So Good, which reached number 175 in the US Billboard 200 and number thirteen in the US R&B Charts. There are two tracks from It Hurts So Good on The Moods Of Millie Jackson-Her Best Ballads. These are I Just Can’t Stand It and Good To The Last Drop. Of these two tracks, the best is I Just Can’t Stand It, written by Phillip Mitchell. It reached number twenty-four in the US Billboard 100 and number three in the US R&B Charts. That’s no surprise given the quality of the track. Here, Millie unleashes a Magnus Opus of a vocal. It’s sultry, sensual, needy and dripping in emotion. The arrangement compliments the vocal perfectly, with blazing horns, strings and dramatic harmonies. Quite simply, soul doesn’t get much better than this.
Back in the seventies, artists would often release two albums a year. In 1974, Millie released the classic Caught Up and I Got To Try It One Time. Opening I Got To Try It One Time. was How Do You Feel The Morning After, written by Raeford Gerald and Luther Lynch. It reached number seventy-seven in the US Billboard 100 and number eleven in the US R&B Charts. Millie’s vocal is a heartfelt mixture of power, passion and emotion. With backing vocalists adding dramatic, soaring harmonies, the result is a stunning slice of heartachingly beautiful soul.
1974 saw Millie release of one of Millie Jackson’s classic albums, Caught Up. It became the most successful album of Millie’s career, reaching number twenty-one in the US Billboard 200 and number four in the US R&B Charts. This resulted in Caught Up being certified gold. Caught Up featured a track that’s become synonymous with Mille, a cover of (If Loving You Is Wrong) I Don’t Want To Be Right. Millie’s interpretation of Homer Banks, Carl Hampton and Raymond Jackson’s classic is peerless. She delivers the lyrics with meaning, feeling and a sense of hurt that seems almost real. Quite simply, it’s a deeply powerful and moving track. The other tracks from Caught Up are the despairing I’m Through Trying To Prove My Love To You and the Phillip Mitchell and Billy Clements penned I’m Tired Of Hiding. In the hands of Millie Jackson, it’s transformed into a deep soul classic.
1975s Still Caught Up didn’t replicate the commercial success and critical acclaim of Caught Up. It stalled at number 112 in the US Billboard 200 and number twenty-seven in the US R&B Charts. Since its release, Still Caught Up has remained an underrated album. However, it certainly wasn’t short of quality, soulful music. Proof of this are the inclusion of three tracks from Still Caught Up. These are Making The Best Of A Bad Situation, I Still Love You (You Still Love Me) and Loving Arms, written by Tom. Although both feature heartfelt, impassioned performances, her version of Loving Arms is stunning, absolutely peerless. Laden in emotion, heartache and hurt, Millie’s version of Loving Arms is the definitive version of soul classic.
During 1976, Millie released two albums, Free and In Love and Lovingly Yours. The Moods Of Millie Jackson-Her Best Ballads features six tracks from these albums. Solitary Love Affair and There You Are from Free and In Love. Of these two tracks, the Gus McKinney and Billy Kennedy penned Solitary Love Affair features Millie at her best. Her vocal is tender and seductive, but grows in power. Sometimes, her vocal is tinged with sadness and regret. Again, she delivers the lyrics with passion and feeling, as if she’s lived and experienced them. Millie’s other album from 1976 was Lovingly Yours. It featured the hurt-filled I Can’t Say Goodbye, I’ll Be Rolling (With the Punches), A Love Of Your Own and From Her Arms To Mine, a stunning slice of deep soul written by Homer Banks and Carl Hampton.
When Millie released 1977s Feelin’ Bitchy, it gave her the second gold disc of her career. It reached number thirty-four in the US Billboard 200 and number four in the US R&B Charts. One of the best tracks on Feelin’ Bitchy was the ballad Angel In Your Arms. What makes this such a stunning track are the lyrics. They’ve a strong narrative and paint pictures that unfold before your eyes. You can visualize the scenes unfolding before your eyes as Millie’s vocal grows in power, frustration and anger at her two-timing partner. The result is one of the highlights of the The Moods Of Millie Jackson-Her Best Ballads
It’s Gonna Take Some Time This Time is a track from Millie’s 1980 album I Had To Say It. It reached number 137 in the US Billboard 200 and number twenty-five in the US R&B Charts. Written by Millie and Alfred Brevard, It’s Gonna Take Some Time This Time demonstrates just how versatile a vocalist Millie Jackson is. She delivers a spellbinding and captivating vocal against a mostly understated arrangement. This allows Millie’s vocal to take centre-stage. When gospel-tinged harmonies and rasping horns enter, they add to the emotion of Millie’s bewitching vocal.
Ten years after Millie released her debut album on Spring Records, she released Hard Times in 1982. It stalled at number 201 in the US Billboard 200, but reached number twenty-nine in the US R&B Charts. One of the highlights of Hard Times, was the Sam Dees’ penned Special Occasion. Here, Millie’s vocal veers between heartfelt and impassioned to expressive and dramatic. The piano-lead arrangement compliments Millie’s vocal, while the soaring harmonies drive Millie to greater heights of soulfulness. This is what Millie does so well, breathing life, meaning, beauty and emotion into ballads.
For anyone yet to discover Millie Jackson’s music, it’ll only take one listen to The Moods Of Millie Jackson to realize that Millie was one of the most talented, versatile and charismatic soul singer of her generation. She enjoyed commercial success and critical acclaim during the twelve years she spent at Spring Records. During that time, three of her albums were certified gold. However, there’s much more to Millie Jackson’s time at Spring Records than 1974s Caught Up, 1977s Feelin’ Bitchy and 1978s Get It Out’cha System.
These three albums just scratch the surface of Millie’s time at Spring Records. During her time at Spring Records, Millie Jackson recorded sixteen albums. While some of these albums didn’t replicate the success of Caught Up, Feelin’ Bitchy or Get It Out’cha System they all had one thing in common..they featured some stunning ballads. These ballads feature Millie Jackson at her very best. She brings lyrics to life, breathing life, meaning and emotion into them. Whether it’s heartbreak and hurt, sensuality and sass, or anger and frustration, Millie Jackson brings all these things and more to a song. Quite simply, Millie Jackson voice is like a musical palette, painting pictures before your eyes. One minute you’re empathizing with Millie’s hurt and plight, the next her vocal is filled with joy and happiness and then she’s delivering a sensuous and seductive Magnus Opus. Not many vocalists are as versatile and talented as Millie Jackson. Proof of this are the twenty songs on the lovingly compiled The Moods Of Millie Jackson. It was compiled by Sean Hampsey and released on Kent. Compiler Sean Hampsey has chosen a compelling collection of well known tracks and hidden gems for The Moods Of Millie Jackson. The result is The Moods Of Millie Jackson, a stunning collection of deep soul ballads from one of the most talented soul singers of her generation, Millie Jackson. There’s neither faux pax nor filler, just quality soul music all the way. Standout Tracks: (If Loving You Is Wrong) I Don’t Want To Be Right, Loving Arms, Angel In Your Arms and It’s Gonna Take Some Time This Time.
MILLIE JACKSON-THE MOODS OF MILLIE JACKSON.
DISCO RECHARGE: EVELYN THOMAS-I WANNA MAKE IT ON MY OWN AND HAVE A LITTLE FAITH IN ME.
DISCO RECHARGE: EVELYN THOMAS-I WANNA MAKE IT ON MY OWN AND HAVE A LITTLE FAITH IN ME.
On 1975, DJ and producer Ian Levine headed to America is search of artists he could record for his newly founded production company Voltafine. Ian’s idea was to record American soul singers, then lease the recordings to major labels His trip proved to be a fruitful one, when he discovered a twenty-two year-old former gospel singer Evelyn Thomas. Born in the Windy City of Chicago, Evelyn was a versatile and talented singer, who with Ian Levine guiding her career, would enjoy a successful career during the seventies and eighties. Indeed, Ian Levine collaborated with Evelyn on the four albums she released between 1977 and 1979. Evelyn’s first two albums were 1978s and 1979s Have A Little Faith In Me. These two albums feature on the forthcoming Disco Recharge release Disco Recharge: Evelyn Thomas-I Wanna Make It On My Own and Have A Little Faith In Me, which will be released on 13th May 2013. Before I tell you about I Wanna Make It On My Own and Have A Little Faith In Me, I’ll tell you about the background to the albums.
Realising that he’d discovered a potential star, Ian Levine brought Evelyn Thomas to the UK, where they recorded several tracks. This resulted in Evelyn signing a recording contract with 20th Century Records. Evelyn’s 1976 debut single was Weak Spot, which Ian and Paul Wilson cowrote. On its release, it reached the top thirty in the UK. The followup was Doomsday, charted, but stalled in the lower reaches of the UK Charts. Two further singles Love’s Just An Illusion and My Head’s In The Stars were released on 20th Century Records. With things going well for the Levine and Thomas partnership, contractual problems reared their ugly head.
Evelyn’s former manager alleged he still had her under contract. After paying $2,000 and enduring a hair-raising car journey with the former manager, the Ian Levine and Evelyn Thomas partnership was back together. This was just in time for Evelyn Thomas to sign one of disco’s biggest labels…Casablanca Records. It was on Casablanca Records where she released her debut album I Wanna Make It On My Own.
I WANNA MAKE IT ON MY OWN.
Although Evelyn had signed to Casablanca Records, she was still working with producer Ian Levine. He played a huge role on what became Evelyn Thomas’ 1978 debut album I Wanna Make It On My Own in 1978. For I Wanna Make It On My Own, Ian wrote three of the five songs. This included the title-track, It’s The Magic Of Your Touch and Look No Further. He cowrote Thanks For Being There with Pip Williams and Back To Reality with Fiachra Trench. Ian also arranged three tracks and produced I Wanna Make It On My Own, which was recorded at London’s SAM Studios.
When recording of I Wanna Make It On My Own got underway at SAM Studios, Ian Levine had put together a crack team of session musicians. The rhythm section included bassist Les Hurdle, drummer Clem Cattini and guitarists Pip Williams and Chris Rae. Alan Hawkshaw and Fiachra Trench played keyboards, while Mike Moran played keyboards and synths. Frank Ricotti added percussion, xylophone and vibes, Fiona Hibbert played harp, while a string, horn and woodwind section joined backing vocalists. The result was I Wanna Make It On My Own, an American disco album made in Britain.
On the release of I Wanna Make It On My Own in 1978, Evelyn Thomas’ debut album was well received by critics. It featured Ian Levine’s signature sound. This was disco interspersed with his beloved Northern Soul. However, I Wanna Make It On My Own wasn’t a huge commercial success. The problem was, that Casablanca Records didn’t promote I Wanna Make It On My Own. Unsurprisingly, I Wanna Make It On My Own was the only album Evelyn Thomas released on Casablanca Records. Given the quality of I Wanna Make It On My Own, this proved to be Casablanca Records’ loss. You’ll realize that, when I’ll tell you about I Wanna Make It On My Own.
Opening I Want To Make It On My Own is the title-track I Want To Make It On My Own. Straight away, you can hear Ian Levine influence. This track has a foot in two separate decades. There’s a real Northern Soul sound, thanks to the pounding rhythm section, sweeping, swirling strings and blazing horns. Bringing the track up to date, are the disco stylings, including percussion and a funky bass, that provides the arrangement’s pulsating heartbeat. Then when Evelyn’s impassioned vocal enters, she finds her inner diva, combining power and confidence. Her vocal floats above cascading strings while harmonies sweep in. They prove the perfect accompaniment, and are the finishing touch to a hook-laden track where Northern Soul, disco, funk and soul are combined by Ian Levine.
Dramatic. That describes the introduction to It’s The Magic Of Your Touch. From there on in, there’s no shortage of drama. Cascading strings, woodwind and the rhythm section combine with urgent harmonies before rasping horns signal the arrival of Evelyn’s vocal. Her vocal is sassy and sultry. It’s delivered against a backdrop where Northern Soul, disco and drama are combined. Although there’s a disco influence, the Northern Soul influence is much more prominent. That’s no surprise, given Ian Levine’s love of Northern Soul.
Look No Further literally bursts into life, before taking you on a musical journey. During that journey, elements of Northern Soul and disco combine seamlessly. Dancing strings, rasping horns and the rhythm section add a backdrop that has Northern Soul written all over it. Then when Evelyn’s vocal enters, you realize that until that moment, she was a disco diva in waiting. Now she’s arrived, and unleashes her inner diva. Her vocal combines emotion, power and passion. Accompanying her, are tight soulful harmonies, vibes and Latin percussion. The vibes and percussion are reminiscent of Philly Soul and the disco Salsoul was releasing. For six minutes, you’re taken on an uplifting and joyous musical journey, where Evelyn Thomas unleashes her best vocal on I Wanna Make It On My Own.
The tempo drops on Thanks For Being There, which allows Evelyn to deliver a deliciously soulful vocal. Her vocal is tender and breathy, delivered against an understated arrangement. At the heart of the arrangement are the lushest of strings, rasping horns and tender, heartfelt harmonies. Everything is designed to compliment Evelyn’s vocal, including a sultry saxophone solo. The result is a beautiful, soulful track which shows another side to Evelyn, one I’d like to hear much more of.
Closing I Wanna Make It On My Own is Back To Reality. It’s track that combines a has a much more contemporary sound with Northern Soul and disco. The contemporary sound is a result of the bubbling synths chiming and drums. Strings cascade, punchy horns and soaring harmonies have a Northern Soul sound, while the percussion adds a disco sound. Evelyn’s vocal is strident, confident and sometimes sassy. She feeds off the backing vocalists, who drive Evelyn to greater heights of soulfulness.
In many ways, it’s hard to believe that I Wanna Make It On My Own is Evelyn Thomas’ debut album. When she released I Wanna Make It On My Own, she’d only released a quartet of singles. Now she was signed to Casablanca Records, one of disco’s biggest labels. However, Evelyn Thomas belonged on a major label. She was a hugely talented, charismatic and versatile singer. Whether it was disco, soul, jazz or gospel, Evelyn was equally comfortable. During the five tracks on I Want To Make It On My Own she demonstrates her versatility. One minute her vocal is soulful, the next, she’s transformed into a strutting dance-floor diva. One man who played an important part in I Wanna Make It On My Own was producer and songwriter Ian Levine.
With Ian Levine guiding her career, it was no surprise that I Want To Make It On My Own was a fusion of Northern Soul and disco. Producer Ian Levine’s first musical love was Northern Soul. He was also one of the first DJs to play disco in his sets. So, it’s no surprise that his signature sound was a combination of Northern Soul and disco. That combination of musical genres is present throughout I Want To Make It On My Own. The only exception is Thanks For Being There, which features a deliciously soulful vocal from Evelyn Thomas. With music as good as that, I Wanna Make It On My Own deserved to be a commercial success. Sadly, that wasn’t the case.
When I Wanna Make It On My Own was released, it wasn’t promoted by Casablanca Records. That meant a wider audience were denied the opportunity to hearing Evelyn Thomas debut album. With its combination of Northern Soul and disco, I wonder how an American audience would’ve reacted to I Wanna Make It On My Own? Would Evelyn Thomas have found the commercial success and critical acclaim that came her way in 1984 much earlier? That we’ll never know. For the followup to I Wanna Make It On My Own, Have A Little Faith In Me, Ian Levine changed Evelyn Thomas’ sound. Would that result in a commercially successful sophomore album Have A Little Faith In Me?
HAVE A LITTLE FAITH IN ME.
Having left Casablanca Records after just her 1978 debut album I Wanna Make It On My Own, Evelyn signed to AVI Records. Initially, AVI Records were just going to release a Have A Little Faith In Me and No Time To Turn Around as a double-A-sided single. Then a decision was made to add two other tracks, and release the four tracks as an album. To complete what became Have A Little Faith In Me, two tracks Evelyn had recorded with Ian were added. These were My Head’s In The Stars and Love’s An Illusion. Like Evelyn’s debut album I Wanna Make It On My Own, Ian Levine played an important part in Have A Little Faith In Me.
Ian Levine either wrote the four tracks that became Have A Little Faith In Me. He penned Love’s An Illusion and cowrote Have A Little Faith In Me and No Time To Turn Around with Fiachra Trench. The other track on Have A Little Faith In Me was My Head’s In The Stars, which Evelyn, Ian and Danny Leake cowrote. For recording of the two new tracks on I Wanna Make It On My Own, Evelyn and Ian headed to the Trident Recording Studios in London.
As recording of Have A Little Faith In Me and No Time To Turn Around began, the band comprised a combination of familiar faces and new names. The rhythm section comprised bassists Larry Ball and Mo Foster, drummers Brian Grice and Peter Van Hooke and guitarists Chris Rae, Rick Conway and Danny Leake., who also added percussion. Dean Grant and Vince Willis played keyboards, Frank Ricotti and Marvin Sparks added percussion while Honor Conway played harp. Augmenting this tight and talented band, were a string, horn and woodwind section. Among the backing vocalists were soul singer Barbara Pennington. Once the recording of the two tracks were completed, Have A Little Faith In Me was released later in 1979.
When Have A Little Faith In Me was released, it wasn’t the commercial success that Ian and Evelyn had hoped for. Mind you, 1979 wasn’t a good year for disco albums, as disco’s popularity came to a grinding halt on 12th July 1979. That was when the Disco Demolition Derby took place at Comiskey Park, Chicago. After that, disco albums and artists were suddenly no longer popular. Labels dropped disco artists and disco albums were no longer released. Sadly, during 1979, many great disco albums were released. Was Have A Little Faith In Me one of them? That’s what I’ll now tell you.
Have A Little Faith In Me opens with the title-track Have A Little Faith In Me. The introduction is moody, broody and dripping in drama. Repeated stabs of piano, crispy drums, percussion and pizzicato strings combine to create a dramatic backdrop. Horns growl, harmonies coo and after two drama-packed minutes, Evelyn’s vocal enters. It’s well worth the wait. Powerful, soulful and confident, accompanied by tight, equally soulful vocals. Meanwhile, strings quiver and shiver, horns rasp and cascading harmonies prove the perfect accompaniment. Later, during a prolonged break, percussion, chiming guitars, grizzled horns and piano add a funky backdrop. Soulful harmonies set the scene for Evelyn as she delivers what is, a career defining vocal on a stunning track.
Latin percussion, handclaps and pounding drums open No Time To Turn Around. Then when swathes of swirling strings enter, they add a haunting, dramatic backdrop. Again, it’s a case of setting the scene for Evelyn’s emotive vocal. Punchy harmonies and handclaps accompany her. Cascading harmonies are the perfect foil for Evelyn’s vocal, which soon, grows in power and emotion. Layers of string dance as elements of disco and Northern Soul combine. Add in percussion, braying horns and rhythm section that provides a stomping beat, and the result is a soulful, dance-floor friendly sound.
My Head’s In The Stars was one the tracks Evelyn recorded with Ian Levine when he first discovered her. The version on Have A Little Faith In Me is a near nine-minute epic filled with musical surprises. Thunderous drums are joined by hissing hi-hats before congas and handclaps are added. Then when bells enter, they prove something of a curve ball. A funky bass helps provide the track’s heartbeat, before a piano and swirling strings take the track in the direction of Northern Soul and classical music. After two minutes, sweet harmonies enter, before being replaced by flourishes of harp, handclaps and lush strings. Then comes Evelyn’s sweet and tender vocal which is the finishing touch to a compelling and captivating track, that’s full of musical surprises.
Closing Have A Little Faith In Me is Love’s Not An Illusion. It has a really contemporary sound as it begins to reveal its secrets. Percussion, handclaps and pounding drums are joined by flourishes of strings and piano. Having built up the drama, soulful harmonies sweep in. A burst of drums signals the arrival of Evelyn’s heartfelt, emotive vocal. Her vocal grows in power while strings dance and drums pound. Later, percussion and a funky bass take charge during a breakdown. Horns growl, strings quiver and stabs of piano combine are joined by urgent harmonies enter. When the harmonies exit stage left, Evelyn unleashes a feisty vocal. It’s as if she means every word, as she breathes meaning into the lyrics.
Although Have A Little Faith In Me contains only four songs, they’re four great songs. They’ve a much more contemporary sound than the songs on I Wanna Make It On My Own, which was a fusion of disco and Northern Soul. Indeed, it was a very different album. Gone was the prominent Northern Soul influence. It was replaced by a fusion of soul, funk, Latin, disco, proto-boogie and a twist of Northern Soul. This resulted in an album that was dance-floor friendly, moderne and laden with hooks. However, what really made Have A Little Faith In Me such a good album, was Evelyn Thomas’ vocals. She seemed to have blossomed and matured as a vocalist. Her vocal was much more emotive, powerful and able to breath life and meaning into the four songs. Unfortunately, this change of sound, didn’t result in a change of fortune for Evelyn Thomas.
Sadly, just like I Wanna Make It On My Own, Have A Little Faith In Me wasn’t a commercial success. Good as Have A Little Faith In Me was, it was released just as disco’s popularity waned. Maybe if Have A Little Faith In Me had been released a few years earlier, it would’ve been a commercial success. That wasn’t to be. Five years later, commercial success came Evelyn Thomas’ way in 1984. Her single High Energy sold seven-million copies worldwide. Suddenly, Evelyn Thomas was a worldwide star. High Energy gave Evelyn Thomas a number one single in Germany, Spain and in the US Hot Dance/Club Play Charts. However, before reinventing herself and finding fame and fortune with High Energy, Evelyn Thomas released two soulful and dance-floor friendly albums, I Wanna Make It On My Own and Have A Little Faith. These two underrated albums will be rereleased by Disco Recharge on 13th May 2013 as Disco Recharge: Evelyn Thomas-I Wanna Make It On My Own and Have A Little Faith In Me. For anyone yet to discover Evelyn Thomas’ music, or anyone who loves disco or soul music, then Disco Recharge: Evelyn Thomas-I Wanna Make It On My Own and Have A Little Faith In Me is the perfect place to start. Standout Tracks: I Want To Make It On My Own, Look No Further, Have A Little Faith In Me and My Head’s In The Stars.
DISCO RECHARGE: EVELYN THOMAS-I WANNA MAKE IT ON MY OWN AND HAVE A LITTLE FAITH IN ME.
DISCO RECHARGE: GRAND TOUR ON SUCH A WINTER’S DAY AND SOUTHERN EXPOSURE HEADIN’ SOUTH-SPECIAL EDITION.
DISCO RECHARGE: GRAND TOUR ON SUCH A WINTER’S DAY AND SOUTHERN EXPOSURE HEADIN’ SOUTH-SPECIAL EDITION.
Back in 1976, in Toronto, Canada, a musical partnership that resuled in some of the most innovative music of the disco era was formed. This partnership was made up of Willi Morrison, who was born in Scotland, but moved to Canada to pursue a musical career and Ian Geunther. Together, they formed the THP Orchestra in 1976, who released a quartet of albums between 1976 and 1979. However, there was much more to their career than the THP Orchestra. Indeed, the Morrison and Geunther partnership masterminded groups like American Fade, The Immortals and Goddo. Two of their other projects were Grand Tour and Southern Exposure, who feature on the latest installment of Harmless Records’ Disco Recharge series. On 13th May 2013, Disco Recharge: Grand Tour On A Winter’s Day and Southern Exposure-Headin’ South will be rereleased. This is a special edition, which not only features the original albums, but numerous bonus tracks. Before I tell you about the music on Disco Recharge: Grand Tour On Such A Winter’s Day and Southern Exposure Headin’ South, I’ll tell you about the background to both albums.
GRAND TOUR-ON SUCH A WINTER’S DAY.
After the commercial success and critical acclaim of the THP Orchestra’s sophomore album Too Hot For Love, Willi Morrison and Ian Geunther decided the time was right to form another studio band. For onlookers, this might have seemed a strange decision. After all, the THP Orchestra had established a reputation as a successful and innovative group. However, Willi and Ian decided that they wanted to take disco in another direction. This was where Grand Tour came in.
It wasn’t unusual for producers in the disco era to form different studio groups. Other producers, including Boris Midney and Marc Chantereau had been doing this. In many ways, this made sense. Producers were able to choose the personnel that suited the project, rather than be tied to a members of an established band. This would work well for Grand Tour’s debut album In many ways, this made sense. Producers were able to choose the personnel that suited the project, rather than be tied to a members of an established band. For Grand Tour’s debut album On Such A Winter’s Day this worked perfectly.
Rather than release another album that followed in the footsteps of Too Hot For Love, Willi and Ian decided to change direction musically. Grand Tour’s 1977 debut album On Such A Winter’s Day was a disco album, but with a twist. On Such A Winter’s Day allowed Willi and Ian to demonstrate another side to disco music.
On Such A Winter’s Day is best described as a concept album based around winter. Haunting, ethereal and melodic, the music is complex and multilayered. It’s an album where subtleties, surprises and textures reveal themselves to the listener. Although On Such A Winter’s Day is a disco album, it takes disco in an unexpected direction. Gone are the pounding 4/4 drums, replaced by music that has a classical influence. Surprisingly, only one of the tracks on On Such A Winter’s Day was written by Willi or Ian.
Of the six tracks on On Such A Winter’s Day, only Flight From Versailles is written by Willi Morrison. Other tracks include The Grand Tour and Last November written by Bruce Ley and John Shand’s Let’s Go Boating. There were two cover versions on On Such A Winter’s Day, including The Yarbirds Still I’m Sad and the Mamas and Papas’ California Dreamin.’ Recording of On Such A Winter’s Day took place at the Producers Workshop in Los Angeles. While Willi and ian played on and produced On Such A Winter’s Day, Jamie Haskell arranged and conducted the six tracks. Once On Such A Winter’s Day was recorded, Grand Tour’s debut album was released in 1977.
When On Such A Winter’s Day was released in 1977, it proved to be both commercially successful and critically acclaimed. Willi and Ian’s decision to take their music in a new direction had been vindicated. Each single released from On Such A Winter’s Day was equally successful. The Grand Tour was released in 1977, with Let’s Go Boating following in 1978. Just like On Such A Winter’s Day, both singles were commercially successful and proved popular in North American’s disco. This innovative take on disco had reinforced Willi Morrison and Ian Geunther’s reputation as disco pioneer. You’ll realize that when I tell you about On Such A Winter’s Day.
Opening Grand Tour’s On Such A Winter’s Day, is The Grand Tour, one of two tracks penned by Bruce Ley. As the arrangement begins to reveal its secrets and subtleties, you realize this is no ordinary disco track. Instead, it’s disco with a twist. Pounding drums provide a disco backdrop, and are accompanied by deliberate stabs of keyboards. Providing a contrast are swathes of the lushest strings and wistful horns. Then a tender, ethereal vocal floats in. Deservedly, it’s serenaded by quivering strings. When they’re combined, they take on a dreamy, melancholy quality. From there, you embark on a musical journey. It’s a musical equivalent to The Grand Tour that noblemen embarked upon during the 19th Century. You float atop lush strings, visiting faraway places. These are places that are suitably sophisticated and innovative, where intricate treasures await discover. Strings dance at the beauty when you discover them, while pioneering, beautiful and ethereal music reveals its bewitching charms over six stunning minutes.
Straight away, Let’s Go Boating has a Spanish influence. Strings cascade, joining castanets and broody horns. Meanwhile, Grand Tour’s rhythm section provides a dance-floor friendly backdrop. Soon, angelic harmonies sweep in. They provide a contrast to the horns and strings. Not only are they crucial to the track’s success, but melt seamlessly in with the strings. Later, the addition of an accordion sees arrangement heads in the direction of easy listening, in particular, Bert Kaempfert. This works though. Three diverse musical genres somehow unite perfectly, creating a rich multi-textured musical tapestry that’s not just dance-floor friendly, but infectiously catchy.
Still I’m Sad demonstrates just how eclectic an album On Such A Winter’s Day Is. It has a sparse, understated and wistful arrangement, that’s symphonic and moody. Just shimmering strings, a dark, moody rhythm section and a heartbreakingly sad, melancholy vocal combine. Straight away, you’re transfixed by the drama and emotion in the vocal, while the strings, horns and rhythm section’s role is to compliment the vocal. This is does, apart from during a breakdown, when things get funky. It’s as of the rhythm section are determined to flex their musical muscles. However, this works. After the breakdown the drama and ethereal beauty increases, thanks to the addition of the heartfelt harmonies. Quite simply, this is a musical masterstroke from he Morrison and Geunther partnership that results in one the highlights of On Such A Winter’s Day.
Of the six tracks on On Such A Winter’s Day, Flight From Versailles has the most in common with the THP Orchestra’s sound. From the opening bars, the similarities are apparent. Synths, percussion and pounding drums combine with quivering strings before a funky bass helps drive the arrangement in the direction of Euro Disco. Although there’s a real European feel to the track, it’s isn’t completely lacking American influences. Scatted vocals give the track a jazzy influence. Mostly, the American influences are overshadowed by a delicious fusion of Euro Disco, traditional European music, folk music and classical music. Like, Let’s Go Boating this is an inZnovative fusion of influences that results in a hugely catchy track.
Late November has a much more laid-back, understated sound. Just percussion, a funky rhythm section and keyboards combine with chiming guitars. Strings sweep in, their lush sound joined by a Hammond organ. By now elements of funk, jazz, disco and classical music are being fused by Grand Tour. Almost effortlessly, everything falls into place. Later, there’s even a rocky influence as Grand Tour decide to showcase their considerable musical skills. You can only marvel at their ability to combine musical genres and influences seamlessly on this laid-back, but dance-floor friendly track.
Closing On Such A Winter’s Day is a cover of the Mamas and Papas’ California Dreamin.’ It’s given an intriguing and soulful disco twist. When the pounding drums open the track, you think they’re going to be at the heart of the track. Not at all. A beautiful, heartfelt vocal deservedly takes centre-stage. It’s accompanied by some stunning harmonies. Then when the vocal drops out, the drums take centre-stage. They’re accompanied by wistful strings, melancholy horns and keyboards. When the vocal returns, you welcome its sheer beauty. Along with the harmonies, they’re at the heart of this captivating cover version of a familiar track.
Grand Tour’s debut album On Such A Winter’s Day was quite unlike the THP Orchestra’s debut album Early Riser. Indeed, On Such A Winter’s Day was a much more eclectic album. It was a concept album based on winter, which drew inspiration from an eclectic range of musical genres and influences. Disco, funk, soul, Euro Disco and easy listening color and influence the rich musical tapestry that is On Such A Winter’s Day. Another thing On Such A Winter’s Day demonstrated, was that disco is a much more complex musical genre than most people realise. Rather than think of disco as one musical genre, I prefer to think of disco as comprising numerous sub-genres. This similar to soul or house music.
The other thing that On Such A Winter’s Day did, was cement Willi Morrison and Ian Geunther reputation was musical pioneers. They took a bold and brave decision to release an album that was very different from their previous album, the THP Orchestra’s Early Riser. Many producers wouldn’t have risked their reputation like this. Thankfully, Willi Morrison and Ian Geunther had the courage of their convictions and released On Such A Winter’s Day. It was a genre-sprawling classic album, containing six innovative and timeless tracks, which demonstrated another side to disco.
Now thirty-six years after what proved to be Grand Tour’s one and only album, On Such A Winter’s Day will be rereleased by Harmless Records’ Disco Recharge imprint. It’s part of their forthcoming release Disco Recharge: Grand Tour On Such A Winter’s Day and Southern Exposure-Headin’ South. Not only does this rerelease feature the original version of Grand Tours’ On A Winter’s Day, but features five bonus tracks. This includes promo mixes of Let’s Go Boating and Late November. The other album that features on Disco Recharge’s forthcoming rerelease, is another equally innovative album from the Morrison and Geunther partnership is Southern Exposure’s Headin’ South, which I’ll tell you about.
SOUTHERN EXPOSURE-HEADIN’ SOUTH-SPECIAL EDITION.
Ever since the release of Grand Tour’s 1977 album On Such A Winter’s Day, Willi and Ian had been kept busy. No wonder. They’d established a reputation as one of the pioneering partnerships of the disco era. Proof of this was their work with the THP Orchestra. Then there were the other projects they’d worked on. However, by 1979, Willi and Ian found the time and were ready to form another studio band. This would be Southern Exposure.
Southern Exposure saw the Morrison and Geunther partnership reunited with their usual arranger Pete Pedersen. Pete had worked with Willi and Ian on their other projects, including the THP Orchestra. For what became Southern Exposure’s debut album Headin’ South, Pete cowrote the four songs with Jaine Rodack. Unlike On Such A Winter’s Day, recording of Headin’ South took place in Toronto at Phase One Studios and RCA Studios.
At Phase One Studios and RCA Studios in Toronto, Willi and Ian had brought together some of the city’s best session musicians. This included a rhythm section of bassist Errol Thomas, drummer Barry Keane and guitarists Brian Russel and Michael Toles. Carl Marsh played keyboards and synth and Dick Smith played percussion. Augmenting the band, were a full string and horn section, while Debbie Cathey and Jimmy Jamison contributed vocals. Arranging and conducting Southern Exposure was Pete Pedersen, with Willi and Ian producing Headin’ South.
Unlike On Such A Winter’s Day, Southern Exposure’s Headin’ South was much more dance-floor oriented. It was what people expected from the Morrison and Geunther partnership. This resulted in Headin’ South being a commercial success in North America. Sadly, Headin’ South wasn’t released outside of America and Canada. This resulted in Headin’ South becoming an incredibly rare and highly sought-after album. On Our Way, Headin’ South and Tight Pants were the three singles released from Headin’ South in 1979. These three singles proved popular in North American clubs, further reinforcing the reputation of Willi Morrison and Ian Geunther as pioneering disco producers. Southern Exposure’s Headin’ South is proof of this.
It doesn’t take long before you realize that Headin’ South is a very different album from Grand Tour’s On Such A Winter’s Day. From the opening bars of Headin’ South, thunderous drums and percussion provide a dramatic, dance-floor friendly beat. Adding to the drama are growling horns and dancing strings. Then the arrangement literally explodes joyously into life. Sitting atop this explosive arrangement is Jimmy Jamison’s vocal. It’s not unlike Dan Hartman’s. Harmonies accompany the fusion of horns, strings and rhythm section as Southern Exposure kick loose. Peerlessly, they combine disco, funk and soul before Debbie Cathey’s sweet vocal provides the finishing touch to this explosive and joyous hidden gem of a disco track.
For the near ten-minute epic that is On Our Way, Southern Exposure drop the tempo way down. The result is a mid-tempo track that’s moody, and laden with drama. It meanders along, gradually revealing its subtleties and surprises. While keyboards, percussion and quivering strings combine, the rhythm section provided a pulsating heartbeat. Percussion cracks, while a harmonica adds a melancholy sound and blazing horns add drama. Having set the scene, they usher in Debbie’s dramatic, heartfelt vocal. Bursts of horns and harmonica punctuate an arrangement that’s driven along by the bass. Lush strings sweep as gradually, everything falls into place. Seamlessly, Southern Exposure fuse elements of disco, Euro Disco, soul, funk and rock and in the process, create a Magnus Opus of a track.
Love Is sees the tempo increase. The arrangement is driven along by thunderous drums, before a funky bass and flourishes of classical strings enter. Soon, you realize that a classy slice of American disco is unfolding. With the rhythm section providing the heartbeat, chiming guitars, percussion, cascading strings and ethereal harmonies join the fun. You’re transported away, atop the lushest of strings while banks of keyboards add a melancholy backdrop and the rhythm section drive the arrangement. Strings quiver and shiver an another epic unfolds. For nearly twelve minutes, an eclectic selection musical genres are combined. Everything from jazz, funk, disco and soulful harmonies play their part in a track that veers between unber funky to dreamy, dramatic and is always, dance-floor friendly and hook-laden.
Closing Headin’ South is Tight Pants. It’s as if Southern Exposure want to end the album on a musical high. Straight away, they seem determined to make an impression. Chiming guitars, pounding drums, percussion and piano combine before blazing horns and buzzing synths enter. Their raison d’etre is to build the drama. Jimmy Jamison’s vocal is enveloped by swathes of strings and punchy horns. With harmonies accompanying him, they reach a grandiose crescendo andsucceed in adding to drama. Later, when Debbie’s vocal enters, she picks up the baton from Jimmy, delivering a diva-esque vocal that helps bring Headin’ South to a dramatic close.
Just like Grand Tour’s On Such A Winter’s Day, Southern Exposure’s Headin’ South was an equally innovative album from the Morrison and Geunther musical partnership. It reinforced their reputation as pioneers of disco. Over four tracks, they incorporated a variety of musical genres and influences into an album that had a much more traditional disco sound than On Such A Winter’s Day. Having referred to Headin’ South as a having a more traditional sound than On Such A Winter’s Day, it was rich in musical influences. Soul, funk, jazz, Euro Disco and even rock are incorporated into the four tracks by Southern Exposure. Taken together, the four tracks are a musical roller coaster journey. This journey is filled with musical surprises and best described as variously hook-laden, joyous, dramatic, uplifting and irresistible. Key to the success of Southern Exposure’s Headin’ South, was a tight, multitalented band and two charismatic vocalists. When all of this is combined, the result is a true hidden gem of a disco album.
The reason I refer to Southern Exposure’s Headin’ South as a hidden gem, is that on its release in 1979, it was only released in North America. This resulted in Headin’ South becoming a highly sought after disco album. Given how good an album Headin’ South is, anyone who owns a copy is reluctant to part with it. If copies of Headin’ South changes hands, then it’s for increasingly large sums of money. Thankfully, if you don’t have the deep pockets required to afford a vinyl copy of Headin’ South, it’ll be released on 13th May 2013 as part of Disco Recharge: Grand Tour On Such A Winter’s Day and Southern Exposure-Headin’ South. Along with the original version of Headin’ South, there are four bonus tracks, including two edits.
For anyone who loves disco, then the rerelease of Disco Recharge: Grand Tour On Such A Winter’s Day and Southern Exposure-Headin’ South will be welcome rerelease. Both Grand Tour’s On Such A Winter’s Day and Southern Exposure’s Headin’ South are reminders of two pioneers of the disco era, Willi Morrison and Ian Geunther. They produced some of the most innovative, commercially successful and critically acclaimed albums of the disco era. Proof of this, if any is needed, are Grand Tour On Such A Winter’s Day and Southern Exposure Headin’ South which will be released by Disco Recharge on 13th May 2013. Standout Tracks: The Grand Tour, Still I’m Sad, Headin’ South and On Our Way.
DISCO RECHARGE: GRAND TOUR ON SUCH A WINTER’S DAY AND SOUTHERN EXPOSURE HEADIN’ SOUTH-SPECIAL EDITION.
ACID-MYSTERONS INVADE THE JACKIN’ ZONE: CHICAGO ACID AND EXPERIMENTAL HOUSE 1986-93.
ACID-MYSTERONS INVADE THE JACKIN’ ZONE: CHICAGO ACID AND EXPERIMENTAL HOUSE 1986-93.
It’s hard to believe that it’s almost thirty years since the birth of house music in Chicago for future generations of producers. Time has gone quickly, and things were very different. Back then, the technology producers enjoy nowadays was much more lo-fi. There were no igital audio workstations like Logic, Ablteton Live and Reason. For early pioneers of house music like Jesse Saunders, Jamie Principle, Frankie Knuckles, Marshall Jefferson, Mr. Fingers and Phuture, their musical weapon of choice was the unmistakable sound of the squelchy Roland TB-303 bass synth. That sound nostalgic and unique sound features on many of the twenty-two tracks on Soul Jazz Records’ new compilation Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93. However, Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is no ordinary compilation.
As I’ve said, Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is no ordinary compilation. Quite the opposite. Instead, it’s a luxurious double-album, from Soul Jazz Records housed in substantial box. It reminds me of another Soul Jazz Records compilation Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996. Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 has a similar quality. Within the box, are the two discs plus a couple of bonus items. There’s a a limited edition set of postcards and a graphic novel by Paolo Parish, entitled Mysterons Invade The Jackin’ Zone, which is set in Chicago in 1986. However, limited edition sets of postcards and graphic novels are just a bonus, what really matters is the music on Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, which I’ll tell you about.
DISC ONE.
On Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, there are eleven tracks. This includes contributions from Acid Wash, Armando, Mr. Fingers, J.M. Silk and The Children. These eleven tracks cover the dawn of house music in the mid-eighties, right through to the second wave of house producers. For anyone interested in the history of house music, this will give them an insight into the development of the genre. They’ll be able to chart the roots of what proved to be an important and influential musical genre. After all, house music has provided the soundtrack to dance-floors for nearly thirty years. Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 will also act as an introduction into some of pioneers of house music. Like any musical genre, house music shouldn’t forget its pioneers and innovators, many of whom feature on Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93.
My first choice from Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is Risque Rhythm Team’s The Jacking Zone. Risque Rhythm were a trio consisting of Keith Alexi Shelby, Lee Haggard and Mitchbal. They released their debut E.P, Risque Rhythm in 1986, on Chicago Connection Records. Written by Lee Haggard and Mitchbal, who produced the E.P. with Mr Lee, this track epitomizes the Chicago House sound circa 1986. For house fans of a certain vintage, this will bring back good memories.
Armando Gallop was one of the real pioneers of the Chicago House scene. His career started in 1987 when he released Land Of Confusion. Four years later in 1991, as house music began to evolve, Armando released the 151(The Remixes) E.P. on Djax-Up-Beats. 151 (The Remixes) featured new tracks like 151 and classics like Land Of Confusion and 100% Of Dissin’ You. These track demonstrate just why Armando, who died aged twenty-six, is remembered as a true pioneer of Chicago House.
Another pioneer of Chicago House is Mr. Fingers. He was one of the founding fathers of Chicago House and was there, when what would become one of the most important musical genres in the past sixty years was born. Larry Heard, or as most people know him as, Mr. Fingers, wrote and produced numerous Chicago House classics. This includes Can You Feel It, which he released in 1986 on Trax Records alongside another classic, Washing Machine. For me, Can You Feel It is the best track on Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93. It’s worthy of being called a classic.
Back when the early Chicago House scene was first developing, Steve “Silk” Hurley was one of the DJs who pioneered the nascent sound. Between 1983 and 1984, Steve concentrated on his DJ-ing career. Then in 1985, his production career began. Indeed, it began with a bang, when as J.M. Silk, he released Music Is The Key (Basement Key) on D.J. International Records. It has a hypnotic sound that could only have been released between 1985 and 1986. Having said that, it’s another vintage house classic.
For my final choice from Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 isThe Children’s Freedom (Factory Mix). The Children, who comprised Vinny Divine, Jamie Christopher and Demetrius, released just two singles, Freedom and Work The Box. Freedom was released in 1987 on D.J. International Records. It was produced and mixed by The Children and Adonis. Of the two singles The Children released, Freedom is the best. One listen will demonstrate just why.
From the opening bars of Acid Wash’s Hallucinate, right through to the closing notes of Mr. Fingers’ Ecstasy, Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 features quality house music. There’s contributions from pioneers of house like Armando Mr. Finger and J.M. Silk, plus a sprinkling of lesser known tracks, including The Children and I Believe. Given that not every track released during the period this compilation covers, the compiler has managed to avoid any major musical mishaps of faux pas. After all, some early house music didn’t age well. Like a lot of music produced during the eighties, it has a synthetic sound. Thankfully, most of Disc One of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 has aged well. Indeed, some of the music I’d refer to as timeless classics. That’s high praise indeed. However, we’re only midway through Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93. Will the quality continue on Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93? That’s what I’ll tell you.
DISC TWO.
Just like Disc One, Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 features eleven tracks. Another similarity is some of the artists on Disc Two. There’s further contributions from Acid Wash and Mr. Fingers. Then there’s tracks from two other legends of Chicago House, Virgo and Adonis. As if this isn’t enough, Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 there’s music from Devotion, Housemaster Boyz, Cool McCool, Rocky Jones and Bizzy B. The result is a compelling collection of house music, which I’ll tell you about.
Devotion’s Strength Of Bass is my first choice from Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93. This was a track from Devotion’s 1989 E.P. House Doog, which was their only release. It was released on FACE Records and written by Warren Garbutt and Wellington Grinage. His vocals feature on Strength Of Bass, which I’d describe as a hidden gem of an this old school house track.
When it comes to pioneers of Chicago House, Marshall Jefferson was their at the dawn of a new musical era. Using a variety of aliases, including Virgo, he released numerous singles, E.P.s and albums. Many of them were groundbreaking and innovative, which influenced a new generation of producers. This includes Go Wild Rythm Trax No. 3, from the album Go Wild Rhythm Trax, released on Other SIde Records. This demonstrates that regardless of what alias Marshall Jefferson was using, he was one of the legendary figures in house music.
The Housemaster Boyz and The Rude Boy Of House released their debut single House Nation in 1986. It was released on Dance Mania Records, and featured beats by The Rude Boy and keyboards by Sweet D. Together, they play their part in a track that defines what Chicago House sounded like during that time.
It doesn’t take more than a few bars of Rocky Jones’ The Choice Of A New Generation before you’re transported back to 1987. Thunderous drums and a squelchy Roland TB-303 bass synth is all it takes. Released on D.J. International Records, The Choice Of A New Generation was the only release by Rocky Jones. He wasn’t just a producer, he was also the owner of the influential and innovative D.J. International Records. Like the music his label released, The Choice Of A New Generation an innovative and imaginative release, that’s stood the test of time. The compilers of deserve credit for including this track.
I think it’s fitting that my final choice from Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is a track from a pioneer of Chicago House…Mr. Fingers. The Juice is a track from Mr. Fingers’ debut album Amnesia. It was released in 1989 on the Jack Trax label, and was the first of four albums Mr. Fingers released. Just like Washing Machine and Can You Feel It, Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93, this track demonstrates just why, Larry Heard, aka Mr. Fingers is one the true pioneers of Chicago House.
With its combination of classic tracks and hidden gems, Disc Two of Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 continued where Disc One left off. There’s no drop in quality, with the music akin to a nostalgic walk down memory lane for survivors of the early days of Chicago House. How can there be with music from Adonis, Mr. Fingers, The Housemaster Boyz, Acid Wash and a glittering gems from Devotion and Rocky Jones. Listening to the music on Disc Two, it’s hard to believe some of the tracks are almost thirty years old. They’ve aged well and have a timeless sound. Maybe that’s why they’re the perfect introduction to the birth of a new musical era.
For newcomers to Chicago House, it’s much more than an introduction to the music. It’s an introduction to some of the pioneers of Chicago House. Without the technology and software producers take for granted, pioneers like Mr. Fingers, Virgo, Adonis and J.M. Silk. These are the people who were there at the dawn of a musical revolution. SInce then, house music has continued to evolve, with numerous sub-genres have been born. That’s ensured that house music neither becomes stale nor complacent. Born out of disco and boogie, house music has become one of the most important musical genres in the history of music. It’s enjoyed a longevity that few people would’ve forecast. Mind you with several generations of musical innovators breathing new life and energy into house music, then that longevity isn’t a surprise. As house music approaches its thirtieth birthday, then Acid-Mysteron Invade The Jackin’ Zone: Chicago Acid and Experimental House 1986-93 is an important reminder of house music’s roots. Standout Tracks: Mr. Fingers Can You Feel It, J.M. Silk Music Is The Key (Basement Key), Devotion Strength Of Bass and Virgo Go Wild Rythm Trax No. 3.
ACID-MYSTERONS INVADE THE JACKIN’ ZONE: CHICAGO ACID AND EXPERIMENTAL HOUSE 1986-93.
GIORGIO MORODER-ON THE GROOVE TRAIN VOLUME 2 1974-1985.
GIORGIO MORODER-ON THE GROOVE TRAIN VOLUME 2 1974-1985.
One of the founding fathers of Euro Disco was the Italian born producer Giorgio Moroder. His career started back in 1966, when he released several singles as Giorgio. It wasn’t until 1969 when Giorgio Moroder first enjoyed commercial success. His 1969 single Looky, Looky, which was released on Ariola Records was certified gold. This was just the start of run of successful singles, which he cowrote with Pete Belotte. Successful singles included 1972s Son Of My Father, 1977s Here To Eternity and 1978s The Chase, from the soundtrack to Midnight Express, which saw Giorgio win the first of three Academy Awards. However, while Giorgio Moroder released thirteen studio albums, ten soundtracks and enough singles to warrant the release of a four-disc box set, it’s Giorgio Moroder’s work as a producer and collaborator he’s best known for.
Back in Novermber 2012, Repertoire Records released Giorgio Moroder-One The Groove Train Volume 1 1975-1993. Now six months later, comes the followup, Giorgio Moroder-One The Groove Train Volume 2 1974-1985. Just like Volume 1, Giorgio Moroder-One The Groove Train Volume 2 1974-1985 features a mixture of some of the Giorgio’s best known collaborations and productions, along with some hidden gems from his back-catalogue. Over two discs, there are thirty-three of Giorgio Moroder’s productions and collaborations. This includes contributions from Donna Summer, Chris Bennett, Tracey Dean, Karen Taylor, The Beepers, Madleen Kane and Melissa Manchester. Among the thirty-three tracks are rarities, B-side and hit singles aplenty. To help you decide whether Giorgio Moroder-One The Groove Train Volume 2 1974-1985 is a worthy addition to your record collection, I’ll tell you about some of the music on Repertoire Records’ recent compilation.
My first choice from Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 is Tracey Dean’s Moonshiner. This was Tracey’s only single. It was released on 13th September 1974, on Decca Records. Giorgio cowrote Moonshiner, which is best described as a raucous stomper, that’s very much of the glam rock era. Boy On The Ball, which was penned by Giorgio and Pete Belotte cowrote, has a similar glam rock sound. It also features a quivering Fergal Sharkey style vocal, and is quite different from the Euro Disco sound Giorgio Moroder is best known for.
One of Donna Summer’s first collaboration with Giorgio was the 1974 single Denver Dream. It was written by Pete Belotte, who co-produced the track with Giorgio. On its released on Lark Records, the only country in charted was The Netherlands, where it reached number two. From the opening bars, the drama grows and Donna’s vocal has you captivated. While very different from the Euro Disco Donna’s best know for, you hear a tantalizing taste of one of the most successful and charismatic singers of her generation. The B-Side of Denver Dream. Something’s In The WInd also features on Disc One, and features a heartfelt, soulful vocal from Donna.
Chris Bennett’s debut single was 1976s Disco Man. It was released on Bradleys Records and was written and produced by Giorgio and Pete Belotte. The B-Side was This Perfect Day, another Moroder and Belotte composition and production. This is much more the type of track most people would expect from Giorgio Moroder. Two years later in 1978, Giorgio and Chris released an album Love’s In You, Love’s In Me, which featured the hit singles Love Now, Hurt Later and Love’s In You, Love’s In Me.
Madleen Kane features four times on Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985. This includes two singles from 1981. The first is You Can, a soulful slice of Euro Disco written and by Pete Belotte and Giorgo, who produced the track. Her other single was Playing For Time, which was also written by Giorgio and Pete, where elements of synth pop, Euro Pop and Euro Disco are combined. Of the other track Madleen Kane tracks, Don’t Wanna Lose You was the B-Side to the French release of You Can, while Mon Amour was the B-Side of You Can when it was released in Italy. These four tracks demonstrate just how Giorgio Moroder’s music was evolving after the demise of disco.
The final track I’ve chosen from Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 is Melissa Manchester’s Thief Of Hearts. Released in 1984 on Casablanca Records, this was a track from Melissa’s album Thief Of Hearts. This was a real collaboration. Melissa and Keith Forsey wrote the lyrics and Giorgio the music. Giorgo and Harold Faltermeyer produced the track, resulting in track with a classic Euro Disco, eighties electronica and rock were combined.
Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 features a selection of twenty-one eclectic tracks that demonstrate just who versatile a producer Giorgio Moroder was. The eleven tracks I’ve mentioned demonstrate this. There’s not just Euro Disco, but glam rock, soul, synth pop, Euro Pop, eighties electronica and rock on disc one. This demonstrates how versatile, innovative and bold Giorgio was as a producer. Often, he was way ahead of the musical curve. Rather than wait for musical fashions to change, Giorgio sought new musical genres. Instead of waiting for musical genres to become stale, Giorgio moved on musically. He was a leader, not a followed. So, these tracks chart the development of Giorgio Moroder as a producer, but also how musical fashions changed during this period. Will that be the case on Disc Two of Giorgio Moroder-One The Groove Train Volume 2 1974-1985?
DISC TWO.
While Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 featured twenty-one tracks, Disc Two features just twelve tracks. However, as we all know, it’s quality not quantity that counts. On Disc Two, there’s singles, B-Sides and rarities. Among the artists are Donna Summer, Speed Limit, Karen Taylor and Munich Machine. However, will Disc Two of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 match the quality of Disc One? That’s what I’ll now tell you.
Virgin Mary, which is a track from Donna Summer’s 1974 debut album Lady Of The Night is my first choice from Disc One of Giorgio Moroder-One The Groove Train Volume 2 1974-1985. Written by Giorgio and Pete Belotte, who produced the track, this was the start of Giorgio’s collaboration with Donna Summer. Veering from soft rock, soul and funk, with the addition of swirling disco strings, it’s very different from the sensuality of Love To Love
During their career, Speed Limit only released four singles and one album. Their debut single was the novelty single Bump The Twist. It was written and produced by Giorio and released in 1976. The Disco Twist was the B-Side to Bump The Twist, which has a similar catchy novelty sound.
Much better than The Disco Twist is Ann Joy’s Love Now, Hurt Later. This is a track from her 1980 album Love Dance. Written by Giorgio and Pete Belotte, Pete DeMillo produced Love Dance. Quite simply, this ia pulsating slice of hook-laden Euro Disco with a diva-esque vocal. The vocal augmented by rocky guitars which are the finishing touch to one of the highlights of Disc Two of Giorgio Moroder-One The Groove Train Volume 2 1974-1985.
During his career, Giorgio Moroder collaborated with numerous other artists, songwriter and producers. One of these collaborations was with Paul Engeman in 1983. This resulted in the single Shannon’s Eyes, which was released in 1983. It was written by Tony Whitlock, Paul and Giorgio, who produced the single. During this dramatic and moody track, elements of synth pop, electronica, Euro Disco and rock shine through.
It seems fitting that Munich Machine’s Space Warriors is my final choice from Disc Two of Giorgio Moroder-One The Groove Train Volume 2 1974-1985. Munich Machine was a disco project lead by Giorgio Moroder and based at his Musicland Studios. Space Warriors is a track from their 1979 album Body Shine. This is a truly innovative sounding track. Not only does it feature Giorgio’s trademark Euro Disco sound, but It’s combined with futuristic, space-age sounds and rocky guitars. The result is a classic track from one of Euro Disco’s founding fathers…Giorgio Moroder.
Although Disc Two of Giorgio Moroder-One The Groove Train Volume 2 1974-1985 only has twelve tracks, it’s the quality that counts. Mostly the quality continues, but there are the occasional musical faux pax. Mind you, considering how prolific a songwriter, producer and collaborator Giorgio Moroder was, that’s excusable. The majority of the music on Disc Two sees the innovative music continue. Not only is the music innovative, but it inventive and bold. Part of Giorgio’s success was his ability to be versatile, and change direction musically. Rather than wait until a musical genre was dying, Giorgio was looking for “the next big thing.” An example of this was disco. Some artists, songwriters and producers thought disco would never die. Giorgio realized this wasn’t the case and look for the future post disco.
During part of the period covered by Giorgio Moroder-One The Groove Train Volume 2 1974-1985, disco was King. Over in Europe, Giorgio Moroder established a reputation as one of founding father’s of Euro Disco. Ironically, Euro Disco outlived disco’s popularity. Post disco, Euro Disco survived and thrived. All the time, Giorgio was looking towards the future. He was wondering where music was heading, and was determined to be at the heart of music’s future. That’s no surprise. After all, Giorgio Moroder was an innovator, who influenced and shaped the direction and future of music. Proof of this is on Giorgio Moroder-One The Groove Train Volume 2 1974-1985, which is a perfect primer to one of the founding father’s of Euro Disco. Standout Tracks: Donna Summer Denver Dream, Melissa Manchester Thief Of Hearts, Ann Joy’s Love Now, Hurt Later and Munich Machine Space Warriors.
GIORGIO MORODER-ON THE GROOVE TRAIN VOLUME 2 1974-1985.
GOLDEN GATE GROOVE: THE SOUND OF PHILADELPHIA IN SAN FRANCISCO-1973.
GOLDEN GATE GROOVE: THE SOUND OF PHILADELPHIA IN SAN FRANCISCO-1973.
There was only one occasion that Philadelphia International Records’ biggest names shared a stage. That was in September 1973, when Gamble and Huff took Harold Melvin and The Blue Notes, The O’Jays, The Three Degrees, Billy Paul and M.F.S.B. to the CBS annual convention in San Francisco. This concert took place at the Fairmont Hotel, allowing Gamble and Huff to showcase what had become known as Philly Soul. Thankfully, that concert was recorded, and in 2012, was released by Sony Records as Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973.
Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 features thirteen tracks, and acts as a reminder just how charismatic and talented Harold Melvin and The Blue Notes, The O’Jays, The Three Degrees and Billy Paul were. Accompanying each of these artist are Philadelphia International Records’ legendary house-band M.F.SB, featuring the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and vibes virtuoso Vince Montana Jr. On Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 they demonstrate just why they were the greatest house-band of the seventies. M.F.S.B. then show reinforce why they were one of Philadelphia International Records’ most successful artists on Freddie’s Dead and T.S.O.P. (The Sound of Philadelphia). Forget Motown, Fame or Hi Records’ house-bands, M.F.S.B. were the greatest house-band of that time. Indeed, forget the music any other soul label was producing during the seventies, Philadelphia International Records’ was the most successful and critically acclaimed. Peerless best describes Philadelphia International Records. You’ll realize that when I tell you about Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973.
Thunderous applause gives way to Don Cornelius, the presenter of Soul Train who was the MC at the Fairmont Hotel, San Francisco that September night in 1973. Against a hugely enthusiastic backdrop, Don introduced the stars of Philadelphia International Records. First up was Philadelphia International Records’ legendary house-band M.F.S.B.
M.F.S.B. open the the CBS Annual Convention with Freddie’s Dead, a track from their 1973 sophomore album M.F.S.B. This is a cover of a Curtis Mayfield track, which was originally arranged by Bobby Martin and produced by Gamble and Huff. On M.F.S.B’s release in 1973, it reached number 131 in the US Billboard 200 and number twenty in the US R&B Charts. Freddie’s Dead with its fusion of jazz, funk and Philly Soul, demonstrated M.F.S.B’s versatility and that they were much more than a house-band.
By September 1973, Harold Melvin and The Blue Notes had released two albums, 1972s I Miss You and 1973s Black and Blue. Having added Teddy Pendergrass as lead singer, Harold Melvin and The Blue Notes’ fortunes were transformed. I Miss You reached number fifty-three in the US Billboard 200 and number four in the US R&B charts, while Black and Blue reached number fifty-seven in the US Billboard 200 and number five in the US R&B charts. This resulted in Harold Melvin and The Blue Notes becoming one of Philadelphia International Records’ most successful groups. At the Fairmont Hotel, the unleashed a medley of three of their best known singles, including the two US R&B number one If You Don’t Know Me By Now and The Love I Lost. They close their mini-set with an eleven-minute rendition of I Miss You which is drenched in emotion and features a vocal tour de force from Teddy Pendergrass.
Following Harold Melvin and The Blue Notes couldn’t have been easy, but The Three Degrees were given the job of doing so. Their two-song set features songs from their 1973 album The Three Degrees, which reached number thirty-three in the US Billboard 200 and number twenty-eight in the US R&B Charts. It opens with I Don’t Know, which was the third single from their 1973 album The Three Degrees. I Don’t Know only reached number eighteen in the US R&B Charts. Amazingly, the Gamble and Huff penned and produced Dirty Ol’ Man was never released as a single. Considering it features The Three Degrees at their feistiest and sassiest, that’s a missed opportunity.
T.S.O.P. (The Sound of Philadelphia was a collaboration between M.F.S.B. and The Three Degrees. M.F.S.B. had provided the backdrop for the vocals of The Three Degrees. The results was a number one in the US Billboard 100 and US R&B Charts. On Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 M.F.S.B. peerlessly and seamlessly fuse elements of jazz, funk and Philly Soul.
Next up at the Fairmont Hotel was Billy Paul, who delivers two songs. As if wanting to build up the tension, Billy starts with East, a track from his 1971 album Going East, which reached number 197 in the US Billboard 200 charts and number forty-two in the US R&B Charts. Then Billy delivers what was the biggest hit of his career so far. This Philly Soul classic, Me and Mrs Jones helped transform Philadelphia International Records’ fortunes during 1972. It reached number one in the US Billboard 100 and US R&B Charts. Spurred on by the success of Me and Mrs Jones, 360 Degrees of Billy Paul reached number one in the US R&B Charts and number seventeen in the US Billboard 200. Here, Billy delivers a beautiful and emotive rendition of a timeless classic, that’s become synonymous with him.
In 1973, most successful group on the nascent Philadelphia International Records was The O’Jays. They closed Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 with a quartet of songs from their 1972 album Backstabbers. It reached number ten in the US R&B Charts and number three in the US R&B Charts, resulting in Backstabbers being certified gold. The O’Jays start their four song medley with their classic single Backstabbers, which reached number three in the US R&B Charts and number one in the US R&B Charts. Next comes When The Worlds At Peace and then Sunshine. Closing their mini-set is the uplifting and joyous Philly Soul classic Love Train, which reached number one in the US Billboard 100 and US R&B Charts. These four songs are proof, if any was needed, why The O’Jays were one of the most successful Philly Soul groups in September 1973.
Nearly forty years after the CBS Annual Convention at the Fairmont Hotel in San Francisco, it’s remarkable that this was the only time the stars of Philadelphia International Records shared a stage. By not sending their artists on package tours which they could’ve promoted, Philadelphia International Records missed out on lucrative income streams. This could’ve also resulted in a widening of Philadelphia International Records fan-base. Compare this to Motown, who since the sixties, had been sending artists out on tours together. Not only did this broaden their fan-base, but resulted in increased record sales. Having said that, I can see the rationale behind Gamble and Huff not sending their artists out on package tours
Being on tour would’ve meant artists couldn’t record albums, which were lucrative. Then there was the cost of sending artists on tour with such a large band as M.F.S.B. It was akin to sending an orchestra on the road. Not only was there a band in the traditional sense, but string, horn and woodwind sections, plus backing vocalist. So you can see why in many ways, sending the artists that appear on Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 would’ve been problematic.
That’s why we should be thankful that the legendary concert in September 1973, at San Francisco’s Fairmont Hotel was recorded for posterity on Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973. Featuring Harold Melvin and The Blue Notes, The O’Jays, The Three Degrees, Billy Paul and M.F.S.B, Golden Gate Groove: The Sound Of Philadelphia In San Francisco-1973 is reminder of some of the legendary artists and who musicians who played their part in providing a timeless, soulful soundtrack to the seventies. Standout Tracks: M.F.S.B. Freddie’s Dead, Harold Melvin and The Blue Notes The Love I Lost, Billy Paul Me and Mrs Jones and The O’Jays Backstabbers.
GOLDEN GATE GROOVE: THE SOUND OF PHILADELPHIA IN SAN FRANCISCO-1973.
OVERDOSE OF THE HOLY GHOST-COMPILED BY DAVID HILL.
OVERDOSE OF THE HOLY GHOST-COMPILED BY DAVID HILL
Sometimes, compilations can be anodyne affairs, with record labels and compilers scared to release compilations of innovative, leftfield music. This results in labels playing it safe and releasing compilations that although not innovative, will pay the bills. Thankfully, there are some labels out their willing to release innovative compilations of music that far too often, is overlooked. One musical genre that’s often overlooked is gospel music. It’s been a long time since a record company released a quality gospel compilation. Thankfully, Joey Negro’s ZR Records have rectified this.
ZR Records’ latest compilation Overdose Of The Holy Ghost, which was compiled by David Hill and was released on 22nd April 2013, features music from one of the most overlooked musical genres…gospel. Gospel music has had a huge influence on modern music. Blues, country and soul music have all been influenced by gospel music.
The church’s influence in soul music can’t be underestimated. Call and response and harmonies have their roots in gospel music. They’ve gone on to influence numerous musical genres, including everything from house, disco and garage. So, given the importance gospel music has played in the development of modern music, it’s surprising that there haven’t been more gospel compilations released? Maybe record companies fear that a compilation of gospel music wouldn’t be a commercial success? Thankfully, ZR Records have cast aside this fear and have released a double album featuring twenty-four tracks entitled Overdose Of The Holy Ghost, which I’ll pick the highlights of.
DISC ONE.
Gospel music is no different to any other musical genre. It evolves over time, often reflecting wider musical fashions. Musical genres like soul, funk and even disco and boogie have influenced gospel music. For newcomers to gospel music, this will come as something of a surprise. Indeed, the music on Disc One of Overdose Of The Holy Ghost, might dispel some myths about gospel music and maybe, will over new fans. To help change people’s perception about gospel music.
My first choice from Disc One of Overdose Of The Holy Ghost is The Clark SIsters’ Overdose Of The Holy Ghost. This was a track from their 1981 sophomore album You Brought The Sunshine. It was released on the Sound Of Gospel label and was the followup to 1976s Unworthy. So good is this powerful, emotive fusion of gospel, soul and funk that even if you’re not a fan of gospel music, this will make a believer of you. No wonder, with vocals and harmonies this good.
Shirley Caesar’s Heavenly Father was a track from her 1978 album From The Heart. Released on the Roadshow label, this track shows a very different side to gospel music. With layers of lush strings, blazing horns and a pulsating beat, there’s a real disco influence while Shirley gives thanks in a style where soul and gospel unite. Quite simply, a stunning gospel track.
D.J Rogers released his debut album Hope Songs Volume 1 in 1982. Released on Hope Song Records and Tapes, it featured All I Gave Him Was My Heart. Here, the focus of your attention are D.J’s vocal and the harmonies. The arrangement merges into the background, as you’re captivated by the pleading vocal. D.J’s vocal is dripping in emotion and sincerity and accompanied by sweeping, soaring and punchy harmonies. The result is one of the best vocals on Disc One of Overdose Of The Holy Ghost, from a singer who could easily have enjoyed a successful career in soul music.
Linda Evans career in music started when she sang backing vocals for Margie Joseph and Johnny Bristol. She then released her debut album You Control Me in 1979. It featured the hit single Don’t You Need. Five years later, Linda released her sophomore album Linda Evans in 1984. This was a gospel album, which featured I Am Gold, an uptempo, soulful and dance-floor friendly song. Although very different from the music on her debut album, I Am Gold has one thing in common…its quality.
Norman Weeks and The Revelations’ Hold On is my final choice from Disc One of Overdose Of The Holy Ghost. Hold On was released as an E.P. in 2006 on Germany’s Sonar Kollektiv lablel. Written and produced by Norman, this track has a real contemporary sound. Elements of soul, funk and house music combine, creating another side to gospel music.
One thing the five tracks I’ve chosen from Disc One of Overdose Of The Holy Ghost demonstrate, is how eclectic gospel music is. There more than one type of gospel music. Indeed, changes in musical fashions have resulted in sub-genres of gospel developing. So, gospel encompasses soul, funk, disco, boogie and house music. Many of the artists I’ve told you about, including Shirley Caesar, D.J Rogers and Linda Evans could’ve enjoyed successful careers in secular music. They sacrificed potential critical acclaim and commercial success for their religious beliefs. Many people will admire them for that.
Although I’ve only mentioned five tracks, the quality continues on much of Disc One. It’s like an introduction to gospel music over the past thirty years. Hopefully, given the quality of music on Disc One of Overdose Of The Holy Ghost, the quality will continue on Disc Two of Overdose Of The Holy Ghost. Maybe then, gospel will have won over any new fans?
DISC TWO.
Just like Disc One, Disc Two of Overdose Of The Holy Ghost features another twelve tracks. Compiler Dave Hill has dug deep in his quest to come up with a dozen potential gospel gems. They’re an eclectic selection of tracks, that demonstrate just how broad a church gospel music is. You realize this when I tell you about Disc Two of Overdose Of The Holy Ghost.
Roslyn and Charles’ Was Not Intended is my first choice from Disc Two of Overdose Of The Holy Ghost. This is a track from their 1981 debut album Everything Must Change. Released on Cherri Records, this was the first of two albums they released. It’s a fusion of soul, gospel, funk and boogie with an uplifting, irresistible and delicious hook-laden sound. Simply, stunning.
In 1980, The Dynamic Clark SIsters with Mattie Moss released an album entitled Is My Living In Vein. One of the tracks on Is My Living In Vein is Ha Ya (Eternal Life). This is a dramatic, rousing gospel track where The Clark Sisters demonstrates their considerable vocal prowess, accompanied by just a piano.
Sharon Johnson’s recording career began back in 1973, when she released her debut album Sharon. Eleven years later in 1984, Sharon released A Better Day on Tyscot Records. The title-track A Better Day features on Disc Two of Overdose Of The Holy Ghost. It has a quintessentially eighties arrangement. Quite simply, it couldn’t have been recorded any other decade However, what saves the track are Sharon’s powerful, impassioned vocal and the dramatic, soaring gospel harmonies.
BeBe and CeCe WInans’ recording career began back in 1984, when they released their debut album Lord Lift Us Up. It was released on the PTL Club Records and Tapes label. The Benjamin Winans’ penned I Really Love You opened SIde Two of Lord Lift Us Up. Straight away, it’s reminiscent of Joe Cocker and Jennifer Warnes’ Up Where We Belong. Having said that it’s one of the highlights of Disc Two. Slow, soulful and featuring vocals that are tender and heartfelt, the understated arrangement compliments Bebe and Cece’s vocal on this beautiful track.
The final track I’ve chosen from Disc Two of Overdose Of The Holy Ghost is one by Rahni Harris and Family Love. He’s My Friend was a track from the 1977 album A Different Drummer, which was released on the Emprise label. With an understated arrangement, you can’t help but focus on Rahni’s vocal. It’s sincere, heartfelt and accompanied by just a piano. Then the arrangement decides to reveal its secrets. Although it doesn’t quite swing, hooks and happiness are ever-present as soul, jazz, gospel and funk unite.
Like Disc One, Disc Two of Overdose Of The Holy Ghost features the different sub-genres that make up gospel. These sub-genres have been influenced by many musical genres and influences.There’s every influence from boogie, disco, funk, house, jazz and soul on Disc Two, proving that it’s impossible to pigeonhole gospel music. Indeed, there’s much more to gospel than meets the eye. An equally eclectic selection of music features on Disc Two of Overdose Of The Holy Ghost. Similarly, the quality that was consistent on Disc One continues on Disc Two. Having wondered if the quality would continue on Disc Two of Overdose Of The Holy Ghost, I’m pleased to say that that’s the case.
Finally, I hope that Overdose Of The Holy Ghost will be the first in a series of gospel compilations ZR Records will release. There’s a real lack of quality modern gospel compilations. Compilations like Overdose Of The Holy Ghost will rectify this. It’ll also show newcomers to gospel music that there’s much more to gospel music than they first thought. Credit must go to David Hill and ZR Records for releasing Overdose Of The Holy Ghost. Their decision to release such an innovative and eclectic compilation of contemporary gospel music, like Overdose Of The Holy Ghost is a brave one, one I hope pays off for them. Standout Tracks: The Clark SIsters Overdose Of The Holy Ghost, Shirley Caesar’s Heavenly Father, Roslyn and Charles Was Not Intended and BeBe and CeCe WInans Lord Lift Us Up.
OVERDOSE OF THE HOLY GHOST-COMPILED BY DAVID HILL.
THE BIRTH OF SOUL JAZZ.
THE BIRTH OF SOUL JAZZ.
Ever since the birth of popular music, musical genres have fallen in and out of fashion. An example of this is soul jazz. Back in the nineties, soul jazz made something of a comeback. Soul jazz’s popularity was reflected by the number of compilations and reissues released during this period. Sadly, like life, fashions change. After a while, soul jazz’s popularity was surpassed by another musical genre. Since then, compilers have overlooked soul jazz. That is until 22nd April 2013, when The Birth of Soul Jazz is released by the Chrome Dreams label. For anyone yet to discover soul jazz, then this is the perfect introduction to an underrated musical genre with a rich musical heritage. Before I tell you about the music on The Birth of Soul Jazz, I’ll tell about the history of soul jazz.
It was during the late-fifties, that the musical genre that became known as soul jazz was born. Along with soul music, which during this period, was beginning to grow in popularity, soul jazz provided the soundtrack to the late fifties. Soul jazz evolved out of jazz, and the church and sometimes, is associated with hard bop. Although associated with hard bop, it’s quite different. It’s best described as a fusion of soul, jazz, blues, R&B, funk and gospel.
Often, soul jazz was played by small groups, lead by band leaders like Ray Charles, Art Blakey and Horace Silver. At the centre of the sound was a Hammond organ, accompanied by double bass, drums, guitar and sometimes, saxophone. The best way to describe soul jazz is melodic, bluesy, earthy and dance-floor friendly. Proof of this are soul jazz classics like Lee Morgan’s The Sidewinder, Horace Silver’s Song For My Father and Herbie Hancock’s The Cantaloupe. Among soul jazz’s biggest names are Jack McDuff, Richard Groove Holmes, Grant Green, Stanley Turrentine, Shirley Scott, Lou Donaldson, Ray Charles and Art Blakey. All of these soul jazz legends feature on the two discs that comprise The Birth of Soul Jazz.
DISC ONE.
For anyone yet to discover soul jazz, the ten tracks on Disc One of The Birth of Soul Jazz, are the perfect introduction. After all, there’s tracks from Art Blakey and The Jazz Messengers, Horace Silver, Cannonball Adderley Quintet, Hank Mobley, Lou Donaldson and Jimmy Smith. There’s also contributions from Don Wilkerson, David Fathead Newman, Hank Crawford and Les McCann. The ten tracks on Disc One of The Birth of Soul Jazz will lead you on a musical journey through some of classic soul jazz albums. So, in many ways, the music on Disc One of The Birth of Soul Jazz is a voyage of musical discovery, one that will last a lifetime. To help you begin this journey, I’ll pick my highlights of Disc One of The Birth of Soul Jazz.
My first choice from Disc One of The Birth of Soul Jazz is Art Blakey and The Jazz Messengers’ Moanin.’ It was released as a single in 1958 on Blue Note Records. Moanin’ was the title-track to Art Blakey and The Jazz Messengers’ classic album. Quite simply, this isn’t just a soul jazz classic, but an emotive and timeless jazz classic. For anyone new to the music of Art Blakey and The Jazz Messengers, then albums like Moanin’ and Night In Tunisia are the perfect starting points.
Just like Art Blakey and The Jazz Messengers, Horace Silver was a veteran of Blue Note Records. Horace enjoyed a long and successful period at Blue Note, where he released some of the best music of his career. In 1959, The Horace Silver Quintet released the single Sister Sadie. Written by Horace Silver, this was a track from their 1959 album Blowin’ The Blues Away. This was just the start of a period where The Horace Silver Quintet released a string of critically acclaimed albums. Among their best are 1960s Horace-Scope, 1962s The Tokyo Blues and 1963s Silver’s Serenade. Along with Blowin’ The Blues Away, this quartet of albums will act as an introduction to a true jazz legend.
One album that’s a true soul jazz classic is The Cannonball Adderley Quintet In San Francisco. Billed as The Cannonball Adderley Quintet featuring Nat Adderley, it’s amust have for anyone whose a fan of soul jazz. Released in 1959, on Blue Note Records, The Cannonball Adderley Quintet In San Francisco opens with This Here. It’s penned by Bobby Timmons and is the first stop on a musical journey that defines just what soul jazz is all about.
If you were compiling a list of classic soul jazz albums, Hank Mobley’s Soul Station would be on it. Released in 1960 on Blue Note Records, Hank’s accompanied by drummer Art Blakey and bassist Paul Chambers. One of the highlights is the title-track Soul Station, where Hank delivers a masterclass on tenor saxophone. While Soul Station is a soul jazz classic, I’d also recommend 1963s No Room For Squares and 1965s Dippin.’ Both are the perfect introduction to Hank Mobley.
It seems fitting that my fiinal choice from Disc One of The Birth of Soul Jazz is a track by Jimmy Smith is one of the greatest Hammond organ players not just in soul jazz, but jazz music per se. Proof of this is House Party, his 1958 single. House Party was the title-track of his 1958 album. It features an all-star lineup, including drummer Art Blakey, guitarist Kenny Burrell, alto saxophonist Lou Donaldson and trumpeter Lee Morgan. Good as House Party is, there are many other albums that are far better. Among them, are 1959s The Sermon, 1960s Home Cookin’ and 1963s Back At The Chicken Shack.
Although I’ve only picked five of the ten tracks on Disc One of The Birth of Soul Jazz, there’s also tracks from Lou Donaldson, Don Wilkerson, David Fathead Newman, Hank Crawford and Les McCann. It’s quality all the way. There aren’t any poor tracks, just some classy soul jazz, that are a reminder of another musical era. For me, these ten tracks are a perfect introduction to soul jazz. Many of the artists on Disc One are among the biggest names in soul jazz. Will the quality of music continue on Disc One of The Birth of Soul Jazz.
DISC TWO.
While Disc One of The Birth of Soul Jazz only featured ten tracks, Disc Two features thirteen tracks. The big names keep on coming. Herbie Hancock, Shirley Scott, The Ramsey Lewis Trio, Jack McDuff, Grant Green, Stanley Turrentine, Jimmy McGriff and Richard Groove Holmes. Then there’s contributions from Bobby Timmons and Ike Quebec. Truly, Disc Two of The Birth of Soul Jazz is like a who’s who of soul jazz. You’ll realize that when I pick the highlights of Disc Two of The Birth of Soul Jazz.
Herbie Hancock’s Watermelon Man is my first choice from Disc Two of The Birth of Soul Jazz. Watermelon Man is a track from Herbie’s 1962 debut album Takin’ Off. It was released on Blue Note Records, and marked the debut of a true jazz innovator. Written by Herbie, and Watermelon Man featured tenor saxophonist Dexter Gordon and trumpeter Freddie Hubbard. Along with Herbie, play their part in what is one of of the highlights of The Birth of Soul Jazz. For newcomers to Herbie’s music, I’d also recommend 1965s Maiden Voyage and 1968s Speak Like A Child.
Brother Jack was the title-track to Brother Jack McDuff with Bill Jennings’ 1960 album. Released on Prestige, Jack was accompanied by guitarist Bill Jennings, drummer Alvin Johnson and bassist Wendell Marshall. Among the highlights to Brother Jack are Brother Jack, which features on Disc Two of The Birth of Soul Jazz. Along with Organ Grinders Swing, these two tracks feature this quartet at the peak of the powers.
Grant Green, like Jimmy Smith, produced the best music of his career at Blue Note Records. Saturday Morning was one of four albums Grant released in 1961. It was recorded on 4th June 1961 and featured some flawless guitar playing from Grant. He’s at his best on Freedom March, God Bless The Child and Saturday Morning, which features on Disc Two of The Birth of Soul Jazz. For newcomers to Grant Green’s music, you’ve so much great music to discover. A good place to start are 1961s Green Street and Grandstand, plus 1965s Street Of Green.
When it comes to tenor saxophonists, Stanley Turrentine is one of the finest in the history of jazz. He too, released the best music of his career at Blue Note Records. His Blue Note debut was Look Out! which featured Little Sheri. This eight minute epic, features Stanley and his band kicking loose and creating a peerless slice of soul jazz. For anyone looking to discover Stanley Turrentine’s music, then 1964s Hustlin’ and 1966s Rough ‘N’ Tumble are unmissable.
Jimmy McGriff’s I’ve Got A Woman is my final choice from Disc Two of The Birth of Soul Jazz. I’ve Got A Woman was released as a single in 1962, on Sue Records. It’s also the title-track from Jimmy’s 1962 debut album. It’s no exaggeration to refer to I’ve Got A Woman as a soul jazz classic. Indeed, so good is this track, that it’s one of the highlights of f The Birth of Soul Jazz.
Having wondered whether the quality of music would continue on Disc Two of The Birth of Soul Jazz, I needn’t have worried. With contributions from soul jazz legends like Brother Jack McDuff, Grant Green, Stanley Turrentine, Jimmy McGriff, Richard “Groove” Holmes and Shirley Scott it’s like a role call of soul jazz greats. Just like Disc One, Disc Two will act as a starting point for anyone interested in soul jazz. As I said earlier, this is just the start of a long and hugely enjoyable musical journey.
After savoring the delights of The Birth of Soul Jazz, you can investigate the albums that each of these tracks are from. From there, you’ll find yourself investigating each of the artists’ back-catalogue. Then you’ll find yourself investigating each of the artists that played on each albums. It’s not unlike embarking on a musical journey, where there are many twists and turns on the road. You’ll discover some incredible music, not just from the giants of soul jazz, but from some of the lesser known names. The incredible thing is, that this journey started when you bought one compilation. That’s happened to many people. It’s hugely enjoyable and often, prohibitively expensive. Maybe if you decide to disc The Birth of Soul Jazz, which will be released on the Chrome Dreams label on 22nd April 2013, then you’ll embark upon this musical journey? Standout Tracks: Art Blakey and The Jazz Messengers Moanin,’ Hank Mobley Soul Station, Herbie Hancock Watermelon Man and Jimmy McGriff I’ve Got A Woman.
THE BIRTH OF SOUL JAZZ.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
Ever since John Morales released The M&M Mixes Volume 2 in March 2011 on BBE Music, one of the greatest remixers in modern dance music has been working on the followup. Believe me, the two years John has spent working on John Morales Presents The M&M Mixes Volume 3 has been time well spent. John Morales Presents The M&M Mixes Volume 3 is a three-disc box set, which features twenty-four brand new remixes from John, will be released by BBE Music on 29th April 2013. Featuring remixes of Marvin Gaye, Barry White, Teddy Pendergrass, The Dramatics, The John Davis Monster Orchestra, Loleatta Holloway and The Salsoul Orchestra. The twenty-four tracks on John Morales Presents The M&M Mixes Volume 3 encompass Philly Soul, Salsoul, classic soul, funk and disco. Quite simply, John Morales Presents The M&M Mixes Volume 3 is the best installment of The M&M Mixes. You’ll realize that when I tell you about some of the highlights of John Morales Presents The M&M Mixes Volume 3.
DISC ONE.
When you look at the track listing to Disc One of John Morales Presents The M&M Mixes Volume 3, you’re pretty much spoilt for choice. Choosing the best tracks isn’t easy. After all, how do you choose between Barry White, Jean Carne, Sandy Barber, Johnny Hammond and Teddy Pendergrass. That’s not forgetting Side Effect, Hamilton Affair and T-Connection. Quite simply, the eight tracks on Disc One all have one thing in common…quality. So after listening to the remixes on Disc One, I’ve picked my fantastic four, which I’ll tell you about.
The first track from Disc One of John Morales Presents The M&M Mixes Volume 3 I’ve chosen is Barry White’s Never, Never Gonna Give You Up. This is a track Barry’s album sophomore album Stone Gon, which was released in 1973 on 20th Century Records. Stone Gon’ reached number twenty on the US Billboard 200 and number one in the US R&B Charts. When Never, Never Gonna Give You Up was released as a single in 1973, it 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 which John Morales has transformed into a sultry, sensual eight minute epic.
I was pleased to see that John had included several Philly Soul tracks on John Morales Presents The M&M Mixes Volume 3. The first is Jean Carn’s Was That All It Was. This is a track from Jean’s 1979 album When I Found You Love, which was the third of four albums Jean released for Philadelphia International Records. It was written by Jerry Butler, Linda Conlon and John Usry Jr. Arranging and producing a track that played its part in transforming Jean into a disco diva, was John Usry Jr. John Morales’ M&M Mix is a welcome reminder of just how talented an artist Jean Carn was.
Last year, BBE Music rereleased Sandy Barber’s 1977 album The Best Is Yet To Come. When The Best Is Yet To Come.had originally been released in on Olde Worlde Records in 1977, it wasn’t a commercial success. It contained a real hidden gem of a track. This was I Think I’ll Do Some Stepping (On My Own). Quite simply, this is the best track on the album and demonstrates just how talented Sandy Barber really is. It was a track that was ripe for a remix. Two peerless remixes are Al Kent’s and of John Morales’ M&M Mix. Once you’ve heard and fallen in love with John’s M&M Mix, I recommend you buy the rerelease of Sandy Barber’s 1977 album The Best Is Yet To Come.
My final choice from Disc One of John Morales Presents The M&M Mixes Volume 3 is Teddy Pendergrass’ If You Know Like I Know. After having released a quartet of commercially successful and critically acclaimed albums with Harold Melvin and The Blue Notes, Teddy Pendergrass embarked upon a solo career. The commercial success and critical acclaim continued, with four of Teddy’s albums being certified platinum and three gold. Teddy’s most successful album was 1979s Teddy, which reached number five in the US Billboard 200 and number one in the US R&B Charts. This resulted in Teddy being certified gold. One of Teddy’s highlights was If You Know Like I Know, penned by McFadden and Whitehead with Jerry Cohen. Here, Teddy delivers a delicious emotive, growling vamp, helped no end by cooing harmonies. He demonstrates why he was the greatest soul singer of the seventies and eighties. For his part, John Morales totally transforms the original track, turning it into a nine-minute Magnus Opus.
Choosing just four of the eight tracks from Disc One of John Morales Presents The M&M Mixes Volume 3 wasn’t easy. Each of the eight remixes are of the highest quality. John’s remixing skills are better than ever. Similarly, his choice of music impeccable. The four tracks I’ve chosen prove this, as does his decision to remix Johnny Hammond’s classic Fantasy and T-Connection’s Do What You Wanna Do. If the quality continues over the next two discs, then John Morales Presents The M&M Mixes Volume 3 must be an early contender for compilation of the year. However, is that possible?
DISC 2.
Looking at the eight remixes on Disc Two of John Morales Presents The M&M Mixes Volume 3 and you realize that this is a mouthwatering selection of tracks. Soulful, funky and dance-floor friendly. From the Philly Soul of The Jones Girls and Teddy Pendergrass, there’s disco courtesy of The John Davis Monster Orchestra, funk from The Dramatics and the collaboration between Donald Byrd and The Blackbyrds. Then there’s the classic soul of Marvin Gaye’s I Want You. Having studied the track listing, you realize the quality continues on Disc Two of John Morales Presents The M&M Mixes Volume 3, which I’ll pick the highlights of.
Between 1979 and 1984, The Jones Girls released four albums 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. John’s decision to remix this track was a brave one, given Tom Moulton remixed You Gonna Make Me Love Somebody Else for his four-disc Philadelphia International Classics The Tom Moulton Remixes. However, both remixes are very different and bring something new to the original track.
Back in 1971, when The Dramatics released Whatcha See Is Whatcha Get as a single, it reached number nine in the US Billboard 100 and number three in the US R&B Charts. Then in January 1972, The Dramatics released their critically acclaimed debut album Whatcha See Is Whatcha Get. It was a huge commercial success, reaching number five in the US R&B Charts and reaching the top twenty in the US Billboard 200. Since then, Whatcha See Is Whatcha Get has been a track that’s been ripe for a remix. i’ve always wondered why a top remixer didn’t get to work on it. Thankfully, John Morales has rectified this on John Morales Presents The M&M Mixes Volume 3. Hopefully, this will also introduce a new generation to The Dramatics’ music.
While The Salsoul Orchestra were disco’s greatest orchestra, John Davis and The Monster Orchestra were the best of the rest. 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 penned. What was six majestic minutes of music becomes eight and a half minutes of hook-laden, dramatic music where Philly Soul, funk and disco becomes one.
Trying to choose just one more track from Disc Two of John Morales Presents The M&M Mixes Volume 3 wasn’t easy. However, it would’ve been remiss of me not to choose one of soul’s greatest vocalists Marvin Gaye, who enjoyed the most productive period of his career was between 1971 and 1978. During that period, Marvin released classics like 1971s What’s Going On, 1973s Let’s Get It On and 1976s I Want You. Of the five albums Marvin released during this seven year period, I Want You is an often overlooked classic. Released in 1976, 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, meaning and sensuality into the track. He put Marvin’s pleading, needy vocal at the centre of the mix, and uses percussion, keyboards, horns and harmony to add the drama and sensuality of the track. The result is stunning and should have everyone rushing to rediscover Marvin’s forgotten classic I Want You all over again.
Just like Disc One, Disc Two of John Morales Presents The M&M Mixes Volume 3 is crammed full of quality music. While I’ve mentioned tracks by The Jones Girls, The Dramatics, John Davis and The Monster Orchestra and Marvin Gaye, I could just as easily have mentioned Teddy Pendergrass’ Only You or Donald Byrd and The Blackbyrds’ Rock Creek Park. A welcome inclusion is Curtis Hairston’s I Want Your Lovin’ (Just A Little Bit). The other track is Third World’s cover of The O’Jays Now That We Found Love. From track one to track eight, it’s quality all the way. Disc Two contains eight tracks of soulful, funky and dance-floor friendly music, remixed by one the greatest remixers John Morales. John’s kept the quality up for two discs, will Disc Three of John Morales Presents The M&M Mixes Volume 3 see the quality continue?
DISC 3.
The third and final disc in the John Morales Presents The M&M Mixes Volume 3 box set sees John delve into the back-catalogue of two of dance-music’s premier labels, Salsoul and West End Records. Representing Salsoul Records are Loleatta Holloway, Instant Funk, Skyy and The Salsoul Orchestra. Raw Silk, Loose Joints, Mahogany and Debbie Trusty. For anyone who loves dance music, then you’ll love Disc Three of John Morales Presents The M&M Mixes Volume 3, which I’ll tell you about.
1976 saw Loleatta Holloway release her third album Loleatta. This was the first of four albums she released for Gold Mind Records between 1976 and 1980. It featured Hit and Run, which gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs, and helped establish Loleatta’s reputation as the Queen of Disco. Accompanying Loleatta on Hit and Run are The Salsoul Orchestra in full flight. For me, 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. Accompanying and augmenting Loleatta’s sassy vamp are tight, cooing harmonies from The Sweethearts of Sigma. When all this is combined, it results in not just a Salsoul classic, and of the greatest tracks of the disco era, but one of John’s best remixes.
Instant Funk began their career as a backing band for artists like Bunny Sigler and The Manhattans. Later they worked for Philly legends like The O’Jays, The Three Degrees and Dexter Wansell. It wasn’t until 1976 that Instant Funk’s recording career began, releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label. Three years later Instant Funk were now signed to Salsoul, and released their second album Instant Funk in 1979. Like the lead single I Got My Mind Made Up (You Can Get It Girl), Instant Funk sold over one-million copies. Ironically, I Got My Mind Made Up (You Can Get It Girl) wasn’t even the best track on Instant Funk. That was the seminal and soulful Crying which in the hands of John Morales is given a makeover that transforms a classic track.
Of the four tracks released on West End Records classic on Disc Three of John Morales Presents The M&M Mixes Volume 3, Loose Joint’s Is It All Over My Face is the best. Released in 1980, this track demonstrates how dance music was changing in 1980. Written and produced by producer Arthur Russell and DJ Steve D’Aquisto, this marked the start of the post-disco era. The track incorporates an early house sound thanks to the drums and has a hypnotic bass line. Add to this a sassy, feisty female vocal that struts across the arrangement, and it’s remarkable how dance music had changed within a year. Like so much of the music West End Records and Salsoul Records released, this is a truly that has a contemporary sound.
My final choice from Disc Three of John Morales Presents The M&M Mixes Volume 3 is The Salsoul Orchestra’s You’re Just The Right Size. This was a track from The Salsoul Orchestra’s 1976 debut album The Salsoul Orchestra. On the release of The Salsoul Orchestra, it sold over one-million copies. Unfortunately, Salsoul Records weren’t registered with the R.I.A.A, so The Salsoul Orchestra didn’t receive the gold disc they deserved. One of the highlights of The Salsoul Orchestra was You’re Just The Right Size. It was written, arranged and produced by Vince Montana Jr, who died recently. Vince was a true musical visionary and played a huge role in the development of disco. That’s why it’s fitting that another musical innovator, John Morales has remixed this sultry, sassy strutting masterpiece.
Earlier I wondered whether the quality of music would continue on Disc Three of John Morales Presents The M&M Mixes Volume 3? I needn’t have worried. After all, Disc Three features eights stunning tracks from two of the most important labels in dance music. These are Salsoul Record and West End Records. From Salsoul, there’s tracks from the Queen of Disco Loleatta Holloway, disco’s premier orchestra The Salsoul Orchestra and contributions from Instant Funk and Skyy. Of the four tracks from West End Records’ illustrious back-catalogue, Raw Silk, Loose Joints, Mahogany and Debbie Trusty are a tantalizing taste of one of the most important labels in dance music. Like the two previous discs, Disc Three is crammed full of great music, Soulful, funky, dance-floor friendly and with a Latin twist, John’s choice of music is flawless. It’s almost impossible to argue against the inclusion of any of the tracks on Disc Three. The same can be said of the two previous discs. Similarly, the standard of John’s remixes is peerless. It seems the remixes on John Morales Presents The M&M Mixes Volume 3 somehow surpasses the quality on the first two installments of this series.
So good is the music on John Morales Presents The M&M Mixes Volume 3, that this is a possible contender for compilation of the year. John’s choice of music and remixing skills are flawless. John breathes new life and meaning into familiar tracks. Over the three discs that comprise John Morales Presents The M&M Mixes Volume 3 John take you on twenty-four compelling and captivating musical journey. These journeys are soulful, funky, jazz-tinged and dance-floor friendly. Occasionally, he throws a series of curveballs, taking you in a direction you never expected. By the end of the track everything falls into place. Seamlessly, everything makes sense. Not many remixers can do this, but John Morales can. However, that’s what you’d expect from a veteran remixer whose life has revolved around music. Proof of this is John Morales Presents The M&M Mixes Volume 3 which will be released by BBE Music on 29th April 2013. Somehow, John Morales Presents The M&M Mixes Volume 3 manages to surpass the quality of the two previous installments in this series. Standout Tracks: Jean Carn Was That All It Was, John Davis and The Monster Orchestra Up Jumped The Devil, Loleatta Holloway Hit and Run and Instant Funk Crying.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3.
WILD ONE-THE CAMEO-PARKWAY STORY.
WILD ONE-THE CAMEO-PARKWAY STORY.
Way before Philly Soul provided the soundtrack to much of the seventies, many of the architects of Philly Soul cut their musical teeth at Cameo Parkway Records. This included songwriters and producers Gamble and Huff, vibes virtuoso, songwriter and producer Vince Montana Jr. and many members of Philadelphia International Records’ legendary house-band, M.F.S.B. Having learnt their trade at Cameo-Parkway Records, many of these songwriters, arrangers, producers and musicians blossomed during the late sixties and seventies. What was an outpouring of creativity, saw Philly overtake Detroit, Memphis and New York to become the soul capital of America. Sadly, when people talk about Philly Soul, often, Cameo Parkway Records’ role in the rise and rise of Philly Soul is overlooked. Thankfully, One Day Music have recently released a two-disc compilation Wild One-The Cameo Parkway Story. it features fifty-tracks and is the perfect introduction into Philadelphia’s forgotten label. Before I tell you about Wild One-The Cameo-Parkway Story, I’ll tell you about the history of Cameo Parkway Records.
It was in December 1956 that Cameo Records was founded by Bernie Lowe and Kal Mann in Philadelphia. Bernie Lowe and Kal Mann had established a reputation as a successful songwriting team. Karl wrote the lyrics and Bernie the music. Before founding Cameo Records, their biggest hit had been Elvis Presley’s (Let Me Be Your) Teddy Bear. This was a taste of what the Lowe and Mann songwriting team were capable of.
Next to join Cameo Records, was Dave Appell, who became A&R director. Together, the trio of Bernie Lowe, Kal Mann and Dave Appell would produce many of Cameo Records earliest hits. Dave also had his own band, The Applejacks who became Cameo Records’ house-band. They featured on Charlie Gracie’s number one single Butterfly. Unlike many record labels, Cameo released an eclectic selection of music. Doo wop, dance tracks, pop, big band, rock and of course, soul were among Cameo’s releases.
Two years later, in 1958, Parkway Records was founded. It was initially a subsidiary of Cameo Records. Throughout this period, commercial success continued to come Cameo and Parkway’s way. This was helped by Cameo and Parkway’s close relationship with American Bandstand. Hosted by Dick Clark, Cameo and Parkway artists were regulars on American Bandstand. Cameo and Parkway always ensured their artists were ready to appear on American Bandstand at short notice. Not only did this endear them to American Bandstand, but was good publicity and ensured that the hits kept on coming.
Among the hits Cameo enjoyed were The Rays’ 1975 number three single Silhouettes, John Zacherie’s novelty single Dinner With The Drac and The Applejacks Mexican Hat Rock. Then in 1959, Bobby Rydell released Kissin’ Time and We Got Love the first in a series of hit singles Bobby released on Cameo. For five years, Bobby was one of Cameo’s most successful artists. Indeed, between 1960 and 1964, Bobby’s success was surpassed by only one artist…Chubby Checker.
Chubby Checker’s time at Parkway started in the summer of 1959 with a novelty record The Glass. Then when Chubby covered Hank Ballard’s The Twist, it reached number one and became Parkway’s most successful single. After The Twist, Pony Time gave Chubby a second number one. Still the hits kept coming. Let’s Twist Again, The Fly, Slow Twistin’ which featured a fifteen year-old Dee Dee Sharp, Limbo Rock and Birdland all gave Chubby hit singles. However, by 1961, changes were afoot at Cameo and Parkway.
By 1961, it was decided that Cameo and Parkway should develop their own artists. One of these new artists was The Dovells, who featured Len Barry as lead singer. Bristol Stomp gave them a number two single in late 1961. After that, The Dovells released a variety of dance songs during 1962 and 1963. This included Bristol Twistin’ Annie, (Do The New) Continental and Hully Gully Baby. Another of Cameo and Parkway’s new stars were The Orions, an R&B quartet. They enjoyed a number two hit with The Wah Watusi. Don’t Hang Up, South Street, Not Me and Crossfire saw The Orions enjoy further top twenty singles. Dee Dee Sharp was another new signing. Having duetted with Chubby Checker on Slow Twistin,’ she had hits with Mahed Potato Time, which reached number two and then Gravy and Ride. It seemed that Cameo and Parkway’s new signings had transformed the labels’ fortunes. Sadly, that wasn’t the case.
For four years, Cameo Parkway Records was the parent company of Cameo Records and Parkway Records. Then in 1962, the parent company Cameo Records was renamed as Cameo-Parkway Records, giving Parkway equal billing. While 1962 proved a successful year for Cameo-Parkway, 1963 would prove a landmark year. The Tymes enjoyed a number one single with So Much In Love during the summer of 1963. Little did anyone realize it, but this proved to be the final hit single from Cameo-Parkway Records’ most successful period.
Although it was another four years before Cameo-Parkway Records was incorporated into MGM Records in 1967, things started to go wrong from 1963 onwards. Things started going wrong when Dick Clark’s American Bandstand moved from Philly to Los Angeles in early 1964. At once, Cameo-Parkway Records lost the nationwide exposure their music had enjoyed. Then musical fashions changed.
Suddenly, British groups became more popular than their American counterparts. When this happened during 1964 and 1965, Cameo-Parkway Records’ sales were badly affected. Then Bernie Lowe started to loose interest in writing and producing music. He was depressed and suffering from nervous exhaustion. The writing was on the wall in 1961, when Bernie cut back on songwriting. Bernie sold his stake in Cameo-Parkway in 1964. Soon, Kal Mann and Dave Appell sold their stakes. By mid-1965, none of Cameo-Parkway Records founding fathers remained. Worse was to come.
A further blow came when Cameo-Parkway Records’ biggest stars left the label. Chubby Checker and Bobby Rydell, who’d been the jewel in the label’s crown headed for pastures new. Unfortunately, new management couldn’t revive Cameo-Parkway Records’ fortunes.
Neil Bogart, who’d later masterminded Buddah Records rise and rise, became Cameo-Parkway Records’ new head of A&R during mid-1966. He was just twenty-three, but was determined to turn round Cameo-Parkway Records. To do that, he turned to garage bands, including Question Mark and The Mysterians. Their single 96 Tears, reached number one in the autumn of 1966. This proved to be Cameo-Parkway Records’ last major hit. Despite signing Bob Seeger to his first recording contract and releasing his first five singles, Neil Bogart couldn’t revive Cameo-Parkway Records’ fortunes.
So, in mid-1967, Cameo-Parkway Records became a subsidiary of MGM Records. Then when Cameo-Parkway Records’ financial problems worsened, the ailing label was sold to Allen Klein, who renamed the label ABKCO Records. After eleven years, Cameo-Parkway Records was no more. However, Cameo-Parkway Records leaves behind a back-catalogue that’s full of soulful delights. Fifty of these soulful deligts feature on Wild One-The Cameo-Parkway Story. I’ll now pick the ten tracks from Wild One-The Cameo-Parkway Story.
DISC ONE.
Disc One of of Wild One-The Cameo-Parkway Story features an incredible twenty-five tracks. There old school tracks, just two to three minutes long. That’s all it took to grab your attention and hold it forever. The music is eclectic, ranging from rock ‘n’ roll, dance tracks, doo-wop, novelty song and old fashioned pop music. For anyone expecting the Philly Soul made famous by Gamble and Huff, Thom Bell, Norman Harris or Vince Montana Jr, then this is very different music. There’s no lush strings, although growling saxophones and harmonies are in plentiful supply in the twenty-five tracks that comprise Disc One of of Wild One-The Cameo-Parkway Story.
The Dovells’ Bristol Stomp was released in 1961 on Parkway Records. It was written by Kai Mann and Dave Appell and features Len Barry on lead vocal. On its release, this classic slice of doo-wop reached number two in the US.
Dee Dee Sharp was only fifteen when she made her recording debut. Mashed Potato Time was released on Cameo in 1962 and featured on her debut album It’s Mashed Potato Time. Written and produced by Harry Land and Jon Sheldon is a tantalizing taste of a hugely talented singer early in her career.
Although Don Coyay’s debut The Popeye Waddle was a novelty record, and very different from what he later recorded, at least it was the first step in his recording career. That career would last over five decades. His debut single was released in 1962 on Cameo, and was written by Dave Leon and Jon Sheldon. During this period, novelty songs were proving popular and commercially successful. While The Popeye Waddle gave Don a minor hit single, the best place for newcomers to his music start is the music he released during the seventies. After all, The Popeye Waddle is hardly vintage Don Covay, it marks the start of a successful recording career.
When The Dream Girls released Oh This Is Why in 1959, someone at Cameo thought this was a potential hit. Sadly, this wasn’t the case. For Wild One-The Cameo-Parkway Story, the compiler through curiosity, has tried the B-side Don’t Break My Heart. Written by Edwin Harrell and Tom King, it surpasses the quality of the single and reinforces an important lesson, always listen to a B-side.
It seems fitting that my final choice from Disc One One of Wild One-The Cameo-Parkway Story is one my favorite tracks. This is Charlie Gracie’s timeless classic Fabulous. It’s another track from the pen of Harry Land and Jon Sheldon Released in 1957 on Cameo Records, Charlie’s vocal and the arrangement has been heavily influenced by Elvis Presley. That’s no bad thing. For two minutes, you’re transported back to a time when rock ‘n’ roll was King and singers like Charlie Gracie represented the future of music
It’s no exaggeration to say that the music on Disc One of of Wild One-The Cameo-Parkway Story is eclectic. There’s everything from rock ‘n’ roll, doo-wop, novelty tracks and dance songs. Most of the tracks have aged well. Considering some of them are over fifty-five years old, that’s testament to their quality. Sadly, some of the novelty songs and dance tracks haven’t aged well. They’re a reminder of another musical age. Proof of this is Don Coyay’s novelty debut single The Popeye Waddle. Thankfully, the good outnumbers the bad and there’s plenty of good music awaiting discovery on Disc One of of Wild One-The Cameo-Parkway Story. Overall, much of the music on Disc One of of Wild One-The Cameo-Parkway Story demonstrates why Cameo-Parkway Records is such an important label in the history of music.
DISC TWO.
Just like Disc One of of Wild One-The Cameo-Parkway Story, Disc Two features an eclectic selection of music. Again, rock ‘n’ roll, dance tracks, swing, doo-wop, novelty song and pop music features during the twenty-five tracks on Disc Two. Many of the same artists that featured on Disc One feature on Disc Two. Mind you, given the quality of music on Disc One, I’m not complaining about that. Especially if it’s music from Bobby Rydell and Chubby Checker. Alongside Cameo-Parkway’s biggest stars are one hit wonders and long forgotten artists. They’re all on Disc Two of Wild One-The Cameo-Parkway Story, which I’ll pick some of the highlights of.
Bobby Rydell was Cameo-Parkway’s second most successful artist. His success was surpassed by only Chubby Checker. One of Bobby’s hits was Wild One, released in 1960 on Cameo. It was written by the songwriting team of Bernie Lowe, Kal Mann and Dave Appell. After one listen you’ll realize just why Bobby Rydell was such a successful artist.
Before signing to Cameo, The Rays, an R&B quartet from New York had been signed to Chess Records. The Rays’ Cameo debut was Silhouettes, released in 1957 on Cameo. While there’s no doubt that Silhouettes is a quality fusion of rock ‘n’ roll and doo wop, the B-side Daddy Cool is every bit as good. Written by Bob Crew and Frank Slay it’s a three minute roller coaster of energy and emotion
Dave Appell proved to be one of Cameo-Parkway’s most important signings. Initially, he was in charge of A&R, but cowrote and produced songs. For some time, his band The Applejacks, were Cameo-Parkway’s house-band. One of their best singles was Rocka-Conga, released in 1958 on Cameo and penned by Jon Sheldon and Dave Leon. Quite simply, it’s two minutes of totally memorable and irresistible rock and roll that unfolds at breakneck pace.
Gven Cubby Checker was Came-Parkway’s most successful artist, it would almost be remiss of me not to mention him. Released in 1960, The Twist gave Chubby a number one single. Another of Chubby’s singles from 1960 was Whole Lotta Shakin’ Goin’ On, which reached number fourteen. The B-side featured another dance track, The Hucklebuck, written by Andy Gibson and Roy Alfred. WhyThe Hucklebuck wasn’t released as a single seems strange. After all, it’s a hook-laden track that’s like a call to dance.
Shake A Hand by The Mike Pedicin Quintet is the final track from Disc Two of Wild One-The Cameo-Parkway Story I’ve chosen. The Mike Pedicin Quintet were true musical innovators, who fused swing, country and R&B. Having released a handful of singles on RCA Victor, they released the Joe Morris penned Shake A Hand in 1957 on Cameo. It’s a delicious slice of rock ‘n’ roll that once you’ve heard it, you’ll never forget. Indeed so good is this track, that it’s the highlight of Disc Two of Wild One-The Cameo-Parkway Story.
Like Disc One of Wild One-The Cameo-Parkway Story, the music on Disc Two is mostly highly memorable, hook-laden and truly timeless. Sadly, just a few tracks that haven’t aged well. They’re mostly dance tracks and novelty songs, which never tend to stand the test of time. When comes to the other tracks, Mostly, it’s just some storming rock ‘n’ roll sitting side by side with doo-wop, dance tracks and novelty songs. Some tracks are a fusion of styles, others point towards the way music was heading. Overall, Disc Two of Wild One-The Cameo-Parkway Story, like DIsc One is a compelling and captivating musical journey that delves into Philly’s musical history. Founded in 1956 Cameo Records remained an important part of Philly’s music scene until 1967, when Alan Klein bought and renamed the company. After that, many of musicians and producers, who’d cut their musical teeth at Cameo-Parkway went on to play crucial roles in making Philly Soul the soundtrack to the seventies. This includes Gamble and Huff, Vince Montana Jr. and many members of Philadelphia International Records’ legendary house-band, M.F.S.B. Although the music they recorded for labels like Philadelphia International Records, Philly Groove and Atlantic had one thing in common with much of the music Cameo-Parkway released…quality. Proof of this is Wild One-The Cameo-Parkway Story, which at less than £4, $6 or €5, represents one of the best bargains you’ll find during these recession hit times. Standout Tracks: The Dream Girls Don’t Break My Heart, Charlie Gracie Fabulous, The Rays Daddy Cool and The Mike Pedicin Quintet Shake A Hand.
WILD ONE-THE CAMEO-PARKWAY STORY.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
For Thelonious Monk, 1962 proved to be the year he finally signed to a major label. This was Columbia Records, where The Thelonious Monk Quartet released six albums between 1962 and 1967. By 1962, Thelonious Monk was forty-five, and had released albums for three of jazz’s most prestigious labels. The forties and fifties were the most productive and prolific periods of Monk’s career. His career started at Blue Note, where he released two albums between 1948 and 1952. After leaving Blue Note, Monk signed to Prestige, releasing three albums between 1952 and 1954. The four year period Thelonious Monk spent at Riverside Records proved the most productive of his career. Between 1957 and 1961 established a reputation as one the most innovative jazz pianists. Apart from his solo career, there were his collaborations with some of jazz’s biggest names. John Coltrane, Gerry Mulligan and Sonny Rollins all collaborated with Thelonious Monk during this time. However, it seemed everything Thelonious Monk had released during the past fifteen years was working towards his major label debut.
Between 1962 and 1968, Thelonious Monk was signed to Columbia Records. During that time, Thelonious Monk released thirteen albums. This included live albums, solo albums and six studio albums by The Thelonious Monk Quartet. Last year, Columbia Records released a six-disc box set which features The Thelonious Monk Quartet’s The Complete Studio Albums Collection. Starting with 1963s Monk’s Dream and Criss-Cross through 1964s It’s Monks Time, 1965s Monk, 1967s Straight No Chaser and Underground. The six albums that feature in The Complete Studio Albums Collection include some of the greatest music The Thelonious Monk Quartet ever recorded. You’ll realize that when I tell you about The Complete Studio Albums Collection.
MONK’S DREAM.
Now signed to Columbia Records, The Thelonious Monk Quartet’s debut album for their new label was Monk’s Dream. It featured the quartet of pianist Thelonious Monk, tenor saxophonist Charlie Rouse, bassist John Ore and drummer Frankie Dunlop. Monk’s Dream featured eight tracks, five of which were written by Thelonious Monk. Bright Mississippi was the only new track on Monk’s Dream. The other seven tracks had featured on previous Thelonious Monk albums.
Recording of Monk’s Dream took place at Columbia 30th Street Studio, New York with Teo Macero producing the album. The sessions started on 31st October 1962. Further session took place between 1st and 2nd November and on the 6th November 1962.
On the release of Monk’s Dream on 14th November 1963, The Thelonious Monk Quartet were at their very best. Monk’s Dream featured a quartet that were tight, talented and seemed to know exactly what each band member was about to do next. Each member seemed to be playing by intuition.They fed off each other. Seamlessly, they drove each other to greater heights. During the eight tracks, a series of musical curveballs were thrown. The tracks on Monk’s Dream were complex and multilayered, and allowed The Thelonious Monk Quartet to begin their career at Columbia with critically acclaimed album.
MONK’S DREAM.
CRISS-CROSS.
After the success of Monk’s Dream, The Thelonious Monk Quartet returned to the studio with producer Teo Macero. Eight tracks would become Criss-Cross. Of the eight tracks that became Criss-Cross, five were penned by Thelonious Monk. The title-track Criss-Cross is perceived as one of the best tracks Thelonious wrote during the sixties.
When recording of Criss-Cross got underway on November 6th 1962 it was the same personnel that featured on Monk’s Dream. Criss-Cross saw Thelonious accompanied by tenor saxophonist Charlie Rouse, bassist John Ore and drummer Frankie Dunlop. Further sessions took place in February 26th and 29th 1963. Once Criss-Cross was completed, it was released on August 12th 1963.
Criss-Cross was a commercially successful album. It reached number 127 in the US Billboard 200 in August 12th 1963. The eight tracks on Criss-Cross feature some of the best music The Thelonious Monk Quartet ever recorded. For many critics, Criss-Cross represents the zenith of the music Thelonious Monk’s released during the sixties. It’s as if The Thelonious Monk Quartet have been unleashed. They kick loose and produce some peerless jazz. Monk’s piano playing is strident, confident and inventive, while the rhythm section of bassist John Ore and drummer Frankie Dunlop provide Criss-Cross’ pulsating heartbeat. From the opening bars of Hackensack, right to the closing notes of Crepescule With Nellie, The Thelonious Monk Quartet take you on a majestic, inventive and innovative musical journey.
CRISS-CROSS.
IT’S MONK TIME.
1964s It’s Monk’s Time is the next album that features in The Complete Studio Albums Collection. It’s Monk’s Time featured six tracks, three of which were written by Thelonious Monk. One of the two jazz standards was a cover of George and Ira Gershwin’s Nice Work If You Can Get it. When recording of It’s Monk’s Time began, it was a different lineup of The Thelonious Monk Quartet than had played on Criss-Cross.
While 1963s Criss-Cross featured a rhythm section of bassist John Ore and drummer Frankie Dunlop, they were replaced by bassist Butch Warren and drummer Ben Riley. Tenor saxophonist Charlie Rouse was the only familiar face. Recording took place between 9th-10th January 1964, then on February 10th and March 9th 1964. Producing It’s Monk’s Time was Teo Macero, who’d produced Monk’s Dream and Criss-Cross. However, It’s Monks Time would surpass these two albums.
It’s Monk’s Time was released on 13th July 1964. This was nearly a year after Criss-Cross. However, for music critics and jazz lovers, It’s Monk’s Time was well worth the wait. The album features four performances by the quartet and two solo performances. With the four performances by The Thelonious Monk Quartet, they surpass everything they’d previously released. Similarly, Thelonious’ playing was flawless, inventive and totally peerless. As for the new rhythm section of bassist Butch Warren and drummer Ben Riley, it was as if they were veterans of The Thelonious Monk Quartet. Charlie Rouse who’d played on Monk’s Dream and Criss-Cross, well, he was ying to Thelonious’ yang.
Quite simply, It’s Monk’s Time is one of Thelonious Monk’s last great albums. His playing is inventive, playful and creative. During the six tracks, he delivers curveballs and musical surprises aplenty. Not only does it demonstrate his ability to breath, life, meaning and energy into six tracks, but demonstrates how inventive and innovative a pianist he truly was.
IT’S MONK TIME.
MONK.
Monk saw another change in The Thelonious Monk Quartet’s lineup. Bassist Butch Warren whose playing was crucial to It’s Monks Time is replaced by Larry Gales. The rest of the lineup is the same, with drummer Ben Riley and tenor saxophonist Charlie Rouse accompanying Thelonious Monk on Monk’s seven tracks. Of the seven tracks on Monk, Thelonious Monk wrote just two tracks. Both pay homage to two important figures in his life. The first was Teo which paid tribute to his producer Teo Macero. His other composition was Pannonica, a tribute to jazz patron Pannonica de Koenigswarter. These tracks, plus the other five tracks that became Monk were recorded in New York during 1964.
Recording of Monk began on 9th March 1964. The rest of Monk was recorded between October 6th and 8th 1954. Producing the latest lineup of The Thelonious Monk Quartet was Teo Macero. Once Monk was completed, it was released in 1965.
25th January 1965 saw Monk released. On its release, Monk was hailed as proof that Thelonious Monk didn’t release poor albums. Monk proved that The Thelonious Monk Quartet were on something of a roll. Each album somehow, managed to surpass the quality of their previous album. The lineup of The Thelonious Monk Quartet that featured on Monk was one that was capable of creating inventive, innovative music that was way ahead of the musical curve. Lead by Thelonious and ably assisted by Charlie Rouse, and featuring a rhythm section of bassist Larry Gales and drummer Ben Riley it’s a multitalented quartet. Whether unleashing solos or jamming, as a tight, talented quartet, The Thelonious Monk Quartet’s that feature on Monk were unrivaled.
MONK.
STRAIGHT NO CHASER.
Straight No Chaser was the sixth of The Thelonious Monk Quartet’s album produced by Teo Macero. Thelonious relied upon the same lineup that featured on Monk. This included bassist Larry Gales, drummer Ben Riley and tenor saxophonist Charlie Rouse. They’d record nine tracks, including six penned by Thelonious Monk.
It only took The Thelonious Monk Quartet three days to record Straight No Chaser. Recording took place between 14th and 15th November 1966 and finished on January 10th 1967. Two months later, on 20th March 1967, Straight No Chaser was released.
Unlike the version of Straight No Chaser that features in The Complete Studio Albums Collection, the original version only featured six tracks. These six tracks featured edited versions of the original track. This was because of the time constraints vinyl imposed upon producers and artists. The version that features in The Complete Studio Albums Collection are the original, unedited versions, which feature the music as Thelonious Monk and producer Teo Macero envisaged it.
Straight No Chaser proved to be an uplifting, joyous, inventive and inspirational album. Whether unleashing solos or playing as a quartet, The Thelonious Monk Quartet hardly draw breath. Switching between time signatures, then playing some of the hardest bee bop they ever recorded. It’s as if The Thelonious Monk Quartet are determined to continue surpassing their previous recordings. This they do, thanks to a band that’s not just tight, talented and accomplished, but mature, versatile and capable of moments of true musical magic.
STRAIGHT NO CHASER.
UNDERGROUND.
1967s Underground, with its award winning, provocative and distinctive artwork is the final album The Thelonious Monk Quartet released. Underground is also the final album in The Complete Studio Albums Collection. The album cover depicts Thelonious as a French Resistance Fighter holding a machine gun. Thelonious thought that Underground’s album cover would appeal to a younger generation and would broaden his music’s appeal. Ironically, even without the controversial album cover, Undercover would’ve appealed to a much wider audience.
Underground features seven tracks, including six tracks written by Thelonious Monk. The lineup that accompanies Thelonious on Underground are the same quartet that featured on Monk. This includes bassist Larry Gales, drummer Ben Riley and tenor saxophonist Charlie Rouse. Adding vocals on In Walked Bud was Jon Hendricks. Recording took just three days, including 14th and 21st December 1967 and 14th February 1968. Despite only taking three days to record, Underground was a remarkable album, that proves a fitting way to close The Complete Studio Albums Collection.
When Underground was released on April 15th 1968, it was both critically acclaimed and a commercial success. Underground later won a Grammy Award for its album cover. However, there was much more to Underground than an award winning album cover.
From the opening bars of Thelonious, which opens Underground, The Thelonious Monk Quartet swing. Thelonious is a track from Thelonious Monk’s illustrious back catalogue, which he revisits and reinvents. It’s the perfect way to open Underground. From there, Ugly Beauty is the only waltz Thelonious Monk ever recorded. The bluesy Raise Four is one of Underground’s real highlights, with a simple, but discordant melody. Of the other tracks, the intriguing Boo Boo’s Birthday has an unusual musical and harmonic structure. Closing Underground is In Walked Bud, which he originally recorded in 1947. Here, vocalist Jon Hendricks delivers the newly written lyrics. This demonstrates just how inventive and cutting-edge an album Underground really is. After all, how many artists could revisit a track twenty years after he first recorded it, transforming it into something new. Along with the six other tracks that comprise Underground, the result is an album that’s innovative, intriguing, playful, spacious, hypnotic and captivating. Like the other five albums in The Complete Studio Albums Collection, Underground features The Thelonious Monk Quartet at the top of their game musically. There’s neither filler nor faux pax on Underground or The Complete Studio Albums Collection.
UNDERGROUND.
Although Thelonious Monk enjoyed a career that spanned nearly five decades, he recorded some of the greatest music of his career at Columbia Records. Indeed, the six Thelonious Monk Quartet albums that feature in The Complete Studio Albums Collection includes the best music he recorded at Columbia. The music on the six albums is an inventive, innovative, sometimes experimental and always of the highest quality. He was accompanied by some of the best jazz musicians of the sixties, including legendary tenor saxophonist Charlie Rouse. While the lineup of The Thelonious Monk Quartet, this never affected the quality of music that features in The Complete Studio Albums Collection. That’s why for anyone looking to discover the music of The Thelonious Monk Quartet, then place to start is The Complete Studio Albums Collection. Similarly, for veterans of The Thelonious Monk Quartet, the addition of bonus tracks will make The Complete Studio Albums Collection not just a worthy addition to your record collection, but a reminder of one of the greatest pianists in the history of jazz. music.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
Vince Montana Jr. who passed away on 13th April 2013, aged eighty-five, was one of the most innovative, influential and pioneering musicians in the history of popular music. However, referring to Vince as a musician is an understatement. He was also a songwriter, conductor, arranger and producer. Born on February 1928, in South Philadelphia, Vince’s first exposure to music came at school, when a teacher encouraged him to play orchestra bells for a play called The Celebrated Waltz. After that, Vince was hooked on music, mastering drums, vibes, chimes, marimba and tympani. Although Vince was a true multi-instrumentalist, he’s best known as a vibes player, whose early career saw him play with some musical legends.
At the start of Vince’s career, he began playing in some of Philly’s jazz clubs. For a young musician, this was the perfect musical grounding. Vince played alongside jazz legends like Charlie Parker and Sarah Vaughan. This allowed Vince to hone his talents. After this, Vince was heading further afield.
During the fifties and early sixties, Vince was traveled across America. There were stopovers in many cities, including Las Vegas, where Vince and the rest of the band played popular songs of the day. Then when Vince returned to Philly in the early sixties, his career changed.
Having returned to Philly, Vince became a session musician. He worked on sessions for the Cameo Parkway label. This included sessions for Chubby Checker. Later in the sixties, Vince would encounter a producer who like Vince, would become one of the architects of Philly Soul.
One of the first sessions where Vince worked with producer Thom Bell was The Delfonics’ 1968 album La La Means I Love You. By 1968, Vince was forty and a hugely experienced and versatile musician. This would stand him in good stead for the future. Vince would later work with Thom Bell on albums by The Stylistics and The Spinners. He also worked on albums by Dusty Springfield and Wilson Pickett. After this, Vince would work with two other architects of Philly Soul.
When Gamble and Huff founded Philadelphia International Records in 1971, Vince Montana Jr. was a member of Philadelphia International Records legendary house-band M.F.S.B. Vince also worked as a songwriter, arranger and producer. His role at Philadelphia International Records can’t be underestimated. He was an innovator, pioneer and visionary. Vince on many classic Philadelphia International Records’ releases. This includes Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Back Stabbers, Harold Melvin and The Blue Notes’ Black and Blue and M.F.S.B’s M.F.S.B. During this time, Vince was writing, arranging and producing tracks for Philadelphia International Records. He more that played his part in transforming Philadelphia International Records into the most successful and influential label in soul music. Like the rest of M.F.S.B. Vince was constantly working as a session musician, arranger, producer and songwriter.
During Vince’s time at Philadelphia International Records, what was essentially M.F.S.B, provided the backdrop for what would become some of Philly Soul’s greatest recordings. This included albums by Laura Nyro, Joe Simon, Barbara Mason, First Choice, The Manhattans, B.B King, Major Harris, Blue Magic, Ecstasy, Passion and Pain and Charles Mann. Many of M.F.S.B. were now forging careers as arrangers and producers, including Norman Harris, Bobby “Electronic” Eli and Vince. Then just as Philadelphia International Records had established a reputation as soul’s premier label, many of M.F.S.B. left the label.
For much of 1975, Gamble and Huff had been locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. Coincidentally, around this time, Vince met Ken Cayre, one of three brothers who owned Salsoul Records. Vince had a Latin vocal group he felt would be perfect for Salsoul subsidiary Mericana. Ken Cayre was wasn’t looking to sign another Latin group. What wanted, was to import the Philly Sound to Salsoul. So, when Ken and Vince met, Ken explained that he was looking for an orchestra similar to Philadelphia International Records’ legendary house-band M.F.S.B. Having explained his vision to Vince, Ken wrote Vince a cheque and in return, Vince would deliver three songs where the Philly Sound was fused a Latin, salsa influence. Without even looking at the cheque, Vince headed back to Philadelphia to record the three songs with some of Philly’s finest musicians.
On the bus back to Philly, Vince looked at the cheque, and found it was for $10,000. With some of Philly’s legendary musicians, three tracks were recorded, Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle. After these 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 and immediately, Salsoul had a hit single on their hands. This meant Salsoul needed more songs, enough for an album. To record this album, Ken Cayre required his disco orchestra. Luckily, the standoff between Gamble and Huff and M.F.S.B. was coming to a head.
The dispute between Gamble and Huff and M.F.S.B. couldn’t be described. So, M.F.S.B. decided they’d no option but to quit Philadelphia International Records. Their next stop was New York, where they became The Salsoul Orchestra. In one fell swoop, Ken Cayre had his orchestra and the Philly Sound all in one. Little did Ken Cayre know it, he had just signed the musicians that would make Salsoul the greatest label in disco’s history.
With Vince Montana Jr. arranging, conducting, producing and writing much of The Salsoul Orchstra’s material, they quickly became disco’s greatest orchestra. From the release of their 1975 debut album The Salsoul Orchestra, which sold over one-million copies, The Salsoul Orchestra’s music was commercially successful and critically acclaimed. Unfortunately, because Salsoul wasn’t a member of the R.I.A.A, The Salsoul Orchestra didn’t receive a gold disc. This was the start of Salsoul’s journey to becoming disco’s greatest orchestra.
Following The Salsoul Orchestra, Vince masterminded four further Salsoul Orchestra albums. This included 1976s Nice ‘N’ Nasty and Christmas Jollies, 1977s Magic Journey and 1978s Up The Yellow Brick Road. During the period between 1975 and 1975, Vince produced Charo and The Salsoul Orchestra’s Cuchi-Cuchi, The Salsoul Strings’ How Deep Is Your Love and Carol Williams’ ‘Lectric Lady. Vince also played on numerous other Salsoul Records’ releases, including Double Exposure, First Choice, Eddie Holman and Loleatta Holloway. The period between 1975 and 1978, was when Salsoul Records released its best music. At the heart of everything that was good was Vince Montana Jr. He played a crucial role in Salsoul Records’ success and played on their best releases. Sadly, after just three years, Vince left Salsoul
After The Salsoul Orchestra’s 1978 album Up The Yellow Brick Road, Vince left Salsoul. The problem was the deal Vince struck with the Cayres when he signed to Salsoul. It wasn’t exactly the most profitable deal Vince could’ve struck. With Vince onboard, he transformed Salsoul into disco’s most successful label. Vince became involved in a dispute with the Cayre’s over royalty payments. This lead to legal proceedings being launched and Vince leaving Salsoul. For Salsoul, this would be the end of the classic Salsoul era. However, for Vince, a new career awaited at Atlantic Records.
Following his departure from Salsoul and his signing to Atlantic Records, Vince launched The Montana Orchestra. One of Vince’s earliest releases was the 1978 album Vince Montana Jr. Presents Goody Goody, which featured Vince’s daugher Denise. Goody Goody saw Vince pickup where he’d left off at Salsoul. The music on Goody Goody was innovative and way ahead of the musical curve. One of the tracks was the classic Number One Deejay, which thirty-five years later, is a timeless disco classic. Equally cutting-edge was were a trio of albums from Montana. The trio of I Love Music, A Dance Fantasy/Warp Factor II and A Dance Fantasy Inspired By Close Encounters of The Third Kind. Like his time at Philadelphia International Records and Salsoul Records, Vince’s time at Atlantic demonstrated a musical genius at the peak of his powers. When he left Atlantic, Vince decided to form his own record label Philly Sound Works.
As a new decade dawned, Vince decided to found his own label Philly Sound Works in the early eighties. By now, dance music had changed. Disco’s popularity nosedived in 1979. However, for a musical pioneer like Vince, this didn’t present any problem. All he had to do was adapt. This he did seamlessly, releasing his classic single Heavy Vibes in 1982. Heavy Vibes became a club classic, becoming a favorite of DJs and remixers. A year later, in 1983, an equally cutting-edge album Heavy Vibes followed. Like Heavy Vibes the single, the album was a favorite of DJs. Indeed, a new generation DJs and musicians would head to Philly to collaborate with Vince Montana Jr.
For the next thirty years, a new generations of DJs and artists collaborated with Vince Montana Jr. This included Masters At Work collaborated with Vince on their Nuyorican Soul and on India’s To Be In Love. There were also collaborations with Incognito, The Braxtons, Spiller, David Morales and the Pet Shop Boys. Suddenly, a new breed of DJs and artists were discovering a legend of Philly Soul and disco. Right up until just a few years before his death, Vince Montana was involved with what he loved…music.
Right from his early days touring America as part of a jazz band, Vince Montana Jr’s life revolved around music. By the time Vince became a session musician at Philly’s Cameo Parkway, he’d honed his skills as a musician. Then he became part of Philadelphia International Records’ legendary house-band M.F.S.B. Vince was one of the most talented, versatile and innovative musicians at Philadelphia International Records. He more than played his part in transforming Philadelphia International Records into the most critically acclaimed and commercially successful soul label. At Philadelphia International Records he was much more than a musician. He was a songwriter, arranger and producer. His skills blossomed at Philadelphia International Records where he wrote, arranged and produced some of the most important music of the seventies. Then when Vince arrived at Salsoul Records, it was like an outpouring of creativity.
Between 1975 and 1978, Vince’s skills as a songwriter, arranger, conductor and producer, he played his part in transforming Salsoul into disco’s greatest label. For three years, Salsoul released some of the most innovative, influential music and successful music of the disco era. Vince more than played his part in the critical acclaim and commercial success Salsoul enjoyed. After Vince left Salsoul, he continued to enjoy critical acclaim and commercial success.
Right through the noughties, Vince Montana Jr. continued to influence a new generation of musicians and music lovers. Indeed, music critics and music lovers realized that Vince Montana Jr. was one of the most talented, innovative, influential and pioneering musicians in the history of modern music. Vince was fortunate to enjoy a long and illustrious career, one that’s lasted six decades. He was crucial in transforming Philadelphia International Records and then Salsoul Records into the most critically acclaimed and commercially successful labels of their time. Sadly, after a career lasting six decade, Vince Montana Jr. passed away on 13th April 2013. Several generations of music lovers will miss one of the most talented, creative, charismatic and forward thinking musicians of the past sixty years. Thankfully, Vince Montana Jr. left behind a rich legacy that further generations of music lovers will enjoy. That legacy is the music that Vince Montana Jr. played on, arranged, produced or wrote. Vince Montana Jr’s music is truly timeless and will forever live on, allowing further generations to discover the music of one of music’s great visionaries.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
2012 proved to be a good year for Offering Recordings, which was founded by Boddhi Satva. Offering Recordings established a reputation as an innovative and up-and-coming labels. Key to Offering Recordings’ success, is their never ending search for new artists. Previously, Offering Recordings have discovered Idrissa Sissoko in Mali and Ade Alafia Adio in the Netherlands. Another of Offering Recordings’ signings is DJ producer Punk whose new E.P. I Can’t Wait will soon be released. Before I tell you about Punk’s six track E.P. I Can’t Wait, I’ll tell you about Punk’s career so far.
Although DJ producer Joseph Mbedzi is only twenty, as Punk, he’s already released several remixes and an original track on Offering Recordings’ Summer Solstice Voyage compilation. Punk, who was born in Limpop, South Africa, also featured on Offering Recordings’ Ade Sampler 2012. His contribution to Offering Recordings Ade Sampler 2012 was I Can’t Wait, which was one of the compilation’s highlights. So it’s fitting that I Can’t Wait will be released as an E.P. Together with the original mix, there’s the Radio Edit, two Dub Mixes, an Instrumental Mix, two Marlon D mixes and the Keyapella Mix. So not only do you hear Punk’s original version, but six remixes which transform the track, breathing new life and meaning into the original.
Punk’s I Can’t Wait features Magic Soul’s vocal talents. It’s a track with a real contemporary sound. If you think house with a healthy sprinkling of percussion, a twist of African Roots and plenty of drama you’re getting close. Here, drums equal drama, while the stabs of keyboards give the track a warmth. When the drums, percussion and keyboards unite with the joyous and heartfelt vocals, the track heads in the direction of house. Percussion gives the track a jazzy or Latin house feel. What makes this one of the highlights of Offering Recordings Ade Sampler 2012 are they vocals. They’re joyous and heartfelt cascading above the percussive heavy arrangement and are crucial to the track’s sound and success.
Having told you about the Original Mix of I Can’t Wait, there’s the Radio Edit which Offering Recordings hope will result in I Can’t Wait receiving radio play. What was originally a seven-minute track, becomes a four-minute radio friendly track. Given its quality, the Radio Edit of I Can’t Wait should be coming to a radio near you.
Of the other five remixes, Marlon D provides two of them. His D Main Mix breathes new life, meaning and energy into the original track. The Marlon D Instrumental Mix features thunderous drums that add to drama. Combined with melodic washes of synths, you loose yourself in this warm, uplifting track. Quite simply, the next eight minutes fly past, thanks to Marlon D’s remixing skills.
The other three remixes approach the original track in different ways. There’s a spacious, laid-back Afro House sound and feel to the Instrumental Mix. It unfolds in waves, using the galloping drums and stabs of synths. With the Keyepella Mix, it unfolds in waves. It’s as if the remix as is shy about revealing its secrets and subtleties. The synths play an important role, that is until the vocal reveals its beauty. Heartfelt, needy and soulful, it sweeps in. That proves a game-changer. It results in a remix that totally transforms the original track, transforming the original into something quite melodic and beautiful. The last remix of the six remixes in Punk I Can’t Wait E.P. is the Dub Remix. Here pounding drums and percussion take centre-stage. They provide the track’s Afro House influence. Having built and built the drama, the synths sweep in, providing a melodic, laid-back contrast. Gradually, the Dub Remix reveals its hidden depths and secrets, providing a satisfying and dance-floor friendly way to close Punk’s I Can’t Wait E.P.
Punk’s I Can’t Wait E.P. is a compelling introduction to a hugely talented twenty year-old soul singer. For me, it’s a tantalizing taste of what’s to come from Punk. What really makes the track, is the soulful strains of Magic Soul. They’re blessed with one of the most soulful voices I’ve heard in the past few years. The I Can’t Wait E.P. doesn’t just feature the original version of I Can’t Wait, but a radio edit and five remixes. Every one of the five remixes breathes new life, meaning and energy into the original track. It’s a fascinating musical journey, that’s uplifting, joyous and deeply soulful. Each remixers starting point was the track’s stems. After that, they had the freedom to reinvent the original track. In doing so, they pay homage to the soulful strains of Punk’s I Can’t Wait. They bring something new, imaginative and innovative to the original version of I Can’t Wait. The five remixes are of the highest quality. Not only are they professional and accomplished remixes of a deeply soulful track, but each remix is innovative and imaginative. These five remixes, plus the radio edit and original version of I Can’t Wait, will soon be released on Offering Recordings. Punk’s I Can’t Wait, featuring the soulful delights of Magic Soul, is the latest success from Boddhi Satva’s Offering Recordings. Once listen to Punk’s I Can’t wait and I’m sure you’ll agree.
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
SHOOTING STANSFIELD-THE STORY SO FAR.
SHOOTING STANSFIELD-THE STORY SO FAR.
Over the past thirty-five years, Scotland has produced some of the most critically acclaimed and commercially successful bands in British music. From the tail-end of the seventies, Scottish bands have been trailblazers, producing music that’s innovative and ahead of the musical curve. This stared with Postcard Records, who introduced the world to the Sound of Young Scotland and groups like Aztec Camera, Orange Juice, Josef K and The Go-Betweens. Incredibly, that was just the start of an outpouring of creativity.
Scottish bands were about to provide the soundtrack to much of the eighties and nineties. Next up were the Associates, Blue Nile, Lloyd Cole and The Commotions, Hipsway, The Big Dish and Deacon Blue. That’s not forgetting Belle and Sebastien, The Bathers, Primal Scream, Franz Ferdinand, Edwyn Collins and Joe McAlinden. Never mind Manchester, Liverpool or London, Scotland were the Kings of indie rock and where every A&R rep headed in search of the latest indie rock sensation. That’s still the case, with A&R reps taking an interest in a four piece band whose members hail from Dumfries and Falkirk…Shooting Stansfield.
To trace Shooting Stansfield’s origins, we’ve got to head back to the recent revival in the popularity of indie folk. That’s when the four members of Shooting Stansfield decided to form a band. Shooting Stansfield’s four members are lead singer and guitarist Stewart Douglas, Stephen Whipp guitarist and vocalist, bassist Craig Robertson and drummer David Steel. Shooting Stansfield are based in Edinburgh, but its four members were born in Dumfries and Falkirk. Now four years after Shooting Stansfield were formed in 2009, their hard work, dedication and talent is paying off.
Since Shooting Stansfield formed, they’ve established a reputation for what’s been described as “melodic guitar driven, lyrically rich tunes.” Proof of this are the three EPs Shooting Stansfield have released. Their debut E.P. was 2010s Human Static E.P, which showcases Shooting Stansfield’s talent. From the opening bars of Modern Warfare, through Human Static and Pulse, you realize Shooting Stansfield are a group with a big future. They’re a tight, talented and accomplished group, capable of writing intelligent, eloquent lyrics. This music is fusion of indie-rock and folk, with intelligent, memorable and anthemic lyrics are played and sang by a tight, talented band.
A year after releasing their debut E.P. Human Static in 2010, Shooting Stansfield released their sophomore E.P. Endeavour in 2011. The four tracks, Cameras and Lights, Wood For The Trees, Endeavour and Cards demonstrated how Shooting Stansfield had grown as musicians and songwriters. After that, Shooting Stansfield continued to tour, playing concerts in Glasgow and Edinburgh. This has benefited them, allowing Shooting Stansfield to continually hone their sound and grow as musicians.
By February 2012, when Shooting Stansfield released The Cottage Sessions, which featured In The Passing and Boxes, it was obvious they’d continued to grow as a group. Shooting Stansfield’s music is best described as a tight, accomplished fusion of indie-rock tinged and folk, with a healthy supply of poppy hooks. It’s music that’s highly memorable, often anthemic and hook-laden. Quite simply, Shooting Stansfield write great songs and deliver them with emotion and passion.
Now into their fourth year as a band, a lot is happening to Shooting Stansfield. Their third E.P. Greater Or Lesser is due for release. Even better, I hear that record companies are starting to take an interest in Shooting Stansfield. That’s no surprise. given how talented a group Shooting Stansfield are. Any group that write as good songs as Shooting Stansfield and play them with such passion and conviction, deserve to have a great future ahead of them. Let’s just hope that Shooting Stansfield will follow in the footsteps of Aztec Camera, Orange Juice, Blue Nile, Lloyd Cole and The Commotions, The Bathers and Joe McAlinden and enjoy similar critical acclaim and commercial success. Given how talented songwriters and musicians Shooting Stansfield are, that wouldn’t be a surprise.
SHOOTING STANSFIELD-THE STORY SO FAR.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
Recently, I was asked by a friend to recommend a Salsoul Records compilation. They’d heard a couple of songs from Salsoul’s illustrious back-catalogue, and decided they wanted to dig deeper. Realizing that I was huge fan of all things disco, and especially Salsoul, they asked if i could recommend some compilations and albums that would provide them with an introduction to Salsoul Records. That however, presented a problem.
My problem was that there are so many different Salsoul compilations available, the quality differs from excellent to mediocre. Thankfully, one compilation stood head and shoulders above the rest. This was Harmless Records The Definitive Salsoul Mixes, what I’ve come to regard as the definitive Salsoul compilation. Then when I started digging deeper, the Salsoul compilations started to vary in quality. So I decided I’d review a several Salsoul compilations to help the newcomer to Salsoul Records find the creme de la creme of Salsoul compilations. The first compilation I reviewed saw me strike gold, with Salsoul Presents: The Definitive 12” Masters Volume 1. It was one of the finest Salsoul compilations that I’ve come across in the past twenty years. While it didn’t quite match the quality of The Definitive Salsoul Mixes, it’s a worthy addition to any record collection. Then I discovered that Suss’d Records had released a followup to Salsoul Presents: The Definitive 12” Masters Volume 1. This was Salsoul Presents: The Definitive 12” Masters Volume 2, released in 2008. Would Salsoul Presents: The Definitive 12” Masters Volume 2 be a worth successor to Salsoul Presents: The Definitive 12” Masters Volume 1 and join my recommended list of Salsoul Records’ compilations? That’s what I’ll tell you, once I’ve picked my top ten tracks from the two discs that comprise Salsoul Presents: The Definitive 12” Masters Volume 2.
DISC 1.
Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 features nine tracks, including tracks from some of the biggest names in Salsoul’s history. This includes The Salsoul Orchestra, Loleatta Holloway and Double Exposure. There’s also contributions from Eddie Holman, Gaz, Moment of Truth, Joe Bataan and Claudja Barry. Immediately, you realize that Salsoul Presents: The Definitive 12” Masters Volume 2 is a compilation where familiar tracks and hidden gems sit comfortably side by side. In total, there are nine original 12” versions on Disc One, which I’ll pick the best five.
My first choice from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 is The Salsoul Orchestra’s Nice ‘N’ Nasty, which was the title-track of their sophomore album. When Nice ‘N’ Nasty was released in October 1976, it reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. The title-track Nice ‘N’ Nasty was the lead single, reaching number thirty in the US Billboard 100, number twenty in the US R&B Charts, number eight in the Disco Charts and number three in the Dance Music-Club Play Charts. Written and produced by Vince Montana Jr, Walter Gibbons remix features on Salsoul Presents: The Definitive 12” Masters Volume 2. Earl Young’s thunderous drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, sweet, sensual harmonies from The Sweethearts of Sigma, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Although Double Exposure released three albums for Gold Mind Records, Ten Per Cent was their most successful album. It was released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts. One of the singles released from Ten Per Cent was Everyman, written by Allan Felder and Bunny Sigler. Norman Harris arranged and produced the track. The original 12” version literally bursts joyfully into life. A flourish of piano, the funky Baker, Harris, Young rhythm section, blazing horns, dancing disco strings and Vince Montana’s vibes give way to Jimmy’s lead vocal. He makes the song his own, delivering it with a mixture of power, passion and joy, bringing out the meaning in the lyrics. The Sweethearts of Sigma harmonies augment Double Exposure. Soon they and The Salsoul Orchestra kick loose. Bobby Eli adds his trademark guitar sound, horns blaze, strings dance with delight, each playing their part in the track’s joyous, inspirational and feel-good sound. The song has Salsoul written all over it and Norman Harris’ production is absolutely peerless. That’s why this is the greatest song Double Exposure ever recorded. It’s anthemic, uplifting, inspirational and totally joyous.
This Will Be A Night To Remember was the title-track to Eddie Holman’s 1977 album. It was produced by Baker, Harris, Young Productions, but failed to chart. Baker, Harris, Young drive the arrangement along, creating a pulsating beat. Keyboards add flamboyance, strings dance appreciatively and joyously and horns growl, The arrangement builds and builds. It’s a truly delicious, vintage slice of Salsoul. One part of you wants this to last forever, the other wants to hear what happens next. What happens is Eddie’s sassy, teasing vocal enters. Eddie becomes Dr. Love. Punchy harmonies accompany him, each forcing the other to greater heights. Meanwhile, The Salsoul Orchestra have kicked loose. They’re at their very best. Flourishes of piano, frantic strings and Baker, Harris, Young drive this musical juggernaut backdrop along. It’s life in the fast lane. This peerless fusion of Philly Soul, disco, funk and jazz results in a glittering hidden gem in the Salsoul back-catalogue.
Loleatta was Loleatta Holloway’s third album and her first for Gold Mind Records. Hit and Run gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs. The unmistakable sound of The Salsoul Orchestra in full flight opens Hit and Run. This includes the Baker, Harris, Young rhythm section, sweeping swirling strings, bursts of blazing horns and Bobby “Electronic” Eli’s guitar. Then comes Loleatta as she embarks upon a sassy, sultry vamp. She mixes power and passion, while percussion, guitars, blazing horns and Vince Montana’s vibes accompany the rhythm section. Tight, cooing punchy backing vocals from the Sweethearts of Sigma augment Loleatta’s powerful vamp. Meanwhile, strings cascade, punchy horns kick and the greatest rhythm section of the seventies provide the track’s heartbeat. Together, Loleatta Holloway the greatest diva of the disco era, and the multitalented Salsoul Orchestra, make this not just a Salsoul classic, but one of the greatest tracks of the disco era.
Gaz’s Sing SIng is another track that wasn’t originally recorded by Salsoul. Instead, it was recorded by the German label Lollipop. Produced by Jurgen Korduletsch, who also discovered Claudia Barry and brought her to the US, Jurgen wanted Salsoul to distribute the track. Salsoul gave it to Robbie Rivera to remix. This was his first remix and the result is a joyous track with a real feel-good sound. Released in November 1978, and mixed by Robbie Rivera, the track is extended to seven magical minutes. Opening with pounding drums and guitars, they’re joined by the bass, percussion and strings, before Claudia’s vocal enters. As she sings, her vocal is answered by a male vocalist. The track benefits from a strong rhythm section, which is augmented by rasping horns, keyboards and percussion. Robbie Rivera’s mix is excellent, totally transforming the original track, turning it into a Magnus Opus, where the best of European and US disco becomes one.
Truly, choosing the five best tracks on Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 wasn’t easy. It was extremely difficult. I could’ve included two tracks by The Salsoul Orchestra, Joe Bataan’s cover of The Bottle or Moment of Truth’s Helplessly, which is a very welcome inclusion on Disc One. Unlike other Salsoul compilations, the compiler of Salsoul Presents: The Definitive 12” Masters Volume 2 has dug deeper and unearthed several hidden gems. Moment of Truth’s Helplessly, Gaz’s Sing Sing and Eddie Holman’s This Will Be A Night To Remember. Then there’s Salsoul classics from Loleatta Holloway, The Salsoul Orchestra and Double Exposure. Surpassing the quality of Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 won’t be easy.
DISC TWO.
Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 features some of Salsoul’s big-hitters. Loleatta Holloway, The Salsoul Orchestra, First Choice and Skyy all feature on Disc Two. So do Skip Mahoney, Inner Life, Candido and Jimmy Castor. Quite simply, the nine tracks on Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 all have one thing in common…quality. This will make choosing the five best tracks difficult, to say the least.
Skyy’s First Time Around opens Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2. This is from Sykk’s debut album Skyy, released in 1979. First Time Around was released in May 1979 and since then, has become a Salsoul classic. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, cascading strings and pounding drums combine. The arrangement is dramatic, with sweet, sensuous vocals drifting in and out of the track. There’s a different sound to this track, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Of all the remixes of First Time Around I’ve heard, Larry Levan’s is one of the best.
By the time First Choice recorded their second album for Salsoul, Hold Your Horses, Salsoul was a very different label. New producers and remixers had joined the label. Other studios apart from Sigma Sound Studios were being used. Four tracks from Hold Your Horses were partly recorded in Munich. This included the title-track. Thunderous drums gallop along the arrangement, before, percussion, quivering strings and the rest of the rhythm section enter. Then come First Choice delivering some of their best vocal. Rochelle’s lead vocal is sultry and powerful. Annette and Ursula add dramatic, soaring harmonies. The Bobby “DJ” Guttadaro’s. remix is perfectly balanced, and features a pounding rhythm section, quivering strings and blazing horns. This results in a masterpiece of modern production, that over thirty years later, still has a timeless sound.
Loleatta Holloway was Salsoul’s very own disco diva, who released four albums between 1976 and 1980. Her third album was 1979s Loleatta Holloway. Although, it wasn’t a commercial success, it features Loleatta at her very best. One of her best performances in on All About The Paper, which was arranged by James Mack and produced by Floyd Smith. Chiming guitars, punchy blazing horns and a pounding rhythm section combine to create the perfect backdrop for Loleatta’s vocal. Briefly, you can hear similarities with Chic’s Good Times. When Loleatta’s vocal enters, it’s a sassy, feisty, strutting vamp. She makes the song her own, demonstrating just why she was the Queen of Disco. Strings dance with delight, while the Sweethearts of Sigma add tender harmonies and bursts of horns punctuate the arrangement. They’re joined by the best performance by the rhythm section on Loleatta Holloway. While they’re no Baker, Harris, Young, they’re crucial to the song’s sound and success. What really makes the song is Loleatta’s vocal, one that feisty, fiery and sassy. Combined with a what’s simply a timeless, dance-floor friendly arrangement and the result is vintage Loleatta.
Inner Life released just two albums for Salsoul. Their second album was 1982s Inner Life II, which featured Moment of My Life which reached number fifteen in the US Dance Music/Club Play Charts. Of the six tracks on Inner Life II, Moment Of My Life is the best and is remixed Shep Petibone. Nothing else comes close. Jocelyn’s vocal soars powerfully and dramatically above the arrangement. She delivers a punchy, powerful and soulful vocal against a backdrop of the rhythm section, percussion and Leroy’s keyboards. Equally punchy backing vocalists accompany her, as she delivers one of the best vocals of her time with Inner Life. The sprinkling of percussion adds to the effectiveness of an arrangement where boogie, funk and soulfulness unite. With the combined talents of Leroy Burgess, Greg Carmichael and Jocelyn Brown at the top of their game, it’s no wonder that thirty years later, this track is regarded as a Salsoul classic.
Chicago Bus Stop (Ooh I Love It) is my final choice from was a track from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 The Salsoul Orchestra’s 1976 million-selling debut alum The Salsoul Orchestra and is remixed Shep Petibone. It has an irresistibly, joyous and uplifting sound. This track features the Sweethearts of Sigma adding breathy, sassy vocals. The Baker, Harris, Young rhythm section lock into a funky groove, while keyboards, guitars and percussion are joined by sassy, sensual vocals from the Sweethearts of Sigma. A sultry alto saxophone enters, as strings, sweep and swirl as the breathy vocal drifts in and out. Dramatic stabs of growling horns accompany the saxophone, and the rhythm section never miss a beat. They’re responsible for the mesmeric, almost hypnotic backdrop, while flourishes of woodwind and a myriad of percussion give the arrangement a Latin flavor. Here, funk meets disco with a twist of Latin flavor and Philly Soul added for good measure, as only The Salsoul Orchestra could, that is with style, flair and a flourish.
On Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 there’s no let up in the quality of music. This Loleatta Holloway, The Salsoul Orchestra, First Choice and Inner Life. There’s also contributions from Candido, Skip Mahoney, Candido and Jimmy Castor. From start to finish, Salsoul Presents: The Definitive 12” Masters Volume 2 is quality all the way. The same can be said of Disc One. Both discs act as a perfect primer to disco’s premier label Salsoul Records. Much of that music on Salsoul Presents: The Definitive 12” Masters Volume 2 is now over thirty years old, but like a good wine, has aged well. Several times during my review I’ve referred to the music as timeless, and often that’s the case. Mind you, with musicians as good as the Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli and Larry Washington, that’s no surprise. These were the greatest musicians of the seventies. To me, part of the success of Salsoul was the combination of some of the most creative and talented musical minds. Whether it was arrangers, producers, musicians or artists, both labels ensured that they had access to the finest, most creative people. This even extended to Salsoul’s A&R department, who spotted the potential of tracks like Bataan’s The Bottle (La Botella), and Gaz’s Sing Sing. All of this lead to Salsoul becoming disco’s greatest labels, with one of the best back catalogues. Eighteen remixes of these Salsoul tracks can be found on Salsoul Presents: The Definitive 12” Masters Volume 2, which is compelling and eclectic collection of music that demonstrates what made Salsoul disco’s greatest label. Not only that, but Salsoul Presents: The Definitive 12” Masters Volume 2 is the perfect companion to Salsoul Presents: The Definitive 12” Masters Volume 1 and one of the finest Salsoul compilations I’ve come across. Standout Tracks: The Salsoul Orchestra Nice ‘N’ Nasty, Loleatta Holloway Hit and Run, Eddie Holman This Will Be A Night To Remember and First Choice Love Thang.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
Ever since the release of their 2001 debut album Loss, each of Mull Historical Society’s three subsequent albums have been critically acclaimed and commercially successful. From the release of Loss, Colin MacIntyre, the brainchild between Mull Historical Society, has been perceived as one of the most talented songwriters of his generation. While Loss reached number forty-three in the UK, Mull Historical Society’s sophomore 2003 album Hope surpassed this reaching number nineteen in the UK Charts. Following 2004s This Is Hope, which reached number fifty-eight in the UK, Colin decided to dispense with his Mull Historical Society pseudonym. His next two albums, 2008s The Water and 2009s The Island were released under Colin’s own name. Then for what was his sixth album, Colin decided to revive his Mull Historical Society moniker for City Awakenings, which like his previous albums, showcased Colin’s award winning songwriting skills. City Awakenings was produced by Grammy Award-winning producer Dom Morley and sees Colin MacIntyre pay homage to Glasgow, London and New York, the three cities that have influenced Colin. Before I tell you about City Awakenings, I’ll tell you about the life and times of Mull’s troubadour extraordinaire, Colin MacIntyre and his musical career so far.
Colin MacIntyre was born in Tobermory, on the Isle of Mull, in the Scottish Hebrides. The Isle of Mull is a beautiful and spartan landscape, with Tobermory’s population numbering just 2,500 people. Indeed, sheep outnumber their human counterparts on a ratio of 10-1. It was through watching his uncle’s cover band that Colin was first inspired to make music. Since 2001, Colin MacIntyre has honed a reputation as one of Scotland’s most talented songwriters, singers and multi-instrumentalists.
It was back in October 2001 that Colin MacIntyre released his debut album Loss, under his Mull Historical Society pseudonym. Written and produced by Colin, Loss was released on the Blanco Y Negro label. On its release, Loss was critically acclaimed. It became a favorite amongst discerning music lovers and critics alike. Loss was also a commercial success, reaching number forty-three in the UK Charts. Following the commercial success and critical acclaim of Loss, Mull Historical Society established a reputation as one of Britain’s up and coming artists. Indeed, Loss was hailed as one of the greatest British albums of 2001. In many ways, it was a sign of what was to come from Mull Historical Society. Two years later, things got even better for Mull Historical Society.
For the recording of their sophomore album Us, Mull Historical Society headed to Glasgow’s Gravity Studios. Between January and October 2002, Mull Historical Society laid down fourteen tracks, which are eloquent and filled with social comment. When Mull Historical Society released Us in March 2003, it would surpass the critical acclaim and commercial success of Loss. Us reached number nineteen in the UK and would reinforce Colin’s reputation as one of the great singer-songwriters of his generation. However, after Mull Historical Society’s next album, they wouldn’t release another album for eight years.
Less than a year after the release of Us, Mull Historical Society released their third album This Is Hope in July 2004. Surprisingly, given the quality of music on This Is hope, it stalled at number fifty-eight in the UK. Obviously, his must have been a disappointment for Colin MacIntyre. However, whether it made his mind up to retire the Mull Historical Society moniker is unknown. For his next album, Colin dispensed with his musical mask that was Mull Historical Society.
Having dispensed with his Mull Historical Society moniker, Colin MacIntyre took centre-stage. That wasn’t the only change in Colin’s music. His fourth album The Water was released on Future God’s Recordings. To produce The Water, Lemon Jelly’s Nick Franglen was brought onboard. A very special guest on The Water was veteran Labour politician Tony Benn, who features on the album closer Pay Attention To The Human. On the release of The Water in February 2008, it was described as “pop perfection.” This was a fitting description of The Water, which soared into the top twenty in the UK. Following the critical acclaimed and commercially success of The Water, Colin decided to change things again for 2009s The Island.
Fittingly, Colin returned to the familiar surroundings of Mull to record his fifth album The Island. Recording took place in the classroom of the school where Colin was a former pupil. Now his old school was an arts centre and was where Colin recorded his most stripped down album to date. While it wasn’t Colin’s most successful album, on its release in July 2009, The Island was critically acclaimed and attracted the attention of some of music’s biggest names. Indeed, for Colin, the greatest compliment he received, was hearing that Brian Wilson played The Water in his tour bus. The Island also lead to Colin touring with The Strokes, Elbow and REM. After releasing two albums under his own name, Colin decided to revive his Mull Historical Society moniker for his sixth album City Awakenings.
Colin MacIntyre’s sixth album, City Awakenings, saw him revive his Mull Historical Society moniker for City Awakenings. Like his five previous albums, City Awakenings showcased Colin’s award winning songwriting skills. Produced by Grammy Award-winning producer Dom Morley, City Awakenings sees Colin MacIntyre pay homage to Glasgow, London and New York. These three cities have influenced Colin MacIntyre, Scotland’s latest troubadour. City Awakenings also pays homage to The Hague on For Bas, The Hague. Once the ten tracks that comprise City Awakenings were recorded, it reached number 163 on its release in January 2012 in the UK. Just like The Island, the album’s commercial success didn’t equate with the quality of music, on City Awakenings. You’ll realize that, when I tell you about City Awakenings.
City Awakenings might be Mull Historical Society’s fourth album, but is Colin’s sixth album overall. Each of the ten songs on City Awakenings were written by Colin and recorded at Glasgow’s Cava Studios, London’s The Shed and the legendary Metropolis Studios. Accompanying Coin, a true multi-instrumentalist par excellence, who plays guitars, bass, synths, Moog, mandolin, percussion, omnichord, kalimba and farfisa are an equally talented band. They include Ross McFarlane, Fiona Shannon, Cameron Todd, Brian McNelill and Miriam Lamen are equally talented. This multitalented band provide the backdrop for Colin’s three city musical journey from Glasgow, to London and onto New York.
From the opening bars of Must You Make Eyes At Me Now, right through to the closing notes of Thameslink (London’s Burning), you’re taken on a musical journey. This musical journey is a captivating, enthralling and emotive roller-coaster. From Scotland’s friendliest city Glasgow, we head south to London and then head across the Atlantic to New York. Throughout the journey, you’re spellbound by Colin’s vocals.
Quite simply, Coin’s vocals breath life, meaning and emotion into the tracks. While they may not be similar in style or sound, they’re as effective as troubled troubadours like Paul Buchanan, Tom Waits and Tom Buckley. Each vocals sounds as if it has been aged by malt whisky and cigarettes, and has you captivated and spellbound. There’s a world weary sound to Colin’s vocal. He sounds as if he’s lived several lives and survived to tell the tale. Several tracks demonstrate this.
There’s a wariness in Colin’s vocal on Must You Make Eyes At Me, where he wonders if he’s being used or played. Can You Let Her Know is a truly anthemic track, where Colin unleashes waves of emotion. Almost casually, he sings: it’s oh oh over, with me, can you let her know.” His vocal vintage Elvis Costello and Bruce Springsteen circa Born To Run. He’s accompanied by cooing harmonies and an arrangement that’s driven by jangly guitars reminiscent of Orange Juice, Aztec Camera, Teenage Fanclub and The Byrds.
The Lights is one of Colin’s finest songs, not just on City Awakenings, but his five previous albums. It’s a track that’s wonderfully melancholy and pensive, filled with heartache and regret. Colin’s vocal is sung from the point of view of someone who feels they’re to blame for what’s happened. He’s seeking closure, wanting reassurance that he’s not to blame. Having said that, there’s an air of mystery that leaves you wondering about the real meaning to the lyrics and the story behind them.
You Can Get Better is the most emotive song on City Awakenings. Colin’s vocal is pleading, begging and filled with hope. There’s almost a sense of desperation in his vocal. He’s scared of being left alone and losing the one he loves. Given how heartfelt his delivery, you can’t fail to be moved by some peerless lyrics. This Is Not My Heart is another deeply moving song. Here Colin lays bare his soul, revealing his loneliness and neediness.
Honey Pie has a brash sound thanks to Dom Morley’s production style. With crisp drums, washes of synths at the heart of the arrangement, Colin’s sneering vocal is perfect for the lyrics. He delivers eloquent lyrics crammed full of social comment that demonstrate his talent as a singer and songwriter. For Bas, The Hague features a raw, impassioned vocal from Colin. This is delivered against a meandering, almost understated arrangement that gradually reveals its secrets and subtleties. Closing City Awakenings is Thameslink (London’s Burning), a poignant track, where ethereal vocals play a subservient role to a heartachingly beautiful track. This proves the perfect way to close City Awakenings.
While City Awakenings may not have been Mull Historical Society’s most successful album, it was critically acclaimed and reinforced Colin MacIntyre’s reputation as one of the most talented troubadours and songwriters of his generation. He’s capable of writing incisive, eloquent songs, crammed with social comment, emotion and heartbreak. This has been the case since Mull Historical Society’s 2001 debut album Loss. Whether under the Mull Historical Society moniker or as Colin MacIntyre, Colin has established a reputation as erudite, intelligent songwriter, whose one of Britain’s most talented singer, songwriter and musicians. Mind you, it’s no wonder Colin is such a talented songwriter. Hailing from the beautiful island of Mull, Colin is from a family of wordsmiths. His father Kenny was a legendary and highly respected journalist, while his brother Kenny Jr, is forging a career in sport’s journalism.
During the past twelve years, Mull Historical Society’s reputation has grown and grown. Whether it’s the UK, Europe or US, Mull Historical Society are attracting a growing fan-base. For anyone yet to discover Mull Historical Society’s music, then City Awakenings is a good starting point into one of Scotland’s most talented musical sons. Standout Tracks: Must You Make Eyes At Me, Can You Let Her Know, The Lights and You Can Get Better.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
With so many Salsoul compilations having been released over the past twenty years, any newcomer to Salsoul Records is spoiled for choice. Indeed, anyone looking to discover disco’s premier label, will be confused by the sheer variety of Salsoul compilations on offer. Sadly, Salsoul compilations fall into three categories…the good, the bad and the ugly. To misquote George Orwell in Animal Farm, “all Salsoul compilations are created equally, but some Salsoul compilations are more equal than others.” For newcomers to Salsoul, this can prove frustrating and disappointing. So far, the best Salsoul compilation I’ve come across is Harmless Records’ triple-album The Definitive Salsoul Mixes. Released in 2011, The Definitive Salsoul Mixes set the standard for subsequent Salsoul compilations. So when I review a Salsoul compilation, I always compare them to The Definitive Salsoul Mixes. The latest contender to The Definitive Salsoul Mixes’ crown is Salsoul Presents: The Definitive 12” Masters Volume 1.
Salsoul Presents: The Definitive 12” Masters Volume 1 is a double album released in 2004 on Suss’d Records. It featured eighteen Salsoul remixes from Tom Moulton, Larry Levan, Shep Pettibone and Jim Burgess across the two discs. This includes remixes of Loleatta Holloway, First Choice, The Salsoul Orchestra, Carol Williams, Candido, Inner Life and Double Exposure. With music from some of Salsoul Records’ greatest artists, can Salsoul Presents: The Definitive 12” Masters Volume 1 steal The Definitive Salsoul Mixes’ crown. That’s what I’ll tell you after I’ve picked the ten best tracks on Salsoul Presents: The Definitive 12” Masters Volume 1.
DISC ONE.
My first choice from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1 is the original mix of The Salsoul Orchestra’s You’re Just The Right Size. This was a track from The Salsoul Orchestra’s 1976 million-selling album The Salsoul Orchestra. It was written, arranged and produced by by Vince Montana Jr. and later, was recorded by Charo. Here the Sweethearts of Sigma provide sultry, sensuous vocals. They’re’ accompanied the pounding, dramatic Baker, Harris, Young rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have hit their stride and are in full flight, showing why they were the best house-band of the seventies. As Ron Baker’s bass anchors the track, swathes of the lushest strings shiver and quiver, keyboards and blazing horns provide the backdrop to the sensual, sultry vamp. This demonstrates just how innovative a producer Vince Montana Jr. was. Although this is similar in style and sound to Donna Summer’s Love To Love, this is a better track.
Dreamin’ is one of four tracks Norman Harris cowrote with Ron Tyson and Allan Felder for Loleatta Holloway’s third album Loleatta. It was released in 1976 on Gold Mind Records. Norman arranged and produced the track, while Loleatta gives one of the best performances of her career. Larry Washington’s congas give way to grand strings that sweep and swirl, before the Baker, Harris, Young rhythm section, guitars and blazing horns. Loleatta struts centre-stage, her vocal sassy and fiery. She combines controlled power and confidence, while the Sweethearts of Sigma add sweet, soaring backing vocals. With the pounding rhythm section, punchy blazing horns and dancing strings accompanying Loleatta she gives one of sassiest, feistiest performances, settling into the roll of disco diva as if born for the role.
Double Exposure’s Ten Per Cent is the track that most people consider launched Salsoul as one of the premier disco labels. It was released in November 1976 and produced by Norman Harris. Tom Moulton’s remix features on Salsoul Presents: The Definitive 12” Masters Volume 1. Opening with Earl Young’s pounding drums, percussion and shivering strings, the track is driven along by the Baker, Harris Young rhythm section, as a gloriously, uplifting track unfolds. Hissing hi-hats, swirling strings, a sizzling guitar solo from Norman Harris and stabs of keyboards all play their part before the impassioned vocal enters. Accompanied by tight soulful harmonies, the vocal is laden with emotion, while an absolutely, intoxicating and invigorating arrangement sweeps you along. There’s everything you could want and more on a disco track. Strings, percussion, the tightest of rhythm section and of course that impassioned and emotive vocal. It’s an irresistible slice of majestic disco, whose charms and beauty are deserving of the word masterpiece.
Another of Salsoul’s divas was Carol Williams. She released just one album ‘Lectric Lady in 1977. Love Is You was released as a single in March 1977. For far too long, it’s been an underrated and overlooked track. Thankfully, Carol’s track has come back into “fashion,” and is one of the hidden gems in the Salsoul back-catalogue. Produced and co-written by Vince Montana Jr. the original mix fuses the sweetest, joyful vocal with a stunning arrangement. When the track opens, it’s just Earl Young’s drums that you hear, before literally, the track explodes into life. Suddenly, you’re greeted by sweet, cascading strings, blazing horns, percussion and the Baker, Harris, Young rhythm section. They give way to Carol’s sweet, beautiful vocal. She’s accompanied by a backdrop of quivering strings, flourishes of guitars and bursts of horns as the track reveals its irresistible sound. Later, Vince adds just the finishing touch to the track with his vibes, playing a lengthy and glorious solo. This is just the perfect way to close this gorgeous track, one with a hook-laden, feel-good sound.
First Choice released six albums during between 1973 and 1980. Delusions was their fourth album, and Gold Mind Records’ debut. Previously, the group had been signed to the Philly Groove label, where they enjoyed some commercial success. Doctor Love was a track from their 1977 album Delusions and was produced by Norman Harris. With lead singer Rochelle Fleming, fronting First Choice, they’d become one of the disco era’s biggest groups. The track has a bright and bold introduction with a mixture of blazing horns, cascading strings and a punchy rhythm section combining. Then, when Rochelle’s vocal enters it’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, backing vocals, as the track heads to a breakdown. This was placed here by Tom Moulton, who remixed the original track. By adding this lengthy breakdown Tom allows the listener to experience the track in all its glory…and then some. A combination of Rochelle’s powerful and passionate vocal, Norman Harris’ stunning arrangement and Tom Moulton’s remixing skills result in one of First Choice’s greatest tracks.
Choosing just five tracks from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1 wasn’t easy. I had to overlook classics like Double Exposure’s My Love Is Free and Loleatta Holloway’s Runaway. The other two tracks are Walter Gibbon’s remix of Love Committee’s Just As Long As I Got You and Jim Burgess’ remix of Ripple’s The Beat Goes On. Quite simply, it’s quality all the way on Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1. However, will that be the case on Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1?
DISC TWO.
Instant Funk’s I Got My Mind Made Up (You Can Get It Girl) is my first choice from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1. It was released in December 1978, reaching number twenty in the US Billboard 100 and number one in the US R&B Charts and US Disco Charts. This success continued when Instant Funk was released in January 1979 reachings number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. Since then, it’s become a classic, which was remixed by Larry Levan. That familiar opening sees punchy horns kick, before Instant Funk’s rhythm section combine with synths, tight harmonies. Then a flourish of keyboards, ushers in James Carmichael’s punchy, sassy lead vocal. An equally sassy female vocal replies in disbelief to James’ vocal. Punchy harmonies add to the hook-laden sound, before James delivers a heartfelt vocal. Meanwhile, Instant Funk fuse percussion, a loping bass line, punchy drums and harmonies as the synths buzz. Breathy backing vocals accompany the really soulful lilting vocal, before midway through the track, a breakdown is like a musical curveball. When the track rebuilds, you revel in this glorious fusion of Latin, funk, soul and disco which unsurprisingly, was Instant Funk’s biggest hit.
How High was the first album after Vince Montana Jr. left The Salsoul Orchestra. It was released in 1978, and marked the start of numerous changes at Salsoul. The title-track How High, written and produced by Colin Horton Jennings and Steve O’Donnell and was remixed by Larry Levan. Cognac were drafted in to add vocals to a track that literally bursts into life. The Baker, Harris, Young rhythm section provide the track’s heartbeat, while keyboards, percussion and Don Renaldo’s lush strings and growling horns signal the arrival of the vocal. Her vocal is a mixture of power and passion, with tight, soaring, soulful harmonies accompanying it. Vibes, Bobby Eli’s guitar, the pounding, funky rhythm section and percussion combine, while the horns blaze, growling and rasping, almost ever-present and crucial to the track’s sound and success. Together, with The Salsoul Orchestra and Cognac, How High gets the album of to a brilliant start, one that’s soulful and funky.
Love Sensation was the title-track from Loleatta Holloway’s 1980 album. It gave Loleatta a number one club hit. Penned and produced by Hartman, arranged by Norman Harris and remixed by Shep Petibone, it’s a Salsoul classic. Here, Loleatta Holloway demonstrates why she as the true Queen of Disco. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Like many of the tracks released by Salsoul Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981 on Inner Life I, which confusingly, was their second album. It features a timeless arrangement and stunning vocal from Jocelyn Brown. Her vocal is best described as diva-esque, as she delivers Ashford and Simpson’s lyrics. Produced by Patrick Adams and Greg Carmichael and remixed by Larry Levan, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one the highlights of Inner Life I, given its uplifting, joyous and energetic sound.
The best known track from Leroy Burgess’ solo career is undoubtably Heartbreaker. Released in August 1983 on Salsoul Records, Heartbreaker was the last track released by Salsoul before it closed its doors. This seems a fitting choice for my final choice from Salsoul Presents: The Definitive 12” Masters Volume 1. Not only did Leroy cowrite the track, but arranged and produced it. When the track opens, it’s a combination of a funky rhythm section, squelchy synths and joyous backing vocalists combining. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Apart from the five tracks I’ve chosen from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1, I could just as easily have picked two tracks by legendary percussionist Candido, Logg’s I Know You Will or the First Choice classic Let No Man Put Asunder. Put simply, Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1 is long in quality and short in filler.
Indeed there’s neither any faux pas nor filler on Salsoul Presents: The Definitive 12” Masters Volume 1, just eighteen tracks from disco’s greatest label. The music on Salsoul Presents: The Definitive 12” Masters Volume 1 covers the period between 1976 and August 1983, when Salsoul was the most influential and pioneering dance label. Having built its reputation during the disco era, Salsoul Records reinvented itself in the post-disco age and became one of disco’s survivors. Thirty years after Salsoul closed its doors, its music is seen as some of the best and most influential of the disco era. There’s much more to Salsoul than disco. As Salsoul Presents: The Definitive 12” Masters Volume 1 demonstrates, Salsoul Records released music that was soulful, funky and dance-floor friendly. Whether it’s funk, Latin, boogie or disco, the dance-music on Salsoul Presents: The Definitive 12” Masters Volume 1 is of the highest quality. Good as Salsoul Presents: The Definitive 12” Masters Volume 1 is, it doesn’t quite match the quality of The Definitive Salsoul Mixes. Mind you, The Definitive Salsoul Mixes is a triple album, while Salsoul Presents: The Definitive 12” Masters Volume 1 is just a double album. What i will say, is that for either a newcomer or veteran of Salsoul Records, Salsoul Presents: The Definitive 12” Masters Volume 1 will be a welcome and worthy addition to any record collection. Standout Tracks: The Salsoul Orchestra You’re Just The Right Size, Loleatta Holloway Dreamin,’ Carol Williams Love Is You and First Choice Doctor Love.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
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