SKYY-SKYY LINE.
SKYY-SKYY LINE.
By the time Skyy released their fourth album for Salsoul Records, Skyy Line, which was recently rereleased by BBR Records, Salsoul, and indeed music, had changed dramatically. Between 1975 and 1979, Salsoul Records had established a reputation as disco’s premier label. Salsoul Records gained a reputation as an innovative and influential label, who released commercially successful and critically acclaimed albums. Among Salsoul’s success stories were Loleatta Holloway, First Choice, Double Exposure and The Salsoul Orchestra, whose members were crucial to the success of Salsoul.
The Salsoul Orchestra were no ordinary disco orchestra. Quite the opposite. They were the best and were made up of some of the most talented songwriters, musicians, arrangers and producers of the disco era. Lead by Vince Montana Jr, and featuring the combined talents of the Baker, Harris, Young rhythm section, percussionist Larry Washington and guitarist Bobby “Electronic” Eli, they were crucial to Salsoul’s success. First to leave was Vince Montana Jr, after a dispute with the Cayre brothers over royalties. Gradually, other musicians, including Baker, Harris, Young played less of a part in Salsoul’s music. Norman Harris, who ran Gold Mind Records, a subsidiary of Salsoul was a huge loss. He was more than a songwriter, musician, arranger and producer, he was a talent scout, who discovered First Choice and Double Exposure. By 1979, The Salsoul Orchestra had lost some of its biggest names. Then in 1979, disco almost died.
During 1979, there was a huge backlash against disco. The Disco Sucks movement came to a head on 12th July 1979, at Comiskey Park, Chicago. Spectators heading to a Chicago White Sox game were offered the chance to get in for 99 cents if the brought along a disco record. Later, thousands of disco records were blown up, nearly taking with it the stadium. That night, disco almost died. It was read the last rites and on its recovery, headed underground. After that, disco became hugely unpopular. Labels dropped disco artists who were now, really unpopular, disco labels folded and disco was no longer played on radio. Unlike other labels, Salsoul survived and lived through the turmoil.
Having survived the turmoil surrounding disco’s near death experience, Salsoul as a label, had to adapt to survive. No longer could they continue releasing the same music. So, disco changed, evolving and reinventing itself. Boogie was one of the musical genres that replaced disco. However, one group on Salsoul survived the as attempted assassination of disco and flourished in the post-disco era. They were Skyy, founded by Randy Muller and Solomon Roberts Jr, back in 1973, when disco was just about to stretch its wings.
Back in 1971, Randy Muller was a member of Brass Construction, who’d just released their debut single. Around that time, in Brooklyn, New York he first met four sisters who were known as The Sounds Of Soul. This included Denise, Delores and Bonne Dunning, three sisters who were students at Franklin Delano Roosevelt High School in Bensonhurst. Soon, The Sounds Of Soul were opening for Brass Construction. However, Brass Construction wasn’t the only band Randy was involved with.
Randy Muller while trying to refine Brass Construction’s sound, was working with B.T. Express, managed by Jeff Lane. Jeff asked Randy to arrange the strings on B.T. Express’ 1974 debut, Do It To Your Satisfied. Later in 1974, he arranged Isis’ single Bobbie and Maria. This was just the start of Randy’s career in arranging and production. Later in 1974, he arranged Isis’ single Bobbie and Maria. Still, Brass Construction were without a record deal. That changed in 1975.
Having been searching for a record deal for some time, Randy Muller’s Brass Construction finally, signed to United Artists in 1975. Their first album was Brass Construction, which was produced by Randy Muller. It featured the hook-laden number one single Movin.’ With Brass Construction signed to United Artists, The Sounds Of Soul were out on a limb. Luckily, Randy introduced The Sounds Of Soul to Solomon Roberts Jr.
Solomon Roberts Jr. was working with guitarist Anibal Sierra. They’d decided to put together a band comprising four female vocalists. The Sounds Of Soul fitted the bill. Unfortunately, the fourth member decided to leave. This left Denise, Deloroes, Bonne Dunning and Sierra. Soon, bassist Gerald Lebon and drummer Tommy McConnel joined the band. Using what he’d learnt working with Brass Construction and B.T. Express, Solomon started honing Skyy’s sound. Needing a name, Solomon hit on Skyy, which he felt not only summed up the seventies, but brought to mind a myriad of moods. When keyboardist Larry Greenberg joined Skyy, the lineup was complete. Now Skyy could record their debut album.
Before Skyy recorded their debut album, Solomon Roberts Jr. and Randy Muller formed their own production company Alligator Bit Him Productions. By the time Solomon and Randy formed Alligator Bit Him Productions, Randy had produced Brass Construction’s first five albums. Randy was an experienced songwriter, arranger and producer and produced Skyy’s debut album. Once Skyy was recorded, Randy and Solomon pitched the album to record companies.
Having pitched Skyy to various record companies, some labels wanted the band, others just wanted The Sounds Of Soul. Then Salsoul heard Skyy and decided that here was an album of unique and innovative music. Soon, Randy and Solomon signed Skyy to Salsoul.
Now signed to Salsoul, First Time Around was released as Skyy’s debut single in 1979. It reached number twenty in the US R&B Charts, while Skyy’s debut album Skyy reached number 117 in the US Billboard 200 and number forty in the US R&B Charts. This was a good start to Skyy’s nascent recording career. However, things would get even better.
1980 saw the release of Skyy’s sophomore album Skyway. It reach number sixty-one in the US Billboard 200 and number seventeen in the US R&B Charts. The lead single from Skyway, High reached number 102 in the US Billboard 100 and number thirteen in the US R&B Charts. This was Skyy’s biggest hit single so far.
Later in 1980, Skyy released their second album of 1980 Skyyport. It nearly matched the success of Skyway, reaching number eighty-five in the US Billboard 200 and number sixteen in the US R&B Charts. However, all that would be surpassed by Skyy’s fourth album Skyy Line, which featured their most successful single Call Me.
For what became Skyy Line, Randy Muller wrote Call Me, Girl In Blue and Get Into The Beat. Solomon Roberts Jr. penned Jam The Box and When You Touch Me. He also cowrote Gonna Get On with Gerald Leon, while Tommy McConnel contributed Let’s Celebrate, which was apt given the success coming Skyy’s way.
Once Skyy Line was recorded, Call Me was released in October 1981. Call Me was a huge commercial success, reaching number twenty-six in the US Billboard 100, number one in the US R&B Charts and number three in the US Disco Charts. Then when Skyy Line was released in November 1981, it reached number eighteen in the US Billboard 200 and number one in the US R&B Charts. Let’s Celebrate reached number sixteen in the US R&B Charts and number sixty-seven in February 1982. When You Touch Me was released in May 1982, reaching number forty-three in the US R&B Charts. Skyy Line had transformed Skyy’s career, with commercial success and critical acclaim coming their way. However, why was Skyy Line such a successful album?
Opening Skyy Line is Let’s Celebrate, where the funkiest of rhythm section joins eighties synths before tight, heartfelt and soulful harmonies sweep in. Solomon’s lead vocal is equally impassioned and soulful, expressing a sense of joy, satisfaction and sometimes, disbelief. This is apparent from the lyric: “walking on clouds.” Stabs of horns punctuate the arrangement, while the rhythm section play an important part in the song’s success. Tommy McConnell’s drums provides a steady heartbeat while Gerald Lebon’s bubbling bass weaves its way across the arrangement. Both provide a fitting backdrop for the soulful strains of Skyy as seamlessly, soul, funk and boogie unite.
Written by Randy Muller who produced Call Me with Solomon Roberts Jr, this single gave Skyy the biggest hit of their career. From the opening bars, it’s apparent something special is unfolding. The arrangement marries elements of funk with a disco beat. Above the loping bass line, crisp driving beats and chiming guitars sits a dramatic vocal accompanied by sweeping harmonies. Later, bursts of keyboards and rocky guitars add an element of drama to this career defining track. Not only was Call Me the best track on Skyy Line, but the best track they ever recorded.
A James Brown inspired holler and drum roll signal something funky is unfolding. Girl In Blue has a sassy, P-Funk sound from the get go. A loping bass, hypnotic drums, searing rocky guitars and synths accompany Solomon’s sassy, feisty vocal. He struts his way through the track, with stabs of blazing horns and percussion for company. Solomon delivers a vocal that’s not just sassy, but dripping with confidence against an uber funky backdrop.
Jam The Box is a track with a variety of influences. Funk is the biggest influence, although Talking Heads and boogie can be heard throughout the track. The rhythm section have a foot in two decades. The drums have an eighties sound, while Gerald Lebon’s bass has a seventies sound as it provides the arrangement’s heartbeat. Solomon’s vocal is powerful and confident vocal, as he sings call and response with the former The Sounds Of Soul. Making their first appearance on Skyy Line are Skyy’s trademark Skyyzoos. They play their part in giving this track its infuriatingly catchy sound.
When You Touch Me sees the tempo drop, and soon, a beautiful ballad unfolds. Just an understated combination of chiming guitars, piano and subtle drums combine. Then a dramatic burst of drums signals the arrival of a beautiful, tender female vocal. Harmonies sweep in, complimenting and reinforcing its beauty. Drums add to the drama as the vocal grows in power, beauty and sheer soulfulness. Although very different, it’s a gorgeous track, that shows another side to Skyy.
Gonna Get It On sees Skyy continue to demonstrate their versatility. After the chiming guitars, Skyy throw a curveball, when a real reggae influence enters. The rest of rhythm section enter, and are joined by rasping horns, synths and piano. Solomon’s vocal is needy and sensual, while the Dunning sisters add sweeping, soulful harmonies. The result is a slice of musical sunshine, that demonstrates Skyy’s versatility.
Closing Skyy Line is Get Into The Beat, written by Randy Muller. The tempo is slow, with just the rhythm section, chiming guitars and flourishes of strings producing an arrangement that seems to pay homage to Chic. When a female vocalist enters, her vocal veers between urgent to tender and sensual. It’s the perfect foil to the rest of the arrangement, which brings back memories of Chic at their best, during disco’s glory days.
So what made Skyy’s fourth album Skyy Line such a successful album? Well, by 1981, when Skyy Line was released, Skyy had already released three albums. Skyy had also just released a number one US R&B single Call Me. For newcomers to Skyy’s music, Call Me was the perfect introduction. Soon, Skyy, who’d been a successful band, were on their way to becoming one of the biggest dance groups of 1982. Not only that, but Skyy were now on their way to becoming Salsoul Record’s most successful group of the post-disco era.
Not only were Skyy a successful band, who’d gained a reputation for producing music that was unique, innovative and influential. That was key to the success of Skyy’s music. However, they took this further on Skyy Line. It’s best described as a genre-sprawling album. The nine tracks saw Skyy veer between boogie, disco, soul, funk and on Gonna Get It On, reggae. Some tracks were a fusion of several musical genres, which Randy and Solomon seamlessly combined. That’s what attracted people to Skyy’s music. Masterminded by Randy Muller and Solomon Robert Jr, Skyy released seven albums between 1979 and 1984. However, their most commercially successful and critically acclaimed was Skyy Line, which was recently rereleased by BBR Records. For anyone yet to discover the music of Skyy, the critically acclaimed and commercially successful Skyy Line is the place to start. Standout Tracks: Let’s Celebrate, Call Me, When You Touch Me and Get Into The Beat.
SKYY-SKYY LINE.
THE TRAMMPS-DISCO INFERNO.
THE TRAMMPS-DISCO INFERNO.
Eight months after The Trammps released Where The Happy People Go in April 1976, they released their third studio album Disco Inferno In December 1976. A year after The Trammps released Disco Inferno, which was rereleased by WEA Japan on 30th April 2013, their career was totally transformed. This transformation took place when Disco Inferno featured on the soundtrack to a low-budget movie. Little did anyone realize the effect Saturday Night Fever would have on disco and the career of everyone involved.
Saturday Night Fever was a low-budget movie, produced for only $2.5 million dollars, produced by Robert Stigwood and featuring John Travolta. It featured music from M.F.S.B, The Bee Gees, Tavares, Yvonne Eliman and The Trammps’ Disco Inferno. Even when Saturday Night Fever was released, little did anyone connected with the project realize its impact. Soon, Saturday Night Fever became one of the biggest films of the seventies. At the box office, Saturday Night Fever grossed $282.4 million. As for Saturday Night Fever’s soundtrack it was certified platinum fifteen times, selling over fifteen-million copies and staying at number one in the US Billboard Charts for twenty-four weeks between January and July 1978. For every artist or group who featured on the Saturday Night Fever, this was a career game-changer. Disco Inferno became synonymous with The Trammps. However, when The Trammps released their third album in December 1976, it was a very different story.
The Trammps had signed to Atlantic Records in 1975 and released their sophomore album Where The Happy People Go in April 1976. It had reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. Now The Trammps had to build on the momentum of Where The Happy People Go. For their third album, Disco Inferno lead Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade got to work with a few of their Philly friends.
For what became Disco Inferno, Earl Young’s two musical collaborators Norman Harris and Ron Baker would contribute three tracks. Norman cowrote Body Contact Contract with Bruce Gray and Jimmy Hendricks and Starvin’ with Earl Young and Ron Tyson. Ron Baker wrote I Think I’ve Been Living (On the Dark SIde of the Moon). Leroy Green and Ron “Have Mercy” Kersey cowrote the title-track Disco Inferno. Little did they know that Disco Inferno would become a legendary disco anthem. T.G. Conway, Allan Felder and Ron Tyson cowrote Don’t Burn No Bridges. You Touch My Hot Line was written by Jerry Atkins, Victor Drayton, Reginald Turner and Johnny Belmon. These six tracks were recorded in the familiar surroundings of Philly’s Sigma Sound Studios.
Joining the five members of The Trammps, Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade at SIgma Sound Studios were an all-star cast of Philadelphia’s musicians. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli and T.J. Tindall the guitars. Larry Washington and Robert Cupit played congas, while Bruce Grey, Carlton Kent, Ron “Have Mercy” Kersey and T.G. Conway keyboards. Evette Benton, Carla Benson and Barbara Ingram, The Sweethearts of Sigma added backing vocals and Don Renaldo Strings and Horns played an important part in Disco Inferno’s sound. Producers included Norman Harris, Ron Baker, Earl Young and Ron “Have Mercy” Kersey. Once Disco Inferno was recorded it was released on 29th December 1976, at the height of disco’s popularity.
Disco Inferno was chosen as the lead single from Disco Inferno and reached number fifty-three in the US Billboard 100 and number nine in the US R&B Charts. Over in the UK, Disco Inferno reached number sixteen. On the release of Disco Inferno on on 29th December 1976, it reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. This was an improvement on That’s Where The Happy People Go. When the Ron Baker penned I Think I’ve Been Living (On the Dark SIde of the Moon) was released as a single, it reached number fifty-two in the US R&B Charts. Although The Trammps must have been pleased that their second album for Atlantic Records had been such a success, little did they know what was about to happen. That was still to come. However, what does the music on Disco Inferno sound like? That’s what I’ll now tell you.
Opening Disco Inferno is Body Contact Contract, arranged and produced by Norman Harris. The track bursts into life with the Baker, Harris, Young rhythm section, growling horns, dancing strings and keyboards producing a pulsating heartbeat. Bobby “Electronic” Eli adds a searing solo and Robert Upchurch’s barotone adds punchy backing vocals. That sets the scene for Jimmy Ellis’ vocal. It veers between tender and a grizzled growl. He grabs the song and brings the lyrics to life. With Earl Young’s thunderous drums driving the arrangement along, harmonies sweep in urgently, joining flourishes of keyboards and bursts of Robert’s baritone drift in and out. Meanwhile, frenzied strings dance, horns blaze and bray while Baker, Harris, Young produce a powerhouse of backbeat. It’s the perfect song to open Disco Inferno, dramatic, urgent, soulful and dance-floor friendly, providing a showcase for the twin-talents of The Trammps and their all-star backing band. Now The Trammps have your attention, they won’t let go.
Starvin’ is another track Norman Harris cowrote, arranged and produced. He cowrote the track with Earl Young, Allan Felder and ex-Temptation Ron Tyson. Again, Baker, Harris, Young provide the heartbeat, while melodic keyboards, cascading strings and blazing horns combine to create a dramatic backdrop for Jimmy Ellis’ vocal. His vocal’s full of emotion and pain, as he sings “I’m Starvin’ for your love.” Loneliness and heartache fill his voice, before his vocal becomes a vamp, pleading and begging. Robert Upchurch’s interjections are timed to perfection, proving hugely effective. Similarly, the band provide a dramatic, emotive backdrop. Strings sweep and swirl, horns rasp and Baker, Harris, Young give a masterclass. Ron Baker’s bass and Earl Young’s drive the arrangement along and Bobby “Electronic” Eli adds his trademark funky licks. Meanwhile, sweeping, cooing harmonies from the other Trammps and the Sweethearts of Sigma provide the finishing touch, to Jimmy’s needy pleas.
Ron Baker wrote, arranged and produced I Think I’ve Been Living (On the Dark SIde of the Moon). Earl Young’s issing hi-hats and Ron Baker’s lightning-fast bass combine, as the arrangement unfolds. Crystalline guitar licks from Norman Harris and then banks of keyboards unite to build the drama. After a minute, dramatic bursts of Earl’s drums and keyboards signal the arrival of Jimmy Ellis’ pleading, heartfelt, vampish vocal. Tender harmonies from The Trammps and the Sweethearts sweep in. Soon, they grow in power and soulfulness. Meanwhile, the arrangement grows and grows. Philly Soul, funk, jazz and disco unite. Strings dance joyously, horns growl, keyboards add dramatic flourishes and Baker, Harris, Young produce a powerful, dramatic and funky heartbeat. Handclaps and harmonies give the track a gospel twist, as Jimmy Ellis unleashes one of his most impassioned vamps on Disco Inferno.
Disco Inferno literally bursts into life. It’s arranged and produced by Ron “Have Mercy” Kersey. The Baker, Harris, Young section are like a musical juggernaut, with drummer Earl Young driving the track along his hi-hats hissing. Ron Baker’s tough, funky bass matches Earl every step. Don Renaldo strings swirl frantically and his horns growl. Hypnotic keyboards play their part. Then when Jimmy Ellis delivers his vocal, he’s like a disco preacher. His powerful, grizzled vocal grabs the song. Soon, he’s waving his magic, like a disco wand. Punchy, sweeping and cooing harmonies from The Trammps and the Sweethearts of Sigma grow in power. It’s as if they realise something special is unfolding. It is. From the opening bars to the closing notes, Baker, Harris, Young are at the heart of the action. Earl and Ron provide a pulsating heartbeat, while Norman Harris’ jazz tinged guitar playing is subtlety personified. The result is a ten-minute disco Magnus Opus; an anthemic track featuring disco preacher extraordinaire Jimmy Ellis with The Trammps and Philly’s finest musicians produce one of disco’s greatest, most iconic tracks.
Following such anthemic track as Disco Inferno isn’t easy, but Don’t Burn Any Bridges has to do this. Comparisons are almost unfair. Produced by Norman Harris, T.G. Conway’s arrangement has a jaunty, uptempo opening. Flourishes of quizical strings, bursts of drums and grizzled horns combine. Then with a flamboyant flourish of keyboards, urgent harmonies sweep in. When they drop out, Jimmy Ellis takes on the role of preacher, spreading wisdom and advice with a powerful, impassioned vocal. It’s filled with energy, emotion and totally heartfelt. Behind him, strings slip and dance, horns blaze and Earl Young reflects the power and passion in Jimmy’s vocal. Tight soulful harmonies from The Trammps and the Sweethearts of Sigma accompanying Jimmy, as he delivers one of his most heartfelt, sincere and soulful vocals on Disco Inferno.
Closing Disco Inferno is the Earl Young produced You Don’t Touch My Hot Line, arranged by T.G. Conway. Searing guitar licks from Bobby “Electronic” Eli join the Baker, Harris, Young rhythm section, while strings sweep and swirl. Soon, Jimmy Ellis delvers a vocal that’s a combination of passion and power. It’s also deeply soulful, like The Trammps tight, sweeping harmonies. They’re joined by lush strings and blazing horns, while Bobby Electronic” Eli and Norman Harris’ guitars provide contrasts. Horns growl and Earl Young’s drums inject power and drama as Jimmy and rest of The Trammps vamp their way through the rest of the track, closing Disco Inferno on a song that has made in Philly written all over it.
It seems that The Trammps picked up where they left off on Where The Happy People Go. Not only did The Trammps build on the momentum created by their sophomore album, but Disco Inferno saw The Trammps take their music to even heights of soulfulness and dance-floor friendliness. Philly Soul, funk, jazz and disco were all poured into The Trammps musical melting pot. The result was a delicious and timeless fusion of musical genres. From the opening bars of Body Contact Contract, right through tracks like I Think I’ve Been Living (On the Dark SIde of the Moon), Disco Inferno and the deeply soulful strains of You Don’t Touch My Hot Line, The Trammps never miss a beat.
A combination of The Trammps vocal prowess, plus some of Philly’s best songwriters, arrangers, producers and musicians saw to this. Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Earl Young all deserve credit for their productions on Disco Inferno. So do the all-star line of musicians, featuring some legendary Philadelphia musicians. Especially with such a charismatic vocalist as Jimmy Ellis bringing each song to life with power, passion and emotion. The Trammps and Sweethearts of Sigma’s harmonies were just the finishing touch. When you look at the personnel involved in Disco Inferno and hear the six tracks, you wonder why the album wasn’t a much bigger success. Then a year later, somewhat belatedly, one of the tracks on Disco Inferno which was rereleased by WEA Japan on 30th April 2013, became an anthemic, iconic disco classic.
When Saturday Night Fever was released, the title-track Disco Inferno became disco’s anthem worldwide. Fifteen-million copies of the Saturday Night Fever soundtrack were sold and suddenly, everyone knew The Trammps and their music. Some of the artists that featured on the Saturday Night Fever soundtrack didn’t enjoy the longevity of The Trammps. Thirty-six years later, The Trammps music is just as popular. Indeed, many of The Trammps songs, including Disco Inferno , have become anthemic, iconic tracks, part of disco’s rich and vibrant history. Standout Tracks: Body Contact Contract, Starvin’, Disco Inferno and Don’t Burn Any Bridges.
THE TRAMMPS-DISCO INFERNO.
BLUE MAGIC-MYSTIC DRAGONS.
BLUE MAGIC-MYSTIC DRAGONS
The story of Blue Magic, is far from unique. Their eponymous debut album Blue Magic, released in January 1974, reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in Blue Magic being certified gold. Blue Magic featured the million-selling Philly Soul classic Sideshow, written by Vinnie Barrett and Bobby “Electronic” Eli. Sadly, after their debut album, Blue Magic failed to replicate the success of Blue Magic.
The Magic of The Blue, released in December 1974, reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. Even when the Vinnie Barrett and Bobby “Electronic” Eli, penned Three Ring Circus was released as a single, it stalled at number thirty-eight in the US Billboard 100 and number five in the US R&B Charts. Blue Magic’s fortunes improve during 1975.
1975 saw Blue Magic embark on their first world tour. It lasted sixteen grueling and exhausting weeks. However, their luck was about to improve. Blue Magic won an Ebony Award for the best new group. Then in September 1975, their third album, Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. With Blue Magic’s fortunes improving, work began on their third album Mystic Dragons which was rereleased by WEA Japan on 30th April 2013. For Mystic Dragons, there would be some changes.
Unlike Blue Magic’s first three albums, Norman Harris wasn’t producing Mystic Dragons. Neither would Norman provide any of the songs on Mystic Dragons. Given Norman had co-written eleven songs on Blue Magic’s three previous albums this would be a huge void. Another void was the loss of the Baker, Harris, Young rhythm section. They’re didn’t provide Mystic Dragon’s heartbeat. Only Norman Harris would play on Mystic Dragons. For Mystic Dragons, Bobby “Electronic” Eli would produce and cowrote six of the nine tracks.
Mystic Dragons featured nine tracks, with Bobby “Electronic” Eli contributing six tracks. With Vinnie Barrett, Bobby “Electronic” Eli penned To Get Love (You Must Give Love). Bobby cowrote Freak-N-Steln, Mother Funk, Summer Snow and Making Love To A Memory with Len Barry. They then penned Rock ‘N’ Roll Revival with Keith Barrow, who wrote It’s Something About Love. Blue Magic’s lead singer wrote Spark of Love and cowrote See The Bedroom with Keith Beaton. These nine tracks became Mystic Dragons, which was recorded at Philly’s Sigma Sound Studios.
Blue Magic returned to Philly’s Sigma Sound Studios for the recording of Mystic Dragons. They were accompanied by some of Philly’s best musicians. The rhythm section included bassists Larry LaBes and Michael “Sugarbear” Forman, drummers Jerry James and Larry James plus guitarists Bobby “Electronic” Eli, Norman Harris, T.J. Tindall and Ted Cohen. Vince Montana Jr, played vibes, Larry Washington congas and percussion and Evette Benton tambourine. Carlton “Cotton” Kent, Ron “Have Mercy” Kersey and Erskine Mills played keyboards, while Dexter Wansell and Travers Huff played synths. Alto saxophonist Jack Faith and violinist Don Renaldo were part of the woodwind, string and horn section that featured on Mystic Dragons. Add backing vocals were The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Once Blue Magic had finished recording Mystic Dragons, it was released in 1976.
On the release of Mystic Dragons in 1976, it was the least successful album of Blue Magic’s career. It stalled at number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. Three singles were released from Mystic Dragons during 1976. Freak-N-Steln only reached number seventy-three in the US R&B Charts. It’s Something About Love then reached number forty-eight in the US R&B Charts. Summer Snow proved to be the most successful single, reaching number forty in the US R&B Charts. This must have been hugely disappointing for Blue Magic. This was a long way from their million-selling album Blue Magic and single SIdeshow. So, why wasn’t Mystic Dragons a commercial success? That’s what I’ll tell you, after I’ve told you about the music on Mystic Dragons.
Opening Mystic Dragons is Freak-N-Steln, penned by Bobby “Electronic” Eli and Len Barry. Straight away, you hear a very different sound to Blue Magic. It’s a tougher, funkier sound, but still soulful. Searing guitars, stabs of keyboards and a funk-laden rhythm section combine, before a powerful, almost dramatic vocal enters. Sweeping harmonies provide the soulful side of the track. Growling horns add to the tough, funky side, while soaring synths from Dexter Wansell provide another new side to Blue Magic. Although a long way from the dreamy, wistful sound of Sideshow and Three Ring Circus, it’s almost as Blue Magic are trying to reinvent themselves. While it’s still a quality track, maybe the new sound alienated Philly Soul lovers?
To Get Love (You Must Give Love) has a much more Blue Magic sound. Written by Bobby “Electronic” Eli and Vinnie Barrett, the track has a dreamy, melancholy sound. It features Ted Mills’ first lead vocal. The tempo slows, keyboards, a wandering bass and Vince Montana Jr’s bass combining. Then comes Ted’s tender, heartfelt vocal. Accompanying him, are harmonies from The Sweethearts of Sigma and the rest of Blue Magic. A piano and bass play a crucial role in the arrangement, while the drums reflect the drama and emotion in Ted’s vocal. Synths are deployed, and thankfully, don’t detract from the arrangement. Norman Harris’ chiming guitar makes an appearance, on this beautiful ballad, that quite simply, is one of the highlights of Mystic Dragons.
See The Bedroom sees another change in style. There’s everything from rock, funk and soul combining. Sometimes, there’s even a psychedelic era Beatles sound in the mix. The rhythm section, searing guitars and blazing horns combine with vocal, before the track heads in a dramatic and soulful direction. It’s the vocal that provides the soulfulness, while the rhythm section, horns and synths that add the drama. Cascading harmonies and searing guitars accompany Ted’s vocal, as Blue Magic combine elements of Philly Soul, psychedelia and funk. Drama and soulfulness are combined, as Blue Magic continue to reinvent themselves with this experimental track. Ironically, the previous track, which had Blue Magic’s name written all over it, is what they do best.
Given the title Mother Funk, it’s no surprise the track has a heavy-duty funky sound. It’s like Blue Magic trying to reinvent themselves as Funkadelic. From the get go, riffing guitars, blazing horns and a pounding, funky rhythm section accompany the vocal. It’s edgy, tough and sassy. Cascading, soulful harmonies and percussion join an arrangement where, a driving rhythm section, growling horns and riffing guitars combine. Then Don Renaldo unleashes a violin solo. Country and folk are his reference points. Somehow, Blue Magic have managed to pull off the impossible, by combining elements of Philly Soul, funk and Southern Rock. By then, Blue Magic’s mystical, heady brew of musical genres suddenly all makes sense. This seems a fitting way to close Side One of Mystic Dragons.
Summer Snow opens Side Two of Mystic Dragons, with a much more Blue Magic sounding track. They return to their Philly Soul sound. Just a combination of the rhythm section, piano, Vince Montana Jr’s vibes and chiming guitars accompany Ted’s tender vocal. Suddenly all is well with the world, as Blue Magic do what they do so well. I can even forgive the use of the synths. When the vocal changes hands, Blue Magic showcase their combined vocal prowess. Similarly, their harmonies are tight, heartfelt and soulful, as they do what they do best, deliver soulful, beautiful music.
As Rock ‘N’ Roll Revival unfolds, it’s as if Blue Magic are in church, testifying. Then having given thanks, the arrangement explodes. Searing guitars and a driving rhythm section accompany the powerful, joyous vocal. Funk, rock and soul combine. Slide guitar and piano play leading roles, complete with handclaps and gospel harmonies from Blue Magic and The Sweethearts of Sigma. The result is an infectiously catchy, genre-sprawling track, hooks-laden track.
Just an understated arrangement opens It’s Something About Love. Synths, a subtle rhythm section and flute combine, before Ted’s vocal enters. The only problem is the synths, which jar. This means Ted’s vocal is forced to compete with the synths. His vocal is a mixture of hope and happiness, but tinged with confusion. Subtle sweeping, cooing harmonies, piano and rasping horns combine, as the vocal changes hands. From there, Ted’s vocal grows in power, passion and joy, complete with some delicious harmonies. Apart from the synths, which seem out of place and jar somewhat, this is a gorgeous Philly Soul ballad, which demonstrates that even by 1976, Blue Magic had neither lost any of their soulfulness nor magic.
Making Love To A Memory is the last of the Len Barry and Bobby “Electronic” Eli songs. Just Vince Montana Jr’s vibes and keyboards combine, before a burst of drums signals the cooing, tender harmonies to sweep in. Blue Magic are joined by The Sweethearts of Sigma as the lead vocal is delivered with sadness and regret. Harmonies answer the vocal, sweeping in, as if sympathizing with the plight. Meanwhile, the arrangement allows the vocal and harmonies to take centre-stage. Just the rhythm section, keyboards and percussion accompany Blue Magic, as they roll back the years, delivering a vintage slice of Philly Soul.
Closing Mystic Dragons is Spark of Love, penned by Ted Mils. The rhythm section build the drama and emotion, before the lead vocal enters. It’s hurt-filled and emotive, with the synths providing an accompaniment. Sometimes, it seems out of place, competing with the vocal and harmonies. Here, it’s a case of the synths are overused. A little goes a long way. They should’ve been used sparingly. It’s a shame, as Blue Magic are at their soulful, dramatic and emotive best. The arrangement cascades along, like a merry-go-round. Just the rhythm section, piano provide the accompaniment to Blue Magic. For their part Blue Magic seem to drive each other to greater heights of emotion, drama and sheer soulfulness.
So, Blue Magic’s fourth album Mystic Dragons, produced by Bobby “Electronic” Eli saw a change in sound and style from one of Philly Soul’s giants. With Norman Harris no longer producing Blue Magic, their familiar Philly Soul sound changed. Gone were the lush strings of the three previous albums. Similarly, the horns were used much more sparingly. The Baker, Harris, Young rhythm section were also badly missed. So too, were the songwriting skills of Norman Harris and his various songwriting partners. Having said that, this doesn’t mean Mystic Dragons is a bad album. Quite the opposite. There’s much to commend Mystic Dragons
Producer Bobby “Electronic” Eli combined elements of funk, rock and even psychedelia with Philly Soul. Freak-N-Steln and the Funkadelic inspired are very different to Blue Magic’s previous music. Of the two tracks, Mother Funk works best. On See The Bedroom, Philly Soul, funk and Southern Rock are fused. Somehow this works, and works well. Rock ‘N’ Roll Revival is a hook-laden track where Blue Magic and The Sweethearts of Sigma testify their way through the track, fusing Funk, rock, soul and gospel. Ironically, although each of these tracks see producer Bobby “Electronic” Eli take Blue Magic out of their comfort zone, it was the Philly Soul tracks which stand out.
Bobby “Electronic” Eli and Vinnie Barrett, who penned Blue Magic’s biggest single Sideshow, cowote The To Get Love (You Must Give Love). This was the best track on Mystic Dragons. It had a lovely, dreamy, wishful sound, just like Sideshow and Three Ring Circus. Of the other four tracks, Summer Snow and Making Love To A Memory see Blue Magic back to their soulful best. Both are tracks quite beautiful slices of Philly Soul. So too are It’s Something About Love and Spark of Love, which could’ve been an even better tracks if the synths hadn’t been used during the track. Overall, the five Philly Soul tracks were what Blue Magic did so well. However, given the change in musical tastes, Blue Magic’s music had to change.
Disco was now the most popular musical genre. Funk was also a popular musical genre. Philly Soul was no longer as popular. So it made sense for Blue Magic to change direction. However, Mystic Dragons didn’t sell well. Indeed, Mystic Dragons which was rereleased by WEA Japan on 30th April 2013, was the least successful album of Blue Magic’s career. While Mystic Dragons is a good album, it doesn’t match the quality of their first three albums. For anyone looking to discover the music of Blue Magic, then Blue Magic, The Magic of The Blue and Thirteen Blue Magic Lane are the place to start. After that, Mystic Dragons is an album to explore and enjoy, as Blue Magic open the next chapter in their career. Standout Tracks: To Get Love (You Must Give Love), Summer Snow, It’s Something About Love and Making Love To A Memory.
BLUE MAGIC-MYSTIC DRAGONS.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
Recently, I’ve come to the conclusion that the most overused word in the English language is the word “classic.” Nowadays, something can’t just be good, it must be a classic. It doesn’t matter if someone is talking about a book, cuisine, technology, a architecture or art, the word classic is used to describe anything that rises above average. Whether it’s a book, building, painting, phone or automobile, chances are, critics will refer to it as a classic. Nowhere is the word classic more overused than in music. Anyone who reads the music press will see the word classic both overused and misused. In truth, very few of the hundreds of thousands of albums ever recorded, deserve to be called classics. However, one album that certainly deserves that accolade, is Aretha Franklin’s breakthrough album I Never Loved A Man the Way I Loved You which was rereleased by WEA Japan on 26th March 2013.
By the time Aretha Franklin recorded I Never Loved A Man the Way I Loved You, she was not only a hugely experienced singer and recording artist, having released ten previous albums. Three of those albums Running Out of Fools released in 1964, 1965s Yeah! and Soul Sister, released in 1966, had all reached the top ten in the US R&B Charts. That however, was the extent of her commercial success. Her previous album 1966s Take It Like You Give It had failed to chart. All this would change considerably, in 1967, when she took a trip to Muscle Shoals to record her next album.
Aretha Franklin’s destination was the legendary Fame Recording Studios, where she recorded with the Muscle Shoals rhythm section, who’d graced numerous Southern Soul hits. Once there, she recorded a track that would change her career I Never Loved A Man the Way I Loved You, a track where Aretha’s gospel influence shines through. On returning to New York, she cut the B-side of what would be her next single, I Never Loved A Man the Way I Loved You. The B-side Do Right Woman, Do Right Man. On the single’s release, I Never Loved A Man the Way I Loved You reached number nine in the US Billboard 100 and number one in the US R&B Charts, resulting in the first gold disc of Aretha’s career.
Following this success, an album was released, I Never Loved A Man the Way I Loved You, which had been recorded at the Fame Recording Studios n Muscle Shoals and Atlantic Recording Studios in New York, during January and February of 1967. With the Muscle Shoals Rhythm Section Aretha recorded a total of eleven tracks, including a cover of Sam Cooke’s A Change Is Gonna Come and Otis Redding’s Respect. Aretha’s cover of Respect reached number one in both the US Billboard 100 and the US R&B Charts, earning Aretha another gold disc. On its release in March 1967, I Never Loved A Man the Way I Loved You reached number two on the US Billboard 200 and number one in the US R&B Charts. This lead to the album being certified platinum, having sold over one million copies.
Although most critics loved the album, Rolling Stone magazine had a number of criticisms. They criticized the Muscle Shoals Rhythm Section’s “lack of versatility,” with the drums and guitar incurring the wrath of Fame’s finest musicians. Another person coming in for criticism was producer Jerry Wexler. His “production lacked polish,” was their opinion. Whether any of this either reached or bothered the Muscle Shoals Rhythm Section, Jerry Wexler or even Aretha Franklin, is unknown. After all, everyone concerned had just played their part in a platinum selling album. However, after a volte-face in 2002, the same magazine made the album number one in their Women In Rock: 50 Essential Albums list. A year later, after their volte-face they included I Never Loved A Man the Way I Loved You at number eighty-three in their list of the 500 Greatest Albums of All Time. Since its release, back in 1967, I Never Loved A Man the Way I Loved You is still perceived as one of the greatest albums Aretha Franklin ever released, and it’s that album I’ll now tell you about.
I Never Loved A Man the Way I Loved You opens with a cover version of the Otis Redding track Respect, albeit with a change in the lyrics. Whereas, Otis’ version was from the perspective of a desperate man, willing to do whatever it takes to please his woman, Aretha sings the song from the perspective of a confident, independent woman. She knows what he wants, never does him wrong and demands his respect. Making her point, she spells out R-E-S-P-E-C-T, while behind her, backing singers unite to sing “sock it to me.” The song became an anthem to the feminist movement, and earned Aretha two Grammy Awards in 1968. When the songs opens, it’s a combination of blazing horns, chiming, searing guitars and driving rhythm section that accompany Aretha’s sassy, confident vocal. Behind her, The Sweet Inspirations, Aretha’s backing vocalists unite soulfully, their voices a contrast to Aretha’s power and confidence. Together with the Muscle Shoals Rhythm Section, they help drive the track quickly, along. The result is not only a timeless, track, but a feminist anthem.
Drown In My Own Tears was a track previously covered by Dinah Washington and Ray Charles. Here, Aretha reinterprets the track written by Henry Glover. It’s just a piano that opens the track, giving way to a hugely powerful and emotive vocal from Aretha. Drums join the piano, played gently, as they should be on this track, while Aretha injects both beauty and emotion into the lyrics. Later, rasping horns enter, and like The Sweet Inspiration, punctuating the rest of the track. Jerry Wexler’s arrangement is perfect, allowing Aretha’s vocal to take centre-stage, where it soars emotively and beautifully, as she offers up a beautiful interpretation of the song.
The track that really launched Aretha’s career after eleven years and ten albums of trying was I Never Loved A Man (the Way I Loved You). Written by Ronny Shannon, it gave Aretha her first US R&B number one single. It’s that familiar combination of piano, organ and drums that open the track, before Aretha’s frustrated, angry vocal enters. She’s despairing at being in love with a no-good, good cheating guy, who treats her badly, but can’t leave him because of how he makes her feel. Rasping horns punctuate the track, while, the piano is key to the track. Occasionally The Sweet Inspirations accompany Aretha, adding to the already emotive and dramatic sound. Soon, horns accompany Aretha’s energetic, desperate soaring vocal as she sings how she’s never loved a man like him. In just under three minutes, Aretha covers a gambit of emotions from angry and frustrated, to lovestruck and desperate and everything in between. It’s a very real story the mistreating, cheating guy and the woman who would and should leave him, but can’t because she loves the way he makes her feel. However, no-one can tell the story like Aretha. Her version of this seminal, career changing track is peerless.
Aretha changes things on Soul Serenade, which features a truly tender vocal. Just Aretha and the piano combine, before blazing horns and the rhythm section enter. The horns enter into call and response with Aretha and are at the heart of the sound. This proves really effective.
Don’t Let Me Lose This Dream features a much more powerful vocal from Aretha, who co-wrote this track with her husband Ted White. Just the rhythm section and backing vocalists accompany Aretha. Whether this song is autobiographical one wonders, given the lyric “if I lose this dream, it’s goodbye love and happiness?” Although the lyrics are good enough, they and the song don’t quite match the quality of its predecessors. Sinilarly, Jerry Wexler’s production gives the track a dated sound.
Baby, Baby, Baby was written by Aretha and her sister Carolyn. A combination of piano and Hammond organ that accompany Aretha’s hugely emotive and sad vocal. Hurt by the man she loves, the rhythm section and The Sweet Inspirations gently accompany Aretha on this slow, sad song. Emotive and impassioned, her love for her man is almost tangible. This becomes sadness and desperation, when rasping, horns and soaring harmonies join. Truly, it’s a powerful track, full of emotion, thanks to Aretha’s reading of some heartbreaking lyrics.
Another track Aretha and Ted White penned was Dr Feelgood (Love Is A Serious Business). Straight away, there’s a real Southern Soul feel as a Hammond organ and piano combine, before the rhythm section and Aretha enter. They’re accompanied by bursts of horns and guitar, while Aretha gives a thoughtful, slightly angry vocal. She’s angry as she sings about neither wanting anyone, nor anything, to come between her and her man. Aretha sings the lyrics with frustration, anger and passion, combining soul and jazz seamlessly.
Aretha covers two Sam Cooke tracks on I Never Loved A Man the Way I Loved You. The first of these is Good Times, where Aretha makes the song swing with the help of the Muscle Shoals rhythm section. Along with blazing horns, Aretha gives a sassy, swinging rendition of Sam Cooke’s lyrics. Her delivery is jazzy, but still soulful as the makes Sam Cooke’s lyrics swing,
Dan Penn and Chips Moman cowrote Do Right Woman, Do Right Man. Although this track has been covered many singers, Aretha’s version is the definitive version. Key to this is the gospel influence, which continues to the bridge. Just the piano, Hammond organ played by Aretha and rhythm section accompany Aretha’s gospel tinged vocal. Behind her, The Sweet Inspiration contribute peerless harmonies. Aretha’s vocal is laden with emotion, as she urges men to treat women as their equals, as well as treating them well, not cheating on them or abusing them, and certainly, never to take them from granted. The other theme of the lyrics is temptation, and how women can be tempted towards infidelity, but resisting temptation, can have its rewards. Aretha’s vocal is laden with emotion and sincerity, as she demonstrates her gospel roots, while delivering the definitive version of a classic track.
Save Me was written by Aretha and Carolyn Franklin with Curtis Ousley. Searing guitars and the rhythm section accompany Aretha’s pleas, as she almost screams for someone to save her, to love her and take away her hurt. Later, short, sharp bursts of horns punctuate the arrangement, while the guitars and rhythm section drive the track along. As the track progresses, Aretha’s pleas become even more desperate, full of emotion, sadness and passion. This results in a track that’s drenched in drama, emotion and desperation.
Closing I Never Loved A Man the Way I Loved You is Sam Cooke’s A Change Is Gonna Come. Of all the songs Sam Cooke wrote, this is one of the most powerful and became synonymous with the civil rights movement. Although the song was only a minor hit for Sam Cooke in 1963, the song’s impact was huge and important. When it’s sung by either Sam Cooke or Aretha Franklin, it has the capacity to bring a multitude of emotions to the surface. It makes you sad, frustrated and angry at the injustice of the early sixties when the song was released by Sam Cooke, but happy and joyous that by 1967, slowly change was indeed coming. Just a piano accompanies Aretha’s tender, determined and thoughtful vocal. As a Hammond Organ enters, her voice soars. Aretha brings life and meaning to Sam Cooke’s lyrics, her voice soaring from tender to a powerful, emotive and impassioned style. By the end of the this outstanding, hugely emotional paean of hope, you can’t failed to be moved and be uplifted by this beautiful song, which is a fitting and poignant way to end I Never Loved A Man the Way I Loved You.N
Not only did I Never Loved A Man the Way I Loved You launch Aretha Franklin’s career at Atlantic Records, but it was the album that saw her make a commercial breakthrough. Critically acclaimed and certified gold, I Never Loved A Man the Way I Loved You, which was rereleased by WEA Japan on 26th March 2013, is one of Aretha’s greatest albums. Quite simply, I Never Loved A Man the Way I Loved You is a stunning album, with some hugely powerful music on it. Among the highlights of I Never Loved A Man the Way I Loved You are Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come. These are four tracks not only feature Aretha at her best, but demonstrate her ability to bring life and meaning to lyrics. There’s e confident, independent and sassy Aretha on Respect. Compare this to the Aretha on Never Loved A Man (the Way I Loved You), where she’s been mistreated, cheated on, but still can’t stand to leave. The difference is huge, but the portrayal are very real. Then there’s the message of equality on Do Right Man and the positivity and emotion of A Change Is Gonna Come. This allows you to see how Aretha Franklin could bring a song to life, make to you believe in the lyrics and emotions behind it. Although I’ve just mentioned these four songs, there are many other great tracks on the album. Aretha’s interpretation of Henry Glover’s Drown In My Own Tears is both emotive and very beautiful. Overall, I Never Loved A Man the Way I Loved You is one of the few that deserves to be rightly called a classic album. Nowadays, this accolade is given to too many unworthy albums. However, I Never Loved A Man the Way I Loved You richly deserves the accolade.
Having released ten albums before signing to Atlantic Records, I Never Loved A Man the Way I Loved You was a career defining album. It saw Aretha on her way to being crowned Queen Of Soul. However, this was just the start of a string of critically acclaimed and commercially successful albums. From 1967s Aretha Arrives, Lady Soul, Aretha Now, through 1969s Soul ’69 and 1972s Young Gifted and Black Aretha Franklin was the undisputed Queen Of Soul. Nobody else came close. These were the best albums of Aretha’s long and illustrious career. However, the album that started Aretha Franklin’s career was I Never Loved A Man the Way I Loved You, which transformed her career and deserves to be called a classic. Standout Tracks: Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
Sometimes, when people discuss the great soul singers, they forget about Donny Hathaway, whose career was tragically cut short. During his career, Donny Hathaway only released three studio albums, one soundtrack album and two albums with Roberta Flack. Donny Hathaway’s debut album was 1970s Everything Is Everything, which was rereleased by WEA Japan on 26th March 1970. Everything Is Everything is regarded by critics as his greatest album, his musical Magnus Opus, which I’ll tell you about
Donny Edward Hathaway was born in October 1945, in Chicago. He was the son of Drusella Huntley, but was brought up by his grandmother Martha Pitts, a professional gospel singer. While many children are referred to as a musical prodigy, this was true of Donny. At the age of three, Donny joined his grandmother in her church choir. After graduating from Vashon High School, he headed to Howard University in Washington’ DC to study music on a fine arts scholarship. During his time at Howard, Donny formed a jazz trio. He was joined by drummer Ric Powell, and they played around the Washington area. In 1967 Donny received various offers to work within the music industry.
After leaving university, Donny’s first job within the music industry was as session musician, songwriter and producer. His first job was with Twilight Records in Chicago. Later he worked as an arranger, and was responsible for the arrangements on two of The Unifics singles Court of Love and The Beginning of My End. Donny went on to work with The Impressions, Aretha Franklin, Jerry Butler, The Staple Singers, Leroy Hutson and Curtis Mayfield.
Woking with Curtis lead to Donny becoming house producer at Curtis Mayfield’s Curtom Records. It was there, that Curtis started recording as one of the Mayfield Singers. In 1969, he recorded his first track under his own name. This was a duet with June Conquest entitled I Thank You Baby, with another duet by the pair Just Another Reason as the B-side. Later in 1969, Donny signed to the Atco Records label. This came about after being spotted by King Curtis, a musician and producer at a music industry trade convention. This lead to Donny releasing his first successful single The Ghetto Part 1, which he cowrote with friend Leroy Hutson. Like Donny, Leroy Hutson would later go on to find success as a singer, songwriter and producer.
Now signed to Atco, Donny Hathaway began work on his eponymous debut album Everything Is Everything. Of the nine tracks, Donny wrote Thank You Master (For My Soul) and cowrote four other tracks. Donny penned Sugar Lee with Richard Powell, and with Leroy Hutson, cowrote Tryin’ Times and The Ghetto. WIth Phil Upchurch, Donny and Leroy penned Je Vous Aime (I Love You). Phil Upchurch also cowrote Voices Inside (Everything Is Everything) with Richard Evans and Ric Powell. Along with covers of Nina Simone’s To be Young, Gifted and Black and Ray Charles’ I Believe To My Soul, these nine tracks became Donny’s debut album Everything Is Everything.
Recording of Everything Is Everything took place with an experienced band of musicians. The rhythm section included guitarist King Curtis, drummer Ric Powell, bassists Louis Satterfield and Phil Upchurch, who also played guitar. Donny played electric piano and organ. Joining this tight band were a horn section. Producers included Donny, Ric Powell and King Curtis. Once recording of what became Everything Is Everything was completed, it was ready for release in 1970.
On its release of Everything Is Everything, it was critically acclaimed. It reached number seventy-three on the Billboard 200 album charts and number thirty0three in the US R&B Charts. The Ghetto Part 1 was released as a single, reaching number eighty-seven in the US Billboard 100 and number twenty-three in the US R&B Charts. Although Everything Is Everything wasn’t a huge commercial success, it was critically acclaimed as seen as Donny Hathaway’s best album. You’ll realize why when I tell you about it.
Everything Is Everything begins with Voices Inside (Everything Is Everything). It has an understated sound, just a bass being plucked and drums playing. Soon, you think a slice of funk is unfolding. This increases when Donny shouts “let’s get down now,” and then a piano plays. Backing singers join in, Donny scats. By now the arrangement has grown, and is a glorious mixture of horns, harmonies, handclaps and piano. Donny’s style is loose, ad-libbing, whooping and hollering. As the track closes the end of the track, you realize you’ve been privileged to hear four-minutes of masterful music, where soul and funk unite.
Just drums and testifying backing singers combine, before a guitar accompanies Donny. His voice on Je Vous Aime (I Love You) is full of emotion and sincerity. It’s soulful with a capital S. He delivers some heartfelt lyrics, about how times have been tough, yet he still loves her. Soulful and gospel tinged harmonies compliment Donny’s voice perfectly. Apart from the harmonies, it’s just drums, and guitars which feature in the arrangement. When you listen to this track, it’s hard to believe that this is Donny’s debut album, such is the maturity and confidence he displays during such a beautiful track.
I Believe To My Soul has a dramatic opening, it’s a mixture of drums, keyboards and horns. To misquote James Brown it’s loud and it’s proud. When Donny joins in the tempo increases, the arrangement gets fuller and the drama increases. He sings about mistrust and betrayal, his voice loud, strong and soaring powerfully. Behind him, horns blaze. They almost upstage Donny with their performance, punctuating the track with a virtuoso performance. Along with Donny, they play their part in setting the scene for Donny’s tale of distrust and betrayal.
After such an energetic workout as I Believe To My Soul, Misty sees Donny return to his gospel roots. From the start, Misty has a gospel influence. This is apparent is both Donny’s vocal and the arrangement. Donny takes the tempo way down, as he sings. Behind him, a piano plays and are joined by stabs of horns. Not only is the tempo slow, but Donny and his band leave space within the arrangement. This adds to the drama while Donny’s vocal is heartfelt and laden with emotion. Here Donny’s at his soulful best, his passionate performance amongst Everything Is Everything’s highlights.
When Sugar Lee begins to reveal its secrets, a bass is accompanied by whoops, hollers and handclaps. The arrangement is looser, less structured, albeit with a funk and jazz influence. Drums and piano join the bass as you realize this track is very different from previous tracks. Sometimes, the sound veers towards chaotic, but thankfully, that never quite happens. It’s best described as experimental sound, with its roots in jazz and funk. After the quality of previous tracks, Sugar Lee disappoints.
When Tryin’ Times begins, it’s just Donny testifying accompanied by a piano and bass. With real feeling and emotions, he sings about the poverty and society’s problems. The lyrics are powerful, potent and still relevant today. Like most of the tracks on Everything Is Everything the song benefits from a good arrangement, one that’s understated. Forty years after Leroy and Donny penned Tryin’ Times its lyrics are just as relevant.
Thank You Master (For My Soul) is the only track Donny wrote himself. It’s a track with its roots in the church, and features spiritual lyrics. In the lyrics Donny gives thanks, for everything he has, especially his soul. When he does, he gives another heartfelt performance. The arrangement gradually unfolds, subtly revealing its secrets. Slowly, a piano plays, before drums, keyboard and horns enter. What starts of as an understated arrangement, eventually turns into almost a jazz workout, with his band showcasing their musical abilities. It’s almost a song of two parts, and during the second part of the song, Donny is joyous, thankful for what he has. His voice becomes passionate, and sincere, as he gives thanks. You can’t fail to be moved by Donny’s moving and heartfelt performance on this track.
The Ghetto Part 1 is a track most people will recognize. Again, it’s a track with a much looser arrangement. Much of the track is an instrumental with Donny ad-libbing. He whoops as a bass plays, then proudly announces “this is the ghetto.” From there the track meanders along for over seven minutes. Keyboards, percussion, handclaps and the rhythm section are joined by harmonies that interject Occasionally, Donny sings. Mostly, the track meanders along, slowly and beautifully. Whoops, hollers and screams can be heard. The improvisational style of track works well. Here, Donny has borrowed this style from jazz, and this looser style works brilliantly, ending up with one of Donny’s best known tracks.
To Be Young Gifted and Black closes Everything Is Everything. Here, Donny takes a risk, by covering a song made famous by Nina Simone and Aretha Franklin. Many people regard Aretha’s version as the definitive version. However, Donny’s version is good, very good, and runs Nina Simone’s version close. He sings this song about poverty and inequality brilliantly. His rendition is passionate, he sings it as if he’s angered by these things, he sees them rightly, as a blight on society. The arrangement allows Donny’s vocal to shine. Again there’s a gospel influence present and space is left within the arrangement as Donny gives a vocal masterclass. Towards the end of the track, soaring harmonies add the finishing touch to what’s quite simply, the highlight of Everything Is Everything. With its lush, gospel arrangement, this is one of the best songs Donny Hathaway ever recorded.
For anyone yet to discover the music of Donny Hathaway, then the perfect place to start is his debut album Everything Is Everything, which was rereleased by WEA Japan on 26th March 2013. Of the three albums Donny Hathaway recorded, Everything Is Everything is his best album. It was critically acclaimed upon its release. Considering Everything Is Everything was a debut album, it’s an accomplished and mature album. Just nine songs long, Everything Is Everything is a fusion of soul, funk, jazz and gospel, where Donny Hathaway breathes new life, meaning and energy into new and old songs. Whether it’s songs about love, hurt and heartache or songs filled with social comment or spiritual, Donny’s delivery is equally potent and powerful
Of the new songs on Everything Is Everything, The Ghetto Part 1, Tryin’ Times and Thank You Master (For My Soul) are the highlights, while Donny’s cover of To Be Young Gifted and Black is almost as good as Aretha’s. Only Sugar Lee which seems to lack direction, disappoints. Apart from that, Everything Is Everything is one of the best soul albums you could ever hope to hear. The nine tracks on Everything Is Everything feature some of the best tracks Donny Hathaway ever recorded. Here, Donny’s voice is at its best. He’s backed by some hugely talented musicians and the production is almost perfect. That’s why Everything Is Everything is the best album Donny ever released in his tragically, short career.
Although Donny Hathaway only recorded three studio albums, they’re three great albums. If you’ve never heard Everything Is Everything, which was rereleased by WEA Japan on 26th March 2013, is an album that belongs in every record collection. Indeed, I’d thoroughly recommend Everything Is Everything to anyone. Not only is Everything Is Everything an album that once you’ve heard it, you’ll fall in love with it. Donny Hathaway had one of the best voices in soul music, it’s tragic that his life and career were so short. However, we should be thankful that during his lifetime, he recorded such wonderful music, including the majestic Everything Is Everything. Standout Tracks: Voices Inside (Everything Is Everything), Tryin’ Times, Thank You Master (For My Soul) and To Be Young Gifted and Black.
DONNY HATHAWAY-EVERYTHING IS EVERYTHING.
ROBERTA FLACK-FIRST TAKE.
ROBERTA FLACK-FIRST TAKE.
Mention Roberta Flack’s name, and most people automatically think of two songs, The First Time I Saw Your Face and Killing Me Softly. The story of First Take is one where if fate hadn’t intervened, might have resulted in the album forever remaining a hidden gem. Having been released in 1969, First Take which was rereleased by WEA Japan on 26th March 2013 wasn’t a commercial success. Remarkably, when First Take was released in 1969, The First Time I Ever Saw Your Face wasn’t released as a single. Instead, Compared To What was the first single released from First Take. It wasn’t until two years later, in 1971, when fate intervened and The First Time I Ever Saw Your Face featured in the Clint Eastwood movie Play Misty For Me. This lead to the song being released as a single, giving Roberta her first US number one single. Spurred on by sales of The First Time I Ever Saw Your Face, First Take started selling, transforming Roberta’s career. Two years after its release, First Take would go on to sell over one-million copies, resulting in the album being certified platinum. However, things might have been very different, if The First Time I Saw Your Face hadn’t featured in Play Misty For Me. Before I tell you about the music on First Take, I’ll tell you about the background to the album.
First Take was Roberta Flack’s debut album for Atlantic. She was then thirty-two, and had been working as a teacher, while singing at weekends before signing to Atlantic. Les McCann had been in the audience when Roberta performed at a benefit concert for the Inner City Ghetto Children’s Library Fund. Having been smitten by Roberta’s performance, Les arranged for Roberta to audition for Atlantic. During the audition, Roberta played forty-two songs in three hours for producer Joel Dorn. Soon, Roberta found herself signed to Atlantic, recording thirty-nine songs in less than ten hours in November 1968. After this, the next time Roberta was in a recording studio would be record her debut album First Take.
Recording of First Take was scheduled to take place at Atlantic’s Recording Studios in New York. Eight songs were chosen for First Take, none of which were written by Roberta. Among these tracks were Gene McDaniels’ Compared To What, Donny Hathaway and Leroy Hutson’s Tryin’ Times, Leonard Cohen’s Hey That’s No Way To Say Goodbye and Our Ages of Our Hearts which Donny Hathaway and Robert Ayers cowrote. One other track was Euan McColl’s The First Time I Ever Saw Your Face, a track which two years later, would prove crucial in Roberta’s future career.
Once recording of First Take was underway at Atlantic’s Recording Studios in New York, Roberta’s band didn’t waste time. Together, guitarist John Pizzarellli, bassist Ron Carter and drummer Ray Lucas accompanied Roberta, who played piano. Recording started on 24th February 1969, ending on 26th February 1969. In total, First Take was recorded in just ten hours. Later, strings and horns were overdubbed, with First Take set for release in June 1969.
On the release of First Take on June 20th 1969, but the album wasn’t a commercial success. Only one single was released from First Take Compared To What, which failed to chart. This must have been hugely disappointing for Roberta, Les McCann who’d discovered Roberta and producer Joel Dorn. However, that wasn’t the last that would be heard of First Take
Fast forward two years to 1971. By then, Roberta had release the followup to First Take, 1970s Chapter Two and 1971s Quiet Fire. Both albums had proved commercially successful, being certified gold. First Take must have seemed a long time ago for Roberta, until a film was released. Clint Eastwood released the movie Play Misty For Me in 1971 and It featured The First Time I Ever Saw Your Face, which was a track on First Take. Given the success of the film and how many people loved The First Time I Ever Saw Your Face, Atlantic decided to release the track as a single. This resulted in First Take becoming belatedly, becoming a huge commercial success.
The First Time I Ever Saw Your Face was released in January 1972, reaching number one in both the US Billboard 100 and US R&B Charts. Spurred on by the success of The First Time I Ever Saw Your Face, First Take reached number one in both the US Billboard 200 and US R&B Charts. Eventually, First Take sold 1.9 million copies, resulting in the album being certified platinum three years after its original release. I’ve always wondered whether this commercial success might have happened sooner if The First Time I Ever Saw Your Face had been released as a single instead of Compared To What back in 1969? At least First Take found the success it deserved, if somewhat belatedly. However, why did it take three years for First Take to become a commercial success? That’s what I’ll tell you, after I’ve told you about the music on First Take.
Opening First Take is Compared To What, the only single originally released from the album. Written by Gene McDaniels, the track is jazz-tinged from the start. Just a standup bass and piano accompany Roberta’s vocal. Her voice quickly grows in power, full of emotion and frustration that’s perfect for the thoughtful, powerful lyrics. Bursts of blazing horns dramatically punctuate the arrangement, while Roberta’s small band leave space for her vocal, which is impassioned and emotive.
Flourishes of piano and a slow moody bass combine, creating a spellbinding combination as Angelitos Negros opens. Then Roberta’s vocal enters, accompanied by a light military beat, quivering strings and Spanish guitar. She articulates the lyrics beautifully, delivering them in such a way that’s deeply moving and powerful. Later, strings add to the track’s beauty, and are the perfect accompaniment to Roberta’s heartfelt, poignant vocal.
Donny Hathaway and Robert Ayers cowrote Our Ages Or Our Hearts. Here, producer Joel Dorn’s understated arrangement allows Roberta’s vocal to take centre-stage and shine. It’s just Roberta on piano, accompanied by strings that evoke a sense of sadness that precede the introduction of her vocal. When her vocal enters, it’s poignant, full of sadness and regret. The reason for this at the thought of two lovers being kept apart because of the difference in their ages. Wistful strings are ever-present, a constant companion to Roberta’s vocal on this very beautiful, but poignant song.
I Told Jesus is a traditional song, arranged by Roberta. Lush strings sweep slowly, while an equally slow, meandering standup bass accompanies it. As Roberta’s vocal arrives, it’s thoughtful and considered. Gradually, it grows in power and emotion, with bursts of rasping horns punctuating the arrangement. The longer the song progresses, the better Roberta’s vocal gets. It takes on a spiritual quality, growing in power, feeling and emotion.
Having heard various versions of Hey, That’s No Way To Say Goodbye written by Leonard Cohen, this has always been one of my favorites. Roberta songs unaccompanied, before a the piano, acoustic guitar and bass enter. So good is Roberta’s vocal, that you find yourself mesmerized by it. There’s both a warmth and passion in her vocal, resulting in her bringing out the beauty in Leonard Cohen’s lyrics. She’s just accompanied by flourishes of strings, before guitar, bass and piano take over. This understated arrangement, allows you to focus on not just one of Roberta’s best vocals on First Take, but one of producer Joel Dorn’s best arrangements.
Why The First Time Ever I Saw Your Face wasn’t released as a single when the album was released in 1969 seems strange? Quite simply, it’s the best song on the album. It was written by folk singer Euan McColl, and producer Joel Dorn’s arrangement brings out the beauty in the song and its lyrics. Key to the song’s success are a beautiful, but subtle arrangement. Just an acoustic guitar, bass and Roberta on piano accompany her vocal. Roberta’s vocal is slow, delivering the song with feeling, articulating the lyrics gently and softly. Wistful strings drift in and out of the track, as Roberta’s almost half-speaks the lyrics, delivering the as if she means them, feels them. Her delivery of some stunning lyrics, plus Joel Dorn’s arrangement results in not just a beautiful, very romantic song, the highlight of the album, but a true classic song.
Tryin’ Times is another song Donny Hathaway cowrote, this time with Leroy Hutson. As the track begins, Roberta’s band play subtly. Drums are played with brushes, while the bass is slightly more prominent, repeating the same line over and over again. Then when Roberta’s vocal enters, it offers a contrast. It’s louder, much more powerful, but full of frustration and disappointment at the Tryin’ Times Americans are experiencing. Poverty, inequality and conflict are the cause of Roberta’s disappointment and frustration. Later, percussion, piano and the bass combine, playing with a similar power as Roberta’s vocal. This helps Roberta reinforce Donny and Leroy’s message, doing so with equal amounts of sincerity, sadness and frustration.
Closing First Take is Ballad Of The Sad Young Men, a track where Roberta seems to have saved one of her best vocals. She’s accompanied just by swathes of strings, flourishes of acoustic guitar and drums played with brushes. This works really well, allowing Roberta to demonstrate just how talented and versatile a vocalist she truly is. Her vocal is tinged with sadness and a poignancy that suits the lyrics.
For a debut album, First Take, which was rereleased by WEA Japan is an accomplished album where Roberta Flack demonstrated just how talented a vocalist she was. This talent had been honed and refined over many years, before she signed to Atlantic Records in 1968. Having released her debut album First Take in 1968, she must have been hugely disappointed and saddened that it wasn’t a commercial success. Then luck, fate or whatever you want to call it intervened, when The First Time I Ever Saw Your Face featured in the Clint Eastwood film Play Misty For Me. It resulted in The First Time I Ever Saw Your Face being released as a single. It reached number one in both the US Billboard 100 and US R&B Charts, while First Take reached number one in both the US Billboard 200 and US R&B Charts. By then Roberta had released two other albums, both of which had been certified gold. However, The First Time I Ever Saw Your Face is a song that’s become synonymous with Roberta Flack. Together with Killing Me Softly, these are two of Roberta’s best known songs. While The First Time I Ever Saw Your Face is the best known track on First Take, it’s an album with much more to offer than just one track. Listening to First Take thirty-three years later, it’s an album that doesn’t sound like it was recorded in 1968 and released in 1969. Instead, it jazz-tinged sound sounds like it was recorded earlier, with just the understated combination of standup bass, drums and guitar accompanying Roberta. That’s part of First Take’s charm and beauty. It allows Roberta’s vocal to shine, and you to wallow in its quality, emotion and beauty. On the eight tracks on First Take, Roberta interprets them is such a way that she brings out their nuances, subtleties and charms. In doing so, Roberta Flack produced in First Take a classic album, which belatedly found the commercial success and critical acclaim it deserved. Standout Tracks: Angelitos Negros, The First Time I Ever Saw Your Face, Hey That’s No Way To Say Goodbye and Our Ages Or Our Hearts.
ROBERTA FLACK-FIRST TAKE.
BEN E. KING-I HAD A LOVE.
BEN E. KING-I HAD A LOVE.
In 1975, Ben E. King returned to Atlantic Records, where he’d spent much of the sixties. The success he’d enjoyed back in the sixties was eluding him. Maybe going back to the label where he enjoyed the most successful period of his career. This proved to be the case. Ben’s first album for Atlantic Records was Supernatural, which was produced by Bert De Coteaux and Tony Silvester. Supernatural had proved a commercial success. It reached number thirty-nine in the US Billboard 200 and number thirteen in the US R&B Charts. While this had rejuvenated Ben’s career, music was changing, and changing quickly. Although Bert De Coteaux and Tony Silvester were highly regarded and successful producers, it was decided that for the followup to Supernatural, 1976s a new producer would work with Bert and Tony.
The followup to Supernatural was I Had A Love, which was rereleased by WEA Japan on 26th March 2013. Production was spilt on I Had A Love. Bert De Coteaux and Tony Silvester would produce four of the nine tracks. The other five tracks would be produced by one of the most successful and hottest producers of the time, Norman Harris.
By 1976, Norman Harris had established a career as a successful producer. Having worked with producers like Thom Bell and Gamble and Huff, Norman had a good grounding in production. He’d struck out on his own in the early seventies, and enjoyed commercial success and critical acclaim ever since. Previously, he’d been a member of M.F.S.B, Philadelphia International Records’ legendary house-band. Following a dispute with Gamble and Huff, Norman Harris and many of the founder members of M.F.S.B. had left Philadelphia International Records, becoming a member of The Salsoul Orchestra. At Salsoul, the Cayre brothers, who owned Salsoul, gave Norman his own label to run, Gold Mind Records. He ran Gold Mind from an office in Philly, bringing artists like First Choice, Double Exposure and Loleatta Holloway to Gold Mind Records. Still, Norman found time to produce other artists and would produce five tracks on I Had A Love. Would I Had A Love replicate the success of Supernatural?
After the success of Supernatural, Ben E. King was keen to build on its success. Since his days at Atco and later Atlantic, Ben’s career had stalled. He hadn’t replicated the success of the early sixties. It seemed musical fashions had overtaken Ben. So for I Had A Love, some of the best songwriters of the time contributed songs to I Had A Love.
Among the songwriters contributing tracks to I Had A Love, were Ashford and Simpson. Ever since their Motown days, had established a reputation as talented songwriters and producers. Their contribution was the title-track I Had A Love. Sam Dees penned No Danger Ahead, and cowrote three other tracks. Fredrick Knight and Sam wrote I Betcha Didn’t Know That and Tower of Strength, while Sam and Clinton Moon penned Standing In The WIngs of Heartache. Patrick Grant and Gwen Guthrie contributed You’re Stepping On My Heart, while Everybody Plays The Fool was a Clark, Williams, Bailey composition. Norman Harris’ Philly friends wrote the other two tracks. Alan Felder and T.G. Conway cowrote Smooth Sailing and with Bruce Gray wrote We Got Love. These nine tracks became I Had A Love.
With two producers working on I Had A Love, this meant recording took place at different studios with different musicians. At Sigma Sound Studios, the musicians working with Norman Harris were former members of M.F.S.B. and now, members of The Salsoul Orchestra. Providing I Had A Love’s heartbeat, were the Baker, Harris, Young rhythm section. They were joined by Bobby “Electronic” Eli, percussionist Larry Washington and vibes virtuoso Vince Montana Jr, while Bruce Gray and T.G. Conway played keyboards. Strings and horns came courtesy of Don Renaldo. Providing backing vocals were the Sweethearts of Sigma, Barbara Ingram, Evette Benson and Carla Benson. Once I Had A Love was completed, it was released in 1976.
On the release of I Had A Love in 1976, rather than build on the success of Supernatural, it failed to chart. The Ashford and Simpson penned title-track I Had A Love was released in 1975, and reached number twenty-three in the US R&B Charts. When I Betcha Didn’t Know was released as a single, it failed to chart. That I Had A Love hadn’t charted wasn’t unusual. Ben E. King was no longer as popular. Indeed,1975s Supernatural had been Ben’s first album of the seventies to chart. It seemed Ben E. King’s music was no longer as fashionable. This was a long way since his time with The Drifters and the early years of his solo career. However, was the commercial failure of I Had A Love purely down to Ben E. King’s music no longer being as popular? That’s what I’ll tell you, when I tell you about I Had A Love.
The title-track I Had A Love opens I Had A Love. Produced by Norman Harris, the tempo is slow, with a real Philly Soul sound from the opening bars. A drum cracks, before a piano and Vince Montana Jr’s vibes combine. Then Earl Young’s drums dramatically signal the entrance of lush strings and The Sweethearts of Sigma’s cooing, sweeping, sweet harmonies. Having set the scene for Ben, he delivers a heartbroken vocal. Hurt, heartache and regret fill his voice. Baker, Harris, Young provide the heartbeat, harmonies and strings reflect the hurt in Ben’s vocal, while growling horns and pounding drums add drama. Together, this provides the perfect backdrop for Ben’s heartbroken, soul-baring vocal Magnus Opus.
I Betcha Didn’t Know is another Norman Harris production. He picks up, where he left off with the opening track. Baker, Harris, Young, percussion, rasping horns and cascading strings dramatically open the track. Ben’s vocal is powerful, filled with passion and joy. Providing the perfect foil are The Sweethearts of Sigma’s heartfelt, soaring harmonies. Meanwhile, Norman Harris lays down one of his trademark guitar lines, Vince Montana Jr’s adds vibes and Earl Young’s drums provide a thunderous, strident heartbeat. The horns which punctuate the arrangement at just the right time, have a Thom Bell influence. Ben and The Sweethearts of Sigma seem to drive each other to greater heights of emotion and soulfulness, as Ben rolls back the years, returning to his soulful best
Norman Harris and Alan Felder cowrote Smooth Sailing with T.G. Conway, who produced the track. Swathes of the lushest strings float in, quivering and shivering. Horns growl, hi-hats hiss and Baker, Harris, Young provide an understated heartbeat. Ben’s deliberate, emotive vocal grows in power, while tender harmonies and punchy, braying horns accompany him. The arrangement flows along, with percussion, piano and strings at its heart. Earl Young’s drums inject drama, as Ben’s vocal veers between tender and powerful, but is always impassioned and heartfelt.
Baker, Harris, Young produce No Danger Ahead which explodes joyously into life. They provide the pulsating, urgent heartbeat, as Philly Soul and funk combine. Ron Baker’s bass and Norman Harris’ guitar join growling horns and dancing strings. The Sweethearts of Sigma add sweet, cooing harmonies. All this seems to inspire Ben. His vocal is powerful, confident and assured. He literally struts his way through the arrangement. Horns blaze, strings swirl and woodwind get in on the act. With The Sweethearts of Sigma adding joyous, cascading harmonies. They’re the finishing touch, as Ben confidently and assuredly, soulfully struts his way through this Sam Dees song.
Everybody Plays The Fool is the first of four Bert De Coteaux and Tony Silvester produced tracks. A piano, guitar, slow strings and gospel tinged harmonies combine, before Ben’s pensive, melancholy vocal enter. Straight away, you realize the production has a rawer sound. It lacks the polish of Side One, resulting in a good track failing to become a great track. You could argue, that given the gospel influence this is fitting. What are fitting are the gospel-tinged harmonies. Ben’s delivery is thoughtful, filled with emotion, which suits the track and the lyrics.
Standing In The WIngs of Heartache sees Ben and the band kick loose. From an understated opening, the rhythm section explode into life. They drive the arrangement along, fusing funk and soul. Drums pound, harmonies sweep in, soaring above the arrangement. Layers of strings sweep, while Ben’s vocal is a powerful vamp as his band fuse funk with soul.
We Got Love sees Norman Harris take charge of production duties. Straight away, there’s a much more polished sound. Baker, Harris, Young add a pulsating beat, as an uplifting, joyous track unfolds. Strings dance in appreciation and The Sweethearts of Sigma add tight, soulful harmonies. Ben seems to have found his sparkle, delivering the lyrics with power, passion and joy. Bobby “Electronic” Eli adds his trademark funky guitar, Vince Montana Jr adds vibes and Norman Harris adds a jazzy guitar solo. Strings dance, harmonies sweep in and and Ben and the band lock into a groove, where funk and Philly Soul unite seamlessly. This results in the best track on Side.
Tower of Strength was penned by Sam Dees and Fredrick Knight. It has a real Sam Dees sound. There are similarities in production to Everybody Plays The Fool. It’s the way the harmonies have a dramatic, soaring gospel sound. That’s no bad thing. This is a dramatic, soulful song with a gospel twist, where Sam literally rolls back the years. Helping him every step of the way are the harmonies. Swathes of strings, rasping horns and a dramatic, strident rhythm section, make this the best of the Bert De Coteaux and Tony Silvester productions.
You’re Stepping On My Heart (Tearing My World Apart) closes I Had A Love. After the drama of the previous track, this track has a much more understated sound. Ben’s vocal is tender, needy and filled with hurt. Just the rhythm section, growling horns and percussion combine before, a burst of drums signals the arrival of Ben’s vocal. Muted horns, subtle percussion and understated rhythm section are joined by melancholy horns as Ben lays bare his hurt and heartache for all to hear.
Listening to I Had A Love, it seems strange that production was split between Norman Harris and the production team of Bert De Coteaux and Tony Silvester? Norman Harris and his production partners rejuvenate Ben E. King. His music is given a Philly makeover. The four Norman Harris produced tracks on I Had A Love are the best on the album. When the changeover in producer takes place, Ben’s vocals fall short of the quality of the Norman Harris produced tracks. On Everybody Plays The Fool, the rawer sound stopping a good song becoming a great one. Similarly, on Standing In The WIngs of Heartache’s good as the production is, it falls short of the Norman Harris’ productions. Things improve on We Got Love, produced by Norman Harris, while Tower of Strength is the best of the four Bert De Coteaux and Tony Silvester productions. You’re Stepping On My Heart (Tearing My World Apart) brings I Had A Love to an understated, soul-baring close, as Ben E. King rolls back the years. I suppose, using two producers or production teams will always lead to comparisons.
The production team of Bert De Coteaux and Tony Silvester had a successful track record, and were talented producers. So too, did Norman Harman Harris. Indeed, since Norman Harris’ had struck out on his own as a producer, he’d enjoyed commercial success and critical acclaim with a variety of artists. He’d enjoyed commercial success with artists that included Major Harris, Blue Magic and First Choice. Ben E. King was the latest to enjoy a Philly Soul makeover from Norman and his Philly friends. While it’s a matter of opinion, I feel that it would’ve been best if Norman Harris produced all the tracks on I Had A Love. Norman seemed to get the best out of Ben E. King. Granted Bert and Tony had revitalized Ben’s career with Supernatural, but Ben E. King and Norman Harris seemed a dream team. WIth Norman Harris, came his colleagues in The Salsoul Orchestra and The Sweethearts of Sigma. The five tracks ons Ben E. King’s I Had A Love produced by Norman Harris and his Philly friends, are the highlights of the album. While I Had A Love is one of Ben E. King best albums of the seventies, it could’ve been an even better album, if Norman Harris had produced the whole album. Maybe then, Ben E. King’s second album for Atlantic Records I Had A Love which was rereleased by WEA Japan on 26th March 2013, would’ve matched the commercial success of Supernatural? Standout Tracks: I Had A Love, I Betcha Didn’t Know, Smooth Sailing and No Danger Ahead.
BEN E. KING-I HAD A LOVE.
THE SPINNERS-SPINNERS.
THE SPINNERS-SPINNERS.
Nineteen years after The Spinners were formed in Detroit in 1954, commercial success and critical acclaim came their way. It had been a long time coming and many groups would’ve walked away from music. Luckily, The Spinners were made of stronger stuff. Their determination and perseverance was eventually rewarded in 1973, when they released their third album Spinners, which was rereleased by WEA Japan on 26th March 2013. Spinners reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. This was the first of five consecutive Spinners’ albums to be certified gold. Not only that, but Spinners featured a trio of number one US R&B singles, I’ll Be Around, Ghetto Child and the Philly Soul classic Could It Be I’m Falling In Love penned my Melvin and Mervin Steals. For The Spinners, this was the start of the most successful period of their career. Commercial success and critical acclaim were ever-present until 1976s Happiness Is Being The Spinners. However, this commercial success and critical acclaim wouldn’t have happened without two men men, Phillip Wynne and Thom Bell.
Before The Spinners released Spinners in April 1973, commercial success had eluded them. Their recording career started in 1961 with That’s What Little Girls Are Made Of. It reached number twenty-seven in the US Billboard 100 and number five in the US R&B Charts. During the next few years hit singles were scarce. Apart from 1965s I’ll Always Love You and 1970s It’s A Shame the majority of The Spinners’ singles failed to chart. During this period, The Spinners released just two albums. Their debut albums was 1967s The Original Spinners, which was released on Motown. It failed to chart. Then three years later, in 1970, when 2nd Time Around was released on V.I.P. Records, it reached just number 199 in the US Billboard 200 and number forty-six in the US R&B Charts. Then in 1972, a new member joined The Spinners, Phillip Wynne. This was just the start of a change in The Spinners’ fortunes.
1972 proved to be an important year in The Spinners’ history. It was the year that they signed to Atlantic Records and the year Phillip Wynne joined The Spinners. Before Phillip joined The Spinners in, Bobby Smith had been the lead singer. When Phillip joined, Bobby and Phillip would share lead vocals. This was the case on their Atlantic Records’ 1973 debut album Spinners. As if signing a new member and signing to a major label Atlantic Records, The Spinners were about to work with a successful and innovative producer and songwriter Thom Bell.
For The Spinners Atlantic Records’ debut, Spinners, a number of songwriters worked on the album. Vinnie Barrett penned Just Can’t Get You Out Of My Mind, Bruce Hawkes wrote I Could Never (Repay Your Love) and Joseph B. Jefferson contributed One Of A Kind (Love Affair). Yvette Davis wrote three tracks, Just You And Me Baby, We Belong Together and How Could I Let You Get Away. The songwriting team of Jerry Akines, Johnny Belman, Victor Drayton and Reginald Turner cowrote Don’t Let The Green Grass Fool You. Melvin and Mervin Steals’ contribution was a love song they’d written a few years earlier. Originally, they envisaged the track as an uptempo track. Producer Thom Bell disagreed. He decided that Could It Be I’m Falling In Love should be slowed down and transformed into a ballad. This was a masterstroke that was the finishing touch to a Philly Soul classic. Thom Bell cowrote the other two track. With Phil Hurtt he cowrote I’ll Be Around and with his songwriting partner Linda Creed, he cowrote Ghetto Child. These ten tracks would become Spinners, which was recorded at Joe Tarsia’s Sigma Sound Studios.
Joining the five Spinners, Henry Fambrough, Billy Henderson, Pervis Jackson, Bobby Smith and lead Phillip Wynn at Sigma Sound Studios in Philly, were Philadelphia International Records’ house-band M.F.S.B. This included the Baker, Harris, Young rhythm section plus guitarists included Bobby “Electronic” Eli and Roland Chambers. They were joined by vibes virtuoso Vince Montana Jr, percussionist Larry Washington, Don Renaldo’s string and horn section and the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Once recording of Spinners was completed, it was released in April 1973. Little did anyone realise, that Spinners would transform The Spinners career.
On the release of Spinner, it was released in April of 1973. It reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. Having sold over 500,000 copies, the album was certified gold. This was the first of five consecutive album released by The Spinners that would be certified gold. It was also the first of thirteen consecutive albums The Spinners released on Atlantic that entered the US Billboard 200. As if having such a successful debut album for their new label, Spinners featured five singles of which three would reach number one in the US R&B Charts.
The first single released was in 1972, and was How Could I Let You Get Away WIth It, which reached number seventy-seven in the US Billboard 100 and fourteen in the US R&B Charts. I’ll Be Around was the second single, and the first in a trio of consecutive US R&B number ones. It also reached number three in the US Billboard 100. Could It Be That I’m Falling In Love was the last single released in 1972, and reached number four in the US Billboard 100. Of the two singles released in 1973, One of A Kind (Love Affair) reached number eleven in the US Billboard 100. Later in 1973, Ghetto Child reached number twenty-nine in the US Billboard 100 and four in the US R&B Charts. With five successful singles, and a number one US R&B album, behind them, The Detroit Spinners move to Atlantic had been a huge success, transforming their careers. However, what made Spinners such a hugely successful, album and what did it sound like? That’s what I’ll now tell you.
Spinners opens with Just Can’t Get You Out of My Mind and has a trademark Philly sound with lush, swirling strings, and the brillinat Baker, Harris, Young rhythm section combining with rasping horns before the heartfelt lead vocal enters, singing about how he can’t get his ex-girlfriend out of his mind. Meanwhile, the rest of the group contribute sweet, tight harmonies, accompanied by chiming guitars, sweeping strings and rasping horns. Together, this beautiful combination combines perfectly with the sadness and heartbreak of the lead vocal, resulting in a great song, with a contemporary, timeless sound.
Just You and Me Baby has a slow, dramatic opening, with blazing horns, a slow drama laden rhythm section, percussion and chiming guitars, before a soft, thoughtful lead vocal enters. It’s accompanied by harmonies from the other four Spinners, while the arrangement has a much more understated, sound, as it meanders along. Slow, strings enter, their sound gentle, as the sweep in the background. This is perfect for the tender lyrics, about being with the one you love. The strings combine with the horns and rhythm section to punctuate the arrangement with occasional burst of drama, which highlight parts of the song. Mostly, however, the songs has a lush, understated sound, thanks to arranger and producer Thom Bell. His arrangement and production results in a tender, quite beautiful sounding song.
It’s a real old fashioned jazzy, big band sound that opens Don’t Let the Green Grass Fool You. Blazing horns, a standup bass and gentle jazzy drums accompany a lead vocal that swings along. The rest of The Spinners combine gentle, cooing harmonies, while horns rasp and M.F.S.B. are transformed into a tight little jazz band. They do this brilliantly, with drummer Earl Young and bassist Ronnie Baker seemingly relishing this new role. Meanwhile, The Spinners are swinging too, giving a similar sumptuous, jazz drenched, performance that’s absolutely irresistible.
A piano slowly plays, while guitars chime, strings sweep in and horns gently, rasp as I Could Never Repay (Your Love) begins. They give way to a gentle, considered vocal while the piano and careful, rhythm section accompany it. This works well, allowing you to focus totally on the vocal, and the beauty of the lyrics, how he’ll never, ever be able to repay the love she’s shown to him. As if the arrangement is good enough, Thom Bell decides to add some deliciously lush strings. Together with the piano they provide the perfect backdrop for an emotive and passionate vocal. Later, a wailing, atmospheric Hammond organ enters, while the other Spinners provide dramatic backing vocals. Over seven minutes, this epic song gets even better, the sound developing and a lush, dramatic and hugely emotive gradually reveals itself.
I’ll Be Around see Bobby Smith takes the lead vocal, pledging his loyalty to his girlfriend whose left him again, for another man. Still he hopes she’ll return to him. This he does against a mid-tempo arrangement, which has a lovely smooth sound, where chiming guitars play an important part in the sound, while percussion, the rhythm section, organ, rasping horns and sweeping strings all play their part in the success of the song. Female backing vocalists that include Linda Creed, Barbara Ingram, Carla Benson and Yvette Benton punctuate the track, providing a soulful, contrast to Bobby’s hopeful vocal. Together, Bobby’s vocal and Thom Bell’s arrangement and production combine to create one of the album’s best tracks. No wonder this track reached number one in the US R&B Charts, with such a great sound.
One Of A Kind (Love Affair) is another track that gave The Detroit Spinners a US R&B number one single. Here, the lead vocal is shared by Bobbie Smith and Phillipe Wynne. When the single was released it caused controversy, because there was confusion and debate whether it featured a profanity. This lead to the song being edited, to end this confusion. Regardless of this, it’s still an fantastic song, opening with Earl Young’s brilliant slow, dramatic drumming, which gives way to chiming guitars, keyboards and swirling strings. It’s only then the lead vocal enters, all the time with Earl Young’s dynamic and energetic drumming punctuating the track. There’s a sadness in the vocals, caused by a girlfriend whose left her boyfriend. Adding to the sense of sadness is a combination of swirling, sweeping strings and piano. Their addition combined with the vocals is a masterstroke, that succeeds in tugging at your heartstrings, and brings out a feeling of sadness and empathy. The same goes for the rest of the track. Throughout the track it’s a combination of a beautiful arrangement and vocals that evokes a sense of sadness and empathy in the listener. That a song can manage this is testament to The Detroit Spinners and producer Thom Bell.
A searing guitar, piano, and dramatic rhythm section combine, before the group sing backing vocals, giving way to the sad and thoughtful lead vocal as We Belong Together opens. Bursts of rasping horns, reverberating guitars and lush, swirling strings provide the backdrop for the heartfelt vocal. He pleads to start their love affair again, so it’ll be like it was before. We belong together he implores, as drums and strings punctuate the arrangement, adding a sense of sadness and drama. Meanwhile, the rest of the group contribute gentle backing vocals. Together, the arrangement, backing vocals and the lead vocal combine to make a track laden in sadness and drama, but one that’s quite beautiful.
Ghetto Child was written by Thom Bell and Linda Creed. It has a faster, fuller and dramatic opening. A combination of lush, sweeping strings, rasping horns, chiming guitars and a powerful rhythm section open the track, before the lead vocal enters. Quickly, the lead vocal changes hands, with each vocalist contributing a mixture of emotion and passion as they deliver Thom Bell and Linda Creed’s lyrics. Meanwhile, the lushest of swirling, sweeping strings, blazing horns and Earl Young’s dynamic yet thoughtful drumming all play important parts in the success of track’s sound. They all provide a gorgeous sounding backdrop for the vocals, which are equally good, drenched in drama and emotion. Add to this Thom Bell’s arrangement and production and the result is an outstanding track, one that I’ll never, ever tire of hearing.
How Could I Ever Let You Get Away is something many people must have wondered at one time in their lives. There will be many people you go through life wishing they’d never let the woman that was the one for them slip away. If you’re one of these people, you’ll think The Detroit Spinners are singing this to you. A slow combination of Earl Young’s drums, quivering, shivering strings, chiming guitars, percussion and rasping horns combine before the vocal enters. It’s full of sadness and regret, at the woman he let slip away. A Hammond organ enters, adding to the sense of sadness, while guitars chime, strings sweep and horns blaze. Meanwhile the group contribute soaring, emotive backing vocals, as the arrangement just gets better and better. By the end of this thoughtful, emotive track, you wonder why, wishing you could turn the clock back, and wonder how different things would’ve been?
Spinners closes with the original version of Could It Be I’m Falling In Love, written by Melvin and Mervin Steals. Again, Bobbie Smith and Phillipe Wynne share the lead vocal on the track. Lush, sweeping strings, blazing horns, the rhythm section and chiming, shimmering guitars combine before the vocal enters. When Bobbie and Phillipe sing lead vocal, The Sweethearts of Sigma accompany them, while grand strings swirl and sweep. Meanwhile, Baker, Harris, Young rhythm section demonstrate why they were the tightest, hottest rhythm section of the time. Later, horns bray, drenching the arrangement with their sound, while the lead and backing vocals similarly soar. When all of these things are combined, and Thom Bell sprinkles some of his magic all over it, the result is a fantastic track, and an uplifting and joyous way to end the album.
Playing their part in the success of The Spinners’ first album for Atlantic Records Spinners, was Philadelphia music royalty. Along with the five Spinners, M.F.S.B. and The Sweethearts of Sigma contributed towards making the The Spinners first album for Atlantic Records a huge commercial success. With Earl Young, Ronnie Baker and Norman Harris providing the rhythm section and other members of M.F.S.B. like Bobby Eli and Vince Montana both playing on the album, The Detroit Spinners had some of the most successful and most talented musicians in Philadelphia backing them Add to this Thom Bell, who arranged and produced Spinners, who produced ten songs that are a brilliant combination of lush and gritty. Swathes of the lushest strings, a proliferation of rasping, blazing horns and in M.F.S.B. the greatest house band in Philadelphia.
These talented musicians and producer provided the backdrop for the five Detroit Spinners Billy Henderson, Bobby Smith, Phillipe Wynne, Henry Farmbrough and Pervis Jackson, who were transformed from Motown also rans to superstars on Atlantic Records. This was just the start in a run of thirteen consecutive albums on Atlantic that entered the US Billboard 200. On Spinners, The Detroit Spinners sang beautifully and brilliantly on ten songs, many of which were love songs. Regardless of whether it was love lost, love gone wrong or falling in love, the five Detroit Spinners excelled themselves, giving a glimpse of what would come in years to come. Spinners was just chapter one in the long and successful story of The Detroit Spinners, one of the biggest, most successful and soulful groups in America during the seventies. Spinners which was rereleased by WEA Records on 26th March 2013, was the album that established The Spinners reputation as a member of Philly Soul royalty. Standout Tracks: Don’t Let the Green Grass Fool You, I’ll Be Around Ghetto Child and Could It Be I’m Falling In Love.
THE DETROIT SPINNERS-SPINNERS.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3 INSTRUMENTALS.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3 INSTRUMENTALS.
Compilations of John Morales’ remixes are a bit like London buses, you wait ages for one, then two come along at once. After releasing the critically acclaimed and commercially successful The M&M Mixes Volume 2 in March 2011, John Morales spent the next years working not just on one compilation of remixes, but two. These were John Morales Presents The M&M Mixes Volume 3 and John Morales Presents The M&M Mixes Volume 3 Instrumentals. Both were released by BBE Music on 29th April 2013. John Morales Presents The M&M Mixes Volume 3 was very much a return to form from one of the greatest remixers of his generation. While much of the focus was on John Morales Presents The M&M Mixes Volume 3, many people have overlooked what is a truly captivating and intriguing project, John Morales Presents The M&M Mixes Volume 3 Instrumentals. Why I hear you ask is John Morales Presents The M&M Mixes Volume 3 Instrumentals such an intriguing and captivating compilation?
If you think about many of the twenty-four anthemic tracks that feature on John Morales Presents The M&M Mixes Volume 3, each of these tracks has one thing in common. Each track features a truly compelling vocal. To prove my point, listen to John Morales’ remixes of Jean Carn’s Was That All It Was, Sandy Barber’s I Think I’ll Do Some Stepping (On My Own), Loleatta Holloway’s Hit and Run and Instant Funk’s Crying. When you listen to each of these track, you tend to focus primarily on the vocal. You can’t help it, given how captivating and compelling it is. By focusing primarily on the vocal, you’re not listening closely to other parts of the arrangement. Granted, the vocal is central to the songs success, but without the other parts of the arrangement, the track wouldn’t work as well, and wouldn’t be as successful. Not only that, but by focusing primarily to the vocal, you’re overlooking some equally outstanding performances. Although there are numerous examples of this on John Morales Presents The M&M Mixes Volume 3-Instrumentals, two that spring to mind are Barry White’s Never, Never Gonna Give You Up and Jean Carn’s Was That All It Was. These are just two examples. There are many more on John Morales Presents The M&M Mixes Volume 3-Instrumentals, where seventeen songs reveal their subtleties, surprises and hidden depths. I’ll now tell you about some of them.
DISC ONE.
Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals features nine John Morales dub remixes of soulful, funky, disco, some of which has a real Philly Soul influence. This includes tracks from the back-catalogues of Philadelphia International Records, Salsoul Records, West End Records and T.K. Records. Among the artists that feature on Disc One are Barry White, Jean Carn, Loose Joints, Sandy Barber and Teddy Pendergrass. Without the instantly recognizable vocals, these anthemic dance tracks are very different. That’s no bad thing. You listen to the music in a different way. Not only that, but you hear parts you’ve previously overlooked. Layers upon layer of music reveal themselves. Soon, you discover previously overlooked subtleties and surprises within John Morales peerless dub remixes. However, what are the best tracks from Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals? That’s what I’ll now tell you.
Back in 1973, Barry White was about to release his sophomore album Stone Gon’ on 20th Century Records. It reached number twenty on the US Billboard 200 and number one in the US R&B Charts. One of the singles released from Stone Gon’ was Never, Never Gonna Give You Up, which reached number seven in the US Billboard 200 and number two in the US R&B Charts. Written and produced by Barry White, this is a stonewall classic. John Morales’ remix transformed the track into a sultry, sensual eight minute epic. Without the vocal, it’s a very different track. Swathes of the lushes string that sweep and swirl, come to the fore. They’re joined by rasping horns while a pulsating rhythm section provide the heartbeat to this bedroom ballad par excellence.
During a five year spell at Philadelphia International Records, Jean Carn, who was blessed with a five octave voice, released a quartet of albums. One of these was her 1979 album When I Found You Love. Featuring Was That All It Was, which was written by Jerry Butler, Linda Conlon and John Usry Jr. With John arranging and producing the track, Jean was transformed into a sassy, disco diva. Good as the original was, John Morales remix transforms Was That All It Was. In his hands, it became a ten-minute epic. The instrumental version however, is shortened to eight minutes. That should be eight captivating, dramatic minutes. Latin percussion, bubbling synths, growling horns and flourishes of disco strings join a chiming guitar solo. Seamlessly, John Morales’ remix breathes new life and meaning to a delicious slice of disco.
Often I refer to a track as a hidden gem. That’s the perfect description of Sandy Barber’s I Think I’ll Do Some Stepping On My Own. This is a track from Sandy’s 1977 album The Best Is Yet To Come, which was released in on Olde Worlde Records. Although The Best Is Yet To Come wasn’t a commercial success, I Think I’ll Do Some Stepping On My Own became a favorite of DJs worldwide. John Morales’ near nine-minute instrumental is akin to embarking on a musical journey. During that journey, John brings out the best in Clyde Otis’ production. This means stabs of keyboards, Latin percussion, an uber funky bass, dancing strings, chiming guitars and later, thunderous drums. The result is a hypnotic, pulsating and captivating instrumental version of a timeless classic.
Mahogany didn’t exactly have a long and illustrious career at West End Records. They only released one single. However, if you’re only going to release one single, make it one as good as Ride On The Rhythm. Releasing in 1982 and featuring the vocal prowess of Bernice Watkins, whose vocal was key to the track’s success. Without that diva-esque vocal, would it be the same track? Gradually, combining the funkiest of rhythm section, Latin percussion and stabs of grizzled horns John begins to reinvent an eighties classic dance track. Bringing the horns, bass and percussion further forward, they become the focus of you attention. Adding a contrast are lush strings. They glide gracefully and elegantly across the arrangement. Mixing jazz, funk, disco and drama John Morales remix more than makes up for the absence of the vocal. He reinvents and re-imagine the track, in the way only a true musical innovator could.
Although I’ve only mentioned four of the eight tracks on Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals, there’s nothing whatsoever wrong with the other four tracks. Far from it. The problem is choosing between eight great tracks. Truly, it’s quality all the way. The other tracks include contributions from Loose Joints, Hamilton Affair, T-Connection and Teddy Pendergrass. Just like John Morales Presents The M&M Mixes Volume 3, John totally reinvents tracks and re-imagining them. In John’s hands, classic tracks are reinvented, bringing new life, energy and meaning into them. Not many people can do this. However, a true musical innovator like John Morales, who has been remixing since 1976 can. On Disc Two of Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals, John transforms nine other tracks.
DISC TWO.
The quality keeps on coming on Disc Two of Disc One of John Morales Presents The M&M Mixes Volume 3-Instrumentals. There’s a real Philly Soul influence, with tracks from the back-catalogues of Philadelphia International Records and Salsoul Records. Keeping the flag flying for Philadelphia International Records are Teddy Pendergrass andThe Jones Girls. Representing Salsoul Records are Loleatta Holloway and Skyy. Completing the Philly influence are John Davis & The Monster Orchestra. Along with tracks from Marvin Gaye, Third World, Curtis Hairston and Raw Silk, you’ll realize that choosing the best tracks from Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals won’t be easy. However, here goes.
Only You is the second track from Teddy Pendergrass on John Morales Presents The M&M Mixes Volume 3-Instrumentals. This is a track from his 1978 sophomore album LIfe Is A Song Worth Singing. It reached number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in Teddy’s second platinum disc. John’s original remix features an impassioned vamp from Teddy, accompanied by growling horns and a funky, bubbling backdrop. Having removed the vocal, bubbling synths, a funky rhythm section, hypnotic percussion and stabs of blazing horns take centre-stage. Later, John strips the arrangement backs to the drums, before unleashing a dramatic combination of soulful, funky and dance-floor friendly music. The result is a captivating combination of jazz, funk, soul and disco, which melts seamlessly into one.
In 1976, Loleatta Holloway signed to Norman Harris’ Gold Mind Records, a subsidiary of Salsoul. Her first album for Gold Mind was Loleatta, released in 1976. It featured Hit and Run a stonewall disco classic Loleatta was the first of four albums she released between 1976 and 1980. On its release as a single, Hit and Run sold over 300,000 copies, establishing Loleatta’s reputation as the undisputed Queen of Disco. John’s instrumental version of Hit and Run sees him reduce the tempo from 111 to 108 beats per minute. Without Loleatta’s sassy, strutting vocal, you get the chance to hear The Salsoul Orchestra in full flight. Disco doesn’t get better than this. With the Baker, Harris, Young rhythm section providing the pulsating heartbeat, they’re joined by lush strings, blazing horns, percussion and Vince Montana Jr’s vibes. The result is a fitting tribute to the greatest disco orchestra ever…The Salsoul Orchestra, lead by the late, great Vince Montana Jr. who passed away recently.
Mention the The Jones Girls, and many people will instantly think of Nights Over Egypt. However, there’s more to their music than one track. They released four albums between 1979 and 1984 for Philadelphia International Records. Their 1979 debut album The Jones Girls featured a Jones Girls’ classic You Gonna Make Me Love Somebody Else. It was written and produced by Gamble and Huff, and rivals Nights Over Egypt as the best track Shirley, Brenda and Valerie ever recorded. For John’s instrumental remix, he slows the track down from 107 to 104 beats per minute. This adds to the drama, as do the thunderous drums and bubbling synths which are brought forward in the mix. They’re designed to grab your attention. Listen beyond them, and layers of music unfold, giving the track a really contemporary sound. The result is totally timeless track, that would still fill any dance-floor and sounds as good today, as did in 1979.
Earlier, I said The Salsoul Orchestra were disco’s greatest orchestra. Coming second were John Davis and The Monster Orchestra. They released four peerless albums for SAM Records between 1976 and 1979. Their sophomore album was Up Jumped The Devil. John Morales has remixed the title-track Up Jumped The Devil, which John Davis wrote. He’s taken the six minute track and transformed it into eight dramatic, pulsating minutes. At the heart of the action are pounding drums, percussion, wah-wah guitars and blazing horns. Action packed and drama-laden funk, Philly Soul and disco are combined. Given the dramatic sound, it could easily be part of soundtrack to a Blaxploitation movie. So good is John’s instrumental, that it almost surpasses the original. One listen, and surely, you’ll agree.
My final choice from Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals is Marvin Gaye’s I Want You. Released in 1976, during the most productive period of Marvin’s career, I Want You reached number four in the US Billboard 200 and number one in the US R&B Charts. When I Want You was released as a single, the Leon Ware and Arthur “T Boy” Ross penned track reached number fifteen in the US Billboard 100 and number one in the US R&B Charts. John’s remix breathes new life and meaning into a familiar track. Even without Marvin’s needy, pleading vocal, it’s a captivating track. Thunderous drums, percussion and a sensual, meandering saxophone combine. Soon, the track begins to reveal its charms. Subtle stabs and flourishes of keyboards and congas are added, before quivering strings enter. Their grace and elegance provides a contrast to the drums and percussion. Almost seamlessly and effortlessly, everything falls into place. The result is stunning remix of one of Marvin Gaye’s classic tracks.
Unlike many double albums, the music on Disc Two of John Morales Presents The M&M Mixes Volume 3-Instrumentals is just as good as the music on Disc Two. John’s choice of music is flawless. Every track has been chosen with the greatest care, with one eye on how he can transform the original track. That’s one of the reasons his nine remixes on Disc Two are truly peerless. He doesn’t take a wrong turning once. Every track deserves to be included. Along with the five tracks I’ve mentioned, there’s contributions from Skyy, Curtis Hairston, Raw Silk and Third World. There’s neither faux pas nor filler on Disc Two. Considering this wasn’t an ordinary compilation of remixes, John Morales is to be be applauded.
What made this project doubly hard, was that this was a compilation of instrumental remixes. By taking away the most compelling part of the tracks, John Morales really gave himself a challenge. After all, for many people, what makes the tracks on John Morales Presents The M&M Mixes Volume 3-Instrumentals instantly recognizable, are the vocals. The vocals are what people focus on and are the most captivating part of the track. By dispensing with the vocal, he had to reinvent and re-imagine the tracks. This couldn’t have been easy. Indeed, it would’ve been easy to wrong. However, John being an innovative and imaginative remixer managed to reinvent the tracks. To do this, he makes other instruments the focus of your attention and highlights parts of the track that previously, were subservient to the vocal. They play more important parts, in the reinvention of the tracks. Without the vocal, you’re able to hear parts that previously you overlooked. For example on Loleatta Holloway’s Hit and Run, you’re able to hear The Salsoul Orchestra in full flight. Truly, that is a joy to behold. Similarly, hearing John Davis and The Monster Orchestra on Up Jumped The Devil takes your breath away. Never again, will you hear the original tracks in the same way.
For John Morales, creating seventeen instrumental versions of dance-floor classics must have been one of the biggest challenges of his long and illustrious career. However, he managed it and the result is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which was released by BBE Music on 29th April 2013. John Morales Presents The M&M Mixes Volume 3-Instrumentals demonstrates just why John Morales is one of the greatest remixers of his generation. Along with Tom Moulton, John Morales is head and shoulders against any of the new breed of remixers. They are just pretenders to John and Tom’s thrones. Proof of this is John Morales Presents The M&M Mixes Volume 3-Instrumentals, which is the perfect companion to John Morales Presents The M&M Mixes Volume 3. Standout Tracks: Barry White Never, Never Gonna Give You Up, Jean Carn Was That All It Was, Loleatta Holloway Hit and Run and John Davis and The Monster Orchestra Up Jumped The Devil.
JOHN MORALES PRESENTS THE M&M MIXES VOLUME 3-INSTRUMENTALS.
THE LAST SKEPTIK-THANKS FOR TRYING.
THE LAST SKEPTIK-THANKS FOR TRYING.
Having previously released critically acclaimed hip hop albums from the Visioneers, DJ Vadim, J Dilla and Pete Rock, BBE Music will soon release what’s sure to be one of the best hip hop albums of 2013…The Last Skeptik’s Thanks For Trying. It’ll be released by BBE Music on 6th May 2013. However, Thanks For Trying is no ordinary hip hop album. Far from it. Instead it’s a much more sophisticated and complex album of pioneering hip hop.
While other hip hop producers refer to their music as old school, The Last Skeptik’s music is very much of the Nu School of hip hop. Rather than relying on what are usually, a hip hop producer’s best friend, beats, samples and synths, The Last Skeptik is joined by what seems like a musical cast of thousands. That’s not to say The Last Skeptik has forsaken beats, samples and synths. Not at all. He’s augmented them with a talented team of musicians. They provide the accompaniment to The Last Skeptik as fifteen tracks of orchestral and cinematic music unfold on Thanks For Trying. As the fifteen tracks that comprise Thanks For Trying unfold, you realize that The Last Skeptik has come a long way since his debut single in 2004.
It was back in 2004 that The Last Skeptik released his debut single Wordsearch on the Netgroove label. With The Last Skeptik laying down the beats, Wordsearch featured Squared with cuts by Jazz T and Dr. Zygote. Later in 2004, as Skeptik, he contributed a rap to a compilation Deprogrammed Productions Presents…”Friends Of The Family.” Little did The Last Skeptik realize it, but this was the start of what would be a successful career. This was a long way from when a young Last Skeptik skipped school to make his own beats.
Throughout his nine year career The Last Skeptik has collaborated with many artists. During 2005, The Last Skeptik was involved in two collaborations. There was his collaboration with Conflix on the Think Twice E.P, whichI was released on the Filthy Habits label. His other collaboration was Kashmere featuring The Last Skeptik and Diversion Tactics’ E.P. This six-track E.P. was released on Boot Records. Two years later, The Last Skeptik would collaborate on what was his debut album.
Over the next two years, The Last Skeptik wasn’t just establishing a reputation as a talented producer. He was also the go-to-guy for anyone looking for a DJ, MC and remixer. Then in 2007, The Last Skeptik collaborated with Verb T on The Broken Window. While The Broken Window was Verb T’s fourth album, it was The Last Skeptik’s debut album. Released on the Silent Soundz label, The Broken Window was well received. So too was Satisfied, a single from The Broken WIndow. The Last Skeptik’s reputation and fan-base grow. Things were looking good for The Last Skeptik.
Between 2008 and 2010, The Last Skeptik continued working as a songwriter, producer, remixer and DJ. During this period Conspicuous, The Streets, Daniel Meariweather, Brad Strut, David’s Lyre, Loudmouth Melvin and Marina and The Diamonds were among the artists remixed by The Last Skeptik. Twelve of the fourteen tracks that featured on The Last Skeptik Presents Same Day Different Sh*t compilation were written and remixed by The Last Skeptik. The fourteen tracks eclectic tracks that comprised The Last Skeptik Presents Same Day Different Sh*t resulted in a genre-sprawling album, one that demonstrated just how innovative a producer The Last Skeptik was fast becoming.
Two years after the genre defying The Last Skeptik Presents Same Day Different Sh*t, The Last Skeptik hooked up with rapper Rewd Adams. The result was the critically acclaimed How Not To Make A Living. Released in 2012, not only did it receive widespread radio play, but further enhanced and reinforced The Last Skeptik’s reputation as a groundbreaking producer. Now a year after the success of How Not To Make A Living, The Last Skeptik’s has somehow, found time to produce his sophomore album Thanks For Trying.
Since the release of How Not To Make A Living, The Last Skeptik has been busier than ever. He has a residency at London’s premier hip hop night Livin’ Proof and has spent time touring the US. The Last Skeptik also has spent time writing, remixing and producing artists. This includes being commissioned by major labels to produce musical luminaries like Kate Nash and Gorillaz. Given how busy The Last Skeptik has been, it’s hard to believe he’s found time to record his sophomore album Thanks For Trying, which will be released on BBE Music on 6th May 2013.
Joining The Last Skeptik for his sophomore album Thanks For Trying, are what seems like a musical cast of thousands. Legendary British hip hop star Jhest, who previously, has released five influential albums, including 2002s The Return Of The Drifter and 2003s Falling Down. Since then, Jhest has influenced a generation of British hip hop artists. So, it’s something of a coup having Jhest feature on Lullaby. Another guest artist is Gavin Fitzjohn, a saxophonist, trumpeter and arranger. He’s previously toured extensively with Paolo Nutini. So the addition of such talented personnel will ensure that The Last Skeptik’s Thanks For Trying, joins the list of critically acclaimed albums BBE Music have released in the past few years. Will that be the case though?
It doesn’t take long before you realize that Thanks For Trying is a very special album. From the opening bars of Those Ones, the word eclectic springs to mind. A fusion of musical influences and genres melt into one. There’s everything from The Beatles circa Abbey Road, lush orchestral strings, a laid-back, jazz-tinged flute and the soundtrack to a sixties spy thriller. If you close your eyes, pictures unfold before your eyes. The Last Skeptik and his cast of equally talented musicians use their musical palette’s full potential to seamlessly paint these pictures.
Then on Park Champ, bursts and swathes of drama unfold. It’s a tantalizing taste of what might have been. During just seventy seconds of music, The Last Skeptik sees how many musical influences he can cram in. Bursts of eighties rock, World Music, ambient and drum ‘n’ bass all merge into one. Frantic, compelling and captivating you’re scared you miss anything. All too quickly, Park Champ is over and Wig begins to unfold. It picks up the baton in terms of eclecticism. Drums pound, providing a strident heartbeat, while a moody backdrop of synths, rasping horns and percussion compete for your attention. Each play their in the track’s success. From their we head to The Best Part, an aptly titled track. Comprising samples, crispy beats and a proliferation of sweet, and sometimes sensual hooks, it’s not unlike what Nightmares On Wax were doing back in the nineties. It’s similarly complex and multilayered, but equally effective and hook-laden.
Enjambment has a much more understated sound, as it gradually begins to reveal its subtleties and charms. Crunchy beats join the unmistakable sound of a Rhodes, while a vocal floats in and out. Jazzy horns rasp while guitars chime and musical genres become one. Vintage hip hop, jazz and ambient music influence this laid-back, melodic and smokey sounding track.
Probably, the best track on Thanks For Trying is the irresistibly catchy and hook-laden Be There. Quite simply, it’s three of the most memorable minutes you’ll spend listening to music. The sweet vocal floats in and out, while everything else plays a supporting role and fits seamlessly into place.
Pick Your Battles is very different from everything that’s gone before. It has an orchestral, cinematic sound. Dramatic and moody, the track only begins to reveal its secrets after two minutes. Thunderous drums add to the moody orchestral sound, which could be soundtrack to a surreal movie that’s yet to be made. Like Pick Your Battles, That Old has an orchestral sound. It’s combined with Eastern influences and hip hop drums. The result is a melancholy and wistful track, that’s also quite beautiful. Horseplay sees Eastern influences, buzzing synths, crispy drums and swathes of strings combining to give the track an orchestral sound. Somehow, this works. This is to the credit of The Last Skeptik. To this compelling combination of influences, a healthy supply of drama is added, resulting in a track with a real cinematic sound. Following in the footsteps of Horseplay is Ask Myself, which has a similar foreboding, moody and dramatic Eastern sound. The way the four previous tracks have been programmed its like listening to a movie soundtrack, one that’s enthralling and completely captivating.
Lullaby features guest artist Jehst, who lays down one of his trademark raps. This he does against a backdrop of bullets, scratches and ethereal backing vocals. It’s as if Thanks For Trying has been building up to this moment, when the album’s underlying drama would boil over. As Lullaby fades into the distance, it’s not unlike the moment when a violent storm subsides and normality returns. Here, normality means Hero Mask.
From the get-go Hero Mask has a real old school sound. With that comforting sound of crackling vinyl, drums crack, while stabs of keyboards join wistful strings and bursts of rasping horns. Taking its reference points as hip hop, jazz, classical and music the result is another genre sprawling track.
As Mission Failed unfolds, the sound is reminiscent of black and white films from the early days of cinema. Flamboyant flourishes of piano take centre-stage before gradually the melancholy strings, reverberating synths, crunchy drums and braying horns enter. It’s like a musical roller coaster, full of twists and turns, drama and surprises aplenty.
I Hate June has a really understated, subtle and melancholy sound. Just a lone acoustic is responsible for this. Here, less is more and with just the later addition of a keyboard, results in one of the highlights of Thanks For Trying. Closing Thanks For Trying is Well, Well. It has a similar sound to I Hate June. With just a meandering guitar joined by a melancholy strings and percussion the track’s understated sound is captivating. Gradually, The Last Skeptik adds crispy drums as the track combines Eastern European, jazz, hip hop and classical music with drama, beauty and latterly, vintage jazz. This seems a fitting way to close such an innovative, genre sprawling album.
Earlier, I boldly forecasted that The Last Skeptik’s Thanks For Trying would be one of the best hip hop albums of 2013. Not only do I stand by that statement, but think that when the lists of the best albums of 2013 are compiled, The Last Skeptik’s Thanks For Trying will be on it. Incorporating everything from hip hop, jazz, classical, rock, ambient and Eastern music, it truly is a genre sprawling album. Thanks For Trying is much more than a hip hop album. It’s a compelling, captivating album of eclectic music from one of the most inventive, influential and innovative producers of his generation. Filled with subtleties and surprises aplenty, the fifteen tracks that comprise Thanks For Trying is like an enthralling musical journey. So good is the music on Thanks For Trying, that your attention never wanders. If it did, you’d be scared you might miss something. That’s how good an album The Last Skeptik’s Thanks For Trying is.
Thanks For Trying is an album that once you’ve heard it, you never forget it.Quickly, its subtleties and charms get under your skin, weaving their way into your soul. It reminds you just why you love music, especially music as good as this. From the opening bars of Those Ones, right through to the closing notes of Well, Well, Thanks For Trying is a musical adventure through a multiplicity of musical genres. So good is this musical adventure, that once it’s over, you want to relive it and all its glories. With each listen, more of Thanks For Trying’s subtleties, charms and secrets reveal itself. This complex, multilayered cinematic, orchestral album has many subtleties, charms and secrets awaiting discovery. Luckily, you don’t long before you can discover the delights of The Last Skeptik’s Thanks For Trying. It’ll be released by BBE Music on 6th May 2013, when you too, can discover the glorious fusion of musical genres that is Thanks For Trying. Standout Tracks: Those Ones, The Best Part, Be There and Hero Mask.
THE LAST SKEPTIK-THANKS FOR TRYING.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
Back in 1978, when Bob Marley and The Wailers released Kaya, critics and fans accused Bob Marley of selling out. Kaya was a much more laid-back album, whereas previous albums had been politically charged and crammed full of social comment. Previously, Bob Marley was seen as Jamaica’s social conscience. He was someone who spoke on behalf of Jamaica’s oppressed. So when Kaya was released in 1978, critics and fans discovered a was a very different album. Unlike previous albums, Kaya didn’t feature militant and outspoken music filled with social comment. Instead, Kaya had a much more relaxed, laid-back and optimistic sound. Many of the songs were about love, while others were about marijuana. This resulted in the cries of sell-out from critics and fans. They accused Bob Marley and The Wailers of going soft, being more concerned with commercial success than political problems. Given the backlash Kaya faced upon its release in 1978, not many people would’ve forecasted that Kaya would become one of Bob Marley and The Wailers’ classic albums?
Thirty-five years later, Kaya is seen as a classic album. A Deluxe Edition of Kaya, which is a double-album was recently rereleased. Disc One features the original version of Kaya and a bonus track Smile Jamaica, while Disc Two features the legendary Live At Ahoy Hallen concert in Rotterdam. However, with bonus tracks and live concerts, does Kaya deserve to be referred to as a classic album? That’s what I’ll tell you, after I’ve told you about the rise and rise of Bob Marley and The Wailers.
Ever since Bob Marley and The Wailers had signed to Chris Blackwell’s Island Records, their career had been transformed. Their first release for Island Records was their fifth album Catch A Fire. Released in April 1973, Catch A Fire proved more popular in Britain than America. It reached number 171 in the US Billboard 200 and number fifty-one in the US R&B Charts. Critically acclaimed upon its release, Catch A Fire was certified silver in the UK and is featured in Rolling Stone magazine’s list of 500 best albums of all times. Six months after the release of Catch A Fire, came the album that broke Bob Marley and The Wailers in the US.
Burnin’ wasn’t just the album that broke Bob Marley and The Wailers in the US, but was also the last album to feature Peter Tosh and Bunny Wailer. After the release of Burnin’ in October 1973, they embarked upon solo careers. At they did so, with a gold disc. On its release, Burnin’ reached number 151 in the US Billboard 200 and number forty-one in the US R&B Charts. This resulted in a gold disc in America, while it was certified silver in the UK. Featuring classics like Get Up, Stand Up and I Shot The Sheriff, Burnin’ marks the debut of the militant, confrontational Bob Marley. If Burnin’ marked the birth of a reggae revolutionary, Bob Marley picked up the baton on Natty Dread.
Natty Dread was released a year after Burnin,’ in October 1974. The wait was worthwhile though. Here was an album which featured Bob Marley at his militant and confrontational best. He was like a reggae revolutionary, protesting against injustice, on an album that’s politically charged and full of social comment. Featuring No Woman, No Cry and Them Belly Full (But We Hungry) Bob rails against poverty, while Rebel Music (3 O’Clock Roadblock) and Revolution are akin to a call to arms). On it release, Natty Dread was more popular in the UK than US. It was certified gold in the UK, but only reached number ninety-two in the US Billboard 200 and number forty-four in the US R&B Charts. Following three commercially successful and critically acclaimed albums, it would be another two years before Bob Marley and The Wailers released another studio album.
While Bob Marley and The Wailers didn’t release another studio album until 1976, they released their first live album. Released in December 1975, and simply entitled Live, this gave fans an opportunity to hear what Bob Marley and The Wailers live sounded like. Recorded on 18th and 19th July 1975, Live was a tantalizing taste of one of the best live groups of the seventies. Fans and critics agreed, with Live reaching number ninety in the US Billboard 200. This resulted in Live being certified gold in the US and silver in the UK. Although Live and their three previous studio albums had been successful, their next album would surpass everything they’d previously released.
When Rastaman Vibration was released in April 1976, it became Bob Marley and The Wailers’ only album to enter the top ten in the US Billboard 200. Not only that, but Rastaman Vibration featured Bob Marley and The Wailers’ most successful single in the US. The was the Vincent Ford penned Roots, Rock, Reggae, which reached number fifty-one in the US Billboard 100. Rastaman Vibration reached number eight in the US Billboard 200 and number eleven in the US R&B Charts. Unlike previous albums, Rastaman Vibration featured synths alongside the Wailers famed rhythm section. This added a contrast to the power of rhythm section, and are part of Rastaman Vibration’s success. Good as Rastaman Vibration was, Bob Marley and The Wailers next album was a stonewall classic…Exodus.
After an attempted assassination on 3rd December 1976 in Jamaica, Bob Marley took up residence in London. Although he’d been shot in the chest, he’d been lucky. Things could’ve been much worse. So rather than record the remainder of Exodus in Jamaica, parts of it were recorded in London. When Exodus was released in June 1977, it was the album that transformed Bob Marley into a worldwide star. Side Two of Exodus is crammed full of quality music. Opening with Jamming, through Waiting In Vain, Turn Your Lights Down Low, Three Little Birds and closing with One Love/People Get Ready, this is one of the best sides of music ever. Quite simply, it’s peerless. If Side Two is peerless, Side One doesn’t disappoint with Natural Mystic, Heathen and Exodus. Critics referred to Exodus as a classic album and it features in Rolling Stone magazine’s list of 500 best albums of all times. Fans loved Exodus. It reached number twenty in the US Billboard 200 and fifteen in the US R&B Charts. This resulted in Live being certified gold in the US and UK. Having released a timeless classic album, Exodus, Bob Marley and The Wailers tried to repeat this feat with Kaya.
Much of Kaya had been recorded at the same time as Exodus. Two of the tracks, Kaya and The Sun Is Shining had featured on Bob Marley and The Wailers 1973 compilation African Herbsman, which was released on Trojan Records. When Kaya was released in March 1978, it reached number fifty in the US Billboard 200 and US R&B Charts, resulting in Kaya being certified gold in the US. Kaya reached number four in the UK, and was certified gold. While Kaya was a commercial success, it would face a backlash from critics and fans.
Rather that revolution, Kaya was an album that saw Bob Marley and The Wailers’ music evolve. Bob Marley wrote the ten tracks on Kaya with saw Jamaican and Western music combined. Kaya was a fusion of two musical cultures that Bob Marley embraced. This was similar to previous albums, going back to Burnin.’ Where things differed were with Kaya’s lyrics. Whereas previous albums were politically charged and filled with searing social comment, Kaya focused on a variety of themes, including love and marijuana. Indeed, the word “Kaya” is synonymous with marijuana in Jamaican culture. When critics heard the songs on Kaya, they accused Bob Marley and The Wailers of selling out. The music on Kaya was much more laid-back and relaxing. Soon, critics and fans accused Bob Marley and The Mailers of selling out. Was that the case though?
Not only did critics accuse Bob Marley and The Wailers of selling out on Kaya, but they accused him of penning a ten track love letter to marijuana. That’s unfair though. While much of Kaya was about love, and there were tracks about marijuana, there was much more to Kaya than that. Subjects like unity, togetherness, commonality and spirituality. SWhile the music lacked the militancy of previous albums, it had a much more laid-back, understated sound. Proof of this is the rhythmic delights of Satisfy My Soul. This showed another side to Bob Marley and The Wailers’ music, one that was captivating and appealed to a wide range of music fans. Like most Bob Marley and The Wailers’ albums, Kaya contained a couple of classics. These timeless classics, the hopeful and optimistic hopeful Easy Skanking and Is This Love. Showing another side to Kaya, was the broody, moody and thoughtful Running Away. Despite the lack of politically charged songs, there was still a spiritual side to Kaya. Similar to other albums, Bob continues to seeks help and guidance from Jah. So Kaya was much more than a ten-track love letter to marijuana. Instead, there was much more to Kaya. It touched on several themes, and in the process, demonstrated another side to Bob Marley and The Wailers’ music.
Critics and fans accused Bob Marley and The Wailers of selling out when Kaya was released. This wasn’t the case. Instead, Kaya saw Bob Marley and The Wailers music evolving. Kaya was a much more subtle album, both in its content and style of music. With themes ranging from love, marijuana, unity, togetherness and spirituality, Kaya was a much more complex album than people realized. Originally, Kaya’s accusers had said it was no more than a love letter to marijuana. How wrong they were. The ten tracks on Kaya contained intelligent, thoughtful, introspective and beautiful music. These tracks demonstrated that Bob Marley and The Wailers were a versatile band, determined not to continue releasing albums of similar music. Instead, they wanted their music to be constantly evolving. This meant their music neither risked becoming stale nor predictable.
While not as overtly militant as previous albums, Kaya’s ten tracks were all written by Bob Marley. Unlike Exodus, which featured numerous songwriters, Kaya was all Bob Marley’s own work. It offered an insight to an intelligent, complex and spiritual man. Having gained a reputation as Jamaica’s social conscience, Bob Marley’s demonstrated another side to his songwriting skills. Love songs sat side-by-side with pleas to unity, paeans to marijuana and songs about spirituality. While Kaya wasn’t immediately hailed a classic, in the intervening thirty-five years, critics have performed a volte face.
Now Kaya thirty-five years after critics cried sell-out, Kaya is perceived as one of Bob Marley and The Wailers classic albums. Recently and fittingly, a Deluxe Edition of Kaya has been released to celebrate Kaya’s thirty-fifth anniversary. This Deluxe Edition of Kaya pays homage to one of Bob Marley and The Wailers classic albums with a luxurious and lovingly compiled double album. Disc One featuring the original version of Kaya with a bonus track Smile Jamaica added. This is the same as the 2001 rerelease of Kaya. Then Disc Two of Kaya features the legendary Live At Ahoy Hallen concert in Rotterdam. Although this is only part of the legendary concert, it’s a tantalizing taste of who good a live band Bob Marley and The Wailers were. While many albums are referred to as classics, Bob Marley and The Wailers’ Kaya truly is a classic. Kaya deserves to be spoken about in the same breath as Burnin,’ Natty Dread and Exodus. Quite simply, Kaya is hugely important and potent album which feature some intelligent, thoughtful, introspective and beautiful music. Standout Tracks: Easy Skankin,’ Is This Love, Sun Is Shining and Satisfy My Soul.
BOB MARLEY AND THE WAILERS-KAYA-DELUXE EDITION.
MAJOR HARRIS-JEALOUSY.
MAJOR HARRIS-JEALOUSY.
As someone whose a huge fan of Philly Soul, one thing that continues to frustrate me, is that many Philly Soul albums haven’t yet made it to CD. I can think of numerous Philly Soul classics waiting for their CD debut. Considering CDs are nearly thirty years old, that’s disappointing, to say the least. After all, there’s a captive audience who’d purchase reissues of these elusive Philly Soul classics. One album I’ve been hoping would be reissued was Major Harris’ 1976 sophomore album Jealousy. Thankfully, WEA Japan have realized that there’s a captive audience for Philly Soul, and recently, have released five classic albums, which I’ll tell you about. The first of these is Major Harris’ Jealousy, which was released on 30th April 2013.
WEA Japan’s rerelease of Jealousy comes just six months after the tragic death of Major Harris. Major Harris died on 9th November 2012, aged just sixty-five. He was one of legends of Philly Soul. He’d enjoyed a long and successful career, one that spanned over five decades. This success came as part of groups like The Delfonics and as a solo artist. After being a member of The Delfonics between 1971 and 1975, during which time they recorded two albums. Then as The Delfonics career seemed to stall, Major Harris embarked upon his solo career. Between 1975 and 1984, Major Harris released four solo albums. His solo career started with 1975s million-selling My Way. It featured the number one US R&B single Love Won’t Let Me Wait. A year later, in 1976, Major Harris released his sophomore album Jealousy. Would Jealousy match the success of My Way? Before I tell that, I’ll tell you about Major Harris’ career.
Major Harris was born on February 9th 1947, in Richmond, Virginia. During his nascent career, Major Harris was a member of The Charmers, The Teenagers, The Jarmels and Nat Turner’s Rebellion. Later, Major Harris released singles a few singles on the Okeh and Laurie labels. Then in 1971, Major Harris caught a break. He replaced Randy Cain in The Delfonics. It seemed Major Harris’ luck was changing.
Unfortunately, Major Harris joined The Delfonics as their fortunes changed. Thom Bell, who had produced their first three albums, and cowrote many of their songs with Linda Creed. However, no longer would Thom Bell be The Delfonics’ producer. For Major Harris’ Delfonics debut, 1972s Tell Me This Is A Dream, Stan Watson, owner of Philly Groove Records, The Delfonics’ label, would coproduce the album with Thom Bell. On its release it reached just number 123 in the US Billboard 200 and number fifteen in the US R&B Charts. If that was disappointing, worse was to come.
Alive and Kicking was released in 1974. Not only would it prove to be The Delfonics’ least successful album, but was their final album. It reached number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. So with The Delfonics’ career on the slide, Major Harris decided that the time was right to launch his solo career.
With Major Harris embarking on his solo career, his debut album My Way was released in 1975. My Was was released to critical acclaim and huge commercial success. My Way reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. If that was good, then things would get even better. After years of trying, Major Harris enjoyed a number one single. Each Morning I Wake Up reached number five in the US Billboard 100 and number one in the US R&B Charts. Not only did this vindicate his decision to leave The Delfonics, but surpassed the success of any of their singles. Having released his debut album in 1975, his sophomore album Jealousy was released in 1976.
For Jealousy, the same personnel that worked on My Way reconvened. This included many members of The Salsoul Orchestra, who previously, had been members of Philadelphia International Records’ legendary house-band M.F.S.B. Norman Harris, Major Harris’ cousin cowrote Ruby Lee with Ron Baker. Bobby “Electronic” Eli and Vinnie Barrett who cowrote the number one US R&B single Love Won’t Let Me Wait, penned Walkin’ In the Footsteps and Talking To Myself, while Bobby cowrote It’s Got To Be Magic with Terry Collins. The other four tracks, Jealousy, I Got Over Love, Tynisa (Goddess of Love) and What’s the Use In the Truth were written by Joseph B. Jefferson and Charles B. Collins. These eight tracks became Jealousy, which was recorded at Philly’s Sigma Sound Studios.
Many of the musicians who played of My Way would also play on Jealousy. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli played guitar. Joining them were Vince Montana Jr, on vibes, Larry Washington played congas and keyboardist Carlton “Cotton” Kent. Ron “Have Mercy” Kersey also played keyboards and synths. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Various arrangers and producers worked on Jealousy, including Major Harris, Norman Harris, Bobby “Electronic” Eli and Ron “Have Mercy” Kersey. Once Jealousy was recorded, it was released in 1976.
On the release of Jealousy in 1976, it reached number 153 in the US Billboard 200 and number thirty-three in the US R&B Charts. Jealousy had failed to match the success of My Way. I Got Over Love was released as the lead single, reaching number twenty-four in the US R&B Charts. It’s Got To Be Magic then reached number ninety-one in the US R&B Charts. The last single was the title-track Jealousy, which reached number seventy-three in the US Billboard 100 and number forty-six in the US R&B Charts. Sadly, none of the three singles replicated the success of Love Won’t Let Me Wait, the number one US R&B single from My Way.
Jealousy opens with the title-track Jealousy, arranged by Norman Harris, who produced the track with Ron “Have Mercy” Kersey. Just melodic keyboards and swathes of strings combine, before Norman Harris adds his subtle, jazzy guitar. They set the scene for Major Harris. His vocal is strong, deliberate and heartfelt. The Sweethearts of Sigma match his emotion and fervor. Their vocals sweep in, soaring above the arrangement. Meanwhile Larry Washington’s congas, Vince Montana Jr’s vibes, lush strings combine, as Baker, Harris Young provide a pounding heartbeat. Like the harmonies, the arrangement matches the sheer emotion, power and fervor in Major Harris’ voice. This ensures Jealousy gets off to a memorable start.
The tempo drops on I Got Over Love, with a heartbroken female vocalists pleading with Major not to go. Wistful, melancholy horns and emotive strings join Norman Harris’ chiming guitar and Vince Montana Jr’s pensive vibes. When Major Harris’ vocal enters, it’s filled with sadness, regret and even hope, hope for the future. He delivers the lyrics tenderly and thoughtfully. Equally ender, subtle and soulful harmonies from The Sweethearts of Sigma accompany him. They playing a leading role, in the track’s sound and success. Although tinged with sadness and regret, it’s also a very beautiful, melancholy song.
Bobby “Electronic” Eli and Vinnie Barrett cowrote Walkin’ In the Footsteps, which Bobby arranged and produced. This is one of the uptempo songs, allowing Major Harris and his band to kick loose. Stabs and flourishes of piano are joined by sweeping, swirling strings, rasping horns and Baker, Harris, Young. They inject power and drama into the arrangement. By then, Major Harris delivers one of his best vocals on Jealousy, It’s powerful, passionate and filled with emotion. He’s joined by The Sweethearts of Sigma, who add tender, beautiful and soulful harmonies. Soon the band hit their stride. Now the arrangement is a mass of dancing strings, growling horns and bursts of drama from the rhythm section. Add to that the unmistakable sound of Bobby “Electronic” Eli’s guitar and Vince Montana Jr’s vibes and the result is a truly delicious uptempo slice of Philly Soul.
Tynisa (Goddess of Love) was arranged by Ron “Have Mercy” Kersey who produced the song with Norman Harris. An urgent combination of the Baker, Harris, Young rhythm section, braying horns and cascading strings grab your attention. Then when Major Harris vocal enters, the arrangement takes on a more understated sound. Major’s vocal is pensive and wistful, accompanied by The Sweethearts of Sigma’s heartfelt harmonies. When Major’s vocal grows in power, so does the arrangement. Horns, strings and the rhythm section reinforce and reflect the drama in the vocal. For his part, Major Harris’ delivers a vocal that’s a mixture of melancholia, emotion, power and sadness.
It’s Got To Be Magic was arranged and produced by Bobby “Electronic” Eli. The tempo drops, swathes of strings sweep slowly above the arrangement, setting the scene for this sensual bedroom ballad. Major Harris’ vocal is sensual, joyful and thankful. Subtle, sensuous harmonies from The Sweethearts of Sigma prove the perfect foil for Major’s vocal. Vince Montana Jr’s vibes, Norman Harris’ jazzy guitar and keyboards provide the perfect backdrop. Later, the rhythm section reflects the playful, sassy and vampish nature of Major’s vocal during this bedroom ballad par excellence.
Ruby Lee was written by Ron Baker and Norman Harris who arranged and produced the song. It’s a song with a strong narrative, filled with social comment and almost ironically, marches along. Growling horns, swirling strings and a pulsating heartbeat from Baker, Harris, Young are joined be Major Harris. His vocal is quick, filled with joy and hope. The Sweethearts of Sigma add cooing, soaring harmonies as the arrangement takes on a hustle sound. By now the band have kicked loose. It’s an impressive sound. A myriad of dancing strings, bursts of blazing horns and a punchy rhythm section march along. Later, there’s a twist. Major’s vocal grows in power, becoming a hurt-filled vamp, as he lays bare his soul. Two years he’s been away, fighting for his country. Now he’s back, Ruby Lee’s gone and his house is up for sale. He’s heartbroken, desperate and has lost hope. Of all the songs on Jealousy, this must be the most moving, powerful and potent. One listen and you’ll understand why.
Talking To Myself was the second Bobby “Electronic” Eli and Vinnie Barrett composition on Jealousy. Just Vince Montana Jr’s, braying horns and Baker, Harris, Young combine to create a slow, understated backdrop for Major’s vocal. Quivering strings signal the arrival of his heartbroken vocal. The Sweethearts of Sigma add harmonies, while shimmering strings, rasping horns and Norman Harris’ sparse, jazzy guitar combine. With Norman’s guitar playing, it’s sometimes what he doesn’t play that makes his playing so effective. Earl Young’s drums reflect the drama and hurt in Major Harris’ vocal as he unleashes one of his most heartfelt vocals, where hope and happiness seem a long way away.
Closing Jealousy is What’s the Use In the Truth. The tempo drops, but the drama and emotion doesn’t. Growling horns, percussion and Vince Montana Jr’s vibes combine with Baker, Harris, Young. They provide an understated backdrop for Major Harris’ wistful, melancholy and dramatic vocal. Soon, The Sweethearts of Sigma add punchy, dramatic and impassioned harmonies. They seem to drive Major Harris to greater heights. His vocal is deliberate, questioning and probing. “What’s the Use In the Truth if you can’t tell a lie sometime” ponders Major Harris, as he delivers one of his most poignant, pensive and impassioned vocals. This seems a fitting way to close Jealousy.
So, that’s the story of Major Harris’ 1976 sophomore album Jealousy. Sadly, neither Jealousy, nor any of the singles released from Jealousy, matched the success of My Way. Part of the problem was that musical fashions were changing quickly. Disco had became the most popular musical genre. For soul singers like Major Harris, this presented a problem. Granted some of the songs on Jealousy are dance-floor friendly, but that didn’t help make Jealousy the commercial success it deserved to be. With an all-star cast of Philly songwriters, arrangers, producers and musicians working on Jealousy, there was nothing whatsoever wrong with the eight tracks on Jealousy. Norman Harris, Major Harris’ cousin, played an important part in the making Jealousy. He cowrote Ruby Lee with Ron Baker, and arranged and produced three tracks on Jealousy. Bobby “Electronic” Eli who cowrote three tracks on Jealousy played an equally important part. This included Walkin’ In the Footsteps and Talking To Myself with Bobby “Electronic” Eli and Vinnie Barrett. Unfortunately, neither of these tracks could replicate the success of Love Won’t Let Me Wait. Following Jealousy, Major Harris wouldn’t release another album on Atlantic Records.
Two years after the release of Jealousy, Major Harris released How Do You Take Your Love in 1978, on RCA Victor. This would be Major Harris penultimate album.1984s I Believe In Love was Major Harris’ final solo album. After that, Major Harris’ musical career continued. Tragically, Major Harris passed away on 9th November 2012, aged just sixty-five. Philly Soul had lost another of its legends. Major Harris left behind a rich musical legacy, including two albums he recorded with The Delfonics and four solo albums. Of these four solo albums, Major Harris‘ best two albums were 1975s My Way and 1976s Jealousy, which was released by WEA Japan on 30th April 2013, includes some sumptuous, smooth Philly Soul. Standout Tracks: Jealousy, Walkin’ In the Footsteps, Ruby Lee and Talking To Myself.
MAJOR HARRIS-JEALOUSY.
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.
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