WILD ONE-THE CAMEO-PARKWAY STORY.
WILD ONE-THE CAMEO-PARKWAY STORY.
Way before Philly Soul provided the soundtrack to much of the seventies, many of the architects of Philly Soul cut their musical teeth at Cameo Parkway Records. This included songwriters and producers Gamble and Huff, vibes virtuoso, songwriter and producer Vince Montana Jr. and many members of Philadelphia International Records’ legendary house-band, M.F.S.B. Having learnt their trade at Cameo-Parkway Records, many of these songwriters, arrangers, producers and musicians blossomed during the late sixties and seventies. What was an outpouring of creativity, saw Philly overtake Detroit, Memphis and New York to become the soul capital of America. Sadly, when people talk about Philly Soul, often, Cameo Parkway Records’ role in the rise and rise of Philly Soul is overlooked. Thankfully, One Day Music have recently released a two-disc compilation Wild One-The Cameo Parkway Story. it features fifty-tracks and is the perfect introduction into Philadelphia’s forgotten label. Before I tell you about Wild One-The Cameo-Parkway Story, I’ll tell you about the history of Cameo Parkway Records.
It was in December 1956 that Cameo Records was founded by Bernie Lowe and Kal Mann in Philadelphia. Bernie Lowe and Kal Mann had established a reputation as a successful songwriting team. Karl wrote the lyrics and Bernie the music. Before founding Cameo Records, their biggest hit had been Elvis Presley’s (Let Me Be Your) Teddy Bear. This was a taste of what the Lowe and Mann songwriting team were capable of.
Next to join Cameo Records, was Dave Appell, who became A&R director. Together, the trio of Bernie Lowe, Kal Mann and Dave Appell would produce many of Cameo Records earliest hits. Dave also had his own band, The Applejacks who became Cameo Records’ house-band. They featured on Charlie Gracie’s number one single Butterfly. Unlike many record labels, Cameo released an eclectic selection of music. Doo wop, dance tracks, pop, big band, rock and of course, soul were among Cameo’s releases.
Two years later, in 1958, Parkway Records was founded. It was initially a subsidiary of Cameo Records. Throughout this period, commercial success continued to come Cameo and Parkway’s way. This was helped by Cameo and Parkway’s close relationship with American Bandstand. Hosted by Dick Clark, Cameo and Parkway artists were regulars on American Bandstand. Cameo and Parkway always ensured their artists were ready to appear on American Bandstand at short notice. Not only did this endear them to American Bandstand, but was good publicity and ensured that the hits kept on coming.
Among the hits Cameo enjoyed were The Rays’ 1975 number three single Silhouettes, John Zacherie’s novelty single Dinner With The Drac and The Applejacks Mexican Hat Rock. Then in 1959, Bobby Rydell released Kissin’ Time and We Got Love the first in a series of hit singles Bobby released on Cameo. For five years, Bobby was one of Cameo’s most successful artists. Indeed, between 1960 and 1964, Bobby’s success was surpassed by only one artist…Chubby Checker.
Chubby Checker’s time at Parkway started in the summer of 1959 with a novelty record The Glass. Then when Chubby covered Hank Ballard’s The Twist, it reached number one and became Parkway’s most successful single. After The Twist, Pony Time gave Chubby a second number one. Still the hits kept coming. Let’s Twist Again, The Fly, Slow Twistin’ which featured a fifteen year-old Dee Dee Sharp, Limbo Rock and Birdland all gave Chubby hit singles. However, by 1961, changes were afoot at Cameo and Parkway.
By 1961, it was decided that Cameo and Parkway should develop their own artists. One of these new artists was The Dovells, who featured Len Barry as lead singer. Bristol Stomp gave them a number two single in late 1961. After that, The Dovells released a variety of dance songs during 1962 and 1963. This included Bristol Twistin’ Annie, (Do The New) Continental and Hully Gully Baby. Another of Cameo and Parkway’s new stars were The Orions, an R&B quartet. They enjoyed a number two hit with The Wah Watusi. Don’t Hang Up, South Street, Not Me and Crossfire saw The Orions enjoy further top twenty singles. Dee Dee Sharp was another new signing. Having duetted with Chubby Checker on Slow Twistin,’ she had hits with Mahed Potato Time, which reached number two and then Gravy and Ride. It seemed that Cameo and Parkway’s new signings had transformed the labels’ fortunes. Sadly, that wasn’t the case.
For four years, Cameo Parkway Records was the parent company of Cameo Records and Parkway Records. Then in 1962, the parent company Cameo Records was renamed as Cameo-Parkway Records, giving Parkway equal billing. While 1962 proved a successful year for Cameo-Parkway, 1963 would prove a landmark year. The Tymes enjoyed a number one single with So Much In Love during the summer of 1963. Little did anyone realize it, but this proved to be the final hit single from Cameo-Parkway Records’ most successful period.
Although it was another four years before Cameo-Parkway Records was incorporated into MGM Records in 1967, things started to go wrong from 1963 onwards. Things started going wrong when Dick Clark’s American Bandstand moved from Philly to Los Angeles in early 1964. At once, Cameo-Parkway Records lost the nationwide exposure their music had enjoyed. Then musical fashions changed.
Suddenly, British groups became more popular than their American counterparts. When this happened during 1964 and 1965, Cameo-Parkway Records’ sales were badly affected. Then Bernie Lowe started to loose interest in writing and producing music. He was depressed and suffering from nervous exhaustion. The writing was on the wall in 1961, when Bernie cut back on songwriting. Bernie sold his stake in Cameo-Parkway in 1964. Soon, Kal Mann and Dave Appell sold their stakes. By mid-1965, none of Cameo-Parkway Records founding fathers remained. Worse was to come.
A further blow came when Cameo-Parkway Records’ biggest stars left the label. Chubby Checker and Bobby Rydell, who’d been the jewel in the label’s crown headed for pastures new. Unfortunately, new management couldn’t revive Cameo-Parkway Records’ fortunes.
Neil Bogart, who’d later masterminded Buddah Records rise and rise, became Cameo-Parkway Records’ new head of A&R during mid-1966. He was just twenty-three, but was determined to turn round Cameo-Parkway Records. To do that, he turned to garage bands, including Question Mark and The Mysterians. Their single 96 Tears, reached number one in the autumn of 1966. This proved to be Cameo-Parkway Records’ last major hit. Despite signing Bob Seeger to his first recording contract and releasing his first five singles, Neil Bogart couldn’t revive Cameo-Parkway Records’ fortunes.
So, in mid-1967, Cameo-Parkway Records became a subsidiary of MGM Records. Then when Cameo-Parkway Records’ financial problems worsened, the ailing label was sold to Allen Klein, who renamed the label ABKCO Records. After eleven years, Cameo-Parkway Records was no more. However, Cameo-Parkway Records leaves behind a back-catalogue that’s full of soulful delights. Fifty of these soulful deligts feature on Wild One-The Cameo-Parkway Story. I’ll now pick the ten tracks from Wild One-The Cameo-Parkway Story.
DISC ONE.
Disc One of of Wild One-The Cameo-Parkway Story features an incredible twenty-five tracks. There old school tracks, just two to three minutes long. That’s all it took to grab your attention and hold it forever. The music is eclectic, ranging from rock ‘n’ roll, dance tracks, doo-wop, novelty song and old fashioned pop music. For anyone expecting the Philly Soul made famous by Gamble and Huff, Thom Bell, Norman Harris or Vince Montana Jr, then this is very different music. There’s no lush strings, although growling saxophones and harmonies are in plentiful supply in the twenty-five tracks that comprise Disc One of of Wild One-The Cameo-Parkway Story.
The Dovells’ Bristol Stomp was released in 1961 on Parkway Records. It was written by Kai Mann and Dave Appell and features Len Barry on lead vocal. On its release, this classic slice of doo-wop reached number two in the US.
Dee Dee Sharp was only fifteen when she made her recording debut. Mashed Potato Time was released on Cameo in 1962 and featured on her debut album It’s Mashed Potato Time. Written and produced by Harry Land and Jon Sheldon is a tantalizing taste of a hugely talented singer early in her career.
Although Don Coyay’s debut The Popeye Waddle was a novelty record, and very different from what he later recorded, at least it was the first step in his recording career. That career would last over five decades. His debut single was released in 1962 on Cameo, and was written by Dave Leon and Jon Sheldon. During this period, novelty songs were proving popular and commercially successful. While The Popeye Waddle gave Don a minor hit single, the best place for newcomers to his music start is the music he released during the seventies. After all, The Popeye Waddle is hardly vintage Don Covay, it marks the start of a successful recording career.
When The Dream Girls released Oh This Is Why in 1959, someone at Cameo thought this was a potential hit. Sadly, this wasn’t the case. For Wild One-The Cameo-Parkway Story, the compiler through curiosity, has tried the B-side Don’t Break My Heart. Written by Edwin Harrell and Tom King, it surpasses the quality of the single and reinforces an important lesson, always listen to a B-side.
It seems fitting that my final choice from Disc One One of Wild One-The Cameo-Parkway Story is one my favorite tracks. This is Charlie Gracie’s timeless classic Fabulous. It’s another track from the pen of Harry Land and Jon Sheldon Released in 1957 on Cameo Records, Charlie’s vocal and the arrangement has been heavily influenced by Elvis Presley. That’s no bad thing. For two minutes, you’re transported back to a time when rock ‘n’ roll was King and singers like Charlie Gracie represented the future of music
It’s no exaggeration to say that the music on Disc One of of Wild One-The Cameo-Parkway Story is eclectic. There’s everything from rock ‘n’ roll, doo-wop, novelty tracks and dance songs. Most of the tracks have aged well. Considering some of them are over fifty-five years old, that’s testament to their quality. Sadly, some of the novelty songs and dance tracks haven’t aged well. They’re a reminder of another musical age. Proof of this is Don Coyay’s novelty debut single The Popeye Waddle. Thankfully, the good outnumbers the bad and there’s plenty of good music awaiting discovery on Disc One of of Wild One-The Cameo-Parkway Story. Overall, much of the music on Disc One of of Wild One-The Cameo-Parkway Story demonstrates why Cameo-Parkway Records is such an important label in the history of music.
DISC TWO.
Just like Disc One of of Wild One-The Cameo-Parkway Story, Disc Two features an eclectic selection of music. Again, rock ‘n’ roll, dance tracks, swing, doo-wop, novelty song and pop music features during the twenty-five tracks on Disc Two. Many of the same artists that featured on Disc One feature on Disc Two. Mind you, given the quality of music on Disc One, I’m not complaining about that. Especially if it’s music from Bobby Rydell and Chubby Checker. Alongside Cameo-Parkway’s biggest stars are one hit wonders and long forgotten artists. They’re all on Disc Two of Wild One-The Cameo-Parkway Story, which I’ll pick some of the highlights of.
Bobby Rydell was Cameo-Parkway’s second most successful artist. His success was surpassed by only Chubby Checker. One of Bobby’s hits was Wild One, released in 1960 on Cameo. It was written by the songwriting team of Bernie Lowe, Kal Mann and Dave Appell. After one listen you’ll realize just why Bobby Rydell was such a successful artist.
Before signing to Cameo, The Rays, an R&B quartet from New York had been signed to Chess Records. The Rays’ Cameo debut was Silhouettes, released in 1957 on Cameo. While there’s no doubt that Silhouettes is a quality fusion of rock ‘n’ roll and doo wop, the B-side Daddy Cool is every bit as good. Written by Bob Crew and Frank Slay it’s a three minute roller coaster of energy and emotion
Dave Appell proved to be one of Cameo-Parkway’s most important signings. Initially, he was in charge of A&R, but cowrote and produced songs. For some time, his band The Applejacks, were Cameo-Parkway’s house-band. One of their best singles was Rocka-Conga, released in 1958 on Cameo and penned by Jon Sheldon and Dave Leon. Quite simply, it’s two minutes of totally memorable and irresistible rock and roll that unfolds at breakneck pace.
Gven Cubby Checker was Came-Parkway’s most successful artist, it would almost be remiss of me not to mention him. Released in 1960, The Twist gave Chubby a number one single. Another of Chubby’s singles from 1960 was Whole Lotta Shakin’ Goin’ On, which reached number fourteen. The B-side featured another dance track, The Hucklebuck, written by Andy Gibson and Roy Alfred. WhyThe Hucklebuck wasn’t released as a single seems strange. After all, it’s a hook-laden track that’s like a call to dance.
Shake A Hand by The Mike Pedicin Quintet is the final track from Disc Two of Wild One-The Cameo-Parkway Story I’ve chosen. The Mike Pedicin Quintet were true musical innovators, who fused swing, country and R&B. Having released a handful of singles on RCA Victor, they released the Joe Morris penned Shake A Hand in 1957 on Cameo. It’s a delicious slice of rock ‘n’ roll that once you’ve heard it, you’ll never forget. Indeed so good is this track, that it’s the highlight of Disc Two of Wild One-The Cameo-Parkway Story.
Like Disc One of Wild One-The Cameo-Parkway Story, the music on Disc Two is mostly highly memorable, hook-laden and truly timeless. Sadly, just a few tracks that haven’t aged well. They’re mostly dance tracks and novelty songs, which never tend to stand the test of time. When comes to the other tracks, Mostly, it’s just some storming rock ‘n’ roll sitting side by side with doo-wop, dance tracks and novelty songs. Some tracks are a fusion of styles, others point towards the way music was heading. Overall, Disc Two of Wild One-The Cameo-Parkway Story, like DIsc One is a compelling and captivating musical journey that delves into Philly’s musical history. Founded in 1956 Cameo Records remained an important part of Philly’s music scene until 1967, when Alan Klein bought and renamed the company. After that, many of musicians and producers, who’d cut their musical teeth at Cameo-Parkway went on to play crucial roles in making Philly Soul the soundtrack to the seventies. This includes Gamble and Huff, Vince Montana Jr. and many members of Philadelphia International Records’ legendary house-band, M.F.S.B. Although the music they recorded for labels like Philadelphia International Records, Philly Groove and Atlantic had one thing in common with much of the music Cameo-Parkway released…quality. Proof of this is Wild One-The Cameo-Parkway Story, which at less than £4, $6 or €5, represents one of the best bargains you’ll find during these recession hit times. Standout Tracks: The Dream Girls Don’t Break My Heart, Charlie Gracie Fabulous, The Rays Daddy Cool and The Mike Pedicin Quintet Shake A Hand.
WILD ONE-THE CAMEO-PARKWAY STORY.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
For Thelonious Monk, 1962 proved to be the year he finally signed to a major label. This was Columbia Records, where The Thelonious Monk Quartet released six albums between 1962 and 1967. By 1962, Thelonious Monk was forty-five, and had released albums for three of jazz’s most prestigious labels. The forties and fifties were the most productive and prolific periods of Monk’s career. His career started at Blue Note, where he released two albums between 1948 and 1952. After leaving Blue Note, Monk signed to Prestige, releasing three albums between 1952 and 1954. The four year period Thelonious Monk spent at Riverside Records proved the most productive of his career. Between 1957 and 1961 established a reputation as one the most innovative jazz pianists. Apart from his solo career, there were his collaborations with some of jazz’s biggest names. John Coltrane, Gerry Mulligan and Sonny Rollins all collaborated with Thelonious Monk during this time. However, it seemed everything Thelonious Monk had released during the past fifteen years was working towards his major label debut.
Between 1962 and 1968, Thelonious Monk was signed to Columbia Records. During that time, Thelonious Monk released thirteen albums. This included live albums, solo albums and six studio albums by The Thelonious Monk Quartet. Last year, Columbia Records released a six-disc box set which features The Thelonious Monk Quartet’s The Complete Studio Albums Collection. Starting with 1963s Monk’s Dream and Criss-Cross through 1964s It’s Monks Time, 1965s Monk, 1967s Straight No Chaser and Underground. The six albums that feature in The Complete Studio Albums Collection include some of the greatest music The Thelonious Monk Quartet ever recorded. You’ll realize that when I tell you about The Complete Studio Albums Collection.
MONK’S DREAM.
Now signed to Columbia Records, The Thelonious Monk Quartet’s debut album for their new label was Monk’s Dream. It featured the quartet of pianist Thelonious Monk, tenor saxophonist Charlie Rouse, bassist John Ore and drummer Frankie Dunlop. Monk’s Dream featured eight tracks, five of which were written by Thelonious Monk. Bright Mississippi was the only new track on Monk’s Dream. The other seven tracks had featured on previous Thelonious Monk albums.
Recording of Monk’s Dream took place at Columbia 30th Street Studio, New York with Teo Macero producing the album. The sessions started on 31st October 1962. Further session took place between 1st and 2nd November and on the 6th November 1962.
On the release of Monk’s Dream on 14th November 1963, The Thelonious Monk Quartet were at their very best. Monk’s Dream featured a quartet that were tight, talented and seemed to know exactly what each band member was about to do next. Each member seemed to be playing by intuition.They fed off each other. Seamlessly, they drove each other to greater heights. During the eight tracks, a series of musical curveballs were thrown. The tracks on Monk’s Dream were complex and multilayered, and allowed The Thelonious Monk Quartet to begin their career at Columbia with critically acclaimed album.
MONK’S DREAM.
CRISS-CROSS.
After the success of Monk’s Dream, The Thelonious Monk Quartet returned to the studio with producer Teo Macero. Eight tracks would become Criss-Cross. Of the eight tracks that became Criss-Cross, five were penned by Thelonious Monk. The title-track Criss-Cross is perceived as one of the best tracks Thelonious wrote during the sixties.
When recording of Criss-Cross got underway on November 6th 1962 it was the same personnel that featured on Monk’s Dream. Criss-Cross saw Thelonious accompanied by tenor saxophonist Charlie Rouse, bassist John Ore and drummer Frankie Dunlop. Further sessions took place in February 26th and 29th 1963. Once Criss-Cross was completed, it was released on August 12th 1963.
Criss-Cross was a commercially successful album. It reached number 127 in the US Billboard 200 in August 12th 1963. The eight tracks on Criss-Cross feature some of the best music The Thelonious Monk Quartet ever recorded. For many critics, Criss-Cross represents the zenith of the music Thelonious Monk’s released during the sixties. It’s as if The Thelonious Monk Quartet have been unleashed. They kick loose and produce some peerless jazz. Monk’s piano playing is strident, confident and inventive, while the rhythm section of bassist John Ore and drummer Frankie Dunlop provide Criss-Cross’ pulsating heartbeat. From the opening bars of Hackensack, right to the closing notes of Crepescule With Nellie, The Thelonious Monk Quartet take you on a majestic, inventive and innovative musical journey.
CRISS-CROSS.
IT’S MONK TIME.
1964s It’s Monk’s Time is the next album that features in The Complete Studio Albums Collection. It’s Monk’s Time featured six tracks, three of which were written by Thelonious Monk. One of the two jazz standards was a cover of George and Ira Gershwin’s Nice Work If You Can Get it. When recording of It’s Monk’s Time began, it was a different lineup of The Thelonious Monk Quartet than had played on Criss-Cross.
While 1963s Criss-Cross featured a rhythm section of bassist John Ore and drummer Frankie Dunlop, they were replaced by bassist Butch Warren and drummer Ben Riley. Tenor saxophonist Charlie Rouse was the only familiar face. Recording took place between 9th-10th January 1964, then on February 10th and March 9th 1964. Producing It’s Monk’s Time was Teo Macero, who’d produced Monk’s Dream and Criss-Cross. However, It’s Monks Time would surpass these two albums.
It’s Monk’s Time was released on 13th July 1964. This was nearly a year after Criss-Cross. However, for music critics and jazz lovers, It’s Monk’s Time was well worth the wait. The album features four performances by the quartet and two solo performances. With the four performances by The Thelonious Monk Quartet, they surpass everything they’d previously released. Similarly, Thelonious’ playing was flawless, inventive and totally peerless. As for the new rhythm section of bassist Butch Warren and drummer Ben Riley, it was as if they were veterans of The Thelonious Monk Quartet. Charlie Rouse who’d played on Monk’s Dream and Criss-Cross, well, he was ying to Thelonious’ yang.
Quite simply, It’s Monk’s Time is one of Thelonious Monk’s last great albums. His playing is inventive, playful and creative. During the six tracks, he delivers curveballs and musical surprises aplenty. Not only does it demonstrate his ability to breath, life, meaning and energy into six tracks, but demonstrates how inventive and innovative a pianist he truly was.
IT’S MONK TIME.
MONK.
Monk saw another change in The Thelonious Monk Quartet’s lineup. Bassist Butch Warren whose playing was crucial to It’s Monks Time is replaced by Larry Gales. The rest of the lineup is the same, with drummer Ben Riley and tenor saxophonist Charlie Rouse accompanying Thelonious Monk on Monk’s seven tracks. Of the seven tracks on Monk, Thelonious Monk wrote just two tracks. Both pay homage to two important figures in his life. The first was Teo which paid tribute to his producer Teo Macero. His other composition was Pannonica, a tribute to jazz patron Pannonica de Koenigswarter. These tracks, plus the other five tracks that became Monk were recorded in New York during 1964.
Recording of Monk began on 9th March 1964. The rest of Monk was recorded between October 6th and 8th 1954. Producing the latest lineup of The Thelonious Monk Quartet was Teo Macero. Once Monk was completed, it was released in 1965.
25th January 1965 saw Monk released. On its release, Monk was hailed as proof that Thelonious Monk didn’t release poor albums. Monk proved that The Thelonious Monk Quartet were on something of a roll. Each album somehow, managed to surpass the quality of their previous album. The lineup of The Thelonious Monk Quartet that featured on Monk was one that was capable of creating inventive, innovative music that was way ahead of the musical curve. Lead by Thelonious and ably assisted by Charlie Rouse, and featuring a rhythm section of bassist Larry Gales and drummer Ben Riley it’s a multitalented quartet. Whether unleashing solos or jamming, as a tight, talented quartet, The Thelonious Monk Quartet’s that feature on Monk were unrivaled.
MONK.
STRAIGHT NO CHASER.
Straight No Chaser was the sixth of The Thelonious Monk Quartet’s album produced by Teo Macero. Thelonious relied upon the same lineup that featured on Monk. This included bassist Larry Gales, drummer Ben Riley and tenor saxophonist Charlie Rouse. They’d record nine tracks, including six penned by Thelonious Monk.
It only took The Thelonious Monk Quartet three days to record Straight No Chaser. Recording took place between 14th and 15th November 1966 and finished on January 10th 1967. Two months later, on 20th March 1967, Straight No Chaser was released.
Unlike the version of Straight No Chaser that features in The Complete Studio Albums Collection, the original version only featured six tracks. These six tracks featured edited versions of the original track. This was because of the time constraints vinyl imposed upon producers and artists. The version that features in The Complete Studio Albums Collection are the original, unedited versions, which feature the music as Thelonious Monk and producer Teo Macero envisaged it.
Straight No Chaser proved to be an uplifting, joyous, inventive and inspirational album. Whether unleashing solos or playing as a quartet, The Thelonious Monk Quartet hardly draw breath. Switching between time signatures, then playing some of the hardest bee bop they ever recorded. It’s as if The Thelonious Monk Quartet are determined to continue surpassing their previous recordings. This they do, thanks to a band that’s not just tight, talented and accomplished, but mature, versatile and capable of moments of true musical magic.
STRAIGHT NO CHASER.
UNDERGROUND.
1967s Underground, with its award winning, provocative and distinctive artwork is the final album The Thelonious Monk Quartet released. Underground is also the final album in The Complete Studio Albums Collection. The album cover depicts Thelonious as a French Resistance Fighter holding a machine gun. Thelonious thought that Underground’s album cover would appeal to a younger generation and would broaden his music’s appeal. Ironically, even without the controversial album cover, Undercover would’ve appealed to a much wider audience.
Underground features seven tracks, including six tracks written by Thelonious Monk. The lineup that accompanies Thelonious on Underground are the same quartet that featured on Monk. This includes bassist Larry Gales, drummer Ben Riley and tenor saxophonist Charlie Rouse. Adding vocals on In Walked Bud was Jon Hendricks. Recording took just three days, including 14th and 21st December 1967 and 14th February 1968. Despite only taking three days to record, Underground was a remarkable album, that proves a fitting way to close The Complete Studio Albums Collection.
When Underground was released on April 15th 1968, it was both critically acclaimed and a commercial success. Underground later won a Grammy Award for its album cover. However, there was much more to Underground than an award winning album cover.
From the opening bars of Thelonious, which opens Underground, The Thelonious Monk Quartet swing. Thelonious is a track from Thelonious Monk’s illustrious back catalogue, which he revisits and reinvents. It’s the perfect way to open Underground. From there, Ugly Beauty is the only waltz Thelonious Monk ever recorded. The bluesy Raise Four is one of Underground’s real highlights, with a simple, but discordant melody. Of the other tracks, the intriguing Boo Boo’s Birthday has an unusual musical and harmonic structure. Closing Underground is In Walked Bud, which he originally recorded in 1947. Here, vocalist Jon Hendricks delivers the newly written lyrics. This demonstrates just how inventive and cutting-edge an album Underground really is. After all, how many artists could revisit a track twenty years after he first recorded it, transforming it into something new. Along with the six other tracks that comprise Underground, the result is an album that’s innovative, intriguing, playful, spacious, hypnotic and captivating. Like the other five albums in The Complete Studio Albums Collection, Underground features The Thelonious Monk Quartet at the top of their game musically. There’s neither filler nor faux pax on Underground or The Complete Studio Albums Collection.
UNDERGROUND.
Although Thelonious Monk enjoyed a career that spanned nearly five decades, he recorded some of the greatest music of his career at Columbia Records. Indeed, the six Thelonious Monk Quartet albums that feature in The Complete Studio Albums Collection includes the best music he recorded at Columbia. The music on the six albums is an inventive, innovative, sometimes experimental and always of the highest quality. He was accompanied by some of the best jazz musicians of the sixties, including legendary tenor saxophonist Charlie Rouse. While the lineup of The Thelonious Monk Quartet, this never affected the quality of music that features in The Complete Studio Albums Collection. That’s why for anyone looking to discover the music of The Thelonious Monk Quartet, then place to start is The Complete Studio Albums Collection. Similarly, for veterans of The Thelonious Monk Quartet, the addition of bonus tracks will make The Complete Studio Albums Collection not just a worthy addition to your record collection, but a reminder of one of the greatest pianists in the history of jazz. music.
THE THELONIOUS MONK-QUARTET-THE COMPLETE STUDIO ALBUMS COLLECTION.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
Vince Montana Jr. who passed away on 13th April 2013, aged eighty-five, was one of the most innovative, influential and pioneering musicians in the history of popular music. However, referring to Vince as a musician is an understatement. He was also a songwriter, conductor, arranger and producer. Born on February 1928, in South Philadelphia, Vince’s first exposure to music came at school, when a teacher encouraged him to play orchestra bells for a play called The Celebrated Waltz. After that, Vince was hooked on music, mastering drums, vibes, chimes, marimba and tympani. Although Vince was a true multi-instrumentalist, he’s best known as a vibes player, whose early career saw him play with some musical legends.
At the start of Vince’s career, he began playing in some of Philly’s jazz clubs. For a young musician, this was the perfect musical grounding. Vince played alongside jazz legends like Charlie Parker and Sarah Vaughan. This allowed Vince to hone his talents. After this, Vince was heading further afield.
During the fifties and early sixties, Vince was traveled across America. There were stopovers in many cities, including Las Vegas, where Vince and the rest of the band played popular songs of the day. Then when Vince returned to Philly in the early sixties, his career changed.
Having returned to Philly, Vince became a session musician. He worked on sessions for the Cameo Parkway label. This included sessions for Chubby Checker. Later in the sixties, Vince would encounter a producer who like Vince, would become one of the architects of Philly Soul.
One of the first sessions where Vince worked with producer Thom Bell was The Delfonics’ 1968 album La La Means I Love You. By 1968, Vince was forty and a hugely experienced and versatile musician. This would stand him in good stead for the future. Vince would later work with Thom Bell on albums by The Stylistics and The Spinners. He also worked on albums by Dusty Springfield and Wilson Pickett. After this, Vince would work with two other architects of Philly Soul.
When Gamble and Huff founded Philadelphia International Records in 1971, Vince Montana Jr. was a member of Philadelphia International Records legendary house-band M.F.S.B. Vince also worked as a songwriter, arranger and producer. His role at Philadelphia International Records can’t be underestimated. He was an innovator, pioneer and visionary. Vince on many classic Philadelphia International Records’ releases. This includes Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Back Stabbers, Harold Melvin and The Blue Notes’ Black and Blue and M.F.S.B’s M.F.S.B. During this time, Vince was writing, arranging and producing tracks for Philadelphia International Records. He more that played his part in transforming Philadelphia International Records into the most successful and influential label in soul music. Like the rest of M.F.S.B. Vince was constantly working as a session musician, arranger, producer and songwriter.
During Vince’s time at Philadelphia International Records, what was essentially M.F.S.B, provided the backdrop for what would become some of Philly Soul’s greatest recordings. This included albums by Laura Nyro, Joe Simon, Barbara Mason, First Choice, The Manhattans, B.B King, Major Harris, Blue Magic, Ecstasy, Passion and Pain and Charles Mann. Many of M.F.S.B. were now forging careers as arrangers and producers, including Norman Harris, Bobby “Electronic” Eli and Vince. Then just as Philadelphia International Records had established a reputation as soul’s premier label, many of M.F.S.B. left the label.
For much of 1975, Gamble and Huff had been locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. Coincidentally, around this time, Vince met Ken Cayre, one of three brothers who owned Salsoul Records. Vince had a Latin vocal group he felt would be perfect for Salsoul subsidiary Mericana. Ken Cayre was wasn’t looking to sign another Latin group. What wanted, was to import the Philly Sound to Salsoul. So, when Ken and Vince met, Ken explained that he was looking for an orchestra similar to Philadelphia International Records’ legendary house-band M.F.S.B. Having explained his vision to Vince, Ken wrote Vince a cheque and in return, Vince would deliver three songs where the Philly Sound was fused a Latin, salsa influence. Without even looking at the cheque, Vince headed back to Philadelphia to record the three songs with some of Philly’s finest musicians.
On the bus back to Philly, Vince looked at the cheque, and found it was for $10,000. With some of Philly’s legendary musicians, three tracks were recorded, Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle. After these tracks were delivered to Ken Cayre, he took Salsoul Hustle to CBS who’d first refusal on Salsoul releases. Unluckily for CBS, they were busy releasing albums by Bob Dylan and Barbara Streisand. CBS passed on Salsoul Hustle, as did Atlantic and Polydor Records. So Salsoul released and distributed Salsoul Hustle and immediately, Salsoul had a hit single on their hands. This meant Salsoul needed more songs, enough for an album. To record this album, Ken Cayre required his disco orchestra. Luckily, the standoff between Gamble and Huff and M.F.S.B. was coming to a head.
The dispute between Gamble and Huff and M.F.S.B. couldn’t be described. So, M.F.S.B. decided they’d no option but to quit Philadelphia International Records. Their next stop was New York, where they became The Salsoul Orchestra. In one fell swoop, Ken Cayre had his orchestra and the Philly Sound all in one. Little did Ken Cayre know it, he had just signed the musicians that would make Salsoul the greatest label in disco’s history.
With Vince Montana Jr. arranging, conducting, producing and writing much of The Salsoul Orchstra’s material, they quickly became disco’s greatest orchestra. From the release of their 1975 debut album The Salsoul Orchestra, which sold over one-million copies, The Salsoul Orchestra’s music was commercially successful and critically acclaimed. Unfortunately, because Salsoul wasn’t a member of the R.I.A.A, The Salsoul Orchestra didn’t receive a gold disc. This was the start of Salsoul’s journey to becoming disco’s greatest orchestra.
Following The Salsoul Orchestra, Vince masterminded four further Salsoul Orchestra albums. This included 1976s Nice ‘N’ Nasty and Christmas Jollies, 1977s Magic Journey and 1978s Up The Yellow Brick Road. During the period between 1975 and 1975, Vince produced Charo and The Salsoul Orchestra’s Cuchi-Cuchi, The Salsoul Strings’ How Deep Is Your Love and Carol Williams’ ‘Lectric Lady. Vince also played on numerous other Salsoul Records’ releases, including Double Exposure, First Choice, Eddie Holman and Loleatta Holloway. The period between 1975 and 1978, was when Salsoul Records released its best music. At the heart of everything that was good was Vince Montana Jr. He played a crucial role in Salsoul Records’ success and played on their best releases. Sadly, after just three years, Vince left Salsoul
After The Salsoul Orchestra’s 1978 album Up The Yellow Brick Road, Vince left Salsoul. The problem was the deal Vince struck with the Cayres when he signed to Salsoul. It wasn’t exactly the most profitable deal Vince could’ve struck. With Vince onboard, he transformed Salsoul into disco’s most successful label. Vince became involved in a dispute with the Cayre’s over royalty payments. This lead to legal proceedings being launched and Vince leaving Salsoul. For Salsoul, this would be the end of the classic Salsoul era. However, for Vince, a new career awaited at Atlantic Records.
Following his departure from Salsoul and his signing to Atlantic Records, Vince launched The Montana Orchestra. One of Vince’s earliest releases was the 1978 album Vince Montana Jr. Presents Goody Goody, which featured Vince’s daugher Denise. Goody Goody saw Vince pickup where he’d left off at Salsoul. The music on Goody Goody was innovative and way ahead of the musical curve. One of the tracks was the classic Number One Deejay, which thirty-five years later, is a timeless disco classic. Equally cutting-edge was were a trio of albums from Montana. The trio of I Love Music, A Dance Fantasy/Warp Factor II and A Dance Fantasy Inspired By Close Encounters of The Third Kind. Like his time at Philadelphia International Records and Salsoul Records, Vince’s time at Atlantic demonstrated a musical genius at the peak of his powers. When he left Atlantic, Vince decided to form his own record label Philly Sound Works.
As a new decade dawned, Vince decided to found his own label Philly Sound Works in the early eighties. By now, dance music had changed. Disco’s popularity nosedived in 1979. However, for a musical pioneer like Vince, this didn’t present any problem. All he had to do was adapt. This he did seamlessly, releasing his classic single Heavy Vibes in 1982. Heavy Vibes became a club classic, becoming a favorite of DJs and remixers. A year later, in 1983, an equally cutting-edge album Heavy Vibes followed. Like Heavy Vibes the single, the album was a favorite of DJs. Indeed, a new generation DJs and musicians would head to Philly to collaborate with Vince Montana Jr.
For the next thirty years, a new generations of DJs and artists collaborated with Vince Montana Jr. This included Masters At Work collaborated with Vince on their Nuyorican Soul and on India’s To Be In Love. There were also collaborations with Incognito, The Braxtons, Spiller, David Morales and the Pet Shop Boys. Suddenly, a new breed of DJs and artists were discovering a legend of Philly Soul and disco. Right up until just a few years before his death, Vince Montana was involved with what he loved…music.
Right from his early days touring America as part of a jazz band, Vince Montana Jr’s life revolved around music. By the time Vince became a session musician at Philly’s Cameo Parkway, he’d honed his skills as a musician. Then he became part of Philadelphia International Records’ legendary house-band M.F.S.B. Vince was one of the most talented, versatile and innovative musicians at Philadelphia International Records. He more than played his part in transforming Philadelphia International Records into the most critically acclaimed and commercially successful soul label. At Philadelphia International Records he was much more than a musician. He was a songwriter, arranger and producer. His skills blossomed at Philadelphia International Records where he wrote, arranged and produced some of the most important music of the seventies. Then when Vince arrived at Salsoul Records, it was like an outpouring of creativity.
Between 1975 and 1978, Vince’s skills as a songwriter, arranger, conductor and producer, he played his part in transforming Salsoul into disco’s greatest label. For three years, Salsoul released some of the most innovative, influential music and successful music of the disco era. Vince more than played his part in the critical acclaim and commercial success Salsoul enjoyed. After Vince left Salsoul, he continued to enjoy critical acclaim and commercial success.
Right through the noughties, Vince Montana Jr. continued to influence a new generation of musicians and music lovers. Indeed, music critics and music lovers realized that Vince Montana Jr. was one of the most talented, innovative, influential and pioneering musicians in the history of modern music. Vince was fortunate to enjoy a long and illustrious career, one that’s lasted six decades. He was crucial in transforming Philadelphia International Records and then Salsoul Records into the most critically acclaimed and commercially successful labels of their time. Sadly, after a career lasting six decade, Vince Montana Jr. passed away on 13th April 2013. Several generations of music lovers will miss one of the most talented, creative, charismatic and forward thinking musicians of the past sixty years. Thankfully, Vince Montana Jr. left behind a rich legacy that further generations of music lovers will enjoy. That legacy is the music that Vince Montana Jr. played on, arranged, produced or wrote. Vince Montana Jr’s music is truly timeless and will forever live on, allowing further generations to discover the music of one of music’s great visionaries.
VINCE MONTANA JR-FAREWELL TO A TRUE MUSICAL INNOVATOR.
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
2012 proved to be a good year for Offering Recordings, which was founded by Boddhi Satva. Offering Recordings established a reputation as an innovative and up-and-coming labels. Key to Offering Recordings’ success, is their never ending search for new artists. Previously, Offering Recordings have discovered Idrissa Sissoko in Mali and Ade Alafia Adio in the Netherlands. Another of Offering Recordings’ signings is DJ producer Punk whose new E.P. I Can’t Wait will soon be released. Before I tell you about Punk’s six track E.P. I Can’t Wait, I’ll tell you about Punk’s career so far.
Although DJ producer Joseph Mbedzi is only twenty, as Punk, he’s already released several remixes and an original track on Offering Recordings’ Summer Solstice Voyage compilation. Punk, who was born in Limpop, South Africa, also featured on Offering Recordings’ Ade Sampler 2012. His contribution to Offering Recordings Ade Sampler 2012 was I Can’t Wait, which was one of the compilation’s highlights. So it’s fitting that I Can’t Wait will be released as an E.P. Together with the original mix, there’s the Radio Edit, two Dub Mixes, an Instrumental Mix, two Marlon D mixes and the Keyapella Mix. So not only do you hear Punk’s original version, but six remixes which transform the track, breathing new life and meaning into the original.
Punk’s I Can’t Wait features Magic Soul’s vocal talents. It’s a track with a real contemporary sound. If you think house with a healthy sprinkling of percussion, a twist of African Roots and plenty of drama you’re getting close. Here, drums equal drama, while the stabs of keyboards give the track a warmth. When the drums, percussion and keyboards unite with the joyous and heartfelt vocals, the track heads in the direction of house. Percussion gives the track a jazzy or Latin house feel. What makes this one of the highlights of Offering Recordings Ade Sampler 2012 are they vocals. They’re joyous and heartfelt cascading above the percussive heavy arrangement and are crucial to the track’s sound and success.
Having told you about the Original Mix of I Can’t Wait, there’s the Radio Edit which Offering Recordings hope will result in I Can’t Wait receiving radio play. What was originally a seven-minute track, becomes a four-minute radio friendly track. Given its quality, the Radio Edit of I Can’t Wait should be coming to a radio near you.
Of the other five remixes, Marlon D provides two of them. His D Main Mix breathes new life, meaning and energy into the original track. The Marlon D Instrumental Mix features thunderous drums that add to drama. Combined with melodic washes of synths, you loose yourself in this warm, uplifting track. Quite simply, the next eight minutes fly past, thanks to Marlon D’s remixing skills.
The other three remixes approach the original track in different ways. There’s a spacious, laid-back Afro House sound and feel to the Instrumental Mix. It unfolds in waves, using the galloping drums and stabs of synths. With the Keyepella Mix, it unfolds in waves. It’s as if the remix as is shy about revealing its secrets and subtleties. The synths play an important role, that is until the vocal reveals its beauty. Heartfelt, needy and soulful, it sweeps in. That proves a game-changer. It results in a remix that totally transforms the original track, transforming the original into something quite melodic and beautiful. The last remix of the six remixes in Punk I Can’t Wait E.P. is the Dub Remix. Here pounding drums and percussion take centre-stage. They provide the track’s Afro House influence. Having built and built the drama, the synths sweep in, providing a melodic, laid-back contrast. Gradually, the Dub Remix reveals its hidden depths and secrets, providing a satisfying and dance-floor friendly way to close Punk’s I Can’t Wait E.P.
Punk’s I Can’t Wait E.P. is a compelling introduction to a hugely talented twenty year-old soul singer. For me, it’s a tantalizing taste of what’s to come from Punk. What really makes the track, is the soulful strains of Magic Soul. They’re blessed with one of the most soulful voices I’ve heard in the past few years. The I Can’t Wait E.P. doesn’t just feature the original version of I Can’t Wait, but a radio edit and five remixes. Every one of the five remixes breathes new life, meaning and energy into the original track. It’s a fascinating musical journey, that’s uplifting, joyous and deeply soulful. Each remixers starting point was the track’s stems. After that, they had the freedom to reinvent the original track. In doing so, they pay homage to the soulful strains of Punk’s I Can’t Wait. They bring something new, imaginative and innovative to the original version of I Can’t Wait. The five remixes are of the highest quality. Not only are they professional and accomplished remixes of a deeply soulful track, but each remix is innovative and imaginative. These five remixes, plus the radio edit and original version of I Can’t Wait, will soon be released on Offering Recordings. Punk’s I Can’t Wait, featuring the soulful delights of Magic Soul, is the latest success from Boddhi Satva’s Offering Recordings. Once listen to Punk’s I Can’t wait and I’m sure you’ll agree.
PUNK-I CAN’T WAIT (FEATURING MAGIC SOUL).
SHOOTING STANSFIELD-THE STORY SO FAR.
SHOOTING STANSFIELD-THE STORY SO FAR.
Over the past thirty-five years, Scotland has produced some of the most critically acclaimed and commercially successful bands in British music. From the tail-end of the seventies, Scottish bands have been trailblazers, producing music that’s innovative and ahead of the musical curve. This stared with Postcard Records, who introduced the world to the Sound of Young Scotland and groups like Aztec Camera, Orange Juice, Josef K and The Go-Betweens. Incredibly, that was just the start of an outpouring of creativity.
Scottish bands were about to provide the soundtrack to much of the eighties and nineties. Next up were the Associates, Blue Nile, Lloyd Cole and The Commotions, Hipsway, The Big Dish and Deacon Blue. That’s not forgetting Belle and Sebastien, The Bathers, Primal Scream, Franz Ferdinand, Edwyn Collins and Joe McAlinden. Never mind Manchester, Liverpool or London, Scotland were the Kings of indie rock and where every A&R rep headed in search of the latest indie rock sensation. That’s still the case, with A&R reps taking an interest in a four piece band whose members hail from Dumfries and Falkirk…Shooting Stansfield.
To trace Shooting Stansfield’s origins, we’ve got to head back to the recent revival in the popularity of indie folk. That’s when the four members of Shooting Stansfield decided to form a band. Shooting Stansfield’s four members are lead singer and guitarist Stewart Douglas, Stephen Whipp guitarist and vocalist, bassist Craig Robertson and drummer David Steel. Shooting Stansfield are based in Edinburgh, but its four members were born in Dumfries and Falkirk. Now four years after Shooting Stansfield were formed in 2009, their hard work, dedication and talent is paying off.
Since Shooting Stansfield formed, they’ve established a reputation for what’s been described as “melodic guitar driven, lyrically rich tunes.” Proof of this are the three EPs Shooting Stansfield have released. Their debut E.P. was 2010s Human Static E.P, which showcases Shooting Stansfield’s talent. From the opening bars of Modern Warfare, through Human Static and Pulse, you realize Shooting Stansfield are a group with a big future. They’re a tight, talented and accomplished group, capable of writing intelligent, eloquent lyrics. This music is fusion of indie-rock and folk, with intelligent, memorable and anthemic lyrics are played and sang by a tight, talented band.
A year after releasing their debut E.P. Human Static in 2010, Shooting Stansfield released their sophomore E.P. Endeavour in 2011. The four tracks, Cameras and Lights, Wood For The Trees, Endeavour and Cards demonstrated how Shooting Stansfield had grown as musicians and songwriters. After that, Shooting Stansfield continued to tour, playing concerts in Glasgow and Edinburgh. This has benefited them, allowing Shooting Stansfield to continually hone their sound and grow as musicians.
By February 2012, when Shooting Stansfield released The Cottage Sessions, which featured In The Passing and Boxes, it was obvious they’d continued to grow as a group. Shooting Stansfield’s music is best described as a tight, accomplished fusion of indie-rock tinged and folk, with a healthy supply of poppy hooks. It’s music that’s highly memorable, often anthemic and hook-laden. Quite simply, Shooting Stansfield write great songs and deliver them with emotion and passion.
Now into their fourth year as a band, a lot is happening to Shooting Stansfield. Their third E.P. Greater Or Lesser is due for release. Even better, I hear that record companies are starting to take an interest in Shooting Stansfield. That’s no surprise. given how talented a group Shooting Stansfield are. Any group that write as good songs as Shooting Stansfield and play them with such passion and conviction, deserve to have a great future ahead of them. Let’s just hope that Shooting Stansfield will follow in the footsteps of Aztec Camera, Orange Juice, Blue Nile, Lloyd Cole and The Commotions, The Bathers and Joe McAlinden and enjoy similar critical acclaim and commercial success. Given how talented songwriters and musicians Shooting Stansfield are, that wouldn’t be a surprise.
SHOOTING STANSFIELD-THE STORY SO FAR.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
Recently, I was asked by a friend to recommend a Salsoul Records compilation. They’d heard a couple of songs from Salsoul’s illustrious back-catalogue, and decided they wanted to dig deeper. Realizing that I was huge fan of all things disco, and especially Salsoul, they asked if i could recommend some compilations and albums that would provide them with an introduction to Salsoul Records. That however, presented a problem.
My problem was that there are so many different Salsoul compilations available, the quality differs from excellent to mediocre. Thankfully, one compilation stood head and shoulders above the rest. This was Harmless Records The Definitive Salsoul Mixes, what I’ve come to regard as the definitive Salsoul compilation. Then when I started digging deeper, the Salsoul compilations started to vary in quality. So I decided I’d review a several Salsoul compilations to help the newcomer to Salsoul Records find the creme de la creme of Salsoul compilations. The first compilation I reviewed saw me strike gold, with Salsoul Presents: The Definitive 12” Masters Volume 1. It was one of the finest Salsoul compilations that I’ve come across in the past twenty years. While it didn’t quite match the quality of The Definitive Salsoul Mixes, it’s a worthy addition to any record collection. Then I discovered that Suss’d Records had released a followup to Salsoul Presents: The Definitive 12” Masters Volume 1. This was Salsoul Presents: The Definitive 12” Masters Volume 2, released in 2008. Would Salsoul Presents: The Definitive 12” Masters Volume 2 be a worth successor to Salsoul Presents: The Definitive 12” Masters Volume 1 and join my recommended list of Salsoul Records’ compilations? That’s what I’ll tell you, once I’ve picked my top ten tracks from the two discs that comprise Salsoul Presents: The Definitive 12” Masters Volume 2.
DISC 1.
Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 features nine tracks, including tracks from some of the biggest names in Salsoul’s history. This includes The Salsoul Orchestra, Loleatta Holloway and Double Exposure. There’s also contributions from Eddie Holman, Gaz, Moment of Truth, Joe Bataan and Claudja Barry. Immediately, you realize that Salsoul Presents: The Definitive 12” Masters Volume 2 is a compilation where familiar tracks and hidden gems sit comfortably side by side. In total, there are nine original 12” versions on Disc One, which I’ll pick the best five.
My first choice from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 is The Salsoul Orchestra’s Nice ‘N’ Nasty, which was the title-track of their sophomore album. When Nice ‘N’ Nasty was released in October 1976, it reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. The title-track Nice ‘N’ Nasty was the lead single, reaching number thirty in the US Billboard 100, number twenty in the US R&B Charts, number eight in the Disco Charts and number three in the Dance Music-Club Play Charts. Written and produced by Vince Montana Jr, Walter Gibbons remix features on Salsoul Presents: The Definitive 12” Masters Volume 2. Earl Young’s thunderous drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, sweet, sensual harmonies from The Sweethearts of Sigma, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Although Double Exposure released three albums for Gold Mind Records, Ten Per Cent was their most successful album. It was released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts. One of the singles released from Ten Per Cent was Everyman, written by Allan Felder and Bunny Sigler. Norman Harris arranged and produced the track. The original 12” version literally bursts joyfully into life. A flourish of piano, the funky Baker, Harris, Young rhythm section, blazing horns, dancing disco strings and Vince Montana’s vibes give way to Jimmy’s lead vocal. He makes the song his own, delivering it with a mixture of power, passion and joy, bringing out the meaning in the lyrics. The Sweethearts of Sigma harmonies augment Double Exposure. Soon they and The Salsoul Orchestra kick loose. Bobby Eli adds his trademark guitar sound, horns blaze, strings dance with delight, each playing their part in the track’s joyous, inspirational and feel-good sound. The song has Salsoul written all over it and Norman Harris’ production is absolutely peerless. That’s why this is the greatest song Double Exposure ever recorded. It’s anthemic, uplifting, inspirational and totally joyous.
This Will Be A Night To Remember was the title-track to Eddie Holman’s 1977 album. It was produced by Baker, Harris, Young Productions, but failed to chart. Baker, Harris, Young drive the arrangement along, creating a pulsating beat. Keyboards add flamboyance, strings dance appreciatively and joyously and horns growl, The arrangement builds and builds. It’s a truly delicious, vintage slice of Salsoul. One part of you wants this to last forever, the other wants to hear what happens next. What happens is Eddie’s sassy, teasing vocal enters. Eddie becomes Dr. Love. Punchy harmonies accompany him, each forcing the other to greater heights. Meanwhile, The Salsoul Orchestra have kicked loose. They’re at their very best. Flourishes of piano, frantic strings and Baker, Harris, Young drive this musical juggernaut backdrop along. It’s life in the fast lane. This peerless fusion of Philly Soul, disco, funk and jazz results in a glittering hidden gem in the Salsoul back-catalogue.
Loleatta was Loleatta Holloway’s third album and her first for Gold Mind Records. Hit and Run gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs. The unmistakable sound of The Salsoul Orchestra in full flight opens Hit and Run. This includes the Baker, Harris, Young rhythm section, sweeping swirling strings, bursts of blazing horns and Bobby “Electronic” Eli’s guitar. Then comes Loleatta as she embarks upon a sassy, sultry vamp. She mixes power and passion, while percussion, guitars, blazing horns and Vince Montana’s vibes accompany the rhythm section. Tight, cooing punchy backing vocals from the Sweethearts of Sigma augment Loleatta’s powerful vamp. Meanwhile, strings cascade, punchy horns kick and the greatest rhythm section of the seventies provide the track’s heartbeat. Together, Loleatta Holloway the greatest diva of the disco era, and the multitalented Salsoul Orchestra, make this not just a Salsoul classic, but one of the greatest tracks of the disco era.
Gaz’s Sing SIng is another track that wasn’t originally recorded by Salsoul. Instead, it was recorded by the German label Lollipop. Produced by Jurgen Korduletsch, who also discovered Claudia Barry and brought her to the US, Jurgen wanted Salsoul to distribute the track. Salsoul gave it to Robbie Rivera to remix. This was his first remix and the result is a joyous track with a real feel-good sound. Released in November 1978, and mixed by Robbie Rivera, the track is extended to seven magical minutes. Opening with pounding drums and guitars, they’re joined by the bass, percussion and strings, before Claudia’s vocal enters. As she sings, her vocal is answered by a male vocalist. The track benefits from a strong rhythm section, which is augmented by rasping horns, keyboards and percussion. Robbie Rivera’s mix is excellent, totally transforming the original track, turning it into a Magnus Opus, where the best of European and US disco becomes one.
Truly, choosing the five best tracks on Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 wasn’t easy. It was extremely difficult. I could’ve included two tracks by The Salsoul Orchestra, Joe Bataan’s cover of The Bottle or Moment of Truth’s Helplessly, which is a very welcome inclusion on Disc One. Unlike other Salsoul compilations, the compiler of Salsoul Presents: The Definitive 12” Masters Volume 2 has dug deeper and unearthed several hidden gems. Moment of Truth’s Helplessly, Gaz’s Sing Sing and Eddie Holman’s This Will Be A Night To Remember. Then there’s Salsoul classics from Loleatta Holloway, The Salsoul Orchestra and Double Exposure. Surpassing the quality of Disc One of Salsoul Presents: The Definitive 12” Masters Volume 2 won’t be easy.
DISC TWO.
Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 features some of Salsoul’s big-hitters. Loleatta Holloway, The Salsoul Orchestra, First Choice and Skyy all feature on Disc Two. So do Skip Mahoney, Inner Life, Candido and Jimmy Castor. Quite simply, the nine tracks on Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 all have one thing in common…quality. This will make choosing the five best tracks difficult, to say the least.
Skyy’s First Time Around opens Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2. This is from Sykk’s debut album Skyy, released in 1979. First Time Around was released in May 1979 and since then, has become a Salsoul classic. Opening with just a wandering bass, a male vocal enters, before sizzling guitars, cascading strings and pounding drums combine. The arrangement is dramatic, with sweet, sensuous vocals drifting in and out of the track. There’s a different sound to this track, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. Of all the remixes of First Time Around I’ve heard, Larry Levan’s is one of the best.
By the time First Choice recorded their second album for Salsoul, Hold Your Horses, Salsoul was a very different label. New producers and remixers had joined the label. Other studios apart from Sigma Sound Studios were being used. Four tracks from Hold Your Horses were partly recorded in Munich. This included the title-track. Thunderous drums gallop along the arrangement, before, percussion, quivering strings and the rest of the rhythm section enter. Then come First Choice delivering some of their best vocal. Rochelle’s lead vocal is sultry and powerful. Annette and Ursula add dramatic, soaring harmonies. The Bobby “DJ” Guttadaro’s. remix is perfectly balanced, and features a pounding rhythm section, quivering strings and blazing horns. This results in a masterpiece of modern production, that over thirty years later, still has a timeless sound.
Loleatta Holloway was Salsoul’s very own disco diva, who released four albums between 1976 and 1980. Her third album was 1979s Loleatta Holloway. Although, it wasn’t a commercial success, it features Loleatta at her very best. One of her best performances in on All About The Paper, which was arranged by James Mack and produced by Floyd Smith. Chiming guitars, punchy blazing horns and a pounding rhythm section combine to create the perfect backdrop for Loleatta’s vocal. Briefly, you can hear similarities with Chic’s Good Times. When Loleatta’s vocal enters, it’s a sassy, feisty, strutting vamp. She makes the song her own, demonstrating just why she was the Queen of Disco. Strings dance with delight, while the Sweethearts of Sigma add tender harmonies and bursts of horns punctuate the arrangement. They’re joined by the best performance by the rhythm section on Loleatta Holloway. While they’re no Baker, Harris, Young, they’re crucial to the song’s sound and success. What really makes the song is Loleatta’s vocal, one that feisty, fiery and sassy. Combined with a what’s simply a timeless, dance-floor friendly arrangement and the result is vintage Loleatta.
Inner Life released just two albums for Salsoul. Their second album was 1982s Inner Life II, which featured Moment of My Life which reached number fifteen in the US Dance Music/Club Play Charts. Of the six tracks on Inner Life II, Moment Of My Life is the best and is remixed Shep Petibone. Nothing else comes close. Jocelyn’s vocal soars powerfully and dramatically above the arrangement. She delivers a punchy, powerful and soulful vocal against a backdrop of the rhythm section, percussion and Leroy’s keyboards. Equally punchy backing vocalists accompany her, as she delivers one of the best vocals of her time with Inner Life. The sprinkling of percussion adds to the effectiveness of an arrangement where boogie, funk and soulfulness unite. With the combined talents of Leroy Burgess, Greg Carmichael and Jocelyn Brown at the top of their game, it’s no wonder that thirty years later, this track is regarded as a Salsoul classic.
Chicago Bus Stop (Ooh I Love It) is my final choice from was a track from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 The Salsoul Orchestra’s 1976 million-selling debut alum The Salsoul Orchestra and is remixed Shep Petibone. It has an irresistibly, joyous and uplifting sound. This track features the Sweethearts of Sigma adding breathy, sassy vocals. The Baker, Harris, Young rhythm section lock into a funky groove, while keyboards, guitars and percussion are joined by sassy, sensual vocals from the Sweethearts of Sigma. A sultry alto saxophone enters, as strings, sweep and swirl as the breathy vocal drifts in and out. Dramatic stabs of growling horns accompany the saxophone, and the rhythm section never miss a beat. They’re responsible for the mesmeric, almost hypnotic backdrop, while flourishes of woodwind and a myriad of percussion give the arrangement a Latin flavor. Here, funk meets disco with a twist of Latin flavor and Philly Soul added for good measure, as only The Salsoul Orchestra could, that is with style, flair and a flourish.
On Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 2 there’s no let up in the quality of music. This Loleatta Holloway, The Salsoul Orchestra, First Choice and Inner Life. There’s also contributions from Candido, Skip Mahoney, Candido and Jimmy Castor. From start to finish, Salsoul Presents: The Definitive 12” Masters Volume 2 is quality all the way. The same can be said of Disc One. Both discs act as a perfect primer to disco’s premier label Salsoul Records. Much of that music on Salsoul Presents: The Definitive 12” Masters Volume 2 is now over thirty years old, but like a good wine, has aged well. Several times during my review I’ve referred to the music as timeless, and often that’s the case. Mind you, with musicians as good as the Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli and Larry Washington, that’s no surprise. These were the greatest musicians of the seventies. To me, part of the success of Salsoul was the combination of some of the most creative and talented musical minds. Whether it was arrangers, producers, musicians or artists, both labels ensured that they had access to the finest, most creative people. This even extended to Salsoul’s A&R department, who spotted the potential of tracks like Bataan’s The Bottle (La Botella), and Gaz’s Sing Sing. All of this lead to Salsoul becoming disco’s greatest labels, with one of the best back catalogues. Eighteen remixes of these Salsoul tracks can be found on Salsoul Presents: The Definitive 12” Masters Volume 2, which is compelling and eclectic collection of music that demonstrates what made Salsoul disco’s greatest label. Not only that, but Salsoul Presents: The Definitive 12” Masters Volume 2 is the perfect companion to Salsoul Presents: The Definitive 12” Masters Volume 1 and one of the finest Salsoul compilations I’ve come across. Standout Tracks: The Salsoul Orchestra Nice ‘N’ Nasty, Loleatta Holloway Hit and Run, Eddie Holman This Will Be A Night To Remember and First Choice Love Thang.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 2.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
Ever since the release of their 2001 debut album Loss, each of Mull Historical Society’s three subsequent albums have been critically acclaimed and commercially successful. From the release of Loss, Colin MacIntyre, the brainchild between Mull Historical Society, has been perceived as one of the most talented songwriters of his generation. While Loss reached number forty-three in the UK, Mull Historical Society’s sophomore 2003 album Hope surpassed this reaching number nineteen in the UK Charts. Following 2004s This Is Hope, which reached number fifty-eight in the UK, Colin decided to dispense with his Mull Historical Society pseudonym. His next two albums, 2008s The Water and 2009s The Island were released under Colin’s own name. Then for what was his sixth album, Colin decided to revive his Mull Historical Society moniker for City Awakenings, which like his previous albums, showcased Colin’s award winning songwriting skills. City Awakenings was produced by Grammy Award-winning producer Dom Morley and sees Colin MacIntyre pay homage to Glasgow, London and New York, the three cities that have influenced Colin. Before I tell you about City Awakenings, I’ll tell you about the life and times of Mull’s troubadour extraordinaire, Colin MacIntyre and his musical career so far.
Colin MacIntyre was born in Tobermory, on the Isle of Mull, in the Scottish Hebrides. The Isle of Mull is a beautiful and spartan landscape, with Tobermory’s population numbering just 2,500 people. Indeed, sheep outnumber their human counterparts on a ratio of 10-1. It was through watching his uncle’s cover band that Colin was first inspired to make music. Since 2001, Colin MacIntyre has honed a reputation as one of Scotland’s most talented songwriters, singers and multi-instrumentalists.
It was back in October 2001 that Colin MacIntyre released his debut album Loss, under his Mull Historical Society pseudonym. Written and produced by Colin, Loss was released on the Blanco Y Negro label. On its release, Loss was critically acclaimed. It became a favorite amongst discerning music lovers and critics alike. Loss was also a commercial success, reaching number forty-three in the UK Charts. Following the commercial success and critical acclaim of Loss, Mull Historical Society established a reputation as one of Britain’s up and coming artists. Indeed, Loss was hailed as one of the greatest British albums of 2001. In many ways, it was a sign of what was to come from Mull Historical Society. Two years later, things got even better for Mull Historical Society.
For the recording of their sophomore album Us, Mull Historical Society headed to Glasgow’s Gravity Studios. Between January and October 2002, Mull Historical Society laid down fourteen tracks, which are eloquent and filled with social comment. When Mull Historical Society released Us in March 2003, it would surpass the critical acclaim and commercial success of Loss. Us reached number nineteen in the UK and would reinforce Colin’s reputation as one of the great singer-songwriters of his generation. However, after Mull Historical Society’s next album, they wouldn’t release another album for eight years.
Less than a year after the release of Us, Mull Historical Society released their third album This Is Hope in July 2004. Surprisingly, given the quality of music on This Is hope, it stalled at number fifty-eight in the UK. Obviously, his must have been a disappointment for Colin MacIntyre. However, whether it made his mind up to retire the Mull Historical Society moniker is unknown. For his next album, Colin dispensed with his musical mask that was Mull Historical Society.
Having dispensed with his Mull Historical Society moniker, Colin MacIntyre took centre-stage. That wasn’t the only change in Colin’s music. His fourth album The Water was released on Future God’s Recordings. To produce The Water, Lemon Jelly’s Nick Franglen was brought onboard. A very special guest on The Water was veteran Labour politician Tony Benn, who features on the album closer Pay Attention To The Human. On the release of The Water in February 2008, it was described as “pop perfection.” This was a fitting description of The Water, which soared into the top twenty in the UK. Following the critical acclaimed and commercially success of The Water, Colin decided to change things again for 2009s The Island.
Fittingly, Colin returned to the familiar surroundings of Mull to record his fifth album The Island. Recording took place in the classroom of the school where Colin was a former pupil. Now his old school was an arts centre and was where Colin recorded his most stripped down album to date. While it wasn’t Colin’s most successful album, on its release in July 2009, The Island was critically acclaimed and attracted the attention of some of music’s biggest names. Indeed, for Colin, the greatest compliment he received, was hearing that Brian Wilson played The Water in his tour bus. The Island also lead to Colin touring with The Strokes, Elbow and REM. After releasing two albums under his own name, Colin decided to revive his Mull Historical Society moniker for his sixth album City Awakenings.
Colin MacIntyre’s sixth album, City Awakenings, saw him revive his Mull Historical Society moniker for City Awakenings. Like his five previous albums, City Awakenings showcased Colin’s award winning songwriting skills. Produced by Grammy Award-winning producer Dom Morley, City Awakenings sees Colin MacIntyre pay homage to Glasgow, London and New York. These three cities have influenced Colin MacIntyre, Scotland’s latest troubadour. City Awakenings also pays homage to The Hague on For Bas, The Hague. Once the ten tracks that comprise City Awakenings were recorded, it reached number 163 on its release in January 2012 in the UK. Just like The Island, the album’s commercial success didn’t equate with the quality of music, on City Awakenings. You’ll realize that, when I tell you about City Awakenings.
City Awakenings might be Mull Historical Society’s fourth album, but is Colin’s sixth album overall. Each of the ten songs on City Awakenings were written by Colin and recorded at Glasgow’s Cava Studios, London’s The Shed and the legendary Metropolis Studios. Accompanying Coin, a true multi-instrumentalist par excellence, who plays guitars, bass, synths, Moog, mandolin, percussion, omnichord, kalimba and farfisa are an equally talented band. They include Ross McFarlane, Fiona Shannon, Cameron Todd, Brian McNelill and Miriam Lamen are equally talented. This multitalented band provide the backdrop for Colin’s three city musical journey from Glasgow, to London and onto New York.
From the opening bars of Must You Make Eyes At Me Now, right through to the closing notes of Thameslink (London’s Burning), you’re taken on a musical journey. This musical journey is a captivating, enthralling and emotive roller-coaster. From Scotland’s friendliest city Glasgow, we head south to London and then head across the Atlantic to New York. Throughout the journey, you’re spellbound by Colin’s vocals.
Quite simply, Coin’s vocals breath life, meaning and emotion into the tracks. While they may not be similar in style or sound, they’re as effective as troubled troubadours like Paul Buchanan, Tom Waits and Tom Buckley. Each vocals sounds as if it has been aged by malt whisky and cigarettes, and has you captivated and spellbound. There’s a world weary sound to Colin’s vocal. He sounds as if he’s lived several lives and survived to tell the tale. Several tracks demonstrate this.
There’s a wariness in Colin’s vocal on Must You Make Eyes At Me, where he wonders if he’s being used or played. Can You Let Her Know is a truly anthemic track, where Colin unleashes waves of emotion. Almost casually, he sings: it’s oh oh over, with me, can you let her know.” His vocal vintage Elvis Costello and Bruce Springsteen circa Born To Run. He’s accompanied by cooing harmonies and an arrangement that’s driven by jangly guitars reminiscent of Orange Juice, Aztec Camera, Teenage Fanclub and The Byrds.
The Lights is one of Colin’s finest songs, not just on City Awakenings, but his five previous albums. It’s a track that’s wonderfully melancholy and pensive, filled with heartache and regret. Colin’s vocal is sung from the point of view of someone who feels they’re to blame for what’s happened. He’s seeking closure, wanting reassurance that he’s not to blame. Having said that, there’s an air of mystery that leaves you wondering about the real meaning to the lyrics and the story behind them.
You Can Get Better is the most emotive song on City Awakenings. Colin’s vocal is pleading, begging and filled with hope. There’s almost a sense of desperation in his vocal. He’s scared of being left alone and losing the one he loves. Given how heartfelt his delivery, you can’t fail to be moved by some peerless lyrics. This Is Not My Heart is another deeply moving song. Here Colin lays bare his soul, revealing his loneliness and neediness.
Honey Pie has a brash sound thanks to Dom Morley’s production style. With crisp drums, washes of synths at the heart of the arrangement, Colin’s sneering vocal is perfect for the lyrics. He delivers eloquent lyrics crammed full of social comment that demonstrate his talent as a singer and songwriter. For Bas, The Hague features a raw, impassioned vocal from Colin. This is delivered against a meandering, almost understated arrangement that gradually reveals its secrets and subtleties. Closing City Awakenings is Thameslink (London’s Burning), a poignant track, where ethereal vocals play a subservient role to a heartachingly beautiful track. This proves the perfect way to close City Awakenings.
While City Awakenings may not have been Mull Historical Society’s most successful album, it was critically acclaimed and reinforced Colin MacIntyre’s reputation as one of the most talented troubadours and songwriters of his generation. He’s capable of writing incisive, eloquent songs, crammed with social comment, emotion and heartbreak. This has been the case since Mull Historical Society’s 2001 debut album Loss. Whether under the Mull Historical Society moniker or as Colin MacIntyre, Colin has established a reputation as erudite, intelligent songwriter, whose one of Britain’s most talented singer, songwriter and musicians. Mind you, it’s no wonder Colin is such a talented songwriter. Hailing from the beautiful island of Mull, Colin is from a family of wordsmiths. His father Kenny was a legendary and highly respected journalist, while his brother Kenny Jr, is forging a career in sport’s journalism.
During the past twelve years, Mull Historical Society’s reputation has grown and grown. Whether it’s the UK, Europe or US, Mull Historical Society are attracting a growing fan-base. For anyone yet to discover Mull Historical Society’s music, then City Awakenings is a good starting point into one of Scotland’s most talented musical sons. Standout Tracks: Must You Make Eyes At Me, Can You Let Her Know, The Lights and You Can Get Better.
MULL HISTORICAL SOCIETY-CITY AWAKENINGS.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
With so many Salsoul compilations having been released over the past twenty years, any newcomer to Salsoul Records is spoiled for choice. Indeed, anyone looking to discover disco’s premier label, will be confused by the sheer variety of Salsoul compilations on offer. Sadly, Salsoul compilations fall into three categories…the good, the bad and the ugly. To misquote George Orwell in Animal Farm, “all Salsoul compilations are created equally, but some Salsoul compilations are more equal than others.” For newcomers to Salsoul, this can prove frustrating and disappointing. So far, the best Salsoul compilation I’ve come across is Harmless Records’ triple-album The Definitive Salsoul Mixes. Released in 2011, The Definitive Salsoul Mixes set the standard for subsequent Salsoul compilations. So when I review a Salsoul compilation, I always compare them to The Definitive Salsoul Mixes. The latest contender to The Definitive Salsoul Mixes’ crown is Salsoul Presents: The Definitive 12” Masters Volume 1.
Salsoul Presents: The Definitive 12” Masters Volume 1 is a double album released in 2004 on Suss’d Records. It featured eighteen Salsoul remixes from Tom Moulton, Larry Levan, Shep Pettibone and Jim Burgess across the two discs. This includes remixes of Loleatta Holloway, First Choice, The Salsoul Orchestra, Carol Williams, Candido, Inner Life and Double Exposure. With music from some of Salsoul Records’ greatest artists, can Salsoul Presents: The Definitive 12” Masters Volume 1 steal The Definitive Salsoul Mixes’ crown. That’s what I’ll tell you after I’ve picked the ten best tracks on Salsoul Presents: The Definitive 12” Masters Volume 1.
DISC ONE.
My first choice from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1 is the original mix of The Salsoul Orchestra’s You’re Just The Right Size. This was a track from The Salsoul Orchestra’s 1976 million-selling album The Salsoul Orchestra. It was written, arranged and produced by by Vince Montana Jr. and later, was recorded by Charo. Here the Sweethearts of Sigma provide sultry, sensuous vocals. They’re’ accompanied the pounding, dramatic Baker, Harris, Young rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have hit their stride and are in full flight, showing why they were the best house-band of the seventies. As Ron Baker’s bass anchors the track, swathes of the lushest strings shiver and quiver, keyboards and blazing horns provide the backdrop to the sensual, sultry vamp. This demonstrates just how innovative a producer Vince Montana Jr. was. Although this is similar in style and sound to Donna Summer’s Love To Love, this is a better track.
Dreamin’ is one of four tracks Norman Harris cowrote with Ron Tyson and Allan Felder for Loleatta Holloway’s third album Loleatta. It was released in 1976 on Gold Mind Records. Norman arranged and produced the track, while Loleatta gives one of the best performances of her career. Larry Washington’s congas give way to grand strings that sweep and swirl, before the Baker, Harris, Young rhythm section, guitars and blazing horns. Loleatta struts centre-stage, her vocal sassy and fiery. She combines controlled power and confidence, while the Sweethearts of Sigma add sweet, soaring backing vocals. With the pounding rhythm section, punchy blazing horns and dancing strings accompanying Loleatta she gives one of sassiest, feistiest performances, settling into the roll of disco diva as if born for the role.
Double Exposure’s Ten Per Cent is the track that most people consider launched Salsoul as one of the premier disco labels. It was released in November 1976 and produced by Norman Harris. Tom Moulton’s remix features on Salsoul Presents: The Definitive 12” Masters Volume 1. Opening with Earl Young’s pounding drums, percussion and shivering strings, the track is driven along by the Baker, Harris Young rhythm section, as a gloriously, uplifting track unfolds. Hissing hi-hats, swirling strings, a sizzling guitar solo from Norman Harris and stabs of keyboards all play their part before the impassioned vocal enters. Accompanied by tight soulful harmonies, the vocal is laden with emotion, while an absolutely, intoxicating and invigorating arrangement sweeps you along. There’s everything you could want and more on a disco track. Strings, percussion, the tightest of rhythm section and of course that impassioned and emotive vocal. It’s an irresistible slice of majestic disco, whose charms and beauty are deserving of the word masterpiece.
Another of Salsoul’s divas was Carol Williams. She released just one album ‘Lectric Lady in 1977. Love Is You was released as a single in March 1977. For far too long, it’s been an underrated and overlooked track. Thankfully, Carol’s track has come back into “fashion,” and is one of the hidden gems in the Salsoul back-catalogue. Produced and co-written by Vince Montana Jr. the original mix fuses the sweetest, joyful vocal with a stunning arrangement. When the track opens, it’s just Earl Young’s drums that you hear, before literally, the track explodes into life. Suddenly, you’re greeted by sweet, cascading strings, blazing horns, percussion and the Baker, Harris, Young rhythm section. They give way to Carol’s sweet, beautiful vocal. She’s accompanied by a backdrop of quivering strings, flourishes of guitars and bursts of horns as the track reveals its irresistible sound. Later, Vince adds just the finishing touch to the track with his vibes, playing a lengthy and glorious solo. This is just the perfect way to close this gorgeous track, one with a hook-laden, feel-good sound.
First Choice released six albums during between 1973 and 1980. Delusions was their fourth album, and Gold Mind Records’ debut. Previously, the group had been signed to the Philly Groove label, where they enjoyed some commercial success. Doctor Love was a track from their 1977 album Delusions and was produced by Norman Harris. With lead singer Rochelle Fleming, fronting First Choice, they’d become one of the disco era’s biggest groups. The track has a bright and bold introduction with a mixture of blazing horns, cascading strings and a punchy rhythm section combining. Then, when Rochelle’s vocal enters it’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, backing vocals, as the track heads to a breakdown. This was placed here by Tom Moulton, who remixed the original track. By adding this lengthy breakdown Tom allows the listener to experience the track in all its glory…and then some. A combination of Rochelle’s powerful and passionate vocal, Norman Harris’ stunning arrangement and Tom Moulton’s remixing skills result in one of First Choice’s greatest tracks.
Choosing just five tracks from Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1 wasn’t easy. I had to overlook classics like Double Exposure’s My Love Is Free and Loleatta Holloway’s Runaway. The other two tracks are Walter Gibbon’s remix of Love Committee’s Just As Long As I Got You and Jim Burgess’ remix of Ripple’s The Beat Goes On. Quite simply, it’s quality all the way on Disc One of Salsoul Presents: The Definitive 12” Masters Volume 1. However, will that be the case on Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1?
DISC TWO.
Instant Funk’s I Got My Mind Made Up (You Can Get It Girl) is my first choice from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1. It was released in December 1978, reaching number twenty in the US Billboard 100 and number one in the US R&B Charts and US Disco Charts. This success continued when Instant Funk was released in January 1979 reachings number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. Since then, it’s become a classic, which was remixed by Larry Levan. That familiar opening sees punchy horns kick, before Instant Funk’s rhythm section combine with synths, tight harmonies. Then a flourish of keyboards, ushers in James Carmichael’s punchy, sassy lead vocal. An equally sassy female vocal replies in disbelief to James’ vocal. Punchy harmonies add to the hook-laden sound, before James delivers a heartfelt vocal. Meanwhile, Instant Funk fuse percussion, a loping bass line, punchy drums and harmonies as the synths buzz. Breathy backing vocals accompany the really soulful lilting vocal, before midway through the track, a breakdown is like a musical curveball. When the track rebuilds, you revel in this glorious fusion of Latin, funk, soul and disco which unsurprisingly, was Instant Funk’s biggest hit.
How High was the first album after Vince Montana Jr. left The Salsoul Orchestra. It was released in 1978, and marked the start of numerous changes at Salsoul. The title-track How High, written and produced by Colin Horton Jennings and Steve O’Donnell and was remixed by Larry Levan. Cognac were drafted in to add vocals to a track that literally bursts into life. The Baker, Harris, Young rhythm section provide the track’s heartbeat, while keyboards, percussion and Don Renaldo’s lush strings and growling horns signal the arrival of the vocal. Her vocal is a mixture of power and passion, with tight, soaring, soulful harmonies accompanying it. Vibes, Bobby Eli’s guitar, the pounding, funky rhythm section and percussion combine, while the horns blaze, growling and rasping, almost ever-present and crucial to the track’s sound and success. Together, with The Salsoul Orchestra and Cognac, How High gets the album of to a brilliant start, one that’s soulful and funky.
Love Sensation was the title-track from Loleatta Holloway’s 1980 album. It gave Loleatta a number one club hit. Penned and produced by Hartman, arranged by Norman Harris and remixed by Shep Petibone, it’s a Salsoul classic. Here, Loleatta Holloway demonstrates why she as the true Queen of Disco. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Like many of the tracks released by Salsoul Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981 on Inner Life I, which confusingly, was their second album. It features a timeless arrangement and stunning vocal from Jocelyn Brown. Her vocal is best described as diva-esque, as she delivers Ashford and Simpson’s lyrics. Produced by Patrick Adams and Greg Carmichael and remixed by Larry Levan, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one the highlights of Inner Life I, given its uplifting, joyous and energetic sound.
The best known track from Leroy Burgess’ solo career is undoubtably Heartbreaker. Released in August 1983 on Salsoul Records, Heartbreaker was the last track released by Salsoul before it closed its doors. This seems a fitting choice for my final choice from Salsoul Presents: The Definitive 12” Masters Volume 1. Not only did Leroy cowrite the track, but arranged and produced it. When the track opens, it’s a combination of a funky rhythm section, squelchy synths and joyous backing vocalists combining. They give way to Leroy’s vocal. His vocal is powerful, passionate and emotive as the backing vocalists combine with him throughout the track. Flourishes of piano, reverberating synths and the rhythm section provide the perfect backdrop for Leroy’s vocal. Along with his joyous, gospel tinged backing vocalists, Leroy creates a stunning track, one that demonstrates his talents not just as a vocalist, but as a songwriter, arranger and producer.
Apart from the five tracks I’ve chosen from Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1, I could just as easily have picked two tracks by legendary percussionist Candido, Logg’s I Know You Will or the First Choice classic Let No Man Put Asunder. Put simply, Disc Two of Salsoul Presents: The Definitive 12” Masters Volume 1 is long in quality and short in filler.
Indeed there’s neither any faux pas nor filler on Salsoul Presents: The Definitive 12” Masters Volume 1, just eighteen tracks from disco’s greatest label. The music on Salsoul Presents: The Definitive 12” Masters Volume 1 covers the period between 1976 and August 1983, when Salsoul was the most influential and pioneering dance label. Having built its reputation during the disco era, Salsoul Records reinvented itself in the post-disco age and became one of disco’s survivors. Thirty years after Salsoul closed its doors, its music is seen as some of the best and most influential of the disco era. There’s much more to Salsoul than disco. As Salsoul Presents: The Definitive 12” Masters Volume 1 demonstrates, Salsoul Records released music that was soulful, funky and dance-floor friendly. Whether it’s funk, Latin, boogie or disco, the dance-music on Salsoul Presents: The Definitive 12” Masters Volume 1 is of the highest quality. Good as Salsoul Presents: The Definitive 12” Masters Volume 1 is, it doesn’t quite match the quality of The Definitive Salsoul Mixes. Mind you, The Definitive Salsoul Mixes is a triple album, while Salsoul Presents: The Definitive 12” Masters Volume 1 is just a double album. What i will say, is that for either a newcomer or veteran of Salsoul Records, Salsoul Presents: The Definitive 12” Masters Volume 1 will be a welcome and worthy addition to any record collection. Standout Tracks: The Salsoul Orchestra You’re Just The Right Size, Loleatta Holloway Dreamin,’ Carol Williams Love Is You and First Choice Doctor Love.
SALSOUL PRESENTS: THE DEFINITIVE 12” MASTERS VOLUME 1.
LIBERATION MUSIC-THE SPIRITUAL JAZZ AND THE ART OF PROTEST ON FLYING DUTCHMAN RECORDS 1969-1974.
LIBERATION MUSIC-THE SPIRITUAL JAZZ AND THE ART OF PROTEST ON FLYING DUTCHMAN RECORDS 1969-1974.
Looking back at the roster of artists Flying Dutchman Records amassed during the first five years of its existence, can’t help but be impressed. After all, between 1969 and 1974, Flying Dutchman Records couldn’t just boast true jazz legends, but pioneers of jazz music. Obviously, Flying Dutchman Records is best known for Gil Scott-Heron and seminal releases like The Revolution Won’t Be Televised and The Bottle. However, as BGP Records’ recent release Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 demonstrates, there’s much more to Flying Dutchman Records that Gil Scott-Heron. Artists like Leon Thomas, Ornette Coleman, Chico Hamilton, Louis Armstrong and Lonnie Liston Smith and The Cosmic Echoes. As you’ll realize, the sixteen tracks on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 are the perfect primer for newcomers to Flying Dutchman Records. To whet your appetite I’ll pick some of the many highlights of Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974.
Flying Dutchman Records was founded by Bob Thiele in New York in 1969. Initially, Bob’s new label was known as Flying Dutchman Productions. Bob Thiele was a veteran of the music industry, who previously, had been a producer, songwriter and music industry executive. Given his experience, he was perfectly placed to run his own label, which he named Flying Dutchman Records. Initially, Flying Dutchman’s releases were distributed by Atco. However, withing two years, Mainstream Records, owned by Bob Shad took over distribution.
One of Bob’s biggest coup’s was signing the five album Flying Dutchman series in 1972. His other triumph was signing Gil Scott-Heron, whose best described as an author, poet, musician, soul singer and spoken word performer. Usually, when Flying Dutchman crops up in conversations, it’s Gil’s trio of albums 1970s Small Talk At 125th and Lenox, 1971s Pieces Of A Man and 1972s Free Will. Along with Leon Thomas, Ornette Coleman, Chico Hamilton, Lonnie Liston Smith and The Cosmic Echoes and Gato Barbieri, Bob Thiele built up Flying Dutchman’s roster to include an enviable roster of jazz pioneers and innovators before RCA Victor took over Flying Dutchman Records in 1976. However, Flying Dutchman Records’ critically acclaimed period was between 1969 and 1974. That’s the period Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 covers. For me, this is when Flying Dutchman were at the their zenith as pioneers and innovators. You’ll realize that when I tell you about the highlights of Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974.
Seminal. That’s the only way to describe Gil Scott-Heron’s The Revolution Won’t Be Televised this three minute career defining classic. It features on Gil’s 1970 debut album Small Talk At 125th and Lenox. Produced by Bob Thiele, where Small Talk At 125th and Lenox was recorded is disputed. Some industry insiders claim it was recorded in the studio with a small “invited audience,” others claim it was recorded at a nightclub on the corner of Small Talk At 125th and Lenox. Regardless of where Small Talk At 125th and Lenox was recorded, it’s a classic album and one of the best albums Flying Dutchman ever released.
Sais (Egypt) is a track from Lonnie Liston Smith and The Cosmic Echoes’ 1974 album Cosmic Funk. This was the second of five albums Lonnie Liston Smith and The Cosmic Echoes released on Flying Dutchman between 1973 and 1976. His sixth and final album Renaissance was released on RCA Victor, who took-over Flying Dutchman. Each of these six albums, are introduction to one of jazz music’s true pioneers. Lonnie’s music seemed to be in a state of constant state of evolution and Cosmic Funk is best described as, a melting pot of jazz-funk and space-age jazz. Later albums, veers in the direction of free jazz. However, Lonnie’s 1973 debut Astral Traveling, 1974s Cosmic Funk and 1975s Expansions are the real high-points of his career.
I first came across Louis Armstrong’s 1970 album Louis Armstrong and His Friends over thirty years ago. I’d bought a bargain bundle of vinyl and sitting in the back of the box was a mint copy of Louis Armstrong and His Friends. Featuring a mixture of protest songs like We Shall Overcome and Give Peace A Chance, plus classics like Mood Indigo and What A Wonderful World. Good as the first four tracks on SIde One of Louis Armstrong and His Friends were, The Creator Has A Masterplan, which featured Louis Armstrong and Leon Thomas, proved to be a game-changer. Written by Pharaoh Sanders and Leon Thomas, who adds guest vocals, the result is spine-tingling, emotive and beautiful piece of music. For anyone whose yet to discover Louis Armstrong and His Friends, it’s an album well worth discovering. The Creator Has A Masterplan is proof of this.
Earlier, I mentioned how Bob Thiele signed numerous jazz legends and pioneers to Flying Dutchman Records, Ornette Coleman falls into both categories. Although best known as a jazz saxophonist, Ornette is a true multi-instrumentalist, equally at home on violin, trumpet and saxophone. He was an unmistakable and unique sound, one that can’t be replicated. Not only that, but Ornette Coleman was one of the inventors of free jazz. Friends and Neighbors is a track from Friends and Neighbors: Live At Prince Street, which was recorded on St. Valentine’s Day 1970. Despite not being released until 1972, the album still had and has a contemporary sound that looks to the future, not the past.
One of the earliest albums Flying Dutchman released was Leon Thomas’ 1969 debut album Spirits Known and Unknown. This was the first of seven albums Leon released for Flying Dutchman Records. Avant garde is a fitting description of Leon’s music. Granted his singing style was conventional, Leon through the rule book away when he veered towards a yodeling style that’s totally unique and inimitable. Spirits Known and Unknown features the original version of The Creator Has A Masterplan and another of Leon’s best known tracks, Echoes which features one of jazz music’s best kept secrets at his best.
Born in Rosario, Argentina, Gato Barbieri was at the height of his popularity during the free jazz era of the sixties and then Latin jazz era of the seventies. Between 1971 and 1973, he released four albums on Flying Dutchman Records. His Flying Dutchman debut was Fenix, which featured Tupac Amaru, which featured Joe Beck on electric guitar and Lonnie Liston Smith on piano and electric piano. For newcomers to one of jazz music’s pioneering tenor saxophonists, Fenix is the place to start.
Martin Was A Man, A Real Man was a track from Oliver Nelson’s 1970 album Black, Brown and Beautiful, an album crammed full of eloquent social comment. Black, Brown and Beautiful marked Oliver’s third decade in music and was his only solo album for Flying Dutchman. The other Flying Dutchman studio albums Oliver featured on was 1970s 3 Shades of Blue which featured Johnny Hodges with Leon Thomas and Oliver Nelson. Good as 3 Shades of Blue is, Black, Brown and Beautiful is a truly powerful and innovative album, from Oliver Nelson jazz saxophonist extraordinaire and a veteran of labels like Verve, Impulse and Prestige.
My final choice from Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 is Chico Hamilton’s Gonna Get Some Right Now. Just like Oliver Nelson, jazz drummer Chico Hamilton counted Impulse as one of his former labels. He only released one album for Flying Dutchman Records, 190w El Exigente-The Demanding One, which featured the flawless Gonna Get Some Right Now. Although Chico only released one album for Flying Dutchman Records, it was a minor classic. One listen demonstrates this.
The sixteen tracks on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 are the perfect primer for newcomers to a pioneering jazz label with a social conscience. Flying Dutchman Records wasn’t shy about protesting about life’s injustices. While other labels would’ve flinched at releasing albums by Gil Scott-Heron and Oliver Nelson, Flying Dutchman felt duty-bound to help right the wrongs their music railed against. So, in many ways, it was the perfect home for artists like Gil Scott-Heron, Leon Thomas, Ornette Coleman, Chico Hamilton, Oliver Nelson and Lonnie Liston Smith and The Cosmic Echoes. With what’s an eclectic selection of the familiar and lesser known tracks, Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 veteran jazz fans will welcome this reminder of what was, one of jazz’s real innovative labels. During the first five years of its existence between 1969 and 1974, Flying Dutchman Records released the most important, critically acclaimed and pioneering jazz music of that time. This is music that can be found on Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 and has stood the test of time. To use Gil Scott-Heron as an example, his music is equally relevant and socially important over forty years after its original release. That proves how far-sighted Bob Thiele was, when choosing the artists he signed to Flying Dutchman Records. Mavericks, pioneers and innovators all called Flying Dutchman Records home, as BGP Records’ recent compilation Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 proves. What’s more, Liberation Music-The Spiritual Jazz and The Art of Protest On Flying Dutchman Records 1969-1974 is the perfect starting point for a long and enjoyable musical journey through Flying Dutchman Records illustrious back-catalogue. Standout Tracks: Gil Scott-Heron The Revolution Won’t Be Televised, Lonnie Liston Smith and The Cosmic Echoes Sais (Egypt), Louis Armstrong and Leon Thomas The Creator Has A Masterplan and Leon Thomas Echoes.
LIBERATION MUSIC-THE SPIRITUAL JAZZ AND THE ART OF PROTEST ON FLYING DUTCHMAN RECORDS 1969-1974.
SALSOUL PRESENTS: DISCO DIVAS AND SOULFUL SISTA FLAVAS.
SALSOUL PRESENTS: DISCO DIVAS AND SOULFUL SISTA FLAVAS.
when you look back at the history of Salsoul Records, you realize they weren’t short of some stunning female vocalists. Loleatta Holloway, First Choice, Charo, Carol Williams, Jocelyn Brown from Inner Life, The Sweethearts of Sigma, Brenda Gooch and Claudja Barry. Each of these divas feature on Salsoul Presents: Disco Divas and Soulful Sista Flavas, which was released in 2005 by Suss’d Records. This is one of the finest compilations of Salsoul divas you’ll find anywhere, so i’ll now tell you about Salsoul Presents: Disco Divas and Soulful Sista Flavas.
Opening Salsoul Presents: Disco Divas and Soulful Sista Flavas is Loleatta Holloway’s That’s What You Said. This was a track from Loleatta’s third Salsoul album Loleatta Holloway, which was released in 1979. That’s What You Said is is arranged by Jack Faith and written by Bunny Sigler and Rick Wigginton. Dancing strings, a pounding rhythm section and growling horns combine with Loleatta’s fiery vocal. Handclaps punctuate the arrangement, while a really catchy, dance-floor friendly arrangement unfolds. There’s a quite joyous sound to the arrangement, with hooks aplenty throughout the track. Playing a big part in the arrangement is the cascading strings, blazing horns and punchy rhythm section. Having said that, the rhythm section don’t have the same presence as Baker, Harris, Young. With them driving the song along, what is a great track, could’ve been even better. Mind you, it still has a joyous, hook-laden, uplifting sound.
Carol Williams’ More is a track from her 1976 album ‘Lectric Lady, which was produced by Vince Montana Jr. More iterally explodes into life. A pounding rhythm section, with drummer Earl Young at its helm, combines with blazing horns and cascading strings. Carol’s vocal is a mixture of power and joy, as she struts her way through the track. The Sweethearts of Sigma deliver punchy backing vocals, while swathes of strings dance with delight and horns bray. Ron Baker’s bass helps anchor the track, matching Earl beat for beat, while percussion, congas and Vince Montana Jr.’s vibes feature. Key to the track are the strings, backing vocalists and horns. One of the best saxophone solos you’ll hear on a Salsoul album can be heard here. Truly, Carol Williams and The Salsoul Orchestra transform this track, turning it into an anthemic disco track thirty-sex years later, is best described as a timeless. It’s a joyous, uplifting classic, featuring one of Carol’s best vocals.
Inner Life released their second album, but Salsoul debut in 1981. This was Inner Life I, which (Knock Out) Let’s Go Another Round which was written by Stan Lucas and arranged and produced by Stan and Greg Carmichael. It feature a diva-esque vocal from Jocelyn Brown. This is a boogie track, with Greg Carmichael’s influence all over it. The introduction sounds like a cousin of Ain’t No Mountain High Enough. That similarity is only brief, and quickly, the track takes on its own identity. Percussion, a funky rhythm section, swathes of synths and handclaps combine to create a catchy backdrop, even before Jocelyn’s powerful vocal enters. Her vocal struts in, sassy and full of confidence, with the banks of keyboards and synths accompanying the rhythm section that provide the track’s funky heartbeat. After two minutes, Inner Life tease you relentlessly when the vocal drops out. Synths and keyboards take centre-stage, before Jocelyn’s vocal returns. This pattern continues, so you sit back and enjoy the ride. Over seven minutes, an irresistible track unfolds, which Jocelyn Brown key to the track’s sound and success.
First Choice’s Can’t Take It With You is a track from their final Salsoul album Breakaway, which was released in 1980. It’s a hugely underrated album and one that too often, is overlooked. Can’t Take It With You was the second contribution from Melvin and Mervin Steals and McKinley Jackson. It has a more understated sound than other tracks when it opens. Just keyboards, guitar and rhythm section combine as First Choice add heartfelt harmonies. Bursts of rasping horns stabs of keyboards are joined by Rochelle’s powerful, impassioned vocal. Her power and passion is complimented by the tender harmonies. By now the arrangement has grown, with the rhythm section, bursts of rasping horns and elegant strings combining. It’s beautiful combination, especially given some poignant lyrics and a vocal that’s soulful and full of emotion from Rochelle.
Claudja Barry released two albums for Salsoul, 1976s Sweet Dynamite and 1978s The Girl Most Likely, which featured When Life Was Just A Game. It was written by Claudja and her husband Michael Hoffman. The producer was Jurgen Korduletsch and the remixer Tom Moulton. Adding to the Claudja’s diva-esque are The Sweethearts of Sigma, who help bring out the best in Claudja Barry.
Metropolis only released one album on Salsoul, 1978s The Greatest Show On Earth. Produced by Tom Moulton and Thor Baldursson, The Greatest Show On Earth featured unmistakable sound of The Sweethearts of Sigma. Billed as The Sweethearts, Barbara Ingram, Carla Benson and Evette Benton’s harmonies were the perfect foil for the Euro Disco arrangements and is one of the most underrated albums Salsoul released Proof of this is Every Time I See Him.
If You’re Gonna Love Me is a track from Inner Life’s third album Inner Life II, released in 1982. It was written by Stan Lucas and produced by Greg Carmichael. Percussion, crashing drums and a pounding bass combines before Jocelyn delivers the familiar lyrics to If You’re Gonna Love Me. Straight away, you’re hooked. It’s impossible not to succumb to the track’s charms. Jocelyn’s vocal is a mixture of sass and power. It’s as if this song was written with her in mind. For company, she has that unmistakable combination of the rhythm section, keyboards and percussion accompanying her. As Jocelyn’s vocal drops out, the guitar takes charge. It almost tees up Jocelyn’s vocal when it returns. She takes charge, delivering what is, a Magnus Opus of a vocal.
Delusions was First Choice’s first album for Norman Harris’ Gold Mind Records. It was released in 1977 and featured Chances Go Round, written by Norman Harris, Allan Felder and Ron Tyson. Ron “Have Mercy” Kersey arranged and produced a track where funk and disco are fused. The two genres immediately unite, with the Baker, Harris, Young rhythm section adding funk, as Ron Baker gives a funk masterclass, slapping his six-string bass. Sweeping, swirling strings, keyboards and braying horns are responsible for the disco influence. When Rochelle’s vocal enters, it’s fiery, full of frustration and anger, while tight, punchy harmonies accompany her. Flourishes of strings, the rhythm section and growling horns all add to the drama, in Rochelle’s vocal. It’s filled with emotion, regret and bravado as she brings the lyrics to life, sounding as if she’s lived and survived them. While funk and disco are fused, there’s a real Philly Soul sound in a track that’s laden with drama and hooks.
The first album Loleatta Holloway released for Gold Mind Records was 1976s Loleatta, which featured We’re Getting Stronger (The Longer We Stay Together). It was one of three tracks recorded in Chicago, with a different band. Bobby “Electronic” Eli was the only musician to play on both sessions. Even without The Salsoul Orchestra the quality of music doesn’t suffer. As the track opens, Loleatta scats while braying horns, cascading strings and a pounding rhythm section accompany her. Stabs of keyboards and Bobby “Electronic” Eli’s a searing guitar accompany Loleatta’s powerful, passionate vocal. Her vocal soars, displaying a wide vocal range and incredible control, while backing vocalists accompany her. Swathes of strings dance above her vocal, as she vamps her way through the track. It’s an inspirational, uplifting performance from Loleatta, on a track that for far too long, has been a hidden gem of Loleatta’s back-catalogue.
Trying to choose the best track on Carol Williams’ 1976 album ‘Lectric Lady isn’t easy. Indeed, it’s an album crammed full of quality music, including My Time Of Need. My Time Of Need is the first of three songs Carol cowrote, with this one of two she cowrote with Vince Montana Jr. This song is like a four minute soap-opera, filled with drama and emotion. Carol singing the song from the perspective of a young woman, pregnant, desperate and on her own. Strings cascade, while horns rasp, as percussion and vibes accompany the Baker, Harris, Young rhythm section. Together they provide track’s dramatic and moody heartbeat. Carol’s voice is tinged with sadness and hurt, while the Sweethearts of Sigma add judgmental backing vocalists, their vocals are full of shock and surprise. Their back vocals are the finishing touch, contrasting Carol’s desperation, sadness and loneliness. Here, also Carol shows how a talented songwriter and storyteller she, painting vivid pictures in just four minutes.
Probably Charo and The Salsoul Orchestra’s best known song is Dance A Little Bit Closer. This was a single from her 1976 album Cuchi-Cuchi which reached number 100 in the US Billboard 200. Dance A Little Bit Closer was released as a single, reaching number eighteen in the US Dance Charts and number forty-four in the UK. After Cuchi-Cuchi, Charo released two more albums, 1978s Ole Ole and 1981s Dancing With Charo. However, the track that Charo will forever be remembered for is Dance A Little Closer, a a true Salsoul classic.
Closing Salsoul Presents: Disco Divas and Soulful Sista Flavas is First Choice’s Let Me Down Easy, a track from her 1978 album Hold Your Horses. Let Me Down Easy was written by Andrew Smith and David Jordan and produced by Tom Moulton and Thor Baldursson. Pounding drums are placed at the heart of the arrangement, as percussion and John Davis’ rasping saxophone solo combine before Rochelle Fleming’s vocal enters. It’s heartfelt and impassioned soaring above the arrangement, while Annette Guest and Ursula Herring add tight, dramatic harmonies. The arrangement flows along, before thunderous drums are unleashed, replacing the lush strings from the Munich Philharmonics. When they drop out, the piano, rhythm section and strings combine, as John Davis unleashes a blazing saxophone solo. When all this is combined with First Choice’s vocals, it’s an impressive opening track from that’s both soulful and dance-floor friendly.
The thirteen tracks on Salsoul Presents: Disco Divas and Soulful Sista Flavas demonstrates that when it came to female vocalists, no other label could match Salsoul Records. After all, Salsoul could boast the true Queen of Disco Loleatta Holloway, Carol Williams. Rochelle Fleming of First Choice, Jocelyn Brown of Inner Life and Charo. Then there are The Sweethearts of Sigma, who not only featured on Metropolis’ Greatest Show On Earth, but feature on The Salsoul Orchestra’s albums. The Sweethearts of Sigma backing vocals also feature on numerous Salsoul recordings. Often, their harmonies transform a great track to an outstanding one.
The vocalists that feature on Salsoul Presents: Disco Divas and Soulful Sista Flavas played an important part in making Salsoul Records disco’s premier label. However, it’s not just disco these vocalists sung. Not at all. Instead, Loleatta Holloway, First Choice and Carol Williams were capable of producing moments of true soulfulness. So whether it’s disco divas or soulful sisters you’re looking for, then you’ll find plenty of both on Salsoul Presents: Disco Divas and Soulful Sista Flavas. Standout Tracks: Loleatta Holloway That’s What You Said, Carol Williams More, First Choice Can’t Take It With You and Charo and The Salsoul Orchestra Dance A Little Bit Closer.
SALSOUL PRESENTS: DISCO DIVAS AND SOULFUL SISTA FLAVAS.
GARY CRISS-RIO DE JANEIRO.
GARY CRISS-RIO DE JANEIRO.
Recently when I was reviewing a new Salsoul Records compilation, The Salsoul Records Story, which was recently released by Gold Legion, I was pleased to discover that the compilers had included Gary Criss’ Rio De Janeiro. This was the title-track to the only album Gary Criss released on Salsoul Records. Rio De Janeiro was released on Salsoul in 1978 and was produced by John Davis. The Latin-tinged title-track Rio De Janeiro gave Gary the biggest hit of his career. It was a huge commercial success and a smash hit in clubs. Since then, Rio De Janeiro has become a timeless classic. Sadly, his only solo album Rio De Janeiro is often overlooked by reissue labels. Hopefully, soon a reissue label will rerelease Gary Criss’ Rio De Janeiro, which represents Gary Criss solo career. Although Gary spent much of the eighties involved in the music industry, he decided to pursue another career. This you’ll realize was the music industry’s loss, when I tell you about Rio De Janeiro.
Before signing to Salsoul, New Brunswick born Gary Criss released several singles, including Sweet, Warm and Soft in 1963. It was released on Diamond Records in 1963. After that, he joined the seventies pop group The Glass Bottle. They released one album, I Ain’t Got Time Anymore in 1972, on AVCO Embassy. SIx years later, in 1978, Gary was signed to Salsoul.
at Salsoul, Gary would work with experienced producer John Davis, who contributed Brazilian Nights to Gary’s debut album Rio De Janeiro. Gary wrote Amazon Queen, while Rio De Janeiro featured Billy Terrell’s Rio De Janeiro and The Calm Before The Storm. Along with Ray Dahrouge’s The Lady Is Latin (The Girl Is Bad), Jimmy Druiett’s My Lady and a cover of The Girl From Ipanema, these seven tracks became Rio De Janeiro. Accompanying Gary for the recording of Rio De Janeiro, would be members of John Davis and The Monster Orchestra.
When recording of Rio De Janeiro began, the rhythm section included guitarist Craig Snyder, bassist Vince Fay and drummers Grant MacAvoy and Jimmy Young. They were joined by percussionists Larry Washington, Nick D’Amico and David Waker. Taking charge of strings and horns was Don Renaldo. John Davis played flute and keyboards. Adding vocals were Carolyn Mitchel and Vaneese Thomas-White, daughter of Rufus Thomas. Once Rio De Janeiro was recorded, it was released in 1978.
On the release of Rio De Janeiro in 1978 it wasn’t a commercial success, failing to chart. When the title-track Rio De Janeiro was released as a single, it reached number six in the Dance Music/Club Play Charts. Rio De Janeiro became a huge hit, commercially successful and on constant play in clubs. However, should the album Rio De Janeiro have matched the commercial success of the single Rio De Janeiro? That’s what I’ll now tell you?
Opening Rio De Janeiro is Rio De Janeiro. A pounding disco beat, chiming guitars and percussion joins blazing horns and sweeping, swirling strings. This signals the arrival of the sweetest harmonies who sweep elegantly across the arrangement. They’re joined by Gary’s tender, impassioned vocal. Strings float above the arrangement, while the rhythm section add its pulsating heartbeat. Horns and percussion add to the joyous, uplifting sound, while rocky guitars add a touch of drama. By now a delicious fusion of disco, soul, funk and Latin music have been seamlessly combined and transported you to Rio De Janeiro. Quite simply, this is a truly timeless track and real hidden gem in Salsoul’s back-catalogue.
A near nine-minute medley of The Girl From Ipanema and Brazilian Nights. Just a myriad of percussion creates a Latin backdrop before Gary’s sensually scats and the arrangement unfolds. Gradually, horns growl, while the rhythm section, percussion and keyboards provide the mainstay of the Latin arrangement. Gary lounge-style vocal is understated, but ensures the songs swings. He’s accompanied by gentle, cooing harmonies who prove a perfect foil for Gary. Behind him, strings dance, horns kick and the band kick loose as they head into Brazilian Nights. Again, Gary’s vocal is heartfelt, but grows in power and passion. He’s accompanied by swathes of lush strings, subtle harmonies and percussion. The longer the track progresses, the better it gets. Gary accompanied by John Davis and The Monster Orchestra drive each other to greater heights, as they fuse musical genres to create a beautiful, dramatic and dance-floor friendly track.
Amazon Queen closes Side One of Rio De Janeiro. It’s the only track on Rio De Janeiro written by Gary Criss. Synths, percussion and the rhythm section create a tougher, funkier sound. Soon, blazing horns have strode centre-stage and are adding to the drama. When Gary and his backing vocalists enter, they prove to be the perfect foil for each other. Gary’s vocal mixes drama and power, which is reflected by the harmonies. They’re joined by layers of strings which sweep and swirl. It’s as if they dance with joy and appreciation at this Latin-tinged track. Like the horns and percussion, the strings are key to the track’s success. Add in Gary’s vocal and the harmonies, and the result is one of the highlights of Rio De Janeiro.
Side Two of Rio De Janeiro opens with The Lady Is Latin (The Girl Is Bad), which was written by Ray Dahrouge. Although only four minutes long, it’s four highly memorable minutes where Gary Criss ably assisted by John Davis and The Monster Orchestra start Side Two where SIde One left off.
My Rio Lady is not unlike a slice of musical sunshine when it joyously bursts into life. It brightens your life from its opening bars. With swathes of the lushest strings, percussion and a pulsating rhythm section for company, Gary delivers his best vocal on Rio De Janeiro. His vocal is filled with emotion and sincerity. Making a great track even better are the growling horns and dancing horns. They provide the backdrop for Gary as he delivers a truly soul-baring vocal.
The Calm Before The Storm closes Rio De Janeiro. It was written by Billy Terrell and in the hands of Gary Criss and John Davis and The Monster Orchestra is transformed into something very special. With the trademark percussive sound joining the tightest of rhythm sections and strings and horns courtesy of Don Renaldo, it’s almost impossible that Gary doesn’t close Rio De Janeiro on a high. It’s as if he’s taking his lead from the band and unleashes an almost peerless vocal, closing Rio De Janeiro on a memorable high.
Although Gary Criss only released one solo album, Rio De Janeiro was an almost flawless album. It fused elements of disco, funk, jazz, soul and Latin music over six tracks. Gary proves to be a talented vocalist who producer John Davis gets the best out of. Salsoul couldn’t have picked a better mentor for Gary. Not only from a production point of view, but from the musicians John brought to the recording of Rio De Janeiro. Rather than use The Salsoul Orchestra, John decided to use John Davis and The Monster Orchestra. They provide the backdrop for John’s hugely soulful vocals, creating six arrangements where disco and Latin music are married with jazz and funk. The result album Rio De Janeiro, is an album that has stood the test of time. indeed, Rio De Janeiro is a truly timeless album, which is worthy of being reissued. Maybe sometime soon Gary Criss only solo album Rio De Janeiro will be reissued thirty-five years after its release. Let’s hope so. Standout Tracks: Rio De Janeiro, The Girl From Ipanema and Brazilian Nights, Amazon Queen and My Rio Lady.
GARY CRISS-RIO DE JANEIRO.
THE TEMPTATIONS-HEAR TO TEMPT YOU.
THE TEMPTATIONS-HEAR TO TEMPT YOU.
After The Temptations 1976 album The Temptations Do The Temptations, one of soul’s legendary groups found themselves at a musical crossroads. Their last three albums House Party, Wings of Love and The Temptations Do The Temptations hadn’t matched the commercial success that the albums released by The Temptations between 1965 and 1973. During that period, The Temptations had enjoyed fourteen number one albums in the US R&B Charts. However, with their lineup changing and members suffering personal problems, The Temptations’ had lost their Midas touch. To top it all, the unthinkable happened, when The Temptations decided to leave Motown. Their destination was Atlantic Records, where they’d undergo a Philly Soul makeover.
At Atlantic Records, one of the most successful production teams of the time were given the job of the reviving The Temptations’ career. Baker, Harris, Young had established a reputation as one of the hottest production team of the seventies. They’d built up a successful track record, as a one-stop shop for artists. Baker, Harris, Young could provide songs, musicians, arrangers and producers for The Temptations’ first album for Atlantic Records Hear To Tempt You. Would Hear To Tempt You rejuvenate The Temptations’ flagging career?
For Hear To Tempt You Baker, Harris, Young and their Philly friends provided eight of the nine tracks. Norman Harris, Alan Felder and Ron Tyson cowrote Think For Yourself, It’s Time For Love and I Could Never Stop Loving You. Alan Felder, Ron Tyson and T.G. Conway penned Snake In The Grass and Read Between The Lines, while Bruce Gray and T.G. Conway cowrote Can We Come In and Share The Love. Ron Baker and Ron Tyson wrote In A Lifetime and She’s All I’ve Got. The other tracks was Let’s Share The Love, written by The Temptations and Benjamin Wright. Once the material that became Hear To Tempt You was completed, recording got underway at Sigma Sound Studios, Philadelphia.
The lineup of The Temptations that headed to Sigma Sound Studios, Philadelphia to record Hear To Tempt You included lead singer Louis Price, Melvin Franklin, Richard Street, Otis Williams and Glenn Leonard. Accompanying The Temptations were many of The Salsoul Orchestra. This included the Baker, Harris, Young rhythm section, plus drummer Keith Benson and bassist Michael “Sugarbear” Foreman, who provided Hear To Tempt You’s heartbeat. They were joined by guitarists Bobby Eli and T.J. Tindall. Adding the percussive sound were Larry Washington on congas and Richard Adderley on vibes. Ron “Have Mercy” Kersey Carlton “Cotton” Kent, Bruce Gray and T.G. Conway all played keyboards, while Don Renaldo and His String and Horn Sound gave Hear To Tempt You its Philly Sound. Arrangers included Norman Harris, Ron Baker and Roland Chambers. Once Hear To Tempt You was recorded, it was released in 1976. Would it rejuvenate The Temptations’ career?
On the release of Hear To Tempt You in 1977, it only reached number 113 in the US Billboard 200 and number thirty-eight in the US R&B Charts. Hear To Tempt You hadn’t rejuvenated The Temptations’ career. Far from it. Instead, it was the least successful album of their career. Two singles were released from Hear To Tempt You in 1977. In A Lifetime which featured Glenn Leonard’s lead vocal reached number twenty-one in the US R&B Charts. Think For Yourself, which featured Louis Price on lead vocal, stalled at number fifty-eight in the US R&B Charts. Just like Hear To Tempt You, the singles failed to replicate the commercial success of previous Temptations’ albums. However, did Hear To Tempt You deserve to fare better than it did? That’s what I’ll now tell you.
Norman Harris, Alan Felder and Ron Tyson cowrote Think For Yourself, which opens Hear To Tempt You. It’s a song with a message, which Louis Price delivers with passion and sincerity. Baker, Harris, Young provide the arrangement’s funky heartbeat while stabs of growling horns, keyboards and swirling string provide the backdrop for Louis powerful, grizzled vocal. Cascading harmonies envelop the vocal, while Ron Baker’s bass drives the arrangement along and Earl Young’s drums add bursts of drama. As Louis scats and hollers, strings dance and horns blaze. After that, The Temptations demonstrate their harmonic prowess, as they show that for them, there was life after Motown.
In A Lifetime is the first of two tracks written by Ron Tyson and Ron Baker, who arranged and produced the track. It’s a slow ballad, filled with heartache and sadness. Earl Young’s drums build up the drama, before keyboards, lush strings, braying horns and harmonies give way to Glenn’s heartbroken vocal. Cooing harmonies sweep in, almost sympathizing with the love that’s been lost. Strings sweep in, and like the, harmonies reflect the hurt and heartache. It’s as if they share the sense of loss and emptiness in Glenn’s heartbroken vocal.
Can We Come In and Share The Love gives The Temptations another opportunity ti showcase their talent when it comes to balladry. Written by Bruce Gray and T.G. Conway and arranged by Roland Chambers, this is one of the most beautiful ballads on Hear To Tempt You. Louis tender, emotive vocal is accompanied by a piano, swathes of lush, quivering string, tight, heartfelt harmonies and drama and emotion courtesy of the Baker, Harris, Young rhythm section. The result is a gorgeous ballad from The Temptations, which is something of a hidden gem.
She’s All I’ve Got is the second track written by ex-Temptation Ron Tyson and Ron Baker of the Baker, Harris, Young rhythm section. Ron Baker arranged and produced this track. This is another example of how talented Ron Baker was as a songwriter, arranger and producer and is the perfect track to close Side One of Hear To Tempt You.
Snake In The Grass opens Side Two of Hear To Tempt You, and is one of the seven tracks produced Norman Harris. Earl Young’s drums and hissing hi-hats build the drama, before the arrangement bursts into life. From flourishes of piano, blazing horns, dancing strings, wah-wah guitars and a pounding Baker, Harris, Young rhythm section the band kick loose. Spurred on, so do The Temptations. Louis vocal is a mixture of power and passion, as he breathes life and meaning into the lyrics. The rest of The Temptations do their part, their harmonies every bit committed as Louis’ lead. Maybe this is why the track has a real Temptations’ sound, despite the Philly Soul makeover.
It doesn’t long before you realize that It’s Time For Love is one of the highlights of Hear To Tempt You. You wonder why it wasn’t released as a single. Not only does it feature The Temptations at their best, but Norman Harris’ all-star band. There’s a real uplifting Philly Soul sound, with Baker, Harris, Young providing the heartbeat and Don Renaldo’s strings and horns providing the trademark Philly sound. The Temptations can’t fail to be inspired and the arrangement allows to showcase their considerable harmonic and vocal talents. Louis’ heartfelt, impassioned lead is peerless, while the harmonies match Louis for passion and sincerity on this deliciously, uplifting slice of Philly Soul.
Let’s Live In Peace was the only track not written by Baker, Harris, Young’s Philly friends. Instead, The Temptations and Benjamin Wright cowrote it. Although it’s a decent track, it isn’t a great track. The lyrics have a somewhat twee and gushing quality. At least Louis delivers a vocal that’s filled with emotion. Similarly, The Temptations harmonies are tight and tender. The meandering arrangement has a dreamy sound, with occasional bursts of Earl Young’s drums reinforcing the emotion and sincerity in Louis’ vocal.
Read Between The Lines is a much more uptempo track, with a classy Philly Soul arrangement. Swirling strings, Norman Harris’ guitar and keyboards combine before a tender vocal is swept away atop the floaty string-laden arrangement. His vocal is filled with emotion and sincerity. It’s matched all the way by The Temptations’ cooing, sweeping and later, cascading harmonies. Earl Young’s drums add bursts of drama, while flourishes of strings match the sheer joy in the vocal and harmonies.
I Could Never Stop Loving You closes Hear To Tempt You. Here, Melvin Franklin takes charge of the lead vocal on this ballad. His rich vocal is laden in emotion, while harmonies envelop his lead. Meanwhile swathes of lush strings, rasping horns and vibes combine to create an understated and quite beautiful backdrop. Again, the interplay between Melvin’s lead and the harmonies is peerless and at the heart of this track’s success.
Hear To Tempt You was neither The Temptations’ most successful nor best album. Through no fault of Baker, Harris, Young who produced Hear To Tempt You, the album disappointed. It certainly wasn’t because of the material or the musicians who played on Hear To Tempt You. Not at all. The musicians who played on Hear To Tempt You included many of The Salsoul Orchestra were some of the most talented and successful of the seventies. What the problem was with The Temptations. They were racked with problems and had lost some of their key members. This meant they were unable to replicate the success they enjoyed between 1964 and 1973. It seemed that the change of label didn’t rejuvenate The Temptations career.
Despite the problems and loss of personnel, Hear To Tempt You wasn’t without its highlights. Think For Yourself, Can We Come In and Share The Love, It’s Time For Love and Read Between The Lines are the highlights of Hear To Tempt You, while In A Lifetime is bathed in emotion and heartache. It seemed that despite their track record of commercial success and critical acclaim, Baker, Harris, Young and their Philly friends couldn’t rejuvenate The Temptations’ flagging career.
Following the commercial failure of Hear To Tempt You, The Temptations only released one further album for Atlantic. This was 1978s Bare Back, which stalled at number forty-six in the US R&B Charts. It became The Temptations’ least successful album. After Bare Back, The Temptations returned to Motown, but never quite recaptured the success of they enjoyed between 1964 and 1973. The nearest they came was with 1982s Reunion, when David Ruffin and Eddie Kendricks rejoined The Temptations. However, by then music had changed and vocal groups like The Temptations were no longer as popular. The period between 1964 and 1973 remained the most successful period of The Temptations career, when they released some of the best music of their career. Having said that, Hear To Tempt You features some soulful moments and is an intriguing album, where Baker, Harris, Young give The Temptations a Philly Soul makeover. Standout Tracks: Think For Yourself, Can We Come In and Share The Love, It’s Time For Love and Read Between The Lines.
THE TEMPTATIONS-HEAR TO TEMPT YOU.
JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
By 1979, John Davis and The Monster Orchestra had released three albums between 1976 and 1976. Their debut albums for SAM Records was 1976s Night and Day. 1977s Up Jumped The Devil and 1978s Ain’t That Enough For You followed. These three albums cemented John Davis and The Monster Orchestra’s reputation as one of the most successful disco orchestras of the disco era. For their fourth album, 1979s The Monster Strikes Again, two singles, Love Magic and a cover of Ashford and Simpson’s Bourgie Bourgie saw John Davis and The Monster Orchestra revisit the commercial success of their earlier albums. Considering The Monster Strikes Again proved to be John Davis and The Monster Orchestra’s final album, this seemed a fitting end to their recording career. However, what made The Monster Strikes Again such a successful album? That’s what I’ll now tell you.
For The Monster Strikes Again, John Davis wrote That’s What I Get, and penned Baby I’ve Got It, Holler and Love Magic with Vince Fay. Ron Netsky wrote When It’s Right For Love and the other tracks was a cover of Ashford and Simpson’s Bourgie Bourgie. When it came to recording The Monster Strikes Again, many of the same musicians that had played on previous John Davis and The Monster Orchestra albums were joined by some new faces.
When recording of The Monster Strikes Again began, a mixture of familiar and faces gathered. The rhythm section included guitarists Ronnie James and Craig Snyder, bassist Vince Fay and drummers Grant MacAvoy and Jimmy Young. They were joined by percussionists Larry Washington and David Waker, while Gerson Rosenbloom played synths. Taking charge of strings and horns was Don Renaldo. John Davis played flute, keyboards, synths, saxophone and took charge of vocals. Adding vocals were Billy Harner, Carolyn Mitchel and Vaneese Thomas-White, daughter of Rufus Thomas. Once The Monster Strikes Again was completed, it was released in 1979.
On the release of The Monster Strikes Again in 1979, it was more successful than its predecessor Ain’t That Enough.The two singles, Love Magic and Bourgie Bourgie surpassed this success. Not only were they commercially popular, but gave John Davis and The Monster Orchestra two massive club hits. Considering The Monster Strikes Again would prove to be John Davis and The Monster Orchestra’s final album, this seemed a fitting finale from one of disco’s greatest orchestras, which I’ll now tell you about.
Opening The Monster Strikes Again is Baby I’ve Got It, one of three songs penned by John and Vince Fay. A rocky rhythm section and percussion combine to drive the arrangement along. before synths and chiming guitars enter. When sassy, feisty harmonies enter, they prove to be a game-changer. They prove to be crucial to the track’s success. They’re soulful, but give the track a noticeable Euro Disco influence, joining the pounding rhythm section, synths and searing guitars. By now, elements of soul, disco, Euro Disco have been combined. Unlike earlier John Davis and The Monster Orchestra albums, synths play a bigger role in this track. However, they work well and their sound has aged well. What really makes the track are the choppy, confident and often sassy harmonies. Adding the finishing touch is a growling sax solo, which adds to the drama of this hook-laden slice of disco, where disparate musical genres and influences are seamlessly fused.
Bourgie Bourgie, which was written by Ashford and Simpson, was one of two singles released from The Monster Strikes Again. Not only is this one of John Davis and The Monster Orchestra’s best tracks, but a true disco classic. As the arrangement gradually unfolds, you realize something special is about to reveal its secrets. This is case from the entrance of the pounding drums and percussion. They’re joined by a pensive piano, elegant gliding strings and blazing horns. Everything adds to the sense of anticipation. Heartfelt, soaring harmonies add a sense of urgency, while the rhythm section add bursts of dramatic funk. What then follows is true disco perfection. Everything falls into place at the right time. Elements of soul, funk and drama combine, while drama, beauty and elegance are ever-present. For just over six-minutes, producer John Davis produces a soulful and funky disco Magnus Opus which is truly timeless and worthy of being called a disco classic.
That’s What I Get closes Side One of The Monster Strikes Again. Percussion and the rhythm section join urgent guitars and stabs of keyboards before horns blaze and strings dance. Here, the guitars have a real Chic sound. This is quite unlike previous albums, but works well. The choppy sensual vocals are needy and filled with emotion. The vocals are swept away atop the lushest of strings that quiver and shimmer. By now, the arrangement is combining elements of soul, funk, disco and Euro Disco. However, the Euro Disco influence is much stronger than on earlier albums. It’s really apparent in the strings, harmonies and thunderous drums. in many ways that brings out the emotion and sense of neediness in the lyrics, on what is one of the highlights of The Monster Strikes Again.
Side Two of The Monster Strikes Again opens with When It’s Right For Love. There’s a slight moody, dramatic sound as the arrangement begins reveals its secrets. You can hear this from the entrance of the rhythm section, chiming guitar and swathes of lush strings. When the harmonies enter, they’re veer between tender and impassioned to tight and urgent. One thing never changes, their soulfulness. They’re a perfect foil to the arrangement that takes as its reference points disco and Euro disco. Gradually the drama builds and builds, with horns growling, strings dancing, rocky guitars screaming and Larry Washington adding his trademark percussion. Like the other tracks, producer John Davis brings everything together seamlessly. The arrangement reaches a dramatic crescendo, one that’s melodic, soulful and dance-floor friendly. In short, it’s another classic slice of disco courtesy of John Davis and The Monster Orchestra.
Straight away, you realize Holler has a harder, funkier sound. This is very different to previous tracks. Key to this are the keyboards and rhythm section that drive the arrangement along. The soulful, cascading harmonies and braying horns provide a contrast. They’re the perfect foil to this tougher, funkier sound. Later, the arrangement heads in the direction of Euro Disco, which has been one of the themes of The Monster Strikes Again. Having said that, this was the direction disco was heading by 1979. Many producers had been influenced by the popularity of Euro Disco. Here, John Davis and The Monster Orchestra seamlessly switch from their trademark disco sound to incorporate this harder, funkier sound. In doing so, they demonstrate their versatility as musicians.
Closing The Monster Strikes Again is Love Magic, which sees John Davis and The Monster Orchestra determined to end their fourth album on a high. Chiming guitars and thunderous drums combine before percussion, an uber funky bass and swathes of cascading strings combine. When the harmonies enter, they’re choppy and urgent, and accompanied by dancing strings. Again, there’s a Euro Disco influence to parts of the arrangement, especially the drums, strings and harmonies. Apart from Euro Disco, funk and jazz have influenced other parts of the arrangement. The bass has been influenced by funk, while the keyboards have been influenced by jazz. Mostly, the arrangement has been influenced by Euro Disco, and it’s in that direction it heads. Nearly eight minutes it arrives at its destination, closing The Monster Strikes Again on a dance-floor friendly, funky high.
After just four albums, The Monster Strikes Again brought John Davis and The Monster Orchestra’s career to a close. Granted they released one more 12” single, Hanging Out in 1981, but The Monster Strikes Again was their final album. At least The Monster Strikes Again ended their career with a commercially successful album. Not only that, but The Monster Strikes Again featured two hit singles Love Magic and Bourgie Bourgie. This meant a return to the commercial success and critical acclaim that John Davis and The Monster Orchestra enjoyed earlier in their career. However, by then, their music had changed.
Indeed, what’s noticeable about The Monster Strikes Again is the shift towards Euro Disco. This was a common occurrence among disco producers. Whereas previously American disco producers stuck to the classic American disco sound, they started to move towards the sound favored by European producers. This sound had proved commercially successful for Boris Midney and Giorgio Moroder. While this changed of sound might have prolonged the career of many disco producers, nothing could save disco from what happened on 12th July 1979, Disco Demolition Night.
Disco Demolition Night was the day that the Disco Sucks movement almost destroyed disco. After Disco, disco artists, records and labels were hugely unpopular. So it’s no surprise that John Davis and The Monster Orchestra didn’t release any more albums. Instead they released just four albums of almost flawless disco. The Monster Strikes Again, with its fusion of disco, Euro Disco, funk and Philly Soul, brought John Davis and The Monster Orchestra’s career to a close, with one of their finest albums of their career. Standout Tracks: Bourgie Bourgie That’s What I Get, When It’s Right For Love and Love Magic.
JOHN DAVIS AND THE MONSTER ORCHESTRA-THE MONSTER STRIKES AGAIN.
DISCO RECHARGE-THP ORCHESTRA-EARLY RISER AND TOO HOT FOR LOVE.
DISCO RECHARGE-THP ORCHESTRA-EARLY RISER AND TOO HOT FOR LOVE.
One of the phenomenons of the disco era was the disco orchestra. Following the success of The Salsoul Orchestra, other record companies decided they too, wanted their own disco orchestra. Soon, disco orchestras were springing up throughout America. It seemed no American city was immune from the phenomena of the disco orchestra. Neither was Canada.
In Toronto, Ian Guenther and Willi Morrison founded the THP Orchestra, which was influenced by the Euro Disco sound. Between 1976 and 1979, the Toronto based THP Orchestra released four albums. The THP Orchestra’s 1976 debut album was Early Riser, with Too Hot For Love following in 1977. After that, 1978s Tender Is The Night and 1979s Good Too Me followed.
SSince their release, neither Early Riser nor Too Hot For Love have been released on CD. Thankfully, that will soon be rectified. On 15th April 2013, Disco Recharge will rerelease Early Riser and Too Hot For Love as a double album, complete with bonus tracks aplenty. For fans of the disco orchestra, Disco Recharge-THP Orchestra-Early Riser and Too Hot For Love is a very welcome rerelease, which I’ll tell you about.
EARLY RISER.
Although Willi Morrison was born and brought up in Glasgow, Scotland his desire to enjoy a career in the music industry saw him head to Toronto, Canada. Once settled in Toronto, he worked as pizza deliveryman, salesman and then pop journalist. Then he landed a job with a company that published music for EMI. It was during this time when Willi first met Ian Guenther, a classically trained violinist. This was the start of a fruitful musical partnership that would flourish during the disco era.
It was in early 1976 that the THP Orchestra would make its recording debut. Willi Morrison was called into a meeting by the president RCA Records, who Willi and Ian had a production deal with. Until then, RCA had distributed the commercially successful ABC-Dunhill label in Canada. However, this contract was about to expire. The only problem was that one of ABC-Dunhill’s tracks was one of the biggest hits on the chart. This was Rhythm Heritage’s Theme From SWAT. With the contract just about to expire, RCA were about to lose out on the financial success of a hit single. So, the company president wanted Willi and Ian to record a cover version. There was a problem though, the cover had to be completed in a weekend.
Between the Friday, when the meeting took place and the Monday, when the single was sent to the pressing plant, musicians had to be found, they’d to learn the track and the B-side, it had to be recorded, mixed and mastered. Somehow, Willi and Ian managed it. Within a week the THP Orchestra’s debut single Theme From SWAT was released. Delighted with the success, RCA Victor wanted an album to cash in on the success of the Theme From SWAT. This album would become Early Riser, which was one of the first ever Canadian Disco albums.
Early Riser was a combination of cover versions of familiar songs and new material. The cover versions included the bubblegum pop of The Archies’ Sugar, Sugar, The Shadow Of Your Smile and Sleepwalk, which gave Santo and Johnny Farina a hit in 1959. Then there were tracks from film soundtracks. This included Manha De Carnival, the the principal theme to the art-house movie Black Orpheus and More the title-theme to the 1962 Italian documentary Mondo Cane. Together with Eric Robertson’s Crazy and the Willi Morrison penned Easy Riser and Crazy, Crazy, this became THP Orchestra’s debut album Early Riser.
Recording of Early Riser took place at Toronto’s Phase One Studios. The THP Orchestra included bassist Paul Zaza, drummer Barry Keane and guitarists Bob Mann, Brian Russell and Terry Bush. Eric Robertson played keyboards, Bob Lucier steel guitar, Brian Leonard, Dan Reddick and Dave Brown percussion and Matt McCauley synths. The horn section included saxophonists Gary Morgan, Jack Zaza and Roy Smith, trombonists Russ Little and Ted Rodderman and trumpeters Russ Little and Arnie Chycoski. Billy Bumpp and Debbie Discoe took charge of the vocals for Early Riser, which was released later in 1976.
When the THP Orchestra released Early Riser, it was only released in Canada. There was no release of Early Riser in the US or UK, which in retrospect, you’d think was a missed opportunity, given disco was at the height of its success. However, that would prove to fortuitous given what was about to happen to the THP Orchestra.
Sadly, Early Riser didn’t match the commercial success of the Theme From SWAT. At least the singles proved popular. It wasn’t just in Canadian clubs the singles were popular. Further afield, DJs picked up on singles like Early Riser, Manha De Carnival and the non-album track Fightin’ On The Side Of Love, which featured vocalist Wayne St. John. Despite this, commercial success eluded the THP Orchestra.
Listening back to Early Riser, there’s a real Euro Disco influence running through the album. To that Euro Disco influence, you can add elements of classic US disco, funk and soul. Theme From S.W.A.T incorporates elements of dramatic funk and disco. Blazing horns join lush dancing strings as the funky rhythm section drive the arrangement along.
More is a much more urgent and soulful slice of disco, while there’s an almost experimental and sensual side to The Archies’ Sugar Sugar. It benefits from the disco makeover. Here, the THP Orchestra transformed the track into something that’s much more meaty and meaningful than the original. This is something that a disco orchestra in full flight are capable of.
Dawn Patrol has an exotic, mysterious sound as it begins to reveal its secrets. Layers of instruments play their part in this track, as a complex fusion of funk, jazz, disco and Latin music unfolds at breakneck speed. It’s very different to anything else on Early Riser. Having said that, it’s an innovative, genre-sprawling track.
The best way to describe Early Riser is a dramatic, funky slice of disco. There’s everything you could want in a great disco track. Whether it’s dancing strings, growling horns or a funk-laden rhythm section, the THP Orchestra have all that and much more. Crazy, Crazy picks up where Early Riser finished, and takes things further. The result is an uplifting, joyous and hook-laden slice of funky disco.
Thanks to the THP Orchestra, Shadow Of Your Smile takes on a moody, cinematic sound. Then all of a sudden, it bursts into life and a hustle sound unfolds. This is reminiscent of what you’d expect of The Salsoul Orchestra in their pomp. The THP Orchestra then repeat their magic on Manha De Carnival. It follows a similar template to Shadow Of Your Smile. It begins moodily and mysteriously, before taking on a hustle sound. Then swathes of lush strings and growling horns are introduced as the rhythm section drive the arrangement along, mixing elements of soul, funk and disco. This is a compelling combination, which sees a classic track transformed, and into something quite beautiful and melancholy.
Closing Early Riser is Sleepwalk, which has a real vintage sound. Bathed in steel guitar, with a slow, pensive rhythm section and piano providing the backdrop, it’s like being transported to another musical age. Even the strings and horns sound like they’re from a track from the late-fifties or early-sixties. Quite simply, it’s a miraculous transformation, which is timeless, enchanting and breathtakingly beautiful.
Listening to the THP Orchestra’s debut album Early Riser, it’s a compelling and captivating combination of cover versions and new material. With the cover versions, new life and meaning is breathed into them, transforming them into something the writer never imagined or envisaged. To do this, the THP Orchestra combine everything from Euro Disco, disco, funk, soul, jazz and Latin music. For several tracks, including Theme From SWAT, Early Riser and Crazy, Crazy funk and disco seamlessly become one. Then on Shadow Of Your Smile and Manha De Carnival, both tracks veer between moody and cinematic to pulsating, funky disco. Sleepwalk which closes Early Riser is like returning to an earlier musical era and as a result, has a totally timeless sound. Throughout Early Riser, there’s neither any filler nor faux pas. Instead, it’s just quality music all the way, from the creative partnership of Ian Guenther and Willi Morrison, who were responsible for Early Riser, Canada’s first ever disco album. As an added bonus, Disc One of Early Riser features eight bonus tracks. This includes 7” version of Theme From SWAT and Manha De Carnival. Then there’s 7” and 12” version of Early Riser and 7” 12” and instrumental versions of Fightin’ On The Side Of Love.
Sadly, Early Riser it didn’t match the commercial success of the single Theme From SWAT. However, despite this, commercial success wasn’t far away for the THP Orchestra. Indeed, once the dust had settled on Early Riser, the THP Orchestra set about recording their next single..Too Hot For Love.
TOO HOT FOR LOVE.
For the THP Orchestra’s next single, Ian Guenther and Willi Morrison were asked by Alfonso Juan Cervantes of Los Angeles-based Butterfly Records to record something specifically for the US Disco market. They got to work, and came up with fifteen minutes of sheer sensuality, entitled Too Hot For Love. Filled with moans and groans aplenty, and set against a Euro Disco backdrop, Too Hot For Love was a five-piece suite reminiscent of Donna Summer’s Love To Love. The five parts included Four-Play, Excitement Part 1, Excitement Part 2, Climax and Resolution. Too Hot For Love gave Alfonso Juan Cervantes the massive American club hit he wanted. Then with Too Hot For Love having given Alfonso the hit he wanted, he decided he wanted a new THP Orchestra album in the shops within 24 hours. That was doable though.
The reason it was possible to get the THP Orchestra’s new album in shops within 24 hours was due to the limited release of Early Riser. It had been only released in Canada. So the five-part suite Too Hot For Love became Side One of Too Hot For Love. Side Two of Too Hot For Love featured four tracks from Early Riser. They were Early Riser, Manha De Carnival, Dawn Patrol and Crazy Crazy. Essentially, the THP Orchestra’s new album Too Hot For Love was only half a new album, so Alfonso Juan Cervantes of Butterfly Records was able to have the new THP Orchestra in the shops within 24 hours. However, would it prove the huge hit he’d hoped?
On the release of Too Hot For Love in 1977, the THP Orchestra’s sophomore album gave Alfonso and Butterfly Records the hit he’d hoped for. Too Hot For Love reached number sixty-five in the US Billboard 200 and number fifty-seven in the US R&B Charts. Black Orpheus (Manha De Carnival) and the fifteen-minute Magnus Opus Too Hot For Love were released as singles. They gave the THP Orchestra club hits and made them a household name throughout America.
In many ways, it was fortunate that Early Riser hadn’t been released anywhere else apart from Canada. That meant that when the single Too Hot For Love became a huge commercial success, that the THP Orchestra could quickly release an album to cash-in on its popularity. What was their sophomore album Too Hot For Love, was in reality culled from Early Riser. So, within 24 hours Too Hot For Love was released and gave the THP Orchestra and Alfonso Juan Cervantes of Butterfly Records the hit album the all had been hoping for.
Now, the THP Orchestra were on their way to becoming one of the most successful disco orchestras of the disco era. Granted they weren’t going to surpass the commercial success and critical acclaim of The Salsoul Orchestra. They were by far the most successful disco orchestra of the disco era. However, the THP Orchestra were now chasing them down, providing some sort of opposition. Over the next few years, the number of disco orchestras would grow, including John Davis and The Monster Orchestra and The Charlie Capello Orchestra. Like The Salsoul Orchestra, the THP Orchestra were capable of producing innovative, groundbreaking music. Too Hot For Love, the THP Orchestra’s sophomore album, just like its predecessor Early Riser, was full of innovative, timeless music. This timeless and innovative music was a fusion of Euro Disco, disco, funk, soul, jazz and Latin music.
Since the THP Orchestra released Early Riser and Too Hot For Love, they’ve never been rereleased. Thankfully, that’s about to be rectified. On 15th April 2013, Disco Recharge-THP Orchestra-Early Riser and Too Hot For Love will be rereleased by Harmless Records’ Disco Recharge imprint. Disco Recharge-THP Orchestra-Early Riser and Too Hot For Love is a very welcome rerelease of some hugely innovative, groundbreaking and timeless music. Standout Tracks: Manha De Carnival, Shadow Of Your Smile, Sleepwalk and Too Hot For Love.
DISCO RECHARGE-THP ORCHESTRA-EARLY RISER AND TOO HOT FOR LOVE.
DISCO RECHARGE-BORIS MIDNEY-COMPANION AND DOUBLE DISCOVERY.
DISCO RECHARGE-BORIS MIDNEY-COMPANION AND DOUBLE DISCOVERY.
Looking back at the collateral damage caused by the events of Disco Demolition Night at Comiskey Park, Chicago on 12th July 1979, it’s hard to believe the effect the Disco Sucks movement had on disco. Record labels like T.K. Records folded, artists were dropped by labels and radio stations stopped playing disco music. Suddenly disco, which previously had been the most popular musical genre of the seventies was a musical pariah. No longer were record labels, record buyers or radio stations interested in disco. The anti-disco backlash that began earlier in 1979 came to a head that summer night in Chi-Town. Music was the loser in all of this. Whether you were an artist, session musician, DJ, songwriter or producer disco’s demise affected you.
For many people, disco’s demise was all about surviving the upheaval. For one of disco’s most innovative, influential and successful producers Boris Midney, he’d managed to survive the fall out until 1981. Then when his new album Companion was completed, it wasn’t released in his adoptive home country of America. Instead, Companion was only released on the French Barclay record label. Since then, Companion has been one of the rarest albums of Boris Midney’s career. Thankfully, Disco Recharge are rereleasing Companion and 1982s Double Discovery on 15th April 2013. Considering Companion is one of Boris Midney rarest albums, this is a welcome rerelease. Indeed, Companion and Double Discovery comprise the fourth of five rereleases of Boris Midney’s albums by Disco Recharge, which I’ll now tell you about.
COMPANION.
For Companion, Boris Midney wrote the five tracks on the album. These are This Is A Test, Living Up To Love, Step On Out, There’s A Way and I Feel Delight. Recording of Companion took place at Boris hand-built Eras Recording Studio in New York. This was the third studio Boris had designed and built. Eras was designed to achieve perfection when it came to sound. Boris had an idea of what music should sound like, and at Eras, could make this dream a reality, albeit with the help of some of the best session musicians of the time.
Recording of Companion got underway at Boris Midney’s legendary 48 track recording studio Eras, in New York. Boris had built the studio from scratch, to his own specification. He was accompanied by bassist Francisco Centeno and guitarists Brad Johnson, Bob Feldman and Ray Volpe. Johnny Santana played cowbell and percussion, Jerry Brown cymbal, Reinhardt Elster harp, while strings came courtesy of Bob DePasquale’s String Sections. Providing the horns were trombonist Harry De Augiar, trumpeters Marc Gollehon and Ray Maldonado and on saxophone, Boris Midney. Kevin Owens and Charmain delivered the vocals on Companion. Once Companion was completed, it was released in 1981, but not in America, where disco was no longer popular.
When Companion was released in 1981, it was only released on the French Barclay record label. Companion wasn’t a commercial success. Neither were the two singles Living Up To Love nor Step On It. However, Companion was a bold and innovative album from Boris Midney which marked the next chapter in his musical career.
Opening Companion is This Is A Test. Straight away, you hear an ominous, almost menacing warning sound. It’s Boris signaling that he’s taking you on another musical journey, one which is very different to anything that’s preceded it. Hissing hi-hats, pounding, thunderous drums, chiming guitars and growling horns join sci-fi sounds and dancing strings. They’re joined by urgent harmonies, which veer between sweet, ethereal and fragile, to needy and sensuous. Then there’s Johnny Santana’s percussion, which is central to the arrangement. From there, the arrangement is stop-start, building up and adding to the drama. Cooing harmonies provide a counterpoint to the drama of arrangement. It takes as its reference points disco, funk and Euro Disco. The result is a compelling and captivating track, as Boris Midney proves that there was life after disco.
Moody, broody and elegant describe Living Up To Love as it teases you with its secrets and subtleties. Cinematic strings, hissing-hats and dark synths are contrasted by flourishes of harp. Soon, it’s heading in the direction of sensual and urgent, as we hear two different sides to the one song. This is no ordinary song. Not at all. It’s a nine minute epic. Stabs of keyboards, breathy, whispery vocals and thunderous drums join quivering strings and a dramatic ethereal vocal. Sometimes, the tracks heads in the direction of experimental, as Boris continues to reinvent his post-disco sound. Progressive, bold and innovative describes this melodic and dramatic music, which like so much of Boris Midney’s music, is a fusion of influences and genres.
as Step On Out bursts into life, it reveals a variety of different influences. There’s Chic-style guitars, eighties synths, a funky rhythm section and strings and horns that are reminiscent of many a seventies disco album. Charmaine’s vocal veers between Euro Disco and Euro Pop. Her vocal combines drama, emotion and sadness at the loss she foresees. Meanwhile, strings dance, horns growl and the rhythm section and synths add a dance-floor friendly, funky sound that’s truly irresistible.
Of the five tracks on Companion, There’s A Way is easily the best. From the open bars you realize that. Here the arrangement and sensual vocal unite seamlessly to create a timeless Boris Midney classic. The arrangement and vocal become one. Indeed, they take turns to impress you. One minute, Charmaine’s needy vocal casts its spell over you. The next the choppy, urgent arrangement has you spellbound. This means a pounding, funky rhythm section, swathes of dancing strings and sultry horns join percussion, harp and choppy guitars. Whether together or separately, they play their part in a classy, sensual slice of Euro Disco, which thanks to Boris Midney, is laden in hooks.
Closing Companion is I Feel Delight, a track which gradually reveals its myriad of secrets. It’s as if everything on Companion has been building towards this track. Stabs of synths, hissing-hi-hats, quivering strings and percussion are joined by urgent, Euro Disco harmonies. Rocky guitars, cowbells and a pounding rhythm section are enveloped by ethereal, cascading harmonies. Charmaine gets the opportunity to unleash one of her best vocals on Companion. Her vocal soars high and elegantly above the Euro Disco arrangement, as Companion ends on an ethereal high.
In many ways, Companion was just like previous Boris Midney albums. It was innovative, progressive fusion of musical genres and influences. It built on Evita and The Empire Strikes Back, moving Boris’ music in a new direction. Disco was the past, so Boris had to focus on his musical future. To do this, Boris combined musical genres and influences. Elements of disco, Euro Disco, Philly Soul, classical music, funk and jazz were just a few of the influences he uses on Companion. One way Boris changes his musical identity on Companion, is by changing the tempo. Sometimes, he slows the tempo way down, other times he speeds it up. This adds to the drama and has you spellbound. It’s as if Boris Midney is teasing you, toying with you. With a crack band of session musicians and vocalists, Boris Midney proves that for him, there was life after disco. Companion marked the next chapter in Boris Midney’s career. He wasn’t going to become one of the Disco Sucks movement’s victims. Not at all. He still had so much more to offer music. It’s just a pity that a wider audience didn’t get the opportunity to discover the delights of Companion. Along with the 12” versions of Living Up To Love nor Step On It, plus the Rhythm Track to Step On It, now a much wider audience have the opportunity to discover Companion, Boris Midney’s first post disco album, which was one of the finest moments of his career.
ONE OFF PROJECTS.
Disc Two of this installment of the Disco Recharge series is entitled One Off Projects. It features three of Boris Midney’s projects .from 1982. The first three tracks are from his collaboration with Double Discovery. This was a collaboration with producer Jim Burgess, that lead to one album Double Discovery, which was released in 1982. Double Discovery fused funk, electronica, soul and disco. The three tracks that feature on Disc Two are Can He Find Another One? (East SIde), Can He Find Another One? (West SIde) and Can He Find Another One? (Instrumental West). Many of the same personnel that played on Companion feature on Double Discovery, including percussionist Johnny Santana, guitarist Bob Feldman, bassist Francisco Centeno and Bob DePasquale’s String Sections. Along with the vocal prowess of Double Discovery these three tracks are a tantalizing taster of what is a true hidden gem of an album from the post-disco era.
The second project that features on Disc Two, One Off Projects is Boris Midney’s D-D-D Dance, which was an E.P. Boris released in 1982 on the M.I. label. There are five versions of D-D-D Dance on Disc Two, while the original 12” single only featured four tracks. The original 12” version featured Vocal, Beats, Instrumental and Beats 2, while the Vocal, Beats, Instrumental, Beats 2 and Alternative Mix feature on Disc Two. For Boris Midney completists, this will make Disco Recharge-Boris Midney-Companion and Double Discovery a must-have, for this one track alone. Not only that, but this is a fascinating and compelling concept, which reinforces Boris Midney’s reputation as a true musical innovator.
Thanks For Loving Me is the third Boris Midney project from 1982 to feature on Disc Two of Disco Recharge-Boris Midney-Companion and Double Discovery. It’s a nine-minute Magnus Opus which encompasses everything that’s good about Boris Midney’s music. During these nine-minutes, you realize that when it comes to dance music, Boris Midney was a pioneer and innovator, who was never content to stand still. Instead, he was determined that his music would evolve and constantly reinvent itself.
Just like the three previous installments in the Disco Recharge series dedicated to the music of Boris Midney, Disco Recharge-Boris Midney-Companion and Double Discovery, which will be released by Disco Recharge on 15th April 2013, demonstrates that Boris Midney is worthy of the description visionary, innovator and pioneer. He was always striving to move his music forward. Music he believed should be constantly evolving. You had to keep moving forward or you were really standing still. As a musician and producer, Boris believed he had to challenge not just himself, but musical norms. After all, what was fashionable this year, could be unfashionable next year, if not sooner. So, it was all about reinventing his music and staying ahead of his competitors. To do this, Boris fused musical genres and influences. Everything from Euro Disco, disco, funk, soul, classical, Latin and rock influences his post-disco music. These influences were added to Boris Midney’s musical melting pot, and resulted in the next chapter of Boris Midney’s post-disco career. This proved that for Boris Midney there was life after disco. Not every disco artist or producer was as fortunate. Mind you, they weren’t blessed with the talent and determination of Boris Midney. Quite simply, Boris Midney was one of the founding fathers of Euro Disco and one of the most innovative and influential producers of the disco era, as the music on Disco Recharge-Boris Midney-Companion and Double Discovery demonstrates. Standout Tracks: Step On Out, There’s A Way, Can He Find Another One? (West SIde) and Thanks For Loving Me.
DISCO RECHARGE-BORIS MIDNEY-COMPANION AND DOUBLE DISCOVERY.
PROG ROCKS!
PROG ROCKS!
Although many musical genres divide opinion, some musical genres that tend to divide opinion way more than others. Everyone can think of their own example, but for me, three immediately spring to mind. These are disco, punk and prog rock. Of these three musical genres, when it comes to opinions, not many people tend to occupy the middle ground. You’re either for or against each of these musical genres. Prog rock, however, tends to divide the opinion the most. Even forty years after the genre’s birth, the merits or otherwise of prog rock are still debated. For prog rock’s accusers, they perceive the music as overblown, overindulgent and pompous. To them, prog rock is a musical genre that belongs in firmly in the past. That however, only tells one side of the story.
Proponents of prog rock point to a musical genre that’s inventive, innovative and complex. Influenced by art rock, jazz and classical music, prog rock drew inspiration from a many other influences.It eschews traditional time signatures, song structures, rhythms, instruments and influences. In many ways, prog rock was an innovative genre, one that railed against the blues’ influence in rock music. Groups like Pink Floyd, Soft Machine, Jethro Tull, Emerson, Lake and Palmer, Genesis, Yes and Gong were among prog rock’s pioneers. They lead the way, and now, four decades later, new generations of prog rock groups are following in their footsteps, during the latest resurgence in prog rock’s popularity. To mark this resurgence in prog rock’s popularity, a new five-disc compilation Prog Rocks has recently been released by EMI.
Each of the five discs that compromise Prog Rocks! celebrate five of the genre’s most important and influential labels. This includes Harvest, Charisma, Virgin and Liberty and United Artists. On the fifth disc, Inside Out Music, one of the labels promoting a new generation of prog rock bands is celebrated. Much of the music on Disc Five is from the last few years, and demonstrates that there’s no shortage of new and quality prog rock. Talking of quality, there’s no shortage of quality on Prog Rocks! There’s contributions from Deep Purple, Syd Barrett, Barclay James Harvest, The Nice, Van Der Graaf Generator, Steve Hackett, Gong, Faust and The Bonzo Dog Band. In total, there are seventy-two tracks over the five discs on Prog Rocks! which I’ll now tell you about.
DISC ONE-HARVEST.
Disc One of Prog Rocks! celebrates the Harvest label, which was setup by Malcolm Jones and Norman Smith, who produced Pink Floyd’s psychedelic debut album Piper At The Gates Of Dawn. Harvest was setup to compete with labels like Decca and Vertigo, which had two of the best rosters of progressive bands. Eventually, Harvest would’ve an unenviable roster of artists. Having said that, prog rock purists may dispute some of the artists on Disc One’s prog rock credentials. Among Harvest’s roster were Deep Purple, Kevin Ayers, Syd Barrett, Electric Light Orchestra, The Move, Babe Ruth, Barclay James Harvest and Be-Bop Deluxe. As I said, some of these artists don’t seem to fit comfortably into the prog rock category. However, there’s no disputing the quality of music on Disc One.
Among the highlights of the seventeen tracks from the Harvest label, are Deep Purple’s The Bird Has Flown, from their 1969 third album Deep Purple. To me, Deep Purple were always more of a heavy metal or hard rock band. Then there’s Kevin Ayers The Lady Rachel, from his 1969 debut album Joy Of A Toy and Syd Barrett’s Baby Lemonade, from his 1970 sophomore album Barrett. There are two bands on Disc One that feature Jeff Lynn in their lineup. The first is Electric Light Orchestra, whose Queen Of The Hours was taken from their 1971 album Electric Light Orchestra. Jeff Lynn penned that track and wrote The Move’s The Words Of Aaron, which is from their final studio album, 1971s Message From The Country. My final selection from Disc One is Babe Ruth’s The Mexican, which is a track from their 1972 album First Base.
While you can’t fault much of the music on Disc One, my only criticism is whether each of the seventeen tracks can be categorized as prog rock. I certainly wouldn’t refer to Deep Purple as a prog rock band. They’re more heavy rock. Similarly, Syd Barrett and Kevin Ayers I’d describe as psychedelic singers. Other people, I’m sure will dispute this. Despite this, Disc One is crammed full of quality music. The seventeen tracks are a combination of some of the biggest names on prog rock, rock and psychedelia of the late sixties and early seventies. As an added bonus, some lesser known are added, resulting in in an intriguing collection of some of the highlights of Harvest’s illustrious back-catalogue.
DISC TWO-CHARISMA.
On Disc Two of Prog Rocks, there are sixteen tracks which were released on the Charisma label. This includes contributions from The Nice, Lindisfarne, Jackson Heights, Van Der Graaf Generator, Peter Hammill and Steve Hackett. Unlike Disc One, there aren’t as many familiar faces on Disc Two. Having said that, given some of the artists I’ve mentioned, there’s no shortage in quality prog rock.
The Nice were one of the most innovative of the British prog rock bands. SInce their early days, they’d been experimenting musically, marrying fusion, classical music and art rock. Country Pie was a track from their 1970 album Five Bridges and features the considerable talents of keyboardist Keith Emerson. Jackson Heights released four albums on Charisma between 1970 and 1973. Doubting Thomas was a track from their 1970 debut album King Progress.
Describing Lindisfarne as a prog rock band is something that I’m not comfortable with. I’d describe their music as folk rock. January Song, which was written by Alan Hull, was a track from their 1971 sophomore album Fog On The Tyne, which was one of their finest albums.
Not only was Peter Hammill a cofounder of Van Der Graaf Generator, but enjoyed a prolific solo career. Red Shift is a track from Peter’s 1973 album The Silent Corner and The Empty Stage. While this provides an introduction to his solo career, Theme One, which was written by George Martin, was the title-track of Van Der Graaf Generator’s 1972 album. They were one of British prog rock’s most innovative and influential bands. Just like Peter Hammill Steve Hackett has enjoyed a career as part of a successful band and then as a successful solo career. He released eight albums with Genesis, then in 1977, decided to concentrate on his solo career. Whilst he was still a member of Genesis, he released his debut solo album Voyage Of The Acolyte in 1975, which featured Hands Of The Priestess (Part 1).
While many people won’t have heard of the majority of artists on Disc Two, one thing is unarguable, the quality of music. It’s as if the compilers have dug deep to find the best tracks possible, their mission being to change people’s perception of prog rock. To do this, they’ve come up with sixteen tracks where familiar faces and hidden gems sit site by side. Granted there are still a few tracks that I wouldn’t refer to as strictly prog rock, but that’s just a minor point. What matters is the quality of the music, which is peerless.
DISC THREE-VIRGIN RECORDS.
During the seventies, Virgin Records had an unenviable roster of prog rock artist. This included Gong, Faust, Kevin Coyne, Henry Cow, Egg, Tangerine Dream and Steve Hillage. On Disc Three, there are fifteen tracks from Virgin Records’ back-catalogue. These fifteen tracks epitomize the finest prog rock of the early to mid seventies.
Gong were formed in 1969, and by 1973, had released four albums. Their fourth album was Flying Teapot (Radio Gnome Invisible Part 1), which featured The Pothead Pixes. This was their Virgin debut and the first of five studio albums they’d release for Richard Branson’s Virgin Records.
German band Faust were another of Virgin Records’ biggest acts. Just A Second Starts Like That! was a track from their fourth album Faust IV, which was their second release for Virgin. It would prove to be their final album for Virgin.
My favorite track from Disc Three is Kevin Coyne’s Marlene. Not only was Kevin Coyne one of the most enigmatic artists of his generation, but he was hugely underrated. Marlene is a track from his 1973 album Marjory Razorblade was a career defining track, that sends shivers of emotion down your spine, thanks to Kevin’s otherworldly vocal. While he might not be a prog rock artist, Kevin Coyne was one of the most talented British artists of the past forty years.
Egg only released a trio of albums between 1970 and 1974. They kept their best album to last. This was 1974s The Civil Surface, which featured Wring Out The Ground (Loosely Now). Sadly, Egg should’ve enjoyed a longer and more successful career, given their abundance of talent.
By 1976, Tangerine Dream were one of prog rock’s elder statesmen. Their 1976 album Stratosfear, was their eighth album. It featured the title-track Stratosfear, which demonstrates just why Tangerine Dream were one of prog rock’s most successful bands. After Stratosfear, Tangerine Dream’s recording career would continue for another three decades, during which time they carried the torch for prog rock.
Earlier I said that Virgin Records had an unenviable roster of artists during the early to mid sixties. That’s no exaggeration. Their roster was comparable to Harvest’s during the late-sixties and early seventies. With Gong, Faust, Kevin Coyne, Henry Cow, Egg, Tangerine Dream and Steve Hillage no one would rival Virgin’s supremacy when it came to prog rock. Many of these artists have left behind some of the richest musical legacies of the prog rock era.
DISC FOUR-LIBERTY AND UNITED ARTISTS.
The fourth disc in the Prog Rocks! box set contains music released on the Liberty and United Artists labels. So, this includes Bonzo Dog Band, Idle Race, Hawkwind, Groundhogs, Brinsley Scharz and Flaming Groovies, Again, this is best described as an eclectic selection of artists. However, some of the artists don’t quite fit into the prog rock category, as you’ll realize.
There are many ways of categorizing the music of the Bonzo Dog Band, but whether prog rock would be one of them, is debatable. Their music has been influenced by art school rock, psychedelia, avant garde and music hall, but maybe not prog rock. Mr Apollo was the title-track from their 1969 album and was penned by Neil Innes and Vivian Stanshall. A similar argument could be made of Jeff Lynne’s Idle Race. They were more of a psychedelic group than prog rock. They released three albums between 1968 and 1971. Their second album was Idle Race, released in 1969 and which featured Come With Me.
Unlike the two previous groups, there’s no denying Hawkwind’s prog rock credentials. Master Of The Universe is a track from their 1970 sophomore album X In Search Of Space. Written by Dave Brock and Nik Turner, this epitomised the early Hawkwind sound, a sound that’s proved popular over several decades.
You wouldn’t expect a track that Nick Lowe cowrote to feature on a box set of prog rock music. There is though. It’s Brinsley Scharz’s Happy Doing What We’re Doing. He cowrote it with Robert Andrews, and it featured on their 1972 album Nervous On The Road. Quite simply, regardless of whether this is prog rock or not, it’s the best track on Disc Four or Prog Rocks.
The Flaming Groovies were a San Francisco band whose career had started in the sixties and lasted into the nineties. In 1976, they’d signed to Sire, where they’d released the first of two albums. This was their fifth album Shake Some Action, which featured the title-track. Shake Some Action is seen as the finest album of their career, and marked the next step in their career.
Eclectic is a good word to describe the music on Disc Four of Prog Rocks. There’s everything from the vaudevillian sound of Bonzo Dog Band, the space rock of Hawkwind, the pub rock of Brinsley Scharz and the garage rock of Flaming Groovies. Having said that, many of the fourteen tracks on Disc Four are prog rock through and through. Regardless of whether the fourteen tracks on Disc Four of Prog Rocks! are or aren’t strictly prog rock, none of the tracks disappoint and will change many people’s perception of prog rock.
DISC FIVE-INSIDE OUT.
While the four previous discs featured music from the seventies, the music on Disc Five of Prog Rocks! is much more recent. Indeed, the ten tracks on Disc Five range from 1994 right through until 2012. This includes Enchant’s Nighttime Sky, from their 1994 album A Blueprint For The World and Pain Of Salvation’s Undertow, from their 2002 album Remedy Lane. Among the other highlights are Beardfish’s Sunrise, from their 2007 album Sleeping In Traffic and It Bites’ The Last Escape from their 2011 album Map Of The Past. The most recent track is Arjen Anthony Lucassen’s Lost In The New Real, the title-track from his 2012 album. These ten tracks show that prog rock is a musical genre with a future ahead of it. It’s not content to stand still, and bask in its rich musical legacy. Instead, prog rock is a musical genre that’s constantly reinventing itself and looking to the future, rather than just the past.
Having spent some time immersed in the five discs that comprise Prog Rocks! I’ve come to the conclusion that it’s not just people who enjoy prog rock that’ll enjoy this box set. After all, not every track on Prog Rocks! can be categorised as prog rock. Indeed, many tracks could just as easily be categorized as rock, folk, psychedelia, garage or rock. However, I often think we spend too much time putting music into categories. That’s often an unhealthy obsession that gets in the way of what’s important, discovering new and old music. For many people, there’s so much great music awaiting discovery on Prog Rocks! Indeed, there are seventy-two tracks over five discs awaiting discovery on Prog Rocks!
What I do hope that Prog Rocks! does, is change people’s perception of prog rock. After all, prog rock far too often, gets a bad press. Sometimes, prog rock is the butt of cheap jibes and sarcastic comments. Hopefully once people have heard the music on Prog Rocks! they’ll change their opinion on prog rock. Maybe then they’ll realize that it’s an innovative and inventive musical genre, one that’s been Influenced by art rock, jazz and classical music. Prog rock drew inspiration from a many other influences. It eschews traditional time signatures, song structures, rhythms, instruments and influences. That’s what makes prog rock and the music on Prog Rocks! not just unique, innovative and groundbreaking, but captivating and intriguing. Standout Tracks: Kevin Ayers The Lady Rachel, Lindisfarne January Song, Kevin Coyne Marlene and Brinsley Scharz Happy Doing What We’re Doing.
PROG ROCKS!
GINA CAREY-MY SUNSHINE.
GINA CAREY-MY SUNSHINE.
Back on 31st January 2013, Gina Carey released the ninth album of her career. This was Gina Carey…The Songbird. To coincide with Gina Carey…The Songbird’s release, Hey Mr was released was the lead single. Now two months later, Gina Carey releases the second single from Gina Carey…The Songbird My Sunshine. My Sunshine is perfect for the long summer months ahead. Indeed, I’d describe it as a slice of musical sunshine, from California’s Queen of Nu Soul. While Gina Carey…The Songbird was critically acclaimed and commercially successful upon its release, attracting radio play in the US, UK and Europe, this bodes well for Gina’s new single My Sunshine.
My Sunshine. This is a fitting title, given it’s an uplifting, uptempo track where Nu-Soul, jazz, funk and dance music combine. As if determined to close Gina Carey…The Songbird on a real high, Gina unleashes a powerful, passionate and soulful vocal. Piano and the rhythm section join backing vocalists accompany Gina. Later, she unleashes a jazzy scat, demonstrating her talent and versatility, as only Gina Carey…The Songbird can.
Of the thirteen tracks from Gina Carey…The Songbird, My Sunshine was one the album’s real highlights. My Sunshine is one of the best singles Gina Carey has released during the past few years. It’s a slice of musical sunshine, designed to lift your spirits. With its sultry, feel-good sound, it’s impossible to resist the charms of My Sunshine. It showcases the talent and versatility of Gina Carey, at what is an important point in her career. With new management guiding her career, then Gina Carey…The Songbird this is the start of a new, exciting and successful chapter in the career of Gina Carey…The Songbird.
GINA CAREY-MY SUNSHINE.
J.J. CALE-CLASSIC ALBUM SELECTION.
J.J. CALE-CLASSIC ALBUM SELECTION.
One of the most underrated singer, songwriter and guitarists is J.J. Cale, whose career began back in the late fifties as Johnny Cale. However, it wasn’t until 1972 that J.J. Cale released his debut album Naturally. Naturally featured a track that would become synonymous with J.J. and would introduce his music to a much wider audience. This track was After Midnight, which Eric Clapton had covered in 1970. At the time Eric Clapton covered After Midnight, J.J. Cale was struggling to pay his bills working as a musician, so the royalties from After Midnight were like manna from heaven. Unknown to him, Eric had covered After Midnight. When it gave Eric one of the biggest hits of his career, J.J. Cale’s problems were suddenly solved. The royalties he received from After Midnight allowed J.J. Cale to pay his bills and somewhat belatedly, record his 1972 debut album Naturally. It’s one of five albums that feature in the recently released J.J. Cale-Classic Album Selection. Other albums include 1976s Troubadour, 1981s Shades, 1982s Grasshopper and 1983s Number 8. Are these five album sthe perfect introduction to one of the most enigmatic, languid and laid-back musicians of a generation… J.J. Cale? That’s what I’ll now tell you.
NATURALLY.
Following the success of Eric Clapton’s cover of After Midnight, J.J. Cale decided to use some of the royalties to record his debut album Naturally. It was released on Shelter Records and produced by Audie Ashworth. By that time, J.J. had been trying to make a living as a musician for fourteen years. He was a talented songwriter, who wrote eleven of the tracks on Naturally and cowrote Clyde with C.W. Beavers. Recording of Naturally took place in Nashville, with the musicians payed demo feels. This is quite fitting, as the drum machine that features on several tracks, including the classic Call Me The Breeze, gives the track a demo sound.
Two singles were released from Naturally. Crazy Mama gave J.J. the biggest hit of his career, reaching number twenty-two in the US Billboard 100. After Midnight then reached number forty-two in the US Billboard 100. When Naturally was released in 1972, it reached number fifty-one in the US Billboard 200. Featuring tracks like Call Me The Breeze, Don’t Go To Strangers, Crazy Mama and After Midnight J.J. Cale’s understated fusion of blues, boogie, Americana and J.J’s Tulsa sound proved immediately popular. Indeed, Naturally has since become seen as one of J.J. Cale’s classic albums. Why was that?
Well, the music on Naturally was understated, and crossed musical genres. J.J’s playing was very different from other guitar players, including Eric Clapton. They tended to me much more showy and impressive guitarists. However, J.J.’s playing were subtle and understated, leading to him gaining a reputation as a guitarist’s guitarist, whose debut album Naturally, was something of a classic.
NATURALLY.
TROUBADOUR.
When compiling a five-disc box set of any artist’s career, it makes sense to compile them in chronological order. Sadly, that isn’t the case with J.J. Cale-Classic Album Selection. From his 1972 debut album Naturally, we skip J.J’s 1973 sophomore album Really and 1974s Okie. So next stop is 1976s Troubadour. It was released on Shelter Records and produced by Audie Ashworth.
Troubadour was recorded on Nashville during 1976. J.J. wrote eleven of the twelve tracks. One of these tracks was Cocaine, which Eric Clapton covered on his 1977 album Slowhand, giving Eric another huge hit single. Along with tracks like Ride Me High, Travellin’ Light and Hold On, Troubadour was filled full of quality music.
On the release of Troubadour in 1976, it stalled at number eighty-four in the US Billboard 200. When Hey Baby was released as a single, it crept into the US Billboard 100 at number ninety-six. Despite Troubadour’s relative commercial failure, it remains one of J.J. Cale’s best albums of the mid to late seventies. The other three albums from J.J. Cale-Classic Album Selection are from the period between 1981 and 1983.
TROUBADOUR.
SHADES.
J.J. Cale’s sixth album was Shades, which was released on MCA Records in February 1981. It was released on Shelter Records and produced by Audie Ashworth. All the ten tracks on Shades were written by J.J. and recorded in Hollywood and Nashville. As was the musical fashion, the use of synths was creeping into the recording of albums by artists like J.J. Cale. Given his usual rootsy, bluesy sound this was something of a surprise. Some people would say, an unwelcome surprise. One thing stayed the same, J.J’s fusion of an eclectic selection of influences, including blues, Americana, rock, jazz and country. He was accompanied by a tight, talented band, who would try to help J.J. rejuvenate his career.
On the release of Shades, it was neither critically acclaimed nor commercially successful. Stalling at number 110 in the US Billboard 200, this proved a huge disappointment. So too was the critic’s reaction. They weren’t as enthusiastic as before. Usually, the critics were almost cheerleaders for J.J. Cale. Not this time. Although the band and J.J. got into a groove and remained there throughout Shades, the laid-back, languid sound of the album didn’t convince critics as to its merits. Their shortsighted approach meant tracks like Carry On, If You Leave Her and Cloudy Day didn’t receive the credit they deserved. If you revisit Shades, you’ll discover one of J.J. Cale’s most underrated albums of his six album career.
SHADES.
GRASSHOPPER.
Grasshopper marked the tenth anniversary of J.J. Cale’s debut album. SInce 1972s Naturally, success had been sporadic. His shuffling boogie sound won him friends among critics and record buyers. With record sales dwindling, he’d moved from Shelter Records to MCA for the release of Shades. It was his only release for MCA and was produced by Audie Ashworth.. Next stop was Mercury Records, where J.J. would release Grasshopper, an album that marked a change in style from J.J.
For Grasshopper, J.J. wrote eleven of the fourteen tracks and cowrote the other three tracks. Grasshopper has a more poppy sound as the opening track City Girls demonstrates. Having said that, Grasshopper doesn’t eschew the usual fusion of blues, country, Americana, boogie and rock. Still J.J. is usual languid and laid-back self, although the production has a sharper sound. Among the highlights are Devil In Disguise, Downtown L.A. and Can’t Live Here. Would Grasshopper replicate the success of J.J. Cale’s early albums.
When Grasshopper was released in 1982, neither critics nor record buyers took to the album. Critics were disappointed, and argued that despite a change in sound, J.J. Cale’s luck hadn’t changed. Worse still, was that Grasshopper only reached number 149 in the US Billboard 200. Sadly, Grasshopper didn’t mark a happy tenth anniversary for J.J. Cale’s recording career. Maybe the last album featured in J.J. Cale-Classic Album Selection, 1983s Number 8, will see a change in luck for J.J.?
GRASSHOPPER.
NUMBER 8.
Number 8 is the last album featured in J.J. Cale-Classic Album Selection. Released in 1983, eleven years after his debut album Naturally, J.J. Cale wasn’t going to radically change his way of working. His groove driven songs provided the backdrop for his complex and intricate guitar playing. The nearest he came to changing his sound, was the addition of female vocalist and sometime co-writer, Christine Lakeland. Christine and J.J. contributed the best tracks on Number 8, Money Talks and Losers. Many of the songs on Number 8 were laden with social comment, as if attempting to tap into America’s economic and social woes. For American people, J.J. would be their spokesman, with songs like Hard Times, Reality, Unemployment and Trouble In The City.
Sadly, Number 8 didn’t mark a change in fortune for J.J. Cale. Number 8 failed to chart. Critics didn’t enthuse about Number 8, and J.J’s music was seen as belonging in another musical era. Despite that, Number 8 remains something of a hidden gem in J.J. Cale’s back-catalogue. It seemed while music was constantly evolving, J.J. Cale’s music was almost standing still. While this appealed to long-term fans, it didn’t win him any new fans. That sadly, meant J.J’s career was at a crossroads.
NUMBER 8.
After seven albums that had charted, Number 8 marked the end of era for J.J. Cale. He was still one of the most underrated singer, songwriter and guitarists of his generation, and seen as the guitarists guitarist. However, his unwillingness to change his music meant he failed to attract the critical acclaim and commercial success his undeniable talent deserved. The five albums that comprise J.J. Cale-Classic Album Selection are proof, if any is needed of this. Quite simply, They’re also proof that the laid-back, languid and understated sound of J.J. Cale matches and often, surpasses many guitarists his era. During the five album in J.J. Cale-Classic Album Selection, J.J. demonstrates that he’s both one of the greatest and most underrated guitarists of a generation.
J.J. CALE-CLASSIC ALBUM SELECTION.
RODION G.A.-THE LOST TAPES.
RODION G.A.-THE LOST TAPES.
Rodion G.A’s The Lost Tapes is the most eagerly awaited albums of 2013. It’ll be released Strut Records on 27th May 2013. However, Rodion G.A. aren’t a new band. Quite the opposite. Instead, Rodion G.A. were formed by Rodion Rosca between 1975 and 1976. The ten tracks that comprise The Lost Tapes are experimental and innovative tracks which were recorded during the early eighties. Incredibly, this the first album Rodion G.A. have released during their long career, which stretches back to the seventies. Apart from two tracks released by the Romanian state-owned Electrecord label, no other material by Rodion G.A. has been released during the past four decades. That’s what makes this such an exciting project. Indeed, for those that haven’t heard of Rodion G.A, The Lost Tapes is an opportunity to discover one of music’s real innovators, which I’ll now tell you about.
Like so many other artists, the words enigmatic is the perfect way to describe Rodion Rosca. He was born in Romania and is half-Romanian and half-Hungarian. Rodion grew up in Romania during the open period between 1965 and 1972. During this time, Rodion was exposed to an eclectic selection of musical influences, he heard on the radio. This included everything from rock, pop and jazz music. While the music he heard on the radio was primarily English and American, the city of Cluj, on the border with Hungary, had a healthy musical scene.
Among Cluj’s lead bands were prog rock groups like Cromatic and Experimental Quintet. Soon, Rodion had immersed himself in the local music scene and had established a reputation as a prolific collector of vinyl, including the classic rock of Led Zeppelin, The Beatles, Jimi Hendrix and The Who. Rodion didn’t restrict himself to classic rock. He was also interested in the more progressive, electronic bands of the era, including groups from Eastern and Western Europe. This included Jethro Tull, Emerson, Lake and Palmer and Yes, plus West Germany’s Kraftwerk, East Germany’s Karat, Czechoslovakia’s Matador and Hungary’s Skorpio. These eclectic influences would influence Rodion Rosca’s musical career.
From the late sixties, it became apparent that Rodion was going to make a career out of music. To do this, he had to forge his own unique sound. Rock music dominated Romanian music during this period. However, the music Rodion would create was very different from rock music. Using reel-to-reel tape recorders and built around just vocals, guitars and drums. The result was music that was understated, sparse and simple. Sometimes, the music could be describes as improvisational, experimental and haunting. Having made his first step into the world of music, three years later, Rodion would form Rodion G.A.
In 1975, Rodion joined with Gicu Farcas and Adrian Caparu to complete the lineup of Rodion G.A. Gicu and Adrian provided the G.A. in Rodion G.A. For his part, Rodion contributed a myriad of studio equipment. By 1975, Rodion had amassed an eclectic selection of equipment and established a reputation as a D.I.Y. tech wizard. He created his own unique way of creating music on reel-to-reel tape recorders, using the various tape machines to multitrack. His nascent studio included several Tesia tape recorders, drum machines, phasers, flangers and fuzz pedals. Then there were a toy Casio VL Tone and a Soviet made Faemi organ. Like the music Rodion G.A. were making, the equipment they were using was leftfield and eclectic.
Although Rodion G.A. were producing music during music this period, they weren’t releasing music. After all, this was the communist era and the state dominated countries like Romania and there was only one Romanian record label. This was the state-owned Electrecord label. During their first session, two tracks which can be found on the Formatti Rock Volume 5 compilation were recorded. Then at a second session, five other tracks were recorded. Sadly, they were never released. However, the recording engineer allowed Rodion to record the five tracks onto his own tape machine from the studio’s main mixing desk. This allowed Rodion G.A. to use these tracks to build new tracks. Some of these new tracks were played on Romanian radio stations and reached the top of the Romanian charts. That was the extent of Rodion G.A’s recordings. Without further recordings and more publicity and exposure, they weren’t going to achieve a higher profile. Despite this, Rodion G.A. didn’t give up. Instead, they embarked upon a series of extensive tours during the eighties.
During Rodion G.A’s tours, the band played through a custom-made P.A. Amps and speaker cabinets proudly bore the Rodion G.A. logo. This resulted in Rodion G.A. having a totally unique sound, one that bore no similarities to other Romanian groups. Best described as dense, raw, complicated and complex, veering into the realms of classical and prog rock, Rodion G.A’s music was unique and inimitable. They became a favorite at festivals throughout Romania, which since 1972, had become a much harsher regime. Rodion G.A. toured Romania, playing everywhere from festivals to restaurants. Bands had to be on their guard. They never knew when the state censors would arrive at concerts. Luckily, Rodion G.A. became expert at avoiding the state censors, who were known to chastise a group for singing: “yeah, yeah, yeah.” It seemed that for a Romanian band, like Rodion G.A, trying to make a commercial breakthrough during the communist era was almost impossible. After all, they couldn’t release albums, and touring was the only way to lift their profile. However, by the early eighties, other opportunities were coming Rodion’s way.
Away from touring, Rodion contributed the soundtrack to the movie Delta Space Mission during the mid-eighties. Unfortunately, the music Rodion had provided was turned down, and Adrian Enescu was given the job. Then Rodion contributed the soundtracks to plays, ballet and gymnastics exhibitions. Despite being well received, none of these projects provided a lasting legacy for Rodion G.A. By now, the end was almost nigh for one of Romanian music’s great innovators.
What proved to be Rodion G.A’s final concert took place at Mangalia Festival in 1987. It was around this time that Rodion’s mother had died. This resulted in Rodion walking away from music for twenty-five years.
Nothing further was heard from Rodion for twenty-five years. Then Luca Sorin, a blogger and filmmaker became interested in the mythology that surrounds Rodion. After months of researching Luca discovered a handful of tracks by Rodion and footage of their 1980 New Year’s Eve concert. He posted this online. This came to the attention of Future Nuggets. They’re a collective of musicians and producers who are determined to preserve Romania’s musical heritage. They also are seeking to forge new alliances within the country’s musical community. Then in 2012, Rodion G.A. made their comeback, after twenty-five years away from music. Now a year later, Rodion G.A. who were formed nearly four decades ago, will release their debut album The Lost Tapes, on Strut Records, which I’ll tell you about.
the Lost Tapes is a real genre-sprawling album. During its ten tracks, musical influences and genres melt seamlessly into one. It’s full of musical surprises aplenty. Listen carefully and you’ll hear an eclectic selection of influences. Alpha Centauri which opens The Lost Tapes is a prime example. Its influences are eighties electronics, jazz, folk, rock, World Music and ambient influences.
Cântec Fulger is a much more intense experience. It’s broody, moody and dramatic, before heading in the direction of dense and discordant. Rock, jazz and prog rock are the influences for Caravane, where the guitars draw inspiration from Jimi Hendrix. Here, sixties rock and seventies prog rock inspire Rodion G.A. to even greater heights of musical genius. Citadela is reminiscent of Cântec Fulger. It has a darker and much more dramatic sound, before banks of prog rock keyboards drive the track along.
Diagonala has a much more spartan arrangement. This is reminiscent of Radion’s early music. While this track was recorded in the eighties, it has a much more seventies sound. That’s down to the synths, which are at the heart of the arrangement. Similarly, Salt 83 is dominated by synths. They’re at the heart of everything that’s good about this track. It has a real uplifting early eighties sound that has you captivated for three minutes. The same can be said of Disco Mania. It’s rich in influences. There’s everything from prog rock, eighties electronics, jazz, psychedelia and Afro Beat thrown into the musical melting pot by Rodion G.A. This results is a groove oriented track that’s an enthralling fusion of influences.
Zephyr draws its influences from electronic music. It has a quite lo-fi sound, with just synths and drum machines at the heart of the arrangement. Having said that, this multilayered, dramatic track has a hypnotic sound and isn’t short of surprises.
Probably the most intriguing track on The Lost Tapes is Imagini Din Vis. One minute it’s elegant and ethereal, the next it’s heading in the direction of searing seventies rock guitars. These rocky guitars are joined by rolls of drums and old school synths. When all this is combined, the result is a track that draws inspiration from a variety of musical genres and influences.
A quite beautiful and poignant way to close The Lost Tapes is În Liniștea Nopți. It’s a track that’s inspired by fuzzy guitars, pensive piano and washes of synths. Just two-and-a-half minutes long, it’s not unlike the soundtrack to a film that’s yet to be made. Melancholy, pensive and ponderous, it demonstrates a very different and eclectic side to Rodion G.A’s music. Here, elements of rock, classical and jazz all play their part in what’s quite simply the best track on The Lost Tapes.
If Rodion G.A. had been either a British or American band, they’d have enjoyed the critical acclaim and commercial success their talent deserved. Sadly, their most productive period was during communist rule in Romania. That meant that their music never found the wider audience it deserved. That’s what makes the story of Rodion G.A. almost tragic. Through no fault of their own, they were unable to enjoy the success their talent so obviously deserved.
Although innovative is an overused word, Rodion G.A. were a truly innovative group. They weren’t afraid to push musical boundaries. In doing so, they fused musical genres, throwing everything from rock, jazz, prog rock, electronic, ambient and classical music into their musical melting pot. Having given it a stir, the result was a unique, enthralling and captivating sound that was unlike anything else of its time. Indeed, Rodion G.A. were way ahead of their time.
Sadly, Rodion G.A’s career lasted just over ten years. In 1987, after the death of his mother, Rodion Rosca walked away from music. For the next twenty-five years, nothing was heard of this charismatic, enigmatic and mercurial musician. Then in 2012, blogger and filmmaker Luca Sorin tracked Rodion down. Thanks to Luca, Rodion G.A. played a comeback concert and on 27th May 2013, The Lost Tapes will be released by Strut Records. Amazingly, The Lost Tapes is Rodion G.A’s debut album and will give a new generation of music lovers the opportunity to discover the music of an innovative and visionary musical group, albeit nearly four decades after they made their debut. Standout Tracks: Alpha Centauri, Zephyr, Imagini Din Vis and În Liniștea Nopți.
RODION G.A.-THE LOST TAPES.
THE T.K. RECORDS STORY VOLUME 1.
THE T.K. RECORDS STORY VOLUME 1.
Throughout his life, Henry Stone has been immersed in music. Indeed, ever since he was discharged from the US army in 1947, Henry Stone’s life has revolved around music. His career started in sales and distribution, at Modern and Jewel Records in 1948. After that, he moved to Miami, where he ran his own distribution company, worked as a producer, run his own publishing company and founded record labels,. Undoubtably, Henry Stone’s most successful record company was Miami based T.K. Records. It was one of many labels Henry founded during the sixties and seventies. T.K. Records enjoyed commercial success with K.C. and The Sunshine Band, George McCrae. Through subsidiary companies like Glades and Alston, Henry Stone released hit singles by Timmy Thomas and Betty Wright. However, there’s much more to T.K. Records and its subsidiary companies than this quartet of artists, as The T.K. Records Story Volume 1 demonstrates. The T.K. Records Story Volume 1, which was released by Gold Legion Records on 26th February 2013, features twelve tracks from an eclectic selection of artists. This includes T-Connection, Funk Machine, Foxy, Dr. Lonnie Smith, Midnight Flite and Gregg Diamond. These twelve tracks are a combination of original album versions and 12” mixes. For anyone who thinks T.K. Records back-catalogue starts with K.C. and The Sunshine Band and finishes with George McCrae, then The T.K. Records Story Volume 1 will prove something of a musical eyeopener. You’ll understand what I mean when I tell you about The T.K. Records Story.
Opening The T.K. Records Story Volume 1 is T-Connection’s Do What You Wanna Do. T-Connection were from Nassau, in the Bahamas, who released four albums for T.K. Records and their associated imprints. Do What You Wanna Do was released as a single in 1977 on T.K. Records’ Dash imprint. This was a track from their sophomore album Magic and epitomizes T-Connection’s unique, trademark fusion of funky disco.
Funk Machine only released one single for Drive Records. This was Funk Machine, which was released in 1977. Like T-Connection’s Do What You Wanna Do, it was produced by Cory Wade and Alex Sadkin. The version included on The T.K. Records Story is the eight-minute 12” version. It’s a hook-laden, hidden gem where funk, disco and urgent soulful harmonies unite seamlessly and are a welcome reminder of disco’s glory days.
Rocky Mizell and Sugar Rock Band released their debut single Hey Sexy Dancer on Drive Records in 1976. A year later, in 1977, they released their debut album Rocky Mizell and Sugar Rock Band. Hey Sexy Dancer was produced by Willie Clarke, who cowrote the track with Rocky Mizell. From the opening bars, the track has the T.K. Records’ Miami sound. With its combination of funk and disco, it seems K.C. and The Sunshine Band and George McCrae have influenced Rocky Mizell and Sugar Rock Band. Although it would be easy to describe this track as derivative, given its obvious inspiration, it’s one of these tracks that’s hard to resist.
After K.C. and The Sunshine Band relinquished their position as house-band at T.K. Records, Foxy were chosen as their replacement. Their best known single is Get Off, which was released as a single in 1978. This was a track from their sophomore album Get Off. Get Off is a real fusion of musical genres and influences. Everything from funk, disco, soul and Latin influences is added to Foxy’s musical melting por. Unlike other tracks on The T.K. Records Story, Get Off hasn’t aged as well. With its synths, vocoders and nascent technology, it fails to match the previous tracks for quality and is something of a disappointment.
Herman Kelly and Life released Dance To The Drummer’s Beat in 1978, on Electric Cat. This is a track from Herman Kelly and Life’s 1978 album Percussion Explosion. Straight away, you realize something special is unfolding. Stabs of keyboards and a myriad of percussion combine before blazing horns enter. When urgent, punchy harmonies join the fray, Herman Kelly and Life have locked into the tightest of grooves, where jazz, funk, soul and Latin percussion play their part in one of the highlights of The T.K. Records Story. Quite simply, this is a delicious Percussion Explosion.
By the time Tony Middleton released Lady Fingers on T.K. Disco, he’d enjoyed a varied career. Although he’d released numerous singles and demos as a solo artist and been a member of The Five Willows during the early fifties. Success however, had eluded him. Then in 1976, twenty-five years after his career began, and at the height of disco’s popularity, Tony tried to reinvent himself as a disco star. While Tony’s reinvention as a disco artist failed to revive his career, it’s shows a different side to him and his music.
When Dr. Lonnie Smith released Funk Reaction on T.K. Records in 1977, he’d enjoyed a long and successful career as a pianist and Hammond organist. His recording career began in the mid-sixties, when he’d been signed to Columbia and then Blue Note Records. Then in 1977, Lonnie released Funk Reaction, an irresistible fusion of funk and soul that’s one of the compilation’s highlights. It also demonstrates just how eclectic the music on The T.K. Records Story is.
Wildflower released a trio of singles for T.K. Records and its various subsidiaries. Their second single was Harlem Nocturne, which released in 1977, on T.K. Disco. It’s a fusion of hypnotic funk and good time disco. From the opening bars, it doesn’t quite grab your attention. It takes time before the track reveals its secrets.Although it’s a good track, it doesn’t quite match the quality of the other tracks on The T.K. Records Story.
Midnite Flite are another group who only released one single for T.K. Disco. This was Don’t Turn Away, released in 1977. After something of a curveball, cooing harmonies, handclaps and the rhythm section get this funky slice of disco on track. There’s everything you could want from a disco track, including a a great vocal and harmonies, lush strings, blazing horns and a generous helping of funk. The result is a memorable and timeless slice of disco, that’s a true hidden gem.
Peter Brown’s Do You Wanna Get Funky With Me is a dramatic, sensual slice of funk that was released in 1978. It was a single released from Peter’s 1978 album A Fantasy Love Affair. Here, everything from funk, jazz, disco, P-funk and soul are woven together by Peter. The result is a sassy, feisty and sensual funky track, that thirty-five years later, has stood the test of time.
Joe Thomas released Plato’s Retreat as a single in 1978. It was a track from Joe’s 1978 album Get In The Wind, which was produced by Sonny Lester and released on the Lester Radio Corporation label. Straight away, you realise something really special is unfolding.What’s unfolding is a track that epitomizes everything that’s good about disco. This includes everything from the vocal, the strings, horns and Sonny Lester’s production. Seamlessly, they play their part in this peerless slice of seventies disco.
Closing The T.K Records Story Volume 1 is Gregg Diamond’s Star Cruiser, which was released as a single in 1978. Star Cruiser was also the title of his 1978 album, which was released on Marlin Records. By 1978, Gregg had established a reputation as an innovative and influential artist and producer. He’d enjoyed commercial success with Bionic Boogie, and Star Cruiser demonstrates just how talented an artist he was. Quite simply, this track surpasses anything else on The T.K. Records Story. It’s best described as a soulful, funky and irresistible slice of disco.
What I like about The T.K Records Story Volume 1, is that the compiler has eschewed the well known tracks T.K. Records and their various subsidiary companies released. So, this means no George McCrae, K.C. and The Sunshine Band, Timmy Thomas or Betty Wright. That’s no bad thing. Most people will already be familiar with these tracks. It also shows that there’s much more to T.K. Records than a handful of artists. This allows people to discover the delights of Midnite Flite, Peter Brown and Joe Thomas. Then there’s tracks by veteran jazzer Dr. Lonnie Smith and Gregg Diamond, the innovative disco artist and producer. Of the twelve tracks on The T.K Records Story Volume 1, only two tracks disappoint. These are Foxy’s Get Off and Wildflower’s Harlem Nocturne. The remainder of the tracks on The T.K Records Story Volume 1 are quality all the way. My only criticism is that the twelve tracks on The T.K Records Story Volume 1 just scratch the surface of T.K. Records’ back-catalogue. Like The Salsoul Records Story and The West End Records Story, The T.K Records Story Volume 1 could’ve been a double or triple album. That would’ve done justice to T.K. Records’ illustrious and eclectic back-catalogue. However, The T.K Records Story, which was released by Gold Legion Records on 26th February 2013, is the perfecting starting point in a voyage of discover through T.K. Records eclectic and illustrious back-catalogue. Standout Tracks: Funk Machine Funk Machine,Dr. Lonnie SmithFunk Reaction, Midnite Flite Don’t Turn Away and Gregg Diamond Star Cruiser.
THE T.K. RECORDS STORY VOLUME 1.
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