THE MANHATTANS-THERE’S NO ME WITHOUT YOU.
THE MANHATTANS-THERE’S NO ME WITHOUT YOU.
Like so many other groups, success took time to come The Manhattans’ way. Indeed, The Manhattans released seven albums before making a commercial breakthrough with 1976s The Manhattans. It was certified gold, and 1977s It Feels So Good and 1980s After Midnight repeated the feat. However, before their 1976 breakthrough album, The Manhattans were one of soul music’s best kept secrets.
Their recording career had started in 1965, when The Manhattans released Dedicated To You on Carnival Records. Sing For You and Yours Followed in 1968 on Carnival, before they released two albums on Deluxe Records. These were 1971s With These Hands and 1972s A Million To One. For their fifth album, 1973s There’s No Me Without You, The Manhattans signed to Capitol Records, where the next chapter in their career began.
Now signed to Capitol Records, the five members of The Manhattans Richard Taylor, Edward Bivins, Winfred “Blue” Lovett, Kenneth Kelly and Gerald Alston were about to encounter a man who’d play a crucial role in their career. This arranger and producer Bobby Martin, who was something of a musical veteran. He was playing an important part in Philadelphia International Records’ rise and rise. Bobby wasn’t the only member of Philly’s musical elite to play a part in the recording of There’s No Me Without You. M.F.S.B. Philadelphia International Records’ legendary house-band would accompany The Manhattans on their major label debut.
For There’s No Me Without You, The Manhattans contributed six of the ten tracks. Edward Bivins wrote There’s No Me Without You and cowrote The Other Side of Me with Gerald Alston. Wilfred Lovett wrote We Made It and Wish That You Were Mine. He also cowrote Soul Train with Little Harlem and It’s So Hard Loving You with Charles Reed. Other tracks included Kenneth Kelly’s The Day The Robin Sang To Me and You’d Better Believe It penned by John Fowlkes and Roger Genger.Teddy Randazzo cowrote the other two tracks. With Roger Joyce he cowrote I’m Not A Run Around and with Victoria Pike and Souren Mozian penned Falling Apart At The Seams. These ten tracks became For There’s No Me Without You, which was recorded at Joe Tarsia’s Sigma Sound Studios in Philly.
At Sigma Sound Studios, M.F.S.B. were accompanying The Manhattans on There’s No Me Without You. M.F.S.B’s lineup included the Baker, Harris, Young rhythm section, plus guitarists Bobby “Electronic” Eli and Roland Chambers. They were joined by organist Lenny Pakula, Larry Washington on congas, vibes virtuoso Vince Montana Jr and violinist Don Renaldo, who was the string and horn contractor. Adding backing vocals were The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson. Once There’s No Me Without You was recorded, it was released in 1973. Would The Manhattans major label debut There’s No Me Without You prove a commercial success.
On the release of There’s No Me Without You in 1973, it reached number 150 in the US Billboard 200 and number nineteen in the US R&B Charts. This made There’s No Me Without You The Manhattans’ most successful album. The title-track There’s No Me Without You reached number forty-three in the US Billboard and number three in the US R&B Charts, becoming The Manhattans’ most successful single. Wish That You Were Mine then reached number nineteen in the US R&B Charts. It seemed The Manhattans’ Philly Soul makeover by Bobby Martin had transformed their career and fortunes. You’ll realize why, when I tell you about There’s No Me Without You.
There’s No Me Without You opens with the title-track There’s No Me Without You. Earl Young’s pounding drums, Vince Montana Jr’s vibes and percussion combine to create a heartbreakingly beautiful backdrop for Gerald Alston’s pleading vocal. Harmonies sweep in. Elegantly and beautifully, they sooth Gerald’s hurt. Meanwhile, the Baker, Harris, Young rhythm section add drama, while Vince’s vibes, lush strings and Norman Harris’ guitar add to the beauty. Later, when a half-spoken vocal enters, it adds to sadness and emotion. Add to this the tight, tender harmonies and the result is track filled with sadness, emotion and heartbreak.
From the opening bars of We Made It, you realize something special is unfolding. Understated, wistful and meandering describes the arrangement. So too does sensual and beautiful, which describes The Manhattans harmonies and vocals. Here, they indulge themselves, demonstrating that when it comes to harmonies, The Manhattans were one of the best. Their cascading, pleading and hopeful harmonies, are perfection. They’re laden with emotion, joy and hope. Quite simply, We Made It, with its doo wop influence is simply sensual and beautiful.
Wish That You Were Mine is another of the slow, beautiful ballads that The Manhattans do so well. Percussion, Vince Montana Jr’s vibes and Norman Harris jazzy guitar provide a melancholy backdrop for the half-spoken vocal. Gerald’s vocal is tinged with regret at the hurt at the hurt he’s about to cause his friend. As the drama builds, harmonies sweep in, adding to the chaos and heartache that’s about to be unleashed. Muted horns, sweeping strings and an understated Baker, Harris, Young rhythm section add to the atmospheric, emotive backdrop as Gerald unleashes a vocal tour de force.
Swathes of strings sweep and horns rasp as I’m Not A Run Around unfolds. Norman Harris’ guitar chimes and Earl Young’s drums pound dramatically. Having set the scene for Gerald, he lays bare his soul. He assures and pleads with sincerity and emotion: “I’m Not A Run Around.” Harmonies cascade, adding further reassurance, while Baker, Harris, Young provide the arrangement’s heartbeat. By the end of the track, so impassioned and heartfelt are his pleas that you can’t help but believe him.
Soul Train closes SIde One of There’s No Me Without You. There’s an increase in tempo as The Manhattans kick loose, against a tougher, funkier arrangement. Baker, Harris, Young provide the necessary funk, while Gerald’s vocal is sassy and powerful. Chanted harmonies, blazing horns and searing guitars play their part in adding a dramatic and funky backdrop for your journey on the Soul Train.
You’d Better Believe It opens Side Two of There’s No Me Without You. It’s a return to the balladry of much of Side One, but with a twist. Heartfelt, tender harmonies are cascading strings and Vince Montana Jr’s vibes, while Baker, Harris, Young add to the emotion and beauty. The only differences are guitars drenched in reverb, while the arrangement has a real sixties influence. This works well, bringing out the interplay between the lead vocal and some peerless harmonies.
Norman Harris’ chiming guitar dances across the introduction to It’s So Hard Loving You. Cooing harmonies from The Sweethearts of Sigma and Manhattans accompany the pleading, impassioned vocal. The harmonies and lead vocal take centre-stage, with M.F.S.B. providing a subtle backdrop. This includes growling horns that add to the sheer emotion of The Manhattans’ vocal prowess.
It doesn’t take long to realize that The Day The Robin Sang To Me is one of the best tracks on Side Two. Ron Baker’s probing bass joins swathes of lush strings, woodwind and cooing harmonies from The Sweethearts of Sigma and Manhattans. Their tenderness and beauty are the perfect foil for Gerald’s vocal, while the husky half-spoken vocal provides a contrast. Add to this Larry Washington’s congas, a wistful flute and sensual harmonies. A combination of a gorgeous meandering, intricate arrangement and The Manhattans at their very best make this fusion of jazz, Latin and Philly Soul an enchanting and timeless track.
Keyboards and the Baker, Harris, Young rhythm section open Falling Apart At the Seams. Soon, producer Bobby Martin works his magic. Strings sweep and swirl, Norman Harris adds his jazzy guitar and Vince Montana Jr sprinkles his vibes. This seems to encourage The Manhattans to raise their game. Gerald’s lead vocal is even more heartfelt and impassioned, while the harmonies are tighter, more soulful and filled with feeling and meaning.
The Other Side of Me closes Side Two of There’s No Me Without You. It seems The Manhattans are determined to close the album on a soulful, emotive high. Just keyboards, Baker, Harris, Young and Vince Montana Jr’s vibes accompany Gerald’s heartbroken vocal. Harmonies sweep in, trying to sooth his hurt and heartache. He delivers each word as if he’s experienced the hurt he’s singing about. Baker, Harris, Young add to the drama, while pizzicato strings pluck at your heartstrings and The Manhattans bring There’s No Me Without You to a heartbreakingly sad, but beautiful close.
While There’s No Me Without You was The Manhattans’ fifth album, it was their major label debut. Producer Bobby Martin and M.F.S.B. play their part in the sucess of There’s No Me Without You. From the opening bars of There’s No Me Without You right through to the closing notes of The Other Side of Me, The Manhattans never miss a beat. Their vocal and harmonic prowess is peerless. So, it’s no surprise that There’s No Me Without You was the most successful album of their career. Sadly, it would be three more years until they made their commercial breakthrough with 1976s million-selling The Manhattans. They’d repeat this feat with 1977s It Feels So Good and 1980s After Midnight.
Albums like There’s No Me Without You demonstrate that there’s much more to The Manhattans’ music than these three albums. Indeed, There’s No Me Without You is an album packed full of quality soul music. There’s No Me Without You is helped no end by the producer Bobby Martin, M.F.S.B. and The Sweethearts of Sigma. They played their part in ensuring The Manhattans Philly Soul makeover There’s No Me Without You, launched them onto the road marked critical acclaim and commercial success. Standout Tracks: There’s No Me Without You, Wish That You Were Mine, It’s So Hard Loving You and The Other Side of Me.
THE MANHATTANS-THERE’S NO ME WITHOUT YOU.
CASTON AND MAJORS-CASTON AND MAJORS.
CASTON AND MAJORS-CASTON AND MAJORS.
When Caston and Majors released their eponymous debut album in December 1974, it was very different from the music Motown had made their name releasing. This wasn’t the poppy soul that was referred to as The Sound Of Young America. Quite the opposite. Caston and Majors demonstrated how Motown’s music had slowly evolved over the past few years. Indeed, we need to go back five years to how Motown’s music started changing.
The change in Motown’s sound can be traced back to 1969, when The Temptations moved towards psychedelia with their US R&B number one alum Puzzle People. Psychedelic Shack followed in 1970, and was the start of a change in Motown’s seventies sound. Then when Marvin Gaye released the seminal What’s Going On in 1971, this marked a change in direction for Marvin and Motown. Marvin replaced poppy soul with a much more mature, cerebral sound. 1972s Troubled Man and 1973s Let’s Got it On demonstrate this perfectly. Stevie Wonder was undergoing a similar transformation. No longer was he Little Stevie Wonder. Instead, from 1972s Music Of My Mind, Stevie Wonder reinvented himself as an artist. Albums like 1972s Talking Book and 1973s Innervision proving innovative and groundbreaking. Similarly progressive was Eddie Kendricks 1973 album Eddie Kendricks, which featured the proto-disco number one single Keep On Truckin.’ Working on that album were Frank Wilson and Leonard Caston, who had played their part in the changing Motown sound. For Leonard Caston, this would prove inspirational for his next project Caston and Majors.
Leonard Caston was something of an institution at Motown by the time he released Caston and Majors, which will be rereleased by BBR Records on 25th March 2013. He’d been part of Motown’s pool of songwriters, session musicians and producers since 1968, when he left Chess Records. He’d worked alongside many of Motown’s most creative minds. This included Frank Wilson, one of Motown’s great songwriters and producers. Soon, Leonard was writing songs for The Four Tops, The Jackson Five and Eddie Kendricks. For Eddie Kendricks, he cowrote Girl You Need A Change of Mind, Boogie On Down and Keep On Truckin.’ However, Leonard wasn’t just a songwriter and producer, but a talent spotter. One of his latest musical discoveries was Carolyn Majors.
While Carolyn Majors had been born in Greenville, South Carolina, she grew up in Detroit. When she was just sixteen, a family friend offered to introduce the musically talented Carolyn Majors to Berry Gordy. Carolyn had started singing in church, and by the time she was offered the introduction to Berry Gordy was a leading member of the Beverly Glenn Concert Chorale. Her father, a strictly religious man forbade this.
Then five years later, she met Leonard Caston. He was making his way through Motown’s ranks. After their initial meeting in 1971, their friendship flourished. Soon they were involved in a relationship. Then when Motown asked Leonard to move to Los Angeles, Carolyn decided to move with him. By then Leonard’s responsibility and workload at Motown was increasing. Then in 1974, when Leonard and Carolyn released their debut album Caston and Majors, they were married. Not only did Caston and Majors mark the debut album of Leonard’s latest musical discovery, but his new wife Carolyn Majors. Would Caston and Majors prove as innovative and influential as the other albums that had help change Motown’s sound?
For Caston and Majors, Leonard Caston and Kathy Wakefield cowrote the eight tracks on the album. By then, they’d established a reputation as a talented and successful songwriting partnership. Previously, they’d written The Supremes and Eddie Kendricks. This was the first album Leonard and Kathy had written together. The eight songs they cowrote became Caston and Majors.
Recording of Caston and Majors took place in Motown Recording Studios in Los Angeles. Accompanying Caston and Majors were the Motown house band. This included a rhythm section of drummers Fred White, Earl Palmer, Kenneth Rich, Abraham Mills and Ed Greene, bassists James Jamerson and Henry Davis and guitarist Jay Graydon, while Ray Brown and Arni Egillson played upright bass. Percussion came courtesy of Alton Hendrickson on bongos, King Errisson on congas and Gary Coleman on vibes. Mike Melvoin, Larry Muhoberac and Leonard played keyboards and Syreeta Wright makes a guest appearance on Say You Love Me. Leonard Caston produced Caston and Majors, which was released was released in December 1974.
On the release of Caston and Majors in December 1974, the album failed to chart. No singles were released in the US. Over in the UK, the lead single Child of Love Failed To Chart in February 1975. Caston and Majors was then released in March 1975, but again, failed to chart. Neither Sing released in June 1975, nor I’ll Keep My Light On released in September 1975, charted. Despite Leonard’s track record as a musician, songwriter and producer, Caston and Majors wasn’t a commercial success. Why was that? That’s what I’ll now tell you, when I tell you about Caston and Majors.
Opening Caston and Majors is Child Of Love, which has a bold, dramatic folk pop take on the Motown shuffle. With thundering bongos, swathes of strings and gospel tinged lyrics, it’s a fiting way to introduce Carolyn Majors. Carolyn and Leonard deliver the lyrics with power, passion and sincerity. Together, they sing: “rise now, child of love, no time for wasting, rise now, child of love, stop hesitating.” The result is a powerful, spiritual fusion of gospel and soul with equal helpings of drama. Similarly dramatic is There’s Fear. It’s an examination of the uncertainties of life which everyone faces. Here, Carolyn delivers an impassioned solo, while percussion and the orchestral arrangement help the song reach its dramatic climax.
Satisfied Mind (Sing) is quite different from what’s gone before. It draws its inspiration from a variety of sources and influences. The driving, pounding beat grabs your attention, before the arrangement looks back to the sixties. Folksy, mystical and even slightly psychedelic describes the arrangement. Think The Beatles circa 1967 and you’re getting there. Tinged with swathes of grandiose strings and harmonies, that are reminiscent of Godspell and other Broadway musicals, soon, a magical musical mystery tour unfolds. Carolyn’s vocals are crucial to the track. Through the sheer force of her personality she carries the track, harrying and encouraging, driving her backing vocalists and band to greater heights, as it reaches an emotive crescendo similar to You’ll Never Walk Alone from Rogers and Hammerstein’s Carousel. Say You Love Me Too has similar sound and influences. This includes psychedelia, Broadway musicals and folk music. A good reference point is The Turtles Happy Together, albeit with a Vaudevillian twist.
Let There Be Love is another track where Caston and Majors return to their gospel sound. Having said that, the lyrics are powerful, moving and beautiful. They’re delivered against a slow, sprawling and orchestral arrangement, that’s been inspired by Broadway shows. When the vocals enters, emotion, belief and sincerity combine. Leonard, then Carolyn take charge of the vocal. She steals the show, her vocal a mixture of power, passion and spirituality. This allows Carolyn to step forward and demonstrate how talented and effective a vocalist she is. In doing this, she ensures everyone raises their game, playing their part in this deeply moving gospel-tinged song.
It doesn’t take long to realize that I’ll Keep A Light In My Window is something special. Here, Carolyn and Leonard combine brilliantly. They drive each other to greater heights. It’s as if whatever Carolyn does, Leonard betters. Spurred on, she raises her game and lays down a challenge. Hope, heartache, emotion, passion and power are combined. Just as good is the arrangement. Like the vocals, it’s one of the best on Caston and Majors.
No One Will Know is one of Caston and Majors’ highlights. Graceful and elegant, you wonder where the track is heading. Then doo wop harmonies enter, while Leonard unleashes his gospel-infused vocal. Things get even better when Beach Boys’ inspired harmonies enter. Unlike the original, the sugarcoated sound is replaced by something much more soulful and substantial. The addition of the lushest strings and meandering bass provide the finishing touches to this inspirational and uplifting track.
Closing Caston and Majors is Everything Is All Right Now. Straight away, there’s a real Motown sound, albeit with a gospel twist. Leonard and Carolyn deliver alternate verses, with cooing harmonies for company. Good as Leonard’s vocal is, it’s Carolyn who casts a spell over you. She mixes power, confidence and soulfulness, as this uptempo slice of orchestral soul that ensures Caston and Majors closes on a deliciously soulful high.
Earlier, I wondered why Caston and Majors hadn’t been a commercial success? Just like the commercial failure of any album, there are many possible explanations for this. Maybe Caston and Majors was released at the wrong time? Possibly people didn’t understand the music on Caston and Majors? After all, while gospel and soul were the two main influences on Caston and Majors, was tinged with pop, folk, Broadway musicals and sixties psychedelia. The other real possibility is that with its overt religious lyrics, people weren’t comfortable with the music? Then there’s musical fashion. In 1974, Philly Soul was King, with disco was growing in popularity. Gospel music was nowhere as popular as it had once been. It certainly was no longer a major musical genre. What people needed to do was approach Caston and Majors with an open mind. If they didn’t do this, then they may not have understood or “got” Caston and Majors.
Sadly, Caston and Majors passed many people by. That’s a pity, as there were some good tracks on Caston and Majors. Let There Be Love, I’ll Keep A Light In My Window, No One Will Know and Everything Is All Right Now are the best tracks on Castors and Majors, which will be rereleased by BBR Records on 25th March 2013. As an added bonus, there are nine other tracks, which allow you to hear everything Castors and Majors ever recorded. Following Castors and Majors, there was no followup. Instead, Castors and Majors only album was their 1974 debut, where soul, gospel, folk, Broadway musicals and sixties psychedelia were poured into a musical melting pot and transformed into an intriguing, genre-sprawling album, that’s best described as innovative, like much of Motown’s early seventies releases. Standout Tracks: Let There Be Love, I’ll Keep A Light In My Window, No One Will Know and Everything Is All Right Now.
CASTON AND MAJORS-CASTON AND MAJORS.
ARTHUR PRYSOCK-ALL MY LIFE.
ARTHUR PRYSOCK-ALL MY LIFE.
Ever since his career began in 1944, Arthur Prysock had watched musical tastes constantly change. Since then, Arthur’s music had been in and out fashion several times. His fusion of jazz, blues, pop and R&B had proved commercially successful during the fifties and sixties. Arthur’s recording career began in 1959 at United Records, when he released Like Who? Like Basie, with Paul Quinichette following in 1960. Then between 1960 and 1965, at Old Town Records, Arthur Prysock enjoyed the most successful period of his career. After leaving Old Town, Arthur was signed to Verve, Metro, King and MGM. As a new decade dawned, Arthur found himself without a record label. For four years, Arthur Prysock suffered the indignity of being without a recording contract. This all changed in 1974, as he marked his thirtieth year in the music industry. He returned to Old Town Records, where Arthur Prysock had enjoyed the most successful period of his career.
By 1976, balladeers like Arthur Prysock were now back in fashion. Lou Rawls, Jerry Butler and Barry White lead the way. Arthur would join their ranks, releasing All My Life, which will be rereleased by BBR Records on 25th March 2013. All My Life saw Arthur Prysock receive a Philly Soul makeover. Taking charge of this was producer John Davis, accompanied by some of Philly’s greatest songwriters, musicians and legendary backing vocalists The Sweethearts of Sigma. Would All My Life mark an upturn in fortune for Arthur Prysock?
For what became Arthur Prysock’s 1976 album All My Life, John Davis and his cast of Philly songwriters, musicians and backing vocalists got to work. John Davis penned All My Life and One Broken Heart, while Gamble and Huff contributed I Watcha Baby and When Love Is New. Bobby “Electronic” Eli and Terry Collins cowrote This Is What You Mean Tonight, Melvin and Mervin Steals wrote All I Need Is You Tonight and Alex Brown and Dee Ervin contributed Baby I’m The One. The other track on All My Life was I Love Making Love To You, written by Ben Weisman, Evie Sands and Richard Germinaro. With the material in place, recording of All My Life began at SAM Studios in New York, with The John Davis Monster Orchestra accompanying Arthur.
When recording of All My Life began in New York, The John Davis Monster Orchestra accompanied Arthur. This included the rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarist Dennis Harris. Larry Washington played congas, John Davis played saxophone, flute and keyboards, while strings came courtesy of Don Renaldo. Together with a horn section and backing vocals from The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram, Arthur Prysock was given a Philly Soul makeover. Would All My Life revive his career?
The two Gamble and Huff penned tracks were released as singles. First up was When Love Is New, released in October 1976. It reached number sixty-four in the US Billboard 100, number ten in the US R&B Charts and number eleven in the US Disco Charts. When All My Life was released in December 1976, it reached number 153 in the US Billboard 200 and number thirty-six in the US R&B Charts. Then in February 1977 I Wantcha Baby reached number forty-three in the US R&B Charts. After being out of fashion for several years, it seemed musical fashion and Arthur Prysock fortunes were revived by All My Life. Now into his third decade as a recording artist, Arthur Prysock was back, with All My Life, which I’ll now tell you about.
Opening Arthur Prysock’s All My Life is the Gamble and Huff I Wantcha Baby. The lushest of strings, pulsating rhythm section and percussion join cooing harmonies from The Sweethearts of Sigma. They give way to Arthur’s sultry half-spoken vocal, before he unleashes a needy, heartfelt vocal. By now, the arrangement fuses disco and Philly Soul with sensuality and drama. Horns rasp, strings swirl and harmonies soar elegantly, as Arthur croons his way through the track. His husky baritone is perfect for the lyrics, bringing sass and sensuality to them.
All My Life is one of two tracks John Davis wrote. As it unfolds, it’s reminiscent of Barry White, but with an added soulfulness. The Sweethearts of Sigma prove the perfect foil to Arthur’s grateful, impassioned vocal. Their soaring, soulful encouragement inspires Arthur to even greater heights. Meanwhile, the rhythm section add a pulsating, dramatic heartbeat, as strings dance and percussion punctuates the arrangement. Add to this flourishes of piano, sweeping harmonies, searing guitars and thunderous drums, and Arthur out-croons the best of seventies soulful crooners.
I Love Making Love To You sees John Davis’ production make good use of The Sweethearts of Sigma’s harmonies. They’re at the heart of the arrangement, cooing and soaring, sensually. Their neediness spurs Arthur on. He unleashes a vampish husky, come-hither vocal. This he does against an arrangement where horns blaze, while the rhythm section inject funk and guitars add a rocky twist. John Davis Monster Orchestra play around Arthur’s vocal and The Sweethearts of Sigma’s harmonies. This allows them to drive each other to even greater heights, as they prove to be a musical ying and yang.
Baby I’m The One has a much more understated backdrop than previous tracks. Guitars chime, while the rhythm section, keyboards and rasping horns provide a meandering backdrop. Arthur’s vocal is much more tender, but filled with sincerity and hope for the future. Harmonies from The Sweethearts of Sigma add a tender, assuring backdrop, while swathes of strings and rasping horns play their part in this beautiful Philly Soul ballad.
When Love Is New is the second Gamble and Huff composition. Here, it’s given a makeover. The tempo drops, becoming a slow, emotive ballad. Arthur delivers his vocal with a tenderness, assuring, pleading and promising. The Sweethearts of Sigma fill the spaces, their harmonies sweeping in, adding to the sheer emotion and soulfulness. A saxophone solo is dropped at the perfect moment, before the strings, horns, percussion and rhythm section unite, playing their part in another sumptuous slice of delicious Philly Soul.
One Broken Heart is the other John Davis composition. It allows Arthur to deliver a hurt-filled, wistful vocal. Tinged with heartache and regret, Arthur revisits his earlier crooning style. Producer John Davis makes good use of layers of the lushest strings, a slow rhythm section and melancholy harmonies from The Sweethearts of Sigma. They provide the backdrop for Arthur’s heartbroken vocal, as he lays bare his soul, hurt and regrets for all he hear.
All I Need Is You Tonight was penned by Melvin and Mervin Steals, who cowrote The Spinners’ Could It Be I’m Falling In Love, Gloria Gaynor’s Honey Bee and Major Harris’ Each Morning I Wake Up. It’s an uptempo slice of Philly Soul, which soon reveals its secrets. Keyboards, rhythm section, stabs of horns and dancing strings signal the arrival of Arthur’s deliberate, heartfelt and needy vocal. When Arthur leaves brief pauses, the strings and then horns fill it. Adding to the drama and soulfulness are a harmonic masterclass from The Sweethearts of Sigma. Their cascading vocals prove the perfect accompaniment for Arthur’s pleading vocal.
Closing All My Life is This Is What You Mean To Me, written by Bobby “Electronic” Eli and Terry Collins. Strings sweep and swirl, joining cooing, soulful harmonies from The Sweethearts of Sigma. They provide an understated, soulful and quite beautiful backdrop for Arthur’s joyous vocal. Horns growl and kick, strings dance and harmonies cascade as if the everyone in the band is joining Arthur in giving thanks for the love, joy and happiness he’s found. Quite simply, it’s a deeply satisfying and hugely soulful way to close All My Life.
The combination of Arthur Prysock and producer John Davis was one made in musical heaven. With John’s help, Arthur recorded All My Life, his best album in more than a decade. This combination of Philly Soul and disco featured eight outstanding vocals from Arthur Prysock. There’s no such thing as an average vocal from Arthur. Whether ballads or uptempo, dance tracks, Arthur was equally comfortable. The musicians that accompanied Arthur were some of the best in Philly. They provided All My Life’s heartbeat, with Don Renaldo’s lush strings adding to the sheer beauty and emotion. Three women were key to the success of All My Life. The Sweethearts of Sigma’s delicious harmonic delights transformed each of the tracks. They were the perfect foil for Arthur Prysock. Their cooing, soothing harmonies were soulfulness personified. Together with The John Davis Monster Orchestra, The Sweethearts of Sigma played their part in one of Arthur Prysock’s greatest albums All My Life, which will be rereleased by BBR Records on 25th March 2013. Indeed, since its release in 1976, Arthur Prysock’s All My Life has become a minor Philly Soul classic, which is well worth discovering. Standout Tracks: I Love Making Love To You, Baby I’m The One, All I Need Is You Tonight and This Is What You Mean To Me.
ARTHUR PRYSOCK-ALL MY LIFE.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
Just a year after the release of Philadelphia Classics-The Tom Moulton Remixes, now lovers of vinyl will be able to purchase a copy of what was one of the most anticipated box sets of 2012. While the four CD box set of Philadelphia Classics-The Tom Moulton Remixes that was released in March 2012, lovers of good old fashioned vinyl, were left drooling jealously. Now a year later, Harmless Records have rectified this with Philadelphia Classics-The Tom Moulton Remixes-Special Vinyl Edition. This new vinyl version, which will be released on 25th March 2013, features eight heavyweight 180 gram vinyl albums. To ensure maximum fidelity, the thirty-one tracks have been resequenced, resulting in a very different running order. For lovers of Philadelphia International Records and Tom Moulton’s remixes, then you’re in for a treat.
Philadelphia Classics-The Tom Moulton Remixes, featured thirty-one of Tom’s remixes. This included fourteen of his classics and seventeen new tracks. On its release, Philadelphia Classics-The Tom Moulton Remixes was hailed as one of the box sets of 2012. A year later, it’s the same story, and a case of get your orders in soon, as stock is limited. Truly the music on Philadelphia Classics-The Tom Moulton Remixes was stunning. The same can be said of Philadelphia Classics-The Tom Moulton Remixes-Special Vinyl Edition. It’s a fitting tribute to Tom Moulton, one music’s innovators, and whose influence on dance music has been huge. Without Tom Moulton, there would have been neither remixes nor twelve inch singles, and doubtless, the history of DJ-ing would be very different. Single-handedly Tom invented both the remix and twelve inch single, while creating some of the best remixes in the history of music. Before I tell you about the music on Philadelphia Classics-The Tom Moulton Remixes, I’ll tell how Tom Moulton inadvertently invented both the remix and twelve inch single.
How Tom Moulton invented the remix is a fascinating tale of how fate and being in the right place at the right time can change history. Throughout Tom’s career, he’d been steeped in music. His first position was a junior promo man for United Artists, RCA and then King Records from the late fifties onwards. By the late sixties and disillusioned with the dishonesty and corruption that scarred music, Tom left the music industry. From there, he became a model, working on photographic shoots and on the catwalk. While he was making a comfortable living, his real passion was music, it was in his blood and what he loved most. However, when a colleague in the modelling industry invited him to Fire Island to a diner and club the Sandpiper, he’d have a eureka moment that would change his life and music.
Having made the crossing on the ferry from New Jersey and arrived at the Fire Island, Tom headed to the Sandpiper, where he’d change musical history. When watching a DJ at the Sandpiper he was matching the resident DJ mix the old seven inch singles. It was then he realized that just when dancers were gaining momentum and getting into the groove, the single was over. After this there another single was mixed in and the same thing was happening. Realizing this must be hugely frustrating for dancers and DJs, Tom decided to rectify the problem.
Back home, he spend nearly a week editing a forty-five minute reel-to-reel tape designed keep the dance floor going. Now this wasn’t easy. He extended parts of tracks, looping the most exciting parts and ensured there was a seamless changeover between tracks, so much so, that dancers hardly noticed it. Using his own collection of soul music, the tape was compiled, but this hadn’t been easy. It meant editing the tape using razor blades, tape and fluid, constantly joining and rejoining the tape. Dexterity, patience, skill and an ear for music were needed, but Tom had all that. So after a week, the tape was finished, and was given to a DJ at the Sandpiper. The result was as he’d expected, the dance-floor loved it. This would be Tom’s first step on the road to remixer extraordinaire.
Having made his first disco mix, Tom set about finding tracks to remix. This turned out to be relatively easy, mainly because Tom wasn’t a DJ. The reason for this was radio was still King, with DJ’s in clubs and record companies neither communicating nor perceived as important in the great scheme of things .This is very different from today. So, when Tom approached record companies to remix one of their tracks, then often they say yes. Starting with The Carstairs’ It Really Hurts Me Girl, remixed by Tom for Red Coach Records, Tom’s nascent remixing career was underway. By 1974, Tom Moulton had perfected his craft, remixing BT Express’ Do It Till You’re Satisfied. Although the group didn’t like the track, Tom’s remix became a big hit. Suddenly, Tom was remixing Gloria Gaynor, Loleatta Holloway, Eddie Kendricks and First Choice. By now he’d arrived, with the Tom Moulton remix a surefire sign of quality. Having invented the remix inadvertently, fate intervened again, with Tom inventing the twelve inch single.
The first twelve inch single was made cut purely because of fate and a shortage of seven inch singles. After remixing I’ll Be Holding On by Al Downing, Tom took that remix to have an acetate cut. However, when the single was going to be cut, engineer Jose Rodriguez realized that there were no seven inch singles left, so cut it on a twelve inch single. When Tom saw this, he realized that it didn’t look right. It looked like a seven inch single on a twelve inch piece of vinyl. Then Tom hit on the idea of spreading grooves so that they reached the end of the vinyl. The effect this had was to increase the volume and dynamic range because the groove was much wider. This mean the music was much louder than other singles, resulting in clubs and DJs complaining that the single nearly blowing their speakers. This begs the question, why didn’t they just adjust the volume?
Although they might have complained about volume, they liked the break midway through Al Downing’s I’ll Be Holding On. Everything bar drums and percussion dropped out and then the started to rebuild. This was Tom’s way of dealing with a key change. He gradually took out parts one by one, leaving merely drums and percussion. This breakdown grabbed the attention of record companies, DJs and dancers, with people asking why didn’t Tom put these breakdowns in other records. After this Tom would add breakdowns to other tracks, something that’s since been copied by remixers worldwide. However, the next step in Tom’s career would see him Philly bound, where he’d remix some of his most famous mixes for Philadelphia International Records, which cane be heard on Philadelphia Classics-The Tom Moulton Remixes.
In 1974 Tom discovered the Philly Devotions’ I Just Can’t Say Goodbye on the Don De label. Having worked on the track at home, Tom took this to Columbia Records in New York. They loved what he’d done, and wanted him to remix the track. Although Columbia offered to send the tapes to New York, Tom decided to head to Philadelphia, having fallen in love with the Philly Sound.
Once he’d moved to Philadelphia, Tom fell in love with the city and its slower pace of life. He was constantly in demand, once being booked into the city’s legendary Sigma Sound Studios for a year in advance. Having established himself in Philly, Tom hooked up with the two men who’d responsible for the Philly Sound, Kenneth Gamble and Leon Huff. Gamble and Huff and Tom Moulton met through The Trammps manager Harry Chipetz. At first, Tom thought that Gamble and Huff hadn’t any need for Tom’s help. However, eventually, Harry Chipetz brought Tom into the “Philly Family.” Initially, Harry brought the forthcoming albums about to be released, to see whether Tom could do anything with the music. The first song Tom chose was a People’s Choice track Do It Any Way You Wanna. However, when Tom first got involved with the Philly Sound, there was a backlash against with music coming out of Philly.
The problem was some people in the black community felt that the Philly Sound was being transformed into music for white people with the addition of strings and horns. Tom like many people was amazed and even annoyed. Tom decided to make a point, but needed the right track. He chose the People’s Choice track Do It Any Way You Wanna, mixing it without strings or horns. This would dispel the accusation that Philly were making soul music for white people. He offered to do the song without taking a fee, but asked for his name to be put on the label, which it wasn’t. On the release of Do It Any Way You Wanna, it became a huge hit, reaching number one in the US R&B Charts, while reaching the top twenty in the US Billboard 100. This would be the start of a long and fruitful relationship between Tom and Philadelphia International Records. Gamble and Huff would supply the soundtrack to the seventies and early eighties, with much of this music being remixed by Tom Moulton.
After the success of People’s Choice single Do It Any Way You Wanna, Harry Chipetz approached Tom with an idea to produce an album entitled Philadelphia Classics, complete with a cover of an old Rolls Royce on the album cover. This was because Harry saw the music as rich and classy, which it really is. There was one caveat, Tom couldn’t include M.F.S.B.’s Love Is the Message, as it had already been a hit. However, Tom wasn’t keen, because Love Is the Message was the track he desperately wanted to remix. Eventually, the label changed their mind, allowing Love Is the Message to be on the album. This changed Tom’s mind and his album of remixes went ahead, including Love Is the Message, the song which he’s most proud of. The resulting album was a huge success, and over the next few years, Tom became Philadelphia International Records’ go-to-guy for remixes. Tom remixed many of the label’s biggest singles. Indeed, thirty-one of them feature on Philadelphia Classics-The Tom Moulton Remixes. Given that they’re eight heavyweight vinyl discs in the Philadelphia Classics-The Tom Moulton Remixes-Special Vinyl Edition box set, I’ll now pick eight of the best tracks from this Magnus Opus.
On the first album in the Philadelphia Classics-The Tom Moulton Remixes-Special Vinyl Edition box set, there are tracks from The Intruders, Robert Upchurch and Johnny Williams. One track stands out though, The O’Jays’ Back Stabbers, released on 8 July 1972, whilst Tom mixed the track in September 2011. It reached number ten in the US Billboard 200 and number three in the US R&B Charts. When released as a single, it reached number three in the US Billboard 100 and number one in the US R&B Charts. The introduction is extended by Tom. This means flourishes of piano, the Baker, Harris, Young rhythm section, complete with Norman Harris’ jazzy guitar. They’re combined with lush sweeping strings, the introduction is extended by Tom. This gives way to Eddie’s vocal. Soon, the lead vocal changes hands. Behind them a stunning arrangement unfolds. It’s an infectious combination of dramatic, yet beautiful music, thanks to the combination of lush strings, chiming guitars, piano and drums, while the horns and rhythm section deliver punchy, brief bursts of drama. When combined with the vocal the result is an O’Jays classic, made even better by Tom’s near ten minute masterpiece of a mix.
Just like The O’Jays, Harold Melvin and The Blue Notes were another of the biggest groups on Philadelphia International Record. The Love I Lost one of their classic tracks. It’s from their Black and Blue album, released in September 1973. It reached number five in the US R&B Charts and fifty-seven in the US Billboard 200. When The Love I Lost was released as a single, it reached number seven in the US Billboard Hot 100 singles’ charts and reached number one in the R&B Charts. Originally it was meant to be recorded as a ballad, but Kenny Gamble the cowriter and producer asked the group to speed the song up, and sing it with a swagger. In doing so, this transformed the track. Keyboards, then chiming guitars enter, before the pounding drums and strings sweep in. Here, Tom extends the glorious introduction, building up the drama, and providing the perfect backdrop for Teddy’s impassioned vocal. Meanwhile, the rest of the group compliment his lead vocal with tight harmonies, against an arrangement that’s dramatic and emotive. M.F.S.B., Philadelphia International’s house band surpassing themselves, producing a impassioned and dramatic arrangement. Here, Tom Moulton extends the track to over twelve minutes, allowing you to revel in the emotion and sadness of a true Philly classic, as a seminal arrangement reveals itself. Apart from The Love I Lost, the second album contains M.F.S.B. featuring The Three Degrees’ T.S.O.P. and The Three Degrees’ Dirty Ole Man.
Of all the tracks in the Philadelphia International back-catalogue, the one Tom wanted to remix was M.F.S.B.’s Love Is the Message, released in July 1974. Anyone who knows the track will realize why. Once Tom got the opportunity to remix the track in September 1976, this became a career defining track, lasting over eleven minutes. This is Tom’s Magnus Opus, the remix he’s most proud of. When the track opens it’s a mass of the lushest strings, blazing horns, percussion and the rhythm section. From its soulful beginnings, the track quickly decides to reveal its drama and delights. On the signal of the drums, a sizzling saxophone solo enter, while Lenny Pakula’s Hammond adds atmosphere. After that, the track briefly heads in a direction marked funk, before returning to its soulful sound. Later, the Three Degrees add their soulful strains, as the track combines soul and funk seamlessly. With Tom looping and extending parts, building up drama, then breaking it down, only to rebuild, no wonder he’s so proud of this track. He truly should be, it truly is one of his greatest remixes, one blessed with a contemporary, timeless sound, that sounds as good today as in 1976. Together with Tom’s remixes of The Trammps’ Love Epidemic and The O’Jays’ Love Train, this is one of the best albums in the box set.
Billy Paul was Philadelphia International’s male superstar, releasing a string of successful albums, including 1974s War of the Gods, which reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. It featured The Whole Town’s Talking which Tom remixed in December 2011. He totally transforms the track. The tempo is quicker, with a myriad of swirling strings, percussion and the Baker, Harris, Young rhythm section combining, during an extended introduction, before giving way to Billy’s vocal. It’s soft, full of sadness and regret, accompanied by backing vocalists. Behind him, the strings sweep, while the punchy rhythm section inject drama as Billy’s vocal grows in power. Flourishes of piano, percussion and the rhythm section combine when Billy’s vocal drops out, before the strings rejoin and the track starts to rebuild. Tom’s decision to extend this part of the track and highlight the frenzied, flourishes of piano is a masterstroke. After that Billy and his backing vocalists rejoin, as the track heads to its glorious finish, with an emotive and impassioned vamp from Billy. Truly, this is an irresistible remix from Tom Moulton, the godfather of the remix. As if that’s not enough, there are remixes of The Trammps and Harold Melvin and The Blue Notes.
Like so many of the albums in the Philadelphia Classics-The Tom Moulton Remixes-Special Vinyl Edition box set, choosing which one to write about wasn’t easy. Eventually, Harold Melvin and The Blue Notes won out over The Three Degrees and The O’Jays. Bad Luck was a track from Harold Melvin and The Blue Notes’ 1975 album To Be True. It reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts, resulting in the group’s only album to be certified gold. The track has a bold, punchy introduction with the rhythm section, piano and percussion combining before Teddy’s powerful, passionate vocal enters. Strings enter, sweeping and swirling above Teddy’s vocal as he rues his Bad Luck. Then the rest of the group enter, contributing joyous, sweet backing vocals, as Teddy’s vocal takes centre-stage. Punchy, rasping horns enter as Teddy starts to vamp his way through this anthemic track. Like so many of Tom’s remixes, it has an irresistible, dramatic sound during its eight minutes. Not only has he the uncanny ability to know exactly what will work best, by extending and looping parts of the track, but his remixes have a timeless quality and are deserving of the work classics in the title.
Lou Rawls’ You’ll Never Find Another Love Like Mine is one of his best known tracks. It’s from his All Things In Time album, released in June 1976. It reached number seven in the US Billboard 200 and number one in the US R&B Charts. When You’ll Never Find Another Love Like Mine was released as a single, it reached number two in the US Billboard 100, and number one in the US R&B Charts and US Dance Charts. What makes the track work so well is how Bobby Martin’s arrangement and Lou’s vocal unite. They compliment each other perfectly. Piano and rhythm section combine before Lou’s slow, smooth, sensuous vocal enters. As Lou sings, it’s almost call and response between Lou and the piano. He leaves a space which the piano fills dramatically. Then when the tempo increases, with drums, rasping horns and the piano adding brief flourishes of drama, Lou’s voice rises, becoming stronger, full of emotion and passion. Meanwhile, female backing vocalists cut in, their gentle voices a contrast to Lou’s powerful vocal. What makes this track is an arrangement that builds and builds. Layer upon layer of sumptuous music reveals itself, with the rhythm section and piano key to success of the track, with the horns adding just the finishing touch. Add to this Lou’s fantastic vocal, and the result is one of the best songs Lou Rawls ever recorded made even better by Tom’s magnificent mix recorded in September 2011. Despite quality contributions from The O’Jays, People’s Choice and The Three Degrees, nothing else comes close to Lou.
Looking at the sheer quality of music on the seventh album, choosing one track isn’t easy. There’s Teddy Pendergrass’ I Don’t Love You Anymore and Lou Rawls gorgeous See You When I Git There. Eventually, I chose The Jones Girls, Nights Over Egypt, from their 1980 album Get As Much Love As You Can. Nights Over Egypt still retains the magical, timeless sound it had back in 1980. Opening with hissing hi-hats, the mystical, meandering introduction begins. A combination of synths, rhythm section, harp and acoustic piano combine. The funkiest of basses plays its part before the sisters unite to sing gentle, tight harmonies. Their voices grow in strength and power, as the arrangement peaks, before giving way to a lush, almost mystical and exotic sound, before lush strings sweep and swirl, as the vocal rejoins. Jack Faith plays flute on the track, while gentle, rasping horns escape from the arrangement. By the end of the track, you realize that you’ve been fortunate enough to hear a classic remix, never before released from the godfather of the remix, Tom Moulton, a true musical genius and innovator.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES-SPECIAL VINYL EDITION.
ANITA WARD-SONGS OF LOVE.
ANITA WARD-SONGS OF LOVE.
The best way to describe Anita Ward is an accidental disco diva. Why? Well, before the release of her disco classic Ring My Bell, Anita hadn’t even been in a disco. Instead, the whole disco craze had passed her by. So, when she released Ring My Bell, Anita became disco’s latest divas. Ring My Bell sold over one-million copies, reaching number one in the US Billboard 100, US R&B Charts and US Disco Charts, while repeating the feat in the UK. Sadly, that was as good as it got for Anita Ward. She’s since become known as a “one hit wonder.” That isn’t exactly fair though. Songs Of Love, which featured Ring My Bell, reached number eight in the US Billboard 200 and number two in the US R&B Charts. Key to the success of Songs Of Love, which will be rereleased by BBR Records on 25th March 2013, was the quality of songs. Eight quality tracks, written by some of the most talented songwriters of the time made Songs Of Love such a successful album. Indeed, there’s far more to Songs Of Love than Ring My Bell, as you’ll soon realize.
Following the financial meltdown of Stax Records, everyone connected with the company had to reconsider their futures. For Fredrick Knight, his post-Stax future was in running his own record label. Given he was a successful artist, songwriter and producer, Fredrick had the background for running his own label. So he set up Juana Records. Soon Fredrick was recording groups like The Controllers, who were in a similar vein to The Temptations. Then when Juana Records signed a distribution deal with Henry Stone’s T.K. Records, this would prove crucial in his nascent label’s future. Eventually, Fredrick moved his label to Jacksonville, so he could take advantage of Malaco Studios. One of Juana Records’ first hits was Fern Kinney’s Groove Me. However, another female singer Juana Records would sign, would surpass the success of Fern Kinney.
By the time Fredrick Knight first heard Anita Ward, she was enrolled at college, where she was studying towards becoming a teacher. Anita’s voice was similar to Deniece Williams, right down to style and range. So when college administrator Chuck Holmes heard Anita audition for a college production of Godspell, he realized here was a star in-waiting. Chuck contacted Fredrick Knight, acting in a managerial role. When Fredrick heard Anita’s voice, he quickly agreed to record a demo.
initially, Fredrick agreed to record just a three song demo. However, when the recording began, he changed his mind, recording eight tracks. Fredrick Knight wrote Ring My Bell, and cowrote Spoiled By Your Love with Sam Dees. They then penned Make Believe Lovers with David Camon and Michael Ward. Sam Dees wrote Sweet Splendor, David Camon penned If I Could Feel That Old Feeling Again and Chuck Holmes contributed I Won’t Stop Loving You, while Joe Shamwell and Tommy Tate cowrote There’s No Doubt About It. Anita Ward cowrote You Lied with Jimmy Lowe and Chuck Jackson. Given the quality of songwriters involved in what became Songs Of Love, this was a collection of songs with huge potential. All that was needed was a crack band of musicians.
At Malaco Studios, Jacksonville, Mississippi, producer Fredrick Knight put together a crack band of musicians for the recording of Songs Of Love. This included a rhythm section of bassists Ray Griffin and Don Barrett, drummer and percussionist James Stroud plus guitarists Michael Toles, Michael Ward, Dino Zimmerman and Fred Knobloch. Carson Whitsett played keyboards and synths, Fredrick Knight synths and syndrums and Carl Marsh played synths. Ex-Hi Records’ backing vocalists Rhodes, Chalmers, Rhodes joined Fredrick Knight, Cheryl Bundy and Valerie Williams in adding harmonies. They were joined by a horn and string section. Once the eight tracks that became Songs Of Love were recorded, the album was set for release in May 1979. By then, Anita Ward’s life would’ve changed.
Before Songs Of Love was released in May 1979, Ring My Bell was released as the lead single. It sold over one-million copies, reaching number one in the US Billboard 100, US R&B Charts and US Disco Charts. Ring My Bell repeated this feat in the UK in May 1979, heading all the way to number one. When Songs Of Love was released in May 1979, it reached number eight in the US Billboard 200 and number two in the US R&B Charts. Strangely, no other singles were released from Songs Of Love in the US. Over in the UK, Make Believe Lovers was released in July 1979, but failed to chart. As this was when disco suddenly sucked, it was a case of any artist who had any connection to disco was affected. ironically, there was much more to Songs Of Love that disco. It was just a case of people having to look below the surface. With tracks penned by Sam Dees, Fredrick Knight and Chuck Jackson, Songs Of Love was a deeply soulful album.
Proving my point that Songs Of Love is a deeply soulful album, are a two tracks which Sam Dees wrote or cowrote. His best contribution is the title-track, Songs Of Love. It’s tailor-made for Anita’s vocal. Her delivery is heartfelt, ethereal and angelic. She breathes life, meaning and emotion into the Sam’s lyrics. Then on Spoiled By Your Love, written by Sam and Fredrick Knight, Anita pays homage to Deniece Williams. Their vocals have similar styles and ranges. Both can inject meaning, beauty and emotion into a track like this, Here, Anita’s vocal is impassioned, filled with hope and longing. I find it somewhat ironic that given how talented a balladeer Anita Ward is, she’s always been perceived as a disco diva.
Sam Dees’ other contribution was Make Believe Lovers, an uptempo dance track he cowrote with David Camon and Michael Ward. It’s a seven-minute epic, remixed by Robbie Riviera, as was the fashion back in 1979. With its stabs of synths and myriad of percussion, the song soon reveals a soulful, dance-floor friendly sound. Anita’s delivers the lyrics sweetly, subtly and soulfully. Harmonies envelop her, while Rhodes, Chalmers, Rhodes are the perfect accompaniment. They provide the perfect foil for Anita, on a track that although a dance track, is laden with soulfulness.
Ring My Bell was the track that transformed Anita Ward into a disco diva. In some ways, it proved a poisoned chalice. Granted the success and money that came with it was welcome, but sadly, it pigeonholed Anita as a disco singer. She wasn’t. Instead, she was a soul singer with bags of talent and potential. However, for eight minutes, Anita and her career were transformed. For eight minutes, Anita Ward becomes disco diva, strutting her way through the arrangement bells, percussion and synths providing the backdrop. Add into the equation Rhodes, Chalmers, Rhodes’ delicious harmonies, and the result was a memorable, hook-laden disco classic. For eight minutes, Anita Ward becomes disco diva, strutting her way through a track that would forever become synonymous with her.
Just like Sam Dees, Chuck Holmes is a talented singer and songwriter. Chuck’s contribution to Songs Of Love was I Won’t Stop Loving You. This is a slow, heartbreakingly sad ballad, where Anita’s deliver a vocal that’s laden with emotion, heartache and hurt. Rhodes, Chalmers, Rhodes dramatic, soaring harmonies add to the sheer sadness and emotion. Quite simply, this is a stunningly soulful track. Equally soulful, moving and beautiful is Sweet Splendor, written by David Camon. It’s another of Songs Of Love slow ballads, that allows Anita showcase her vocal prowess. This is what she does so well, and could’ve prolonged her career, providing her with a career after disco.
The two tracks that close Songs Of Love are Anita doing what she does so well, singing ballads. This was how she saw her career as progressing. Maybe she realized that disco was merely a passing musical trend. What she needed was music with longevity and music that was suited to her voice. There’s No Doubt About It was perfect for Anita, allowing her angelic voice to transform the lyrics her breathy, joyous delivery. Upbeat and positive, it set Songs Of Love up for its closing track You Lied. It was co-written by Anita. Immediately, the combination of meandering, understated arrangement and Anita’s tender, heartbroken vocal stops you in your tracks. It’s as if Anita has lived the lyrics, but survived the hurt and lived to survive, and tell the tale, eloquently, soulfully and with dignity.
The commercial success and critical acclaim that came with the million-selling Ring My Bell, proved to be a double-edged sword for Anita. It resulted in Anita Ward being perceived as a disco diva. She wasn’t. If anything, Anita was an accidental disco star. She’d never even been in a disco before Ring My Bell was released. Anita never foresaw her career as heading down that road. Why should she? After all, there were far better tracks on Songs Of Love than Ring My Bell. Perm any one from Songs Of Love, Spoiled By Your Love, I Won’t Stop Loving You, Sweet Splendor and You Lied. In some ways, it was lucky Anita didn’t see herself as a disco singer.
There was no future to disco. The events of Disco Demolition Night at Comiskey Park on 12th July 1979 in Chicago saw to that. After that, disco artists, records and labels weren’t popular. So it was lucky Anita Ward wasn’t wanting to build her career on the success of Ring My Bell. She’d enjoyed number one singles in the US and UK, and sold over a million copies of Ring My Bell. Now she could continue her chosen musical career path.
All along Anita was more comfortable with ballads. Indeed, she was at her very best on the six ballads on Songs Of Love. This was where Anita Ward was at her best and where she saw her career heading. Sadly, after her sophomore album, Sweet Surrender was released, Anita Ward split with Juana Records. So 1980 found Anita
Ward without a record label. Worse was to come. Anita Ward was in a car crash, where she suffered horrendous injuries, including a fractured skull. Thankfully, she pulled though and released her third album Wherever There’s Love in 1989. Maybe if tragedy hadn’t touched her life, then Anita Ward would’ve enjoyed a long and illustrious career. Her debut album Songs Of Love, which will be rereleased by BBR Records on 25th March 2013, demonstrates just how much potential and talent Anita Ward had. Given her talent, Anita Ward should’ve enjoyed critical acclaim and commercial success aplenty. Anita Ward isn’t a disco singer. Instead, she’s a singer who released a disco single. There was much more to Anita Ward’s music than disco. Songs Of Love demonstrates this perfectly. Standout Tracks: Spoiled By Your Love, I Won’t Stop Loving You, Sweet Splendor and You Lied.
ANITA WARD-SONGS OF LOVE.
FERN KINNEY-GROOVE ME.
FERN KINNEY-GROOVE ME.
After taking a break from music to raise her young family, Fern Kinney decided to mount her musical comeback. Little did she realize that she was about to release what not only what become a disco classic, but a song that would become synonymous with her and transform her career. That song was Groove Me, originally recorded by King Floyd, who Fern used to sing backing vocals for. By giving Groove Me Fern Kinney a makeover, maybe Fern’s fortunes would be transformed.
By 1979, Fern’s eleven-year career was hardly littered with commercial success and critical acclaim. Despite certainly not lacking in talent, Fern Kinney just hadn’t enjoyed the breaks other artists had. Now with disco at the height of its commercial success, other artists, including Anita Ward, had enjoyed career defining hits. Their careers, courtesy of disco blossomed. So too would Fern Kinney, when producer, songwriter and keyboardist Carson Whitsett suggested she sign to Malaco Records. At Malaco Records, Fern released a trio of albums between 1979 and 1982. The first of these was Groove Me, which will be rereleased by BBR Records on 25th March 2013.
Carson Whitsett knew Fern Kinney’s reputation and believed he could transform her career. He felt that he could work with Fern and that together, they could fulfill her potential. Disco, and in particular Euro Disco, would be Carson’s secret weapon. His inspiration for that would be Donna Summer’s I Feel Love and tracks like Amii Stewart’s cover of Eddie Floyd’s Knock On Wood. For Fern’s debut album, she too, would return to an old track. This was Groove Me, which had given King Floyd’s a huge hit. Little did they realize that it would kickstart Fern’s career. Together with six other tracks, this became Fern’s debut album Groove Me.
For Groove Me, King Floyd provided Groove Me and Baby Let Me Kiss You, while producer Carson Whitsett contributed Angel On The Ground and Sun, Moon, Rain. B.A. Robertson and Terry Britten penned Under Fire, Michael Burton and Sylvia Robinson cowrote Pillow Talk. The other track was Kin Leray’s Together We Are Beautiful, which gave Fern a number one single in the UK.
Recording of Groove Me took place Malaco Studios, Jacksonville, Mississippi. The band included bassists Ran Griffin and Don Barrett, drummer and percussionists James Stroud and Blair Cunningham and guitars came courtesy of Dino Zimmerman and Fred Knobloch.Carson Whitsett played keyboards and synths, while Wolf Stephenson played syndrums. Together with a horn section and backing vocalists, the seven tracks that became Groove Me were recorded.
Before the release of Groove Me, a duet Fern recorded with Fredrick Knight was released as a single in October 1978. It failed to chart. Then when Groove Me was released as the lead single, it reached number fifty-four in the US Billboard 100, number twenty-six in the US Disco Charts. Sadly, disco was about to almost die. Suddenly, disco’s bubble had burst. Not only had popularity waned, but now disco sucked. The disco backlash had hit hard, after the events of Disco Demolition Night at Comiskey Park of 12th July 1979 in Chicago. After that, disco artists, records and labels weren’t popular. Indeed, on Groove Me’s release in September 1979, it failed to chart. Neither Baby Let Me Kiss You, released in October 1979, nor Together We Are Beautiful, released in February 1980 charted. Things were different in the UK.
When Sweet Life was released in November 1979, it failed to chart. So too did Groove Me, released in September 1979, and Baby Let Me Kiss You, released in November 1979 fail to chart. Then In February 1980, Together We Are Beautiful reached number one in the UK. Spurred on by this, non-album tracks I Want You Back was released in June 1980 and Movie Show was released in September 1980. Neither charted. However, Groove Me transformed in Fern Kinney’s career on both sides of the Atlantic. Why?
Listening back to Groove Me, it’s an album that should’ve been a bigger commercial success. It had the misfortune to be released as disco died. What many people missed, was a selection of seven disco and soulful tracks. Groove Me is nine-minutes of sensual disco and funk, complete with gospel tinged backing vocals. It’s one of two tracks written by Floyd Curtis. The other is another eight-minute epic Baby Let Me Kiss You. Washes of synths and keyboards provide a dramatic, driving arrangement. Fern’s urgent vocal is sassy, sensual and feisty.
Angel On The Ground was penned by producer Carson Whitsett. It’s a dance-floor friendly and soulful track. Swathes of lush strings are the perfect accompaniment for Fern’s vocal. Carson’s other contribution was a the country-tinged, Sun, Moon, Rain. It has a lovely understated arrangement, allowing Fern’s tender, deliberate and heartfelt vocal to take centre-stage. In doing so, Fern demonstrates her talent and versatility. For Fern Kinney, there was life after disco.
Of the other three tracks, two stand out. Pillow Talk is given a Philly Soul makeover that’s truly delicious. Probably the standout track on Groove Me is Together We Are Beautiful. It’s a gorgeous ballad, delivered with tenderness and emotion by Fern. To me, that was a career defining vocal, in a style that offered more longevity than disco.
Although Fern Kinney released three albums for Malaco Records between 1979 and 1982, she didn’t enjoy the commercial success and critical acclaim that she might have. She was hugely talented, with a voice that’s emotive, expressive and laden with soul. Ironically, after the success of the single Groove Me, Fern billed as a disco artist. Almost ironically, disco died and became as popular as a rattlesnake in a lucky dip.
In truth, there was much more than disco to Fern Kinney. During the seven tracks on Groove Me, there’s everything from soul, country and balladry. Versatile is a better description of Fern Kinney. So marketing Fern forevermore as a disco artist was foolhardy and short-term. Anyone who listens to Groove Me, will realize that Fern Kinney. She’s at her very best on the non-disco tracks on Groove Me. Following Groove Me, which will be rereleased by BBR Records on 25th March 2013, Fern Kinney never reached the same heights as Groove Me in the US and Together We Are Beautiful in the UK. Standout Tracks: Angel On The Ground, Pillow Talk, Together We Are Beautiful and Sun, Moon, Rain.
FERN KINNEY-GROOVE ME.
THE ORIGINAL MASTERS-DISCO VOLUME 10.
THE ORIGINAL MASTERS-DISCO VOLUME 10.
Often, when it comes to a successful compilations series, record companies are loathe to kill what has become a musical golden goose. You can see their point. After all, the music industry is not only going through the toughest time in its history. So any album that’s commercially successful and profitable is to be welcomed. Sadly, however, record companies must face up to reality. Always, there comes a time when a compilation series has to end. Sadly, it almost becomes unavoidable. All too often, it becomes the equivalent to a musical mercy killing. Afterwards, everyone connected with the compilation, collectively breathes a sigh of relief. They knew it had to happen, it was inevitable, they watched the following scenario unfold before their eyes.
Usually, what has happens is, that after several critically acclaimed and commercially successful volumes, the quality of music diminishes. With each volume, the music gets worse. Tracks start to appear on compilations that would’ve never gotten near the early volumes. As a result, sales fall and the memories of the compilation’s heyday are just a distant memory. For compilers everywhere, they dread this happening. The thing is, there’s no set number of compilations after which, the decision to kill the musical golden goose should be contemplated. Some compilations last three of four volumes, others get into double-figures. Indeed, The Original Masters-Disco Volume 10 has just celebrated getting into double figures. The last two volumes lived up to the quality of the early volumes. Is this the case with The Original Masters-Disco Volume 10, or is the series beginning to show its age? That’s what I’ll tell you, when I tell you about the twelve tracks on Milestone Records’ The Original Masters-Disco Volume 10.
The first track on The Original Masters-Disco Volume 10 is Travis Biggs’ Tibetian Serenity. This is a track from Travis 1979 album Solar Funk, on Source Records. Given this is a disco compilation, it’s a captivating way to open the album. Understated and meandering, a noodling slice of floaty jazz-funk has you spellbound for five minutes,
Miami were a soul, funk and disco band who released four albums for Drive, a subsidiary of Henry Stone’s T.K. Records. Their sophomore album was 1976s Notorious Miami, which featured Kill That Roach. It’s a fusion of soul and funk, with the lushest of swirling strings an added bonus. Quite simply, this is something of a hidden gem.
Skyy’s First Time Around is one of the big hitters on The Original Masters-Disco Volume 10. This was track from Skyy’s debut album Skyy. It was the first of seven albums Skyy released between 1979 and 1984. Since then, this disco classic has become synonymous with Skyy.
One thing you certainly can’t accuse the compiler of The Original Masters-Disco Volume 10 of, is being predictable. Quite the opposite. They’ve unearthed Yambu’s 1975 Afro-Cuban disco single Sunny. Like their debut album Yambu, it was released on Montuno Records in 1975. This was the first of three albums the Yambu released. Soulful, funky and filled with hooks, this is a slice of musical sunshine, which will brighten anyone’s life.
In 1977, the Fantastic Four released their fourth album I Got To Have Your Love on Westbound Records. This was their second album to be released on Westbound. Released as a single, was the title-track I Got To Have Your Love. It was remixed by Tom Moulton, the Godfather of the remix and twelve-inch single. Soulful and dance-floor friendly, this string-laden disco classic is all this and more.
Sometimes, you just need to look at an album cover to realize that it’s going to be something special. This is the case with Captain Sky’s 1978 debut album The Adventures Of Captain Sky. It’s that wonderfully over-the-top, almost surreal, P-Funk style cover. Thankfully, the music matches the quality of the album cover. One of the highlights of the album was the twelve-minute epic Super Sporm. ironically, it’s misspelt on The Original Masters-Disco Volume 10 as Super Sperm. That is quite a Freudian slip.
One of the great innovators of Philly Soul, then disco, was Vince Montana Jr. He was a founder member of M.F.S.B. and then founded The Salsoul Orchestra. Ooh I Love It (Love Break) was a track from The Salsoul Orchestra’s eponymous debut album. Then after Vince left Salsoul Records, he revisited Ooh I Love It (Love Break) with the Vince Montana Orchestra. Like the original version, Vince did what he did so well, and that’s innovate musically.
AKB was a collaboration between arranger and producer Andy Khan and Philly DJ Kurt Borusiewicz. They cowrote Karen Young’s massive 1978 hit Hot Shot. A year later, they were back with AKB’s debut album Rhythmic Feet, released on Robert Stigwood’s RSO Records. Stand Up Sit Down gave AKB their one and only hit. Mind you, if you’re only going to have one hit, make it one as good as this.
Dinosaur’s Kiss Me Again was written and produced by Arthur Russell and Nicky Siano. Released in 1978 and remixed by Jimmy Simpson, on Sire Records, this is one of the poorest tracks on The Original Masters-Disco Volume 10. Regardless of the quality of personnel involved in the project, this is a disappointing inclusion.
Trax was a collaboration between Pete Bellotte and Keith Forsey. They released two albums on Polydor. The first was 1977s Watch Out, with Dancing In The Street Following in 1978. Trax was a track from Dancing In The Street. This pulsating, percussive filled track more than makes up for the previous track. Disco, funk and soul combine with Latin music, resulting in five action-packed minutes of music.
Probably the best known track on The Original Masters-Disco Volume 10 is K-Jee. Why I hear you ask? Well, it featured on the fifteen-million selling Saturday Night Fever Soundtrack. The original version on The Saturday Night Fever Soundtrack was by M.F.S.B. This version is by David Shire. He and Bill Oakes had a trio of tracks on the Saturday Night Fever Soundtrack. They were Manhattan Skyline, Night On Disco Mountain and Salsation. Here, he gives an M.F.S.B. classic a makeover, bringing new life and meaning into a slice of seventies Philly Soul.
I always thing that whether it’s a compilation or album, make the last track one of the best. It’s a case of leave the listener wanting more. Sadly, that’s not the case on The Original Masters-Disco Volume 10. Certainly not when the final track is Disco Tex and The Sexolettes’ Get Dancin.’ This is a track from their 1975 debut album Disco Tex and The Sexolettes Review. Sadly, this derivative track is what gave disco a bad name. There’s nothing good I can say about the track, except it only lasts four minutes. That however, is only a small crumb of comfort.
Having listened to The Original Masters-Disco Volume 10, I can say that Milestone Records have reached this milestone with a compilation of quality music. Dance-floor friendly, soulful, funky and laden with subtle, and not so subtle hooks, familiar tracks and hidden gems sit side-by-side. Only two tracks disappoint, Dinosaur’s Kiss Me Again and the dreadful Disco Tex and The Sexolettes’ Get Dancin. Out of the twelve tracks, ten work really well. The other two, well it’s a matter of taste.
My one gripe is the lack of proper sleeve-notes. That won’t bother many people. However, for some people, myself included, knowing who wrote and produced a track and for what label is a necessity. Instead, when you open up the booklet that comes with the CD, all you find are two empty pages. This was the case with The Original Masters-Disco Volume 8 and 9. Small details matter to people. What would really have made this compilation even better, was some background to each of the tracks. Overall though, the standard of music on The Original Masters-Disco Volume 10 surpasses that of The Original Masters-Disco Volume 9. Somehow, the compilers continue to unearth several underrated slices of disco, including some glistening hidden disco gems. For that, I commend them, and look forward to the next installment in this long and successful compilation series. Until then, I’ll enjoy most of The Original Masters-Disco Volume 10. Standout Tracks: Travis Biggs Tibetan Serenity, Skyy First Time Around, Yambu Sunny and Vince Montana Orchestra Ooh I Love It (Love Break).
THE ORIGINAL MASTERS-DISCO VOLUME 10.
DEVIL’S JUMP: INDIE LABEL BLUES 1946-1957.
DEVIL’S JUMP: INDIE LABEL BLUES 1946-1957.
The latest box set from British reissue label JSP is Devil’s Jump: Indie Label Blues 1947-1957. Compiled by Neil Slaven, and released on 11th March 2013, Devil’s Jump: Indie Label Blues 1947-1597 is a four-CD box set which focuses on the blues music released by King Records, and its sister label Queen, during the eleven year period between 1946 and 1957. Now, when King Records was founded, it wasn’t a label most people would associate with blues music.
When Syd Nathan founded King Records in Cincinnati, Ohio 1943, it was to release rockabilly, western swing, bluegrass and country music. Then in 1945, Syd Nathan founded Queen Records. After that, King and Queen Records started releasing R&B and blues music. This included releases by John Lee Hooker, Memphis Slim, Lee Brown, Jimmie Gordon and Johnny Temple. While these releases were commercially successful, an artist Syd Nathan signed to his newly formed Federal Records in 1950, would prove to be a game-changer.
Syd Nathan and Ralph Bass launched Federal Records in 1950. Their first signing was James Brown. He would prove to be their most successful signing. Little did Syd or Ralph realize just how influential and successful James Brown would be. Indeed, the success James Brown would enjoy, would secure King and Queen Records’ futures. It would also allow Syd Nathan to expand his burgeoning musical empire.
With James Brown’s career on the rise, Syd Nathan decided to launch further labels. So, in 1960, Syd and Henry Glover, who was then a veteran of King Records, launched two new labels. They were Deluxe Records and Bethlehem Records. For the next eight years, Deluxe and Bethlehem Records roster grew. Like Syd Nathan’s other labels, they continued to enjoy commercial success throughout the sixties. Sadly, in 1968 Syd Nathan passed away and Syd’s musical empire was sold. However, during the previous twenty-five years, since Syd founded King Records, he’d played an important part in music.
Syd Nathan was a musical pioneer, who championed many different musical genres, including rockabilly, western swing, bluegrass and country music. Another musical genre Syd Nathan was passionate about, was blues music. On Devil’s Jump: Indie Label Blues 1947-1957, this four-CD box set features over 100 tracks released on King and Queen Records. Twenty of these tracks have never previously been released before. So for blues’ completists, Devil’s Jump: Indie Label Blues 1947-1957 is a must-have compilation. For anyone looking for an introduction to blues music, then Devil’s Jump: Indie Label Blues 1947-1957 is a good starting point. After all, there’s tracks from everyone from John Lee Hooker, Memphis Slim, Lee Brown, Jimmie Gordon, Johnny Temple and many, many more, which I’ll tell you about.
Disc One of Devil’s Jump: Indie Label Blues 1947-1957 features twenty-five tracks. This includes a combination of familiar faces and some lesser known artists. Similarly, the music ranges from deep blues right through to country blues. Among the bigger names on Disc One are John Lee Hooker, Memphis Slim and the country blues of Jimmie Gordon, Smokey Hogg, Country Paul and Eddie Kirkham. Many of these artists feature several times. For example Lee Brown features twice and Smokey Hogg three times.
Now given the age of the recordings, many of the tracks have a raw, almost primitive sound. That just adds to the emotion and potency of the music. A proof in point is several of the John Lee Hooker tracks on Devil’s Jump: Indie Label Blues 1947-1957. They were recorded in the back of a record shop. While there’s a rawness to the music, care has been taken with the sources. As a result, the sound quality is much better than many other blues compilations I’ve come across.
A number of the artists that featured on Disc One of Devil’s Jump: Indie Label Blues 1947-1957, feature heavily on Disc Two. Compiler Neil Slaven seems a huge fan of John Lee Hooker, including a further four tracks on Disc Two. So too does Memphis Slim. There’s also welcome returns from Jimmie Gordon, Eddie Kirkland, Smokey Hogg and Country Paul. New names include Robert Henry, Eddie Burns and Ralph Willis. Like Disc One, Disc Two is representative of King and Queen’s roster during the eleven year period between 1946 and 1957. Whether you’re a veteran of blues compilations, or a relative newcomer, there’s plenty of familiar and names on Disc Two of Devil’s Jump: Indie Label Blues 1947-1957. Similarly, different sub-genres are covered, resulting in an eclectic selection of twenty-five tracks.
Just like the two previous discs, many of the same artists feature on Disc Three of Devil’s Jump: Indie Label Blues 1947-1957. This includes unsurprisingly, John Lee Hooker, plus two of my personal favorites Memphis Slim and the country blues’ sound of Jimmy Gordon. For fans of country blues music, some of the best cuts on Disc Three come courtesy of Smokey Hogg and Country Paul. A welcome addition is more music from Ralph Willis, plus newcomers Johnny Wright, Walter Mitchell and Robert Henry. On Disc Three, compiler Neil Slaven has managed to combine a selection of familiar faces and less well-known names. This results in twenty-five further compelling, captivating and potent blues cuts from King and Queen Records.
Taking Devil’s Jump: Indie Label Blues 1947-1957 up to the magic figure of 100 tracks in Disc Four. Again, we follow a familiar pattern of combining familiar faces and newcomers. Big-hitters included are John Lee Hooker and Memphis Slim. For fans of country blues, then there’s Jimmie Gordon, Eddie Kirkland, Smokey Hogg and Country Paul. Newcomers include three tracks by Kid Thomas and Johnny Temple. Detroit Count and Johnny Wright both make welcome returns, as this trip through the back-catalogue of King and Queen Records draws to a close.
Devil’s Jump: Indie Label Blues 1947-1957 is a musical journey that’s four discs and 100 tracks long. Lasting an eleven year period between 1946 and 1957, there are contributions from some giants of blues music and some less familiar faces. This means that Devil’s Jump: Indie Label Blues 1947-1957 will appeal to veterans of many a blues compilation, plus relative newcomers to blues music. For blues veterans, Devil’s Jump: Indie Label Blues 1947-1957’s U.S.P. is the twenty unreleased tracks. For completists, this makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase.
What makes Devil’s Jump: Indie Label Blues 1947-1957 an essential purchase is emotion and potency of the music. That many of the tracks have a raw, almost primitive sound just adds to this. It makes Devil’s Jump: Indie Label Blues 1947-1957 one of the most captivating and compelling box sets of 2013 so far. In many ways, Devil’s Jump: Indie Label Blues 1947-1957 is just a tantalizing taster of the hidden delights of King and Queen Records’ rich and illustrious back-catalogue. Given how good Devil’s Jump: Indie Label Blues 1947-1957 is, I just hope that JSP are currently working on Volume 2. We can but hope and dream.
DEVIL’S JUMP: INDIE LABEL BLUES 1946-1957.
OTTI ALBIETZ-BUBBY TONE II.
OTTI ALBIETZ-BUBBY TONE II.
Otti Albietz, whose sophomore album Bubby Tone II will be released by BBE Music on 8th April 2013 is best described as a modern day minstrel. It was when strolling through the streets of his hometown of Malaga, in Spain, that Otti first found inspiration for his songs. Whether epic, intimate or filled with tragedy, Otti’s songs are infused with beauty, emotion and heartache. Further inspiration came from Otti’s travels through Spain, Morocco and mainland Europe with his family. During his travails and adventures, Ottis met larger than life, colorful characters. He came across everyone from bohemians to smugglers. Having listening to their tales, Otti told their story through the medium of song. Using shipyards, scrapyards, rivers and motorways as backdrop for these stories, Otti’s talent as a storyteller brings their recollections to life. Humor, hurt, heartache, farce and tragi-comedy, Otti Albietz’s song have all these things and much more. However, Otti Albietz is much more that a songwriter. He’s part-poet, philosopher, minstrel and storyteller. It was as if he was destined to become singer, songwriter and musician. To make that happen, Otti Albietz had to take one more journey.
After traveling the length and breadth of European highways, Otti Albietz decided to head to England, where he would turn his dream of becoming a musician into reality. This was eight years ago, in 2005. Between 2005 and 2010, Otti was a songwriter and lead vocalist in a number of bands. Then in 2010, Otti decided that the time was right to release music under his own name. To do this, Otti needed a band. However, this was no ordinary band. Quite the opposite. Instead, it was a constantly evolving cast of musicians. This included experimental flautist Geoff Leigh who previously, has worked with Henry Cow, Thad Jones of the Phil Collins 3, musician and producer Harvey Summers and drummers Benno Schlachter and Sacha Trochet. Then there was Otti’s girlfriend, the soprano Anna Graebe. Working with such an eclectic group of musicians must have inspired Otti, because in January 2011, he would release his debut album, One.
Just six years after arriving in England, Otti Albietz released his self-produced debut album One, in January 201. One was released on Big Village Records. It was an intense and powerful album, rich in imagery and filled with gritty realism. On One’s release, it was well received by critics and sold well. Following the success of One, Otti embarked on a tour of central-Europe. Basel, Hamburg and Mullhouse were stopovers on Otti’s European tour. He was now a real-life wandering minstrel, who in just six short years, was making a living as a singer, songwriter and musician. Now just over two years later, Otti Albietz will be releasing the followup to One, Bubby Tone II.
Otti Albietz’s sophomore album is Bubby Tone II, Bubby Tone II, which will be released on BBE Music on 4th April 2013. Producing Bubby Tone II is Harvey Summers, who previously, has worked with Danny Thompson, Mumm Ra, Paul McCartney and John Pearson. Recording took place at Harvey Summers’ Broadoak Studios, in East Sussex. The material for Bubby Tone II is part of a large body of material that Otti Albietz has recently written. Indeed, he has so much material written, that there’s enough for much of his third album. Twelve of these songs feature on Bubby Tone II, which I’ll tell you about.
Bubby Tone II is best described as an acoustic album, that’s the latest in a new generation of singer-songwriters. On Bubby Tone II, twelve understated arrangements provide the backdrop for Otti Albietz’s vocals. It’s as if producer Harvey Summers has decided to pare back each of the arrangements. Sparse with nothing superfluous. There’s no lush strings or horns on Bubby Tone II. Instead, Bubby Tone II is best described as lo-fi. Mostly, it’s just Otti and his trusty acoustic guitar. Part-troubadour, part-minstrel, Otti becomes a skilled storyteller, who paints evocative pictures rich in imagery and symbolism. The twelve song are personal and intimate. Otti’s performances veer between heartfelt, tender and impassioned, right through to frustrated, emotive and filled with pathos and bravado. Indeed, there’s so much more to Bubby Tone II, as you’ll realise.
Structure Repeats which opens Bubby Tone II, demonstrates this. When the song begins, you can hear each of Otti’s slow, deliberate, chord changes. His vocal is tender and heartfelt, as he delivers the lyrics. Even by now, you realize that Otti is the latest in a long line of singer-songwriters. A more accurately description is troubadour or minstrel. There’s something very intimate and personal about Otti’s music. It’s a very personal performance, as if Otti’s singing just for you. In many ways, it’s like a personal audience with one of music’s hidden secrets, one you’ll hear much more of.
Who Are The Wishful follows on from the opening track. There’s a jazzy influence to the guitar, while the drums add an element of drama. Then when Otti’s vocal enters, it’s as if this is what you’ve been waiting for. Power and passion combine, as Otti’s lyrics probe and question. Sometimes, his vocal becoming a pleading falsetto, as he unleashes torrents of emotion. Throughout the track he constantly probes and asking pleading, Who Are The Wishful?
A melancholy piano sets the scene for If You’re Listening. Sparse, bleak and spacious describes the track. Meanwhile the lyrics are intelligent, pensive and full of imagery. Later, waves of ethereal harmonies enter, adding to the sheer emotion, hurt and heartache that fills Otti’s vocal.
During Time’s Time, Otti’s vocal is choppy, delivered with a sense of urgency. Like the other tracks, the arrangement is understated. Pared back describes the arrangement. That works well. Mostly, it’s just Otti and his trusty guitar. This allows you to focus on Otti’s vocal and his lyrics. They’re intelligent, vivid and sometimes, cryptic and mysterious.
Several tracks on Bubby Tone II give you an insight into Otti Albietz’s personality. The first is The Life We’ve Led So Far. Here, Otti dawns his storyteller’s hat and lays bare his soul. This he does with just his guitar and ethereal harmonies for company. Otti’s vocal grows in emotion, confusion and frustration. Later, torment tinges his voice, while cooing harmonies sooth his weary soul, as this hauntingly beautiful track shares its secrets. From the opening bars of Tell Them I Was Here, there’s a hint of bravado in Otti’s vocal. There’s an air of sadness is his voice, as bravery and bravado are ever-present. You sense that this isn’t the real Otti Albietz. Quite the opposite. He’s much more sensitive, and prone to hurt and heartbreak, whereas here, Otti’s been hurt, but doesn’t want to admit it.
During Lightning Bolts (In Little Ships), Otti paints pictures with music. Whereas an artist uses paints to do so, Otti uses lyrics and his technique. Vivid, with a strong narrative, pictures unfold before your eyes. You can close your eyes and imagine the images Otti is describing. Then later, Otti’s technique changes. His vocal becomes a jazzy scat. This proves just as effective and evocative. It’s as if Otti’s changed from being a landscape artist to an abstract artist. With the same palette of paints, Otti conjurs up a picture that’s just as evocative and vivid.
Amazing Life is one of these songs that’s not unlike a trip on a roller coaster. Although this a trip lasts just three minutes, Otti packs a lot into these three minutes. One minute the lyrics are evocative, descriptive and emotive, then Otti decides to add pathos and humor. Listening to the song, you experience a whole gambit of emotions and thoughts. What makes it even more effective is the understated arrangement, which allows the vocal to take centre-stage, and be the focus of your attention.
While Amazing Life was evocative and emotive, so too is Waking Up The Dead. Otti’s vocal is haunting and troubled, filled with hurt and confusion. He brings life, meaning and emotion to the lyrics, whilst delivering one of his most impassioned performances.
Whereas the previous tracks were just Otti and his guitar, stabs of a jaunty organ and buzzing synths open The Others Are Identical. When they’re combined with Otti’s vocal, they play their part in this broody, moody, dramatic and evocative track.
After the departure in sound and style on the previous track, She’s The Earth sees Otti return to his signature sound. It’s just his driving guitar and melancholy vocal that are at the heart of the track. Percussion is added, giving the arrangement an edgy, almost uncomfortable sound. This adds to the sheer emotion and drama of this track.
Closing Bubby Tone II is The Best Thing Ever (Love Will Repeat). It’s a very different track to anything that’s gone before. Otti’s vocal is half-spoke, and accompanied by subtle birdsong. Then it’s all change. A cacophony of sound effects, drums and percussion combine with a chorus of backing vocals, as Bubby Tone II reaches a dramatic high.
Innovative, groud-breaking, compelling and captivating. That’s just a few words that describe Otti Albietz’s sophomore album Bubby Tone II which will be released by BBE Music on 8th April 2013. It’s very different album from anything that’s been recently released. No wonder. Otti Albietz is very different to other singer-songwriters. He’s part-poet, philosopher, minstrel and storyteller. The music is lo-fi and understated. There’s just Otti and his trusty guitar. There are no lavish arrangements. Instead, it’s a case of less is more. This allows Otti’s vocal to take centre-stage and become the focus of your attention. Indeed, nothing whatsoever gets in the way of Otti Albietz’s vocal and his lyrics. His songs are filled with humor, hurt, heartache, farce and tragi-comedy. Each of the twelve tracks has a strong narrative, and paint vivid pictures in your mind’s eye. Intense, emotive, powerful, moving, rich in imagery and filled with gritty realism describes Bubby Tone II perfectly. Standout Tracks: Structure Repeats, If You’re Listening, Amazing Life and Waking Up The Dead.
OTTI ALBIETZ-BUBBY TONE II.
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YESKING-RE-RECORD NOT FADE AWAY.
YESKING-RE-RECORD NOT FADE AWAY.
For Yesking’s sophomore album Re-Record Not Fade Away, which was released by BBE Music on 11th March 2013, it appears founder Rhys Adams has looked to the past for inspiration. Rather than release a sprawling fifteen track album, Yesking have returned to the vinyl age for inspiration. Back in the golden-age of the album, albums featured eight to ten tracks. Yesking’s Re-Record Not Fade Away features just ten tracks and lasts fifty-two minutes. This means Re-Record Not Fade Away is much more old school album.
Ever since the birth of the compact disc, albums have gotten much longer. Now, feature more tracks and last up to eighty-minutes. Indeed, it’s not unheard of for an album to feature seventeen tracks. This is very different to the vinyl-age. Given the limited capacity of the vinyl album, albums were shorter. The benefit of this was that albums were a snapshot of an artist’s best music. Often, there were no weak tracks. Sadly, since albums have got longer, often the standard of music have dropped. Often, tracks that would’t have been good enough to feature on a vinyl album, are included on a compact disc. Rather than hear an artist at their best, often, albums are a mixture of outstanding and mediocre music. This can’t be said of Yesking’s Re-Record Not Fade Away. Quite the opposite. It lasts features ten tracks lasting fifty-two minutes and. In many ways, it’s a return to the vinyl-age, where you hear Yesking at their best, after a five year gap since their debut album Rock The World. Before I tell you about Yesking’s sophomore album Re-Record Not Fade Away, I’ll tell you about Yesking and their founder, Rhys Adams.
Although Rhys Adams was born in Wales, his career started in the early nineties when he was working as an assistant engineer at Nottingham’s Square Dance Studios. Soon, he was putting what he learnt in the studio into practices Rhys released a trio of disco house E.P.s as Bright Lights. His collaborator was Crazy P’s Chris Todd, with whom he shared a flat. This was the beginning of his career.
The second part of Rhys’ career, began when he moved to Birmingham. He was placed in charge of Different Drummer Studios, where Rhys became their resident remixer. Different Drummer Studios was home to labels like Leftfoot and Different Drummer, and was home to Rocker’s Hi-Fi, Horace Andy and Kruder and Dorfmeister. At Different Drummer, a sound evolved that shared many similarities to the legendary Bristol Sound. Like the Bristol Sound, unsurprisingly, the Birmingham Sound had a rich heritage in Soundsystems. This lead to Rhys applying his engineering skills to Rockers Hi-Fi’s Different Drummer Soundsystem, and touring the world with them. On his return home, Rhys was on the move agin.
Mark Rae had spotted Rhys’ potential, so encouraged him to move to London, where he’d work on albums and remixes for Mark’s Grand Central label. This included Mark Rae’s album, Into The Depths. Then in 2004, Rhys got the opportunity to travel to, and work in Jamaica. In Jamaica, work began on Wall Of Sound’s Two Culture Clash album. It was this trip that proved the inspiration behind the formation of Yesking.
Not only did the inspiration for Yesking took place after the trip to Jamaica, so too did the sound and the name. The name Yesking was inspired by a local greeting “Yes King,” which was heard at the start of many recording sessions. Yesking’s sound which featured in their 2008 debut album Rock The World, was a fusion of reggae, dancehall, soul and hip hop. Rock The World took two years to record. It featured reggae legend Dawn Penn, dancehall pioneer Kenny Knotts and UK ragga veteran Sweetie Irie. Produced by Mark Rae and Rhys Adams, Rock The World was released in 2008, on Mark Rae’s new label Yes King Records. On its released, Rock The World was well received by critics and was a commercial success. As is the way in the new music industry, tracks were licensed for advertising, video games and films. Meanwhile Yesking embarked on a tour that swung through the UK, USA, Australia and New Zealand. Following Rock The World, Mark Rae left London and headed to Los Angeles. Rhys stayed behind, working on remixes and Yesking’s sophomore album Re-Record Not Fade Away.
Following Mark Rae’s departure to L.A, Rhys continued to produce and remix music under the Yesking banner. Production work included The Soothsayers, Warrior One, Tomb Crew, Roll Deep, J2K and Serocess. Remixes included tracks by Recloose, The Nextman, Amy WInehouse, Bob Marley and Billie Holliday. Then there was Rhys’ career composing and recording music for film and television. Still, Rhys found time to record Yesking’s sophomore album Re-Record Not Fade Away. Two years in the making, and featuring an all-star cast, Re-Record Not Fade Away has been worth the five-year wait.
Recording of Re-Record Not Fade Away took place at Rhys’ East London home studio. Much of his house has been converted into a studio. There’s the usual steup of control room and live room, where guitars, bass, drums, vocals and the horn section were recorded. While this isn’t just any studio, Rhys isn’t any producer. He’s old-school producer who loves recording live to a 1960s quarter-inch ferrograph tape-machine. That gives Re-Record Not Fade Away its classic reggae, dub sound. Given Rhys is so passionate about vintage recording techniques, it’s no surprise he’s taken inspiration from the strap-line to Scotch Video Tapes 1980s’ adverts Re-Record Not Fade Away. Fittingly, Scotch’s advertising slogan provided the title for Yesking’s sophomore album Re-Record Not Fade Away. Helping give Re-Record Not Fade Away eclectic sound, are an all-star cast of artists.
Earlier I mentioned that Re-Record Not Fade Away was an old-school album, given it was only ten tracks and fifty-two minutes long. It’s also an album whose influences are rich and varied. There’s everything from hip hop, dub, reggae, soul, funk and dub step. Helping give Re-Record Not Fade Away such an eclectic sound, are the cast of guest artists, including a familiar faces and newcomers alike. There’s Patrick Hatchett, guitarist for The Soothsayers and The Jerry Dammers’ Spatial A.K.A. Orchestra and dancehall pioneer Kenny Knotts. Newcomers include rapper Nyro, vocalists Annie Bea, Mel Uye Parker and Rioghnach Connolly. Then there’s UK Dancehall’s Lady Chann and Togolese Afrobeat singer Kodjovi Kush. Given the rich and eclectic selection of artists who join Rhys Adams on Yesking’s Re-Record Not Fade Away, you’ll realize that what’s in store, is a genre-sprawling music journey.
The opening track Hardground on Re-Record Not Fade Away, demonstrates this. With its hip hop beats, dubby keyboards, funky guitar and pulsating bass, eclectic doesn’t even come close to describing the track. Patrick Hatchett’s guitar adds a funky backdrop to the two new guest vocalists, Mel Uye Parker and Rioghnach Connolly. Rioghnach’s contribution is huge, her vocal veering between wistful and melancholy, right through to emotive, heartfelt and powerful. Rhys Adams rightly describes Hardground as one of his “proudest productions.” One listen and you’ll realize why and realize why it has been chosen as a single.
From the opening bars of the lead single Overproof, you’re won over. It’s impossible not to be. Harmonies joyfully soar, before things get spacey and gloriously dubbed out.The tempo is slow, the rhythms transporting you far, far away. You head to Jamaica, via Labroke Grove. Spacey, dubby drums, a pounding bass and percussion meander along. Drums crack, then echo in the distance. Then Mel Uy-Parker’s sultry, heartfelt vocal enters. It’s surrounded by the fruits of Yesking’s rhythm section. They provide a pulsating heartbeat, that wanders and ambles along. An angelic, crystalline choir of backing vocalists enter, their scatted harmonies sung emotively and with sheer joy. For five minutes, you’re captivated and enthralled, by this spacey, smokey dub-delicious track.
Devil Inside has an understated sound, with tender, laid-back vocal. Then the arrangement bursts into life. It’s a delicious slice of soulful, funky reggae with a heartfelt, pleading vocal. When all this is combined, it’s a delicious musical stew.
Run Boy Run opens, you can tell that Rhys Adams has written and recorded music for films and television. It has a grand, broody and dramatic cinematic sound. Then seamlessly, this cinematic sound is infused with reggae and hip hop. A rapped vocal delivers lyrics full of powerful, social comment, while the arrangement combines reggae and cinematic sounds. The result is a captivating combination of musical genres.
While Re-Record Not Fade Away is packed full of quality music, crucial to the album’s success are the vocals. They add to the album’s eclectic sound. Togolese vocalist Kodjovi Kush, whose musical journey has seen her arrive in East London via Togo and Ghana, adds an Afrobeat influence to the pulsating One More Time. Annie Bea, whose recently signed to Decca, transforms Just Like Me into the sweetest of summer sounding tracks. Surely, it’ll be released as a single during the long summer months? Chicken Chops is another track featuring a stellar vocal. Again, it elevates a good track to the next level. Heartfelt, impassioned and soulful, and delivering against an arrangement where funky horns infuse this uplifting slice of reggae.
Stabs of grizzled horns open Friends Like Mine, which is one of two UK Dancehall tracks. With the horns key to the arrangement, it’s similar to Secret King. It features Lady Chann, a rising star of the UK Dancehall scene. Her swaggering vocal accompanies Mystro’s rap. Hooks are plentiful on a track that’s infectiously catchy, soulful and swings along. Quite simply, it’s the best of the two UK Dancehall tracks.
Raise Up which closes Re-Record Not Fade Away, has a real authentic reggae sound. Featuring one of the most impassioned, emotive vocal, which accompanies scatted harmonies, it’s as if Yesking and Rhys Adams are paying homage to the cast of reggae greats who’ve influenced their music.
Although Yesking’s sophomore album Re-Record Not Fade Away was released five years after Rock The World, and was two years in the making, the wait was well worthwhile. This has given Yesking the opportunity to reinvent their music. Now they’re back, with an album that’s more than a little special. It’s best described as eclectic and genre-sprawling. That’s the best way to describe the ten tracks on Re-Record Not Fade Away. There’s everything from reggae, dub, Lovers Rock, hip hop, UK Dancehall, soul and funk. Playing their part in Re-Record Not Fade Away’s eclectic sound, are a cast of guest artists. Familiar faces and new comers, play their part. This includes Patrick Hatchett, Rioghnach Connolly, Kenny Knotts, Lady Chann Kodjovi Kush, Annie Bea and Mel Uye Parker. Each of this multitalented cast of guest artists plays their part in Re-Record Not Fade Away’s rich and eclectic musical tapestry. They each bring something new and unique to this innovative, musical journey, where musical genres melt into one seamlessly and peerlessly. Unlike many bands who wait five years before releasing their sophomore album, Yesking have survived the wait. Indeed it’s worked in their favor. From the opening bars of Hardground, right through to the closing notes of Raise Up Yesking never miss a beat on Re-Record Not Fade Away. Not only is Re-Record Not Fade Away an advertising slogan, but a perfect description of Yesking and their music, as they continue to Rock This World, and at the same time, innovate bravely and boldly. Standout Tracks: Hardground, Overproof, One More Time and Just Like Me.
YESKING-RE-RECORD NOT FADE AWAY.
JOHN DAVIS AND THE MONSTER ORCHESTRA-AIN’T THAT ENOUGH FOR YOU.
JOHN DAVIS AND THE MONSTER ORCHESTRA-AIN’T THAT ENOUGH FOR YOU.
By 1978, John Davis had established a reputation in music as a successful songwriter, arranger and producer. Ever since the early seventies, he’d been working in Philly, with groups like First Choice, The Intruders, The Soul Survivors and artists like William DeVaughn. Then when he joined the nascent SAM Records, John began developing a reputation as one of disco’s pioneers. He was playing his part in making SAM a label to challenge Salsoul as disco’s premier label. To do this, John had formed his own disco orchestra, John Davis and The Monster Orchestra, to rival the legendary Salsoul Orchestra. Not only had they played on most of SAM Records’ releases, but released two albums. They were 1976s Night and Day, then 1977s Up Jumped The Devil. Soon, John Davis and The Monster Orchestra would release their third album, Ain’t That Enough For You in 1978. Given that The Salsoul Orchestra had lost Vince Montana Jr, its founder, leader, conductor and driving force, the title of disco’s greatest orchestra was up for grabs. Could John Davis and The Monster Orchestra snatch their crown with Ain’t That Enough For You?
With the title of disco’s premier orchestra up for grabs, John Davis and The Monster Orchestra got to work on Ain’t That Enough For You. John wrote the title-track Ain’t That Enough For You, Disco Fever and A Bite Of The Apple. With guitarist Craig Snyder he cowrote I’ll Be The Music. They also cowrote Stay With Me with Vince Fay. David and Dee Ervin cowrote I’ve Got The Hots For You, while Mark Bauman and Marty Markiewicz wrote Whatever Happened To Me and You. The other track might not have seemed like a controversial choice, but it was. It was a cover of the Kojak Theme. Covers of tracks like this, plus novelty songs, were providing ammunition for the anti-disco bandwagon. It was beginning to gather pace. According to them, this was proof that disco was lacking in direction and imagination. Disco they believed, was about to implode. This would prove prophetic in 1979. That was still to come. Before that, John Davis and The Monster Orchestra began recording Ain’t That Enough For You.
When recording of Ain’t That Enough For You began, many of the musicians that featured on Up Jumped The Devil were there. This included guitarist Craig Snyder, bassist Vince Fay, percussionists Larry Washington and Jimmy Walker, while Don Renaldo provided the strings and horns. John Davis played flute, keyboards, saxophone and took charge of vocals. Absent were The Sweethearts of Sigma, who’d played a big part in the success of Up Jumped The Devil. Instead, adding vocals were Billy Harner, Carolyn Mitchel and Vaneese Thomas, daughter of Rufus Thomas. Once Ain’t That Enough For You was completed, it was released in 1978.
Ain’t That Enough For You was released in 1978, but wasn’t a commercial success. The title-track, Ain’t That Enough For You was the lead single, and proved popular in clubs. In the UK, it reached number seventy. Released as the second single, was the Kojak Theme. This may have been to cash-in in the program’s popularity. However, it seemed a strange choice for a single. After all, there were much better tracks on Ain’t That Enough For You, as you’ll realize, when I tell you about the album.
Opening Ain’t That Enough For You, is the title-track, which was one of two singles released from the album. It’s a six-minute epic that explodes into life. A pulsating rhythm section and percussion drive the arrangement along. Then searing, rocky guitars, dramatic keyboards and horns join the fun. Next, the lushest of strings dance in. They dance joyously, above the pulsating arrangement. When a female vocal enters, her vocal is equally joyous, filled with enthusiasm and emotion. Her vocal is swept away, on top of the lushest strings. By now, the track takes on a Euro Disco sound, which when combined with disco and elements of Philly Soul, funk and rock, is a delicious, and heady brew that’s truly dance-floor friendly.
Rolls of drama open Disco Fever, which has a heavier, funkier sound. Tight, urgent and soulful harmonies join the funky rhythm section, percussion, keyboards and chiming guitars. Flourishes of strings and stabs of horns join bursts of dramatic drums. While the arrangement is crucial to the song’s success, so are the harmonies, which are delivered with power and emotion. Later, a growling saxophone solo proves to be the finishing touch, as funk soul and disco unite. That seems to set John Davis and The Monster Orchestra on their way. Spurred on, they continue spreading hooks and happiness aplenty, on this infectiously catchy, soulful and funky slice of classic disco.
Like the previous tracks, I’ll Be The Music just bursts into life, grabbing your attention and taking you on a musical journey. You float along amidst the lushest of strings, while harmonies serenade you and horns salute John Davis’ genius. Meanwhile the rhythm section provide this joyous, uplifting track’s heartbeat. Horns growl and kick, drums pound and horns swirl and cascade, as John Davis and The Monster Orchestra demonstrate just why they were one of the best disco orchestra’s and challenging for The Salsoul Orchestra’s crown
Side One of Ain’t That Enough For You closes with I’ve Got The Hots For You. This is a quite different track. It’s slower, funkier and has a much tougher sound. Vaneese’s sassy, feisty and snarled vocal is accompanied by a P-Funk influenced arrangement. The rhythm section and guitars provide an uber funky backdrop. They’re joined by keyboards and blazing horns. Together, they play their part in a track that’s very different from what’s gone before, but demonstrates there’s much more to John Davis and The Monster Orchestra than disco.
A Bite Of The Apple was written by John Davis. He appears to have found biblical inspiration. It opens Side Two of Ain’t That Enough For You. A pounding, pulsating disco beat is joined by a Spanish guitar as the arrangement becomes jaunty and funky. Flourishes of strings sweep and swirl above the sweet, punchy harmonies as the arrangement gallops away. Spanish horns sound, while percussion and the pulsating beat combine with cascading strings. As Euro Disco and disco are combining, a growling saxophone solo adds a jazzy twist. For five-minutes the track gallops along teasing and tempting, daring you take A Bite Of The Apple, which is quite delicious.
As Stay With Me begins, you sense something is about to unfold. There’s this sense of anticipation when percussion and rhythm section combine. Then flourishes of strings and rasping horns join the punchy, pounding beat. That’s a clue that something is about to make a grand entrance. What it is, is a strutting, soaring vocal. Urgent and dramatic, it joins the swathes of swirling strings, stabs of horns and pounding beats. It’s the missing link. Now everything falls into place. You just sit back and luxuriate in this track where elements of Earth, Wind and Fire, disco and Philly Soul combine. The next six minutes fly by. When the track ends, you can’t resist the temptation to play it again SAM.
Earlier, I mentioned that the inclusion of the Kojak Theme was controversial for many people. However, they’ve probably never listened to this string-drenched fusion of funk and disco. It features the lushest of strings, a funky rhythm section and sassy, sensual harmonies. It’s orchestral, dance-floor friendly, dramatic and funky. If it didn’t happen to be the theme from a popular television show, it would’ve been hailed as a musical triumph.
Whatever Happened To Me and You closes Ain’t That Enough For You. This is four minutes of soulful, disco. The sweetest of harmonies sweep in, accompanied by lush strings, while the rhythm section march the arrangement along. It’s the bass that leads the way, before Craig Synder’s rocky guitar add to the heartache and drama of the lyrics. Later, John Davis unleashes a saxophone solo, as he takes centre-stage. When his solo is over, he passes the baton to the harmonies. They’re at the heart of this beautiful and heartbreakingly sad fusion of disco and soul. This seems the perfect way to close Ain’t That Enough For You, with John Davis and The Monster Orchestra proving whether it’s disco, funk, Philly Soul or Euro Disco, they’re equally at home.
Just like Night and Day, then Up Jumped The Devil, John Davis and The Monster Orchestra’s third album Ain’t That Enough For You continued their ascendancy to the towards becoming disco’s greatest orchestra. Good as Ain’t That Enough For You was, and it’s one of the finest albums by a disco orchestra, John Davis and The Monster Orchestra didn’t quite take the crown from The Salsoul Orchestra. They were still the best disco orchestra. John Davis and The Monster Orchestra were a close second with their fusion of disco, funk, Philly Soul and Euro Disco. During the eight tracks on Ain’t That Enough For You they demonstrate why. Not only were they capable of creating some of the most soulful and dance-floor friendly music, but seamlessly, they could switch between musical genres. There’s no way you could describe John Davis and The Monster Orchestra as a one-trick pony. Not at all. Instead, you could describe them as versatile and multitalented. The eight tracks on Ain’t That Enough For You demonstrates this. Even the Kojak Theme works in the hands of John Davis and The Monster Orchestra. This refuted the accusations that disco lacked direction and imagination. Instead, the hook-laden, soulful and dance-floor friendly Ain’t That Enough For You proved beyond all reasonable doubt that John Davis and The Monster Orchestra were one of the most innovative, influential and multitalented disco orchestras. Standout Tracks: Ain’t That Enough For You, Disco Fever, Stay With Me and Whatever Happened To Me and You.
JOHN DAVIS AND THE MONSTER ORCHESTRA-AIN’T THAT ENOUGH FOR YOU.
THE INTRUDERS-ENERGY OF LOVE.
THE INTRUDERS-ENERGY OF LOVE.
Throughout The Intruders’ career, Gamble and Huff had played an important role in guiding their career. Similarly, The Intruders had proved important in the rise and rise of Gamble and Huff. Indeed, the success Gamble and Huff enjoyed with The Intruders had proved crucial in CBS backing their new label Philadelphia International Records.
By 1974, The Intruders had released four albums for Gamble Records, which was now a subsidiary of Philadelphia International Records. Their debut was 1967s The Intruders Are Together, with Cowboys To Girls following in 1968. 1970s When We Get Married marked the debut of new lead singer Bobby Starr, who’d replaced Sam Brown. Then, there was a three year gap between albums.
When Save The Children was released in 1973, Sam Brown returned to The Intruders’ lineup. By then, Philadelphia International Records was one of the the most successful labels in America. However, it wasn’t on Philadelphia International Records that Save The Children was released. Instead, it was released on Gamble Records. While Save The Children stalled at number 133 in the US Billboard 200, it reached number twelve in the US R&B Charts. Even better, it featured two top ten US R&B singles, I’ll Always Love My Mama and I Wanna Know Your Name. Despite this success, The Intruders’ fifth album, Energy Of Love, wouldn’t be released on Philadelphia International Records. Instead, Energy Of Love was relegated to Gamble and Huff’s new label T.S.OP. Maybe Gamble and Huff felt that The Intruders couldn’t replicate the success of their two biggest singles, Cowboys To Girls and (Love Is Like A) Baseball Game. Sadly, that wasn’t to be. Energy Of Love would not just mark the end of The Intruders and Gamble and Huff’s partnership, but the last that was heard of The Intruders for eleven long years.
With The Intruders now set to release their fifth album, but their first on Philadelphia International Records, work began on Energy Of Love. Gamble and Huff contributed Energy Of Love, A Nice Girl Like You, Lonely Lonely and Be On Time. William DeVaughan wrote Be Thankful For What You Got, John Davis penned Everyone’s A Star and Cary Gilbert and Theodore Life cowrote Plain Ol’ Fashioned Girl. There were also cover of Rainy Days and Mondays, Marvin Gaye’s Jan, Smokey Robinson’s What’s Easy For Two Is Hard For One. These ten tracks were recorded by The Intruders with M.FS.B. providing the musical backdrop at Philly’s Sigma Sound Studios.
At Sigma Sound Studios, for the recording of Energy Of Love, the four members of The Intruders, Sam Brown, Eugene “Bird” Daughtry, Phillip “Phil” Terry and Big “Sonny” Edwards were joined by M.F.S.B. The lineup of M.F.S.B. included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli. They were joined by percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo. Arrangers included Bruce Hawkes and Bobby Martin, while producers included Vince Montana Jr, John Davis and Gamble and Huff.
On the release of Energy Of Love in 1974, it reached just number forty-one in the US R&B Charts. The lead single was A Nice Girl Like You, which reached number twenty-one in the US R&B Charts. Rainy Days and Mondays then reached number eighty-one in the US R&B Charts in 1975. Plain Ol’ Fashioned Girl then failed to chart. Energy Of Love proved to be The Intruders final album with Gamble and Huff. Just as Energy Of Love had marked their debut on the main Philadelphia International Records, it also marked their farewell. However, did The Intruders leave Philadelphia International Records on a soulful high? That’s what I’ll now tell you.
Energy Of Love opens with the Gamble and Huff penned and produced title-track. Straight away, it has a classic Gamble and Huff sound. It’s also packed with social comment and romance. The social comment comes in the shape of the energy crisis. With a mass of lush strings, waves of Hammond organ, blazing horns, percussion and Baker, Harris, Young providing the heartbeat, the scene is set for Sam Brown’s heartfelt vocal. Equally heartfelt harmonies sweep in, strings sweep and horns kick. Sam’s vocal veers between tender, weary and frustrated to joyous and ironic. Norman Harris adds his trademark guitar, harmonies soar and the horns ensure the arrangement swings deliciously along.
Rainy Days and Mondays had been covered by many artists before The Intruders. Arranged and produced by Vince Montana Jr, an understated arrangement unfolds. Vince sprinkles his vibes, lush strings sweep in, horns rasp and Norman Harris adds his jazz-tinged guitar. Sam delivers wistful, vocal, while subtle, but dramatic and soulful harmonies cascade. Later, a sultry saxophone adds the perfect accompaniment to Sam’s melancholy vocal By then, The Intruders with the help of M.F.S.B. and Vince Montana Jr, breath new life, meaning and beauty into a familiar track.
A Nice Girl Like You is the second Gamble and Huff track, arranged by Bobby Martin. Earl Young’s drums pound, strings cascade and horns growl, before Vince Montana Jr’s vibes accompany Sam’s half-spoken vocal. Tinged with regret and sadness, he delivers a heartbreaking vocal, with punchy, soaring harmonies for company. By now, Gamble and Huff have worked their magic. The arrangement has Philly Soul written all over. Heartbreak, emotion and drama, this track has all this and more.
Jan was written by Marvin Gaye for this then girlfriend. Here, Jack Faith arranges the track and Bruce Hawkes produces it. The Intruders give this track from Motor City a Philly makeover. This means a backdrop of lush strings, wistful, then blazing horns, tight and soulful harmonies. Sam lays bare his soul, while Earl Young adds bursts of drama to the string drenched arrangement. Philly Soul and elements of vintage jazz are combined. Unlike so many cover versions, this remake of Marvin Gaye’s original is even more soulful and emotive than the original ever was.
Be Thankful For What You Got closes Side One of Energy Of Love. From the opening bars, you realize something special is unfolding. You’re drawn in, captivated by the fusion of Philly Soul and funk. Norman Harris and Vince Montana Jr combine with growling horns. Baker, Harris, Young combine with tough, funky keyboards as Sam’s joyous, ironic vocal enters. Urgent harmonies soar in, while M.F.S.B. kick loose. Horns kick, strings dance and Norman Harris gives a masterclass on guitar. Spurred on, Sam and the other Intruders deliver the definitive version of this classic track.
What’s Easy For Two Is Hard For One was originally recorded by Mary Wells. It doesn’t just open Side Two of Energy Of Love, but ensures it bursts into life. Baker, Harris, Young provide the dramatic heartbeat, while horns growl and kick. Sam delivers a heartfelt vocal whose influence and soulful roots are in the late fifties and early sixties. Harmonies sweep in, joining the strings and horns, in complimenting Sam’s vocal. By then, Baker, Harris, Young provide a funky, hustle sound, while the rest of the arrangement has a vintage, soul sound. This captivating combination of influences results in a sweet, soulful track.
After working with Gamble and Huff since the mid-sixties, Lonely Lonely was the last Gamble and Huff song The Intruders recorded. They didn’t realize this when they cut this M.O.R. influenced-track. Arranged by Bobby Martin, featuring the classic lineup of M.F.S.B. and written, arranged and produced by Gamble and Huff, Lonely Lonely proved a heartbreaking, but soulful parting of the ways.
Everyone’s A Star was written, arranged and produced by John Davis, who later found fame with John Davis’ Monster Orchestra. It would include many former members of M.F.S.B. Here, John’s arrangement has a laid back sound, allowing The Intruders to showcase their sweet, charismatic harmonies. They feed off Sam, and with M.F.S.B. providing the backdrop, it seems Everyone’s A Star.
Plain Ol’ Fashioned Girl sees The Intruders rail against city women, preferring old-fashioned country girls. Swathes of strings cascade, horns growl and kick, while Baker, Harris, Young provide the arrangement’s heartbeat. Having set the scene, Sam’s emotive, impassioned vocal enters. Cooing harmonies melt soulfully. They sit beautifully with the string-laden backdrop. Later, a blazing horn solo adds to the emotion, as Sam pleads, begs and lays bare his soul and loneliness.
Be On Time, with its understated introduction closes Energy Of Love. That’s something of a teaser and curveball. Just Norman Harris’ guitar and lush strings combine. Then when Earl Young’s thunderous drums pound, percussion and swathes of strings swirl. Sam’s tender, needy vocal is accompanied by tight, urgent harmonies. Flourishes of keyboards, dancing strings, growling horns and a hustle backbeat join soaring harmonies. Together, they provide a Philly Soul backdrop for Sam’s emotive vocal. Soulful, dramatic and laden with hooks, this enchanting slice of sweet Philly Soul seems a fitting may for The Intruders to say farewell to Gamble and Huff and Philadelphia International Records.
While Energy Of Love failed to match the success of their previous album Save The Children, or their early albums, it wasn’t because of the quality of their music. Quite the opposite. Energy Of Love, like Save The Children and their first two albums, featured the classic lineup of The Intruders. During the ten songs that comprise Energy Of Love, The Intruders combine new songs and cover versions. With the cover versions, they breath new life and meaning into them. Rainy Days and Mondays and Jan are proof of this. Of the new songs, Gamble and Huff contributed four classy tracks. They were tailor-made for The Intruders vocal and harmonic talents. Accompanying The Intruders were the classic lineup of M.F.S.B. with some of the greatest musicians of the seventies. So, Energy Of Love featured The Intruders, a talented group at the height of their powers, delivering some great material, backed by the greatest house-band of the seventies, M.F.S.B. What went wrong then?
There are several explanations for the relative commercial failure of Energy Of Love. There were many more Philly Soul groups vying for the public’s attention. The Spinners, Blue Magic, The Stylistics, The O’Jays and Harold Melvin and The Blue Notes were all The Intruders’ contemporaries and rivals. Then we need to ask whether Energy Of Love was promoted heavily enough? Or were the wrong singles were released from Energy Of Love? It could’ve been that The Intruders’ music was no longer as fashionable? After all, musical tastes were changing. By 1975, disco was about to become the most popular musical genre. While Philly Soul was still popular, disco was about to steal Philly Soul’s crown.
So, after Energy Of Love, The Intruders were dropped by T.S.OP. Then a year later, they split up in 1975. Nothing more was heard from The Intruders until 1984, when Eugene Daughtry put together a new lineup of The Intruders. They released Who Do You Love in 1985. However, the new lineup of The Intruders featured no other original members. It was a disappointing comeback, and although technically, Who Do You Love was The Intruders final album, morally, and in the eyes of Philly Soul lovers, Energy Of Love was their farewell album. Indeed, Energy Of Love saw The Intruders do what they’d done so well since 1967, sing sweet Philly Soul. Standout Tracks: Energy Of Love, A Nice Girl Like You, Be Thankful For What You Got and Plain Ol’ Fashioned Girl.
THE INTRUDERS-ENERGY OF LOVE.
DONNA WASHINGTON-GOING FOR THE GLOW.
DONNA WASHINGTON-GOING FOR THE GLOW.
Although Donna Washington had established a reputation as a talented singer it was only when she took part in a gospel concert in her hometown of Los Angeles that she attracted the attention of record companies. At that concert, was producer and songwriter Don Daniels. Realizing that Donna had talent and potential, he recorded demos with Donna. Don sent the demos to Motown Records, where Suzanne De Passe heard the demo. She too, realised that Donna Washington was talented and had a big future ahead of her. The only problem was, Motown weren’t signing anyone more artists. So Suzanne passed the demo tape to Capitol Records.
Soon, Donna was asked to attend a meeting with Cecil Hale at Capitol Records. Without even asking Donna to audition, he signed Donna to Capitol, telling her that she was going to be the next Natalie Cole. Then in 1980, Donna released her debut album For The Sake Of Love. Produced by Cecil Hale and Don Daniels, For The Sake Of Love was released to critical acclaim, but wasn’t a commercial success. It did lift Donna’s profile within the music industry. People within the industry were taking notice of Donna Washington. For Donna’s sophomore album, 1981s Going For The Glow, which will be rereleased by SoulMusic Records on 25th March 2013, there was a change of producer.
Veteran songwriter and producer Chuck Jackson was brought in to produce Going For The Glow. With his talent and experience, Chuck’s remit was to build on Donna’s critically acclaimed debut album For The Sake Of Love. Critical acclaim was all very well, but commercial success was what Donna Washington needed. With Chuck Jackson producing Going For The Glow, could Donna Washington achieve critical acclaim and commercial success with Going For The Glow?
For Going For The Glow, Donna Washington’s 1981 sophomore album, Chuck Jackson, who by then was a veteran songwriter contributed two tracks. He cowrote Save Your Love For Me with Tony Coleman and Share Your Life With Me with Michael Wycoff. Brenda Russell wrote Going For The Glow and cowrote It’s Something with David Foster. David Lasley also cowrote two tracks. With Luther Vandross he penned ‘Scuse Me While I Fall In Love and I See Home with Allee Willis, who cowrote I Want You Tonight with David Jenkins and Cory Lerios. The other track was Nine To Five (Come Alive) written by Thomas Jones III and Daniel Witherspoon Jr. These ten tracks became Going For The Glow, which was recorded at MCA Whitney Recording Studio in Glendale, California.
Having put together some strong songs for Donna Washington’s sophomore album Going For The Glow, Chuck Jackson pulled out the stops when it came to a backing band. At MCA Whitney Recording Studio, the band included a rhythm section of bassists Nathan East and Freddie Washington, drummers Leon Ndugu Chancier and James Gadon and guitarists Paul Jackson Jr, E.J. Mitchell and Michael McGloiry. Paulinho DaCosta added percussion, while Michael Boddicker and Tony Coleman played synths and John Barnes, Tony Coleman, Nick Jackson and Patrice Rushen played keyboards. Backing vocals came courtesy of The Water Sisters, Maxine, Julia and Oren. The recording sessions weren’t without incident. Donna was heavily pregnant and went into labor when she had just finished the final track. Once Going For The Glow was completed, it was released in 1981.
On the release of Going For The Glow in 1981, it reached number fifty-three in the US R&B Charts. The lead single was ‘Scuse Me While I Fall In Love, which also reached number fifty-three in the US R&B Charts. Going For The Glow was then released as a single, but failed to chart. Going For The Glow had surpassed the success of For The Sake of Love. While it may not have been a huge commercial success, it marked progress for Donna Washington. However, why was Going For The Glow such a successful album? That’s what I’ll now tell you.
Opening Going For The Glow is ‘Scuse Me While I Fall In Love. Just a laid-back piano and meandering bass combine with Donna’s sassy half-spoken vocal. Then it’s all change. Backing vocalists sweep in and then the track explodes. Funky and pulsating, thanks to the rhythm section, Donna struts, sassily and confidently her way through the track. The Waters Sister add gospel-tinged harmonies, horns growl and blaze and Donna’s vocal becomes a powerful vamp. By now, it’s hard to believe this is only Donna’s sophomore album. She gives an assured, confident performance, finding her inner diva, as she struts here way through the track.
It’s Something is a mid-tempo track, with an understated, jazz tinged sound. Donna’s vocal is much more tender, but truly heartfelt. Cooing harmonies are equally heartfelt, while keyboards and the rhythm section provide a subtle backdrop. Brief bursts of growling horns add drama, but mostly, the arrangement meanders behind her vocal. This allows Donna to demonstrate her musical versatility, delivering a quite beautiful, captivating vocal.
Save Your Love For Me sees a return to the heavier, funkier sound. Stabs of grizzled horns and synths, whooping backing vocalists, swirling strings and a funky rhythm section provide a dance-floor friendly backdrop. Donna’s vocal is dramatic, deliberate. Later, it becomes emotive and needy. She’s accompanied by flourishes of soaring backing vocals, pounding drums and buzzing synths. By then, Donna is mixing drama, power and bursts of emotion. Her performance is soulful, confident and much more assured than her tender years.
It’s as if Going For The Glow veers between uptempo and slow tracks. I See Home is one of the best ballads. It fuses elements of country and soul. Again, the arrangement with keyboards at its heart, allows Donna’s captivating vocal to be the focus of your attention. The Waters’ Sisters add elegant, sweeping harmonies, while the rhythm section and flourishes of strings play important parts. Later, a searing guitar provides the finishing touch, as Donna delivers one of her most impassioned, moving and compelling vocals.
Nine To Five (Come Alive) sees the tempo rise. From the get-go, you realize something special is unfolding. Producer Chuck Jackson ensures the arrangement doesn’t give away its secrets too soon. When the subtle piano and wistful horn enter, they prove to be a curveball. Then when the rhythm section, blazing horns and piano unite to drive this stomping track along, Donna delivers a powerful, sassy vocal. Feisty and rock-tinged, Donna is joined by The Waters’ Sisters, who add cascading harmonies. They seem to spur Donna on, as she unleashes a vocal that’s fiery, feisty, sassy and laden with confidence. For their part, her band raise their game, delivering their best performance on Going For The Glow. Along with Donna, they ensure the track swings…and then some.
Bursts of punchy horns and dramatic, soaring soulful harmonies open Going For The Glow. Having grabbed your attention, the arrangement becomes a bit more understated, with Donna’s vocal tender and soulful. Soon, she and her band begin to kick loose. Strings sweep and swirl, horns blaze and the rhythm section provide the heartbeat. Harmonies sweep in and the arrangement becomes soulful and dance-floor friendly. Donna makes the song her own, using her full vocal range, pleading and begging, mixing power and passion, during this hook-laden dance track.
Horns blaze, before the arrangement to Share Your Life With Me becomes much more understated. This signals the entrance of Donna’s impassioned, needy vocal. Tender and filled with emotion, she’s joined by The Waters’ Sisters. They add tight, soulful and heartfelt harmonies. Keyboards and strings add to the arrangement’s beauty as Donna delivers a vocal laden with feeling and sincerity. Again, this demonstrates just how good Donna is at bringing life and meaning into lyrics. Given her talent, she should’ve been a huge star.
I Want You Tonight closes with Going For The Glow, an uptempo track, driven along by searing guitars, synths and the rhythm section. It’s quite different from other tracks, given its rockier feel. Regardless of this, Donna makes the song work. Feisty and deliberate, she annunciates every word, ensuring you listen to every word. While Donna plays the starring role, The Waters’ Sisters play their part. Their soaring, dramatic, gospel-tinged harmonies are the perfect foil for Donna’s vocal, complimenting her every step of they way. Along with Donna, they make this catchy, memorable song work.
Listening back to Donna Washington’s sophomore album, Going For The Glow thirty-two years after its release, it’s quite incredible that it wasn’t a huge commercial success. Donna was a hugely talented vocalist. Whether it was ballads, dance tracks or uptempo songs, Donna was equally comfortable. Similarly, Donna could deliver soulful, funky or dance tracks. She truly was a versatile vocalist. So, it’s no wonder when Cecil Hale at Capitol Records signed Donna, that he thought she’d be the next Natalie Cole. It certainly wasn’t talent Donna Washington lacked. Sadly, Donna’s career only lasted three albums. After Going For The Glow, Donna Washington only released one more album, 1982s Just For You. Like her first two albums, Just For You wasn’t a huge commercial success. So, following Just For You, Donna left Capitol Records.
Maybe Capitol wasn’t the right label for Donna Washington. If she’d signed to another label maybe she’d have enjoyed much more commercial success and critical acclaim. The other problem was that musical tastes had changed. This was the age of electronic music. Possibly, if Donna had released her three albums a few years earlier, she’d have been a much more successful artist. Whatever the reason, Donna Washington never became the next Natalie Cole. Neither did Donna Washington receive the critical acclaim and commercial success her talent deserved. Instead, she released just three albums, including Going For The Glow, which will be rereleased by SoulMusic Records on 25th March 2013. It’ll only take one listen to Going For The Glow, and you’ll realize that Donna Washington should’ve enjoyed a much longer and more successful career. Standout Tracks: It’s Something, Save Your Love For Me, I See Home and Share Your Life With Me.
DONNA WASHINGTON-GOING FOR THE GLOW.
JERRY BUTLER-LOVE’S ON THE MENU AND SUITE FOR THE SINGLE GIRL.
JERRY BUTLER-LOVE’S ON THE MENU AND SUITE FOR THE SINGLE GIRL.
In 1975, Jerry Butler’s contract with Mercury Records was about to expire. He’d spent nine years at Mercury, ever since the demise of Vee-Jay Records. Since then, Jerry’s career had been in the ascendancy. Jerry had established a reputation as one of best, most charismatic and successful soul singers of his generation. Indeed, at Mercury Jerry had enjoyed his only million-selling single, Hey Western Union Man, produced by Gamble and Huff, who played a huge part in Jerry’s commercial success. With Gamble and Huff, Jerry enjoyed hit singles like Moody Woman, What’s The Use of Breaking Up and Never Give You Up. Gamble and Huff also produced Jerry’s most successful album, The Iceman Cometh. It was won of over twenty albums Jerry had released. Most of them were solo albums, but Jerry had released albums with Betty Everett, Gene Chandler and The Impressions. Jerry had even turned his hand to soundtrack albums. Versatile, charismatic and a talented singer and songwriter describes Jerry Butler. Given how influential Gamble and Huff had been in Jerry’s career, it seems strange that Gamble and Huff didn’t try to sign Jerry to Philadelphia International Records in 1975. Instead, Jerry would sing to Motown, the self-styled “hit factory.” Next stop for Jerry Butler after Mercury would be Motown Records.
Ewart Amber, who Jerry knew from his days at Vee-Jay had worked at Motown since 1967. Motown had been his home since Vee-Jay shut its doors. So when Ewart heard that Jerry was leaving Mercury he made a phone to The Iceman. Soon, Jerry was signing a four record deal with Motown. Jerry Butler’s first two albums for Motown were 1976s Love’s On The Menu and 1977s Suite For The Single Girl which will be rereleased by SoulMusic Records on 18th March 2013. This marked a new chapter in Jerry Butler’s career. After nine years at Mercury, where Jerry enjoyed commercial success and critical acclaim would this continue at Motown? That’s what I’ll tell you, when I tell you about Love’s On The Menu and Suite For The Single Girl.
LOVE’S ON THE MENU.
For Jerry’s Motown debut Love’s On The Menu, the ten tracks on the album were written by Motown artists and staffers and Jerry’s Chicago songwriting contacts. Jerry penned I Don’t Want To Know Nobody with Michel Sutton, and cowrote I Think That She’s In Love with Sam Brown. He also cowrote Don’t Let This Smile Fool You and Love’s On The Menu Tonight with Michael Smith, who contributed The Devil In Mrs Jones. Songs written by Motown artists and staffers included Lionel Ritchie’s This Is Your Life, Stevie Wonder and Syreeta Wright’s I’m Goin’ Left and Leon Ware and Pam Sawyer’s Early Bird. Along with Harold Johnson’s I Don’t Wanna Be Reminded and Jeff Barry and Peter Allen’s I Honestly Love You, these ten tracks became Jerry’s Motown debut Love’s On The Menu.
Recording of Love’s On The Menu took place at Motown’s Recording Studios in Hollywood. A number of producers worked on Love’s On The Menu, including Mark Davis, Sam Brown, Michael Sutton and Hal Davis. Similarly, various arrangers were brought in. Tom Baird, Art Wright, William Goldstein, Clayton Ivey, Terry Woodford and Skip Lane joined Mark Davis. Along with the band, came a full string and horn section. It seemed no expense had been spared for Motown’s latest signing for Jerry’s Motown debut Love’s On The Menu. While Love’s On The Menu, was success on the menu for Jerry Butler?
On the release of Love’s On The Menu in 1976, it only reached number forty-nine in the US R&B Charts. Then when The Devil In Mrs Jones was released as a single, it stalled at number fifty-five in the US R&B Charts. It seemed that Love’s On The Menu, with its combination of cover versions, ballads and dance tracks, hadn’t found favor with America’s record buying public. Mind you, music was changing, so with 1976 being the height of disco’s popularity, had Jerry’s music fallen victim to musical fashions? That’s what I’ll tell you, once I’ve told you about the music on Love’s On The Menu.
Opening Love’s On The Menu on a high is I Don’t Want Anybody To Know. It’s an upbeat, dance-floor friendly slice of emotive soul from Jerry. He literally rolls back the year. With dramatic backing vocalists, dancing strings and growling horns for company, he storms his way through the track, demonstrating The Iceman is back. I’m Goin’ Left is a similar sounding track, where the soulfulness and quality continues. Jerry sings call and response with his backing vocalists, while a pulsating beat provides the pounding heartbeat. Again, the strings and backing vocalists play crucial roles, as Jerry unleashes a vocal which fuses power and passion.
Don’t Want To Be Reminded sees the tempo drop and dramatic keyboards set the scene for Jerry. His vocal is filled with heartache and hurt he lays bare his soul. Just the piano, bass and wistful strings provide the backdrop for his vocal. before a rasping horn and gospel-tinged backing vocalists add the finishing touch. They play their part in the heartbreakingly sad, dramatic and beautiful song.
As Don’t Let The Smile Fool You unfolds, the drama builds before Jerry’s vocal grows in power and emotion. Testifying backing vocalists, pounding drums and quivering strings join Jerry as the drama builds. Ruefully, with the benefit of experience and hurt he warns: “Don’t Let The Smile Fool You.” Soulful and laden with drama and emotion, it’s vintage Jerry Butler.
I Honestly Love You has an understated, wistful and jazz sound when it opens. Jerry’s pensive, tender vocal delivers each word thoughtfully and carefully. Throughout the track, the arrangement with its lush strings, cooing harmonies and guitar compliments the arrangement, allowing Jerry to deliver his most heartfelt and sincere vocal on Love’s On The Menu. Pounding, dramatic drums give way to a jazz-tinged arrangement. Horns rasp, as the arrangement starts to swing. Spurred on, Jerry’s vocal is needy and filled with longing. Harmonies sweep in, complimenting Jerry’s vocal, while strings sweep, horns rasp and drums add to the sense of drama and anticipation.
Very different is The Devil In Mrs Jones, the single released from Love’s On The Menu. It has a tougher, funkier sound, with Jerry’s vocal a sassy, vamp. It’s as if its inclusion is to make Jerry’s music appealing to a wider audience. Cooing, punchy harmonies accompany Jerry as he unleashes a powerful, growling vocal. His band kick loose, delivering a storming performance, and with Jerry, play their part in this tougher, funkier and more contemporary sounding track.
Thank You Early Bird returns to Jerry’s more familiar sound. A spacious arrangement where strings, harmonies and drums play crucial roles accompany Jerry. His vocal takes centre-stage, growing in power and confidence. Indeed, the longer the track progresses, the better Jerry’s vocal and the arrangement get. Helping Jerry no end, are the backing vocals who add to the track’s sheer soulfulness.
I Think She’s In Love sees Jerry drop the tempo again. The subtle arrangement sees Jerry and ethereal backing vocalists feed off each other. Their vocals are impassioned, tender and truly heartfelt. Lush strings, wistful horns and a meandering bass reinforce the beauty and elegance of this gorgeous paean to love.
Closing Love’s On The Menu is what Jerry does so well, sing ballad. Although understated at the start, the arrangement uses synths and sound effects. Thankfully, they don’t detract from Jerry’s vocal. As his vocal grows in power, passion and sincerity, the arrangement grows in power. When things settle, strings swirl, harmonies soar and horns blaze. This spurs Jerry on to deliver a compelling, impassioned vocal.
Jerry Butler’s Motown debut, Love’s On The Menu, might not have been his most successful album, but there was nothing wrong with the music. With it’s combination of ballads and uptempo dance tracks, Love’s On The Menu demonstrated why Jerry Butler had enjoyed such a long and successful career. Maybe the problem was, that Jerry’s music hadn’t changed with musical fashions. Having said that, rather than sell his soul to disco like other artists did. Maybe that’s why Love’s On The Menu has stood the test of time. It’s a classy, smooth and soulful collection of ballads and dance tracks. Maybe Jerry’s fortunes would change with Suite For The Single Girl, his third concept album.
SUITE FOR THE SINGLE GIRL.
Following the disappointment of Love’s On The Menu, Jerry returned in 1977 with his second Motown album. This was another of Jerry’s concept albums, Suite For The Single Girl. This was his third concept album, following in the footsteps of 1968s The Iceman Cometh and 1969s Ice On Ice. For Suite For The Single Girl, Jerry changed things about. He brought in Homer Talbert and with Jerry, the pair cowrote four of the nine tracks. This included Suite For A Single Girl, I Wanna Do It To You, What A Pleasant Surprise and Let’s Get Out Of Town. Paul Wilson penned Mrs Fine, Chalk It Up and Music In Her Dreams/Dream Music. The other two tracks were written by Keithen Carter and Michael Ward. With new songwriters working on Suite For The Single Girl, there were changes in the recording of the album.
Rather than just record in Los Angeles, Jerry spilt recording between Motown’s Recording Studios in Hollywood and Chicago’s Chicago Recording Company. Maybe Jerry felt returning to Chi Town, where he grew up and first found success would prove beneficial to Suite For The Single Girl. Jerry, Homer Talbert and Paul Wilson produced Suite For The Single Girl, while Paul and James Mack arranged the tracks. With two studios being used, this meant two bands. This included a rhythm section of drummers Steve Cobb and Bryan Grice, bassists Tiaz Palmer and Jeffrey Simon and guitarists Byron Gregory and Danny Leake. Vince Willis, Dean Grant and Tennyson Stevens played piano and Fred Walker and Marvin Sparks added percussion. They were joined by ab horn and string session. Once Suite For The Single Girl was recorded, it was released in 1977. Would Suite For The Single Girl see Jerry’s fortunes improve.
Suite For The Single Girl was released in 1977, and saw an upturn in Jerry Butler’s fortunes. It reached number 146 in the US Billboard 200 and number twenty-two in the US R&B Charts. The lead single, I Wanna Do It To You reached number fifty-one in the US Billboard 100 and number seven in the US R&B Charts. Then Chalk It Up reached number twenty-eight in the US R&B Charts and number thirty-nine in the US Dance Music/Club Play Charts. Jerry’s decision to change songwriting partners and record in Chicago had been vindicated. However, what made Suite For The Single Girl such a successful album?
Suite For The Single Girl, which opens with the title-track was Jerry’s third concept album. Jerry dedicates it: “to all the single girls.” Quickly, he unleashes a vocal filled with heartache and hurt, where hope and happiness is long-gone. As they grow older, their chances of happiness slip away. While Jerry’s vocal is tinged with sadness, as strings and backing vocalists accompany him. Although melancholy and heartbreaking, the quality of the lyrics and Jerry’s vocal is peerless.
A rasping horn opens I Wanna Do This To You, before Jerry’s needy vocal enters. Harmonies accompany him, while the arrangement unfolds in waves. Strings sweep in, harmonies soar and Jerry pleads and begs, his vocal sensual and needy.
Ms. Fine is an uptempo, dance track. Horns growl, drums pound and stabs of keyboards set the scene for Jerry’s confident vamp. Strings dance, horns kick and a funky bass weaves its way across the arrangement. Cascading harmonies and thunderous drums play there part in this irresistible dance track.
A meandering keyboard opens What A Pleasant Surprise, which is very different from other tracks on Suite For The Single Girl. It has a slight Caribbean influence. The understated, laid-back arrangement is perfect for Jerry’s vocal. It’s loose, joyous and laden with emotion, as Jerry demonstrates another side to him music.
Chalk It Up is another uptempo, dance track. Again, it’s a track with a funky side. Jerry sings call and response with his backing vocalists, before the arrangement reveals it secrets. Strings quiver and shiver, the rhythm section and guitar add drama and funk. Jerry, with handclaps and harmonies for company, delivers a charismatic vocal, while this hypnotic, drama laden track reveals its hidden depths.
Music In Her Dreams/Dream Music is a two part suite lasting nearly eight minutes. It’s captivating, filled with drama and emotion. Jerry sings about a woman who loves music, but can only sing in her sleep. His vocal paints pictures that unfold before your eyes. The rest of the arrangement is like a painters palette, adding color and detail to this emotive, wistful musical picture.
Only Pretty Girls is another song with a message. Jerry’s message is that Only Pretty Girls exist in films, television and magazines. That’s make believe Jerry sings, not reality. He does this against a string drenched, dramatic backdrop. Jerry tells it like it is. He rails against this idealistic, media driven portrayal of women and beauty, while telling the truth about life and reality.
Moody and dramatic describes Let’s Go Get Out Of Town. The tough, edgy sound of a clavinet grabs your attention, before keyboards and a bass rhythm section driven along by the bass take charge. By now the arrangement has a funky sound, while Jerry’s vocal is smooth and soulful. He becomes the bedroom balladeer, his pleas to: “let’s get out of town,” met with approving purring harmonies. Funky, soulful and sensual, The Iceman turns bedroom balladeer, with his smooth, sultry vocal.
You Gotta Believe In Me closes Suite For The Single Girl. Piano, a pounding rhythm section and growling horns signal the arrival of Jerry. He picks up the baton, delivering a powerful, impassioned vocal. Cooing, punchy harmonies accompany Jerry, before horns kick and growl. From there, Jerry unleashes one of his trademark powerful, vampish soulful vocal. Testifying harmonies accompany him, as Jerry and his band ensure Suite For The Single Girl on a pulsating, soulful high.
Just like Jerry Butler’s previous album Love’s On The Menu, Suite For The SIngle Girl didn’t succumb to the vagaries of changing musical trends. Granted there were several uptempo, dance tracks, but mostly, Jerry stuck to what he did best, singing soul. Not for Jerry trying to catch a wave of a musical trend with a disco track, like many artists did. Instead, he stuck to his musical principles and kept this soulful. Bedroom ballads and song laden with heartache and hurt sit comfortably side-by-side. The result is a concept album full of emotion, sadness, joy, need and unattainable dreams. Intelligent, intriguing and captivating describe Suite For The SIngle Girl. So too, does hook-laden and soulful, just as Jerry “The Iceman” Butler had been doing for two decades. With his Chi Town musical friends, Suite For The SIngle Girl saw The Iceman back to his best.
Indeed Love’s On The Menu and Suite For The Single Girl, Jerry Butler’s first two Motown album which will be rereleased by SoulMusic Records on 18th March 2013, demonstrate one of the legends of soul music at his the height of his powers. Motown proved to be the perfect label for Jerry Butler. It allowed him the creative freedom to express himself musically, without wanting him to be a hostage of fortune to musical trends. Standout Tracks: Don’t Want To Be Reminded, I Think She’s In Love, Ms. Fine and You Gotta Believe In Me.
JERRY BUTLER-LOVE’S ON THE MENU AND SUITE FOR THE SINGLE GIRL.
STEPHANIE MILLS-MERCILESS.
STEPHANIE MILLS-MERCILESS.
Sometimes, when an artist enjoys commercial success and critical acclaim early in their career, they spend the rest of their career trying to match this success. In the case of Stephanie Mills, this was the case. Her third album Whatcha Gonna Do With My Loving, this proved to be the most successful album of her career. It reached number twenty-two in the US Billboard 200 and number twelve in the US R&B Charts. After that, try as she could, Stephanie never replicated that success. Neither 1980s Sweet Sensation, nor 1981s Stephanie matched the commercial success of Whatcha Gonna Do With My Loving. While Stephanie consistently released hit singles, album success eluded her. So, in 1982, Stephanie change labels, signing to Casablanca Records. Tantalisingly Hot, Stephanie’s 1982 debut for Casablanca got her career back on track, reaching number forty-eight in the US Billboard 200 and number ten in the US R&B Charts. Stephanie’s career, it seemed, was back on track. So in 1983, when Stephanie Mills released Merciless, which will be rereleased on 18th March 2013, by Soul Music Records, it seemed her career was about to enjoy commercial success and critical acclaim again. Would that be the case with Merciless?
For Stephanie Mills’ seventh album Merciless, she’d join up with the production team of Phil Ramone and Charles Koppleman, who’d established an enviable reputation within the music industry. Joining Phil and Charles for the recording of Merciless, were David Wolfert and Gary Klein, who’d take charge of arranging. They were also talented songwriters, who’d written The Four Tops’ When She Was My Girl. For Merciless, David Wolfert cowrote Never Get Enough of You and Here I Am with Henry Gaffney. Stephanie cowrote His Name Is Michael with Cassandra Mills and Michael Sembello. Jay Asher and Paul Jabara penned Eternal Love, Peter Kingsbury wrote Pilot Error and Kleinberg and Schukket cowrote Since We’ve Been Together. Barbara Morr and Betsy Mathes cowrote Do You Love Him, while Stephanie covered Prince’s How Come U Don’t Call Any More. The other track was My Body, which written for Stephanie by Luther Vandross. These nine tracks became Merciless.
Recording of Merciless took place at four studios in New York and Los Angeles. In New York, recording took place at The Hit Factory and Automated Sound Studios. Over in Los Angeles, Cherokee Recording Studios and the Record Plant were used. The band that accompanied Stephanie included some top session musicians. This included a rhythm section that variously included drummers Ed Greene, Carlos Vega and John Robinson, bassists Nathan East and Neil Stubenhaus and guitarists Michael Sombello, David Wolfert, Thomas Rotella and Carlos Rios. With this being the age of the synth, Ed Walsh, Johnny Mandel and Ian Underwood were drafted in. Greg Phillingaines played piano and keyboards, while percussion came courtesy of Lenny Castro and Victor Feldman. Backing vocalists included Peggie Blu and Yvonne Lewis. David Wolfert and Gary Klein arranged several tracks, while f Phil Ramone and Charles Koppleman produced Merciless. Once Merciless was completed, it was due for release in 1983. Would Merciless see Stephanie Mills’ career revival continue.
On the release of Merciless in 1983, it reached just number 104 in the US Billboard 200 and number twelve in the US R&B Charts. After the success of Tantalizingly Hot this was disappointing. Pilot Error was released as the lead single from Merciless. It reached number twelve in the US R&B Charts and number three in the US Dance Music/Club Play Charts. How Come U Don’t Call Any More then reached number twelve in the US R&B Charts. A small crumb of comfort for Stephanie was that, at least the singles released from Merciless fared better than those released from Tantalizingly Hot. However, why didn’t Merciless match the success of Tantalizingly Hot? That’s what I’ll now tell you.
Opening Merciless, is How Come U Don’t Call Any More, written by Prince. Rather than reinvent the song, Stephanie and her producers don’t try to reinvent the song. Instead, against a mid-tempo, moody piano-lead arrangement Stephanie delivers a vocal that’s filled with hurt and heartbreak. Gospel tinged harmonies and growling horns join the piano in playing crucial roles in the song’s success. Indeed, so good is this emotive, powerful, cover version, that I prefer it to the original.
Never Get Enough of You sees the tempo rise, and the quality continue. This is a much more dance-floor friendly track. With banks of synths joining a funky rhythm section and percussion, Stephanie’s sassy vocal ensures the song swings. Soaring equally sassy, soaring harmonies and bursts of pounding drums add to the drama. Chiming guitars add to the arrangement’s funkiness, while the synths provide the backdrop for Stephanie’s strutting diva-esque vocal.
The tempo drops way down, as understated keyboards open Eternal Love. Straight away, there’s a melancholy sound to the arrangement. Then when Stephanie’s vocal enters, it’s filled with sadness and longing. Keyboards, a prowling bass and swathes of strings join cascading harmonies as Stephanie’s vocal grows in power and passion. Backing vocalists and lush string join Stephanie, as she demonstrates her ability to breath life meaning and emotion into this beautiful ballad. Not only that, but it demonstrates her versatility as a vocal.
His Name Is Michael is a track Stephanie cowrote. This allows Stephanie to showcase her talents as a songwriter. She’s joined by Peggy Blu, who Stephanie picked to sing this duet. Just slow, spacious drums, guitars and bass combine, before Stephanie’s half-spoken vocal enters. Soon, her vocal grows in power and joy, becoming ethereal. Peggy’s vocal is deeper and matches Stephanie for power. Their voices prove the perfect fit. They’re vocals are the focus of your attention, while the arrangement meanders behind them. Mostly, it’s a song filled with joy and hope, which latterly gives way to humor and frustration. It’s a track with a sting in the tale, about a two-timing guy who gets found out.
Here I Am has a vibrant, upbeat, cascading arrangement and punchy, kicking horns, that scene’s set for Stephanie’s vocal. Straight away, you realize the song is tailor made for Stephanie. She delivers a heartfelt, joyful vocal, while synths, blazing horns and the rhythm section provide a dance-floor friendly arrangement. Soon, Stephanie and her band hit a groove. They feed off each other, and drive each other to greater heights. The result is an irresistible and infectiously catchy track that should’ve been released as a single.
My Body was written for Stephanie by her longtime friend Luther Vandross. While it’s a good song, it has Luther’s trademark sound. Like many songwriters, Luther Vandross had a signature sound. This track is an example of this. However, Stephanie grabs the track and through sheer will and determination, makes it work. It has a dramatic, driving piano lead arrangement. Soaring harmonies, synths and the rhythm section enter, while Stephanie combines energy, enthusiasm and exuberance to make the song a success.
As Do You Love Him unfolds, the song and its arrangement is reminiscent of Eternal Love. Both tracks have understated arrangements and use keyboards and layers of strings. This works though, allowing you to focus on Stephanie’s impassioned, captivating vocal. Power, emotion and sincerity are combined by Stephanie, as again, she reinforces that when it comes to ballads, she was one of the best female singers of the late-seventies and eighties.
Drums pounds, joining washes of synths and percussion as the dance track Pilot Error reveals its secrets. It’s very different from previous tracks. There’s a tougher sound to the eighties arrangement, while Stephanie’s vocal has a rawer sound. The arrangement is a mass of synths, searing rocky guitars and cascading harmonies. Although made for the dance-floor, eighties electronica and rock are fused, resulting in a track that can be dated to the early eighties. However, it does allow Stephanie to show another side to her music.
Since We’ve Been Together closes Merciless. Just an uber funky bass and keyboards combine to give the arrangement an understated, but funky, upbeat sound. Then when Stephanie’s vocal enters, it’s sweet, soulful and filled with hope and happiness. This song is much more suited to her. Similarly, the arrangement compliments her vocal. It doesn’t overpower Stephanie’s vocal. Instead, it’s almost understated, playing a supporting role to Stephanie, as she closes Merciless on a soulful, dance-floor friendly high.
Of the trio of albums Stephanie Mills recorded for Casablanca Records, Merciless is without doubt, the best. Merciless marks a return to form for Stephanie Mills. During the nine tracks on Merciless, Stephanie mixes soulfulness with a dance-floor friendly sound. Opening Merciless is Stephanie’s cover of Prince’s How Come U Don’t Call Any More. It’s so good, I prefer it to the original. Then on Never Get Enough of You, Stephanie is transformed into a dance-floor diva. Eternal Love, like Do You Love Him, is a gorgeous ballad, and is one of the highlights of Merciless. His Name Is Michael which Stephanie cowrote, is one part hope, happiness and humor, while Here I Am has hit single written all over it. Why such a hook-laden track wasn’t released as a single seems a missed opportunity. Since We’ve Been Together closes Merciless on a soulful, dance-floor friendly high.
The two other tracks on Merciless are the Luther Vandross penned My Body and Pilot Error. My Body has Luther’s signature sound, and from the opening bars, it’s obvious this is a Luther Vandross song. Still, through sheer determination Stephanie makes it work. Pilot Error has a real eighties sound, and with its fusion of electronica and rocky guitars, hints at how music was heading during the eighties. From soul, dance-music, funk and rock, Merciless was a truly eclectic album from Stephanie Mills.
Overall, Merciless is the best album Stephanie Mills released for Casablanca Records. Sadly, it wasn’t her most successful album. Music fans missed what was Stephanie’s best album since her most successful album, Whatcha Gonna Do With My Loving, released in 1979. With music changing rapidly during the early eighties, artists like Stephanie Mills were no longer as popular. Merciless with its mixture of ballads and dance tracks maybe fell foul of changing musical fashions. Now thirty years after its release, Soul Music Records, will rerelease Merciless on 25th March 2013. This gives those who missed Merciless the first time round the chance to hear what they missed. What they, and newcomers to Stephanie Mills’ music will hear on Merciless, is the best album she released on Casablanca Records. Standout Tracks: How Come U Don’t Call Any More, Eternal Love, Here I Am and Do You Love Him.
STEPHANIE MILLS-MERCILESS.
NANCY WILSON-CAN’T TAKE MY EYES OFF YOU AND NOW I’M A WOMAN.
NANCY WILSON-CAN’T TAKE MY EYES OFF YOU AND NOW I’M A WOMAN.
The two albums Nancy Wilson albums that feature on Soul Music Records’ latest release Can’t Take My Eyes Off You and Now I’m A Woman, feature two different approaches to production. 1970s Can’t Take My Eyes Off You, which was Nancy’s twenty-eight album since her 1959 debut, was produced by her longtime producer David Cavanaugh. The partnership of Nancy Wilson and David Cavanaugh had been a long-established partnership. David had produced her 1959 debut album Something Wonderful. Since then, they’d worked together. By 1971, music had been transformed since Nancy’s debut album. So it was time for a change in producer.
What was needed to revitalize Nancy Wilson’s career, were two men, who’d already established themselves as one of the hottest songwriting and production partnerships…Gamble and Huff. They were chosen by David Cavanaugh to produce Nancy Wilson’s 1971s Now I’m A Woman. This was either a stroke of genius or sheer luck. After all, Gamble and Huff were about to become two of the most innovative and influential songwriters and producers of the seventies. Having founded their own label Philadelphia International Records in 1971, Gamble and Huff would enjoy critical acclaim and commercial success aplenty. Gamble and Huff were one of the architects of Philly Soul. Their approach to production on Now I’m A Woman, would differ from David Cavanaugh’s on Can’t Take My Eyes Off You. Before I tell you how the two approaches differ, i’ll tell you about Nancy Wilson’s Can’t Take My Eyes Off You and Now I’m A Woman, which will be rereleased by SoulMusic Records on one CD on 25th March 2013.
CAN’T TAKE MY EYES OFF YOU.
Back in the late sixties, and into the early seventies, many popular artists including Dusty Springfield, Jerry Butler and Nancy Wilson, rather than record new songs, covered songs that had been hits for other artists. In many ways, covering already popular songs made sense, as an artist’s audience to some extent, knew what to expect. That had been fine for many years, but as a new decade dawned, seventies audiences demanded more. However, for some artists and record companies, the tried and tested formula had worked well. They decided to stick with what had previously worked. In many ways, Nancy Wilson’s 1970 album Can’t Take My Eyes Off You is a case in point.
For Can’t Take My Eyes Off You, Nancy Wilson’s longtime-producer David Cavanaugh decided to stick with the formula that had worked for Nancy over the past twenty-seven albums. That formula was to cover already songs, including tracks made popular by other artists. This included Leonard Cohen’s Suzanne, Jimmy Webb’s Mixed Up Girl, Leiber and Stoller’s Trip With Me, Bob Guadio and Bob Crewe’s Can’t Take My Eyes Off You and Bacharach and David’s Raindrops Keep Falling On My Head. Burt Bacharach also cowrote Waitin’ For Charlie To Come Home with Bob Hilliard. You Make Me Feel So Very Happy had given Brenda Holloway and Blood, Sweat and Tears hit singles. It was penned by Brenda and Patrice with Berry Gordy and Frank Wilson. Along with covers of Alan Bernstein and Victor Melrose’s This Girl Is A Woman Now and Marvin Fisher and Jack Segal’s Words and Music there were many familiar tracks on Can’t Take My Eyes Off You. The other track was A Brand New Me, written by Teresa Bel, Jerry Butler and Kenny Gamble had given Dusty Springfield a hit. Its inclusion proved to be prophetic, because a year later Kenny Gamble and Leon Huff would produce Nancy’s next album. That was all to come. Before that, Nancy had to record and release Can’t Take My Eyes Off You. When recording of Can’t Take My Eyes Off You began, Nancy headed into the studio with her band and producer David Cavanaugh. Arranging nine of the tracks and conducting the orchestra, was Phil Wright. Nancy recorded the ten tracks which became Can’t Take My Eyes Off You, which was released in 1970.
Before the release of Can’t Take My Eyes Off You in 1970, the title-track Can’t Take My Eyes Off You was released as a single in 1969. It reached number fifty-four in the US Billboard 100 and number twenty-seven in the US R&B Charts. When Can’t Take My Eyes Off You was released in 1970, it stalled at number 155 in the US Billboard 200 and thirty-eight in the US R&B Charts. Then worse was to come when Waitin’ For Charlie To Come Home and This Girl Is A Woman failed to chart. The seventies hadn’t started well for Nancy Wilson. Why wasn’t Can’t Take My Eyes Off You a bigger commercial success.
When Waitin’ For Charlie To Come Home opens, Nancy’s powerful, heartfelt delivery is accompanied by an arrangement that has a late-sixties sound. You can’t fault the quality, but music had changed. David Cavanaugh’s production style was more suited to the previous decade. Regardless of that, Nancy’s delivery and phrasing is perfect, and this is highlighted on the jazz-tinged A Brand New Me. With its washes of Hammond organ, it’s very different to Dusty Springfield’s version. Indeed, it’s much better, and swings deliciously.
Jimmy Webb’s Mixed Up Girl has an understated arrangement that allows Nancy’s impassioned pleas to take centre-stage. Horns blaze, adding to the drama and emotion. Similarly understated is Raindrops Keep Dropping On My Head. As the song begins, it’s hardly recognizable. When it unfolds, lush horns and gently rasping horns accompany Nancy’s tender, beautiful delivery. Although very different to other version, it’s a captivating cover version. This Girl Is A Woman Now is something of a slow burner. It takes time to share its secrets, but it’s well worth the wait. Nancy’s vocal grows in power and passion, while the arrangement grows in power and drama.
Can’t Take My Eyes Off You is a vintage slice of jazz, where Nancy’s thoughtful vocal annunciates every word. Horns that sound as if they belong in a fifties recording accompany Nancy, as she draws upon all her experience and talent, making the song swing as it heads to its dramatic finale. Words and Music is another track with a real sixties sound. There’s a cocktail jazz sound, as the track unfolds. Horns blaze dramatically, as Nancy unleashes a jazzy vocal. Soon, she’s delivering the song with her trademark swing. Good as the song is, and it’s very good, it’s something of a throwback to the sixties.
The most compelling track on Can’t Take My Eyes Off You is a cover of Leonard Cohen’s Suzanne. Staying true to the original, the arrangement is understated, meandering behind Nancy’s half-spoken vocal. Of all the covers of Leonard Cohen’s tracks I’ve heard, this is one of the most compelling and soulful.
Growling horns grab your attention, before Nancy delivers a joyous version of You Make Me Feel So Happy. One minute the arrangement is subtle and understated, the next it’s a mass of blazing horns, accompanying Nancy’s powerful vocal. Nancy’s jazz roots shine through, as she scats, Her vocal tinged with emotion and joy, delivering one of her best vocals on Can’t Take My Eyes Off You.
Can’t Take My Eyes Off You closes with Trip With Me, which demonstrates why a change of producer was crucial. Rather than look to the future, Nancy was looking to the past. This is a track which has a fifties, sixties sound. Good as it is, and Nancy delivers an impassioned vocal, it’s a reminder of another musical era.
While Can’t Take My Eyes Off You was a good album, it wasn’t an album for the seventies. Each of the ten tracks on Can’t Take My Eyes Off You feature Nancy Wilson delivering a series of stunning vocals. However, the choice of material and the arrangements weren’t suited to the changing musical tastes. Pop, vintage jazz, swing and vocal jazz weren’t what people in 1970 were buying. It wasn’t a case of the music was too, or wasn’t sophisticated enough. Instead, it was a case of musical tastes changing. What was popular in 1963, 1966 or 1968, wasn’t popular in 1970. The album’s commercial failure reinforced this. So, producer David Cavanaugh deserves credit for realizing this. He realized that it was time for a new b breed of producer to take over the production duties. This is where Gamble and Huff came in, for Nancy Wilson’s twenty-ninth album Now I’m A Woman.
NOW I’M A WOMAN.
Following the commercial failure of Can’t Take My Eyes Off You, Nancy’s longtime producer David Cavanaugh decided a new producer was needed. With a new decade having dawned, a new approach was needed. He decided to head to Philly, where Kenny Gamble and Leon Huff were establishing themselves as one of the hottest songwriting and production teams. They’d already written and produced some of the biggest names in music, including Jerry Butler, Dusty Springfield, Wilson Pickettt and Billy Paul. So they wouldn’t be fazed working with Nancy Wilson, although both were fans of her music. For recording of what became Now I’m A Woman, Gamble and Huff wouldn’t just produce the album but write three songs and bring with them arranger Bobby Martin and their soon-to-be legendary house-band M.F.S.B. Could Gamble and Huff rejuvenate Nancy Wilson’s career with Now I’m A Woman?
Although the production team had changed for Now I’m A Woman, Gamble and Huff didn’t dispense with the old. Instead, they found a middle ground. This meant a combination of cover versions and new songs. There were five cover versions on Now I’m A Woman, including Lennon and McCartney’s Long and Winding Road, Paul Simon’s Bridge Over Troubled Water, David Gates’ Make It With You, Bacharach and David’s (They Long To Be) Close To You and Kay and Helen Lewis’ How Many Broken Wings? The other five songs were new songs, penned by Gamble and Huff, with their Philly friends. Gamble and Huff cowrote Now I’m A Woman, Lonely, Lonely and The Real Me. Kenny Gamble, Norman Harris and Alan Felder cowrote Joe, while arranger Bobby Martin wrote Let’s Fall In Love All Over. Now recording of the new-look Nancy Wilson album Now I’m A Woman could begin.
Recording of Now I’m A Woman took place in Los Angeles, with M.F.S.B. accompanying Nancy Wilson. The lineup of M.F.S.B. included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and Roland Chambers. Vince Montana Jr. played vibes, Larry Washington congas, Thom Bell and Lenny Pakula organ. Strings and horns came courtesy of Don Renaldo. Arrangers included Bobby Martin, Lenny Pakula and Thom Bell while Gamble and Huff produced Now I’m A Woman. Once Now I’m A Woman was recorded, the album would be released in 1971. Now I’m A Woman would see Gamble and Huff revitalize Nancy’s flagging career.
On the release of Now I’m A Woman in 1971, it reached number fifty-four in the US Billboard 200 and number five in the US R&B Charts. This wasn’t just a case of Gamble and Huff revitalizing Nancy’s career, but totally transforming it. When the title-track Now I’m A Woman was released as a single, it only reached number ninety-three in the US Billboard 100 and number forty-one in the US R&B Charts. However, even this surpassed the success of the singles released from Can’t Take My Eyes Off You. Nancy Wilson’s comeback was complete and when I tell you about Now I’m A Woman, you’ll realize why.
Opening Now I’m A Woman, is the first of the Gamble and Huff penned tracks Now I’m A Woman. Straight away, you notice Nancy’s vocal sounds similar to Dusty Springfield. Gamble and Huff add their trademark lush strings and rasping horns, while Baker, Harris, Young provide the heartbeat. The addition of The Sweethearts of Sigma respond to Nancy’s call, adding the impassioned, soulful sound. There’s a much more contemporary sound to this track, bringing Nancy into the seventies, in style.
Nancy’s reinvention continues on Joe was penned by Kenny Gamble, Alan Felder and Norman Harris. Again, it’s a much more soulful side of Nancy we hear. Emotion, heartache and hurt fill her voice, which grows in power and pain. Quivering strings, melancholy horns and piano provide a backdrop for Nancy’s soul-baring vocal.
(They Long To Be) Close To You is the first of three cover versions. Nancy, with Gamble and Huff’s help, delivers a tender, emotive reading of Bacharach and David’s classic. Strings and Vince Montana Jr’s vibes add a beautiful backdrop, while horns add wistful sound and Earl Young’s drums add drama. As the song progresses, Nancy unleashes power and passion, which when mixed with her emotion and tenderness, brings new life and meaning to a classic track. Lennon and McCartney’s The Long And Winding Road might seem a strange choice for Nancy. With swathes of strings, piano, pensive horns and bursts of drama from Baker, Harris, Young, Nancy makes it work. Her heartfelt, impassioned reading is powerful and moving. Equally moving and quite beautiful is her take on Paul Simon’s Bridge Over Troubled Water. Just a lone piano accompanies Nancy’s thoughtful vocal. Soon, she injects a meaning and beauty into the song, with an understated arrangement accompanying her. Playing key roles in the arrangement are ethereal harmonies and a Hammond organ, with give a soulful twist to a familiar song.
Let’s Fall In Love All Over was written by Bobby Martin, who could’ve written this jazz-tinged track especially for Nancy. The arrangement has a vintage jazz sound. Lush strings, rasping horns, standup bass and Norman Harris’ jazz guitar accompany one of Nancy’s best vocals. Laden with emotion and tinged with sadness, Nancy, with Bobby Martin’s help, does what she does so well, sing jazz.
Lonely, Lonely is the second Gamble and Huff penned track. It too has a jazzy sound. With its melancholy horns, harmonies and Vince Montana Jr’s vibes joining sweeping strings, soon, Nancy’s vocal is filled with hurt and heartbreak. Sometimes, you think she’s about to unleash a powerful vocal. She teases you, but never quite kicks loose. She doesn’t need to, because her mixture of emotion, subtlety and power is truly irresistible.
How Many Broken Wings has an understated string-drenched arrangement that accompanies Nancy’ pleading, emotive vocal. As harmonies sweep in, joining the strings, the arrangement grows in power, drama and beauty. Nancy’s vocal grows in emotion and power, as she delivers a vocal that’s heartfelt and impassioned.
Gamble and Huff wrote The Real Me, which has an apt-title, given its vintage jazz sound. It allows Nancy to enter her comfort zone, deliver a vocal that’s variously tender, powerful, vulnerable and sassy. With high kicking, blazing horns, pounding drums and piano, Nancy returns to what is the real Nancy, delivering a swinging slice of vintage jazz.
Closing Now I’m A Woman is a a jaunty cover of David Gates’ Make It With You. It’s transformed from a throwaway soft pop into something much more memorable and meaty. Nancy’s vocal is tender and impassioned, growing in power and passion, closing her comeback album on a soulful and jazzy high.
David Cavanaugh’s brave decision to relinquish the producer’s chair resulted in a transformation of Nancy Wilson’s career. Now I’m A Woman was Nancy Wilson’s most successful album in many years. After Can’t Take My Eyes Off You, it looked as if Nancy Wilson’s career was about to hit the rocks. Then when David Cavanaugh brought in Gamble and Huff a remarkable transformation took place. Gamble and Huff penned three tracks and their Philly friends, contributed two more. They also brought in arrangers Bobby Martin, Lenny Pakula and Thom Bell. Key to Now I’m A Woman was M.F.S.B. Given that M.F.S.B. featured some of the best musicians of the late-sixties and seventies, it’s no surprise that Nancy Wilson’s Philly Soul makeover gave her one of her most successful albums. Sadly, Gamble and Huff wouldn’t produce Nancy’s next album. They were too busy turning Philadelphia International Records into one of the most successful record labels of the seventies. That they never produced any further Nancy Wilson albums is a great shame. One can only wonder what might have been. After all, Now I’m A Woman was one of Nancy Wilson’s finest albums. That makes Can’t Take My Eyes Off You and Now I’m A Woman, which will be rereleased by SoulMusic Records on one CD on 25th March 2013 an essential purchase for anyone who loves either Nancy Wilson’s music, or likes their music soulful or jazzy. Standout Tracks: Raindrops Keep Dropping On My Head, Suzanne, Joe and Let’s Fall In Love All Over.
NANCY WILSON-CAN’T TAKE MY EYES OFF YOU AND NOW I’M A WOMAN.
SONS OF ARHAT-SITUATION.
SONS OF ARHAT-SITUATION.
Last year, when I was compiling my list of the best music of 2012, Offering Recordings was one of the winners. Sage Monk’s Heartache Allegory was in my list of the best albums of 2012. One of the best compilations of 2012, was Offering Recordings Ade Sampler 2012, which featured tracks from, Mamy Wata, Idrissa Sissoko and Ade Alafia Adio, Delany Duval, Sage Monk and Sons of Arhat. One of the tracks on Offering Recordings Ade Sampler 2012 was Sons of Arhat’s Situation.
Sons of Arhat’s Situation was written by Sons of Arhat, features the vocals of Sage Monk and was produced by Boddhi Satva. Now, Offering Recordings have released Situation as an E.P.. Not only does the Situation E.P. feature the original version of Situation, but five remixes. This includes remixes by Djeff, Blaq Soul and Hoeboyz. Each remix offers something new, different, compelling and intriguing to the original remix of Situation. You’ll realise that when I tell you about Sons of Arhat’s Situation E.P.
The original version of Sons of Arhat’s Situation instantly, grabs your attention. It’s a fusion of styles and sounds, where drama and passion omnipresent. Synths join percussion and drums giving the track an Afro-house sound and vibe. Soon, thunderous drums drive the track along, while moody synths, percussion and a vocal that’s heartfelt and oozing emotion. African and Western music unite as one. Synths create a broody, dramatic backdrop, while drums create the track’s pulsating heartbeat. Percussion and a vocal that’s full of emotion give the track an authentic African sound. For nearly eight minutes, two continents unite through music, resulting in a track that’s dramatic, spiritual and thanks to the vocal, totally heartfelt. Having told you about the original version of Sons of Arhat’s Situation, I’ll tell you about the five remixes.
Each of the five remixes of Situation takes the original version and transforms it. They each bring something new, innovative and intriguing to the track. As building blocks, the original version. This means using the thunderous drums, percussion, synths and in two cases, Sage Monk’s heartfelt, but hugely soulful vocal. Djeff’s Remix seems to stay closest to the original version. Somehow, it manages to build on the drama and emotion of the original.
South African remixer, Blaq Soul has two different remixes on the Situation E.P. They are The Blaq Soul Voyage Remix and the Soul Voyage Instrumental Mix. They’re both upbeat remixes, with a warm, upbeat Afro-House sound. Driven along by drums and synths, and that hauntingly beautiful, the result is two hypnotic, yet soulful dance-floor friendly tracks. Both are captivating, and will have you caught in their mesmeric spell.
Just like Blaq Soul, Angolan remixers Hoeboyz, has two remixes on the Situation E.P. Again, it’s fascinating how another remixer, working with the same stems, reworks the same track. The first remix is the Hoeboyz Remix. Right from the get-go, there’s an authentic African sound. Rolls of drama, dark synths and the chanted vocal grab your attention. From there on in, the African influence continues. Compelling, captivating and hauntingly beautiful is the best way to describe the track. It’s like a journey to another continent, with music transporting you there. With Hoeboyz Instrumental Remix, it’s as if the remix doesn’t want to share its secrets. Even without the vocal, the remix has you spellbound, as you aWhen it does, it’s well worth the wait as you head on a seven-minute, epic musical journey, where house and African music seamlessly become one.
Whether you heard Son’s of Arhat’s Situation on Offering Recordings Ade Sampler 2012, or you’ve never heard the track before, then the Situation E.P. is the perfect starting point. Not only do you hear the original version of Situation, but you hear five remixes of the track. This comes courtesy of three different remixers remixers, who each have the same starting point. Their starting point, were the track’s stems. After that, they had the freedom to reinvent and re-imagine the original version of Situation. Each remixer has payed homage to Son’s of Arhat’s Situation in their own unique way. Djeff, Blaq Soul and Hoeboyz bring something new, imaginative and innovative to the original version of Situation. These five remixes are of the highest quality. They’re professional and accomplished remixes of a deeply emotive, beautiful and powerful track. Far too often, remixers fail to accomplish what they’re meant to achieve. Not here. Instead, each remixer brings somethings new and innovative to the track. So whether you love Ancestral Soul, house music or just quality music, then Offering Recordings latest release, Sons of Arhat’s Situation E.P. is essential listening. I can assure you that if you’ve yet to discover the delights of Offering Recordings’ music, then once you’ve heard Sons of Arhat’s E.P. Situation, you’ll be heading on a voyage of discovery through Offering Recordings’ back-catalogue.
SONS OF ARHAT-SITUATION.
NIGHTLIFE UNLIMITED-NIGHTLIFE UNLIMITED.
NIGHTLIFE UNLIMITED-NIGHTLIFE UNLIMITED.
Another of the great labels of the disco era was Casablanca Records. Along with Salsoul Records, Prelude, SAM and West End, Casablanca Records established a reputation as one of disco’s premier labels. Casablanca was founded by Neil Bogart, along with Larry Harris, Cecil Holmes and Buck Reingold after they left Buddah Records in 1973. By 1977, Casablanca Records’ roster and reputation had grown, so much so, that Polygram bought 50% of the company for $15 million. Among the artists on Casablanca’s roster were Donna Summer, Parliament, Lipps Inc, Cameo and Stephanie Mills. While most people will have heard of these artists, not as many people will have heard of Nightlife Unlimited, who released their debut album Nightlife Unlimited in May 1979. Nightlife Unlimited would go on to release four other albums, but Nightlife Unlimited was their only album for Casablanca. Unfortunately, Nightlife Unlimited was unlimited just a month before disco’s popularity plunged. That meant that Nightlife Unlimited was lost amidst the debris of disco’s downfall.
Nightlife Unlimited weren’t an American disco group. Instead, Nightlife Unlimited were from Canada. Like many other disco groups, Nightlife Unlimited’s lineup would change. There were two lineups of Nightlife Unlimited. The first lineup, and the lineup that featured on Nightlife Unlimited were Tony Bentivenga and Johnny D’Orazio, who would feature on both lineups. They were joined by vocalists Louis Toteda and Peter Sciascia on their eponymous debut album Nightlife Unlimited. Three tracks, Disco Choo Choo, Dance Freak and Boogie were written by the four members of Nightlife Unlimited. Precious Moments was penned by Tony Bentivenga and Louis Toteda with producers Peter DiMilo and George Cucuzzella. These four tracks became Nightlife Unlimited.
When recording of Nightlife Unlimited got underway, Nightlife Unlimited were joined by drummer and percussionist Tony Bentivenga and Johnny Dorazio on bass, lead and rhythm guitar. They were joined by percussionist Miguel Feuntes, Phillip Lightfoot on vibes and a horn section that included Kenny Lipman, Sheldon Ginsburg and Tom Rudolf. Adding backing vocalists were The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton, plus Peter Sciascia. Once the recording of Nightlife Unlimited was finished, it was released on 21st May 1979. Little did Nightlife Unlimited realize that disco was about to almost die.
When Nightlife Unlimited was released on 21st May 1979, just under a month later, at the Disco Demolition Derby, in Comiskey Park, Chicago, the anti-disco backlash hit and hit hard. Thousands of disco records were blown up, very nearly taking the organizers and stadium with it. After that, disco became a dirty word. Record companies weren’t wanting to release disco records and disco artists became unpopular. Before that, however, Disco Choo Choo reached number eighteen in the US Disco/Club Play Charts. Then in 1980, Love Is You/Dance, Freak and Boogie reached number thirty-three in the US Disco/Club Play Charts. While two hit singles were the best that could’ve been hoped for in the circumstances, the Nightlife Unlimited wasn’t a commercial success. Maybe if fate hadn’t intervened, Nightlife Unlimited would’ve proved a much more successful album. With the benefit of hindsight, is that the case? That’s what I’ll tell you, once I’ve told you about Nightlife Unlimited’s debut album Nightlife Unlimited.
Opening Nightlife Unlimited’s debut album Nightlife Unlimited is Disco Choo Choo. Straight away, the disco train leaves the station, with a pulsating rhythm, mass of percussion and handclaps. They’re joined The Sweethearts of Sigma’s sweet, soulful and punchy harmonies. Soon, keyboards and blazing horns enter, joining this joyous combination of percussion and pounding disco beat. The vocal is delivered softly, soulfully and subtly, providing a contrast to the thunderous arrangement. For nine minutes, Nightlife Unlimited take you on an dance-floor friendly and hook-laden musical journey aboard the Disco Choo Choo.
Dance, Freak and Boogie closes Side One of Nightlife Unlimited. Pounding beats, percussion, handclaps and sassy harmonies from The Sweethearts of Sigma combine, before the arrangement takes on a tougher sound. Keyboards, growling horns and a haunting, sinister male vocal provide this tougher sound. Chiming guitars and swathes of strings provide a counterpoint to the rest of the arrangement, especially the thunderous drums. Key to the track’s success are the sassy, sensual sound of The Sweethearts of Sigma, as elements of disco, funk, Latin and Euro Disco are fused seamlessly.
Side Two of Nightlife Unlimited opens with the twelve-minute epic that is Love Is You. Gradually, the arrangement unfolds, in the same way many house tracks would later do. Disco provided the blueprint for house, a musical genre where non-musicians used as inspiration, the talent of an earlier generation of musicians. Just thunderous drums give way to percussion, before cooing harmonies from The Sweethearts of Sigma enter. Bursts of blazing horns and then layers of the lushest strings accompany Peter Sciascia’s needy, heartfelt vocal. Soon, a subtle sprinkling of piano, tender harmonies, edgy keyboards and cooing harmonies are dropped in at just the right moment. Each play their part in the arrangement. Pounding drums and the bass anchor the arrangement, marching the track along. By then, a timeless, hidden disco gem has revealed its secrets, subtleties and surprises.
Closing Nightlife Unlimited is Precious Moments. Drums, percussion and hissing hi-hats are joined by keyboards and the bass. Peter’s vocal emotive vocal briefly enters, before The Sweethearts of Sigma take charge. They adding their sweet, soothing and soulful harmonies. Chiming guitars, percussion and the rhythm section join keyboards in driving the arrangement along. The arrangement has been influenced by Euro Disco, which was becoming much more influential by 1979. Peter pleads and begs, desperation filling his voice, and horns growl, adding to the drama. For their part, The Sweethearts of Sigma add soothing harmonies, playing their part in a track where soul, disco and Euro Disco unite, to creating a song that’s soulful, sad and tinged with heartache.
For a debut album, Nightlife Unlimited was a really accomplished and polished album. It combined elements of disco, Euro Disco, funk, Latin and Philly Soul, thanks to The Sweethearts of Sigma. Sadly, Nightlife Unlimited was released at the wrong time. A year, or even six months earlier, and Nightlife Unlimited could’ve been a much more successful album. The problem was, Nightlife Unlimited was released just as disco’s popularity plummeted. So, instead of being a commercially successful album, Nightlife Unlimited has remained a hidden gem of the late-disco period. Soulful, laden with hooks and dance-floor friendly, Nightlife Unlimited is all these things and more. It got Nightlife Unlimited’s career off to relatively commercially successful period, thanks to two minor hit singles. Undeterred, Nightlife Unlimited released four more albums between 1980 and 1984.
Just Be Yourself was Nightlife Unlimited’s sophomore album, released in 1980. A second eponymous album, Nightlife Unlimited followed in 1981. Two years later, in 1983, I Love The Night In New York City followed, before 1984s Power and Desire was Nightlife Unlimited’s final album. Following disco’s demise, Nightlife Unlimited had to reinvent their music. While the lineup change, they continued to release quality music. However, good as these four albums were, it was Nightlife Unlimited’s 1979 debut album that proved their finest hour. Hook-laden, dance-floor friendly and soulful, Nightlife Unlimited should’ve been a much bigger commercial success. Instead, it was a victim of disco’s demise. Thirty-four years later, Nightlife Unlimited is a real hidden gem of the late-disco period.
NIGHTLIFE UNLIMITED-NIGHTLIFE UNLIMITED.
DUKE ELLINGTON THE COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION 1951-1958.
DUKE ELLINGTON THE COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION 1951-1958.
For Duke Ellington, one of the most fertile and critically acclaimed period of his sixty-year career was at Columbia Records, between 1951 and 1958. During this period, Duke’s music was innovative, inventive, eclectic, and would influence a new generation of musicians. Recently, nine of the albums Duke Ellington released during this period were released as The Complete Columbia Studio Albums Collection 1951-1958. This collection starts with 1951s Masterpieces By Ellington and closes with 1958s innovative The Cosmic Scene. Not only does The Complete Columbia Studio Albums Collection 1951-1958 feature the original albums, which have been remastered, but each of the discs feature bonus tracks. For anyone new to the music of one of the greatest band leaders, composers and musicians, then The Complete Columbia Studio Albums Collection 1951-1958 is the perfect introduction to the music of Duke Ellington. You’ll realize that when I tell you about the music on Duke Ellington The Complete Columbia Studio Albums Collection 1951-1958.
MASTERPIECES BY ELLINGTON.
The first album in The Complete Columbia Studio Albums Collection 1951-1958, is Masterpieces By Ellington, released in 1951. Masterpieces By Ellington marked the end of an era for Duke Ellington’s band. Three members of his band were about to leave his employ. Losing musicians of the calibre of drummer Sonny Greer, saxophonist Johnny Hodges and trombonist Lawrence Brown could’ve proved fatal for the Duke. This wasn’t the case. It gave him an opportunity to reinvent his band and sound. While Johnny and Lawrence would later return to the fold, Sonny’s replacement would prove crucial to Duke’s music. However, the three departing musicians played their part in an innovative and critically acclaimed album, Masterpieces By Ellington.
Masterpieces By Ellington featured four tracks, Mood Indigo, Sophisticated Lady, The Tattooed Bride and Solitude. Duke cowrote three tracks and wrote The Tattooed Bride. Recording took place on December 19th 1950, at Columbia’s 30th Street Studios, in New York. Joining the band, was vocalist Yvonne Lanauze, who features on Mood Indigo and Sophisticated Lady. These four tracks became Masterpieces By Ellington, while there are three bonus tracks included on the version within The Complete Columbia Studio Albums Collection 1951-1958.
On the release of Masterpieces By Ellington, it was hailed as a truly innovative album. Masterpieces By Ellington was a departure from the suite format. In it’s place, were four longer tracks. Mood Indigo which previously, had been restricted to under four minutes due to the 78 records capacity was transformed. It became a fifteen-minute Magnus Opus. Duke and his band were allowed the band to explore each of the four song’s subtleties and nuances, reinventing the tracks. Not only was this innovative, but inventive and became the Duke’s first critically acclaimed album of the fifties. For the followup to Masterpieces By Ellington, Ellington Uptown, this marked the debut of Duke’s new band.
MASTERPIECES BY ELLINGTON.
ELLINGTON UPTOWN.
With drummer Sonny Greer, saxophonist Johnny Hodges and trombonist Lawrence Brown having left Duke’s band, Ellington Uptown marked the debut of the three new members of his band. Key to the new band, and the future direction of Duke Ellington’s music, was drummer Louie Bellson. Not only did Louie make his debut on Ellington Uptown, but wrote the album opener Skin Deep. Together with six other tracks, including four Duke wrote and one he cowrote, they became Ellington Uptown.
The latest incarnation of Duke Ellington’s band recorded Ellington Uptown during sessions during December 1951 and then during February, July and July 1952. Joining the band were vocalist Betty Roche, who features on Billy Strayhorn’s Take The “A” Train. Seven tracks were recorded, including a mixture of old and new songs, including the two part Controversial Suite. Once Ellington Uptown was recorded, it was released later in 1952.
Ellington Uptown, which was released in 1952, featured seven tracks. Later reissues, including in The Complete Columbia Studio Albums Collection 1951-1958, features six bonus tracks. They were The Liberian Suite, which was recorded in December 1947 and December 1951. Critics who had feared the loss of three band members would affect Duke’s music. Their fears were unfounded. They hailed the music on Ellington Uptown, as a captivating collection of Duke Ellington’s music old and new music. The addition of drummer Louie Bellson, Betty Roche’s vocal on Take The “A” Train and the song selection were crucial to Ellington Uptown’s success. With his new band, Duke had rejuvenated his career and continued the commercial success and critical acclaim of Masterpieces By Ellington. For the third album in The Complete Columbia Studio Albums Collection 1951-1958 Blue Rose, Duke was joined by a guest vocalist, Rosemary Clooney.
ELLINGTON UPTOWN.
BLUE ROSE.
Four years after the release of Ellington Uptown, came Blue Rose. Joining Duke and his orchestra were Rosemary Clooney. By this time, saxophonist Johnny Hodges and trombonist Lawrence Brown had rejoined Duke’s band. Like Johnny and Lawrence, Rosemary had worked with Duke before. Duke wrote Hey Baby, Me and You and and the title-track Blue Rose specifically for Rosemary. He felt her sultry vocal was perfect for the songs on Blue Rose. It was a fusion of jazz and pop music. The idea was that Blue Rose, which Irving Townsend produced, would appeal to a much wider audience. However, recording Blue Rose wasn’t going to be easy. Rosemary was pregnant, and couldn’t leave Los Angeles. This meant that recording would take place in Los Angeles and New York. Luckily, this was the start of the age of the overdub.
At the 30th Street Studios in New York, Duke Ellington and his orchestra recorded the eleven tracks that became Blue Rose between 23-27 January 1956. When the tracks were finished, Billy Strayhorn one of Duke’s trusty lieutenants was sent to Los Angeles where Rosemary would record her vocals. Rosemary recorded her vocals between 8-11 February 1956. Two other tracks were recorded, If You Were in My Place (What Would You Do) and Just A-Sittin’ and A-Rockin.’ They’re included on The Complete Columbia Studio Albums Collection 1951-1958. Once the vocals were recorded, they were overdubbed to the arrangements recorded in New York. Then Blue Rose was released in May 1956.
Just as Columbia had hoped, Blue Rose appealed to a wider audience. With its combination of vocal jazz and pop, the collaboration between Duke Ellington and Rosemary Clooney proved popular with fans. Critics were impressed by Duke’s latest reinvention of his music on Blue Rose. Among Blue Rose’s highlights were Hey Baby, Sophisticated Lady, It Don’t Mean A Thing (If It Don’t Have That Swing) and Mood Indigo. With its combination of Duke’s old and new music, Blue Rose continued what was one of the most fertile and commercially successful period’s of Duke’s career. His reinvention continued on A Drum Is A Woman.
BLUE ROSE.
A DRUM IS A WOMAN.
1956 proved a crucial year for Duke Ellington, as he wowed audiences at the Newport Jazz Festival. It proved critical in rejuvenating Duke’s career. Granted, he’d been releasing some of the best music of his career during the fifties, but his performance at Newport really raised his profile. The same year he released the critically acclaimed Porgy and Bess. Another album he released during 1956 was A Drum Is A Woman, which proved one of his most innovative and inventive albums.
Originally, A Drum Is A Woman was a television special. After its success, Columbia decided that it should be released as an album. So, A Drum Is A Woman was recorded in September 1956, at 30th Street Studios in New York. Much of the music was written by Billy Strayhorn. Margaret Tynes, Ozzie Bailey and Joya Sherill add vocals and narrative to the music on Duke Ellington. The twelve tracks on A Drum Is A Woman told a compelling story.
A Drum Is A Woman tells the story of two characters, Madame Zajj and Carribbee Joe. Madame Zajj personifies African rhythm, while Carribbee Joe’s roots are in Africa, where he’s a drum master. Madame Zajj heads on a journey where she seeks fame, fortune and sophistication. During journey, she fuses her culture and Carribbee Joe’s, while retelling the story and history of jazz and bebop. The result was a captivating musical journey, where cultures and musical genres melt into one. However, critics were, and still are, divided over A Drum Is A Woman. For some critics, it’s an inventive, innovative and captivating album. Other critics argue that A Drum Is A Woman doesn’t work as well on record as it did on the small screen. Personally, A Drum Is A Woman marked the beginning of another period of reinvention and innovation for one of the legends of jazz, Duke Ellington.
A DRUM IS A WOMAN.
SWEET SWEET THUNDER.
Looking back at the amount of music Duke Ellington recorded and released during 1956, puts modern artists to shame. The remarkable thing was, that the standard of music was so high. On 7th August 1956, Duke and his band headed to Columbia Studios in New York where work began on his next album Sweet Sweet Thunder, with Irving Townsend producing the album. It featured twelve tracks written by Duke and Billy Strayhorn. These tracks were based on the work of William Shakespear. This is another example of Duke Ellington continuing to innovate, and take jazz in a new direction.
Further recording sessions took place on 6th December, then in April 15th and 24th, with Sweet Sweet Thunder completed on May 7th 1957. Eventually, twelve tracks were chosen that became Sweet Sweet Thunder, where Duke pays homage to a literary great.
Like other tracks that feature in The Complete Columbia Studio Albums Collection 1951-1958, there are a selection of bonus tracks on Sweet Sweet Thunder. Ten bonus tracks, including alternate takes and outtakes. For Duke Ellington completists, this will be a welcome addition. For newcomers to Duke Ellington’s music, Sweet Sweet Thunder is one of his best albums of the fifties. Indeed, Sweet Sweet Thunder is not only perceived as one of Duke’s finest albums, but one of the most important jazz albums of the fifties. Sweet Sweet Thunder is another example of Duke Ellington during one of his most creative and innovative periods, and for newcomers to the Duke’s music, is essential listening.
SWEET SWEET THUNDER.
ELLINGTON INDIGOS.
One of my favorite albums in The Complete Columbia Studio Albums Collection 1951-1958, is 1958s Ellington Indigos. Not only is Ellington Indigos full of classic tracks, including Solitude, Where and When, Mood Indigo and Prelude To A Kiss, but demonstrate Duke’s talent as a composer. He wrote Solitude, The Sky Fell Down and Prelude To A Kiss, and cowrote Mood Indigo with Barney Bigard. With his tight, talented band, who get the opportunity to showcase their individual skills, Ellington Indigos is one of Duke’s classic albums, filled with timeless classics.
Remarkably, recording of Ellington Indigos took just one day. Nine tracks were recorded at Columbia’s 30th Street Studios. Duke’s band were given opportunities to showcase their talents. Duke’s solo on Solitude is a show-stealer, although Shorty Baker’s trumpet solo on Mood Indigo and Johnny Hodges’ alto saxophone solo on Prelude To A Kiss comes close. So too, does Walter Gross’ trumpet solo on Tenderly. Ellington Indigos features Duke Ellington’s band collectively and individually, pulling out the stops to create a timeless classic album. An added bonus, are seven bonus tracks, including a cover of Cole Porter’s Night and Day and the four song Perfume Suite. Quite simply, these addition mean that Ellington Indigos is even more essential listening than before.
ELLINGTON INDIGOS.
BLACK, BROWN AND BIEGE.
There aren’t many artists who are given the opportunity to rerecord music they were disappointed with. If they were, hundreds of albums recorded during the eighties, with synths and drum machines would’ve been rerecorded properly, during the nineties. For Duke Ellington, he had the opportunity to revisit Black, Brown and Beige over four days in February 1958. Originally, Duke had written Black, Brown and Beige for a 1943 concert at the Carnegie Hall. The original version featured a three-part suite. For the 1958 album, Black, Brown and Beige was transformed into six shorter pieces.
The recording sessions for Black, Brown and Beige took place at Radio Recorders in Los Angeles. Black, Brown and Beige was produced by Irving Townsend. It also featured the vocals of the legendary gospel singer Mahalia Jackson. The six shorter pieces were recorded in just four days. Recording didn’t always go smoothly though. Johnny Hodges who was absent from the Duke’s band during much of 1958, had played a crucial part in the original concert. So, Mahalia Jackson’s vocal replaces Johnny’s alto saxophone solo. Her contribution, plus that of Duke’s band rectified the perceived problems of the original version of Black, Brown and Beige.
Indeed, not only did the newly revised version of Black, Brown and Beige rectify previous mistakes, but resulted in one of the most powerful, moving and socially important albums of the time. Black, Brown and Beige played a huge part in raising the profile of the civil right’s movement. Poignant, powerful, influential and innovative, Black, Brown and Beige is all these things and more. Even better, are the ten bonus tracks that features on the version of Black, Brown and Beige that feature in The Complete Columbia Studio Albums Collection 1951-1958. Alternate takes, bonus tracks and an acapella make this version of Black, Brown and Beige the definitive version of one of the most powerful and influential albums of the fifties.
BLACK, BROWN AND BIEGE.
AT THE BAL MASQUE.
1958s At The Bal Masque is one of the most intriguing albums in The Complete Columbia Studio Albums Collection 1951-1958. Twelve tracks were recorded over five days in March 1958, with At The Bal Masque completed on 1st April 1958. Then applause was overdubbed to give the appearance that At The Bal Masque was a live album.
The faux-live At The Bal Masque features Duke and his band revisiting tracks like Got A Date With An Angel, The Peanut Vendor, Satin Doll Lady In Red and Laugh, Laugh, Laugh. On the release of At The Bal Masque, critics marveled at how Duke had managed to make the tracks work. What could’ve sounded dated and pedestrian, was transformed into an album full of energy that literally, swings. While not strictly a live album, At The Bal Masque is Duke Elligton’s best faux-live album.
AT THE BAL MASQUE.
DUKE ELLINGTON’S SPACEMEN THE COSMIC SCENE.
The last album on The Complete Columbia Studio Albums Collection 1951-1958 is Duke Ellington’s Spacemen The Cosmic Scene. Whilst some people thought that Duke Ellington’s inspiration was the free jazz of Sun Ra and George Russell, it was actually inspired by satellites orbiting the earth. Whereas previous albums had featured a large band, Duke’s band was reduced to a much smaller, tighter unit. The ten tracks might be jazz standards, but they’re transformed, totally reinvented and re-imagined. Featuring lengthy, elastic solos standards like Perido, St. Louis Blues and Take The “A” Train were reworked for the 21st century.
Recording of Duke Ellington’s Spacemen The Cosmic Scene took just two days in April 1958. Recording took place at 30th Street Studio, with Irving Townsend producing Duke Ellington’s Spacemen The Cosmic Scene. Each of Duke’s slimmed-down band gave outstanding performances. From trombonists Britt Goodman, John Sanders and Quentin “Butler” Jackson, through Clark Terry on flugelhorn and tenor saxophonist Paul Gonsalves, they all played their part in ensuring that Duke Ellington’s Spacemen The Cosmic Scene was one of Duke’s most innovative, inventive and influential albums of the fifties.
Duke Ellington’s Spacemen The Cosmic Scene was released in April 1958. Immediately, critics realized that this was a groundbreaking album. Not only was Duke Ellington’s Spacemen The Cosmic Scene progressive, innovative and inventive, but it saw Duke Ellington continue to reinvent his music, establishing himself as one of the most influential artists in the history of jazz. By then, Duke was fifty-nine years old, and had spent forty-four years, constantly seeking to reinvent himself and his music. That Duke Ellington’s Spacemen The Cosmic Scene was the most groundbreaking and influential album in Duke Ellington The Complete Columbia Studio Albums Collection 1951-1958 seems a fitting way to close the box set.
Not many artists enjoy the longevity that Duke Ellington enjoyed. His career stretched sixty years and saw him win twelve Grammy Awards. Not only was he a legend of jazz music, but one of the great American songwriters. While the box set covers the period between 1951 and 1958, the post-war years hadn’t been kind to Duke Ellington. So the fifties were a period of reinvention for Duke Ellington and his music. He was a prolific artist, who released several albums each year. Some of his most innovative, inventive and influential albums of the fifties feature in The Complete Columbia Studio Albums Collection 1951-1958.
Several times, Duke reinvented himself and his music, while forever remaining something of a perfectionist. Revisiting Black, Brown and Beige proves this and proves Duke’s music had a social conscience. Duke Ellington’s Spacemen The Cosmic Scene demonstrates that Duke was forward thinking, never content to stand still. Instead, he was determined to try new methods and new. The music on Duke Ellington’s Spacemen The Cosmic Scene would influence a new generation of musicians, and is perceived as one of Duke Ellington’s most groundbreaking albums. However, there’s much more than that in The Complete Columbia Studio Albums Collection 1951-1958. Masterpieces By Ellington marks the end of one of his great bands, while Ellington Uptown, with drummer Louie Bellson marked the dawn of a new era. A Drum Is A Woman was another innovative album from Duke Ellington, while Ellington Indigos sees Duke revisit some timeless classics. Although At The Bal Masque isn’t a live album, it features Duke and his band rejuvenate some classic tracks, making them swing. So, for newcomers to the music of Duke Ellington, The Complete Columbia Studio Albums Collection 1951-1958 is the perfect place to start, when starting the voyage of discovery that is the music of Duke Ellington.
DUKE ELLINGTON THE COMPLETE COLUMBIA STUDIO ALBUMS COLLECTION 1951-1958.
WEATHER REPORT-THE COLUMBIA ALBUMS 1971-1975.
WEATHER REPORT-THE COLUMBIA ALBUMS 1971-1975.
Recently Columbia Records have been delving into their archives and releasing a series of lavish box sets. So far, there’s been box sets to suit all musical tastes. Whether it’s jazz legends like Duke Ellington or Louis Armstrong or seventies rock there’s something for everyone. Fans of jazz-fusion haven’t been forgotten. Quite the opposite, for fans of Weather Report, one the most innovative and influential supergroups of the jazz-fusion era, there’s a six-album box set, entitled The Columbia Albums 1971-1975. During these six albums, Weather Report’s lineup and music were both evolving musically.
Weather Report were founded by Austrian keyboardist and composer Joe Zawinhul and saxophonist and composer Wayne Shorter. They recruited Czech bassist Miroslav Vitous. To complete Weather Report’s lineup, drummer and percussionist Alphonse Mouzon. This quartet were hugely experienced musicians. Previously, Joe had worked with Cannonball Adderley and then Miles Davis, where he met Wayne. They’d previously been members of Maynard Ferguson’s Big Band. Then Wayne had worked with Art Blakey. It was after Wayne and Joe played on Miles Davis’ two fusion albums, 1969s In A Silent Way and 1970s Bitches Brew that they came up with the idea of their own band. Little did they realize that this new band, Weather Report, would record fourteen studio albums and two live albums during their sixteen years together. Although Weather Report’s lineup would often change, the music was always innovative, inventive and influential. Although some groups followed trends, Weather Report set them, from their 1971 debut album Weather Report.
WEATHER REPORT-WEATHER REPORT.
Start as your mean to go on could and should’ve been Weather Report’s motto. From their 1971 debut album Weather Report, they were innovators, breaking new ground musically. The quartet of keyboardist Joe Zawinhul, saxophonist Wayne Shorter, bassist Miroslav Vitous and drummer and percussionist Alphonse Mouzon were joined by percussionists Don Alias, Barbara Burton and Airto Moreira. Recording took place between 16-22 February and then on 17th March. Eight tracks were recorded, which became Weather Report. This was very different to anything that had gone before.
Abstract, avant garde, abstract and experimental are all words that were used to describe Weather Report. Influenced by Miles Davis’ two fusion albums In A Silent Way and Bitches Brew, Weather Report is variously explosive, intricate, subtle and always, compelling, captivating and innovative. Having said that, Weather Report wasn’t a hugely successful album.
Jazz critics lauded the inventiveness and innovation of Weather Report. Critically acclaimed it was, commercially successful it wasn’t. Weather Report only reached number 191 in the US Billboard 200, but reached number seven in the US Jazz Charts. Often, however, great works of art and music, aren’t recognized straight away. Given how ahead of their time Weather Report were, this was the case here. Their second album I Sing The Body Electric would see a change in fortune for Weather Report.
WEATHER REPORT-WEATHER REPORT.
WEATHER REPORT-I SING THE BODY ELECTRIC.
I Sing The Body Electric, Weather Report’s 1972 sophomore album, saw two new members join the group. They were percussionist Dom Um Romao and drummer Eric Gravatt, who replaced Alphonse Mouzon. Recording took place during sessions in November and December of 1971. I Sing The Body Electric completed in January 1972, when Medley: Vertical Invader, Surucucu and Directions were record live in Tokyo. For the audience attending these concerts, they were able to glimpse the direction Weather Report’s music was heading.
When Weather Report’s sophomore album I Sing The Body Electric was released in 1972, critics and fans heard another side to their music. Weather Report with its new lineup had reinvented themselves and their music. I Sing The Body Electric proved much more popular that their debut album, reaching number 147 in the US Billboard 200. The music appealed to a wider audience, incorporating jazz, rock and electronica.
With five tracks were recorded in the studio, three live and the music was much more complex, eclectic and ethnically diverse. I Sing The Body Electric drew inspiration and influence from a wider range of influences. Music from four corners of the globe, plus electronic instruments and guest artists aplenty, all player their part in I Sing The Body Electric commercial success and critical acclaim. Guest artists included guitarist Ralph Towner and flautist Hubert Law. They played their part in I Sing The Body Electric’s rich tapestry. Intricate, complex, grandiose, forward-thinking, experimental, it was all these things and much more. With two studio albums behind them, Weather Report decided that the next step was the release of the first of two live albums, Live In Tokyo.
WEATHER REPORT-I SING THE BODY ELECTRIC.
WEATHER REPORT-LIVE IN TOKYO.
Fans of Weather Report had enjoyed a taster of the group’s live sound on I Sing The Body Electric. The last three tracks on I Sing The Body Electric were recorded in Tokyo. Now, fans had the opportunity to hear what Weather Report live sounded like, when a double-album entitled Live In Tokyo, was released later in 1972. For critics and fans alike, they were at last able to hear a four tantalizing sides of a group featuring some of the most talented, inventive and innovative musicians feeding off each other.
Live In Tokyo allowed Weather Report to showcase their inventiveness and innovativeness. There was everything from free form jazz and fusion, which gave way to explosive, then intricate, complex passages of music. Veering into experimental and avant garde, before taking detours into multicultural music and rock, always, the music returns to jazz. The interplay between the members of Weather Report is stunning. It’s as if each member intuitively knows what the other is about to do. They read and anticipate this, responding to what’s gone before with something equally compelling and captivating. Whether the tempo increases or another layer of music is added to the rich, multi-textured tapestry, second guessing Weather Report ins’t easy. Indeed, over two discs of Live In Tokyo, Weather Report demonstrate and reinforce just why, they were such an important, influential and innovative band, who each time they released an album, would reinvent themselves and their music. This would be the case with their third studio album Streeetnighter.
WEATHER REPORT-LIVE IN TOKYO.
WEATHER REPORT-STREETNIGHTER.
Streetnighter was to prove the final album where bassist Miroslav Vitous would be Weather Report’s sole bassist. On Streetnighter, which was recorded during a five-day period in February 1973, Miroslav shares bass-playing duties with Andrew White. Similarly, Herschel Dwellingham plays drums on four of the six tracks. Like previous albums, Streetnighter found Weather Report’s lineup in a state of constant evolution. Changing too, was their music on Weather Report’s third studio album Streetnighter.
When Streetnighter was released in April 1973, critics and fans hailed the album’s groove oriented sound. As a result, Streetnighter reached number eighty-five in the US Billboard 200, number forty-one in the US R&B Charts and number seven in the US Jazz albums. This was Weather Report’s most successful album. It also marked another change in direction musically for Weather Report.
Andrew White’s electric bass played a much more prominent role on Streetnighter. Miroslav Vitous featured on just two tracks. As usual, for Joe Zawinhul, the groove was key to Streetnighter’s success. So, Andrew White played a huge part. From the opening bars of the thirteen-minute epic Boogie Woogie Waltz, played in 3/4 time and with a glorious Latin sound, Weather Report are in the tightest of grooves, right through to the closing notes of Non-Stop Home. For Joe Zawinhul, Streetnighter was a voyage of discover. He realized he could use his wah-wah pedal with his Fender Rhodes and introduced his ARP synth to add a melodic twist. The other change was in Wayne Shorter’s playing. He’s reined in, his playing much more restrained. It seemed, Streetnighter marked the start of a new era for Weather Report. With another new lineup and having reinvented themselves yet again, what would the future hold for Weather Report on their fourth studio album Mysterious Traveller.
WEATHER REPORT-STREETNIGHTER.
WEATHER REPORT-MYSTERIOUS TRAVELLER.
While Streetnighter saw Miroslav Vitous share bass duties with Andrew White, on Mysterious Traveller he played on only one track American Tango. The other six tracks marked the Weather Report debut of Philly bassist Alphonso Johnson. Like the bass, two drummers played on Mysterious Traveller. Skip Hadden played on two tracks and Ishmael Wilburn the other five tracks. Along with guest artists and vocalists, Mysterious Traveller saw the birth of what many people regard as Weather Report’s signature sound. Funk, fusion, R&B and rock. Gone was the improvisational nature of Weather Report’s first three studio albums. How would this change in style be received by critics and fans?
When Mysterious Traveller was released in 1974, critics lauded the album as Weather Report’s best album so far. Fans too, loved the new sound. Mysterious Traveller reached number forty-six in the US Billboard 200, number thirty-one in the US R&B Charts and number two in the US Jazz Charts. It was an album that appealed to a much more broader section of listeners. Whether it was fans of funk, jazz, R&B or rock, there was something for them all on Mysterious Traveller. The best way to describe Mysterious Traveller is as fluid, but funky and containing a pulsating heartbeat. Although Wayne Shorter plays a lesser role on Mysterious Traveller, his contribution was crucial. So too was Weather Report’s new member, Alphonso Johnson. For Miroslav Vitous, Mysterious Traveller was his Weather Report swan-song. At least Miroslav had played his part in making Mysterious Traveller Weather Report’s most successful album. What would the future hold for Weather Report next? Tale Spinnin’ was Weather Report’s fifth studio album and the last in the Columbia Records’s six-album box set, The Columbia Albums 1971-1975.
WEATHER REPORT-MYSTERIOUS TRAVELLER.
WEATHER REPORT-TALE SPINNIN’
Tale Spinnin’ is the last album in Columbia Records’s six-album box set, The Columbia Albums 1971-1975. With Miroslav Vitous having left Weather Report, the lineup was now Joe Zawinhul, Wayne Shorter and the newest member, bassist Alphonso Johnson. Another new face would feature on Tale Spinnin.’ However, this would just be a walk-on part. It could’ve been much more long term though.
Joe Zawinhul had heard Leon “Ndugu” Chancier playing with Carlos Santana’s band. He’d been hugely impressed with this multitalented drummer and percussionist. Leon was part of Carlos Santana’s band, and was recording in the studio next to Weather Report. He was asked to join Weather Report for a session. This session lasted a week. It resulted in Leon being asked to become a member of Weather Report. He declined the offer, preferring to stay with Carlos Santana. Recording of Tale Spinnin’ took place at Wally Helder Studios in Los Angeles. The sessions started in February 1975 and ended in April 1975. Six tracks were recorded during this two month period, and became Weather Report’s fifth studio album Tale Spinnin.’
Ever since Weather Report released their debut album Weather Report, each of their studio albums had surpassed the success of the previous one. This was the case with Tale Spinnin.’ It proved their most successful album, reaching number thirty-one in the US Billboard 200, number twelve in the US R&B Charts and number three in the US Jazz Charts. Critics and fans alike, took to with Tale Spinnin’s heavier, funkier sound. Key to Tale Spinnin’s success were two new addition’s to Weather report’s lineup.
While Leon filled the drummer’s seat, percussionist Alyrio Lima added an African influence. This replaced the Latin influence of Mysterious Traveller. So, funk, fusion, R&B and rock were joined by African influences. Just like their four previous studio albums, Weather Report continued to reinvent and innovate. Unlike other group’s, Weather Report weren’t content to stand still. Granted, the trademark sound had started to take shape on Mysterious Traveller, but on Tale Spinnin’ evolved. The result was six groundbreaking, innovative and inventive tracks, which became Tale Spinnin,’ Weather Report’s most successful album of their six album career. This was just the start in the Weather Report story, which would see them release another nine studio albums and one more live album.
WEATHER REPORT-TALE SPINNIN’
For anyone yet to discover the music of Weather Report, The Columbia Albums 1971-1975 is the place to start. It allows you to hear how Weather Report’s music evolved. From their debut album Weather Report through I Sing The Body Electric and Streetnighter, Weather Report’s trademark sound evolved. With a constantly evolving lineup, the change constantly evolved as Weather Report reinvented themselves and their music. By Mysterious Traveller, Weather Report’s signature sound had taken shape. Tale Spinnin’ saw this signature sound begin to evolve. Weather Report weren’t the type of group to discover their signature sound then churn out album after album of similar music. Instead, Weather Report continued to innovate and reinvent themselves and their music. This resulted in Weather Report becoming one of the most influential jazz fusion groups.
With Wayne Shorter and Joe Zawinhul at Weather Report’s helm, they fused musical genres and influences, resulting in some of the most groundbreaking, inventive and influential music of the seventies and eighties. During a sixteen year period, Weather Report released fourteen studio albums and two live albums. Some of the most innovative, inventive and influential music Weather Report ever released, can be found on the six-album box-set The Columbia Albums 1971-1975.
WEATHER REPORT-THE COLUMBIA ALBUMS 1971-1975.
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