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.
THE RITCHIE FAMILY-AFRICAN QUEENS.
THE RITCHIE FAMILY-AFRICAN QUEENS.
Just like The Ritchie Family’s three previous albums, their fourth album, 1977s African Queens was a disco concept album. Their 1975 Latin-tinged debut album Brazil was The Ritchie Family’s most successful album. Brazil, which featured The Sweethearts of Sigma’s vocals set the bar high for The Ritchie Family’s future albums. Critically acclaimed and commercially successful, The Ritchie Family looked like becoming one of the biggest groups of the disco era.
Then in 1976, The Ritchie Family lineup changed. This was the first of five different lineups of The Ritchie Family. Gwen Oliver and Cassandra Wooten, who had been members of Honey and The Bees. Joining them were Cheryl Jacks. With this new lineup, Arabian Nights was released in 1976. While Arabian Nights was a commercial success, it didn’t match the success of Brazil. Having sought musical inspiration in two separate continents, The Ritchie Family decided to seek inspiration closes to home for their third album.
1977s The Best Disco In Town saw The Ritchie Family fuse a thirties theme with their trademark disco sound. The Best Disco In Town was only moderately successful. Indeed, of the three albums The Ritchie Family had released, The Best Disco In Town was the least successful. So, when The Ritchie Family returned to the studio later in 1977, to record their fourth album African Queens, they really needed a commercial success. What they really needed was for African Queens to replicate the success of Brazil. Would The Ritchie Family’s latest disco concept album Arabian Nights match the success of their first concept album Brazil?
For Arabian Nights, again, The Ritchie Family decided to follow in the footsteps of Gloria Gaynor’s Never Can Say Goodbye. Side One of Arabian Nights featured a suite of five tracks lasting fourteen minutes. Just like the three tracks on Side Two of African Queens, they were penned by Henri Belolo, Jacques Morali and Phil Hurtt. These seven tracks became African Queens, which was recorded at Philly’s Sigma Sound Studios.
When recording got underway, The Ritchie Family were accompanied by a band that included a rhythm section of bassist Alfonso Carey, drummer Russell Dabney and guitarist Rodger Lee, while Jimmy Lee played lead guitar. Adding the authentic African sound were Charles Payne on djembe, J.M. Diatta on n’goma and Babatunde Olatunji on n’goma, shekere and bongos. Nathaniel Wilke played electric piano and clavinet, Mario Grillo timbales and Raph McDonald added percussion. Gwen Oliver, Cassandra Wooten and Cheryl Jacks were responsible for The Ritchie Family’s vocals, while Jacques Morali produced African Queens. Once African Queens was recorded, it was released in 1977. Would Arabian Nights mark a change in fortune for The Ritchie Family?
On the release of African Queens in 1977, it stalled at number 164 in the US Billboard 200 and number fifty-seven in the US R&B Charts. While African Nights hadn’t matched the success of The Ritchie Family’s first two albums, it was still a commercial success. However, what does the music on African Queens sound like? That’s what I’ll now tell you.
SIde One of African Queens is a five track medley, opening with African Queens. A pounding beat, funky bass and dancing strings combine with a myriad of percussion and punchy harmonies. Then The Ritchie Family add tight, soaring and cascading harmonies and a strutting vocal. Dramatic, urgent backing vocals join blazing horns, percussion and thunderous drums. By now, you realize that this what The Ritchie Family do so well. This is disco, but with a twist. The twist is that it’s a concept album. Soon, you’re taken on a musical journey where you meet two African Queens. During Theme of Nefertiti, Theme of Cleopatra and Theme of The Queen of Sheba the music is variously soulful, dramatic, urgent and always, dance-floor friendly with a pulsating disco beat. Finally, on African Queens Reprise, you get the chance to revisit some of the highlights and delights of Side One of African Queens again. Although Side One lasts just under thirteen minutes, it’s thirteen magical, memorable and captivating minutes where disco is given an African twist, thanks to Jacques Morali and The Ritchie Family.
Side Two of African Queens opens with Summer Nights. The now familiar combination of hissing hi-hats, pounding beats and growling horns are joined by sweeping, swirling strings. Flourishes of harpsichord give way to a confident, sassy and joyous vocal. It marches along, with the bass leading the way. Harmonies cascade, strings dance and percussion punctuates the arrangement. The now fashionable clavinet adds a tougher sound, while a mass of strings and horns provide the backdrop for The Ritchie Family’s vocals. Sweet, soulful, sensuous and sometimes sassy, the vocals and harmonies are all these things and more. For his part, Jacques arrangement combines disco, funk, jazz and African music. It’s a glorious combination and with The Ritchie Family delivering their best vocals. The result is the best track on African Queens.
Quiet Village gradually reveals its secrets. Just thunderous drums, funky bass and wah-wah guitar enter. They’re joined by percussion, pensive vocals and shivering, quivering strings. The understated vocals play a secondary role to the arrangement. Soon, it grows in power and drama. Synths, growling horns, percussion and harpsichord add contrasting sounds. Sometimes, the dated synths dominates the arrangement. Other times, percussion and strings play important roles. Their sounds are timeless. When the vocal returns it’s needy, sassy and beckoning. From there, the vocals and arrangement take turns of grabbing your attention. Everything fits nicely together, like a musical jigsaw, which Jacques Morali has painstakingly put together. To do this, he’s sought inspiration from a variety of musical genres and influences.
Voodoo closes African Queens, The Ritchie Family’s fourth album. It’s as if everything has been building towards this track. From the opening bars, you’re spellbound. You wonder where the track is heading. Punchy horns, dramatic percussion and urgent, but soulful harmonies combine. Then the then arrangement becomes a musical juggernaut. It’s driven along by blazing horns, rhythm section and African percussion. Harmonies sweep in, they cascade and like the growling horns, sounds as if they’re giving thanks for the music that’s gone before. Hypnotic, and pulsating, disco, soul, funk, jazz and African music unite, as The Ritchie Family close African Queens with a captivating track.
While African Queens failed to replicate the success of The Ritchie Family’s first two albums, it was certainly an innovative and groundbreaking album. Here, The Ritchie Family had fused American disco with African music. To that fusion, they’d added elements of jazz, funk and Philly Soul. African Queens was a captivating and compelling album for The Ritchie Family. However, it was the end of an era, for two reasons.
African Queens was The Ritchie Family’s fourth disco concept album. It was also their final one disco concept album. For their next album, 1978s American Generation, The Ritchie Family’s music moved more towards Euro Disco and Euro Pop. The other reason African Queens marked the end of an era, was that it was the final album to feature Gwen Oliver, Cassandra Wooten and Cheryl Jacks. At least they’d finished their career with The Ritchie Family with such an innovative, groundbreaking album. However, this was just the first of five changes in The Ritchie Family’s lineup. Indeed, if you count The Sweethearts of Sigma as the original vocalists, then there were really six different lineups of The Ritchie Family. For many people, myself included, the first four The Ritchie Family albums were the best. Starting with 1975s Brazil, then 1976s Arabian Nights, 1977s The Best Disco In Town and African Queens, this four album period marked the best music of The Ritchie Family’s career. Standout Tracks: African Queens, Summer Nights, Quiet Village and Voodoo.
THE RITCHIE FAMILY-AFRICAN QUEENS.
DUKE WILLIAMS AND THE EXTREMES-MONKEY IN A SILK SUIT IS STILL A MONKEY.
DUKE WILLIAMS AND THE EXTREMES-MONKEY IN A SILK SUIT IS STILL A MONKEY.
Last September, New York based record label, SpinSpinNYC, released a six track compilation entitled Nutritious Presents Duke Williams and The Extremes. SpinSpinNYC had rediscovered the music of Duke Williams and The Extremes. They wanted to share their love and belief in this music with a much wider audience. For many people, this was the first time they’d heard Duke Williams and The Extremes’ music. Not everyone was a newcomer to Duke Williams and The Extremes’ music. For many people, Nutritious Presents Duke Williams and The Extremes was a welcome and timely reminder of two long forgotten soulful gems, including their brilliantly titled 1973 debut album Monkey In A Silk Suit Is Still A Monkey. This marked the start of Duke Williams and The Extremes recording career. What seemed like a long and successful career following the release of Monkey In A Silk Suit Is Still A Monkey, proved not to be the case.
When Duke Williams and The Extremes were looking for a record company, they must have thought they’d end up signing for a record company who’d made their name releasing Southern rock. That’s what happened. Duke Williams and The Extremes signed to Capricorn Records. Previously, they’d established a reputation with Southern rock bands. This included The Allman Brothers, Elvin Bishop and The Marshall Tucker Band. So, signing Duke Williams and The Extremes was something of a departure for Capricorn Records. It was also a risky move for Duke Williams and The Extremes. After all, marketing Southern rock and soul, took different skills and different personnel. Added to that, Duke Williams and The Extremes were no ordinary soul group.
The best way of describing Duke Williams and The Extremes’ music, is a fusion of Philly Soul, funk and Southern Soul. It would be this fusion of musical genres that would feature on their 1973 debut album Monkey In A Silk Suit Is Still A Monkey. It was the first of two albums Duke Williams and The Extremes would released on Capricorn Records, with Fantastic Fedora following in 1974. For their debut album Monkey In A Silk Suit Is Still A Monkey, Duke Williams and a Philly Soul legend would provide six of the album’s ten tracks.
For Monkey In A Silk Suit Is Still A Monkey, Duke Williams and Philly guitarist T.J. Tindall contributed six tracks. T.J. had made his name as a session player, and can be heard on many Philly Soul classics. He’s also a talented songwriter, penning I’m Ready For You and Clouds. With Duke, T.J. cowrote If Loving You Wasn’t So Easy (To Do), First High Of The Day and Ain’t No Ladies On The Street Tonight. They also cowrote Chinese Chicken with Bob Hortnagle. Duke cowrote Depend On Me with Bob Bradbury. Other tracks included Arlester Christian’s Funky Broadway and a cover of Otis Redding and Jerry Butler’s I’ve Been Loving You Too Long. Closing Monkey In A Silk Suit Is Still A Monkey, was Slippin’ and Slidin,’ which Albert Collins cowrote. These ten tracks became Monkey In A Silk Suit Is Still A Monkey. Accompanying Duke Williams and The Extremes, were an all-star band of Philly’s finest musicians.
When recording of Duke Williams and The Extremes’ debut album Monkey In A Silk Suit Is Still A Monkey, two sets of musician played on the album. This included two rhythm sections. One was the Ron Baker and Earl Young of the Baker, Harris, Young rhythm section. The other were drummer Andy Newmark, bassist T.J. Tindall and guitarist Bobby Hartnagle. T.J. Tindall also played guitar, while Duke Williams played organ. Among the other Philly musicians were Larry Washington on bongas and congas and Carlton Kent on clavinet. Skip Drinkwater added percussion and trumpeters Bowleg Miller and Wayne Jackson were part of the horn section. Vocals were split between T.J. and Duke. Producing Monkey In A Silk Suit Is Still A Monkey were T.J. Tindall and Skip Drinkwater, which was released in 1973.
On the release of Duke Williams and The Extremes’ debut album Monkey In A Silk Suit Is Still A Monkey, the album was well received by critics. However, it wasn’t a commercial success. Neither was the cover of Otis Redding’s I’ve Been Loving You Too Long, which was released as a single. It seemed that Duke Williams and The Extremes had stalled, before it had even begun. Why was that? That’s what I’ll tell you, once I’ve told you about Monkey In A Silk Suit Is Still A Monkey.
Opening Monkey In A Silk Suit Is Still A Monkey is the explosive Funky Broadway. Here, Ron Baker and Earl Young provide a funk-laden backdrop for Duke Williams’ powerful, vampish vocal. It’s full of yelps and hollers, delivered with power, passion and confidence. While Ron Baker and Earl Young provide the funkiest of backdrops, while screaming, riffing guitars, percussion and clavinet provide a tough, edgy sound. Soaring, dramatic testifying backing vocals, Hammond organ and growling horns provide the finishing touch to this explosive fusion of funk and soul.
Chinese Chicken picks up where the opening track left off. Describing this track as funky is an understatement. Chiming guitars join Ron Baker’s bass and Earl Young’s drums in creating a thunderous, pounding backdrop. With searing guitars, pounding drums, Hammond organs and clavinet combining, hollers are unleashed as funk, Southern rock and soul become one. At breakneck speed, this arrangement unfolds, revealing a hidden funky gem.
I’m Ready For You marks a change in style. T.J. Tindall takes charge of the lead vocal as soul and Southern Soul and rock combine. Crystalline guitars and the rhythm section set the scene for T.J. before delivers an impassioned vocal. Drums add drama, reinforcing the sincerity in his vocal. Making the track, are the dramatic, soaring gospel harmonies. Together with the guitar that weaves its way across the arrangement, and T.J’s heartfelt pleas, this fusion of musical genre results in one of the highlights of Monkey In A Silk Suit Is Still A Monkey.
Clouds has a pensive, melancholy sound. Waves of keyboards and slow, moody drums combine and T.J’s vocal is dreamy and melancholy. Guitars riff, Ron Baker’s bass buzzes and guitars chime. Soon, the arrangement references seventies rock and psychedelia. There’s even a hint of Pink Floyd, although there’s always a soulful quality to T.J’s vocal. Although very different from other tracks, it’s a wonderfully moody, wistful sounding track that you can’t help but lose yourself in. It demonstrates just how versatile and innovative a group Duke Williams and The Extremes were.
I’ve Been Loving You Too Long, which closes Side One of Monkey In A Silk Suit Is Still A Monkey, was the only single released from the album. Covering such a classic track isn’t easy. After all, you either risk blindly copying the original or end up with a cover version that brings nothing new to the track. Not here. This is much better. There’s a real injection of enthusiasm, passion and soulfulness. Duke throws himself into the track, delivering a growling, inspired vocal. Meanwhile, Ron Baker and Earl Young are at the heart of the stomping arrangement. They’re joined by tight, sweeping and deeply soulful harmonies, as Duke struts his way through the track, delivering one of the best covers of this track, as Southern Soul and gospel are fused seamlessly.
Side Two of Monkey In A Silk Suit Is Still A Monkey, opens with If Loving You Wasn’t So Easy (To Do). The rhythm section, blazing horns and chiming guitars join with percussion, before Duke’s gnarled vocal enters. Soon, the band are locked in the tightest of grooves. They’re mixing Southern Soul and funk with searing rocky guitars. It’s an impressive sound. Duke’s vocal plays a secondary role to the band, as they demonstrate their combined talents. Good as Duke’s vocal is, here his band steal the show.
From the opening bars of First High Of The Day you realize something special is unfolding. The arrangement literally bursts into life. Guitars drive the arrangement along, before thanks to the rhythm section, things get even better. They provide the track’s heartbeat. T.J. delivers a joyous vocal, that’s one of his best. Then when the horns enter, they provide the finishing touch. They rasp and cascade, adding a jazzy sound to this genre sprawling track. Joyful and uplifting sound, describes what proves one of the sweetest and soulful songs on Monkey In A Silk Suit Is Still A Monkey.
Depend On Me sees a real change in style and sound. Again, it allows Duke Williams and The Extremes to showcase their versatility. Guitars open a track that has a real Southern sound. Southern rock and soul are the reference points, with the guitars at the heart of the track’s success. Indeed, the guitars and Duke’s vocal are crucial to the track. Just when you think things can’t get any better, harmonies sweep in, adding the finishing touch to this fusion of Southern soul and rock.
Ain’t No Ladies On The Street Tonight has an understated, melancholy opening. Just subtle hi-hats give way to Duke Williams’ Hammond organ. Then as the arrangement starts to swing, Bruce Steinberg blows a bluesy harmonica. When it combines with the piano, Hammond organ and chiming guitars, the result is a jazzy track that swings along, showing yet another side to Duke Williams and The Extremes’ music.
Slippin’ and Siidin’ closes Monkey In A Silk Suit Is Still A Monkey on a bluesy high. Key to this is Ralph Schuckett’s piano which drives the arrangement. Horns kick, while Duke’s rasping vocal is reminiscent of Dr. John and Screamin’ Jay Hawkins in their prime. Later, Duke Williams and The Extremes’ kick loose. They unleash a myriad of growling horns, jangly piano and that gnarled vocal. With its combination of vintage jazz and blues, it’s a captivating and enthralling way to close the album.
Although Duke Williams and The Extremes’ debut album Monkey In A Silk Suit Is Still A Monkey showcases a tight, talented and versatile band, that’s may have been part of the problem. On Monkey In A Silk Suit Is Still A Monkey sees Duke Williams and The Extremes fuse everything from Southern Soul, Southern Rock, funk, jazz, Philly Soul and psychedelia. With such an eclectic range of influences, marketing Duke Williams and The Extremes couldn’t have been easy. After all, Duke Williams and The Extremes couldn’t be pigeonholed. It wasn’t as if they could be marketed as a soul or funk band. There was much more to their music. That meant people who loved Southern Soul or funk might not have bought Monkey In A Silk Suit Is Still A Monkey, because there music veered off into many other musical genres. This wasn’t the only reason for the commercial failure of Monkey In A Silk Suit Is Still A Monkey Another possible reason for the commercial failure of Monkey In A Silk Suit Is Still A Monkey was that Capricorn Records were the wrong label for Duke Williams and The Extremes. Given Capricorn Records had made their name with Southern Rock bands, then Duke Williams and The Extremes wasn’t their typical signing. Even if Duke Williams and The Extremes were a soul band, Capricorn weren’t used to marketing soul bands. So trying to market Duke Williams and The Extremes was even harder. After all, how do you define their music?
Despite struggling to define Duke Williams and The Extremes’ music, there was nothing wrong with the music on Monkey In A Silk Suit Is Still A Monkey. Nor was their anything wrong with Duke Williams and The Extremes’ sophomore album Fantastic Fedora. It too, was a commercial failure. Fantastic Fedora, like Monkey In A Silk Suit Is Still A Monkey demonstrated how talented and versatile a band Duke Williams and The Extremes were. Indeed, Duke Williams and The Extremes’ debut album Monkey In A Silk Suit Is Still A Monkey is something of hidden musical gem. It’s the best of the two albums Duke Williams and The Extremes released for Capricorn Records. Over the ten tracks on Monkey In A Silk Suit Is Still A Monkey, Duke Williams and The Extremes demonstrated that they were a tight, talented and versatile band. Unlike many bands, Duke Williams and The Extremes wrote many of their own songs. While other bands featured just one vocalist, Duke Williams and The Extremes featured two talented vocalists. T.J. Tindall and Duke Williams shared vocal duties on Monkey In A Silk Suit Is Still A Monkey. In many ways, Duke Williams and The Extremes had everything going for them. Despite this, Monkey In A Silk Suit Is Still A Monkey wasn’t a commercial success.
Although critics spotted just how talented Duke Williams and The Extremes were, Monkey In A Silk Suit Is Still A Monkey wasn’t a commercial success. Then in September 2012, somewhat belatedly, SpinSpinNYC rediscovered the music of Duke Williams and The Extremes. SpinSpinNYC wanted to share their love of this underrated and forgotten music. They released Nutritious Presents Duke Williams and The Extremes. That resulted in a resurgence of interest in Duke Williams and The Extremes’ music. Now forty years after the release of Duke Williams and The Extremes’ debut album Monkey In A Silk Suit Is Still A Monkey, it remains an underrated and almost forgotten reminder of a hugely talented, versatile band. Standout Tracks: Funky Broadway, I’m Ready For You, Clouds and Ain’t No Ladies On The Street Tonight.
DUKE WILLIAMS AND THE EXTREMES-MONKEY IN A SILK SUIT IS STILL A MONKEY.
WILSON PICKETT IN PHILADELPHIA.
WILSON PICKETT IN PHILADELPHIA.
By 1970, when Wilson Pickett released Wilson Pickett In Philadelphia, his recording career was eight years old. He’d released his debut single If You Need Me in 1962, and since then, had enjoyed four number one US R&B singles. The first of these was his 1965 classic In The Midnight Hour, with 634-5789 (Soulsville USA) and Land of The 1000 Dances following in 1966. Wilson’s last number one single in the US R&B charts was 1967s Funky Broadway. Since then, Wilson had enjoyed further chart success. This success was sporadic. His music was much more popular in the US R&B Charts, that the US Billboard 100. The same was the case with Wilson Pickett’s albums Indeed, his last three albums demonstrated this.
1968s The Midnight Mover reached just number ninety-one in the US Billboard 200 and number ten in the US R&B Charts.1969s Hey Jude reached number ninety-seven in the US Billboard 200 and number fifteen in the US R&B Charts. Wilson’s first album of the seventies was Right On, released in 1970. It stalled at number 197 in the US Billboard 200 and number thirty-six in the US R&B Charts. With music changing, and changing fast, Wilson Pickett looked like ending up being left behind and becoming yesterday’s soul man. What was needed was someone to rejuvenate his career. The men chosen to do this, were Philly-based songwriter and producers Gamble and Huff. By 1970, they were establishing a reputation as the hottest songwriting and production teams. So, they were the perfect choice to produce Wilson Pickett In Philadelphia, which was the followup to the disappointing Right On. Would the Gamble and Huff produced Wilson Pickett In Philadelphia see Wilson’s career rejuvenated?
For Wilson Pickett In Philadelphia, Gamble and Huff would contribute the tracks, Run Joey Run, Parts 1 and 2 of Get Me Back On Time, Engine Number 9 and Ain’t No Doubt About It. Bobby “Electronic” Eli and Carl Fisher cowrote Help The Needy, while Jerry Akines, Johnny Belmon, Reginald Turner and Victor Drayton penned Come Right Here and Don’t Let The Green Grass Fool You. They also wrote Bumble Bee (Sting Me) with Bunny Sigler who cowrote Days Go By with Eugene Dozier. With Bernard Broomer and Lee Phillips, Bunny and Eugene wrote International Playboy. These ten tracks became Wilson Pickett In Philadelphia, which was recorded in Joe Tarsia’s Sigma Sound Studios in Philly.
Accompanying Wilson Pickett for the recording session of Wilson Pickett In Philadelphia, were some of the members of what became M.F.S.B, Philadelphia International Records’ legendary house-band. This included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and Roland Chambers. Vince Montana Jr. played vibes, Thom Bell organ, Eugene Dozier and Lenny Pakula played piano and Thom Bell organ. Providing the horns were Sam Reed and His Horn Section, while strings came courtesy of Don Renaldo and His String Section. Arrangers included Bobby Martin, Lenny Pakula and Roland Chambers, while Gamble and Huff produced Wilson Pickett In Philadelphia, which was released in 1970. Would Wilson Pickett In Philadelphia rejuvenate Wilson Pickett’s career?
On the release of Wilson Pickett In Philadelphia in 1970, it reached number sixty-four in the US Billboard 200 and number three in the US R&B Charts. Get Me Back On Time, Engine Number 9 reached number fourteen in the US Billboard 100 and number twelve in the US R&B Charts. Don’t Let The Green Grass Fool You then reached number seventeen in the US Billboard 100 and number two in the US R&B Charts in 1971. Then two years later in 1973, International Playboy reached number thirty in the US R&B Charts. Gamble and Huff hadn’t just rejuvenated Wilson Pickett’s career, but totally transformed it. In Philadelphia was his most successful album since 1967s The Sound of Wilson Pickett. However, why was Wilson Pickett In Philadelphia such a successful album? That’s what I’ll tell you, once I’ve told you about the music on Wilson Pickett In Philadelphia.
Wilson Pickett In Philadelphia opens with Run Joey Run. It was written by Gamble and Huff and arranged by Bobby Martin. Searing, riffing guitars, growling horns and a driving Baker, Harris, Young rhythm section join percussion in setting the scene for Wilson’s urgent, growling vocal. Testifying backing vocals sweep in, while Wilson delivers a powerful, vampish vocal. Delivered a dramatic backdrop where percussion, punchy horns a pounding beat unite, Southern Soul and Philly Soul become one, grabbing the listener’s attention.
Bobby “Electronic” Eli cowrote Help The Needy with Carl Fisher. This was just the start of Bobby’s songwriting career, but demonstrates what was to come. A much more understated, emotive backdrop with Norman Harris’ jazzy guitar, Vince Montana Jr’s and lush strings combining is perfect for Wilson’s hurt-filled pleas. Providing the heartbeat are Baker, Harris, Young. Soon, Wilson’s unleashing one of his best vocals, laying bare his soul. Emotion, heartbreak and desperation fill his voice, as the arrangement grows in power and drama, proving that although music was changing and changing fast, Wilson Pickett’s music was still relevant.
A flourish of piano opens Come Right Here before gradually, the arrangement reveals its hidden depths. The pensive piano proves to be a curveball. Soon, braying horns, percussion and Norman Harris’ guitar join Wilson in ensuring the song swings. His vocal is sassy and strident, with growling horns replying to his call. Fills of Hammond organ, percussion and guitar combine, while Earl Young’s drums add the track’s confident heartbeat. Catchy and delivered with a swagger, this track swings, and then some.
Norman Harris’ guitar opens Bumble Bee (Sting Me), before percussion and Baker, Harris, Young enter. When Wilson’s vocal enters, you realize the track is struggling. This isn’t his fault. The lyrics have a real bluesy influence and sound. Regardless of how much effort and passion he delivers the lyrics with, you can’t help but feel they’re lacking. Maybe it’s just they sound dated. Wilson throws himself into the song, mixing sass and showmanship. While you can’t fault his or M.F.S.B’s performance, they’re let down by the somewhat outdated lyrics.
Don’t Let The Green Grass Fool You closes Side One of Wilson Pickett In Philadelphia. It’s the second track arranged by organist Lenny Pakula, and has a jaunty, uptempo arrangement. Baker, Harris, Young provide the track’s heartbea. Norman Harris’ guitar chimes, and is joined by percussion, while Ron Baker’s bass drives the arrangement along. When Wilson’s vocal enters, it’s a powerful and impassioned. Waves of Hammond organ, soaring harmonies and piano combine. Soon, Wilson and M.F.S.B. are kicking loose, resulting in a delicious slice of soul.
Get Me Back On Time, Engine Number 9 opens Side Two of Wilson Pickett In Philadelphia. Written by Gamble and Huff, there are two parts to the track. Ron Baker’s bass, percussion and chiming guitars provide a moody, broody and dramatic backdrop for Wilson’s vocal. As soul, funk and rocky guitars combine, Wilson delivers a heartbroken, emotive vamp. Against waves of a funky arrangement, Wilson struts confidently through the song. Hollers, yelps and rock-tinged guitars accompany him. Sometimes, it’s reminiscent of James Brown, as Wilson seeks to prove that there’s more to his music than soul.
Stabs of guitar and dramatic bursts of drums open Days Go By. Then it’s all change. The arrangement becomes more understated, and Wilson delivers a vocal that’s filled with despair and loneliness. Strings sweep and horns growl, while piano and drums add to the drama. By now, the arrangement has grown in power and drama, matching the emotion and despair in Wilson’s vocal, which is one of his best on Wilson Pickett In Philadelphia.
International Playboy has a real sixties sound from the get-go. Stabs of piano, swathes of strings, growling horns and piano join Baker, Harris, Young in driving the arrangement along. Strings sweep and waves of Hammond organ play their part in providing the backdrop for Wilson’s vampish, sassy vocal. His vocal grows in power, confidence and passion joining his sass. Soon, this hooky, memorable track is swinging along, with Wilson and M.F.S.B. becoming one. They’re in the groove, and play their part, in this poppy slice of soul.
Ain’t No Doubt About It closes Wilson Pickett In Philadelphia. Just Ron Baker’s broody bass and growling horns set the stage for Wilson. When his heartfelt vocal takes centre-stage, it seems he’s determined to close the album on a high. Waves of horns and Hammond organ are at the heart of the arrangement. The horns dramatically kick, while Baker, Harris, Young and searing guitars provide the backdrop as Southern Soul and jazz combine seamlessly.
Wilson Pickett In Philadelphia saw Gamble and Huff rejuvenate Wilson Pickett’s career. While Wilson Pickett’s previous albums had proved successful in the US R&B Charts, Wilson Pickett In Philadelphia proved successful in both the US Billboard 200 and US R&B Charts. Indeed, Wilson Pickett In Philadelphia spawned two top five US R&B singles. It seemed that although music had changed and changed fast in the past few years, Gamble and Huff ensure that Wilson Pickett’s music was still relevant as a new decade dawned.
Gamble and Huff didn’t attempt to reinvent Wilson Pickett as an artist. What they did, was provide Wilson with quality material that suited his style. They then brought in some of the most talented musicians and arrangers in Philly. Their arrangements featured the trademark Philly horns and strings, but in a way that suited Wilson’s Southern Soul background. While Gamble and Huff gave other artists a Philly Soul makeover, this wasn’t the case with Wilson Pickett In Philadelphia. Instead, they realized that Wilson Pickett was an artist with a relatively successful track record. What he needed was the right material, where he was accompanied by a tight, talented band. M.F.S.B. were the perfect band for Wilson Pickett. They were versatile, and able to seamlessly switch between musical genres. On Wilson Pickett In Philadelphia, they fused elements of Southern Soul, Philly Soul, funk, R&B, jazz and rock.
Most of the tracks on Wilson Pickett In Philadelphia have stood the test of time, and marked a revival in Wilson Pickett’s career. One can only speculate what would’ve happened if Gamble and Huff hadn’t produced Wilson Pickett In Philadelphia? Would Wilson Pickett’s career have stalled? As it was, Wilson Pickett’s career stalled after Wilson Pickett In Philadelphia. His next three albums, Don’t Knock My Love, Mr. Magic Man and Miz Lena’s Boy failed to match the success of Wilson Pickett In Philadelphia. This was a recurring theme for much of the seventies for Wilson Pickett. Indeed, Wilson Pickett In Philadelphia proved to be Wilson Pickett’s last great album and marked the end of era for one of the legends of soul music. Standout Tracks: Help The Needy, Come Right Here, Don’t Let The Green Grass Fool You and Days Go By.
WILSON PICKETT IN PHILADELPHIA.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
Sometimes, when it comes to compilations, sequels don’t quite live up the first volume in a series. Often, the first volume in a series has exhausted the supply of seminal music. So, when the eagerly awaited sequel is released, there’s often a sense of disappointment. Too often, the musical memory of the first volume ends up tainted by a disappointing sequel. The lesson to be learnt, is that once you’ve released one or two successful compilations, quit while you’re ahead. Sadly, often record companies realizing that there’s an audience for their compilation series, let greed and avarice get in the way of common sense. After all, with some musical genres, there’s often a limited supply of quality music. Conversely, other musical genres have a plentiful supply of quality music awaiting discovery by enthusiastic and knowledgeable compilers. This includes what’s become known as Krautrock, which has become musical shorthand for a fusion of musical genres. Mining this plentiful supply of music have been Soul Jazz Records, for their compilation Soul Jazz Records Presents: Deutsche Elektronische Muzik 2, which was released on 25th February 2013.
For those yet to discover Krautrock, this musical genre is a melting pot of influences. Indeed, there’s everything from rock, prog rock, jazz, psychedelia, folk and electronic music. While many people will have heard the music of Kraftwerk, Neu, Can and Faust, there’s much more to Krautrock than this. So, for anyone looking to discover Krautrock, then Soul Jazz Records’ latest release, Deutsche Elektronische Muzik 2, is the perfect starting point. On the two discs that comprise Deutsche Elektronische Muzik 2, there are twenty-seven tracks. They were released between 1971 and 1983, and are describes as “experimental German rock and electronic musik.” This is the perfect description of the Krautrock. Together with the 2010s Deutsche Elektronische Muzik, this is the perfect primer for the newcomer to Krautrock. Before I tell you about some of the highlights of Deutsche Elektronische Muzik 2, I’ll tell you about the background to Krautrock.
To make sense of what has become known as Krautrock, we’ve got to look at what was going on musically, just before, and during the period Deutsche Elektronische Muzik 2 covers. This compilation covers the period between 1971 and 1983. Much had happened in music just before this period. As the sixties ended, it was a very different musical landscape to when the sixties dawned. Indeed, music was almost unrecognizable.
Ever since The Beatles released Sgt. Peppers Lonely Hearts Club Band in June 1967, there had been an explosion in psychedelic music’s popularity. Jimi Hendrix had played his part, fusing psychedelia, rock, blues and jazz. Rock however, dominated the musical landscape. British bands like Pink Floyd, The Rolling Stones and The Who been at the forefront of rock’s growth popularity, joining groups like The Doors. However, rock wasn’t the only musical show in town.
Folk, jazz and the avant garde, counterculture music of Frank Zappa offered alternatives. Frank Zappa, Jefferson Airplane and The Grateful Dead represented the counterculture movement and would influence Krautrock.
If psychedelia, rock and Frank Zappa influenced Krautrock, so would jazz music, including albums like Miles Davis’ 1970 album Bitches Brew, with its fusion of psychedelia, rock, electronic and jazz. So too, would groups like Weather Report and jazz rock music, especially Jean Luc Ponty, Chick Corea, Joe Zawinul and Tony Williams. Then there was a British musical movement whose popularity grew during the seventies.
By the early seventies, prog rock music was beginning to grow in popularity and would influence Krautrock. Genesis, Yes, E.L.P, Caravan and Van Der Graaf Generator were just a few of the British prog rock bands that would play their part in shaping Krautrock. One other influence was classical music, specifically the avant garde European classical music.
European avant garde classical music would influence Krautrock. Composers like Stockhausen and his hero, Edgard Varese, would play crucial roles in helping shaping the genre. Gradually, a melting pot of musical influences was takinh shape. Each of these would shape German music during the seventies and early eighties. This can be heard on Deutsche Elektronische Muzik 2, which I’ll tell you about.
DISC ONE-SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
On Disc One of Deutsche Elektronische Muzik 2, there are fifteen tracks. This included tracks from Can, Michael Rother, Michael Hoenig, D.A.F, Amon Düül II, Conrad Schnitzler and Wolf Sequenza, Eno, Moebius and Roedelius plus Wolfgang Riechmann. Quite simply put, this is an eclectic selection of tracks, which for the newcomer to Krautrock. It’s the perfect starting point. These tracks can act as an introduction and allow the listener to investigate artists that until now, they might not have come across. However, what are the highlights of Disc One of Soul Jazz Records Presents: Deutsche Elektronische Muzik 2?
One of the best known names on Disc One are Can. Their contribution is Halleluwah, a track from their 1971 album Tago Mago, released on United Artists. For newcomer to Can’s music, Tago Mago and Ege Bamyasi are their two best albums. However, with Halleluwah, it’s a case of caveat emptor. The original version of Halleluwah is over eighteen minutes long, whereas the version on Deutsche Elektronische Muzik 2 is just under five minutes long. This is slightly disappointing, but from a practical point of view, I can see why this has to be the case.
Michael Rother’s Karussell is one of the highlights of Disc One. Driven along by guitars and synths, this was a track from his 1977 debut album Flammende Herzen. Previously, Michael had been in the group Spirit of Sound and briefly, was a member of Kraftwerk. What this track does, is a dispel a myth, that Krautrock as a musical genre isn’t at all dark and gothic. It’s a fusion of rock, prog rock, jazz and electronic music, that as it drives along, is uplifting and catchy.
Harald Grosskopf is a German drummer and keyboard player. His contribution to Disc One is Emphasis, one of the later tracks on the compilation. It’s a track from Harold’s 1980 album Synthesist, released on Sky Records. Here, synth pop, ambient music and elements of rock are combined. Understated at the start, the track grows in drama and always, is captivating and compelling.
Conrad Schnitzler was one of the institutions of German music. He’d been an early member of Tangerine Dream, playing his part in transforming them into the innovative, influential band they became. His 1980 album Consequenz featured Fata Morgana, which features Wolf Sequenza. The best way to describe this moody and meandering track is experimental. Full of beeps and squeaks, tracks like this world provide inspiration during the Acid House era.
When discussing either experimental or electronic music, one name always comes up, Brian Eno. Fittingly, Brian Eno he features on Disc One with two other legends of electronic music. They are former member of Cluster, Dieter Moebius of Cluster and Hans-Joachim Roedelius. As Eno, Moebius and Roedelius, they released After The Heat in 1978 on Sky Records. It’s hard to believe that this downtempo, experimental ambient track, was released thirty-five years ago, given who moderne and timeless it sounds.
My final choice from Disc One of Deutsche Elektronische Muzik 2 is the elegant, symphonic sound of Wolfgang Riechmann’s Himmelblau. This is a track from Wolfgang’s 1978 album Wunderbar, released on Sky Records. Listening to the track, you can hear the influence of not only ambient composers, but European classical avant garde composers.
Apart from the six tracks I’ve mentioned, there’s much more to Disc One of Soul Jazz Records Presents: Deutsche Elektronische Muzik 2. These tracks are just a musical aperitif. Among the other tracks worth mentioning are the ambient beauty of Hans Joachim Roedelius’ Le Jardin. Then there’s Michael Hoenig’s moody, melancholy and dramatic Sun And Moon, which drives along. Quite different is Amon Düül II’s A Morning Excuse, which has a delicious psychedelic sound. Quite simply, the fifteen tracks are an eclectic selection of German music released between 1971 and 1983. Once you’ve heard these tracks, I’m sure a voyage of discover awaits. Before that comes Disc Two of Deutsche Elektronische Muzik 2.
DISC TWO-SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
While Disc One of Deutsche Elektronische Muzik 2 featured fifteen tracks, Disc Two only contains twelve tracks. Rather than quantity, it’s about quality. When it comes to quality, this isn’t lacking. Neu and Faust are the two best know names, and are joined by Niagara, You, Gila, Electric Sandwich and Pyrolator. So Disc Two sees us embark upon another musical voyage of discover, but what are the musical highlights?
Given Neu are one of the best known groups in the history of German music, it would almost be remiss of me not to mention Neu. Their contribution is Isi, a track from their 1975 album Neu ’75, released on Brain Records. Put simply, this is a classic slice of Krautrock. For anyone new to the music of Neu, Neu 2 and Neu ’75 are their three best albums.
Pyrolator released their debut album Inland in 1979, on the Ata Tak label. Danger Cruising was a track from what was one of six albums Kurt Dahlke released on Ata Tak. It’s best described as a fusion of experimental, electronic and industrial music. Having said that, it’s a track that’s compelling, dramatic, innovative and moderne.
Niagara released their 1972 sophomore album S.U.B. on United Artists. One of the tracks on S.U.B. was Gibli, which is a fusion of musical genres. Jazz, rock and a plethora of percussion and synths, create a track that’s moody, broody, atmospheric and laden in drama.
I was pleased to find Electric Sandwich’s China on Disc Two of Deutsche Elektronische Muzik 2. This is a track from their one and only album Electric Sandwich. Released in 1972, on Brain Records, rock, jazz-rock and prog rock are combined. It’s a track that defines what Krautrock sounds like, and for me, is a very welcome addition to the compilation.
The last track from Disc Two of Deutsche Elektronische Muzik 2 I’ve chosen, is from another giant of German music Faust. Entitled Krautrock, this was the track that opened Faust’s fourth album Faust IV. It was released in 1973, and was Faust’s second album for Virgin. It’s a twelve minute epic where prog rock and rock provide the basis for another Krautrock classic, which brings Disc Two to a fitting close
As I mentioned earlier, Deutsche Elektronische Muzik 2 is the perfect starting point for a newcomer to Krautrock. Not only does it feature tracks from some of the genres giants, including Can, Neu and Faust, but hidden gems like Niagara S.U.B’s and Electric Sandwich’s China. Having said that, there’s so much more to discover on Deutsche Elektronische Muzik 2. Indeed, there are twenty-seven tracks over two discs. These tracks are inspired by an eclectic variety of musical genres and influences. This includes rock, prog rock, jazz-rock, psychedelia, jazz and avant garde classical music. To that, I’d add electronic, industrial, ambient and funk. Krautrock was inspired by all these genres and was a musical melting pot. Since then, Krautrock has inspired a new generation of musicians and producers. Sadly, despite this, Krautrock is often portrayed negatively in the musical press. That’s quite unfair, given how much quality music is awaiting discovery. There’s much more to Krautrock than just the music of Kraftwerk, Can, Neu and Faust. Not only will Deutsche Elektronische Muzik 2 act as a primer to anyone looking to discover the delights of Krautrock, but will lead them on a voyage of musical discovery, which could last a lifetime. Standout Tracks: Can Halleluwah, Michael Rother Karussell, Neu Isi and Electric Sandwich China.
SOUL JAZZ RECORDS PRESENTS: DEUTSCHE ELECKTRONISCHE MUZIK 2.
FIRST CHOICE-SO LET US ENTERTAIN YOU.
FIRST CHOICE-SO LET US ENTERTAIN YOU.
Ever since First Choice signed Stan Watson’s Philly Groove Records, they’d enjoyed commercial success. Guiding their career had been songwriter, guitarist and producer Norman Harris. Stan Watson, owner of First Choice’s label Philly Groove Records, had also played an important part in First Choice’s career. Norman had produced First Choice’s first two albums, Armed and Extremely Dangerous and The Player. For First Choice’s third album, So Let Us Entertain You, Norman wouldn’t be in charge of production. Instead, Stan Watson, owner of Philly Groove Records, would produce So Let Us Entertain You, with Norman Harris’ “assistance.” This wasn’t Stan’s first production. Previously, Stan had produced The Delfonics and Ben Aitken. With hindsight, this might seem a risky move. Especially given First Choice’s reputation was in the ascendancy. First Choice had established themselves as Philly Soul’s premier female vocal group, and So Let Us Entertain You would be released by Warner Bros. With a change in producer and record label, things were changing for First Choice. More changes would follow. Indeed, after So Let Us Entertain You was released, there would be a change in First Choice’s lineup. Before that, First Choice had an album to record and release, which would see even more changes. So, would So Let Us Entertain You match the success and quality of their first two albums? That’s what I’ll tell you, once I’ve told you about So Let Us Entertain You.
For Armed and Extremely Dangerous and The Player, most of the songs had written by Norman Harris and his Philly friends. Not so, with So Let Us Entertain You. Instead, new songwriting teams were brought onboard. The album opener, First Choice Theme, was penned by Arnold Coley Jr, Harold Cephas and Stan Watson. James Dean and John Glover cowrote five tracks. Their contributions were Ain’t He Bad, I’ll Stay Right Here, Gotta Get Away (From You Baby), Let Him Go and If The Sun Shines. Buddy Turner, Jerry Akins, John Bellmon and Victor Drayton penned Yes, Maybe No, Are You Ready For Me and Don’t Fake It. The other track was I Got A Feeling, a cover a Carl Hampton and Homer Banks. These ten tracks comprised So Let Us Entertain You. Recording took place at the familiar surroundings of Joe Tarsia’s Sigma Sound Studios in Philly, where there would be more changes.
When recording of So Let Us Entertain You. began at Sigma Sound Studios, there were changes in the lineup of musicians accompanying First Choice. They were still all former members of M.F.S.B, who’d now left Philadelphia International Records to become The Salsoul Orchestra. However, rather than the Baker, Harris, Young rhythm section, bassist Michael Foreman and drummer Charles Collins accompanied Norman Harris. They were joined by guitarists Dennis Harris and Bobby “Electronic” Eli, Larry Washington on congas, vibes virtuoso Vince Montana Jr and Ron “Have Mercy” Kersey on clavinet, keyboards and piano. Strings came courtesy of Don Renaldo. Arrangers included Norman Harris, Vince Montana Jr, Bobby “Electronic” Eli and Ron “Have Mercy” Kersey. Newcomers included Arnold Coley, arranged the rhythm parts on three songs and Carl Helm who helped arrange the vocals. With Stan Watson producing So Let Us Entertain You, much had changed since First Choice’s sophomore album The Player. Would So Let Us Entertain You match the success of The Player, First Choice’s most successful album?
When So Let Us Entertain You was released in 1976, Stan Watson’s Philly Groove had licensed the album to Warner Bros. It reached number 203 in the US Billboard 200 and fifty-three in the US R&B Charts. This was a disappointment, as The Player had reached number 143 in the US Billboard 200 and thirty-six in the US R&B Charts. The singles proved more successful. Let Him Go stalled at number ninety-seven in the US R&B Charts. Things got better when Gotta Get Away (From You Baby) reached number sixty-four in the US R&B Charts and number five in the US Disco Charts. First Choice Theme then reached number five in the US Disco Charts, while Ain’t He Bad went one better, reaching number four in the US Disco Charts. First Choice’s music, it seemed, had proved a hit in American clubs and dance-floors. However, sales of So Let Us Entertain You had been disappointing. After this, there would be changes in First Choice’s personnel. After that, First Choice would leave Stan Watson’s First Groove Records. However, before I tell you about that, I’ll tell you about So Let Us Entertain You.
First Choice Theme opens Side One of So Let Us Entertain You, exploding joyously into life. It’s a mass of lush, dancing strings, growling horns, tough, edgy, keyboards, percussion and a pounding rhythm section. Scatted harmonies give way to the sweet, soulful vocals of First Choice. A sizzling saxophone solo, weaves its way across the arrangement, as First Choice ensure the arrangement swings along. They add punchy doo-wop style harmonies, as Philly Soul and disco become one. Having gotten your attention, can First Choice keep it?
Ain’t He Bad is the first of two tracks Norman Harris arranged. A pulsating beat, hissing hi-hats, cascading strings and wah-wah guitars signal the arrival of First Choice’s sassy, jokey half-spoken vocals. With swathes of swirling strings and punchy braying horns for company, Rochelle to deliver a strident, sassy vocal. Joyce Jones and Annette Guest add confident, sweeping harmonies. The arrangement fuses Philly Soul, funk and disco. Strings and horns add a Philly Soul sound, while the guitars and keyboards add a tough, funky twist. For their part, the rhythm section create a dance-floor friendly heartbeat, as First Choice deliver a sassy, assured vocal.
Bobby “Electronic” Eli takes over arranging duties on I’ll Stay Right Here. Straight away, you realize something special is unfolding. Keyboards are joined by dramatic drums, blazing horns and flourishes of strings. Harmonies sweep soulfully in, while Vince Montana Jr adds vibes and Bobby “Electronic” Eli wah-wah guitar. Then comes Rochelle’s heartfelt, emotive vocal. It’s her best so far on So Let Us Entertain You. Filled with defiance, and delivered against a dramatic backdrop, Rochelle’s at her soulful best. Harmonies sweep in, reflecting the hurt and emotion in her vocal, while The Salsoul Orchestra add to the drama and heartache, as Rochelle delivers a soul-baring vocal, full of defiance, bravado and emotion.
Yes, Maybe No allows First Choice to showcase their combined talents. The rhythm section set the scene, adding waves of drama. With a burst of thunderous drums, Rochelle takes centre-stage. She delivers a powerful, heartfelt vocal, accompanied by tight, sweeping, soulful harmonies. They fuse elements of jazz, doo wop and Philly Soul. Behind them, layers of the lushest strings dance, braying horns kick and the rhythm section provide this hook-laden track’s heartbeat. First Choice and The Salsoul Orchestra are as one. Both play their part in what is one of the catchiest tracks on So Let Us Entertain You.
Gotta Get Away (From You Baby) closes Side One of So Let Us Entertain You. Again, it’s a dramatic opening to the arrangement. Although the sound of a train whistle opens the track, The Salsoul Orchestra are like a musical juggernaut. The rhythm section dramatically drive the arrangement along. Bobby “Electronic” Eli adds wah-wah guitar and Norman Harris’ guitar has a jazzy feel. Strings sweep and swirl furiously, while Rochelle delivers a powerful, fearful and emotive vocal. She’s accompanied by punchy, then whispered harmonies, while the arrangement fuses funk, Philly Soul and disco, becoming a dramatic, emotive musical juggernaut.
Are You Ready For Me is arranged by Ron “Have Mercy” Kersey and opens Side Two of So Let Us Entertain You. Ron’s keyboards and Larry Washington’s congas are at the heart of the punchy, driving arrangement. It unfolds in waves. Soon, strings dance, horns growl and the rhythm section add a pulsating heartbeat. Having set the scene, First Choice make their entrance, adding tight, elegant harmonies. Rochelle’s vocal is needy, sassy and sensual. Harmonies sweep elegantly and soulfully. By now, you realize just how well First Choice compliment each other. The harmonies and Rochelle’s lead vocal are a perfect fit. So too, is the performance of The Salsoul Orchestra. Like First Choice, when they’re in full-flight, it’s a joy to behold.
Don’t Fake It sees the tempo drop, as Norman Harris takes charge of arranging duties. Horns rasp, strings quiver and shiver and the rhythm section add a slow, deliberate backdrop. Ron “Have Mercy” Kersey’s keyboards, Norman Harris’ guitar and Vince Montana Jr’s play important parts in the arrangement. Rochelle’s vocal is needy and emotive, her heartbroken pleas, accompanied by subtle harmonies, while a sultry male vocal. A sultry male vocal drifts in and out, as Rochelle decides “the thrill is gone” pleading “Don’t Fake It.” The result is one of the most moving tracks on So Let Us Entertain You.
Larry Washington’s congas open I Got A Feeling, a cover of Carl Hampton and Homer Bank’s track. Strings sweep in, while a hustle arrangement complete with Norman Harris’ chiming guitar unfolds. Rochelle’s vocal veers between tender and powerful, filled with hope and happiness. Drums add bursts of drama, while the harmonies match Rochelle for emotion and soulfulness. Later, Rochelle scats and the harmonies become punchy, powerful and overflow with emotion and hope.
Let Him Go is another of the slower tracks. Strings add an emotive backdrop, while the rhythm section is deliberate and dramatic. This is perfect for Rochelle’s pleading, hopeful vocal. Her vocal ranges from tender and understated, to powerful and filled with emotion. Harmonies match her every step of the way. Vince Montana Jr. sprinkles his vibes, while a prowling bass and deliberate drums help First Choice close the track on a dramatic high.
If The Sun Shines closes So Let Us Entertain You, and is arranged by Vince Montana Jr. Vince’s vibes, percussion and Norman Harris’ jazz guitar accompanies tender, cooing harmonies before Rochelle adds a tender, heartfelt vocal. The bass weaves its way across the arrangement, while strings sweep. Meanwhile, Rochelle unleashes an ethereal, elegant vocal with tight, tender and soulful harmonies. In doing so, First Choice demonstrate that whether dance-floor tracks, or beautiful ballads like this, they were equally comfortable.
In some ways, Stan Watson’s decision to produce So Let Us Entertain You didn’t pay off. It failed to match the success of The Player, their previous album. Indeed, it only reached number 203 in the US Billboard 200 and number fifty-three in the US R&B Charts. Granted the singles proved popular in the US Disco Charts, but album sales were what counted. What makes the commercial failure of So Let Us Entertain You even more disappointing, was that it was First Choice’s first album to be released on a major label. Philly Groove released the album through Warner Bros. However, why was So Let Us Entertain You not a bigger commercial success?
Part of the problem with So Let Us Entertain You was the standard of the songs. Although the standard of songs are good, they don’t quite match the standard of songs on Armed and Extremely Dangerous and The Player. They weren’t quite as memorable, hooky and timeless. Having said that, So Let Us Entertain You isn’t a bad album. Far from it. It’s all a matter of comparisons. After all, the songs on Armed and Extremely Dangerous and The Player were penned by some of the best songwriters of the time. Many of these songs were tailor made for First Choice. Having said that, there’s still much to commend So Let Us Entertain You. Indeed, So Let Us Entertain You contains a number of songs which are the perfect showcase for First Choice’s vocal talents. Sadly, after So Let Us Entertain You First Choice’s lineup would change.
So Let Us Entertain You was Joyce Jones last First Choice. She was replaced by Ursula Herring. That wasn’t the last change in the First Choice story. After So Let Us Entertain You, First Choice would sign to Norman Harris new label Gold Mind Records, which was a subsidiary of Salsoul Records. At Gold Mind, First Choice would release three further albums, Delusions, Hold Your Horses and Breakaway. For First Choice, So Let Us Entertain You marked the end of an era. Since then, So Let Us Entertain You, like their final album Breakaway, has remained something of a hidden gem in their back-catalogue. For anyone who loves Philly Soul, then So Let Us Entertain You with its fusion of Philly Soul, funk and disco, is well worth investigating and discovering. Standout Tracks: Ain’t He Bad, I’ll Stay Right Here, Don’t Fake It and Let Him Go.
FIRST CHOICE-SO LET US ENTERTAIN YOU.
ELLA FITZGERALD-DEARLY BELOVED.
ELLA FITZGERALD-DEARLY BELOVED.
born in April 1917, Ella Fitzgerald enjoyed a fifty-nine year career that saw her crowned The Queen of Jazz and The First Lady of Song. With a three-octave vocal range, Lady Ella became one of the most influential and revered singers in the history of jazz music. Ella Fitzgerald influenced, and continues to influence, a new generation of singers. Famed for delivery, with peerless diction, phrasing and intonation, it’s no surprise that, during her career, she won thirteen Grammy Awards. She recorded for some of the biggest record labels of the day. Decca, Verve, Capitol and Columbia were all home for The Queen of Jazz. Similarly, Lady Ella worked with some of the greatest songwriters in American music, includinh George Gershwin, Cole Porter, Irving Berlin, Jerome Kern and Johnny Mercer. Duke Ellington, Count Basie, Oscar Peterson and Billie Holliday all worked with The First Lady of Song.
After Ella’s death in 1996, she left behind one of the richest musical legacies behind, in the shape of her discography. For anyone yet to discover Lady Ella’s music, there’s a veritable treasure trove of music awaiting their discovery. All this choice can prove confusing. Newcomers to Ella’s music wonder where the best place to start? This choice has recently gotten a whole lot easier. Proper Records recently released Dearly Beloved, a four-disc box set, which whether you’re a newcomer to, Lady Ella’s music is a treasure trove of some of Ella’s greatest recordings. For veterans of Ella’s music, this lovingly compiled compilation, carefully remastered box set, contains some of the most in-depth, informative sleeve-notes I’ve come across recently. Joop Viser’s sleeve-notes to Dearly Beloved, are a true labor of love and are a fitting homage to Ella Fitzgerald, The First Lady of Song. So, without any further ado, I’ll tell you what’s in-store inside Dearly Beloved, Proper Records four-disc box set.
DISC ONE-IN A MELLOW MOOD.
Disc One of Dearly Beloved, is entitled In A Mellow Mood and features twenty-three features songs Ella recorded with Ellis Larkins. Their first collaboration was in 1954, on the Decca album Songs In A Mellow Mood. This includes I’m Glad There Is You, Hoagy Carmichael and Mitchell Parish’s Stardust, Cole Porter’s My Heart Belongs To Daddy, the sassy Makin’ Whoopee and What Is There To Say? Larkin and Ella’s next collaboration was in June 1954, which resulted in tracks like George Shearing’s Lullaby of Birdland, which became of Ella’s most popular songs. Another song cut was Later, penned by Tiny Bradshaw and Henry Glover. Later in 1954, Ella received an award from Decca commemorating record sales of twenty-two million. Among the other tracks on Disc One, are live rendition of Pete Kelly’s Blues, which is a tantalizing glimpse of what Ella’s live performances were like. At the ned of 1955, Ella left Decca, signing to Verve. Her first release for Verve saw her cover the work of Cole Porter.
In 1956, Verve released Ella Fitzgerald Sings The Cole Porter Songbook. With an orchestra conducted by Buddy Bregman, and an all-star orchestra, Ella recorded what would become one of her classic albums. On Disc One, I Love Paris, Every Time We Say Goodbye, Do I Love You and Why Can’t You Behave? One of the most poignant is Every Time We Say Goodbye, which Ella’s breathes meaning, beauty and emotion into. Quite simply, it’s one of the highlights of Disc One In A Mellow Mood.
DISC TWO-FROM THIS MOMENT ON.
After the musical delights on Disc One of Dearly Beloved, you’d think that matching, never mind surpassing the quality wouldn’t be easy? Well, for other artists it would be hard, but this is Lady Ella during her period at Verve. In February 1956, Ella recorded a trio of tracks. These were Easy To Love, Get Out of Town and one of Ella’s classics, Miss Otis Regrets. Good as these tracks were, they proved to be just a musical aperitif.
The following day, Ella returned to Capitol Studios to record another twelve tracks from the Cole Porter Songbook. Accompanying her were Buddy Bregman’s Orchestra. Things get even better with tracks like Anything Goes, You Do Something To Me, Begin The Beguine, I Love Paris, Night and Day. As if that’s not enough, there’s also What Is This Thing Called Love, You’re The Top, All Of You and I Concentrate On You. The tracks from Ella Fitzgerald Sings The Cole Porter Songbook demonstrate just why they called Ella The Queen of Jazz. Her secret weapon was that three-octave vocal range. She brings each song to life, delivering it with either emotion, passion or sadness or tenderness or power. Sass or swing, Ella’s equally comfortable. Mind you, she was helped no end by having songs from one of America’s greatest ever songwriters. A combination of Ella Fitzgerald and Cole Porter, music just doesn’t get much better. For the first two discs of Dearly Beloved, you’re getting much more than you’re money’s worth. Even better, there’s still two discs to come.
DISC THREE-CAN WE STILL BE FRIENDS?
Five words no-one wants to heard spoken in a relationship, Can We Still Be Friends? That’s the title of Disc Three of Dearly Beloved, which features ten tracks Ella recorded with Louis Armstrong. This wasn’t the first time the pair had recorded or worked together. Indeed, the day before recording began at Capitol’s Hollywood Studios, Ella joined Louis Armstrong’s All-Star Band at the Hollywood Bowl. Making this session happen hadn’t been easy. Both artists managers were tough negotiators. Eventually, negotiations were over and work began on what material the pair should record. Norman Granz, Ella’s manager wanted Louis to take Louis out of his comfort zone, as his song selections were sometimes perceived as predictable. So, ten tracks were chosen for what became Ella and Louis. This included Can’t We Be Friends, Irving Berlin’s Isn’t This A Lovely Day and Cheek To Cheek, Moonlight In Vermont, April In Paris and The Nearness Of You. Having taken Louis out of his perceived comfort zone, the results were critically acclaimed, and seen as one of the best albums of the decade. Following the Louis and Ella sessions, five days later, Ella was back in the studio, to visit the songbook of two legendary American songwriters, Rogers and Hart.
Recording of what became Ella Fitzgerald SIngs The Rogers and Hart Songbook started on 21st August 1956. Accompanied by a full swing band lead by Buddy Bregman, Ella worked her way through one Rogers and Hart classic after another. This Can’t Be Love, The Lady is a Tramp, There’s A Small Hotel, With A Song In My Heart and Bewitched. On The Lady is a Tramp, Ella and her band cut loose and swing, cutting an Ella Fitzgerald classic. Very different, but incredibly beautiful, tender and moving, is Ella’s reading of Bewitched. Remarkably, Ella and her band were cutting eight tracks a day. In just two days, they recorded sixteen tracks. Given the quality of this classic, timeless music, that’s quite remarkable. When the ten songs from Ella Fitzgerald SIngs The Rogers and Hart Songbook are combined with the eight from Ella and Louis, then Disc Three proves that the quality of music on Dearly Beloved is consistently of the highest quality. Will that be the case on Disc Four of Dearly Beloved?
DISC FOUR-I LET A SONG GET OUT OF MY HEART.
While Disc Three of Dearly Beloved featured eight tracks from Ella Fitzgerald SIngs The Rogers and Hart Songbook, Disc Four features Ella’s take on the music of another legendary American jazz musician and songwriter, Duke Ellington. Before that could begin, Ella had to finish the Rogers and Hart sessions. On 4th September 1956, Ella finished recording Ella Fitzgerald SIngs The Rogers and Hart Songbook. There was to be no rest for Ella. Instead, she would begin work on the Duke Ellington sessions. Accompanied by Buddy Bregman’s Orchestra. Work began immediately.
During the Rogers and Hart sessions, Ella twice cut eight songs in one day. She surpassed this during the Duke Ellington sessions, recording fourteen tracks. Ella chose some of the best music from Duke Ellington’s songbook. Among the tracks that feature on Disc Four are classics like Satin Doll, In A Sentimental Mood, It Don’t Mean A Thing (If It Ain’t Got That Swing), Do Nothing Till You Hear From Me, Don’t Get Around Much Anymore, the aptly-titled Sophisticated Lady, I Let A Song Go Out Of My Heart and Rocks In My Bed. Disc Four features fourteen tracks from what became Ella Fitzgerald SIngs The Duke Ellington Songbook. It became one of Ella’s seminal albums. So it’s no surprise that these tracks overshadow most of the other tracks on Disc Four. Only My Funny Valentine comes close. However, given the standard of music that’s chosen from Ella Fitzgerald SIngs The Duke Ellington Songbook that’s no surprise. Remarkably, the quality has remained consistent through the four discs that comprise Dearly Beloved. What better way to close Dearly beloved is there, than Ella Fitzgerald singing the music of Duke Ellington?
For anyone looking for an introduction to Ella Fitzgerald, look no further than Proper Records’ four-disc box set Dearly Beloved. It covers the end of her period at Decca and the beginning of her time at Verve. Staring with songs from Ella’s Decca album Songs In A Mellow Mood, we head into Ella’s time at Verve. There’s ten tracks from Ella’s collaboration with Louis Armstrong, a selection of tracks from four of the greatest American songwriters. Starting with songs from Ella Fitzgerald Sings The Cole Porter Songbook, through Ella Fitzgerald Sings The Cole Porter Songbook, Ella Fitzgerald SIngs The Rogers and Hart Songbook and then Ella Fitzgerald SIngs The Duke Ellington Songbook, this is the perfect introduction to Lady Ella. Granted there are tracks from other sessions, including a trio of live tracks that are a tantalizing taste of The Queen of Jazz live. Then there’s Joop Viser’s sleeve-notes to Dearly Beloved. Truly, when reading them, I was struck by how this has been a true labor of love for him. His sixteen-thousand word essay is a fitting homage to Ella Fitzgerald’s fifty-nine year career. Incredibly detailed and researched, this is an example of what sleeve-notes should be like. Together with the four discs that comprise Dearly Beloved, Proper Records have released the not just the perfect introduction to Ella Fitzgerald, The Queen of Jazz, but one veterans of Ella’s music will cherish too. Standout Tracks: Stardust, You Do Something To Me, Bewitched and In A Sentimental Mood.
ELLA FITZGERALD-DEARLY BELOVED.
BILAL-A LOVE SURREAL.
BILAL-A LOVE SURREAL.
Born in 1979, and raised in Philly, Bilal Oliver Sayeed’s career began when he was just twenty. Having left Philly, Bilal moved a hundred miles to New York, where he began to become a familiar face within the city’s music scene. Soon, he knew artists across the hip and Nu-Soul scene, including Common, Erykah Badu and The Roots. Then when he was taking part in an after-school jam session, Bilal was discovered by Aaron Comess of the Spin Doctors. Aaron arranged for Bilal to record a demo, which was shopped to record labels. Eventually, Bilal signed to Inerscope Records, where he released his debut album 1st Born Second in 2001. Since then, much has happened to Bilal. He’s released two further albums, 2006s Love For Sale and 2010s Airtight’s Revenge, and at one time, was considering quitting music. Now, three years after 2010s Airtight’s Revenge, comes his fourth album A Love Surreal, which will be released by BBE Records on 4th March 2013. Inspired by the art of legendary surrealist painter Salvador Dail, A Love Surreal is Bilal’s most ambitious and innovative project to date. Before I tell you about A Love Surreal, I’ll tell you about Bilal’s career so far.
Having signed to Interscope Records, Bilal began work on what became 1st Born Second. It featured contributions from the Soulquarians and saw Bilal work with producers Dr. Dre and J. Dilla.1st Born Second proved was critically acclaimed and commercially successful, reaching number thirty-one on the US Billboard 200 and number ten in the US R&B Charts. Eventually, 1st Born Second sold 319,000 copies. Then there’s the three singles which were released from 1st Born Second. They were Fast Lane, Love It and Soul Sista, which was the most successful single. It reached number eighteen in the US R&B Charts and number seventy-one in the US R&B Charts. Since then, 1st Born Second is perceived as one of the best R&B and hip hop debut albums of the past thirty years. Having established a reputation as one of the most innovative artists of the millennia, Bilal spent the next few years collaborating with other artists, before recording his sophomore album.
Following the success of 1st Born Second, Bilal was keen to broaden his musical horizons. This lead to him collaborating with Jorge Ben, Dead Prez and Talib Kwell on a reinterpretation of Fela Kuti’s Suffering and Smiling. This was released as part of Red Hot and Riot’s well received compilation, where each artist covered a Fel Kuti song. During this period, Bilal collaborated with an eclectic selection of artists. From hip hop through jazz, R&B and Nu-Soul, Bilal worled with numerous artists. Among them, were Common, John Legend, Guru, J. Dilla, Jermaine Dupri, Jaguar Wright, Robert Glasper and Beyonce. This would give Bilal the inspiration for his sophomore album. However, Bilal’s career took an unexpected twist, which resulted in him questioning his musical future.
Bilal’s sophomore album Love For Sale was due to be released in 2006. Unlike his debut album 1st Born Second, Bilal was producing Love For Sale. The exception was Something To Hold On To, which was produced by Grammy Award winning songwriter and producer Nottz. Once Love For Sale was completed, the entire album was leaked on the internet. This resulted in Interscope shelving the album. They thought there was little point releasing an album that was already freely available. For Bilal, this proved to be a double edged sword. Given how hard Bilal had worked on Love For Sale, Bilal was questioning his future as a musician. It got so bad for Bilal, that he almost quit music entirely. Luckily, fans and critics alike, loved Love For Sale. Soon, Bilal was touring Love For Sale. This encouraged Bilal to continue his musical career. Four years later, came Bilal’s third album, which was aptly titled.
After Love For Sale was shelved, Bilal left Interscope. Again, Bilal collaborated with other artists. Whether it was hip hop, Nu-Soul or free jazz, Bilal was the go-to-guy. He worked with everyone from Sun Ra, The Roots, Scarface, Jaz-Z, J-Dilla and 88 Keys. Then in 2010, Bilal was ready to release his third album, the aptly-titled Airtight’s Revenge. Rather than sign to another major, Bilal had signed to a smaller, independent label, Plug Research. It seemed that signing for a smaller label, with a lower profile allowed him the freedom to be slightly more experimental. While Bilal didn’t sacrifice his trademark brand of catchy Nu-Soul, he used effects to take detours into spacey jazz and funky jams. For Bilal, this seemed to reinvigorate his career, allowing his to forget the frustrations of Love For Sale. For Airtight’s Revenge, Bilal brought in many of the artists he’d previously collaborated with. Nottz, 88 Keys and Robert Glasper all worked on Airtight’s Revenge. The result was an album that was well received by critics and a commercial success. It reached number 101 in the US Billboard 200 and number twenty-one in the US R&B Charts. Nine years after his debut album 1st Born Second, Bilal was back, after the frustration of Love For Sale. Three years later, Bilal is back, with A Love Surreal, which I’ll now tell you about.
For Bilal’s fourth album A Love Surreal, he’s fused soul, funk and jazz over fourteen tracks and fifty-six minutes. This isn’t just soul, funk and jazz as we know and love it, but Bilal’s bold, innovative reinterpretation of it. Bilal refers to A Love Surreal as: “an audio art gallery or musical museum.” His inspiration was the work of surrealist painter Salvador Dali. So, Bilal decided to challenge himself to do two things. One was to come up with a suite of music that reflected Dali’s paintings. The other challenge was to create music that investigates the many nuances of love. This twofold challenge was completed, when Bilal finished A Love Surreal, which I’ll now tell you about.
Intro, which opens A Love Surreal has a warm, multilayered, experimental sound. It meanders dreamily into being, before chugging along, with percussion, keyboards drenched in effects. Experimental, fuzzy and even surreal describes this one-minute track which whets your musical appetite. You wonder what will follow?
West Side Girl sees crisp drums drenched in filters combine with guitars and bass, as Bilal scats. When his vocal enters, the similarity with Prince is uncanny. It’s not just his voice, but his delivery and the lyrics. He delivers a sassy rap, of lyrics that Prince would’ve penned in his prime. Meanwhile the arrangement mixes funk, Nu-Soul, pop and even elements of house. The result is a track laden with memorable poppy hooks.
The unmistakable sound of a Fender Rhodes opens Back To Love, which has a real jazzy sound. Here, Bilal delivers a heartfelt, impassioned vocal, filled with sadness. “How do we get Back To Love,” he asks, as the arrangement mixes jazz, soul, drama and emotion.
Winning Hand sees slow, moody and deliberate, drums pound, before a bass weaves its way across the arrangement. Bilal scats, before tenderly and gratefully delivers his vocal. Soon, riffing rocky guitars enter, adding a dramatic twist to the arrangement. It’s all change, as Bilal’s vocal changes, growing in power, as he and his band kick loose and demonstrate another side to his music. This change of style continues on Climbing. It’s a fusion of genres, influences and musical textures. Laden with drama and emotion, again, soul, jazz and rock combine. There’s a sense of urgency in Bilal’s vocal, reflected in the beats and searing guitars. Later, elements of free jazz and seventies West Coast rock can be heard, as Bilal continues to reinvent both his music and himself.
Longing and Waiting is one of the most atmospheric and evocative tracks on A Love Surreal. Slow, spacey beats and chiming guitars combine as the arrangement gradually reveals its secrets. Bilal’s vocal is swathed in filters, giving the track a sixties psychedelic feel, which reminds me of John Lennon. Later, crashing rock guitars punctuate the arrangement, before a Prince influence reveals itself. Bilal takes this fusion of influences, gives it a 21st century twist, to create a track that’s evocative, emotive and bathed in drama. Similarly evocative and emotive is Right At The Core. It features an understated piano-lead arrangement. This is perfect for Bilal’s tender, melancholy vocal. Soon, his vocal grows in power, passion and emotion, cooing harmonies accompanying him, as he delivers one of his most heartfelt, moving vocals on A Love Surreal.
Slipping Away sees Bilal delivering another hurt-filled vocal. Again, the arrangement is subtle, guitars reverberate and synths bubble as Bilal delivers a heartbroken vocal. His vocal has a similar quality to Jeff Buckley’s on Grace. It almost becomes an instrument in its own right. As his vocal grows in power, emotion and hurt, guitars scream and riff, a piano pound and the track takes on a symphonic quality. By the end of the track you’re spent, exhausted at this cathartic outpouring of despair, grief and heartbreak.
Slipping Away is a much more uptempo track. There’s a slight country influence, thanks to the guitar that reverberates, weaving its way across the arrangement. With drums providing the heartbeat, Bilal’s vocal is a mixture of hope and hurt. He delivers his vocal with tenderness tinged with hope, hope that one day he’ll “learn to love again” and “smile.” With its fusion of country, rock and soul, this reinforces how versatile an artist Bilal is, while delivering a soulful vocal filled with hope and longing.
Astray continues the fusion of influences, with rocky guitars, funk, pop and soul combining. Again, Bilal’s vocal is reminiscent of Prince in his prime. So is the arrangement, with its fusion of slow, spacious drums, riffing guitars and effects added to the cascading, melodic vocal and guitars. Like West Side Girl, Astray is a memorable, melodic track where Bilal hasn’t rationed poppy hooks.
Ethereal backing vocalists open Never Be The Same. They set the scene for a gentle, wistful vocal from Bilal. He’s accompanied by subtle, chiming guitars, with clever chord changes and understated drums. As Bilal decides: “it’s time to make a change,” his vocal is filled with emotion, fear and maybe, regret, as he lays bare his soul for all to hear. Quite simply, this is not only the most beautiful track on A Love Surreal, but the best track.
Butterfly sees Bilal joined by Robert Glasper, who Bilal has collaborated with previously. Robert featured on Bilal’s previous album Airtight’s Revenge. It’s another piano lead track, with a subtle arrangement. Bilal’s vocal soars elegantly above the arrangement. The piano adds a beautiful backdrop, while synths add a subtle and atmospheric hue. Later, Bilal scats jazz style, his vocal becoming an primal scream style outpouring of emotion and frustration. Meanwhile, the arrangement grows in drama, but neither overpowers nor dominates Bilal’s jazz-drenched vocal.
The Flow has a much more experimental sound as it starts to reveal its secrets. Then, when the arrangement unfolds, there’s everything from hip hop, jazz, rock, funk and soul. It’s a real fusion of influences. Hip hop beats, rocky guitars and stabs of keyboards accompany Bilal’s vocal, as it veers between hip hop, rock and soul. Always, Bilal’s vocal is emotive, mixing power and passion, during this genre sprawling track.
Bookending A Love Surreal is Outro, a track which is very similar to Intro. Like Intro, it’s a jaunty, fuzzy track, which meanders and chugs along. Experimental and atmospheric, it brings Bilal’s fourth album A Love Surreal, to a compelling and captivating close.
Three years after the release of Bilal’s previous album, Airtight’s Revenge, where he started reinventing himself and his music, this continues on A Love Surreal. During the fourteen tracks on A Love Surreal, Bilal fuses musical genres and influences. There’s everything from soul, funk and jazz, through hip hop, country, sixties psychedlia and rock, including West Coast rock on A Love Surreal. The result is an album that’s a genre-sprawling, innovative album, inspired by surrealism.
A Love Surreal, Bilal’s fourth album was inspired by the paintings of Salvador Dail. So, he set about creating his most ambitious album to date. He set about creating an album that was “an audio art gallery or musical museum.” This was A Love Surreal, a suite of music that reflected Dali’s paintings. The other side of A Love Surreal was to investigate the many nuances of love. This was quite an ambitious challenge, but one that Bilal succeeded in. He created his “audio art gallery or musical museum.” The fourteen tracks on A Love Surreal create the backdrop for a surrealist film that’s yet to be made. Instead, the music on A Love Surreal conjurs up images in your mind’s eye. A Love Surreal is an evocative, emotive and innovative album, where Bilal takes you on a surrealist journey via soul, funk and jazz, through hip hop, country, sixties psychedlia and rock. On 4th March 2013, BBE Music will release A Love Surreal, where Bilal continues to reinvent himself and his music, with an innovative, genre-sprawling album, inspired Salvador Daii. Standout Track: West Side Girl, Back To Love, Astray and Never Be The Same.
BILAL-A LOVE SURREAL.
MICHELLE-MAGIC LOVE.
MICHELLE-MAGIC LOVE.
ssk anyone who loves disco music, which were the most influential and innovative labels of the disco era, and certain labels will always crop up. At the top of list, is Salsoul Records, which released some of the most critically acclaimed and commercially successful music, which was influential, innovative and cutting-edge. Then there’s label like SAM, Prelude, Casablanca and of course, West End Records, which Mel Cheren and Ed Kushkins founded in 1976. Soon, West End Records were releasing some of the most successful music of the disco era. This included music from Karen Young, Loose Joints, Taana Gardner, Betty Lavette and Michelle, who released just one albumson West End Records. That albums was Magic Love, was released in 1977, just a year after Mel and Ed founded their new label. Michelle’s 1977 album Magic Love, was one of the first albums West End Records released. Magic Love was collaboration between American and French musicians, which saw Philly Soul, Euro Disco and US Disco fused by French producer Pierre Jaubert and Tom Moulton, who mixed the album, to give it a dance-floor friendly sound. Before I tell you about the music on Magic Love, I’ll tell you about the background to the album.
Michelle’s story begins in Tunisia, where she was born Chantal Sitruk. Later, she moved to Paris and was known as Chantal Curtis. It was in Paris, that French producer Pierre Jaubert first discovered Chantal. Pierre came across as she was walking down a Paris street, talking to a friend. When Pierre heard her voice, he asked Chantal if she could sing. She said she could, and that she was looking for work as a singer. Disco was at the height of its popularity, and Pierre Jaubert had established a reputation as a songwriter and producer. So he set about transforming Chantal Curtis into a disco diva. To do this, Pierre had to put all his previous experience to good use.
Pierre had been working as a songwriter and producer since the mid-seventies. Previously, Pierre had worked with the Lafayette Afro Rock Band, who released two albums, 1974s Soul Makossa and 1975s Malik. After that, Lafayette Afro Rock Band became Pierre Jaubert’s studio band. Indeed, it was Pierre who convinced Ice to change their name from Ice to the Lafayette Afro Rock Band. Pierre produced two of Ice’s singles, Bobo Step and Passion. He also produced Captain Dax’s 1975 single Dr. Beezar. So, by the time Pierre met Chantal, he was an experienced songwriter and producer with a successful track record.
For Chantal Curtis’ debut album Magic Love, four songs were written. Donny Donable of the Lafayette Afro Rock Band contributed Can You Feel It. Dan Japlin and Jean Marc Willa-Roze cowrote Magic Love and Hold Me, Squeeze Me. The other track was Disco Love, written by Eddie Johns and Erma Reese. These four tracks became Magic Love, which was recorded in Paris and Philly.
Musicians on Philly and Paris would work on Magic Love. In Philly, the rhythm section icluded bassist Jimmy Williams, drummer Keith Benson and guitarists Ronnie James. Ron “Have Mercy” Kersey played piano, electric piano, synths, while Larry Washington played congas and The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson added backing vocals.
Among the musicians in Paris who worked on Magic Love, were members of the Lafayette Afro Rock Band. The rhythm section included bassist Lafayette Hudson, drummer Laurent and guitarists Etienne Dooh and Lance Quinn. Horns came courtesy of Ronnie Buttacavoli and Arthur Young, who played clavinet, Fender Rhodes and electric piano, and Frank Abel played Moog synth and piano. Tulli and Moto added percussion, and Phillippe Briche strings. Producing Magic Love were Pierre Jaubert and Tom Moulton, who mixed the album. Once recording was complete, Magic Love was released in 1978.
When Magic Love was released, Chantel Curtis’ name wasn’t on the album. Instead it was released as Michelle. By the time Magic Love was released, Chantel had become addicted to drugs. Her partner, Phillippe Briche was a talented pianist and arranger, but was also a drug addict. Chantel had also discovered drugs, and by the time Magic Love was released, was in prison. So, rather than use Chantel’s name, it was released under the pseudonym Michelle. In Paris, Epic Records released Magic Love, while West End Records released the album in America. Disco Dance gave the newly named Michelle, a massive hit single. The success of Magic Love helped establish West End Records as one of disco’s leading labels. Why was that? That’s what I’ll tell you, when I tell you about Michelle’s only album Magic Love.
Opening Side One of Magic Love is Can You Feel It. A funky bass line, wah-wah guitars, stabs of blazing horns and a pulsating disco beat sets the scene for Michelle’s tender breathy vocal. The Sweethearts of Sigma add cooing, sweeping harmonies as Michelle’s vocal grows in power, passion and sensuality. Meanwhile, the rhythm section create the pounding disco beat. Bursts of growling horns, percussion and the sweetest of harmonies envelop her vocal. Thunderous drums and a strident bass provide the heartbeat as Michelle takes on the roll of disco diva. Confidently and with just the right mix of sass and sensuality, she struts her way through this delicious slice of American disco.
Magic Love has a much more Euro Disco sound, as it explodes into life. Flourishes of cascading strings, tough keyboards and a thunderous Euro Disco beat accompany Michelle’s sassy vocal. She delivers a vocal that’s sensual, strident and assured, complete with soaring, sweeping soulful harmonies. Swathes of strings dance, before during a breakdown the funky rhythm section, percussion and chiming guitars take charge. The drama continues to builds. Then when strings sweep in, you realize that Michelle’s vocal is about to swept centre-stage. It does. Her tender, breathy and needy vocal is accompanied by cooing harmonies. Together, they ensure this pulsating Euro Disco track closes Side One of Magic Love on a memorable dance-floor friendly high.
Hold Me, Squeeze Me opens Side Two of Magic Love. There’s no let up in the tempo as American and Euro Disco combine head on. Handclaps, layers of dancing strings and the rhythm section combine with keyboards, before Michelle’s needy vocal enters. Her vocal veers between tender to powerful, but is always filled with emotion. Meanwhile, the band add a funky backdrop, with the rhythm section and chiming guitars at the heart of the action. Keyboards add a tougher, funkier sound, while harmonies provide a subtle contrast. Harmonies cascade, gliding elegantly above the arrangement, before passing the baton to Michelle. With handclaps accompanying her, she delivers a vocal that’s both needy and joyous. The finishing touch is a Hammond organ solo, which Michelle scats above. This brings this hook-laden and infectiously catchy.
Disco Dance closes Magic Love, and is a nine-minute epic that reminds me of Donna Summer’s I Love To Love and Donna McGhee’s Make It Last Forever. Michelle adds faux sensual moans and groans above an arrangement where disco and funk unite. Chiming guitars, lush sweeping, swirling strings, percussion and the rhythm section combine to dive the arrangement. Later, Michelle adds a punchy, dramatic, vampish vocal, while her band ensure this fusion of funk and disco swings along. Although it swings along, resulting in a funky, dance-floor friendly track, it’s not of the same quality as other tracks. Instead, it brings Magic Love to a disappointing end.
Magic Love proved to a good album rather than a great album. In the history of disco, Magic Love has long been forgotten about, apart from diehard disco lovers. This is a great shame, as three of the four tracks feature some great music. Can You Feel It, Magic Love and Hold Me, Squeeze Me are of the highest quality. US Disco, Euro Disco, funk and soulful harmonies are combined during these three tracks. Then Disco Dance, with its faux sensual moans and groans, proves to be something of a damp squid. Rather than end Magic Love on a high, it brings the album to a disappointing close. However, you’ve got to remember that Magic Love was Michelle or Chantel Curtis’ debut album. Given the quality of music on the first three tracks of Magic Love, you’d have though that Michelle had a big future ahead of her. Sadly, that wasn’t to be.
Following the release of Michelle’s Magic Love, Chantel Curtis next collaboration with Pierre Jaubert was Get Another Love. Released in 1978 on Keylock Records, Get Another Love was the last album Chantel Curtis released. What should’ve been a long and successful career was cut tragically short. Having become addicted to drugs, Chantel’s life spiraled out of control. She became addicted to drugs, served time in prison and in 1985, was murdered in Israel. It was a tragic case of mistaken identity. Chantel was shot, with the bullet thought to be intended for her boyfriend Phillippe Briche. So, what looked like a long and promising career after the release of Magic Love, was cut tragically short. Chantel Curtis’ story is a case of what might have been. She released just two albums, the best of these two albums was her debut album Magic Love. Standout Tracks: Can You Feel It, Magic Love and Hold Me, Squeeze Me.
MICHELLE-MAGIC LOVE.
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