B.B. KING-TO KNOW YOU IS TO LOVE YOU.
B.B. KING-TO KNOW YOU IS TO LOVE YOU.
In 1973, B.B. King decided to head to Philadelphia, to work with some of the city’s greatest musicians on his album To Know You Is To Love You. Many of these musicians were members of M.F.S.B, Philadelphia International Records’ legendary house-band. Among the members of M.F.S.B. which would accompany B.B.King on To Know You Is To Love You, were the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and vibes virtuoso Vince Montana Jr. M.F.S.B. had accompanied Philly Soul legends, helping to shape the Philly Sound. The Delfonics, The Stylistics, Billy Paul, Harold Melvin and The Blue Notes and The O’Jays had all worked with M.F.S.B. Other artists, realizing that M.F.S.B. could help transform an artist’s career, headed to Philly. Recently. Dusty Springfield and Laura Nyro had headed to Philly, to work with M.F.S.B. Both Dusty’s A Brand New Me and Laura’s Gonna Make A Miracle had proved successful albums. It seemed that M.F.S.B. had the magic touch. Now was B.B. King’s turn to work with M.F.S.B. Would M.F.S.B. work their magic with B.B. King on what would become To Know You Is To Love You.
B.B. King was born in 1925, and his career started in the forties. It wasn’t until 1957, when his recording career started, with the release of his debut album Singin’ The Blues, on Crown Records. He released eleven albums on Crown, but none of them charted. When he left Crown, he released thirteen further albums, for a variety of labels, before signing to ABC Records. It was at ABC Records that B.B. King enjoyed the most successful period of his career.
Although B.B. King had released Confessin’ The Blues in 1965, for ABC Records, it was a one-off. Completely Well, released in 1969, was B.B. King’s most successful album, and featured The Thrill Is Gone, which won him a Grammy Award. It reached number thirty-eight in the US Billboard 200 and number five in the US R&B Charts. This was just the start of the most successful period of B.B. King’s career.
1970s Indianola Mississippi Seeds reached number twenty-six in the US Billboard 200 and number eight in the US R&B Charts. B.B. King Live In London, released in 1971, then reached number fifty-seven in the US Billboard 200 and number fifteen in the US R&B Charts. For a live album, B.B. King Live In London was considered a commercial success. However, it marked a fall in B.B. King’s commercial success
During 1972, B.B. King released two albums. L.A. Midnight, reached just number fifty-three in the US Billboard 200 and number twenty-one in the US R&B Charts. Guess Who reached just number sixty-five in the US Billboard 200 and number fourteen in the US R&B Charts. These two albums proved disappointing for B.B. King. What he needed was a group of musicians who could help rejuvenate his career. So, the call went out to M.F.S.B. and B.B. King headed to Philly.
It made sense for M.F.S.B. and B.B. King to hookup. M.F.S.B. were enjoying success as Philadelphia International Records’ house-band and were releasing albums in their own right. They were also the go-to-guys for artists looking for a backing band. With M.F.S.B. ready to accompany B.B. King, B.B. and his producer got to work on the material for To Know You Is To Love You.
For To Know You Is To Love You, B.B. King penned Love and Thank You For Loving The Blues. Producer Dave Crawford wrote I Can’t Leave and Oh To Me. Dave cowrote I Like To Live The Love with Charles Mann and Who Are You with Horace Johnson. Luther Ingram and Mack Rice penned Respect Yourself, which gave The Staple Singers a huge hit single. The other track was a cover of To Know You Is To Love You, which Syreeta Wright and Stevie Wonder cowrote, These eight tracks became To Know You Is To Love You.
Recording of To Know You Is To Love You took place at Philly’s Sigma Sound Studios. The lineup of M.F.S.B. included the the Baker, Harris, Young rhythm section, plus guitarist Bobby “Electronic” Eli and Roland Chambers. Larry Washington played congas, Vince Montana Jr vibes and keyboards came courtesy of Ron “Have Mercy” Kersey, Charles Mann, Dave Crawford and Stevie Wonder. The Memphis Horns supplied the horns, while Charles Mann and producer Dave Crawford added backing vocals. Once To Know You Is To Love You was recorded, it was released in 1973.
On the release of To Know You Is To Love You in 1973, it reached number seventy-one in the US Billboard 200 and number thirteen in the US R&B Charts. This marked the end of an era for B.B. King. After this, it wouldn’t be until 1997s Deuces Wild that B.B. King would release an album that surpassed the success of To Know You Is To Love You. At least the singles fared better. To Know You Is To Love You reached number thirty-eight in the US Billboard 100 and number twelve in the US R&B Charts. I Like To Live The Love reached number twenty-eight in the US Billboard 100 and number six in the US R&B Charts. This became B.B. King’s most successful single since B.B. King’s Grammy Award winning single The Thrill Is Gone. Who Are You was the third and final single, released in 1974. It reached number seventy-eight in the US Billboard 100 and number twenty-seven in the US R&B Charts. While To Know You Is To Love You may not have matched the success of Completely Well and Indianola Mississippi Seeds, it’s certainly not because of the music, which I’ll now tell you about.
I Like To Live The Love opens Side One of To Know You Is To Love You. Written by Dave Crawford and Charles Mann, this was the lead single. Straight away, you realize something special is unfolding, as B.B. King and M.F.S.B. lock into a groove. Baker, Harris, Young provide the heartbeat, guitars chime and the growling Memphis Horns punctuate the arrangement. Norman Harris and B.B. King trade guitar licks, before B.B. adds a heartfelt, grateful vocal. Meanwhile, Vince Montana Jr, adds vibes, horns kick, drums pound and tender backing vocals sweep in. By now, M.F.S.B, The Memphis Horns and B.B. have created a beautiful and peerless, fusion of soulful blues.
Respect Yourself is a cover of a song made famous by The Staple Singers. Here, B.B. King gives the track a makeover, where soul, funk and blues unite. The song is slowed down, with M.F.S.B. providing a moody, broody and dramatic backdrop. Baker Harris, Young are at the heart of the action, before The Memphis Horn blaze in. B.B. King’s vocal veers between styles. It’s deliberate, vampish, soars high and later, becomes a powerful growl. Meanwhile he lays down some of his trademark bluesy guitar lines, as he brings new meaning to a classic track and its anthemic lyrics.
A jangling, bluesy piano combines with Baker, Harris, Young as Who Are You begins to reveal its secrets. As the arrangement drives along, B.B. adds his signature guitar sound, before unleashing a needy, hurt-filled vocal. Backing vocalists tenderly sweep in, adding a contrast, while The Memphis Horns growl and blaze dramatically. The longer the song progresses, the better things get. B.B’s vocal and weaving, chiming, crystalline guitar, plus the combination of M.F.S.B. and The Memphis Horns prove a potent combination.
Just B.B’s bluesy guitar opens Love. Then Baker, Harris, Young, Larry Washington’s congas and the blazing Memphis Horns accompany B.B. He expresses his happiness and gratitude. For their part, M.F.S.B. provide a slow, understated backdrop for B.B. as he unleashes another powerful, emotive and grateful vocal.
I Can’t Leave closes Side One of To Know You Is To Love You. The tempo drops, with B.B. King’s searing, crystalline guitar and Ron Baker’s moody, prowling bass accompany B.B’s heartbroken, frustrated vocal. His rasping, grizzled vocal has Vince Montana Jr’s vibes, braying horns, and Earl Young’s drums add a dramatic, bluesy backdrop, as B.B. lays bare his soul, hurt and betrayal for all to hear.
To Know You Is To Love You opens Side Two of To Know You Is To Love You. It’s an eight-minute epic, where Stevie Wonder and Syreeta Wright’s song is given bluesy makeover. Stevie Wonder plays keyboards, joining M.F.SB. and The Memphis Horns. The result is something of a musical dream team. Baker, Harris, Young provide the pulsating heartbeat, while horns growl and rasp as they dramatically punctuate the arrangement. B.B’s vocal is impassioned, powerful and emotive, while he lays down some of his best guitar lines. He’s helped no end by Norman Harris’ jazz tinged guitar playing and Stevie Wonder’s contribution on keyboards. With such a multitalented personnel accompanying B.B, it’s no wonder this is one of the best tracks.
Oh To Me sees a piano and B.B’s guitar set the scene for his vocal. What follows is B.B. delivering one of his most heartfelt vocals. He lays bare his feelings for the woman he loves. His vocal and guitar playing are at the heart of the track, while churning, growling horns accompany him. Ron Baker’s bass and a piano helps drive the arrangement along, as we hear a soulful side to B.B. King’s music.
Thank You For Loving The Blues closes Side Two of To Know You Is To Love You. It’s another epic track, lasting nearly seven-minutes. Mind you, it’s seven minutes where B.B, M.F.S.B. and The Memphis Horns showcase their talents. B.B’s guitar weaves its way across the arrangement. For company, he has Norman Harris’ guitar, Vince Montana Jr’s vibes, an atmospheric Hammond organ and Earl Young’s drums which pound dramatically. Here, B.B’s vocal is half-spoken, pensive and thoughtful. He takes the time to say Thank You For Loving The Blues, before he and the band kick-loose and showcase their considerable, combined talents. This seems a fitting way to close To Know You Is To Love You.
So, To Know You Is To Love You marked the end of an a short, commercially successful period B.B. King enjoyed at ABC Records. Between 1969 and 1973, he enjoyed the most successful period of his career so far. After this, his music was no longer as popular. Musical fashions overtook B.B. King. To Know You Is To Love You marked the end of an era for B.B. King. Blues music was no longer as popular. Its popularity had been overtaken by other musical genres, including Philly Soul.
This didn’t stop B.B. King releasing albums and constantly touring. His patience eventually paid off. Twenty-four years after the release of To Know You Is To Love You, B.B. King released an album that surpassed its success, Deuces Wild. By 1997, B.B. King’s music had become fashionable again. On 1997s Deuces Wild, he was joined by an “all-star” cast of recording artists, which included Van Morrison, the Rolling Stones, D’Angelo and Eric Clapton. Three years later, in 2000, B.B. and Eric Clapton released Riding With The King, which became B.B. King’s most successful album. These two albums marked the start of a new era for B.B. King. To Know You Is To Love You marked the end of an era for B.B. King with one of his most soulful albums. Standout Tracks: I Like To Live The Love, Respect Yourself, Who Are You and I Can’t Leave.
B.B. KING-TO KNOW YOU IS TO LOVE YOU.
BLACK SLATE-AMIGO.
BLACK SLATE-AMIGO.
Back in London in 1974, Black Slate became one of the first wave of British reggae bands. Indeed, Black Slate were the third major British reggae band to be formed. They were following in the footsteps of British reggae pioneers The Cimarons and Matumbi. These three bands were pioneers, leading the way for the next wave of reggae bands. Not only were Black Slate around when British reggae was born, but like The Cimarons and Matumbi, were one of the most successful British reggae groups. Between 1980 and 1982, Black Slate released seven albums. Black Slate’s 1980 debut album was 1979s Black Slate. It featured the hit single Amigo, which lead to Black Slate signing to Ensign Records. Released in 1980, Amigo, Black Slate’s sophomore album, will be rereleased by BBR Records on 25th February 2013. Before I tell you about the music on Black Slate’s album, Amigo, I’ll tell you about their six year journey from formation, to releasing their first album for a major label Amigo.
Ever since the early sixties, reggae had grown in popularity as a musical genre in Britain. The first wave of people who migrated from the Caribbean to Britain, had introduced reggae into Britain. Initially, it had been discovered by the Mods during the sixties. Since then, it had become part of Britain’s musical landscape. However, one thing Britain lacked, was their own reggae groups. That’s where groups like The Cimarons, Matumbi and Black Slate came in.
The Cimarons had been the first major British reggae band. They’d formed in 1969, in north London. While they were a tight, skilled, band, with a charismatic, talented lead singer in Winston Reed, their own songs lacked the depth of Jamaican reggae. Matumbi were formed two years after The Cimarons, in 1971. Bassist Dennis Bovell had founded Matumbi in 1971. Just like The Cimarons, much of their early work was working as a backing band. However, two years later, found themselves opening for Bob Marley and The Wailers. According to some reports, Matumbi managed to upstage the headliners. It seemed The Cimarons and Matumbi had a big future ahead of them. Dennis Bovell certainly did, becoming an important reggae producer. As the seventies progressed, the British reggae scene developed. Then in 1974, Black Slate were formed. Little did anyone realize the significance, but one of British reggae’s pioneering and most successful bands had been born.
Black Slate were founded by a combination of British and Jamaican born musicians. Bassist Elroy Bailey and keyboardist Anthony Brightly were born in Britain, to Jamaican parents, while drummer Desmond Mahoney, guitarist Chris Hanson and vocalist Keith Drummond were born in Jamaica. Rhythm guitarist Cledwyn Rodgers, the other member of Black Slate, hailed from Anguilla. The group were just teenagers when Black Slate formed. They would lead the way for groups like Aswad and Steel Pulse to follow. Like other British reggae groups, including The Cimarons and Matumbi, Black Slate started out backing other artists. Delroy Wilson, Ken Boothe and Dennis Brown used Black Slate as their backing band when touring Britain. Much as this allowed Black Slate to hone their sound and become a tight unit, what they really wanted, and needed, was to play and record their own music. Two years after forming, this would happen.
In 1976, two years after they’d formed, the time came for Black Slate to release their first singles. Forming their own record label Slate, Sticks Man was their debut single. It was heartfelt plea for Jamaican youths to change their ways. Clashes between police and Jamaican youths had lead, often unfairly, meant Jamaican youths were gaining a bad reputation in the press and media. Black Slate pleaded with them to change their ways. Having taken London by storm with Sticks Man, Piano Twist was their next single, released later in 1976. Then two years later, 1978 proved to another important year for Black Slate.
Not only did Black Slate embark on their first ever British tour, but formed another record label, TCD. On TCD, Black Slate released the single Mind Your Motion. This was another song with a message. Black Slate’s message was that Britain was heading for a breakdown within society. Later in 1979, Black Slate released their debut album on TCB, Black Slate. It featured the hit single Amigo, which lead to Black Slate signing to Ensign, who’d release their sophomore album Amigo.
Now signed to Ensign, Black Slate’s major label debut was a mixture of their previous singles and new tracks. Of the ten tracks, Amigo, Mind Your Motion, Reggae Music, Freedom Time (Black Star Liner), Losing Game, Romans and Legalize Collie Herb were written by the six members of Black Slate. They also received a credit on Boom Boom, which The Jamaicans had won the 1967 Jamaican Song Festival with. Elroy Bailey and Anthony Brightly cowrote Sticks Man ’80 and Thin Line Between Love and Hate was a cover of The Persuaders single.
Recording of Amigo took place at Gooseberry studios in London. Rather than bring in an outside producer, Black Slate produced and arranged the ten tracks on Amigo. Once Amigo was completed, it was released in October 1980.
On the release of Amigo in October 1980, the album failed to chart in the UK, bit proved successful in New Zealand, reaching number fourteen. The two singles proved more popular. Amigo reached number nine in the UK, number twenty in the Netherlands, number twenty-one in Belgium and number nine in New Zealand, when it was released in September 1980. Boom Boom was released in November 1980, reaching number fifty-one in the UK and number eleven in New Zealand. It seemed that following the release of Black Slate’s sophomore album Amigo, word was spreading of Britain’s reggae pioneers. Why was that? That’s what I’ll tell you, once I’ve told you about the music on Amigo.
Amigo was the single that lead to Black Slate signing to Ensign. Straight away, you realize how tight and talented a band Black Slate were. Demonstrating this, is the way they fuse percussion with pulsating rhythms and Hammond organ. Key to the sound are the rhythm section of bassist Elroy Bailey and drummer Desmond Mahoney. Add to this crystalline guitar. Keith Drummond’s vocal assures and soothes Rastafarian followers fears. They’ll neither be misled nor deserted. Backing vocalists further sooth these fears, as the stop, start nature of the arrangement adds to its effectiveness and potency.
Mind Your Motion is a dub-tinged track, where Black Slate’s hope is equality and justice. While the rhythm section play a crucial part in the track, laying down some pounding rhythms, it’s the horn section that steal the show. Trombonist Nicky Ridguard and Rudy Tynes tenor saxophone are at the heart of track’s success, while Keith’s vocal is heartfelt and sincere. Sadly, it’s questionable whether his hopes have come to fruition, thirty-three years later.
From the get-go, Reggae Music has an uplifting, joyous sound that grabs your attention. You’re swept along with braying horns, a churning rhythm section and Keith’s pleading vocal. Here, Black Slate want to share their love of Reggae Music, They’re spreading the word, preaching to the “unconverted,” Soon they won them over, including the people of Europe, Britain and New Zealand. No wonder they conquered three continents, with such a melodic, joyous and inspiring sound.
Sticks Man ’80 was a reworking of their 1976, debut single. Given the troubled times Britain faced in 1980, this song was just as relevant. It transgresses race, religion, borders and time. Keith’s vocal is filled with frustration and emotion, while Black Slate raise their game. They produce a bold, dramatic and equally emotive backdrop. Thunderous rhythms, angry stabs of horns and deliberate bursts of keyboards provide the backdrop for Keith impassioned, pleas, on a song that’s just as relevant in 2013, as 1980 or 1976.
Freedom Time (Black Star Liner) is a laid-back, melancholy and melodic sounding track. It deals with Marcus Garvey founding the Black Star Line African to help repatriate Africans to their homeland. When Keith sings of: “seven miles of Black Star Liners coming into the harbor,” it’s with a sense of pride and happiness. Similarly, when he sings: “It’s coming to me, sing hip-hip-hop hooray,” its with a sense of joy and hope at a new beginning and a sense of returning home. His vocal is also, melancholy and wistful, at the thought of what became of the Black Star Line. It fell victim to corruption and was infiltrated by the F.B.I. Accompanying Keith, is one of the best performances by the rest of Black Slate, especially the rhythm section, who provide the arrangement’s heartbeat. Of the ten tracks on Amigo, this is easily the best.
Boom Boom sees the tempo increase, as Black Slate reinterpret a track written by The Jamaicans in 1967. Again, it’s the rhythm section who play a starring role, adding pounding, pulsating rhythms, while percussion and punchy harmonies accompany Keith’s vocal on this anthemic track.
While many of Black Slate’s songs have a social message, Losing Game is a song about love lost. Bassist Elroy Bailey and keyboardist Anthony Brightly play leading roles in this track. Anthony adds Hammond organ above the choppy beat, which is driven along by Elroy’s pounding bass and percussion. Harmonies accompany Keith’s vocal, which is tinged with sadness and emotion, as Black Slate demonstrate another side to their music.
Romans is another spacey, dubby track. Here the rhythm and horn section join forces. They’re at the heart of everything that’s good about this slow, moody and pensive track. Bursts of blazing horns compliments a confident, meandering rhythm section. Keith’s vocal is deeper and deliberate as if to reinforce the lyric’s meaning. Harmonies accompany him, his voice persuasive, tender and thoughtful, complimented by, and complimenting the horn and rhythm section.
The only cover version on Amigo, is a cover of The Persuaders’ Thin Line Between Love and Hate. Given this is a minor soul classic, choosing to reinterpret such an iconic track is a big ask. Staying true to the original, an understated combination of broody bass and percussion combines. Crystalline guitars, washes of Hammond organ and stabs of keyboards set the scene for Keith’s vocal. Filled with emotion, he breaths new life and meaning to the track. The result is a track that’s far better than The Pretenders’ version.
Legalize Collie Herb closes Amigo. It’s not as defiant as Peter Tosh’s Legalize It, but Black Slate paean to the benefits of marijuana, sees them firmly in the Legalize It corner. While Keith’s vocal is heartfelt and impassioned, the rest of Black Slate lay down some of their finest reggae riddims, as they literally close Amigo on a high.
Black Slate’s sophomore album Amigo, features a group of tight, talented musicians who’d spent six years honing their craft as musicians and songwriters. This is something many groups fail to do now. These six years were well spent, backing other artists, touring and independently releasing singles and their debut album 1979 Black Slate. By the time Black Slate signed to Ensign, they were ready to make the next step. The next step was signing to a major label, with a successful track record, just like Ensign.
Maybe Ensign wasn’t the label for Black Slate? Possibly, if Black Slate had signed to Island Records, then success would’ve come their way. Regardless of whether Ensign was the correct label for Black Slate, Amigo was an album that was highly relevant in 1980. Given the economic and social problems that blighted Britain in 1980, it’s surprising, is that Amigo wasn’t a bigger commercial success. WIth its socially relevant lyrics, Amigo should have spoken to young people who were becoming disenfranchised and marginalized. Sadly, Amigo wasn’t a commercial success. This must have been disappointing for both Ensign and Black Slate. At least the two singles, Amigo and Boom, Boom gave Black Slate some chart success, across three continents. Following Amigo, was 1981s Sirens In the City, Black Slate’s second and final album for Ensign. Following SIrens In The City, Black Slate released three more albums, Rasta Festival, Ogima and SIx Plus one. That was all that was heard of Black Slate, until Black Slate Meets Soul Syndicate’s Moodie In Dub Volume 1, released in 2002. That is, until now, thirty-three years after Amigo’s release. On 25th February 2013, BBR Records will rerelease Black Slate’s sophomore album Amigo, complete with three bonus tracks. This will allow both a new old generation of music fans to discover the powerful music on Black Slate’s sophomore album Amigo. Standout Tracks: Sticks Man ’80, Freedom Time (Black Star Liner), Boom, Boom and Thin Line Between Love and Hate.
MUSIC FOR DANCEFLOORS-THE KPM MUSIC LIBRARY (DELUXE EDITION).
MUSIC FOR DANCEFLOORS-THE KPM MUSIC LIBRARY.
Ever since the dawn of hip hop, library music has proved a source of inspiration for sample-hungry hip hop producers and crate-digging DJs alike. Library music has also proven popular with music lovers with discerning musical tastes. Little did the founders of Chappell, Bosworth and KPM Music realize the lasting effects the music of mainly anonymous, young composers would have. Whether it’s children growing up in the seventies, weaned on cartoons like Dangermouse, viewers of TV quizzes or current affair, hip hop producers Jay-Z, Doom and Guilty Simpson, film producers including Quentin Tarantino or cutting-edge DJs, library music has influenced their lives. Given how wide library music’s influence is, you’d think everyone would have of this musical secret? Well, if you answered yes, you’re wrong. However, that’s about to change. On 2nd of April 2013, Strut Records will rerelease a deluxe edition of Music For Dancefloors-The KPM Music Library. This is the first installment of a series Strut Records successfully released back in 1999, but with the welcome addition of a bonus disc.
Unlike the 1999 edition of Music For Dancefloors-The KPM Music Library, the Deluxe Edition is a double album. Disc One features twenty classic tracks from KPM’s back-catalogue. On Disc Two, which is an exclusive bonus disc, where many of KPM’s original composers and musicians were reunited and London’s prestigious Jazz Cafe, for a one-off concert. Fittingly, they were billed as The KPM All-Stars. That concert was recorded, with The KPM All-Stars revisiting fourteen KPM classics. During fourteen tracks, musical memories come flooding back, courtesy of The KPM All-Stars. For the first time in over forty years, they were reunited and roll back the years, unleashing fourteen performances. Soul Thing, Swamp Fever, That’s What Friends Are For, Second Thump and Crash Course, musical memories are rekindled and not one track disappoints. For anyone with even a passing interest in library music, especially KPM Music, then this will bring memories flooding back. However, for anyone yet to discover the delights of library music, and join a discerning and growing band of producers, DJs and music lovers, I’ll tell you about the history of KPM Music and the twenty tracks on Disc One of Music For Dancefloors-The KPM Music Library.
The origins of KPM Music can be traced back over two centuries. Robert Keith founded a copmany in 1780, to make of musical instruments. Fifty years later, in 1830, he entered in a partnership with William Prowse, a music publisher. Their newly formed partnership was named Keith Prowse Music. Over the next hundred years, the company grew, and by the early twentieth century, included selling sheet music and concert tickets. The invention of the gramophone proved to be a game-changer. Demand for sheet music and concert tickets grew. However, in 1955, Keith Prowse Music was decided to diversify, into one of the most profitable areas of music, music publishing.
One of the reasons behind the decision to diversify into music publishing, was to feed the demand for soundtracks for radio, television and film. Previously, music libraries supplied classical music. That was what the demand was for. By the mid-fifties, and the birth of television, the world and music were changing, and changing fast.
Four years later, in 1959, Associated Rediffusion bought another music publisher Peter Maurice and merged it with Keith Prowse Music. The newly merged company became Keith Prowse Maurice, which became known as KPM Music. Now the newly named KPM Music was a much bigger player. Then in the mid-sixties, a new name took the helm at KPM Music, and transformed the company into one of the biggest names in library music.
When Robin Phillips joined KPM Music in the mid-sixties, he proved to be an astute and visionary businessman. Two decisions Robin Phillips made demonstrated this. His first decision was that KPM Music should switch from the old 78 records to the LP. This made sense, as LPs were now what people were buying. They were less prone to breakage, which meant less returns and more profit. LPs could contain more music, and be released in limited editions of 1,000. The other decision he made was to hire the best young British composers and arrangers.
Among the composers Robin Phillips hired were Keith Mansfield and Johnny Pearson. Robin spotted their potential, and hired them before they’d establish a reputation. Many were know within music publishing circles, but not as artists or producers. Later, Robin hired jazz musician John Cameron, Syd Clark, Alan Hawkshaw and Alan Parker. Their remit was to provide him with new music, which was referred to as production music. Many of their remits was to write music to match themes or moods. This isn’t easy, but they were able to do so. Almost seamlessly, they created themes for TV shows and films. For these composers and musicians, they were entering one of the most lucrative areas of music. EMI realizing that KPM Music had one of the best and most profitable music libraries, decided to buy KPM Music. While EMI spotted the profitability of library music and the consistency, quality and depth of KPM Music’s back catalogue, not everyone approved of library music.
Other songwriters looked down on writers of library music. Neither were the British Musician’s Union a fan of library music. They banned their members from working on recording sessions of library music. Somewhat shortsightedly, the Musician’s Union thought that eventually, there would come a time when there was no need for any further recordings. Their fear was that the sheer quantity of back-catalogue would mean no new recordings would be made, and their members would be without work. So, KPM Records would fly out composers, arrangers and musicians to Holland and Belgium, where local musicians would join them for recording sessions. This meant that often, the same musicians would play on tracks for several composers. It was only in the late seventies, that the Musician’s Union lifted their ban on new recordings of library music.
Once these tracks were recorded, KPM Music would release albums of library music. Again, KPM Music were innovators. They’d release limited editions of albums. Often, only 1,000 albums were released. By now, the interest in library music had grown. Music fans would buy each release. Now these albums have become rarities and copies change hands for huge sums of money. Little did the writers of the music and musicians that played on them, realize the effect they’d have in years to come.
During the hip hop era, producers would “borrow” from old KPM Music’s back-catalogue. These songs would provide the producers with their “inspiration.” For lovers of library music, a new game was born, spot the sample. During this period, interest in library music grew. DJs and discerning music lovers sampled the many delights of library music companies. The favorites were Chappell, Bosworth and KPM Music. Sadly, there was a problem. Many of these tracks were almost impossible to find, unless you had deep pockets or the time, patience and persistence to head out on crate-digging expeditions. Thankfully, in 1999, Strut Records came to the rescue, releasing the first of three compilations of library music. This was Music For Dancefloors-The KPM Music Library, which contained twenty trips into the back-catalogue of KPM Music. For lovers of library music, this was a lifeline. Now fourteen years later, Music For Dancefloors-The KPM Music Library has been rereleased, complete with a bonus disc, where The KPM All-Stars make their memorable live debut. Equally memorable is the music on Music For Dancefloors-The KPM Music Library, which I’ll tell you about.
Nineteen of the twenty tracks on Music For Dancefloors-The KPM Music Library are instrumentals. The exception is That’s What Friends Are For, which opens the compilation. It’s one of two tracks penned by Alan Parker, and featured onthe 1976 compilation Voice Of Soul, released on the Themes International imprint. What makes this one of the hidden-gems of KPM Music’s illustrious back-catalogue is a vocal masterclass from Madeline Bell, where she fuses soul and gospel. Alan Parker’s other contribution is the Unlimited Love, which was the theme for Top Of The Pops. Released in 1976, on the Pan-American Travelogue compilation on his Themes International imprint, this track has been inspired by Philly Soul, which in my book, is no bad thing.
Keith Mansfield is another composers who has two tracks on Music For Dancefloors-The KPM Music Library. They demonstrate two sides to Keith’s music. His first contribution is the slow, subtle and atmospheric, bass-driven, cool, cocktail jazz of Incidental Backcloth No. 3. It featured on the 1968 album Underscore, which contained the music of Johnny Pearson, David Lindup and Keith. This is one of my favorite tracks on Music For Dancefloors-The KPM Music Library. Crash Course, which featured on Vivid Underscores is quite different. While Incidental Backcloth No. 3 is understated, Crash Course is dramatic, as the music moves in the direction of fusion. Although just a few years separate both recordings, the Keith’s music is quite different, but the quality remains
Belgian pianist, Francis Coppieters’ two tracks on Music For Dancefloors-The KPM Music Library, explode into life. Both featured on the 1975 album Piano Vibrations. Cross Talk bursts into life. Upbeat and joyful, vibes and piano are at the heart of Francis’ arrangement. Things get even better on Piano In Transit. It’s an explosive musical gem. Francis’ piano drives the track along, with the vibes for company. Soon, a delicious swinging slice of jazz unfolds and an upright bass and percussion join the fun. These two tracks are a tantalizing introduction to one of Belgium’s best kept musical secrets.
Three tracks on Music For Dancefloors-The KPM Music Library have been reedited. One is Duncan Lamont’s Funky Express, which featured on the 1970 compilation Sound of The Times. It’s been reedited to just over three gloriously, funky minutes of music. A clavinet, wah-wah guitar and stabs of blazing horns, take you on an uber funky musical journey, reminiscent of Weather Report circa Headhunters. Another reedit is James Clarke’s Second Cut, a slice of jazz-funk is taken from the 1974 compilation The Trendsetters. The final reedit is Peter Xanten’s In Advance, from The Pierre Lavin Pop Band/The Motion Explosion. Although In Advance lasts just over two minutes, they’re two unforgettable minutes of hard-driving music, where funk and jazz collide head-on.
One of the moodiest, dramatic tracks on Music For Dancefloors-The KPM Music Library is Johnny Pearson’s Assault Course. It featured on the 1970 compilation Underscore Voume 2. Johnny Pearson’s music provided the theme to many a television show, including seventies cartoon Captain Pugwash. Here, he uses Lalo Schifrin as part of his inspiration, mixing Latin percussion, a prowling bass and stabs of blazing horns and a melancholy flute, to create a drama-laden track.
Several of the tracks on Music For Dancefloors-The KPM Music Library are a musical worldwide journey through KPM Music’s back-catalogue. First stop is Brazil, Barry Morgan and Ray Cooper’s uplifting and joyous Samba Street, was from the 1974 Percussion Spectrum compilation. Les Baxter’s Freeway To Rio continues the Latin flavour. Taken from 1970s Bugaloo In Brazil, this pulsating, Latin gem features a peerless piano riff that sample-hungry producers will adore. Just when you think things can’t get any better, along comes the percussive driven delights of Hans Ehrlinger’s Jungle Baby. Performed by Juan Erlando and His Latin Band and released on the Studio One imprint, a myriad of blazing horns, Latin percussion and woodwind create a celebratory call to dance.
From Latin America, next stop in the tour through KPM Music’s exotic back catalogue are Africa, India, Jamaica and Japan. First up and equally exotic is John Cameron’s Swamp Fever, from the 1973 album Afro Rock. It’s a funky introduction to the music of a British jazz musician and film composer, whose credits include Kes and A Touch Of Class, which saw John nominated for an Academy Award. Nascimbene’s Interlude Witchdoctor might only last eighty-seconds, but it’s a compelling and authentic field recording of chants and percussion. It’s taken from the Ethnic Songs and Dances/India-A Theme Set compilation. Next we climb onboard William Farley & Dennis Bovell’s Reggae Train, which featured on 1980s The Reggae Album. This dubby track was Dennis Bovell’s only composition for KPM Music. His other work included producing The Slits and Edwyn Collins‘ Orange Juice. What Reggae Train demonstrates, is just how eclectic KPM Music’s back catalogue is. The final destination on this musical journey is Japan, thanks to Alan Moorhouse’s Expo In Tokyo, which is taken from 1970s The Big Beat Volume 2. Slow, funky and atmospheric, featuring a meandering bass and Hammond organ, this is funk with an oriental influence.
Alan Hawkshaw is one of the most prolific British composers. What many people don’t know, is that he worked as a session musician. Dusty Springfield, Cerrone and Donna Summer are just a few of the artists he’s worked with. As a composer, he’s written the themes to many a British television show, including the quiz show Countdown. The mid-tempo Senior Thump, is one of Alan’s compositions. This blues infused track has a real sixties sound. So, it’s no surprise to discover that it featured on 1969 compilation, The Big Beat.
The reason I’ve not mentioned Klaus Weiss’ Morning 1 /Morning 2 is that I’m keeping the best to last. Four majestic minutes of pulsating, moody and dramatic music. Performed by Klaus Weiss Sounds and Percussion, which was the title of their 1975, jazz, funk and rock are fused, creating a Magnus Opus of a track, that’s the best on Music For Dancefloors-The KPM Music Library.
The twenty tracks that feature on Music For Dancefloors-The KPM Music Library, are a tantalizing taste of KPM Music’s illustrious back-catalogue. These tracks will take you on a voyage of discovery. Quite simply, after hearing these track, you’re bound to want to dig deeper into the KPM Music Library. What a treat is in store for the newcomer to KPM Musics’s back-catalogue. There’s so much music that is just awaiting discovery. Much of this music is from composers and musicians who many people won’t yet be aware of. Granted they’ll maybe have heard some of the music on television shows or sampled by hip hop producers. However, they may not be aware of John Cameron, Alan Hawkshaw, Keith Mansfield or Francis Coppieters. After hearing the twenty tracks on Music For Dancefloors-The KPM Music Library, you’ll want to hear more of the music. Regardless of what type of music you love, there will music that suits your tastes. Whether it’s jazz, funk, Latin, pop or something a bit more leftfield, there’s just so many hidden gems awaiting discovery. Discovering much of this music won’t be easy.
Back in the sixties and seventies, the original KPM Music compilations were released in limited quantities. Most people who own them, love, cherish and treasure them. Unless you’re really lucky, and strike gold in a second hand store, record shop or car boot sale, then your pursuit of musical treasure could be a long and fruitless. Often, when copies of the original albums change hands, it’s for large sums of money. Nowadays, in these recession hit times, not everyone has the budget to buy these albums. At least come 2nd of April 2013, you’ll be able to enjoy the Deluxe Edition of Music For Dancefloors-The KPM Music Library, complete with the bonus disc of The KPM All-Stars reunited at the Jazz Cafe. Standout Tracks: Madeline Bell and Alan Parker That’s What Friends Are For, Johnny Pearson Assault Course, John Cameron Swamp Fever and Klaus Weiss’ Morning 1 /Morning 2.
MUSIC FOR DANCEFLOORS-THE KPM MUSIC LIBRARY.
DONNA ALLEN-PERFECT TIMING.
DONNA ALLEN-PERFECT TIMING.
Donna Allen, whose 1986 debut album Perfect Timing will be rereleased by BBR Records on 25th February 2013, career started ten years before her debut album was released. However, Donna Allen’s career was almost accidental. She’d originally been a cheerleader for the Tampa Bay Buccaneers, and in 1976, as a favor to a friend, who was getting married, joined the Florida-based group Hi-Octane. After a year spent touring with Hi-Octane, Donna left the group, to join Trama.
Having joined Trama, they signed to Henry Stone’s T.K. Records, which was home to George McCrae, Betty Wright and K.C. and The Sunshine Band. Trama released just one album Trama, on T.K. Records’ Cat subsidiary. Produced by Saxton Kari, Trama provided the showcase for the raw, but soulful strains of Donna Allen on one of the funkiest albums T.K. Records ever released. Trama featured covers of The Bee Gees You Should Be Dancing and Betty Wright’s If I Ever Do Long. Following the release of Trama, After this, Donna decided it was time to form her own group.
After leaving Trama, Donna then formed Donna Allen and Company. They were a popular group, who performed throughout the Tampa Bay area. Eventually, Donna decided to pursue a solo career. Then when Donna started singing at the Forge Restaurant on Miami Beach, she would encounter a songwriter, arranger and producer who’d transform her career.
With Donna now a regular at the Forge Restaurant on Arthur Godfrey Road, which in previous years had enjoyed a colorful past. When Donna was singing at the Forge, it was one of the “in” places in Miami Beach. One night, Donna was approached by Lou Pace, who’d arranged the Miami Sound Machine’s worldwide hit Dr. Beat. Lou Pace was an arranger, producer and songwriter. He had numerous contacts within the music industry. However, back then, Lou didn’t know another Forge regular Fernando Pruna.
Fernando Pruna started visiting the Forge just to hear Donna Allen sing. Eventually, he approached her about producing her. Donna introduced Fernando to Lou. Straight away, they hit if off. Eventually, they’d become business partners. Deciding to join forces to further Donna’s career, they formed Triage Entertainment, which would introduce the world to Donna Allen. Given Fernando’s finances and Lou’s musical contacts, a distribution deal with Atlantic Records was secured. Having financed Triage, Fernando even owned a share in the recording studio, International Sound Recording. Soon, Triage was growing its roster. However, their first signing was Donna Allen. Work would begin on what would become her debut album Perfect Timing.
Now Triage Entertainment was formed, work began on what would become Donna Allen’s debut solo album Perfect Timing. Donna would cowrite four of the nine tracks. She cowrote Serious, Wild Nights and Bad Love with Lou Pace and Blitz. Lou and Donna also penned Satisfied with Will English. Ann Goodwin, Curtis Joseph and Robbie Kilgore contributed Sweet Somebody, while Emeridge Jones and Michelle Beaudry wrote Daydreams. Carl Sturken, Cindy Mizelle and Evan Rodgers cowrote Perfect Timing, and Bit By Bit was written by Peggy March and Steve Wittmack. Drummer Joe Galdo, Lawrence Dermer and Raphael Vigil cowrote the other track Another Affair. These nine tracks became Perfect Timing.
Recording of Perfect Timing took place at International Sound Recording, in North Miami Beach, Florida. Accompanying Donna were a rhythm section of bassist Reggie White, guitarist Gary King and drummers Harry King and Joe Galdo, who also programmed the drum machines. Keyboards and synths were played by Lawrence Dermer and Emeridge Jones, while Carlos Santos played percussion. Horns came courtesy of trumpeter Gary Concepcion and saxophonist Ed Galle. Backing vocalists included Betty Wright, Reggie White, Gary King, Emeridge Jones and Donna Allen. Lou Pace produced Perfect Timing, which was released in December 1986, ON 21 Records.
On the release of Perfect Timing in December 1986, it reached number 133 in the US Billboard 200 and number thirty-three in the US R&B Charts. Serious was released as the lead single in October 1986, reaching number twenty-one in the US Billboard 100, number five in the US R&B Charts and number seventeen in the US Dance Charts. In the UK, Serious reached number nine, while Satisfied reached number ninety-two in April 1987. It also reached number fourteen in the US R&B Charts and number thirty-three in the US Dance Charts. Sweet Somebody was the final single, released in August 1987, stalling at number fifty-five in the US R&B Charts and number forty-eight in the US Dance Charts. Not only had Donna Allen’s debut album Perfect Timing had proved a commercial success, but featured three hit singles. Donna’s meeting Lou Pace and Fernando Pruna had transformed her career. However, twenty-seven years after the release of Perfect Timing, how has Donna Allen’s debut album fared?
Opening Perfect Timing is the lead single Serious, which gave Donna her biggest single. Straight away, you hear an arrangement that has a real mid-eighties sound. Drums crack, and are joined by buzzing synths. It’s reminiscent of many artists of the time, including Madonna. Where things differ, is when Donna’s sassy, sultry vocal. It confidently struts centre-stage. Sweet, sweeping harmonies accompany and envelop Donna’s vocal. Then dramatic stabs of brassy horn and a vocoder are added. Thankfully, the vocoder isn’t overused. Later, a rapped vocal from Jimmy Magnoli adds to the tough, edgy and sassy sound, as Donna Allen opens her debut album Perfect Timing confidently and assuredly.
Keyboards tease and toy with you, as Sweet Somebody wonders whether to reveal its secrets. Synths buzz and beep, before Donna delivers a powerful, strident vocal. It’s not unlike Chaka Khan. Both deliver vocals with power and presence. One thing Donna doesn’t lack is confident. She’s self-assured and sassy, strutting confidently through the track. Soaring harmonies, bursts of rasping horns and the rhythm section accompany Donna, who unleashes a strident, sassy vocal.
Satisfied was the second single released from Perfect Timing. Washes of synths, deliberate, spacious drums and a moody, pounding bass accompany Donna’s sensual vocal. Soon, she’s unleashing another powerful, grizzled vocal. Donna demonstrates her wide vocal range. Tender, backing vocalists accompany her, while the arrangement fuses funk and eighties electronica. Dance-floor friendly, funk and sensuous, this track is all these things and more. It should’ve replicate the success of Serious.
Daydreams allows the soulful side of Donna Allen to shine through. The tempo drops, with the arrangement taking on a much more soulful, R&B sound. While there’s still an eighties electronica sound, this is downplayed, allowing Donna to deliver a heartfelt and emotive vocal, with backing vocalists for company. Donna delivers an inspired and impassioned vocal, demonstrating a side of Donna Allen that she should’ve concentrated more on. Especially given how powerful, soulful and emotive a vocal Donna has.
Wild Nights sees Donna change style again, as things get funky, sensual and steamy. Her band kick loose. Drums crash and reverberate, while horns growl and Reggie White lays down one of his trademark funk-laden bass line. Backing vocalists take charge, adding soaring, dramatic vocals. They give way to Donna’s powerful, vampish, sassy vocal. Soon, Donna and her backing vocalists sing call and response. They seem to feed off each other. One drives the other to greater heights, while the band lay down some funky licks. It sees whether it’s soul, funk and dance music, Donna Allen is just as home.
Perfect Timing sees a return to the soulful sound of Daydreams. The track has a lovely mellow, laid-back soulful sound. Her band provide a mid-tempo, understated arrangement, with keyboards, guitar and drums combining. Cascading harmonies sweep in, before Donna unleashes a tender, needy and impassioned vocal. Her vocal is filled with sincerity and hope, growing in power, pain and passion. Again, Donna proves that she’s at her best on soulful tracks like this.
Beeping, spacious, synths open Bit By Bit before chiming guitars, washes of synths and crispy drums combine. This marks a return to the electronic arrangement of earlier tracks. One thing doesn’t change…Donna’s powerful, soaring, soulful vocal. Assured, emotive and confident, she grabs the lyrics, injecting meaning into them. As if spurred on, the band up their game. The arrangement grows in power and drama, horns rasp, drums pound and harmonies soar, as they match Donna, a true diva every step of the way.
Percussion, synths and punchy vocals open Another Affair, which is very different to any other track on Perfect Timing. When Donna’s tender, wistful vocal enters, it’s filled with hurt and heartache. Drums pound and crash, while scatted harmonies add to the arrangement’s hypnotic sound. Later, Donna’s vocal veers between sensual, joyous and teasing, before the band take charge. When Donna’s vocal briefly returns, it drifts into the distance tinged with laughter at Another Affair.
Bad Love close Perfect Timing perfectly. It’s another dance track. Drums, keyboards, percussion and synths combine, before chiming guitars and Donna’s frustrated, angry vocal enters. She delivers the lyrics with her trademark power and soulfulness. Urgent harmonies add to the drama, as Donna unleashes another diva-esque vocal, closing Perfect Timing with another confident, assured vocal.
When you listen to Donna Allen’s debut solo album Perfect Timing, one thing strikes you, and that’s just how good a vocalist Donna is. The word diva describes Donna’s delivery perfectly on many of the songs on Perfect Timing. Powerful, sometimes sassy and sensual, other times emotive and impassioned, Donna’s vocal is always at the heart of a song’s success. Other times, Donna’s vocal is hugely soulful, especially on the two soulful cuts Daydreams and Perfect Timing. These are two of the best cuts on Perfect Timing. Maybe this soulful side is something Donna should have explored more after Perfect Timing. On the release of Perfect Timing, the fashion was for the electronic sounding arrangement. This wasn’t going to last forever. Musical tastes would change, whether sooner, or later.
So, when musical tastes changed, some artists had nowhere to go. For Donna Allen, she could easily have further explored her soulful side. After all, it’s on the soulful songs on Perfect Timing that Donna Allen was at her very best. Granted her vocals on other tracks allowed her to unleash some powerful diva-esque vocals. Unlike many vocalists, Donna Allen was a versatile singer. You’d expect that Donna Allen would go on to enjoy a long and successful career. That wasn’t the case. She only released one further solo album, Heaven On Earth in 1988. After her short solo career, Donna worked as a backing vocalist for many artists, including nine years singing backup for Gloria Estafan and The Miami Sound Machine. It seems that despite her talent, Donna Allen’s solo career was far too short, lasting just two albums. The best of Donna Allen’s two album solo career was Perfect Timing will be rereleased by BBR Records on 25th February 2013. Standout Tracks: Sweet Somebody, Satisfied, Daydreams and Perfect Timing.
DONNA ALLEN-PERFECT TIMING.
GEORGE MCCRAE-DIAMOND TOUCH.
GEORGE MCCRAE-DIAMOND TOUCH.
For George McCrae, Rock Your Baby, the single that transformed his career was something of a double-edged sword. Commercially, releasing a single that sold over eleven-million copies, reached number one in over eighty countries and was named Rolling Stone magazine’s song of the year in 1974 changed George McCrae’s life forevermore. The downside was, that how do you followup such an iconic song? George’s debut album Rock Your Baby, released in 1974, reached number thirty-eight in the US Billboard 200 and number thirteen in the US R&B Charts. After his debut album, his next two albums failed to match the success of Rock Your Baby.
The followup to Rock Your Baby, was George McCrae, released in 1974. It reached just number 152 in the US Billboard 200 and number fifty-four in the US R&B Charts. Together Again, released in 1975, reached just number thirty-three in the US R&B Charts. Rock Your Baby was proving to be a musical poisoned chalice. After all, songs like Rock Your Baby only come along once in an artist’s career, if they’re really lucky.George McCrae’s fourth album was 1976s Diamond Touch, which will be rereleased by BBR Records on 25th February 2013. T.K. Records, George’s label, decided a change in personnel was needed for Diamond Touch. Richard Finch and Harry Wayne Casey, who’d masterminded George’s first three albums, were replaced. Gregg Diamond was chosen as their replacement. Gregg Diamond help George McCrae regain his Midas touch with Diamond Touch?
Richard Finch and Harry Wayne Casey had written Rock Your Baby, the song that transformed George McCrae’s career. They’d also written much of George McCrae’s first three albums and produced them. By 1976, when George was about to record his fourth album, Diamond Touch, things were changing. T.K. Records, George’s label had been unprepared for the success that George would bring them. Ever since Rock Your Baby was released, the label had been growing from a small, almost unknown label, into one of the most successful labels of the time. Similarly, George’s life had been changing with the success he’d enjoyed.
Before George found fame with Rock Your Baby, he’d been married to Gwen McCrae. She’d been meant to record Rock Your Baby, but when she couldn’t make the session, George filled the void. Gwen was a successful singer in her own right, recording an album of duets Together with George. However, their marriage was almost over, and by 1976, George and Gwen were divorcing. So, when George prepared to record Diamond Touch, it was a challenging time, what with his marriage over and working with a new producer.
For Diamond Touch, Gregg Diamond hit the ground running. He wrote three tracks, Nothing But Love, Love Motion and Givin’ Back The Feeling, plus cowrote Dancin’ Through The Storm with George, Robert Geiger, Gene Heimlich and Steven Fineo. George and Robert Geiger penned Loved and Lost, while Chris Robinson contributed I’m Gonna Stay With My Baby Tonight. Robert Duarte and Stephen Argy cowrote Cut The Rug, while guitarist Hugh McCracken, Morgan Ames and Norman Mershon wrote Dance In A Circle. These eight tracks became Diamond Touch.
Another change for Diamond Touch was rather than recording taking place at T.K. Studios in Miami, recording took place at Big Apple Studios. A very different lineup of musicians accompanied George. This included a rhythm section of bassist Stephen Argy, drummer Marty Rodriguez and guitarists Steve Love, plus Dennis Sierra who also played sitar. George, Robert Duarte and Godfrey Diamond played percussion. Gregg played percussion, piano and backing vocals. Robert Geiger played clavinet, Hammond organ and piano, while Steve Fineo piano, electric piano and Fender Rhodes. Together with the Tony Pasch String Section, horns, woodwind and backing vocalists, the eight tracks that became Diamond Touch were produced by Gregg Diamond. Did Gregg Diamond have the Midas touch with Diamond Touch, George McCrae’s fourth album?
On the release of Diamond Touch in December 1976, it seemed Gregg Diamond didn’t quite have the Midas touch. Diamond Touch failed to chart. A small crumb of comfort was Love In Motion, released as a single in January 1977. It reached number four in the US Disco Charts. However, while Diamond Touch wasn’t a commercial success in 1976, is it one of these hidden gems that for too long, remain hidden? That’s what I’ll now tell you.
From the opening bars of Nothing But Love, which opens Diamond Touch, the track explodes into life. It’s a very different sound to George’s three previous albums. Quite simply, with a pulsating, funky, rhythm section joins guitars and keyboards. They accompany, George’s joyous, urgent vocal. It literally dances across the arrangement, which has Gregg Diamond’s trademark sound. Strings join the party, dancing with delight, horns rasp and harmonies add to the urgency, as a hook laden disco track unfolds. Producer Gregg Diamond has made a bold statement, bringing George right into the disco era, albeit with a funky twist.
Love Motion sees the tempo slow slightly, but Diamond Touch focus solely on the dance-floor. Tough, funky keyboards and the lushest of strings sweep and swirl. They provide contrasts, while the pounding disco beat is ever-present. Key to the disco beat is Stephen Argy’s Fender bass, which propels the arrangement along. George, spurred on, delivers a confident, strident vocal. Flourishes of piano add flamboyance, while the constant clavinet panned right is part of Gregg’s robotic boogie “sound.” Like the opening track, it’s dance-floor friendly, infectiously catchy and sees George with a new lease of life.
While the two previous tracks were penned by Gregg Diamond, Chris Robinson wrote the deeply soulful I’m Gonna Stay With My Baby Tonight. Chiming guitars announce the arrival of Southern Soul horns, cascading horns and the rhythm section. When George’s vocal enters, it’s heartfelt and filled with emotion and happiness. Handclaps and harmonies accompany George, as he tenderly delivers one of his most soulful, inspired vocals. The harmonies add the finishing touch to the song, as George demonstrates whether it’s soul or disco, he’s equally at home.
Givin’ Back The Feeling sees an other change in style. Tough and funky describes the arrangement. Horns blaze, the bass leads a funky rhythm section while keyboards, panned right add a tough, edgy sound. George’s vocal is vampish, sassy and fiery. Sometimes, it’s enveloped in delay, adding an air of mystery. Strings cascade, guitars chime as horns growl and kick, as George struts and vamps his way confidently through the track, reminding me somewhat of Sylvester, another giant of disco.
Just like the opening track, Cut The Rug explodes into life, grabbing your attention. A myriad of dancing strings, driving rhythm section and grizzled horns combine with percussion and keyboards. Having set the scene, George’s urgent falsetto soars in. Filled with emotion, and delivered with urgency, George is driven on by one of the band’s best performances. Their performance really lifts a song which is filled with poppy hooks, as disco, funk, jazz and Latin combine for four minutes.
Shimmering, quivering strings open Dance In A Circle, before Gregg Diamond’s bionic boogie sound unfolds. This is one of the highlights of Diamond Touch. Gregg’s production and George’s performance are peerless. George delivers his falsetto vocal, while the arrangement dances beneath him. Again, there are similarities with Sylvester. A pulsating, pounding disco beat, swirling, sweeping strings and keyboards are combined. The result is truly breathtaking. From start to finish, you’re swept along, hooks aplenty unfolding, as George unleashes an urgent, vampish vocal. Having found a new enthusiasm, George delivers a call to dance, where resistance is futile. Best just submit to the songs charms, and Dance In A Circle.
Dancin’ Through The Storm was the only track George cowrote on Diamond Touch. Coincidence or not, it’s one of the songs best suited for George. He seems comfortable, not forcing the vocal. Indeed, he delivers one of his most soulful vocals. The tempo slows, with the rhythm section, guitars and keyboards driving the arrangement along. George’s vocal veers between tender, needy and impassioned. Searing, riffing guitars and keyboards play an important part in the arrangement, as George rolls back the years, returning to the soulful side of his music.
Loved and Lost closes Diamond Touch on a high. Again, George’s soulful side is allowed to shine through. The slower tempo and vintage sounding arrangement suits the song. George’s heartbroken, needy vocal is accompanied by equally emotive harmonies. They’re the perfect foil for his pleas. Meanwhile the rhythm section, percussion and guitars provide an emotive, mid-tempo, backdrop for his vocal. Its roots are in the fifties and sixties, and thanks to producer Gregg Diamond, provides a quite beautiful backdrop to George’s hurt-filled and heartbroken vocal. This seems a fitting and quite beautiful way to close Diamond Touch.
After three albums with Richard Finch and Harry Wayne Casey masterminding George McCrae’s career, T.K. Records decided that, in an attempt to rejuvenate George’s career, a new producer was required. This is always risky. After all, many producers have a trademark sound. Their solution, to rejuvenate an artists career is to stamp that sound on an artists album. Sometimes this works, other times, it doesn’t. In the case of George McCrae’s fourth album Diamond Touch, producer Gregg Diamond didn’t have the Midas Touch.
Granted the eights songs that comprise Diamond Touch see George’s music moving in new directions. Out was the Miami sound of his three previous albums. Replacing it was disco, and Gregg’s bionic boogie sound. Opening with Nothing But Love and the single Love In Motion, Gregg grabs your attention. Then comes the deeply soulful sound of I’m Gonna Stay With My Baby Tonight. This wasn’t the only soulful cut on Diamond Touch, Dancin’ Through The Storm and Loved and Lost were two other soulful treats from George McCrae. The other tracks were disco and funk. Givin’ Back The Feeling has a tough, funky sound, while Cut The Rug is an explosive fusion of influences. Dance In A Circle is an irresistible track, where George McCrae becomes a disco shaman. Sadly, the change in producer for Diamond Touch didn’t help rebuild George McCrae’s career.
Not only was it a case that producer Gregg Diamond didn’t have the Midas touch on Diamond Touch, but it was the least successful album of George McCrae’s four album career. However, Gregg played his part in ensuring that Diamond Touch, which will be rereleased by BBR Records on 25th February 2013, moved George McCrae’s career in a new direction. Funk, soul, disco and bionic boogie are combined over the eight tracks that comprise Diamond Touch. Indeed, Diamond Touch features some hidden disco gems and deeply soulful cuts from George McCrae, and marked the opening in a new chapter of his career. Standout Tracks: Love In Motion, I’m Gonna Stay With My Baby Tonight, Dancin’ Through The Storm and Loved and Lost.
GEORGE MCCRAE-DIAMOND TOUCH.
DELEGATION-DEUCES HIGH.
DELEGATION-DEUCES HIGH.
By the time Delegation came to record their fourth album, 1982s Deuces High, which BBR Records will released on 25th February 2013, the group’s lineup had changed several times. It seemed Delegation’s lineup was constantly evolving. Members joined, then left. When Delegation came to record their fourth album, Deuces High, Ricky Bailey was the last man standing. Ricky was the last of the original lineup of Delegation. The lineup of Delegation that would record Deuces High, were just Ricky Bailey and Ray Patterson, who’d joined the group for the recording of Delegation’s sophomore album Eau De Vie. Deuces High would prove to be Delegation’s last album, until fourteen years later, when they reformed to release Encore. For Delegation, Deuces High was the end of an era. Would Delegation end this era on a high, with Deuces High?
Having formed in 1975, Delegation had released three previous albums. The Promise of Love, released in 1978, had been Delegation’s most successful album, reaching number eighty-four in the US Billboard 200 and number eight in the US R&B Charts. With a different lineup, including new member Ray Patterson, Delegation released their sophomore Eau De Vie, in 1979. It failed to chart and neither did 1981s Delegation II. In Europe, Delegation’s albums were successful, but success eluded them in the UK and US. Delegation did enjoy minor chart success in the UK and US R&B single’s charts. That was a small crumb of comfort. Maybe Deuces High would prove see Delegation’s fortunes improve?
For Deuces High Ricky Bailey and Ray Patterson cowrote three tracks, If You Were A Song, Gonna Bring The House Down, Dance Like Fred Astaire and Would You Like To Start A Thang With Me? Ken Gold, Delegation’s producer cowrote the other five tracks. With Michael Denne they penned What Took You So Long, I Figure I’m Out Of Your Life, Tell Her and No Words To Say. Dance Time-USA was a track Ken Gold and Nigel Hanson cowrote. These nine tracks became Deuces High.
Recording of Deuces High took place at London’s Sound Suite Studios. Many of the same personnel that played on Delegation’s three previous albums played on Deuces High.The band accompanying Delegation bassists Paul Westwood, Lenny Willis, Les Hurdle and Mark King and guitarists Robert J. Ahwai and Ray Patterson. Rather than a drummer, a Linn Drum machine was used. Lynton Naiff played synths and keyboards, plus arranged the horns. Ken Gold added percussion and produced Deuces High. Once Deuces High was recorded, it was released in 1982.
The release of Deuces High in 1982, didn’t see Delegation’s fortunes improve, when it failed to chart. Neither Gonna Bring The House Down, nor If You Were A Song charted when released as a single in 1982. Deuces High was a case of deja vu for Delegation. However, why did Deuces High not fare better commercially?
Opening Deuces High What Took You So Long. Straight away, you hear a very different side of Delegation. The poppy soul of previous albums is replaced by synths and drum machines. One thing stays the same, the soulful vocal, which is Delegation at their best. With synths, chiming guitars and drum machines providing the backdrop for Delegation, the vocal is heartfelt, emotive and deeply soulful. Harmonies sweep in. They glide elegantly above the arrangement, as a hooky slice dance-floor friendly poppy soul shows another side to Delegation’s music.
I Figure I’m Out Of sees a drop in tempo and the drama increase. Like the previous track, the new Delegation sound unfolds. A buzzing bass weaves across the arrangement with keyboards, synths and hissing hi-hats for company. It’s when the vocal enters, that Delegation grab your attention. Filled with emotion and tinged with sadness, it brings to life the lyrics. Heartfelt harmonies, percussion and stabs of keyboards add to the sadness and emotion. A rasping horn is added at the perfect moment, reinforcing the heartbreak and hurt in Ray’s vocal, as one of the saddest songs on Deuces High unfolds.
Pensive keyboards open If You Were A Song, before Ray’s melancholy vocal enters. His vocal is slow, deliberate and accompanied by a slow, wistful and understated arrangement. Just drums, washes of synths and percussion combine as his vocal wells up with emotion and hurt. Later, a searing, riffing guitar adds to the drama. It replaces the vocal as the drama grows and builds. From there, Ray delivers another emotive, hurt-filled vocal.
Gonna Bring The House Down has a James Brown influence when it explodes into life. Thunderous drums, chiming guitars and driving, blazing horns combine. They set the scene for powerful, urgent harmonies, with subtle synths and handclaps. Soon, Delegation have gotten into a funky groove, with the bass and guitars propelling the arrangement along, in a direction marked funk. This allows Delegation to demonstrate their versatility, marring funky, hooks an eighties electronica.
Tell Her is another of the slow songs on Deuces High. This is what Delegation do so well. Just a slow combination of synths, keyboards, guitars and funky bass accompany Ray’s impassioned vocal. He delivers the lyrics with feeling, tenderness and sincerity. It’s his vocal that’s the focus of your attention. You’re captivated by its beauty, tenderness and sheer soulfulness, Delegation prove to be masters of heartfelt ballads.
Blazing horns, pounding drums and synths open Dance Like Fred Astaire. Then an uber funky, slap bass weaves its way across the arrangement. When the joyous, soaring vocal enters, funk and dance music are combining seamlessly. With the growling horns helping drive the arrangement along, cascading harmonies sweep in. Lynton Naiff’s horn arrangement is crucial to the arrangement. Then during the breakdown, the band showcase their talents, with percussion, bass and guitars combining. Meanwhile, Delegation are almost desperate to deliver the rest of the lyrics on this infectiously catchy fusion of funk, dance and poppy soul.
No Words To Say has an early eighties sound, when the synths, bass and the drum machine combine. While synths and the drum machines add an electronic sound, the bass adds a funky heartbeat. Then when Ray’s impassioned vocal enters, he adds the necessary soul. His delivery is deliberate and sensuous, while harmonies soulfully sweep in. Later, a rasping horns is added, adding to the beauty and soulfulness of this ballad. Again, Delegation demonstrate that when it comes to ballads, they’re peerless in terms of British early eighties British soul.
Would You Like To Start A Thang With Me is a much more uptempo track. It’s funky and soulful, swinging along. Chic style chiming guitars, growling horns and a pounding bass help propel the arrangement along, helped by the drum machine and synths. This track is proof that the use of synths and drum machines don’t always lessen the soulfulness of a track. Granted often, this is the case. Not here. Used well, which they are by producer Ken Gold, they help, not hinder an arrangement. What also helps the track are Ricky Bailey and Ray Patterson partnership. Ray’s sassy, teasing vocal helps the song swing. Urgent harmonies reply to his call, as Ray and Ricky prove a potent and soulful partnership.
Dance-Time U.S.A. closes Delegation’s fourth album, Deuces High. There’s a tougher, funkier sound, that has a real American influence. The tempo drops, with just synths, dramatic, blazing horns and a pedestrian, deliberate rhythm section providing the heartbeat. Ray’s vocal is deliberate and sassy. When Ray and Ricky add harmonies, they’re tight, sweet and soulful, gliding elegantly above the arrangement. Later, the vocal becomes a rap, as soul, funk, eighties electronica and hip hop combine, as Delegation close Deuces High. It would be another fourteen years until their next and final album Encore. At least they closed Deuces High on a high.
Why Delegation’s fourth album, Deuces High wasn’t a commercial success wasn’t do with the quality of music. Instead, it was a case that other musical genres were much more fashionable. In the UK, during 1982, when Deuces High was released, British soul and funk wasn’t particularly popular. Instead, the dreaded New Romantic movement was blighting the musical landscape. Indie music, eighties electronica and hip hop were all popular. So too, was rock music, despite the propaganda spread by those who overstate punk’s importance and lasting effect. So for groups like Delegation, their only hope was breaking through in America. That didn’t happen for Delegation. Granted they were popular in mainland Europe, but in Britain and America, the only minor success they enjoyed was with singles. After their fourth albums, Deuces High, Delegation didn’t record another album, until 1996s Encore. Deuces High which BBR Records will released on 25th February 2013, marked the end of an era Delegation. Having released four albums between 1978s The Promise of Love and 1982s Deuces High, Delegation split up in 1984. Despite reforming in 1996, and releasing Encore, Delegation’s four albums, The Promise of Love, Delegation II, Eau De Vie and Deuces High feature one of the great hopes of British soul. Now, after an absence of seventeen years, these four albums, including Deuces High have been rereleased by BBR Records, allowing people to discover the soulful, funky delights of Delegation all over again. Standout Tracks: If You Were A Song, Tell Her, No Words To Say and Dance-Time U.S.A.
DELEGATION-DEUCES HIGH.
THE O’JAYS SHIP AHOY.
THE O’JAYS SHIP AHOY.
In August 1972, when The O’Jays’ released Back Stabbers, little did they realize how important an album it would become. Back Stabbers was certified gold, and fourteen years after The O’Jays were formed, were on their way to becoming one of the most critically acclaimed and commercially successful groups in the history of Philly Soul. Between 1972s Back Stabbers and 1979s Identify Yourself, The O’Jays released eight studio albums. Three were certified gold and five platinum.
Back Stabbers helped launch Gamble and Huff and their newly founded label, Philadelphia International Records as one of soul music’s premier labels. In the process, it established Gamble and Huff’s reputation as one of the most innovative, influential and pioneering production and songwriting teams. Indeed, The O’Jays followup to Back Stabbers, Ship Ahoy, released in October 1973, cemented Gamble and Huff’s reputation not just innovators and pioneers, but with a social conscience. Ship Ahoy featured songs about slavery, racism, greed and pollution. Side-by-side on Ship Ahoy, sat love songs and songs with a social conscience. While The O’Jays may have sung sweetly about love, but they weren’t afraid to become the conscience of a nation, using their music to shame those who they thought were bringing their country to its knees, by their actions. Through the medium of music, politicians, corporate America and race, were all subjects that they dealt with in the music on Ship Ahoy, which will be rereleased by BBR Music on 25th February 2013. Before I tell you about some of the most powerful, potent and moving songs The O’Jays recorded, I’ll tell you about the background to Ship Ahoy.
By 1973, Philadelphia International Records had established its reputation as a pioneering label, who’d released critically acclaimed and commercially successful albums. During 1972, Philadelphia International Records had released Billy Paul’s 360 Degrees of Billy Paul, Harold Melvin and The Blue Notes’ I Miss You and The O’Jays’ Back Stabbers. Further success had come Philadelphia International Records’ way with Harold Melvin and The Blue Notes’ Black and Blue M.F.S.B’s sophomore album Love Is The Message and The Three Degrees’ eponymous album The Three Degrees. Gamble and Huff and Philadelphia International Records were on a roll by the time The O’Jays released Ship Ahoy.
Ship Ahoy featured four tracks penned by Gamble and Huff. They wrote Put Your Hands Together, Ship Ahoy and Now That We Found Love, while they cowrote the seven minute epic For The Love Of Money With Anthony Jackson. Kenny Gamble cowrote The Air That I Breathe and Don’t Call Me Brother with Bunny Sigler, who also contributed You Got Your Hooks Into Me. The songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote People Who Keep Tellin’ Me, which closes Ship Ahoy. Recording of Ship Ahoy took place at the familiar surroundings of Joe Tarsia’s Sigma Sound Studios.
At Philly’s Sigma Sound Studios, Gamble and Huff were joined by the classic lineup of M.F.S.B, Philadelphia International Records’ legendary house-band. This included the Baker, Harris, Young rhythm section, plus bassist Anthony Jackson and guitarist Bobby “Electronic” Eli. They were joined by organist Lenny Pakula, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo, who was part of the trademark string and horn sound that featured on many Philadelphia International Records’ recordings. Arrangers who worked on Ship Ahoy included Norman Harris, Dennis Williams, Lenny Pakula and Bobby Martin. Producing Ship Ahoy were Gamble and Huff. Once Ship Ahoy was recorded, it was released in October 1973. Would Ship Ahoy match the success of 1972s Back Stabbers?
On the release of Ship Ahoy in October 1973, it surpassed the success of Back Stabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts, resulting in The O’Jays first platinum disc. Put Your Hands Together was the lead single, released in November 1973. It reached number ten in the US Billboard 100 and number two in the US R&B Charts. For The Love Of Money was released in March 1974, reaching number nine in the US Billboard 100 and number three in the US R&B Charts. In the UK, three singles were released, Put Your Hands in November 1973, For The Love Of Money in March 1974 and Now That We Found Love in August 1974. Unbelievably, they all failed to chart. However, Ship Ahoy had surpassed the success of Back Stabbers, and in the process, transformed The O’Jays’ career. Why was that? That’s what I’ll tell you, when I tell you about the music on Ship Ahoy.
Put Your Hands Together opens Ship Ahoy. It’s a paean to cooperation and optimism in the face of hard times. Forty years later, The O’Jays message is just as relevant. When the track reveals its secrets, the sound is dramatic, moody and funky. The Baker, Harris, Young the rhythm section, guitars and keyboards combine drive the arrangement along. Having set the scene, Eddie Levert’s growling, vampish vocal enters. It soars passionately and emotively. Urgent harmonies sweep, sweetly and soulfully in. Meanwhile, strings dance and growl, while Earl Young’s drums and stabs of keyboards and percussion add to the drama. A funky bass and wah-wah guitar accompany The O’Jays, as they spread their message of optimism, in the face of adversity. Emotive and impassioned, filled hope and optimism The O’Jays, helped no end by M.F.S.B. create an uptempo, hook-laden track with a social message.
The title track, Ship Ahoy deals with a shameful subject, slavery. It tells the story African people being taken captive, transported on a ship as part of the slave trade. Originally, Gamble and Huff had hoped the track would be part of the soundtrack for the film Shaft In Africa, but this never happened. Complete with the sound of crashing waves and whips cracking this powerful track unfolds. They’re joined by keyboards, a slow plodding bass and a guitar, before deliberate strings enter. When Eddie’s emotive vocal enters, The O’Jays sing tight harmonies. Their voices are tinged in anger, as the drama builds and grows. Stirring, dramatic and pounding drums join strings that sweep in loud and grand. Blazing horns add to the drama and emotion. Later, guitars soar, screaming and screeching, as if empathising with the pain suffered. It’s impossible not to be moved by the lyrics, and their delivery. Like Norman Harris’ arrangement, they bring the lyrics to life. Such is the power of the music, that by the end, you feel moved, angry and upset. To be able to achieve these emotions through the power of soul music, is testament to the talent of The O’Jays and Gamble and Huff.
The Air That I Breathe has a slightly Latin sound and feel. Norman Harris’ chiming guitar, percussion, piano and rasping horns uniting. The Baker, Harris, Young rhythm section provide the heartbeat, as this anthemic, hooky song with a message unfolds. When Eddie’s vocal enters, it’s laden with emotion. Almost with disbelief he powerfully rages at the pollution around him. Still there’s a joyous sound, as M.F.S.B. and The O’Jays kick loose. His vocal soars heavenwards, his vocal tinged anger and resentment. As if spurred on, the harmonies are tighter, sweeter and more soulful. M.F.S.B. are similarly spurred on. Braying horns, Baker, Harris, Young, percussion and piano provide the backdrop for Eddie’s moving, emotive and soulful masterclass. Like Put Your Hands Together, their message is one of optimism, hoping things will improve. By the end of the track, you can only salute The O’Jays for managing to get their message across in such a deeply soulful and melodic way.
Bunny Sigler and Kenny Gamble cowrote You Got the Hooks In Me, which Bobby Martin arranged. A piano slowly and subtly plays, before Eddie’s vocal enters. It’s accompanied by Earl Young’s drums and short sharp bursts of organ. The tempo is slow, the playing subtle. Soon, the arrangement reveals is soulful secrets. Eddie’s heartfelt, heartbroken vocal soars, and soothing, soulful harmonies sweep in. They’re enveloped by melancholy horns, lush strings and Lenny Pakula’s Hammond organ. By now, The O’Jays are at their soulful best, delivering a track that’s heartbreakingly sad, where Eddie lays bare his soul, hurt and heartbreak to hear.
For the Love Of Money is another protest song, this time against materialism, that was and is, contributing to the world’s problems. During the track, Anthony Jackson contributes one of the most famous bass lines in popular music. It was played through a phaser, then bathed in echo. Since then, it’s been sampled by many hip hop artists. Originally, the track was written around the bass line. Straight away, that bass line pounds, weaving its way across the arrangement. It’s fast and funky, surrounded by crisp crashing cymbals, pounding drums, angry horns and harmonies. They yell “money” over and over. When Eddie’s vocal enters, it’s strong, angry and filled with frustration. His ire is directed at people’s “Love Of Money. Bobby Martin’s arrangement mixes elements of soul and funk masterfully. A combination of searing, soaring guitars solos, loud, angry, drums, percussion and grizzled horns accompany a vocal that’s angry, frustrated and impassioned. Like other tracks on Ship Ahoy, the lyrics, are still relevant today. Oh and that bass line sounds just as good, forty years on.
Now That We’ve Found Love is a beautiful, heartfelt love song, arranged by Norman Harris. This is what many people think of when The O’Jays are mentioned, beautiful love songs. They aren’t aware of their socially aware protest songs. Keyboards, percussion and the Baker, Harris, Young rhythm section unite, before tight, tender harmonies enter. Eddie’s vocal takes centre-stage, with a heartfelt delivery of the lyrics, which preach forgiveness. His vocal is swathed in lush strings and rasping horns. Like other tracks, the arrangement veers between lush and dramatic, as The O’Jays deliver another beautiful, heartfelt and impassioned love song. Indeed, it’s one of the most beautiful love songs The O’Jays ever recorded.
Don’t Call Me Brother is a protest song, and finds The O’Jays at their angriest and fieriest. A jazz-tinged backdrop, complete with Norman Harris’ chiming, jazz guitar, wistful horns and the lushest of strings cascades along. Dramatic bursts of Earl Young’s drums signal The O’Jays to unleash their anger. They do this is style that’s part Philly Soul, part doo wop. Close, impassioned and angry harmonies sing about the false claims of racial harmony from people who would just as soon stab you in the back. Eddie’s angry vocal rails against the hypocrisy and lies of politicians and leaders. Bobby Martin’s arrangement, like the anger and frustration, builds up, reaching a dramatic musical crescendo. Thunderous drums, blazing horns, strings and guitars unite. Then as if spent, returns to a much more gentle and melodic sound. For nearly nine minutes, The O’Jays vent their anger and frustration, passionately and peerlessly. By the end of the track, it’s impossible to not be touched and moved by their powerful, deeply moving message, where doo-wop, Philly Soul, jazz and gospel unite.
People Keep Tellin’ Me closes Ship Ahoy is People Keep Tellin’ Me. It’s an upbeat and uplifting track, arranged by Norman Harris. Strings sweep and swirl, horns rasp and growl and Baker, Harris, Young provide the track’s heartbeat. Harmonies sweep in soaring soulfully and joyously. Even the, you sense something special is unfolding. Washes of Hammond organ and Vince Montana Jr’s vibes join forces, before Eddie’s heartfelt, impassioned vocal enters. He and the other O’Jays drive each other to greater heights. M.F.S.B. are enjoying the opportunity to kick loose. Something very special has unfolded. Joyous and emotive describes this irresistible slice of Philly Soul. It features The O’Jays and M.F.S.B. at their very best, as they bookend Ship Ahoy perfectly. As the song closes, you can’t help but Put Your Hands Together for The O’Jays, as they close Ship Ahoy in a way that’s not just sweet and soulful, but uplifting, melodic and memorable.
Following up an album as critically acclaimed and commercially successful as Back Stabbers, wasn’t going to be easy for The O’Jays. However, they were no ordinary group. Even by their second album for Philadelphia International Records, The O’Jays had earned a reputation as one of Philly Soul’s great groups. By 1973, The O’Jays were seasoned performers, the group having been formed in 1957. Over the previous fifteen years, they’d refined their sound. A combination of Eddie Levert’s lead vocal and sweet, tight vocal harmonies becoming huge polished and deeply soulful. It was as if all these years of experience were coming to fruition on Back Stabbers and then Ship Ahoy. While Back Stabbers was critically acclaimed and commercially successful, Ship Ahoy surpassed its success.
During the eight tracks on Ship Ahoy, The O’Jays mixed beautiful love songs with songs filled with social comment. Ship Ahoy featured songs about slavery, racism, greed, materialism and pollution. Social comment and protest songs stood side by side, and the emotion, anger and frustration wells up in The O’Jays’ voices. They were also preaching a message of optimism and togetherness on Ship Ahoy. Many of the songs on Ship Ahoy, their messages are just as relevant forty years after the album’s release in 2013. Still people are seduced by materialism, greedy for money and willing to do anything to gain even more. Sadly, racial discrimination, like many other forms of discrimination is prevalent, and the backstabbers mentioned in Don’t Call Me Brother, are still around, still causing trouble, when they claim to be a force for good and harmony. Ship Ahoy features The O’Jays sing emotionally and passionately. Just below the surface, tension, frustration and anger is palpable, at the various problems that faced society. Then when The O’Jays sing the love songs on Ship Ahoy, we hear the side of their music most people are aware of. Their delivery of these gorgeous love songs feature the peerless combination of Eddie Levert’s vocal, laden with emotion and passion and tight, sweet and soulful harmonies. These two sides of The O’Jays’ music come to the fore on Ship Ahoy.
Forty years after the release of The O’Jays sophomore album for Philadelphia International Records, the music Ship Ahoy is just as relevant in 2013, as it was in 1973. To celebrate the fortieth anniversary of one of The O’Jays’ classic albums Ship Ahoy, BBR Records will rerelease it on 25th February 2013. Ship Ahoy is a stonewall Philly Soul classic, where songs filled with social comment sit side-by-side with beautiful love songs. Indeed, the platinum certified Ship Ahoy is one of the best albums ever released, and is one of several classic albums The O’Jays released between 1972 and 1979. Standout Tracks: Put Your Hands Together, Ship Ahoy, Now That We’ve Found Love and Don’t Call Me Brother.
THE O’JAYS-SHIP AHOY.
DISCO LOVE VOLUME 3-EVEN MORE RARE DISCO AND SOUL UNCOVERED (COMPILED BY AL KENT)
DISCO LOVE VOLUME 3-EVEN MORE RARE DISCO AND SOUL UNCOVERED (COMPILED BY AL KENT).
Glasgow’s disco don Al Kent is back, and he’s been crate-digging again. Digging deep. Way deeper than he’s ever dug before. The result is his new compilation Disco Love 3, which will be released on BBE Music on 18th February 2013. Like the two previous volumes of Disco Love, Disco Love Volume 3 is a double-album. Disc One features a continuous mix from Al, featuring the fifteen tracks on Disc Two. So, for anyone who likes their disco soulful or funky, then Disco Love Volume 3 is for you.
Of the fifteen tracks on Disco Love Volume 3, five have been edited by Al Kent. Just like the two previous installments of Disco Love, some of the tracks on Disco Love Volume 3 are extremely rare tracks, that until now, most people will never have heard. To discover these tracks, Al’s been on another crate-digging expedition. Al has dug deep, dusty basements, warehouses and backstreet record shops have all been scoured. So too, has Al’s extensive record collection. He’s decided to share some of the soulful and funky disco delights, that, until now, have been tucked away in his arsenal of secret disco weapons. No wonder, many of the tracks on Disco Love Volume 3 are almost too good to share. Now after a two year wait since Disco Love Volume 2 was, Disco Love Volume 3 is about to be released, with fifteen more tracks from Glasgow’s very own disco don Al Kent. However, will Disco Love Volume 3 match the quality of 2010s Disco Love and 2011s Disco Love Volume 2? That’s what I’ll tell you, after I’ve explored the fifteen disco delights that comprise Disco Love Volume 3.
Opening Disc Two of Disco Love Volume 3, is the 1978 single from Mighty Gents, Mighty Gents. Written by Peter Link, who produced the track with Peter Dante, they released the single of The Mighty Gents Record Co. Cinematic, soulful and orchestral describes this instrumental track. Soul, disco and Latin percussion combine, while quivering, shivering strings and stabs of horns add to the drama that build and builds, helped by Al’s creative editing skills. This is a real hidden gem that Al has uncovered. Moody, broody, dramatic and cinematic. It’s all these things and more. You wonder what delights will follow?
North By Northeast’s Disco Unusual was released in 1976, on the Detroit label Red Line. This is another of the five Al Kent edits, where he transforms a song that was originally under four minutes long, into a five minute plus epic. While the previous track was soulful, this has a tougher, funkier sound, albeit with a Latin influence. It also has a sassy female vocal. Percussion and growling horns are almost ever-present, as Al takes Disco Love Volume 3 to the funky side of disco. In doing so, he demonstrates his considerable editing talents.
From Detroit, the musical journey that is Disco Love Volume 3 heads to Montgomery, Alabama. For it was on Top Records in 1981, that Bo Baligher T.S.B. Inc. released the single Oh Baby, with the instrumental Get On Down on the flip side. A heavy duty slice of driving, funky music unfolds, with blazing horns aplenty. The vampish, strutting vocal is soulful, while there’s a boogie influence to the keyboards. During six minutes, a real fusion of influences unfolds. Funk, soul and boogie combine to create a infectiously catchy, dance-floor friendly track.
It was on the Los Angeles label Smooth City Records, that Frank and James released How Long Is Forever. Released in 1982, Frank and James Monroe there was a seven year gap until their second single You Got The Love I Need. Listening to How Long Is Forever, they certainly were neither lacking in talent, nor soulfulness. Not only is it soulful, but with a tempo of 119 beats per minute, it’s perfect for the dance-floor. Lush, dancing strings are at the heart of the funky arrangement, while Frank and James deliver heartfelt, powerful vocals. Tender, cooing backing vocals are the finishing touch, as soul, funk, boogie and disco, combine to create one of the hook-laden highlights of Disco Love Volume 3.
Gregory Andre and The Two Plus Three’s contribution to Disco Love Volume 3 is I Want To Be With You, which Al has edited. This is a track with an interesting backstory. It was recorded in Kansas and released on the Sea Gate label. To generate publicity, sales and interest, producer George Chambers put his brother’s San Diego address on the label. It’s a slice of modern funk that’s guaranteed to grab your attention. An array of thunderous drums, bass breaks, banks of keyboards and effects are combined. Then when the vocal draws you in and soon, you’re hooked and swept along by captivating track.
Magnetic Post released their single Is It Wrong on Pickin’ Post in 1978. Arranged and produced by Patrick Higdon and Michael Heeney, this is one of the rarities that Al has uncovered for you. Copies of this track are becoming increasingly harder to find. If you could find one, it would cost you much more than a copy of Disco Love Volume 3. No wonder, it’s gloriously soulful, funky and dance-floor friendly. Key to the track’s success is the vocal, harmonies and swathes of strings. They’re combined with bursts of blazing horns and a pounding disco beat, as four of the best minutes on Disco Love Volume 3 unfold.
Released on Alaga Records, and produced by Roy C. and Bob Ericson Hustle On Down (Pt. 1) was released by Michael LeGrair and The Band That Played All Night in 1975. The B-side was Hustle on Down (Pt. 2). On Disco Love Volume 3, Al Kent reinvents both sides of Hustle On Down (Pt. 3). The result is a tough, funky horn driven hustle track, with a pulsating heartbeat, that is irresistible.
Al Kent has really dug deep in his latest quest for disco perfection. This has meant discovering hitherto, undiscovered B-sides, like Moses’ Something About You. Although Love To Live was released by Pure Silk Records in 1978, as a single, Al prefers the B-side, which is a delicious fusion of funk, jazz, disco and Latin percussion and Hammond organ. This is set against a hustle beat, with urgent harmonies. Combined, the result is a joyful, uplifting track that lifts your spirits and puts a smile firmly on your face. My only thought is, if the B-side is this good, what was Love To Live like?
Neo Experience released Human in 1975, on Philadelphia’s Sahara Records, was one of two singles they released. The other was Make My World. Formed by David Simmons, the lineup of Neo Experience also included future member of The Ritchie Family Vera Brown and former member of The Millionaires Vincent Paul Unto. Recorded at Joe Tarsia’s Sigma Sound Studios in Philly, and featuring Vince Montana Jr’s vibes, Philly Soul meets disco. With lush trademark Philly strings and growling horns, sweeping, cooing harmonies and a truly impassioned pleading vocal, Human is the best track on Disco Love Volume 3. Don’t just believe me, listen to this track once and you’ll be smitten by its beauty and emotion.
Rhond Duran released Disco Fever (Pt. 1) in 1979. It was arranged by Clive Waugh and produced by Sam Cummings, and released on April Records. The B-side was Disco Fever (Pt. 2). Just like Hustle on Down, Al’s edit features both versions, spliced seamlessly together. It’s a pulsating, funky reminder of the disco era. There’s everything from soul, funk, Latin and disco. Add to that sassy vocals and rocky guitars. Oh, and one of the best bass lines on Disco Love Volume 3. It’s slapped, pounded and uber funk. For any aspiring bass players, this is a joy to behold, as is Disco Fever (Pt. 3).
So far, in the musical journey that’s Disco Love Volume 3, Al Kent’s taken us to Philly, Detroit, Los Angeles, Kansas and Alabama. Next stop is Houston, where Encore Records were based. They released Marion Javius’ Waiting In The WIngs in 1978. Featuring Afro Fusion, who provide the rhythm section, what follows is a sweet, sassy vocal, combined with an arrangement where jazz, soul, funk and disco combine. Harmonies sweep in cascading, while strings shimmer and shiver. Then less than three minutes later, the soulful delights of Marion Javius is but a pleasant and irresistible memory. You can’t help yourself, but you do and press play again.
Ronnie April released her only album Ronnie April’s Positive Energy Volume 1, on Jude Records. It featured nine tracks, including Dancer’s Theme, written by James Wydeman. This is an uptempo, funk-laden disco track, that slowly, reveals its secrets and subtleties. Far from subtle is the bass line, which pounds it way across the arrangement. For company it has chiming guitars, sweeping, ethereal harmonies and a teasing, sassy vocal. An eight-minute epic unfolds, courtesy of Glasgow’s disco don and crate-digger extraordinaire, Al Kent.
Sandy’s Gang Hungry was written and arranged by Patrick Adams who produced the track with Arthur Aaron. Later Patrick founded Inner Life. Even by 1976, when New York based Sunrise Records released this track, Patrick was an experienced writer, arranger and producer, as this tracks shows. Dramatic describes the introduction, where swathes of strings dance, horns blaze and a thunderous rhythm section add the heartbeat. Urgent, soulful harmonies are added, as things get funky. Still things stay soulful, thanks to the harmonies and diva-esque vocal, which make this track.
The last Al Kent edit on Disco Love Volume 3 is Sil Austin Disco Lady. Released on Jerri Records in 1976, and produced by Tommy Stewart, there’s a real Miami sound to the track. Given it was distributed by T.K. Records, this is no surprise. Horn lead, with soaring, soulful harmonies, keyboards and rhythm section give the track a heavy funky sound, that drives along. With Al Kent’s editing skills, you sense Disco Love Volume 3 is building to a dramatic crescendo.
Closing Disco Love Volume 3 is Cherish’s For You. Released in 1979, on DT Records, Al Kent has built the tempo up, guaranteeing the compilation ends on a soulful high. The track literally bursts into life, the vocal and harmonies driving each other to greater heights of soulfulness. They literally dance, joyously along the arrangement, spreading their slice of sunshine soul and disco, as Disco Love Volume 3 comes to a sweet and soulful close.
So, after two previous volumes of Disco Love, where Al Kent had set the bar high, he’d two hard acts to follow. Somehow, he’s done it again, with Disco Love Volume 3 surpassing the standards of both 2010s Disco Love and 2011s Disco Love Volume 2. Now this isn’t easy, given how many disco compilations have been, and are being released. With the internet making crate-digging a whole lot easier, rarities and hidden gems are becoming easier to find.
Although surfing the net from the comfort of your armchair makes crate-digging somewhat easier, it’s real devotees of disco, like Al Kent, who continued to dig deep in dusty basements, warehouses and backstreet record shops. It’s these places where you can find these gems that no-one else has yet. While the temptation must be for DJs like Al Kent to keep them for DJ sets, he’s a generous guy.
During Disco Love Volume 3, Al Kent so has decided to share and let you in on his secret disco weapons, fifteen on them. These fifteen tracks feature on Disc Two of Disco Love Volume 3, while on Disc One, Al seamlessly weaves his way through the fifteen tracks. Next Monday, 18th February 2013, BBR Music will release Disco Love Volume 3, which feature fifteen more of Al Kent’s soulful and funky slices disco delights and hidden gems aplenty. So, if you love Disco, you’ll love Disco Love Volume 3, and Disco Love and Disco Love Volume 2, which BBE Music also released. Standout Tracks: Frank and James How Long Is Forever, Neo Experience Human, Ronnie April Dancer’s Theme and Cherish For You.
DISCO LOVE VOLUME 3-EVEN MORE RARE DISCO AND SOUL UNCOVERED (COMPILED BY AL KENT).
LAURA NYRO-GONNA TAKE A MIRACLE.
LAURA NYRO-GONNA TAKE A MIRACLE.
Recently, I’ve been reviewing albums which although not strictly Philly Soul, feature many of the musicians, songwriters, arrangers and producers who were architects of the Philly Sound. This include Ecstasy, Passion and Pain’s Ecstasy, Passion and Pain, Joe Simon’s Drowning In A Sea of Love, Dusty Springfield’s A Brand New Me, Eddie Kendrick’s Goin’ Up In Smoke, Eddie Holman’s A Night To Remember and Dick Jensen’s Dick Jensen. These were just a few of the artists who travelled to Philadelphia, seeking a Philly Soul makeover. For some artists, their careers were needing rejuvenated, so turned to innovative, pioneering producers like Norman Harris, Bobby Martin, Thom Bell and of course, Gamble and Huff. In the case of Laura Nyro, her career was certainly not in need of rejuvenating. Quite the opposite. Before Laura headed to Philly in 1970, to record what would become Gonna Take A Mircale she’d released three album. She’d enjoyed critical acclaim and commercial success. With this success, came artistic freedom. So, Laura Nyro headed to Philly, to record her most ambitious, genre-sprawling album Gonna Take A Miracle. On Gonna Take A Miracle Laura combined doo-wop, gospel, soul, pop and R&B. Producing Gonna Take A Miracle, were Gamble and Huff, who were about to found Philadelphia International Records.
Laura Nyro was born in the Bronx, New York in October 1947. Her father was a piano tuner and jazz trumpeter, while her mother loved classical music. So, it’s no surprise that with Laura was surrounded by music, she immersed herself in it. The soundtrack to Laura’s childhood was classical composers like Debussy and Ravel, jazz singers Billie Holliday and opera singer Leontyne Price. By listening to the classical composition, Laura taught herself to play piano. By the age of eight, she was writing her own songs. Later, she attended Manhattan’s High School of Music. Growing up, she discovered Nina Simone, John Coltrane, Motown, Curtis Mayfield and Van Morrison. Soaking all these diverse musical influences, fate intervened, and in 1966, almost inevitably, Laura made the first step in her musical career.
It was through her father’s business, that in 1966, Laura was introduced Artie Mogull, a record company executive. Together with his business partner Paul Barry, the auditioned Laura and they’d become her managers. They negotiated Laura’s first recording contract, which was with Verve Folkways. Laura released her debut album More Than A New Discovery in January 1967, which reached number ninety-seven in the US Billboard 200. While More Than A New Discovery was a commercial success, later, other artists would cover songs from the album. In 1969, The 5th Dimension enjoyed a number one hit with Wedding Bell Blues, while Blowin’ Away reached number twenty-one. Blood, Sweat and Tears covered Stoney End, which reached number two in 1969. Then in 1971, Barbara Streisand covered Stoney End, which reached number six. Following the success of More Than A New Discovery, Laura released her sophomore album in 1968.
Eli and The Thirteenth Confession was Laura Nyro’s sophomore album, released in March 1968. This is perceived as Laura Nyro’s classic album. However, it only reached number 181 in the US Billboard 200. It included two classic tracks, Stoned Soul Picnic and Eli’s Comin.’ Again, other artists covered songs from Eli and The Thirteenth Confession. Three Dog Night covered Eli’s Comin,’ which reached number ten in the US Billboard 100. The 5th Dimension had a number three single with Stoned Soul Picnic, and their cover of Sweet Blindness reached number thirteen.
New York Tendaberry was released on Columbia Records and marked Laura’s major label debut. Released in September 1969, eighteen months after her sophomore album, New York Tendaberry was perceived as almost as good as Eli and The Thirteenth Confession. It would prove to be aura’s most successful album so far, reaching number thirty-two in the US Billboard 200. Like her two previous albums, artists including The 5th Dimension and Barbara Streisand covered songs from the album. Now Laura had released a trilogy of critically acclaimed albums, she was seen as one of the great musical hopes for the new decade that was about to dawn.
Laura’s first album of the new decade was Christmas and The Beads of Sweat, released in November 1970. Unlike her two previous albums, Laura didn’t produce Christmas and The Beads of Sweat. Instead, Arif Mardin and Felix Cavaliere took charge of production, although technically, Laura was in charge of the project and arranged each song. Good as the album was, it didn’t quite match her three previous albums. The result was an album that reached number fifty-one on the US Billboard 200. It also featured Laura’s only hit single, a cover of Up On The Roof, which reached number ninety-seven in the US Billboard 100. After four successful albums, Laura was given artistic freedom, so decided to head to Philly for album number five.
The reason Laura Nyro headed to Philly, was quite simple. She wanted to work with one of the hottest production teams Gamble and Huff, who in 1971 would found Philadelphia International Records. With Gamble and Huff, this gave Laura access to the greatest musicians and arrangers of the time. M.F.S.B. as they became known, were Philadelphia International Records’ legendary house-band. Arrangers included Bobby Martin, Thom Bell and Lenny Pakula. Adding backing vocals were Labelle, the trio of Patti LaBelle, Sarah Dash and Nona Hendryx.
Patti LaBelle and Laura had met in 1970, when Laura was about to be interviewed by Labelle’s manager Vicki Wickham. Vicki had invited Patti along and instantly, they bonded. They ended up touring together, and Patti even cooked for Laura. So, when Laura came to record Gonna Take A Miracle, Labelle were chosen to add the backing vocals. Recording of Gonna Take A Miracle took place during the summer of 1970.
Unlike Laura Nyro’s four previous albums, Gonna Take A Miracle comprised ten cover versions. This included covers of The Shirelles’ I Met Him On A Sunday, The Originals’ The Bells, The Royalettes’ It’s Gonna Take A Miracle and Nolan Strong and The Diablos’ doo-wop classic The Wind. Other tracks included the Smokey Robinson penned You’ve Really Got A Hold On Me and Jerry Lieber and Phil Spector’s Spanish Harlem. There were two Holland-Dozier-Holland composition, Jimmy Mack and Nowhere To Run. The ten tracks that became Gonna Take A Miracle were recorded at Joe Tarsia’s Sigma Sound Studios in Philly.
Accompanying Laura, were many members of the classic lineup of M.F.S.B. This included bassist Ron Baker and guitarists Norman Harris and Roland Chambers. They were joined by organist Lenny Pakula, Larry Washington on bongos and congas, percussionist Vince Montana Jr. Strings came courtesy of Don Renaldo and horns Sam Reed. Non-Philly musicians included drummer Jim Helmer and Nydia Mata on congas and bongas. Labelle added backing vocals. These ten tracks became Gonna Take A Miracle, which was released in November 1971.
On the release of Gonna Take A Miracle in November 1971, it reached number forty-six in the US Billboard 200 and number forty-one in the US R&B Charts. Not only did Gonna Take A Miracle match the success of previous albums, but crossed-over into the US R&B Charts. This meant Laura’s fifth album, Gonna Take A Miracle was being heard my a much wider audience. However, what do Laura’s cover versions of Gonna Take A Miracle sound like? That’s what I’ll now tell you.
Opening Gonna Take A Miracle is a cover of The Shirelles’ I Met Him On A Sunday. Laura’s tender, soulful vocal is accompanied by Labelle’s cooing, sweeping harmonies. They play their part in the track’s doo-wop sound, and add handclaps and finger-clicks. Then when M.F.S.B. enter, things get even better. Piano and percussion join in, giving the track a joyous, doo-wop sound, before it reaches a beautiful crescendo.
The Bells allows Laura to deliver a breathtakingly beautiful vocal. Tender and ethereal, the doo-wop influence continues. Labelle add harmonies, while M.F.S.B. build the drama and emotion. Piano, rhythm section, percussion and shimmering strings enter. Norman Harris lays down one of the best guitar parts on Gonna Take A Miracle, its crystalline sound weaving its way across the arrangement. By then, Labelle and Laura are delivering each other to greater heights of drama, emotion and sheer soulfulness.
Monkey Time and Dancing In The Street is a two song medley, that literally bursts into life. It provokes memories of the Brill Building songwriters. Propelled along by piano, thunderous rhythm section, Larry Washington’s Latin tinged bongos and congas. Then when Monkey Time segues into Dancing In The Street, M.F.S.B, Labelle and Laura move through the gears. Laura’s vocal is powerful, strident and confident, while Labelle add soaring, gospel-tinged harmonies. Lenny Pakula’s Hammond organ adds to the song’s sheer soulfulness, as the drama builds. Labelle and Laura surpass themselves. They testify their way through the song, driving each other to greater heights of soulfulness, adding a gospel hue. What was formerly a poppy slice of sugary soul, is transformed into something that’s much more meatier, soulful and altogether much better.
Desiree has a wistful, understated sound when it unfolds. Laura’s melancholy vocal is accompanied by piano, percussion and Vince Montana Jr’s vibes. Labelle add sweeping harmonies, as Laura delivers a heartfelt, wistful and beautiful vocal.
You’ve Really Got A Hold On Me was written by Smokey Robinson and is given new meaning by Laura and Labelle. Sometimes, Laura’s vocal references Dusty Springfield and Carole King. With just piano and urgent harmonies, Laura delivers a fiery vocal, filled with frustration and anger. Labelle add some of their most potent harmonies. Needy and powerful, they match Laura every step of the way. Later, M.F.S.B. kick loose. Things get even better. The rhythm section, percussion and piano combine. Norman Harris adds jazz-tinged guitar, while Lenny Pakula’s Hammond organ adds an atmospheric sound. Then Larry Washington’s bongos and congas propel the arrangement along, as Laura and Labelle combine. Laura’s vocal and Labelle’s harmonies needy, emotive, urgent and deeply moving and soulful.
Spanish Harlem is a song that’s been covered by a many artists. The problem with covering such a familiar song is reinventing it. Gamble and Huff manage to do this. Latin percussion and piano accompany Laura’s gentle, scatted vocal. Soon, a moody bass, growling horns and cooing, sweeping harmonies enter. By then, Laura is injecting new meaning into song, bringing out the song’s subtleties and nuances. This she does with an arrangement that’s broody and dramatic but elegant and ethereal too.
Jimmy Mack is another oft-covered track, but rather than reinvent the wheel, Laura delivers it with a swing. Soaring, gospel-tinged harmonies are joined by a driving rhythm section, piano and Norman Harris’ crystalline, jazzy guitar. Soon, M.F.S.B, Labelle and Laura Nyro, accompanied by handclaps, are delivering a joyous, uplifting and rousing version of a classic track that swings, and then some.
Very different to the previous track, is The WInd. Pensive, wistful and thoughtful describes the track. Just Laura’s ethereal vocal, tender harmonies and subtle piano combine. The result is a captivating, enchanting and bewitching track, that quite simply, is beautiful.
Nowhere To Run sees Laura return to the Motown songbook. With Labelle accompanying her, they’re transformed into a sixties girl group, who are certainly not lacking in soulfulness. The rhythm section provide the arrangement’s heartbeat, and with the piano, propels the arrangement along. Norman Harris and Roland Chambers add guitar, while Ron Baker’s bass helps drive the arrangement along. It’s as if Laura and Labelle are spurred on, delivering one of their most dynamic, dramatic and urgent performances, where emotion and soulfulness are im abundance.
It’s Gonna Take A Miracle proves the perfect track to close Gonna Take A Miracle. Just Laura’s scatted vocal, piano and sweeping, elegant harmonies combine. They’ve the effect of stopping you in your tracks. They’re laden with emotion, heartache and hurt. Lush strings that sweep above the arrangement prove the perfect accompaniment, adding the finishing touch to this heartachingly beautiful track.
Afforded the artistic freedom by her record company, Laura Nyro decided that Philly was the place to head for her fifth album. This was a shrewd decision, considering how influential a musical city Philly had become. Laura timed her decision perfectly. Gamble and Huff were about to enter the most creative and innovative period of their career. Bringing Gamble and Huff onboard meant M.F.S.B. would provide the accompaniment to Laura’s vocal. Bobby Martin, Thom Bell and Lenny Pakula would also come onboard, arranging the ten tracks. Labelle’s backing vocals played a huge part in Gonna Take A Miracle’s success. They drove Laura to greater heights of soulfulness, as ten familiar tracks were reinvented on Gonna Take A Miracle. These ten tracks were given new meaning, and in the case of Dancing In The Street and Nowhere To Run, become much more meaty and soulful. Gone is the poppy, saccharine soul of sixties Motown, which was nothing more than a sanitized version of soul music. From the opening bars of I Met Him On A Sunday, right through to the closing notes of It’s Gonna Take A Miracle, Laura Nyro produces ten captivating and compelling performances.
For anyone yet to discover the delights of Laura Nyro’s music, then Gonna Take A Miracle is a good place to start. Gonna Take A Miracle is a genre-sprawling album, where Laura seamlessly switches between doo-wop, gospel, soul, pop and R&B. Each of the ten tracks on Gonna Take A Miracle will be familiar to most people, although maybe not like this. Indeed, Laura Nyro, guided by Gamble and Huff, and accompanied by M.F.S.B. and Labelle, produces ten peerless performances on Gonna Take A Miracle. After you’ve discovered the delights of Laura Nyro’s Gonna Take A Miracle, then surely, you’ll head on a voyage of discovery through her critically acclaimed back-catalogue. Standout Tracks: I Met Him On A Sunday, Jimmy Mack, The Wind and It’s Gonna Take A Miracle.
LAURA NYRO-GONNA TAKE A MIRACLE.
GWEN GUTHRIE-GOOD TO GO LOVER.
GWEN GUTHRIE-GOOD TO GO LOVER.
By 1986, when Gwen Guthrie released Good To Go Lover, her first album for Polydor, she was already an established artist and songwriter. Good To Go Lover which will be rereleased by SoulMusic Records on 18th February 2013, marked Gwen’s debut as producer. It seemed that Gwen Guthrie had the Midas touch when it came to production. Not only was Good To Go Lover Gwen’s most successful album, but featured a number one single that would become synonymous with Gwen Guthrie, Ain’t Nothin’ Goin’ On But The Rent. Would this success last though? That’s what I’ll tell you, once I’ve told you about Good To Go Lover.
Before signing to Polydor, Gwen had been signed to Island Records, where she’d released three albums between 1982 and 1985. Her 1982 eponymous debut album, Gwen Guthrie, reached just number 208 in the US Billboard 200 and number twenty-eight in the US R&B Charts. Portrait, Gwen’s 1983 sophomore album, failed to chart and 1985s Just For You, stalled at number fifty-five in the US R&B Charts. While Island had been supportive of Gwen’s career, signing to Polydor made sense.
Signing to Polydor made sense on several levels. They were willing to fund Gwen’s tours. This in turn would grow her fan-base, so was a win-win situation. Not only were Polydor willing to help fund her tours, but were would fund the now necessary music videos, but allow Gwen to produce her albums, including her Polydor debut, Good To Go Lover. The clincher was that Polydor would allow Gwen to produce her albums. It seemed that Polydor were the perfect label for Gwen. So, having signed to Polydor, Gwen started work on recording Good To Go Lover.
Gwen Guthrie had already established a reputation as a gifted songwriter, penning hits for Ben E. King, Roberta Flack and Angela Bofill. So, it’s no surprise she penned two tracks on Good To Go Lover, You Touched My Life and Ain’t Nothin’ Goin’ On But The Rent. Gwen also cowrote the title-track Good To Go Lover with Bill Hagans. Bernard Jackson, David Conley and David Townsend cowrote I Still Want You and Stop Holding Back. With Joshua Thompson, they cowrote Outside In The Rain. The other two tracks included Passion Eyes, penned by Charles Rogers and a cover of Bacharach and David’s (They Long To Be) Close To You. These eight tracks became Good To Go Lover, which marked Gwen’s production debut.
For recording of Good To Go Lover, several studios were used, including House Of Music, Soundtrack, Quadrasonic and Ears. Accompanying Gwen were guitarist Ira Siegel, drummer, Steve Farrone, percussionist Danny Grigsby, Dave “Pic”Conley and Jimmy Maelen. As was the fashion in 1986, keyboards, synths, Moog Bass and drum programming played a major part in Good To Go Lover’s sound. Dave “Pic” Conley, Brian Morgan and Bill Hagans played an important part in this. So too, did Sly Dunbar, who helped with the drum programming. Horns and strings were arranged by Onaje Gumbs, while Gwen took charge of background and lead vocals. She also produced and mixed Good To Go Lover. Helping with the mixing of Good To Go Lover, was legendary DJ Larry Levan, who turned Gwen into a Paradise Garage favorite. Once Good To Go Lover was recorded, it was released in 1986.
On the release of Good To Go Lover in 1986, it reached number 158 in the US Billboard 200 and number twenty in the US R&B Charts. The lead single, Ain’t Nothing Goin’ On But The Rent, was a game changer for Gwen. It reached number forty-two in the US Billboard 100, number one in the US R&B and Dance Music/Club Play Charts, while reaching number three in the Hot Music Charts. This made Gwen the Queen of clubland, especially in the Paradise Garage, thanks to legendary DJ Larry Levan . Outside In The Rain, which was a duet with Surface reached number fifty-five in the US R&B Charts. (They Long To Be) Close To You was the final single released from Good To Go Lover in 1987, but stalled at number sixty-nine in the US R&B Charts. While Good To Go Lover, Gwen Guthrie’s Polydor debut had been a commercial success, this would be the only album she’d release on Polydor. Their alliance would last just one album. However, Good To Go Lover was Gwen’s most successful album. Indeed, Good To Go Lover represents Gwen Guthrie at the height of her career, as you’ll realize when I tell you about the album.
A cover of Bacharach and David’s (They Long To Be) Close To You, made famous by The Carpenters opens Good To Go Lover. It features an emotive, heartfelt vocal from Gwen. The song is slowed way down, with keyboards and strings accompanying Gwen. Then the arrangement slows way down, and drums crack signaling all change. Keyboards, percussion and guitars combine, while Gwen with multi-tracked backing vocals for company makes the song swing. Her vocal is playful, sassy and joyous, as she reinvents a familiar classic, helped no end by her tight, talented band.
Outside In The Rain was the sophomore single released from Good To Go Lover. The arrangement is spacious, with sound effects and keyboards accompanying Gwen’s scatted vocal. Multi-tracked backed vocals accompany Gwen, as the arrangement is panned, surrounding you. Just the backing vocals, keyboards, chiming and percussion accompany Gwen’s teasing, tender vocal. Cascading backing vocals and synths play an important part in the song’s success. Washes of synths join beeping, buzzing synths. The backing vocals are a perfect foil for Gwen, as she delivers a vocal that’s sweet and sensual.
Cunchy drums and understated keyboards combine, before the drums drive Good To Go Lover along. Gwen’s vocal is tough, sassy and confident, with even a hint of a country music influencing her delivery. Meanwhile keyboards, synths and drums transform the arrangement into a musical juggernaut. Soon a hypnotic, driving dance-floor friendly track is unfolding, with Gwen delivering a strident, sassy vocal.
You Touched My Life sees the tempo drop, marking in a change in style. Just keyboards, percussion and synths combine, setting the scene for Gwen’s tender, emotive vocal. This shows a very different side to Gwen Guthrie. She’s just as comfortable delivering a ballad, as she is as a dance-floor diva. Her vocal grows in power and emotion, as she breathes life and meaning into the lyrics. Her band are spurred on, providing one of their best performances on Good To Go Lover, providing the backdrop for one of Gwen’s most inspired and impassioned vocals.
When you hear the familiar lyrics: Bill collectors at my door…What can you do for me,” instantly, it’s 1986 again. Back in 1986, Ain’t Nothin’ Goin’ On But The Rent was one of the hottest dance-floor hits. This classic has become synonymous with Gwen Guthrie. No wonder. She struts her way sassily through the arrangement. The arrangement has a real eighties sound, but has aged well. Crispy, crunchy drums crash, guitars chime, with synths and percussion for company. They provide the perfect backdrop for Gwen, as she delivers a career defining vocal.
Like the previous track, I Still Want You has a real mid-eighties sound. There’s even a Madonna influence on this track. Synths, Moog Bass and drums join multi-tracked backing vocalists as Gwen delivers a needy, pleading vocal. Filled with sincerity and emotion, her vocal veers between wistful and tender to powerful and passionate. The backing vocals are arranged perfectly, replying to Gwen’s call, and reflecting the heartache and hurt in her needy vocal.
A vocoder and crunchy drums open Stop Holding Back, before Gwen’s urgent, cascading vocal struts centre-stage. Sassy, strident and full of confidence describes her vocal. With synths, backing vocalists and drum machines providing the backdrop, Gwen delivers a considered, sensuous vocal. It’s her vocal you concentrate on, given its sheer quality. Meanwhile the arrangement dances around it, the vocoder making regular reappearances. Thankfully, it’s not overused. Gwen realizing that a little vocoder goes a long, long way, uses it sparingly and lets nothing detract from her vocal.
Passion Eyes closes Good To Go Lover. Keyboards and synths meander along, while Gwen delivers a breathy, sensual vocal. The understated arrangement allows Gwen’s heartfelt, beautiful vocal to take centre-stage. Backing vocalists sweep in, matching Gwen for emotion and beauty. Soon, Gwen’s vocal grows in power and passion. Behind her, keyboards give the arrangement a jazz-tinged sound. Like Gwen, the band have kept one of their most inspired performances for last. For her part, Gwen delivers what is quite simply, her best vocal on Good To Go Lover.
While Gwen Guthrie only released one album for Polydor, Good To Go Lover, it proved to the most successful album of her six album career. This proved somewhat fitting. After all, if you’re only going to release one album for a label, make it one as good as Good To Go Lover. Maybe after Good To Go Lover, Gwen regretted leaving Island, who’d been supportive of her career. However, like so many things in life, if we don’t see whether the grass is indeed greener, we’re left wondering and sometimes, rueing the spurned opportunity. At least Gwen Guthrie got the chance to compare whether the grass was greener. It also allowed her to release her most successful album, Good To Go Lover. Sadly, Good To Go Lover was as good as it got for Gwen Guthrie.
Good To Go Lover was the highpoint of Gwen Guthrie’s career. Two further albums followed. Lifeline, the 1988 followup to Good To Go Lover was released on Warner Bros, but failed to chart. This proved to be the case with 1990s Hot Times, which released on Reprise. It was Gwen’s final album, and it too failed to chart. Tragically, Gwen Guthrie died of cancer in 1999, aged just forty-nine. One song has since become synonymous with this muti-talented singer, songwriter and producer, Ain’t Nothin’ Goin’ On But The Rent. It was one of the eight tracks on, Good To Go Lover, which looking back on Gwen Guthrie’s tragically short career, was her best and most successful album. Now twenty-six years after the release of Good To Go Lover, SoulMusic Records are rereleasing the album, complete with four bonus tracks. This rerelease of Good To Go Loveris a fitting and poignant reminder of a hugely talented singer, songwriter and producer, Gwen Guthrie. Standout Tracks: (They Long To Be) Close To You, Outside In The Rain, Ain’t Nothin’ Goin’ On But The Rent and Passion Eyes.
GWEN GUTHRIE-GOOD TO GO LOVER.
FREDA PAYNE-SUPERNATURAL HIGH.
FREDA PAYNE-SUPERNATURAL HIGH.
Mention the name Freda Payne, and most people will automatically think of her 1970 two-million-selling single Band of Gold. That, however, is doing Freda Payne a huge disservice. Why? Well, Freda Payne’s career has lasted over fifty years, and saw Freda release eleven studio albums. One of these albums was 1978s Supernatural High, which will be rereleased by SoulMusic Records on 18th February 2013. Supernatural High was Freda’s ninth album, since her 1964 debut album on Impulse After The Nights Go Down Low and Much More. Even by 1964, Freda was an experienced singer, having worked with artists as diverse as Duke Ellington, The Four Tops and Billy Eckstein. By 1978, when Freda released Supernatural High, she was something of a musical veteran. As you’ll see, much had happened to Freda Payne between her 1964 debut album and 1978s Supernatural High.
Freda was born in Detroit in September 1942, and as a child studied ballet and modeled. In 1956, Freda appeared on the syndicated television show Ted Mack’s Original Amateur Hour. From there, Freda appeared on various radio shows, including Make Way For Youth, on WJR. Around this time Freda’s mother was approached by Berry Gordy. This was before he found fame at Motown. Berry Gordy wanted to sign Freda, but her mother wouldn’t sign the contract. After this, Freda graduated from Central High School in Detroit. She toured with Pearl Bailey’s musical review and sang with Duke Ellington’s band. Then in 1964, Freda released her debut album.
Just five years after Freda graduated from high school, she released her After The Nights Go Down Low and Much More on Impulse. Two years later, in 1966, Freda released her sophomore album, on MGM Records. This was How Do I Say I Don’t Love You Anymore. During this time, was making guest appearances on television shows, and working in theatre. It’s as if Freda wanted to broaden her horizons, and that there would be more to her career than music. However, things were about to change. For Freda’s third album, she’d sign to a newly founded Detroit label, Invictus Records, and enjoy the most successful period of her career.
In 1969, Brian Holland, Lamont Dozier and Edward Holland Jr, had just founded their own record company back in Freda’s native Detroit. By then Freda was living in New York. Eddie Holland approached Freda with a song the trio had written, Band of Gold. Luckily, Freda decided to record the song. On its release in 1970, as a single, Band of Gold sold over two-million copies worldwide. Later in 1970, Freda released her first album on Invictus, Band of Gold. It reached number sixty in the US Billboard 200 and number seventeen in the US R&B Charts. Freda then released Contact in 1971, which reached number seventy-six in the US Billboard 200 and number twelve in the US R&B Charts. The anti-Vietnam song Bring The Boys Home gave Freda one of her biggest hit singles in America, reaching number twelve in the US Billboard 100 and number three in the US R&B Charts. 1973 saw the release of Freda’s final album for Invictus, Reaching Out. After Freda left Invictus, she signed to ABC Records.
During her time at ABC Records, Freda only released two albums. They failed to replicate the success Freda enjoyed at Invictus. Payne In Pleasure, released in 1974, was the most successful album, reaching number fifty-five in the US R&B Charts. Out of Payne Comes Pleasure was then released in 1975. Following Out of Payne Comes Pleasure, Freda signed to Capitol Records. Would she recapture the success of her time at Invictus?
Stares and Whispers, released in 1976, was Freda’s debut album for her new label Capitol Records. This was Freda’s eighth album in twelve years. Still Freda failed to recapture the commercial success she’d enjoyed with Holland-Dozier-Holland at Invictus. Maybe a change of producer for her Capitol Records sophomore album Supernatural High, would revitalize Freda Payne’s career?
For the followup to Stares and Whispers, Freda would hookup with songwriter and producer Skip Scarborough. Not only would Skip would cowrite three of the seven songs on Supernatural High, but produce the album. He penned part of the opening medley of Happy Days Are Here Again/Happy Music (Dance The Night Away) and wrote Tell Me Please. Skip also cowrote Pullin’ Back with Gregory Abbott, Freda’s husband, who cowrote Livin’ For The Beat. Freda’s younger sister Scherrie, contributed Storybook Romance.Thom and Leroy Bell penned Just The Thought of You (Supernatural High), while David Crawford and Jerome Evans wrote I’ll Do Anything For You. Fallin’ In Love was written by another successful singer Deniece Williams, with Chicago songwriter Tennyson Stephens. These eight tracks became Supernatural High.
Recording of Supernatural High took place at Capitol Recording Studios, with Skip Scarborough producing the album. Accompanying Freda, was a band that included a rhythm section of bassist Robert Russell, drummers Nate Neblett and Alphonse Mouzon plus guitarists John Rowin and Louis Russell. They were joined keyboardists Ernest Straughter and Michael Stanton, while Munyungo Jackson added percussion. Together with a string, woodwind and horn section lead by George Bohannon, the eight tracks that became Supernatural High were recorded. Would Supernatural High mark an improvement in Freda Payne’s fortunes?
When Supernatural High was released in 1978, it failed to chart. Neither Happy Days Are Here Again/Happy Music (Dance The Night Away) released as single in 1978, nor I’ll Do Anything For You, released in 1979 charted. It seemed the commercial success Freda Payne enjoyed at Invictus was a long way away? Why was that the case? That’s what I’ll tell you, once I’ve told you about the music on Supernatural High.
Opening Supernatural High is the medley of Happy Days Are Here Again/Happy Music (Dance The Night Away). A pounding, Latin-tinged rhythm section and chiming guitars propel the arrangement along. Having set the scene, backing vocalists sweep, joyously in. Then Freda takes charge of the familiar song. It’s given a complete makeover. Funk and disco combine, with swathes of lush strings and rasping horns accompanying the funky rhythm section. Soon, the medley is unfolding, with the backing vocalists accompanying Freda, as she discovers her inner diva, as Supernatural High gets off to an uplifting, joyous and dance-floor friendly high.
There’s no drop in the tempo on Pullin’ Back. Indeed, the track bursts into life, allowing Freda to showcase her considerable vocal prowess. Skip Scarborough’s arrangement is a mass of dancing strings, growling horns, keyboards and a funk-laden rhythm section. Freda mixes power, passion and sass, while harmonies sweep in, soaring above the arrangement. Soon, Freda cajoles and encourages the backing vocalists and band “higher.” Spurred on, they respond to Freda’s call. They join Freda and create another delicious dance track.
Tell Me Please sees the tempo drop, and Freda unleash a heartfelt, soulful vocal. Keyboards, rhythm section and braying horns combine with percussion, before layers of strings sweep in. They’re joined by Freda’s needy, emotive vocal. Soon, she’s probing and questioning, hope filling her voice. Cooing harmonies sweep in, while and keyboards add a jazzy twist. Meanwhile, the rhythm section and percussion create the backdrop for Freda’s impassioned, powerful plea as she ask, begs: “Tell Me Please.”
Just The Thought of You (Supernatural High) has an almost understated arrangement, when it unfolds. Just keyboards, rhythm section, chiming guitars and flourishes of strings combine, before Freda’s wistful, tender vocal enters. Horns rasp and groan, while Freda’s vocal brings life and meaning into the lyrics subtleties and nuances. Her vocal is tender, deliberate and filled with emotion, while the arrangement fuses jazz and soul. Later, backing vocalists enter, their sweet, soulful sound the perfect foil to Freda’s heartfelt, tender vocal.
Livin’ For The Beat marks a change in sound and style. It has a tougher, funkier sound. Blazing horns, an edgy, funky rhythm section and urgent, punchy harmonies accompany Freda’s sassy, fiery vocal. Searing guitars, slapped bass and pounding drums join a saxophone that reminds me of David Bowie’s Fame. The urgent, dramatic harmonies add the finishing touch, as Freda demonstrates her versatility.
Fallin’ In Love has a vintage jazz-tinged sound. With a string-drenched, understated arrangement that meanders along, Freda delivers a vocal where power, passion and emotion unite. Cooing harmonies, rasping horns, keyboards and a subtle rhythm section provide the backdrop for Freda as she unleashes one of her best vocals on Supernatural High, while reminding me of Deniece Williams who cowrote the song.
Melodic keyboards, percussion and drums open I’ll Do Anything For You, before the band and Freda kick loose. Strings dance, horns rasp and the rhythm section provide the arrangement’s heartbeat. Having set the scene, Freda delivers a joyous, heartfelt and powerful vocal. Harmonies sweep in, soaring, soulfully above the arrangement. By the strings dance appreciatively and horns serenade Freda, who has hit her soulful stride, during this infectiously catchy, hook-laden paean to love.
Storybook Romance which closes Supernatural High, was written by Sherrie Payne, Freda’s younger sister. Strings dance, drums pound and horns growl, grabbing your attention. The arrangement continues to do this, until Freda, accompanied by backing vocalists struts centre-stage. She delivers a strident, confident vocal, while harmonies, swathes of sweeping, swirling strings, growling horns combine. Along with the rhythm section, they combine to create the perfect backdrop for Freda’s vocal. As if realizing this is the track that would close Supernatural High, Freda goes on to deliver what can only be described as a masterclass in soulfulness. To do this, she’s helped no end by a tight, talented band, that bring Supernatural High to memorable, musical high.
That Supernatural High failed commercially, seems somewhat strange, and almost unjust. After all, from the opening bars of Happy Days Are Here Again/Happy Music (Dance The Night Away), right through to Storybook Romance, the music is of the highest standard. Surely, music as good as the eight tracks on Supernatural High, should’ve fared better commercially? Sadly, that wasn’t the case. There’s no filler on Supernatural High, just songs that cross musical genres. Disco, soul, funk, jazz and Latin music are fused, as Freda Payne rolls back the years. During Supernatural High, Freda either sassily struts her way through tracks, or tenderly and soulfully, delivers songs with emotion. Producer Skip Scarborough played his part, as do the all-star band and backing vocalists.
By 1978, when Supernatural High was released, Skip was an experienced producer and songwriter. He knew what was required to make an album a commercial success. So, he penned three tracks, and added to them, five other tracks. This included songs from songwriters from the calibre of Thom Bell and Deniece Williams. To record these tracks, he put together a band that contained some of the best session musicians and backing vocalists. They played their part, seamlessly switching between soul, funk, jazz and disco, which was the most possible musical genre. Sadly, Supernatural High’s release went almost unnoticed. Freda Payne had failed to rediscover the commercial success she enjoyed at Invictus. Since the release of Supernatural High in 1978, it has remained a hidden gem in Freda Payne’s back-catalogue. Now, thirty-five years after the release of Supernatural High, it’ll be rereleased by SoulMusic Records on 18th February 2013. SoulMusic Records’ rerelease of Supernatural High sees one of the hidden gems of Freda Payne’s back-catalogue get a welcome rerelease. Hopefully, and somewhat belatedly, Freda Payne’s Supernatural High will be discovered by a new generation of music fans, who will cherish and enjoy this hidden gem of an album. Standout Tracks: Pullin’ Back, Tell Me Please, I’ll Do Anything For You and Storybook Romance.
FREDA PAYNE-SUPERNATURAL HIGH.
STEPHANIE MILLS-I’VE GOT THE CURE.
STEPHANIE MILLS-I’VE GOT THE CURE.
By 1984, Stephanie Mills was about to release her ninth album, I’ve Got The Cure. This was her final album on Casablanca Records, and featured Stephanie’s number one single Medicine Song. However, success hadn’t come overnight for Stephanie. Neither Stephanie’s 1974 debut album For The First Time, nor her 1975 sophomore album Movin’ In The Right Direction were commercially successful. It wasn’t until Stephanie signed to 20th Century Fox Records that she found commercial success.
She released a trio of successful albums for 20th Century Fox Records. Between 1979s What Cha Gonna Do About My Lovin,’ 1980s Sweet Sensation and 1981s Stephanie established Stephanie’s reputation as one of disco’s stars. By now, Stephanie was Movin’ In The Right Direction For The First Time. Following her departure from 20th Century Fox Records, Stephanie signed to Casablanca Records.
Her Casablanca debut was 1982 Tantalizingly Hot. That year, Motown realizing how successful Stephanie had become, released Love Has Lifted Me. Then in 1983, Stephanie released Merciless, her second album for Casablanca. By now, Stephanie was at the height of her commercial success. Things were about to get even better for Stephanie, when she released I’ve Got The Cure, which will be rereleased by SoulMusic Records on 18th February 2013. I’ve Got The Cure would be Stephanie Mills final album for Casablanca Records, and would see her bow out on a soulful and successful high, while her sound evolved thanks to producers George Duke and David “Hawk” Wolinski.
That I’ve Got The Cure was Stephanie Mills’ ninth album, was quite remarkable. Stephanie, after all, was only twenty-seven years old. She was born in New York, in 1957, and made her stage debut aged just nine. Two years later, she won the Amateur Night at the Apollo Theater a record six times. This resulted in Stephanie making her Broadway debut in the musical Maggie Flynn. Then in 1973, Stephanie signed to Paramount records.
After Stephanie’s 1974 debut album For The First Time, and her 1975 sophomore album Movin’ In The Right Direction weren’t commercially successful. This resulted in Stephanie leaving the label. Her career received a boost when she appeared in The Wiz. Then in 1979, her career got back on track.
the success that had eluded Stephanie was now behind her. She was now signed to 20th Century Fox Records. Soon, Stephanie became a rising star of the disco scene. 1979s What Cha Gonna Do About My Lovin,’ 1980s Sweet Sensation and 1981s Stephanie saw Stephanie become a consistent hit-maker. When she signed to Casablanca Records, commerical success kept on coming Stephanie’s way, with 1982s Tantalizingly Hot and 1983s Merciless.For I’ve Got The Cure, Stephanie Mills final album Casablanca Records, she hooked up with producers George Duke and David “Hawk” Wolinski, a former member of Rufus.
For I’ve Got The Cure, nine tracks were chosen. David “Hawk” Wolinski contributed The Medicine Song and cowrote Rough Trade with Pat Leonard and Keithen Carter, who contributed three other songs. They were In My Life, You Might Just Need A Friend and Undercover. Tom Snow and Roy Freeland penned Edge of The Razor, while Kenny Loggins and Stephen Bishop cowrote Give It Half A Chance. Len Ron Hanks and John Lewis Parker contributed Outrageous, and Howard Grate and Michael Powell wrote Everlasting Love. These nine tracks became I’ve Got The Cure, Stephanie’s final album for Casablanca Records.
George Duke had been Stephanie Mills first choice when Casablanca asked her who she wanted to produce I’ve Got The Cure. He had just enjoyed produced albums for Jeffrey Osbourne and enjoyed commercial success and critical acclaim with Deniece Williams’ Let’s Here It For The Boy. Given George’s track record as a producer, record companies were desperate to get George to produce their artists. With George onboard, he decided given the type of album Stephanie wanted to make, they should bring David “Hawk” Wolinski onboard to deal with the dance tracks on I’ve Got The Cure. David was a songwriter, keyboardist and producer. Previously, he’d been a member of Rufus, so realized what it took to produce a hit single. Now all they needed, was an all-star band, containing some of the best session players of the era. They’d provide the backdrop for Stephanie on I’ve Got The Cure.
Recording of I’ve Got The Cure took place at various studios in California. This included Fantasy Records in Berkeley, plus Sound Castle, Le Gonks West and Fool On the Hill in Los Angeles. The all star band George and David put together included a rhythm section of bassist Fred Washington, drummer John Robinson and guitarist Bruce Gaitsch and David T. Walker. Joining them were percussionist Paulinho Da Costa, flautist Larry Williams and Pat Leonard on synths and keyboards. John Robinson played Simmons drums, Kevin Murphy vocoder and The Weather Girls and Walter Sisters added backing vocals. David played guitar, keyboards and synths, while George played Rhodes, Memory Moog, Mini Moog Bass, Linn Drums, CP70 and electric grand piano. Stephanie sang lead and backing vocals. Producing I’ve Got The Cure were George Duke and David “Hawk” Wolinski. Once I’ve Got The Cure was finished, it was released in 1984.
I’ve Got The Cure was released in 1984, reaching number seventy-three in the US Billboard 200 and number ten in the US R&B Charts. The Medicine Song was released as the lead single. It reached number sixty-five in the US Billboard 100, number eight in the US R&B Charts and number one in the US Dance Music/Club Play Charts. Edge of The Razor was also released as a single in 1984, reaching number forty-seven in the US R&B Charts. Then in 1985 it reached number fourteen in the US Dance Music/Club Play Charts. For Stephanie Mills, I’ve Got The Cure brought her time at Casablanca Records to a successful and soulful high, as you’ll soon realize.
The Medicine Song opens I’ve Got The Cure and sees David “Hawk” Wolinski take charge of production. Not only does it mark change in Stephanie’s music, but her voice maturing. There’s a harder eighties funky, electronic sound to the arrangement. This is obvious from the get go when the synths, sequencers and drums grab your attention. Having built the drama and power, Stephanie’s vocal is fiery, sassy, deliberate and powerful. She struts her way through the song, backing vocals cascading, while the synths, searing guitars and cracking drums provide the backdrop for Stephanie’s sassy, divaesque vocal.
Edge of The Razor was George Duke’s first production on I’ve Got The Cure. Stephanie picks up where she left off on the opening track. She mixes power, passion and confidence, from the opening bars. It’s an assured performance. Here, electro-pop and soul unite. While quite different from her early work, this was now 1984, so perfect for the times. The arrangement is filled with rocky guitars, pounding drums and synths. A blazing saxophone weaves its way across the arrangement. It gives way to Stephanie, who with searing guitars for company. During the chorus, she unleashes a series of poppy hooks, ensuring this is a memorable track.
Of the first three songs, In My Life has the most eighties sound. Straight away, you’re transported back nearly thirty year. While the arrangement has a real bold, brash eighties sound, Stephanie delivers one of her most heartfelt, needy and soulful vocals. Backing vocals from The Walter’s Sister provide the perfect accompaniment. For the rest of the arrangement, riffing guitars, buzzing, beeping synths and crispy drums combine. Stabs of deliberate keyboards help anchor the arrangement, adding to the drama and emotion of Stephanie’s vocal, which steals the show. Quite simply, her vocal is sweet, soulful and laden with emotion.
As Give It Half A Chance unfolds, it’s quite different from previous tracks. Suddenly, it’s not 1984 anymore. There’s a much more understated, subtle backdrop to Stephanie’s wistful, melancholy vocal. Just keyboards, ethereal harmonies and lush strings combine with guitars and percussion accompany her. Indeed at the bridge, the band build the drama, setting the scene for a vocal Magnus Opus from Stephanie. Indeed, not once do they overpower the beautiful, bittersweet vocal from Stephanie, ably assisted by The Walter’s Sisters equally beautiful vocals.
Outrageous reminds me of the type of music Prince was releasing during this period. The track literally explodes into life, with synths, rhythm section and searing guitars combining. A flourish of keyboards, signals the entrance of Stephanie’s powerhouse of a vocal. Adding gospel tinged backing vocals are The Walters Sisters. They’re the perfect foil for Stephanie, as the band drive the arrangement along. By then, funk, eighties electronica, rock, soul and gospel tinged harmonies are combine dramatically. This genre-sprawling fusion, results in one of the best tracks on I’ve Got The Cure.
Thunderous electronic drums open You Might Just Need A Friend. It’s as if they’re determined to grab your attention. Then synths and the rhythm section combine. Stephanie’s tender, breathy vocal cascades, with an understated combination of guitars, keyboards and percussion for company. Add to this The Walters Sisters crystalline harmonies. All this provides a contrast to the boldness and drama of the eighties drums sound, as this wistful, pensive track unfolds, revealing its subtleties and secrets.
Everlasting Love sees the tempo drop, when keyboards meander along. Then a dramatic burst of drums ensures you’re not going to miss what follows. This is one Stephanie’s most enchanting vocals. You’re captivated by its beauty, focusing solely on it. You’ve almost to pay attention to the rest of the arrangement. Just chiming guitars, strings and keyboards combine, as the arrangement veers between soulful and slightly funky. The band play their part in ensuring that what’s one Stephanie’s best vocal takes centre-stage. With cooing harmonies for company, The Weather Girls join Stephanie. They seem to drive each other to greater heights of sheer soulfulness. Stephanie’s vocal grows in power, emotion and sheer soulfulness, as she rolls back the years.
Rough Trade is the first of two tracks produced by David “Hawk” Wolinski. Straight away, you notice the change in sound. It marks a return to the fusion of eighties electronic, funk and soul. Again, there’s a tougher edge to the track, with synths, eighties drums and keyboards. During the bridge, a vocoder is added. Thankfully, it’s used sparingly. With vocoders, a little goes a long way. Later, The Walters Sisters add sweet, cascading harmonies, as Stephanie’s vocal grows in power. Soon, she’s finding her inner diva, her vocal growing in confidence, power and drama, as producer David “Hawk” Wolinski, takes I’ve Got The Cure in a dance-floor oriented direction.
Undercover, which closes I’ve Got The Cure, bookends the album perfectly. There are similarities with The Medicine Song, which opened I’ve Got The Cure. However, there’s a darker, broodier, moodier sound. Like The Medicine Song, synths, sequencers and drums are key to the track’s dance-floor friendly sound. Having set the scene, Stephanie’s vocal begins tender, but quickly grows in power, drama and emotion. Behind her, the arrangement becomes a musical juggernaut. Synths and drums propel the arrangement along. Riffing guitars and backing vocals add to the dramatic, sinister backdrop. This is perfect for the lyrics about streetwise people preying on unsuspecting, naive people. Given these lyrics, surely Stephanie could be singing about the music industry?
While Stephanie Mills’ ninth album I’ve Got The Cure may not have been nominated for a Grammy Award, like her previous album Merciless was, it featured a number single, The Medicine Song. It reached number one in the US US Dance Music/Club Play Charts. I’ve Got The Cure was also a commercial success, reaching number seventy-three in the US Billboard 200 and number ten in the US R&B Charts. Given that I’ve Got The Cure was Stephanie Mills’ final album for 20th Century Fox Records, she was leaving the label after a commercially successful album. Not only was I’ve Got The Cure, a commercial success, but saw Stephanie’s sound change.
During the nine tracks on I’ve Got The Cure, Stephanie fuses soul, funk, electro-pop and eighties electronic music. Soulful, funky and dance-floor friendly, I’ve Got The Cure is all these things and much more. I’ve Got The Cure also marks Stephanie’s voice maturing. This is quite remarkable, considering she was only just twenty-seven when she recorded I’ve Got The Cure. Indeed, her voice sounds much more mature than her then, quite tender years. While Stephanie’s vocals on I’ve Got The Cure demonstrate a vocalist at the height of her success, George Duke was at the height of his commercial success and critical acclaim as a producer. George’s decision to bring David “Hawk” Wolinski onboard, was a bold and brave one. Together, George and David ensured that Stephanie Mills’ final album for Casablanca Records, I’ve Got The Cure saw Stephanie Mills leave on a soulful, successful high. Now nearly thirty years after the release of I’ve Got The Cure, SoulMusic Records have will rerelease the album on 18th Fenruary 2013, complete with a trio of bonus tracks. Stephanie Mills’ farewell to Casablanca Records, I’ve Got The Cure is certainly an album that you’ll “play again.” Standout Tracks: The Medicine Song, Give It Half A Chance, You Might Just Need A Friend and Everlasting Love.
STEPHANIE MILLS-I’VE GOT THE CURE.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
The maxim that Good Things Don’t Last Forever proved to be true for Ecstasy, Passion and Pain. They released just one album, Ecstasy, Passion and Pain in 1974. Featuring just ten songs, Ecstasy, Passion and Pain was a tantalizing taste of what might have become for Barbara Roy’s group. The lineup featured a rhythm section of guitarist Jimmy Clark, bassist Joseph Williams and drummer Althea “Cookie” Smith, plus percussionist Carl Jordan and keyboardist Ronnie Foster. Barbara Roy sang lead vocals and was the voice of Ecstasy, Passion and Pain. On the release of their debut album Ecstasy, Passion and Pain they looked to have a great future ahead of them. With Philly Soul and disco about to dominate the seventies, their 1974 debut album couldn’t have been released at a better time.
Joining Ecstasy, Passion and Pain for the recording of their debut album, would be some of the most talented musicians of the time. The result would be Ecstasy, Passion and Pain, the one and only album from Barbara Roy’s innovative supergroup.
Barbara Roy’s first introduction to the music business was recording a series of singles with her niece Brenda Gaskins, as Barbara and Brenda. The released singles that included 1963s Let’s Get Together released on Avanti, plus 1967s If I’m Hurt You’ll Feel the Pain and Never Love A Robin on Dynamo Records. After her niece Brenda retired from music, Barbara played guitar for Inez and Charlie Fox. Barbara played on their biggest hit single, Mockingbird. Session work and songwriting was how Barbara earned a living. That was until 1973, when Ecstasy, Passion and Pain were formed in 1973.
Having formed Ecstasy, Passion and Pain, Barbara’s manager Phil Braxton got the group a recording contract with Roulette Records. Now that the deal was signed, work began on Ecstasy, Passion and Pain’s debut album, Ecstasy, Passion and Pain. For Ecstasy, Passion and Pain, Barbara penned seven of the ten songs under her real name, Barbara Gaskins. These were Ask Me, Let’s Love. I Wouldn’t Give You Up, I’ll Take The Blame, Try To Believe Me, Don’t Burn Your Bridges Behind You and Born To Lose You. The songwriting team of Norman Harris, Allan Felder and Bunny Sigler penned two tracks, Somebody’s Loving You and Good Things Don’t Last Forever. I’ll Do Anything For You was written by Melvin and Mervin Steals, fresh from the success of their million-selling single Could It Be I’m Falling In Love, which gave The Detroit Spinners a number one single. These tent tracks became Ecstasy, Passion and Pain, which was recorded at Philly’s Sigma Sound Studios, with an all-star band.
Accompanying Ecstasy, Passion and Pain for the recording of Ecstasy, Passion and Pain at Philly’s Sigma Sound Studios were the classic lineup Philadelphia International Records’ legendary house-band M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and Roland Chambers. Vince Montana Jr, played vibes, Larry Washington percussion and keyboards came courtesy of Lenny Pakula and Ron “Have Mercy” Kersey. They were joined by Don Renaldo’s Strings and Horns, plus backing vocalists The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton. Arranging, conducting and producing Ecstasy, Passion and Pain was the legendary Bobby Martin. Once the recording of Ecstasy, Passion and Pain was completed, it was released in 1974.
On the release of Ecstasy, Passion and Pain in 1974, the album reached number thirty-eight in the US R&B Charts. I Wouldn’t Give You Up was the lead single, released in 1974, reaching number seventeen in the US R&B Charts. Ask Me then reached number fifty-two in the US Billboard 100, number nineteen in the US R&B Charts, number four in the US Disco Singles Charts and number two in the US Dance Music/Club Play Charts. Ecstasy, Passion and Pain’s debut album Ecstasy, Passion and Pain had proved a commercial success. However, little did anyone realize that there would be no followup to Ecstasy, Passion and Pain. This would be a missed opportunity, as you’ll realize, when I tell you about Ecstasy, Passion and Pain.
Opening Ecstasy, Passion and Pain is Ask Me, one of six tracks lead singer Barbara Roy wrote, under her real name Barbara Gaskins. Just a moody Baker, Harris, Young rhythm section give way to swathes of lush strings, growling horns and Hammond organ. Straight away, Barbara’s strident, joyous vocal takes charge Power and passion are combined, while The Sweethearts of Sigma urgently answer her call. Meanwhile, Baker, Harris, Young provide the track’s pulsating heartbeat. Ron Baker’s bass helps drive the arrangement along, as strings dance and horns growl. Throughout the track, Barbara’s powerful, pleading vocal is at the heart of the track’s success, holding you in its spell.
The tempo drops on Let’s Love. Just an understated rhythm section, Vince Montana Jr’s vibes and lush strings sweep slowly. When Barbara’s vocal enters, it’s tender and thoughtful. Immediately, the arrangement and vocal become one. Cooing, sweeping harmonies from The Sweethearts accompany her. Later, they grow in power, urgency and soulfulness, matching Barbara every step of the way. They taking their signal from Baker, Harris, Young. The Sweethearts of Sigma and M.F.S.B. provide the perfect accompaniment for Barbara, as she delivers a tender, beautiful and emotive vocal Magnus Opus.
I Wouldn’t Give You Up sees Ecstasy, Passion and Pain and M.F.S.B. kick loose. The tempo increases from the get-go. Larry Washington’s percussion and congas are joined by Baker, Harris, Young, growling horns, keyboards and cascading strings. Together, they ensure the arrangement bursts into life. Soon, Barbara climbs onboard. Her vocal is urgent, defiant and confident, with The Sweethearts of Sigma adding soaring harmonies. Meanwhile, Norman Harris’ chiming guitar, Earl Young’s pounding drums and Don Renaldo’s dancing strings combine to create an arrangement that straddles the sixties and seventies in sound and influence. Having said that, it’s a hook-laden track, driving, dance-floor friendly track.
Just Ron Baker’s bass and sweeping swirling strings combine as I’ll Take The Blame unfolds. A burst of Earl Young’s drums injects a sense of urgency. It also acts as your signal to pay attention, as Barbara unleashes a soul-baring vocal. Her voice fills with emotion and hurt, as tender harmonies from The Sweethearts of Sigma enter. They’re joined by sweeping, swirling strings, bursts of dramatic drums and a prowling bass. An added bonus is melancholy guitar line. The longer the track progresses, the better Barbara’s vocal and The Sweethearts of Sigma’s sweeping, cooing harmonies get. Filled with emotion, sadness and heartache, they drive each other to greater heights, resulting in a heartachingly beautiful, soul-baring song.
Try To Believe Me closes Side One of Ecstasy, Passion and Pain. It has a tougher sound. Barbara’s vocal is fiery, sassy and powerful, while The Sweethearts of Sigma add cascading, gospel-tinged harmonies. For their part, M.F.S.B. combine elements of funk, Philly Soul and jazz. This means blazing horns, searing guitars and a sometimes, dramatic Baker, Harris, Young rhythm section. Both The Sweethearts of Sigma and M.F.S.B. play their part in setting the scene for Barbara’s fiery, sassy and strident vocal, which when it grabs your attention, just won’t let go.
I’ll Do Anything For You opens Side Two of Ecstasy, Passion and Pain. It was written by Melvin and Mervin Steals, who had recently written the million selling Could It Be I’m Falling In Love for The Detroit Spinners. It seems the Steals’ brothers were on a roll. Straight away, two things strike you. This track has Philly Sound written all over it. The other is just how hook-laden a song it is. It’s like a slice of musical sunshine. The Baker, Harris, Young rhythm section join the lushest of dancing strings and keyboards, producing the mainstay of the arrangement. Barbara scats and The Sweethearts of Sigma add the sweetest, tenderest of harmonies. From there, the arrangement allows Barbara and The Sweethearts of Sigma to take centre-stage. Spurring each other on, they drive, cajole and encourage each other to deliver some of the most heartbeat, impassioned and emotive vocals and harmonies on Ecstasy, Passion and Pain.
Waves of atmospheric Hammond organ, percussion and a broody bass open Don’t Burn Your Bridges Behind You. They join Barbara’s half-spoken sincere vocal. Then she scats, her vocal soulfully soaring, with just an understated arrangement accompanying her. Just Baker, Harris, Young with slow, lush strings and Vince Montana Jr’s vibes. Norman Harris’ adds a pensive guitar solo, while pizzicato strings and emotive, heartfelt harmonies from The Sweethearts of Sigma. By now, Barbara’s husky vocal is filled with emotion, veering towards gospel in her delivery. So moving, emotive and soulful is Barbara’s vocal, you’re spellbound and captivated.
Somebody’s Loving You is the first of two Norman Harris, Allan Felder and Bunny Sigler penned tracks. Piano and Baker, Harris, Young combine with rasping horns and dancing strings to drive the arrangement along. Barbara’s vocal is urgent and filled with hurt and heartache. Sensing this is one of Barbara’s best vocals, The Sweethearts of Sigma add dramatic, urgent soaring harmonies. Lush strings float above the arrangement, while the rhythm section, keyboards and harmonies inject urgency and drama. While Barbara displays her considerable vocal prowess, Norman Harris, Allan Felder and Bunny Sigler demonstrate just how talented a songwriting team they were.
Born To Lose You is the last of seven tracks Barbara wrote for Ecstasy, Passion and Pain. It’s another slow song, with an understated arrangement. Just a meandering bass, atmospheric Hammond organ and bursts of dramatic drums combine. They set the scene for Barbara’s heartbroken, hurt-filled vocal. She lays bare her hurt, sounding rueful, wistful and melancholy. The Sweethearts of Sigma add tender, sweeping harmonies, as if wanting to sooth Barbara’s hurt. Meanwhile, the arrangement veers between understated to dramatic. String frantically sweep and swirl, drums pound and horns rasp. This is the perfect accompaniment for one of Barbara’s most moving, emotive and hurt-filled vocals.
Good Things Don’t Last Forever, closes Ecstasy, Passion and Pain. It’s the second Norman Harris, Allan Felder and Bunny Sigler penned track. Just like I’ll Do Anything For You, this delicious slice of Philly Soul grabs your attention and won’t let go. From the opening bars, the track bursts into life. Strings cascade, their lush sound accompanied by growling horns, chiming guitars and Baker, Harris, Young who provide the track’s pulsating heartbeat. Spurred on By M.F.S.B, Barbara unleashes a wistful vocal, where power and passion combine. Matching her every step of the way are The Sweethearts of Sigma. They add soaring, cascading vocals. By now, Ecstasy, Passion and Pain, M.F.S.B. and The Sweethearts of Sigma are in the groove, determined to bring Ecstasy, Passion and Pain to a memorable high. This they do, mixing Philly Soul and disco seamlessly.
Released in 1974, Ecstasy, Passion and Pain sees Ecstasy, Passion and Pain fuse Philly Soul and disco, with elements of jazz and funk Over ten tracks, seven penned by lead singer Barbara Roy. In some ways, Ecstasy, Passion and Pain is a tantalizing taste of what might have been. Ecstasy, Passion and Pain was their only album. Granted they released a few more singles and enjoyed chart success during the seventies. Singles like 1975s One Beautiful Day and 1976s Touch and Go gave Ecstasy, Passion and Pain top ten singles in the US Disco Charts. Further singles were released on Roulette, including 1976s Passion and 1977s Dance The Night Away. By then, the lineup of Ecstasy, Passion and Pain had changed. One constant was Barbara Roy. Ecstasy, Passion and Pain was her group after all.
Following 1977s Dance The Night Away, 1981 saw the release of If You Want Me on Barbara’s Roy B Records. By then, disco was no longer King. It was the post-disco age, after all. Disco had to evolve and reinvent itself, with boogie picking up the baton from disco. However, during the disco age, Ecstasy, Passion and Pain were one of the genre’s success stories. Similarly, so was their only album, 1974s Ecstasy, Passion and Pain.
Sadly, Ecstasy, Passion and Pain was the only album Ecstasy, Passion and Pain released. Who knows what might have happened if they’d released further albums? Listening to Ecstasy, Passion and Pain, they weren’t wanting when it came to talent. Especially with M.F.S.B. providing the musical backdrop, The Sweethearts of Sigma adding their deliciously soulful harmonies and of course, Bobby Martin arranging and producing Ecstasy, Passion and Pain. Although Ecstasy, Passion and Pain contained just ten songs, from the opening bars to the closing notes, it’s a deliciously soulful and often, dance-floor friendly album, with Barbara Roy’s vocal key to Ecstasy, Passion and Pain’s sound and success. For anyone yet to discover the Philly Soul and disco of Ecstasy, Passion and Pain, then a veritable musical treat is in-store for you. Standout Tracks: Let’s Love, I’ll Take The Blame, I’ll Do Anything For You and Somebody’s Loving You.
ECSTASY, PASSION AND PAIN-ECSTASY, PASSION AND PAIN.
DUSTY SPRINGFIELD-A BRAND NEW ME.
DUSTY SPRINGFIELD-A BRAND NEW ME.
For Dusty Springfield, her 1970 album A Brand New Me proved to a hugely significant album for three reasons. A Brand New Me was the followup to what is seen as Dusty’s finest album Dusty In Memphis, released in 1969. Another reason was that A Brand New Me featured what would be Dusty’s last top forty US Billboard 100 hit for seventeen years. Lastly, A Brand New Me saw Dusty Springfield undergo a Philly Soul makeover by Gamble and Huff, who a year later, would found Philadelphia International Records. It was a case of a musical journey that started in Memphis and that ended in Philly and resulted in A Brand New Me for Dusty Springfield. How would A Brand New Me compare to Dusty In Memphis?
Although Dusty In Memphis, released in March 1969, is considered Dusty’s classic album, it wasn’t a huge commercial success on its release. It only reached number ninety-nine in the US Billboard 200 charts. The eleven tracks on Dusty In Memphis were cover versions, including Just A Little Lovin,’ Son of A Preacher Man and Breakfast In Bed. For A Brand New Me, the ten tracks would all be written by the same production team. This included six tracks penned by Gamble and Huff.
For A Brand New Me, Gamble and Huff were involved either together, or with other songwriting partners, in each of the ten tracks. Gamble and Huff contributed four tracks, Let’s Get Together Soon, Silly, Silly, Fool, The Star of The Show and Let’s Talk It Over. They cowrote Lost with Jerry Butler and Never Love Again with legendary Philly guitarist Roland Chambers. Roland cowrote Bad Case of The Blues and Let Me In Your Way with Kenny Gamble. Kenny Gamble then joined Thom Bell and Jerry Butler to write Brand New Me, then with Norman Harris and Allan Felder, Kenny cowrote Joe. This meant Gamble and Huff who’d produce A Brand New Me had played some part in writing then ten tracks. For the recording of A Brand New Me, this would take place at Joe Tarsia’s Sigma Sound Studios, which had been founded in 1968. In later years, Sigma Sound Studios would become a home-from-home for Gamble and Huff, where they recorded all the great Philadelphia International Records’ recordings.
At Sigma Sound Studios, for the recording of A Brand New Me, Dusty Springfield was accompanied by what an early lineup of M.F.S.B, Philadelphia International Records’ legendary house-band. This included a rhythm section of Baker, Harris, Young and guitarist Roland Chambers. Vince Montana Jr, played vibes and Ugene Dozier piano. They were joined by Don Renaldo and His String Section and Sam Reed and His Horn Section. Arrangers included Roland Chambers, Thom Bell and Bobby Martin. Producing A Brand New Me were Gamble and Huff, which was released in November 1970.
Before the release of A Brand New Me in November 1970, the title-track A Brand New Me, was released as a single. It reached number twenty-four in the US Billboard 100, which would be Dusty’s last top forty single until 1976. Silly, Silly, Fool stalled at number seventy-six in the US Billboard 100. On the release of A Brand New Me, it only reached number 107 in the US Billboard 200. Although this was disappointing, it meant A Brand New Me had nearly matched the success of the classic Dusty In Memphis. However, is A Brand New Me also a classic album from Dusty Springfield? That’s what I’ll tell you.
A Brand New Me opens with Lost, a title which is almost poignant, given Dusty’s later life. It was penned by Gamble and Huff with Jerry Butler and arranged by Thom Bell. Norman Harris’ guitar weaves its way across the arrangement as Baker, Harris, Young join a Hammond organ, quivering strings and rasping horns. Having set the scene for Dusty, her vocal is tinged with sadness and confusion although hope shines through. Urgent harmonies and dramatic drums reflect the emotion in her vocal. It’s as if the combination of a tight, slick band and some emotive lyrics inspire Dusty to greater heights of soulfulness.
Bad Case of The Blues sees the tempo slow, but no let up in the emotion. Dusty unleashes a vocal that’s one part passion, pain and power. With just Vince Montana Jr’s vibes, growling horns, piano and keyboards combining Dusty’s tender, soulful vocal quickly, grows in power and emotion. Baker, Harris, Young provide an understated heartbeat. Ron Baker’s bass helping drive the meandering arrangement. Cooing, sweeping harmonies match Dusty all the way for soulfulness, as she delivers one of her most impassioned and heartfelt vocals, with blazing horns for company.
Never Love Again was written by Gamble and Huff with guitarist Roland Chambers Tender and wistful describes Dusty’s vocal, with just Ron Baker’s bass and Norman Harris’ guitar for company. Strings sweep and swirl, reflecting the emotion and hurt in Dusty’s vocal. Horns growl and drums pound, adding to the drama, as Dusty lays bare her soul and hurt for all to see and hear.
Vince Montana Jr’s vibes and shimmering strings combine as Let Me In Your Way unfolds. Roland Chambers’ arrangement is understated, allowing Dusty’s pleading, needy vocal to take centre-stage. The lushest of shivering, swirling strings are the perfect accompaniment for Dusty’s pleading, needy vocal. They add a sense of urgency and drama. So do the urgent harmonies. Wistful horns, vibes and an acoustic guitar, provide a contrast and reflect the beauty and hope in Dusty’s vocal.
Let’s Get Together Soon closes Side One of A Brand New Me. Just Norman Harris’ guitar, Earl Young’s thoughtful drums and lush cascading strings accompany Dusty. Her vocal is filled hope and longing. Backing vocalists answer her call, reinforcing her longing. Baker, Harris, Young provide the heartbeat, while strings sweep and swirl. Flourishes of piano and Vince Montana Jr’s vibes combine, as Dusty’s vocal grows in power, passion and hopefulness.
Brand New Me opens Side Two of A Brand New Me. Just Baker, Harris, Young join keyboards and lush strings. Dusty’s vocal starts of melancholy and wistful, before hope and happiness shines through. Norman Harris adds one of his trademark guitar lines, before Baker, Harris, Young ensure the arrangement swings along. Horns kick, strings swirl and harmonies match Dusty for emotion and joy.
Norman Harris, Allan Felder and Kenny Gamble cowrote Joe, which Thom Bell arranged Rolls of drums, cascading strings and pensive horns set the scene for Dusty. Vince Montana Jr, sprinkles his vibes as Dusty’s hurt-filled vocal enters. She’s lost and confused: “searching here and there, everywhere for Joe.” As Dusty’s vocal fills with hurt, pain and heartache, the arrangement grows in power. Baker, Harris, Young, melancholy horns and heartbroken backing vocals play their part. They help make this one of the highlights of A Brand New Me.
Silly, Silly, Fool sees Dusty kick loose. Spurred on, M.F.S.B. deliver one of their best performances. This is a side of Dusty I’d have liked to hear more of. It also allows the band to stretch themselves. Baker, Harris, Young provide the a pounding heartbeat, that drives the arrangement along. Strings dance, horns growl and Dusty’s vocal mixes power and passion. Testifying backing vocalists feed off Dusty, and like M.F.S.B, drive each other to greater heights of sheer soulfulness.
Dramatic. That’s the only way to describe the introduction to The Star of The Show. Piano and Ron Baker’s bass provide a moody, dramatic backdrop. Strings quiver, harmonies soar and Dusty delivers heartfelt sincere vocal. Baker, Harris, Young join quivering strings, piano and melodramatic, deliberate harmonies. By the end of the track, Dusty and her backing vocalists have built up the drama and tension.
Let’s Talk It Over closes A Brand New Me. The arrangement bursts into life. Baker, Harris, Young, dancing strings and dramatic harmonies combine. They pass the baton to Dusty. Sensing the urgency, she delivers a sweeping vocal, where power, passion and urgency combine. Soon, horns rasp, strings dance, the rhythm section add drama and gospel tinged harmonies combine. Dusty can’t fail to respond to such an inspirational arrangement, and does so, closing A Brand New Me on a high.
After heading to Memphis for her previous album, Dusty In Memphis, Dusty Springfield headed to Philly, which was about to become the most important city in soul music. In Philly, Dusty teamed up with Gamble and Huff, plus some of the most talented songwriters and arrangers, plus an early lineup of M.F.S.B. This was the perfect backdrop for Dusty and was no Dusty in Memphis Part 2. Quite the opposite. This was ten new songs, written for Dusty. For her part, Dusty would produce a series of emotive, heartfelt and sometimes, inspired vocals. Everyone who worked on A Brand New Me must have felt Dusty Springfield was an enigmatic performer.
While A Brand New Me was one of Dusty’s two great albums, sometimes she doesn’t come across as a particularly enthusiastic vocalist. Granted, Brand New Me was much better than her music pre-Dusty In Memphis. Similarly, A Brand New Me was much better than anything that Dusty would go on to produce. During A Brand New Me, Dusty only really unleashes an enthusiastic, inspired performance on The Star of The Show and A Brand New Me. She truly is The Star of The Show on these songs. On other songs, Dusty is much more reserved. Sometimes, you just wish Dusty would give more of herself. She never really throws herself into the songs, unleashing their and her potential. Possibly, once A Brand New Me was finished, everyone involved in the project must have wondered whether Dusty could’ve given more of herself? In many ways, that would be a problem that followed Dusty throughout her career. Although Dusty Springfield had so much talent and potential, she only ever produced two great albums. These were Dusty In Memphis and A Brand New Me, where she was given a Philly Soul makeover. Standout Tracks: Bad Case of The Blues, Let Me In Your Way, Joe and The Star of The Show.
DUSTY SPRINGFIELD-A BRAND NEW ME.
BLUE MAGIC-MYSTIC DRAGONS.
BLUE MAGIC-MYSTIC DRAGONS.
The story of Blue Magic, is far from unique. Their eponymous debut album Blue Magic, released in January 1974, reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in Blue Magic being certified gold. Blue Magic featured the million-selling Philly Soul classic Sideshow, written by Vinnie Barrett and Bobby “Electronic” Eli. Sadly, after their debut album, Blue Magic failed to replicate the success of Blue Magic.
The Magic of The Blue, released in December 1974, reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. Even when the Vinnie Barrett and Bobby “Electronic” Eli, penned Three Ring Circus was released as a single, it stalled at number thirty-eight in the US Billboard 100 and number five in the US R&B Charts. Blue Magic’s fortunes improve during 1975.
1975 saw Blue Magic embark on their first world tour. It lasted sixteen grueling and exhausting weeks. However, their luck was about to improve. Blue Magic won an Ebony Award for the best new group. Then in September 1975, their third album, Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. With Blue Magic’s fortunes improving, work began on their third album Mystic Dragons. For Mystic Dragons, there would be some changes.
Unlike Blue Magic’s first three albums, Norman Harris wasn’t producing Mystic Dragons. Neither would Norman provide any of the songs on Mystic Dragons. Given Norman had co-written eleven songs on Blue Magic’s three previous albums this would be a huge void. Another void was the loss of the Baker, Harris, Young rhythm section. They’re didn’t provide Mystic Dragon’s heartbeat. Only Norman Harris would play on Mystic Dragons. For Mystic Dragons, Bobby “Electronic” Eli would produce and cowrote six of the nine tracks.
Mystic Dragons featured nine tracks, with Bobby “Electronic” Eli contributing six tracks. With Vinnie Barrett, Bobby “Electronic” Eli penned To Get Love (You Must Give Love). Bobby cowrote Freak-N-Steln, Mother Funk, Summer Snow and Making Love To A Memory with Len Barry. They then penned Rock ‘N’ Roll Revival with Keith Barrow, who wrote It’s Something About Love. Blue Magic’s lead singer wrote Spark of Love and cowrote See The Bedroom with Keith Beaton. These nine tracks became Mystic Dragons, which was recorded at Philly’s Sigma Sound Studios.
Blue Magic returned to Philly’s Sigma Sound Studios for the recording of Mystic Dragons. They were accompanied by some of Philly’s best musicians. The rhythm section included bassists Larry LaBes and Michael “Sugarbear” Forman, drummers Jerry James and Larry James plus guitarists Bobby “Electronic” Eli, Norman Harris, T.J. Tindall and Ted Cohen. Vince Montana Jr, played vibes, Larry Washington congas and percussion and Evette Benton tambourine. Carlton “Cotton” Kent, Ron “Have Mercy” Kersey and Erskine Mills played keyboards, while Dexter Wansell and Travers Huff played synths. Alto saxophonist Jack Faith and violinist Don Renaldo were part of the woodwind, string and horn section that featured on Mystic Dragons. Add backing vocals were The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Once Blue Magic had finished recording Mystic Dragons, it was released in 1976.
On the release of Mystic Dragons in 1976, it was the least successful album of Blue Magic’s career. It stalled at number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. Three singles were released from Mystic Dragons during 1976. Freak-N-Steln only reached number seventy-three in the US R&B Charts. It’s Something About Love then reached number forty-eight in the US R&B Charts. Summer Snow proved to be the most successful single, reaching number forty in the US R&B Charts. This must have been hugely disappointing for Blue Magic. This was a long way from their million-selling album Blue Magic and single SIdeshow. So, why wasn’t Mystic Dragons a commercial success? That’s what I’ll tell you, after I’ve told you about the music on Mystic Dragons.
Opening Mystic Dragons is Freak-N-Steln, penned by Bobby “Electronic” Eli and Len Barry. Straight away, you hear a very different sound to Blue Magic. It’s a tougher, funkier sound, but still soulful. Searing guitars, stabs of keyboards and a funk-laden rhythm section combine, before a powerful, almost dramatic vocal enters. Sweeping harmonies provide the soulful side of the track. Growling horns add to the tough, funky side, while soaring synths from Dexter Wansell provide another new side to Blue Magic. Although a long way from the dreamy, wistful sound of Sideshow and Three Ring Circus, it’s almost as Blue Magic are trying to reinvent themselves. While it’s still a quality track, maybe the new sound alienated Philly Soul lovers?
To Get Love (You Must Give Love) has a much more Blue Magic sound. Written by Bobby “Electronic” Eli and Vinnie Barrett, the track has a dreamy, melancholy sound. It features Ted Mills’ first lead vocal. The tempo slows, keyboards, a wandering bass and Vince Montana Jr’s bass combining. Then comes Ted’s tender, heartfelt vocal. Accompanying him, are harmonies from The Sweethearts of Sigma and the rest of Blue Magic. A piano and bass play a crucial role in the arrangement, while the drums reflect the drama and emotion in Ted’s vocal. Synths are deployed, and thankfully, don’t detract from the arrangement. Norman Harris’ chiming guitar makes an appearance, on this beautiful ballad, that quite simply, is one of the highlights of Mystic Dragons.
See The Bedroom sees another change in style. There’s everything from rock, funk and soul combining. Sometimes, there’s even a psychedelic era Beatles sound in the mix. The rhythm section, searing guitars and blazing horns combine with vocal, before the track heads in a dramatic and soulful direction. It’s the vocal that provides the soulfulness, while the rhythm section, horns and synths that add the drama. Cascading harmonies and searing guitars accompany Ted’s vocal, as Blue Magic combine elements of Philly Soul, psychedelia and funk. Drama and soulfulness are combined, as Blue Magic continue to reinvent themselves with this experimental track. Ironically, the previous track, which had Blue Magic’s name written all over it, is what they do best.
Given the title Mother Funk, it’s no surprise the track has a heavy-duty funky sound. It’s like Blue Magic trying to reinvent themselves as Funkadelic. From the get go, riffing guitars, blazing horns and a pounding, funky rhythm section accompany the vocal. It’s edgy, tough and sassy. Cascading, soulful harmonies and percussion join an arrangement where, a driving rhythm section, growling horns and riffing guitars combine. Then Don Renaldo unleashes a violin solo. Country and folk are his reference points. Somehow, Blue Magic have managed to pull off the impossible, by combining elements of Philly Soul, funk and Southern Rock. By then, Blue Magic’s mystical, heady brew of musical genres suddenly all makes sense. This seems a fitting way to close Side One of Mystic Dragons.
Summer Snow opens Side Two of Mystic Dragons, with a much more Blue Magic sounding track. They return to their Philly Soul sound. Just a combination of the rhythm section, piano, Vince Montana Jr’s vibes and chiming guitars accompany Ted’s tender vocal. Suddenly all is well with the world, as Blue Magic do what they do so well. I can even forgive the use of the synths. When the vocal changes hands, Blue Magic showcase their combined vocal prowess. Similarly, their harmonies are tight, heartfelt and soulful, as they do what they do best, deliver soulful, beautiful music.
As Rock ‘N’ Roll Revival unfolds, it’s as if Blue Magic are in church, testifying. Then having given thanks, the arrangement explodes. Searing guitars and a driving rhythm section accompany the powerful, joyous vocal. Funk, rock and soul combine. Slide guitar and piano play leading roles, complete with handclaps and gospel harmonies from Blue Magic and The Sweethearts of Sigma. The result is an infectiously catchy, genre-sprawling track, hook-laden track.
Just an understated arrangement opens It’s Something About Love. Synths, a subtle rhythm section and flute combine, before Ted’s vocal enters. The only problem is the synths, which jar. This means Ted’s vocal is forced to compete with the synths. His vocal is a mixture of hope and happiness, but tinged with confusion. Subtle sweeping, cooing harmonies, piano and rasping horns combine, as the vocal changes hands. From there, Ted’s vocal grows in power, passion and joy, complete with some delicious harmonies. Apart from the synths, which seem out of place and jar somewhat, this is a gorgeous Philly Soul ballad, which demonstrates that even by 1976, Blue Magic had neither lost any of their soulfulness, nor magic.
Making Love To A Memory is the last of the Len Barry and Bobby “Electronic” Eli songs. Just Vince Montana Jr’s vibes and keyboards combine, before a burst of drums signals the cooing, tender harmonies to sweep in. Blue Magic are joined by The Sweethearts of Sigma as the lead vocal is delivered with sadness and regret. Harmonies answer the vocal, sweeping in, as if sympathizing with the plight. Meanwhile, the arrangement allows the vocal and harmonies to take centre-stage. Just the rhythm section, keyboards and percussion accompany Blue Magic, as they roll back the years, delivering a vintage slice of Philly Soul.
Closing Mystic Dragons is Spark of Love, penned by Ted Mils. The rhythm section build the drama and emotion, before the lead vocal enters. It’s hurt-filled and emotive, with the synths providing an accompaniment. Sometimes, it seems out of place, competing with the vocal and harmonies. Here, it’s a case of the synths are overused. A little goes a long way. They should’ve been used sparingly. It’s a shame, as Blue Magic are at their soulful, dramatic and emotive best. The arrangement cascades along, like a merry-go-round. Just the rhythm section, piano provide the accompaniment to Blue Magic. For their part Blue Magic seem to drive each other to greater heights of emotion, drama and sheer soulfulness.
So, Blue Magic’s fourth album Mystic Dragons, produced by Bobby “Electronic” Eli saw a change in sound and style from one of Philly Soul’s giants. With Norman Harris no longer producing Blue Magic, their familiar Philly Soul sound changed. Gone were the lush strings of the three previous albums. Similarly, the horns were used much more sparingly. The Baker, Harris, Young rhythm section were also badly missed. So too, were the songwriting skills of Norman Harris and his various songwriting partners. Having said that, this doesn’t mean Mystic Dragons is a bad album. Quite the opposite. There’s much to commend Mystic Dragons
Producer Bobby “Electronic” Eli combined elements of funk, rock and even psychedelia with Philly Soul. Freak-N-Steln and the Funkadelic inspired are very different to Blue Magic’s previous music. Of the two tracks, Mother Funk works best. On See The Bedroom, Philly Soul, funk and Southern Rock are fused. Somehow this works, and works well. Rock ‘N’ Roll Revival is a hook-laden track where Blue Magic and The Sweethearts of Sigma testify their way through the track, fusing Funk, rock, soul and gospel. Ironically, although each of these tracks see producer Bobby “Electronic” Eli take Blue Magic out of their comfort zone, it was the Philly Soul tracks which stand out.
Bobby “Electronic” Eli and Vinnie Barrett, who penned Blue Magic’s biggest single Sideshow, cowote The To Get Love (You Must Give Love). This was the best track on Mystic Dragons. It had a lovely, dreamy, wishful sound, just like Sideshow and Three Ring Circus. Of the other four tracks, Summer Snow and Making Love To A Memory see Blue Magic back to their soulful best. Both are tracks quite beautiful slices of Philly Soul. So too are It’s Something About Love and Spark of Love, which could’ve been an even better tracks if the synths hadn’t been used during the track. Overall, the five Philly Soul tracks were what Blue Magic did so well. However, given the change in musical tastes, Blue Magic’s music had to change.
Disco was now the most popular musical genre. Funk was also a popular musical genre. Philly Soul was no longer as popular. So it made sense for Blue Magic to change direction. However, Mystic Dragons didn’t sell well. Indeed, Mystic Dragons was the least successful album of Blue Magic’s career. While Mystic Dragons is a good album, it doesn’t match the quality of their first three albums. For anyone looking to discover the music of Blue Magic, then Blue Magic, The Magic of The Blue and Thirteen Blue Magic Lane are the place to start. After that, Mystic Dragons is an album to explore and enjoy, as Blue Magic open the next chapter in their career. Standout Tracks: To Get Love (You Must Give Love), Summer Snow, It’s Something About Love and Making Love To A Memory.
BLUE MAGIC-MYSTIC DRAGONS.
JOHN DAVIS MONSTER ORCHESTRA-UP JUMPED THE DEVIL.
JOHN DAVIS MONSTER ORCHESTRA-UP JUMPED THE DEVIL.
By 1977, disco was at the peak of its popularity. Salsoul Records, owned by the Cayre brothers had established itself as disco’s premier label. Soon, other labels looked enviously at Salsoul’s success. They wanted to hitch a ride on the disco bandwagon. One thing many labels hadn’t worked out, was that what made Salsoul such a successful label, was personnel. The Salsoul Orchestra weren’t just musicians, they were also songwriter, arrangers and producers. Many of these musicians were pioneers, innovators and visionaries, including Vince Montana Jr, and Norman Harris of the Baker, Harris, Young rhythm section. Over at the newly founded SAM Records, Sam Weiss had big plans for his nascent label. He had plans to build SAM into a label that would rival the success of Salsoul. Eventually, SAM would become one of the biggest and best known disco labels. One thing that Sam Weiss realized he needed to make his dream a reality, was SAM Records’ very own musical innovator. This innovator was John Davis, who had just founded his own disco orchestra, John Davis and The Monster Orchestra. It was John Davis and The Monster Orchestra that gave SAM Records their first hit single Night and Day. John Davis and The Monster Orchestra then released their debut album, Night and Day in 1976. Then a year later in 1977, John Davis and The Monster Orchestra released their sophomore album Up Jumped The Devil.
For John Davis and The Monster Orchestra’s sophomore album, Up Jumped The Devil, John decided to change tack from their debut album Night and Day. While Night and Day had been six cover versions of Cole Porter songs and two original tracks, Up Jumped The Devil featured original songs. John wrote five of the seven songs and cowrote You Gotta Give It Time and Once Upon A Time with guitarist Craig Synder. These seven songs became Up Jumped The Devil, John Davis and The Monster Orchestra’s sophomore album.
Many of the personnel that played on Up Jumped The Devil would also feature on albums by The Salsoul Orchestra. This includes the rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarist Dennis Harris. Larry Washington played percussion, while strings and horns came courtesy of Don Renaldo and backing vocals from The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Only guitarist Craig Snyder, bassist Vince Fay and drummer Jimmy Young hadn’t played with The Salsoul Orchestra. John Davis, played keyboards, flute and saxophone and sang the lead vocals. He conducted the orchestra and produced Up Jumped The Devil, which was released in 1977.
On the release of Up Jumped The Devil in 1977, John Davis and The Monster Orchestra’s sophomore album wasn’t a commercial success. Only the title-track Up Jumped The Devil was released as a single, but it wasn’t a commercial either. However, John Davis and The Monster Orchestra’s third album Ain’t That Enough For You would see commercial success come John Davis and The Monster Orchestra’s way. However, should success have come John Davis and The Monster Orchestra’s way earlier, with Up Jumped The Devil? That’s what I’ll tell you, when I tell you about the music on Up Jumped The Devil.
Up Jumped The Devil opens with the title-track and single Up Jumped The Devil. A pounding, uber funky, rhythm section, growling horns and percussion before John takes charge of the lead vocal. With The Sweethearts of Sigma, shakers, riffing, searing guitars and blazing horns for company, a dramatic slice of funk-tinged disco unfolds. Thunderous drums, sizzling guitars and grizzled, riffing horns prove the finishing touch and the perfect accompaniment to John and The Sweethearts of Sigma dramatic vocals. Having gotten your attention, you sense John Davis and The Monster Orchestra won’t let go.
We Can Fly sees disco combined with Philly Soul. Key to this, is his orchestra’s background. Many members of the orchestra and The Sweethearts of Sigma are from Philly. So, it’s no surprise the track’s Philly Sound, as the arrangement unfolds. The rhythm section and lush strings accompany John’s tender, soulful vocal. The Sweethearts of Sigma’s equally tender, soulful harmonies provide a perfect foil. Then chiming guitars, dancing strings, flourishes of keyboards and a pulsating rhythm section take charge, sweeping the arrangement along. Later, acoustic guitars weave their way across the arrangement. From there, the vocal drops in and out, teasing and tantalizing, as disco and Philly Soul are combine seamlessly.
A thunderous, funky rhythm section opens You Gotta It Up. Then blazing horns, searing guitars and slap bass combine to create funk-laden backdrop. Urgent, sassy vocals from John and The Sweethearts of Sigma add to the tough, funky arrangement. Hollers, whoops and handclaps punctuating the arrangement. Then chiming guitars, percussion, high, kicking grizzled horns and the funkiest of rhythm section are unleashed. An added bonus is a searing, riffing guitar solo that dances across the funk laden arrangement, as John Davis and The Monster Orchestra demonstrate another side to the their music, one I’d love to hear much more of.
Once Upon A Time soulfully and dramatically, closes Side One of Up Jumped The Devil. The arrangement is driven along by a funky, thunderous rhythm section, dancing strings and rasping horns. A flourish of keyboards signals the soulful entrance of John and The Sweethearts of Sigma. When they exit stage left, this is the signal for the drama to build. Blazing horns and the rhythm section take charge. Having taken the arrangement to a dramatic crescendo, the vocal returns. Then during a breakdown, percussion, horns and the rhythm section combine with breathy harmonies, before the arrangement bursts back into life, bringing the track to a soulful, dramatic close.
Side Two of Up Jumped The Devil is a three part disco medley. These medleys were hugely popular during the disco era. The Magic Is You (Main Theme) is the first movement of three. Hissing hi-hats, sharp, dramatic bursts of horns and flourishes of strings unite with percussion. Driving the arrangement along is the funky rhythm section and sizzling guitars. John’s vocal is powerful and joyous, with swathes of lush strings, growling horns and later, pizzicato strings for company. Providing the pulsating, uber funky heartbeat is a Philly rhythm section. They build the drama as a dance-floor classic unfolds. Adding to the drama are testifying harmonies from The Sweethearts of Sigma, sweeping, swirling strings and glorious riffing horns. What makes this medley even better, is there are two more parts to enjoy.
You’re The One picks up where the previous track left off. Percussion, congas, keyboards and the rhythm section combine. Choppy, wha-wah guitars and layers of strings join the fun, before the unmistakably, sweet and soulful sound of The Sweethearts of Sigma enters. They add urgent, then cooing harmonies, before John Davis vocal enters. He’s quite happy to play second fiddle to The Sweethearts of Sigma, given their sheer soulfulness. They play a crucial role in the track, making this pulsating tracks one of the most soulful on Up Jumped The Devil.
Closing Up Jumped The Devil is Recapitulation, the last track in the three part medley. This is one of the five tracks penned by the orchestra’s innovative leader. Horns growl, lush strings sway, sweep and swirl and the rhythm section provide a thunderous, pounding and pulsating beat. It’s as if John Davis and The Monster Orchestra are determined to close the album on a high. This they do. The Sweethearts of Sigma add their soulful, joyous contribution. Their harmonies soar and quiver, as they accompany John’s vocal. Again he seems content to let The Sweethearts of Sigma take centre-stage. So too do his orchestra. They provide a dramatic, funky and dance-floor friendly arrangement. Urgent bursts of horns, wah-wah guitars, flourishes of dancing strings and the pulsating arrangement combine to create a soulful, funky and dance-floor friendly dramatic high to Up Jumped The Devil.
That Up Jumped The Devil wasn’t a huge commercial success seems almost unjust. After all, here was John Davis and The Monster Orchestra, one of the greatest disco orchestra’s in full flight. It’s a joy to behold. Only The Salsoul Orchestra bettered the sound of John Davis and The Monster Orchestra in full flight. What made John Davis and The Monster Orchestra such a success was that John was a musical innovator and pioneer, just like Vince Montana Jr, who’d founded The Salsoul Orchestra and Norman Harris. Another part of John’s success was that he surrounded himself with hugely talented musicians and backing vocalists.
Many of these musicians and backing vocalists were from Philly, and played an important part in the success of Philadelphia International Records and later, Salsoul Records. They’d also feature on albums by The Salsoul Orchestra. Crucial to the success of John Davis and The Monster Orchestra musicians like the rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarist Dennis Harris. Then there’s percussionist Larry Washington, Don Renaldo and The Sweethearts of Sigma.
It was The Sweethearts of Sigma who transformed a great album into a minor disco classic. The Sweethearts of Sigma were the voice of The Salsoul Orchestra and The Salsoul Strings. Their backing vocals feature on every great album of the Philly Soul era. So, their contribution was crucial. Indeed, they were the perfect foil for John Davis, who wasn’t the greatest vocalist. He was a good, but not great vocalist. However, with The Sweethearts of Sigma accompanying him, his deficiencies were well hidden. They took charge, adding The Sweethearts of Sigma provided the finishing touch to Up Jumped The Devil. Not only did The Sweethearts of Sigma play an important part in the success of Up Jumped The Devil, but made it one of John Davis and The Monster Orchestra’s greatest albums and indeed, a real hidden gem and timeless classic of the disco era. Standout Tracks: We Can Fly, Once Upon A Time, Magic Is You (Main Theme) and You’re The One.
JOHN DAVIS MONSTER ORCHESTRA-UP JUMPED THE DEVIL.
EDDIE KENDRICKS-GOIN’ UP IN SMOKE.
EDDIE KENDRICKS-GOIN’ UP IN SMOKE.
For Eddie Kendricks, hooking up with Norman Harris for his seventh album He’s A Friend had rejuvenated his flagging career. Just three years before He’s A Friend, the future looked a lot brighter for Eddie Kendricks. Eddie had made his commercial breakthrough with his third album Eddie Kendricks, released in May 1973. It reached number eighteen in the US Billboard 200 and number five in the US R&B Chart and featured the number one US R&B single Keep On Truckin.’ Critics predicted Eddie would become one of the biggest soul singers of the seventies. Their predictions looked to be coming true when Eddie released his fourth album Boogie Down, his most successful album. Boogie Down reached number thirty in the US Billboard 200 and number one in the US R&B Charts. The title-track Boogie Down gave Eddie his most successful single, reaching number three in the US Billboard 100 and number one in the US R&B Charts. Critics hailed Boogie Down Eddie Kendricks’ best album so far. Eddie’s star was definitely in the ascendancy. That wasn’t to be the case.
After Boogie Down, Eddie released For You in December 1974. It failed to match the success of his two previous albums, stalled at number 108 in the US Billboard 200, it reached number eight in the US R&B Charts. At least the single Shoeshine Boy, reached number eighteen in the US Billboard 100 and number one in the US R&B Charts. In July 1975, things got worse for Eddie. His sixth solo album The Hit Man, reached just number sixty-three in the US Billboard 200 and number eight in the US R&B Charts. This was where Norman Harris and some of Philly’s best songwriters, arrangers, producers and musicians came in. Norman and His Philly friends played their part in getting Eddie’s career back on track. He’s A Friend was released in February 1976, reaching number thirty-eight in the US Billboard 200 and number three in the US R&B Charts. That’s not forgetting the four hit singles released from He’s A Friend. So after the success of He’s A Friend, Eddie Kendricks and Philly’s finest joined forces once again, for the recording of Eddie’s eights album Goin’ Up In Smoke. Could they replicate the success of He’s A Friend with Goin’ Up In Smoke?
Buoyed by the commercial success and critical acclaim of He’s A Friend, work began on Goin’ Up In Smoke. Norman Harris and Allan Felder penned five tracks, Goin’ Up In Smoke, The Newness Is Gone, Sweet Tendori, Born Again and Don’t Put Off Till Tomorrow. Bruce Gray cowrote two tracks. With Phil Hurtt he penned Thanks For The Memories and with T.G. Conway Frank Snowdon and Mike Holden, wrote To You From Me. The songwriting team of Reginald Turner, Jerry Akines, Johnny Belmon and Victor Drayton contributed two tracks, Music Man and Skeleton In Your Closet. Brian Evans, Donald Harmon and John Falson wrote the other track, Don’t You Want Light. These ten tracks became Goin’ Up In Smoke, which was recorded and mixed at Philly’s Sigma Sound Studios, owned by Joe Tarsia.
At Philly’s Sigma Sound Studios, many of the same personnel that played on He’s A Friend reconvened. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with bassist Michael “Sugar Bear” Foreman and drummer Charles Collins, who played supporting roles. Guitarists included Bobby “Electronic” Eli and T.J. Tindall, while Larry Washington played congas and Vince Montana Jr. vibes. Ron “Have Mercy” Kersey, Carlton Ken, T.G. Conway and Bruce Hawkes played keyboards. Strings and horns came courtesy of Don Renaldo. Adding backing vocals along with The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, assisted by Allan Felder, Bruce Gray, Carl Helm and Phil Hurtt. Arrangers included Jack Faith, Ron “Have Mercy” Kersey, T.G. Conway and Norman Harris who produced Goin’ Up In Smoke.
On the release of Goin’ Up In Smoke in September 1976, right at the height of disco’s popularity, the album stalled at number 114 in the US Billboard 200 and number twenty-two in the US R&B Charts. Looking back, with the benefit of hindsight, it’s is no surprise that Goin’ Up In Smoke didn’t replicate the success of He’s A Friend, given disco was now the most possible musical genre. Suddenly, soul albums, regardless of their quality, were no longer as popular. Only the title-track Goin’ Up In Smoke, charted, when released as single, stalling at number eleven in the US Dance Charts. It seemed after the commercial failure of Goin’ Up In Smoke, Eddie Kendrick’s career was at another musical crossroads. However, what does the music on Goin’ Up In Smoke sound like?
Opening Goin’ Up In Smoke is the title-track Goin’ Up In Smoke, written by Allan Felder and Norman Harris, who arranged and produced the track. It’s as if producer Norman Harris is determined to lay down his marker with this track. Growling horns, sweeping, swirling strings and a pulsating heartbeat courtesy of the Baker, Harris, Young rhythm section set the scene for Eddie’s tender, joyful falsetto. Urgent, soulful harmonies from The Sweethearts of Sigma answer Eddie’s vocal, soaring above the arrangement. Soon, Eddie’s vocal grows in power and emotion. Strings dance, while Earl Young’s drums and Ron Baker’s bass match each other, every step of the way. Bursts of drama from Earl’s drums, cascading strings and funky guitars unite with Eddie. He picks up where he left off on He’s A Friend, with a dramatic, emotive and deeply soulful track.
The Newness Is Gone is another of the Allan Felder and Norman Harris penned tracks. The tempo drops, but the drama remains. Just percussion, subtle plucked strings, wistful horns and a prowling Baker, Harris, Young rhythm section combine. Then when Eddie’s vocal enters, it’s wistful, filled with hurt and sadness. Harmonies sweep in, reflecting the heartache and emotion in Eddie’s vocal. Adding to this are the swathes of strings, melancholy horns. Eddie’s wonders, ponders who things have gone so wrong? Reflecting and heartbroken, he sings: “The Newness Is Gone and the love is gone,” laying bare his soul in the process. Quite simply, heartachingly beautiful.
Sweet Tendori sees a the tempo increase and Eddie deliver a sassy, sensual vocal. Dancing strings, searing, sizzling guitars and Baker, Harris, Young’s thunderous, pounding rhythm section combine. They drive the arrangement along, tempo and temperature rising. Eddie’s sassy, playful and teasing vocal is swept along, above layers of cascading strings, while percussion, vibes and chiming guitars join The Sweethearts of Sigma sweet harmonies. Providing the pulsating heartbeat are the rhythm section. Eddie having recovered from his heartbreak, has found his sass and zest for life again, delivering the vocal with a swing.
Born Again is the last of four consecutive Allan Felder and Norman Harris penned tracks. Norman arranges and produces the track, where there’s no drop in tempo, on a dance-floor friendly track, with made in Philly written all over it. It literally bursts into life, Baker, Harris, Young and Don Renaldo’s dancing strings at the heart of the arrangement. Like a musical juggernaut, with Baker, Harris, Young take turns at the steering wheel. Eddie’s falsetto floats above the arrangement, while The Sweethearts of Sigma reflecting the hope and happiness in Eddie’s vocal.
Don’t You Want Light sees T.G. Conway take over arranging duties, as this as this slice of musical sunshine unfolds. Punchy rasping horns, swirling strings and the rhythm section accompany Eddie’s joyous, soaring vocal. Filled with happiness, harmonies answer Eddie’s cascading, heartfelt falsetto. Meanwhile, Baker, Harris, Young, layers of lush strings, percussion and searing guitars provide the irresistible, uptempo backdrop for Eddie’s vocal, as this slice of musical sunshine closes Side One of Goin’ Up In Smoke.
Side Two of Goin’ Up In Smoke, opens with Music Man, arranged by Ron “Have Mercy” Kersey. At first glance, this is a very different sounding track. It was written by Reginald Turner, Jerry Akines, Johnny Belmon and Victor Drayton. Having said that, it’s infectiously catchy, uptempo track. Driven along by the bass, the arrangement marches and hustles along, strings sweeping and swirling and horns rasping. Spurred on, Eddie’s vocal is filled with joy, The Sweethearts of Sigma adding gospel-tinged backing vocals. Meanwhile, the arrangement takes on a hustle sound, as Eddie vamps his way through this hook laden track.
Bruce Gray and Phil Hurtt cowrote Thanks For The Memories, an uptempo Philly Soul track. Pizzicato strings give way to searing guitars, dancing strings and the Baker, Harris, Young rhythm section. They ensure the arrangement explodes into life. Eddie’s vocal is quick, tender and thankful. The Sweethearts of Sigma’s sweeping harmonies are the perfect foil, joyous and thankful. Chugging, funky guitars give the arrangement a hustle sound, while blazing horns, cascading strings and funk-drenched bass combine. By then the drama has grown. Now Eddie and The Sweethearts of Sigma drive each other to greater heights of drama, emotion and soulfulness, against a pulsating, sultry backdrop, as funk and Philly Soul unite.
Jack Faith arranged To You From Me, where the tempo drops. The arrangement has a real Jack Faith, Philly Soul sound. He combines swathes of strings, rasping horns and the Baker, Harris, Young rhythm section with Vince Montana Jr’s vibes. Eddie’s impassioned, heartfelt vocal is accompanied by The Sweethearts of Sigma’s cooing harmonies, a wistful, floaty flute and bursts of growling horns. Bobby “Electronic” Eli adds chugging guitars, as Earl Young’s drums provides bursts of drama and Eddie delivers a tender, impassioned and deeply soulful vocal.
Don’t Put Off Till Tomorrow was written the fifth and final track written by Norman Harris and Allan Felder. Keyboard player Ron “Have Mercy” Kersey arranged the track. It’s a mid-tempo track, where Baker, Harris, Young join with cascading strings and blazing horns to accompany Eddie. His falsetto soars above the arrangement, with deep harmonies providing a contrast to his airy falsetto. Then when the harmonies drop out, the strings sweep the arrangement along, and it floats hopefully and joyfully to the close.
Closing Goin’ Up In Smoke is Skeleton In Your Closet arranged by Norman Harris and Ron “Have Mercy” Kersey. This is quite an apt way to close the album, given the track’s Philly Soul sound. Key to this are layers of lush strings, Baker, Harris, Young who provide the track’s heartbeat. The Sweethearts of Sigma add some of their sweetest and soulful harmonies, as Eddie’s vocal is tender, heartfelt and sincere. Providing contrasts are the guitars. Norman Harris’ guitar is jazz-tinged, while Bobby “Electronic” Eli’s chukka chukka guitar, is funkier. However, it’s Eddie’s vocal and The Sweethearts of Sigma’s harmonies that make this track such a soulful way to close Goin’ Up In Smoke.
While Eddie Kendricks’ eighth album Goin’ Up In Smoke failed to replicate the success of He’s A Friend, this wasn’t so much to do with the music, but changes in musical tastes. When He’s A Friend had been released in February 1976, disco was popular, but by September 1976, disco was now the most popular musical genre. After that, soul artists, including Eddie Kendricks, were no longer as popular. The only alternative was climb onboard the disco bandwagon, or get left behind. Although some soul artists made a successful transition from soul to disco, some either couldn’t or wouldn’t. Not being willing or able to do so, meant their careers were often in jeopardy. For some artists, disco meant at least a temporary halt to their career. Worse still, their careers were over.
For many artists, including Eddie Kendricks, they released many great albums, including Goin’ Up In Smoke, during the disco era. Sadly, many of these albums often went unnoticed. It’s only now, that many of these albums, including Goin’ Up In Smoke, are receiving the recognition they so richly deserve. in the case of Goin’ Up In Smoke, Norman Harris and his team of Philly songwriters, arrangers, musicians and backing vocalists helped produce one of Eddie’s most underrated albums, Goin’ Up In Smoke. Indeed, Goin’ Up In Smoke with its combination of heartfelt, soul-baring ballads and uptempo, hook-laden, dance-floor friendly tracks is a glittering, hidden gem in Eddie Kendricks’ back-catalogue. Now thirty-seven years after the release of Eddie Kendricks eighth album, Goin’ Up In Smoke, maybe it’ll get the recognition and critical acclaim it truly deserves. Standout Tracks: Goin’ Up In Smoke, The Newness Is Gone, Born Again and To You From Me.
EDDIE KENDRICKS-GOIN’ UP IN SMOKE.
BODDHI SATVA FEATURING OUMOU SANGARE-NGNARI KONON.
BODDHI SATVA FEATURING OUMOU SANGARE-NGNARI KONON.
It’s hard to believe, nearly a year has passed, since Boddhi Satva released his critically acclaimed debut album Invocation, on BBE Music. Not only was Invocation Boddhi Satva’s debut album, but it introduced many people to some of Africa’s finest and most talented musicians and singers. This includes Freddy Masamba, C. Robert Walker, Pegguy Tabu, Vivian K, Athenai and Mangala Camara. However, there was one artist that Boddhi was honored to collaborate with, Oumou Sangaré. She joined Boddhi on Ngnari Konon, one of many highlights of Invocation. Given that Ngnari Konon was one of my personal favorites from Invocation, I’m especially pleased that this is Boddhi Satva’s next single BBE Music will release from Invocation. Like many singles released by BBE Music, Ngnari Konon is no ordinary single. Quite the opposite. It’s a ten-track Magnus Opus of an E.P. Apart from the Main Mix of Ngnari Konon, there are nine other mixes, including mixes by Boddhi Satva, Louie Vega, Manoo and Josh Milan. Before I tell you about Ngnari Konon E.P, I’ll tell you about Oumou Sangaré, The Songbird of Wassoulou.
Oumou Sangaré was born in Bamako, the largest city in Mali in 1968. From an early age, Oumou Sangaré sang to help her mother provide food for the rest of their family. Her father had abandoned them, so it was up to Oumou Sangaré and her mother to provide for their family. Then at the age of five, Oumou Sangaré’s talent as a singer was spotted. She was entered into a competition for all the nursery schools in Bamako. Having made it to the final in Bamako, Oumou Sangaré sang in front of six-thousand people. Then when Oumou Sangaré was sixteen, she started her career in music.
By 1990, Oumou Sangaré had released her debut album Moussolou, which sold over 200,000 copies. Then, with the guiding hand of Ali Farka Toure, Oumou Sangaré signed to the British label World Circuit. Her sophomore album Ko Sira followed in 1993. After that, three further albums followed. Three years later, Worotan was released in 1996, with Oumou following in 2003 and Seya in 2009. In 2010, Seya was nominated for a Grammy Award, for Best Contemporary World Music Album. A year later, Oumou Sangaré won a Grammy Award for Best Pop Collaboration With Vocals. However, this wasn’t for one of her solo albums. Instead, it was for Herbie Hancock’s The Imagine Project. The Grammy wasn’t the only illustrious award Oumou Sangaré has won.
Away from music, and her life as a singer and musician, Oumou Sangaré The Songbird of Wassoulou, is an an advocate for women’s rights. Previously, Oumou Sangaré has protesed against child marriage and polygamy. In 2001, Oumou Sangaré was jointly awarded the IMC-International Music Prize. Then in 2003, she was made Goodwill Ambassador for the United Nations Food and Agriculture Organization in 2003. Away from music, In 2001, Oumou Sangaré owns several successful businesses. Until last year, when In 2001, Oumou Sangaré featured on Boddhi Satva’s Invocation, many people weren’t aware of this remarkable, singer, musician, humanitarian and businessperson. Once they’ve heard, Oumou Sangaré’s voice on Ngnari Konon, they’ll never forget her.
Ngnari Konon opens with dialogue between Oumou and Boddhi, before giving way to dark and foreboding synths. They’re augmented by percussion, flutes and koras. Then, quickly, pounding drums enter, dominating the arrangement, as Oumou’s vocal enters. Her vocal is a mixture of emotion, passion and power. Backing vocalists accompany her, while the drums are accompanied by percussion, flutes and koras. African and Western music combines seamlessly. Oumou’s vocal has a joyous quality, uplifting and with a spiritual quality. Add to that the thunderous drums and proliferation of percussion, koras and flutes and you’ve a track that’s not only joyous and beautiful, but uplifting and spiritual.
Apart from the Main Mix of Ngnari Konon there are also nine other remixes of the track. This is something BBE Music have done before. It’s a fascinating concept, allowing you to hear how different remixers approach the same track. After all, each remixer starts with the same stems. From there, they each approach the track differently. Boddhi Satva has two remixes, the Ancestral Soul Mix and the Ancestral Poetry Mix. Both are among the highlights of the nine remixes. Louise Vega, one half of Masters At Work remixes the track three times. This includes the Roots Remix, DJ Tools and Ritual II Mix, which is the best of the three. Manoo also has three remixes on the E.P. These are the Maffe Mix, Yassa Deep Mix and the Ambassade Mix. Of the three the Yassa Deep Mix stands out. The final mix of Ngnari Konon is Josh Milan’s Honeycomb Mix, which is a case of saving one of the best until last. Each of these nine remixes of Ngnari Konon bring something new and different to the original track, and demonstrate just how differently each remixer approaches a track. However, each remixer and remix has one thing in common. Each remixer loves music, while every remix is of the highest quality.
So, nearly a year after the release of what was my favorite album of 2012, Boddhi Satve’s debut album Invocation, I still find Invocation one of the most enchanting, captivating and compelling albums of the past few years. Eclectic, emotive, uplifting, spiritual and beautiful, Invocation is all these things and much, much more. One of the many highlights of Invocation was Ngnari Konon, where Boddhi Satva was honored to be joined by Oumou Sangaré, The Songbird of Wassoulou. The result was Ngnari Konon, a track that’s not only joyous and beautiful, but uplifting and spiritual. Ngnari Konon will soon be released by BBE Music, as Boddhi Satva’s next single from Invocation. Together with nine remixes, where the original version of Ngnari Konon, are reinterpreted, and transformed into something new and innovative. Quite simply, Ngnari Konon is the perfect introduction into both Boddhi Satva and Oumou Sangaré, The Songbird of Wassoulou.
BODDHI SATVA FEATURING OUMOU SANGARE-NGNARI KONON.
MARVIN GAYE-TROUBLE MAN.
MARVIN GAYE-TROUBLE MAN.
What’s Going On, released on 20th May 1971, marked the second chapter in Marvin Gaye’s career. For many people, What’s Going On marked the start of Marvin Gaye’s career as a serious artist. Indeed, What’s Going On, was far removed from the poppy soul Marvin Gaye had previously been a purveyor of. Not only did What’s Going On, mark a coming of age as an artist for Marvin Gaye, but was the start of a series of critically acclaimed and commercially successful albums he’d release between 1971 and 1978. During this seven year period, Marvin Gaye released six albums. Three of these albums reached number one in the US R&B Charts, but only What’s Going On was certified gold. Given the quality of these six albums, that’s a remarkable statistic.
The followup to What’s Going On, was Trouble Man, which saw Marvin follow in the footsteps of Isaac Hayes, Curtis Mayfield and Bobby Womack, in composing the soundtrack to a Blaxploitation movie. To mark the fortieth anniversary of the release of Trouble Man, Hip-O Select.com somewhat belatedly, released a luxurious and lovingly compiled double album on 31st January 2013. Disc One features the original album version of Trouble Man, plus nine bonus tracks entitled The T Sessions. On Disc Two of Trouble Man, are the nineteen tracks that comprised the Original Film Score, plus a bonus track, T At The Cross, which, like the nine bonus tracks on Disc One, were mixed by DJ John Morales. So for anyone who is either a fan of Marvin Gaye, or Blaxploitation movies, this should be a must-have? Is that the case though? That’s what I’ll tell you, once I’ve told you about the background to Trouble Man.
After the success of 1971s politically charged classic What’s Going On, this had transformed Marvin Gaye’s career. He’d just signed a new contract with Motown imprint Tamla, worth a million dollars. This was the most lucrative recording contract an R&B artist had signed. Just as importantly, Marvin Gaye had won full creative control over his music. No longer had he seek approval from the Motown hierarchy if he wanted to go off piste musically. Without that creative freedom, Marvin have had to seek permission to record the soundtrack to a Blaxploitation movie, like Trouble Man.
By 1972, Blaxploitation movies were becoming hugely popular. Three of Marvin’s musical contemporaries Isaac Hayes, Curtis Mayfield and Bobby Womack had all composed soundtracks to Blaxploitation movies. Isaac Hayes wrote the score to Shaft, one of the classic films and soundtracks in the Blaxploitation genre. Curtis Mayfield had penned the soundtrack to Super Fly and Bobby Womack wrote the soundtrack to Across 110th Street. Composer Gene Page had contributed the score to Blacula. Throughout the seventies, Blaxploitation movies and similarly, Blaxploitation soundtracks would become hugely popular. Although Blaxploitation movies were released throughout the seventies, many of genre classics were released between 1971 to 1975, including Trouble Man.
Having signed his lucrative new contract with Tamla, Marvin was approached by Motown management about writing the soundtrack to a Blaxploitation movie. Previously, Isaac Hayes, signed to Stax had found commercial success and critical acclaim with his soundtrack to Shaft. Similarly, Curtis Mayfield had composed the soundtrack to Super Fly and released it on his own Curtom label. Following Shaft and Super Fly, Isaac Hayes and Curtis Mayfield won plaudits for their scores. Over at Motown, the label’s management must have cast envious glances. Then Motown won the rights to produce the soundtrack to Trouble Man. This was their chance to get a slice of the lucrative Blaxploitation pie. All they needed was someone to compose the soundtrack. Looking at Motown’s roster circa 1972, Marvin Gaye was the obvious, and some might say, only choice to compose the soundtrack to Trouble Man. With Marvin having signed his new contract, he began work on the soundtrack to Trouble Man.
Trouble Man had been written by John D.F. Black and was directed by Ivan Dixon, with cinematography by Michael Hugo. The cast included Robert Hooks as Mr. T, Paul Winfield as Chalky Price and Paula Kelly as Cleo. However, this was no Blaxploitation classic Marvin was being asked to provide the soundtrack for. Quite the opposite. In Harry Medved and Randy Dreyfuss’ The 50 Worst Films of All Time, Trouble Man has the dubious honor of being one of the fifty flops of filmography. So, it was against that backdrop Marvin began work on Trouble Man.
For Marvin Gaye’s first, and only, film soundtrack, Marvin wrote each of the nineteen songs on the Original Film Score to Trouble Man. Thirteen tracks featured on the original album version of Trouble Man. Whereas previous Blaxploitation soundtracks saw music and dialogue interspersed, Marvin decided to approach Trouble Man in a different way. Instead, he wrote several songs from the main character, Mr. T’s perspective, including “T” Plays It Cool, “T” Stands For Trouble, Don’t Mess With Mr “T,” There Goes Mr, “T” and My Name Is “T.”Five separate version of Trouble Man were recorded, including Main Theme From Trouble Man (2), Trouble Man, Theme From Trouble Man and Main Theme From Trouble Man (1). These five versions of Trouble Man allowed Marvin to demonstrate his versatility as a vocalist. For the alternate version of Trouble Man, Marvin recorded two vocals, one sung falsetto style, the other tenor style. They were the double tracked, the two lead vocals becoming one, when recording took place in Motown’s new Los Angeles studios, following the closure of Motown’s Detroit studios.
At Motown’s Los Angeles studios, Marvin Gaye put out a call to members of the Funk Brothers and Hamilton Bohannon’s band. This included a rhythm section of bassist Wilton Felder, drummer Earl Palmer and guitarists Louis Shelton and Don Peake. Bob Ragland and Larry Mizell played piano, while Gene Page was contracted to provide the strings. Horns came courtesy of saxophonist Trevor Lawrence, Eli Fountain and Marty Montgomery, plus Dale Oehler and James Carmichael. For his part, Marvin played drums, keyboards, piano, synths and took charge of vocals and harmonies. Looking at the booklet that accompanies the newly released version of Trouble Man, disappointingly, many of the personnel that played on the album are listed as “unknown.” Surely, somewhere in Motown’s archives, there must be records of who played on the sessions? Arrangers included Dale Oehler, Jerry Long, James Carmichael and Gene Page. Producing the fusion of soul, jazz and funk that is Trouble Man was Marvin Gaye.
On the release of Trouble Man on 8th December 1972, critics gave the album a favorable reception. Obviously, comparisons were drawn with Isaac Hayes’ Shaft, Curtis Mayfield’s Super Fly and Bobby Womack’s Across 110th Street. Composer Gene Page. This was only reasonable, given they were the same genre of music. While Shaft and Super Fly set the bar high, Marvin’s debut soundtrack was perceived as a success. It reached number fourteen in the US Billboard 200 and number three in the US R&B Charts. Trouble Man became Marvin’s second most successful album. Only the title-track Trouble Man was released as a single, reaching number seven in the US Billboard 100 and number four in the US R&B Charts. Sadly, Trouble Man would be Marvin Gaye’s only foray into world of soundtracks. Hip-O Select.com recently released Trouble Man as a double album, celebrating Marvin Gaye’s one and only foray into the world of soundtracks. The last time Trouble Man was rereleased was in 1999, so Trouble Man is due a luxurious and lovingly compiled rerelease? However, is the recent release of Trouble Man a must-have for fans of Marvin Gaye, or Blaxploitation movies? That’s what I’ll tell you.
Disc One of Trouble Man features the thirteen tracks that featured on the original 1972 version of Trouble Man. This includes the four versions of Trouble Man, including Main Theme From Trouble Man (2), Trouble Man, Theme From Trouble Man and Main Theme From Trouble Man (1). Of the four versions, the version of Trouble Man was released as a single stands out. Marvin’s vocal is filled with raw emotion, heartfelt and sung in a falsetto style. Then when he gets to the bridge of the song, his vocal becomes a gruff, gospel-tinged growl. The two “theme” versions are instrumentals, featuring Marvin playing synths, that accompany the rasping, blazing saxophones. During the version of Trouble Man that opens the movie, Marvin’s double tracked vocal features him delivering the vocal in tenor and falsetto styles. These two vocals were then combined, to create one of the film and Trouble Man’s highlights. While there are four versions of Trouble Man, four songs were written from Mr T, the main character’s perspective. “T” Plays It Cool, “T” Stands For Trouble, Don’t Mess With Mr “T” and There Goes Mr. “T.” There’s more to Trouble Man than these eight tracks.
Of the other five tracks on the original version of Trouble Man, The Break In (Police Shoot Big) veers between drama and a melancholy, wistful sound. So too does the saxophone lead Poor Abbey Walsh. It has a real pensive, heartbreakingly sad sound. Like Cleo’s Apartment, it’s one of the highlights of Trouble Man. Its understated sees Marvin add sensual harmonies against a wistful piano. However. as an added bonus, Disc One includes The “T” Sessions.
The “T” Sessions includes nine tracks. This includes the Main Theme From Trouble Man (2) with strings added and two takes of Poor Abbey Walsh, an extended version of the single, Trouble Man and a vocal version of Theme From Trouble Man. There’s also unedited and alternate versions of “T” Stands For Trouble and a vocal version of Main Theme From Trouble Man. These nine tracks were mixed by DJ and remixer, John Morales. For fans of Marvin Gaye or Blaxploitation movies, then these nine tracks will be a welcome addition. They allow you hear familiar tracks in a different way. None of the tracks are better than the versions on the original version of Trouble Man. That’s why they were left on the cutting-room floor. I don’t thing that suddenly people will begin heated debates whether the Main Theme From Trouble Man (2) with strings added is better than the original version, or that 1st Take of Poor Abbey Walsh is better than the original. Personally, the nine tracks are a welcome bonus, which Marvin Gaye completists will cherish. However, what’s on Disc Two of Trouble Man is a bigger bonus for fans of Marvin Gaye or Blaxploitation movies.
On Disc Two of Trouble Man, the real bonus is the Original Film Score from Trouble Man. For fans of Blaxploitation moves, myself included, it’s a case of sit back, relax and let Marvin entertain you. Anyone whose managed to sit through John D.F. Black’s Trouble Man will be familiar with the nineteen tracks. Like many Blaxploitation movies, the soundtracks are far better than the original movie. That’s the case here. While Trouble Man features in Harry Medved and Randy Dreyfuss’ The 50 Worst Films of All Time, Marvin’s music is a Blaxploitation classic. The Original Film Score to Trouble Man, mixed by John Morales, ws three years in the making. His time has been well spent. It allows you to hear the music without watching the film. From the opening bars of Trouble Man, right through to My Name Is “T/End Credits, what you hear is one of the best scores to a BLaxploitation movie. Among the highlights of Trouble Man’s Original Film Score are “T” Plays It Cool, Bowling Alley Parking Lot, Closing Jimmy’s, Car Ride Looking For Pete and My Name Is “T.” Jazz, soul and funk are fused over nineteen tracks. These nineteen tracks are variously atmospheric, moody, broody, dramatic, sensual and action-packed. Only one bonus track, the previously unreleased “T” At The Cross features on Disc Two. It was also mixed by John Morales, who mixed Trouble Man’s Original Film Score. It’s an interesting track, given the title. You wonder what was going through Marvin’s mind at the time? Once you’ve heard the nineteen tracks on Trouble Man’s Original Film Score, you can’t resist reaching over and pressing play again, revelling in the opportunity to revisit the subtleties, secrets and nuances of the music again.
Earlier I wondered whether the recent rerelease of Trouble Man was a must-have for fans of Marvin Gaye and Blaxploitation music. The answer to that is yes. There’s no doubt that. From the moment you unwrap Trouble Man, you realize that this is a luxurious and lovingly compiled double album. You only need to read the sleeve-notes and you realize this was a labor of love. My only gripe is that more effort and research could’ve been made to find out who played on the various sessions. Then when you press play, the sound quality is good, no overloud but clear and well balanced. It allows you to hear the subtleties and nuances of Marvin’s forgotten classic, Trouble Man. Like his 1978 double-album Here, My Dear, Trouble Man is an often overlooked album in Marvin Gaye’s back-catalogue. Both albums contain some of Marvin Gaye’s best music of the seventies. The real bonus when it comes to Trouble Man is the Original Film Score on Disc Two.
While the rerelease of original version of Trouble Man would be a cause for celebration, then the rerelease of the Original Film Score is a cause to rejoice. For John Morales, this was a labor of love. Good as the nine bonus tracks the comprised The “T” Sessions were, they were after all, only outtakes and alternate mixes. There was nothing to rival the thirteen original tracks on the original version of Trouble Man. John could only work with the material he was presented with. He really surpasses himself on Disc Two.
It’s as if this was a project that was deeply personal for him, one that was part of his musical legacy. He mixes the nineteen tracks on Original Film Score and the bonus track “T” On The Cross. Not only is this the icing on the musical cake that is Trouble Man, but the cherry on the top. John should be proud of his efforts and realize that these three years were well spent. It allows the listener to sit down, and enjoy two versions of the album. Granted several tracks on the original version of Trouble Man feature on Original Film Score, but there’s much more to explore and enjoy. By the time you’ve listened to the original version of Trouble Man and the Original Film Score, then you’ll have come to the conclusion that Marvin Gaye, like Isaac Hayes, could’ve enjoyed a career composing movie soundtracks.
Aadly, that wasn’t to be. Trouble Man was his only soundtrack. The followup to Trouble Man, while not a soundtrack, was a stonewall classic, Let’s Get It On. It marked the next chapter in his career, and was the third of six critically acclaimed and commercially successful albums Marvin Gaye released during the seventies. During the period between 1971 and 1978, Marvin Gaye only released one composed one soundtrack, Trouble Man. Mind you, if you’re only going to release one soundtrack, make it one that’s becomes a Blaxploitation classic, like Trouble Man. Standout Tracks: Poor Abbey Walsh, Cleo’s Apartment, Trouble Man and “T” Plays It Cool.
MARVIN GAYE-TROUBLE MAN.
KEV BEADLE PRESENTS PRIVATE COLLECTION.
KEV BEADLE PRESENTS PRIVATE COLLECTION.
BBE Music’s first compilation of 2013 is Kev Beadle Presents Private Collection, which will be released on 18th March 2013. This is a very special compilation. Why I hear you ask? Well, Kev Beadle Presents Private Collection is Kev’s first compilation for sixteen long years. That’s far too long for someone with such an enviable record collection as Kev Beadle. Indeed, it’s twenty years since Kev was last asked to delve into his record collection, and compile a collection of rarities from yesteryear. For Kev, the twelve tracks on Kev Beadle Presents Private Collection are very personal for him. They represent a journey back in time, to when his career as a record collector and DJ began. I’m sure that in the twenty years since Kev last delved into his record collection, like all collectors, it’ll have grown to include a multitude of musical delights, including rarities and obscure tracks aplenty. So without further ado, I’ll tell you about the twelve tasty jazzy treats Kev has chosen for Kev Beadle Presents Private Collection. Before that, I’ll tell you about Kev Beadle, DJ and record collector extraordinaire.
Ever since the eighties, Kev Beadle’s life has revolved around music, especially jazz and soul. Since then, Kev has worked in many roles within the music industry. Kev’s worked in A&R, promotion, managed labels and run his own, sadly missed label Clean Up. Like many DJs, Kev has added production to his ever expanding CD, under the pseudonym Messengers. Then there’s compilations.
During Kev’s career, he’s compiled compilations for Blue Note, Cadet and of course BBE Music. For Cadet, Kev compiled The Best of Terry Callier On Cadet, plus five of Cadet Grooves. Kev was also the man behind three volumes of Blue Note’s Capitol Rare. Then there was Nu Jazz Generation II, released on BBE Music, who will soon release Kev Beadle Presents Private Collection. DJ-ing, however, has been a mainstay of Kev’s career.
Whether it’s DJ-ing on radio, or in clubs, Kev’s just as comfortable. Kev’s one of the longest serving DJs on Solar Radio, having spent thirteen years on the station. It’s club DJ-ing that many people will know the name Kev Beadle. SInce the eighties, Kev has been spinning soul and jazz. However, never afraid to investigate other musical genres, Kev will spin music from past, present and sometimes, the future side-by-side. Mind you, Kev’s musical influences prepared him for an appreciation of an eclectic selection of music.
For Kev Beadle, some of his earliest musical memories are heading to London clubs like The Horseshoe, on Tottenham Court Road, where Paul Murphy DJ-ed. After that, Kev would head on a voyage of discovery, tracking down hard-to-find tracks. Soon, Kev was on the other side of the decks, spinning the wheels of steel.
Soon, Kev was spinning at London’s legendary Wag Club. There he met Giles Peterson, Bob Jones, Chris Bangs. For Kev, this was the next step in his musical education. They enjoyed a good-natured rivalry, seeing who could break tracks. Then the next night Kev would be involved in, would make musical history.
Giles Peterson, Bob Jones and Kev started the Talkin’ Loud sessions at Dingwalls, on Sunday afternoons. The Talkin’ Loud sessions were the place to go to hear soul and jazz rarities. New tracks were discovered and soon, the Acid Jazz scene exploded. Out of this came the Acid Jazz label, which in 2012, celebrated its twenty-fifth anniversary. These Sunday afternoons at Dingwalls would become legendary. Open-minded, music hungry music fans, heard and enjoyed, old soul and jazz tracks being unearthed almost on a weekly basis. Out of these afternoons, a whole scene was born, with Kev Beadle at its heart. Since then, Kev Beadle has remained at the heart of London’s music scene, enjoying DJ-ing residencies at the Beat Bar and at the Southport Weekender and at the SunceBeat Festival in Croatia. Thankfully, Kev has found time to compile the twelve-track Kev Beadle Presents Private Collection.
Now the twelve tracks on Kev Beadle Presents Private Collection aren’t just any jazz tracks. Quite the opposite. These are twelve privately pressed, independent jazz. It’s not possible to wander into your local record shop and find these tracks. Not unless you’re very lucky and the owner doesn’t know how rare they are. Instead, these twelve tracks are real rarities, which should you want to try to collect them, then you’d need to take out a second mortgage on your house. Even if you had the budget to buy these twelve tracks, finding them is another matter. Persistence, patience and the determination to dig deeper, way deeper than you’ve ever dug before would be needed. To save you the time, money and frustration, Kev Beadle has done all the hard work for you. These twelve tracks, can be found on the lovingly compiled Kev Beadle Presents Private Collection, which I’ll now tell you about.
Opening Kev Beadle Presents Private Collection is Peter Giger’s Family of Percussion and Archie Shepp’s Here Comes The Family. Now most people will know jazz saxophonist, Archie Shepp, from critically acclaimed albums like Attica Blues and Cry of My People, on Impulse. Equally important was Archie’s work with John Coltrane and Cecil Taylor. Here Comes The Family came two years after Further Fire Music, his final album for Impulse. This was the title-track from Peter Giger’s Family of Percussion and Archie Shepp’s 1980 album. It was released on the German label Nagara. Written and sung by Archie, Doug Hammond and Peter Giger, Family of Percussion fused jazz, folk and World Music. With a wistful, melancholy arrangement and a vocal that’s both impassioned and fiery, it’s a glorious reminder of just how talented Archie Shepp is.
Kamal Abdul Amil released his album Dance in 1988, on the 52 Rue Est label. On Dance was the track Brotherhood. It features legendary jazz drummer Idris Muhammed, pianist Rahn Burton and James Spaulding. Together they fuse a delicious combination of jazz, Afro-Beat and funk. The result is eight of the best minutes of music you’ll hear in a long time. I’m sure after you’ve heard this track, you’ll be searching out a copy of Dance, which is one of Kev Beadle’s musical memories.
Many of the tracks on Kev Beadle Presents Private Collection are personal to Kev, as they are part of his musical journey. Kev remembers hearing Paul Murphy spin Johnny Walker’s Dupping at The Horseshoe in London, then rushing out to find a copy. Dipping is the opening track from Johnny’s 1982 jazz-funk album Advent. Released on the Walk On label, Advent was an album that contained everything from hard bop right through to funk. Johnny wrote, produced and played trumpet on Advent. Kim Davis is responsible for that uber funky bass line. It only takes one listen to Dipping to realize just why before releasing Advent, Johnny had been a member of Lionel Hampton’s band.
By 1979, Irakere were one of Cuba’s most innovative bands, when they released their sixth album Chekere Son on JVC. Irakere contained some of Cuba’s best musicians. This was akin to an all-star band of Cuba’s finest musicians. Throughout their career, Irakere’s music had been a melting pot of genres and influences. Afro-Cuban music was mixed with jazz, rock, funk and European music. They’d also incorporate electronic music within this fusion of styles. On the title-track Chekere Son, Irakere, over nearly ten minutes, delve deeply into their musical palette. In doing so, they create an infectiously catchy, percussive heavy, jazz-infused fusion of musical genres.
What amazed me about The Pharaohs’ Freedom Road, was that it was only the B-side to their single Love and Happiness, a cover of Al Green’s classic. Released on Zimbabwe’s Scarab Records, The Pharaohs fuse elements of jazz, funk, soul and Afrobeat. Riffing, blazing horns, percussion and chanted backing vocals demand Freedom, as they accompany a tender, heartfelt vocal. Soon, you realize one of the best tracks on Kev Beadle Presents Private Collection is unfolding. You can’t resist the temptation to press play again and head down Freedom Road, with The Pharaohs for company.
Southern Energy Ensemble released their only album Southern Energy in 1993. It was released on the American label Black Fire. Produced by Jimmy Grey and Marvin Daniels, the track that opened Southern Energy, was Open Your Mind. Here, elements of jazz, soul and gospel unite. Against a backdrop of percussion and piano, the vocals and harmonies veer between soul and gospel. Soulful and spiritual describes them perfectly. When they drop out, the piano blazing horns and percussion take charge, proving a perfect jazzy foil.
Roy Porter was something of a musical prodigy. He grew up in the Rocky Mountains of Colorado and by the time he was nineteen, was playing alongside T-Bone Walker and in Milton Larkin’s Orchestra. Soon, he was playing with Dexter Gordon, Benny Carter, Louis Jordan and even Charlie Parker. In 1984, he released his self-produced, jazz album In A Groove, on Vistone Records. On In The Groove, was the instrumental Jessica, written and arranged by Roy. The track shuffles along, jazz intermingling with a Latin influence, thanks to Oscar Dye’s congas. Given Roy has such an experienced and accomplished musician, it’s no surprise that Jessica, is one of the highlights of Kev Beadle Presents Private Collection.
Byron Morris and Unity released two albums on E.P.I. Records. Their debut was 1974s Blow Thru Your Mind, with their followup and final album Vibrations, Themes and Serenades following in 1978. Sun Shower is a bright, breezy nine minute epic, where jazz, sixties lounge music and Latin unite. The addition of a beautiful, heartfelt vocal is just the finishing touch, to this gorgeous track, that floats elegantly and wistfully along.
Seeds of Fulfillment were one of many groups who jazz-funk groups from Canton, Ohio during the seventies. Their signature sound was jazz-funk, but were just as comfortable playing traditional jazz. Sometimes there was a rocky twist to Seeds of Fulfillment’s music. Namaste demonstrates Seeds of Fulfillment at their finest, doing what they do best, playing jazz-funk.
Reverie released two albums during the eighties. Their debut album was Revere, released in 1980 on Encounter Records. Three years later, Watch The Skies was released. In Every Was opened their debut album and veers between jazz and jazz-funk. Even from this five-minute track, you get a sense that Reverie were a tight, talented band, who could’ve, and indeed should’ve, enjoyed wider commercial success.
Another of Kev Beadle’s musical memories is the Grandma’s Rocking Chair, a track from Finnish pianist, composer and producer Olli Ahvenlahti. This is a track I hadn’t heard in years, and is from Olli’s 1976 album The Poet, released on Finland’s Love Records. Olli was something of a musical innovator, his music ranging from free jazz, jazz-funk and Latin jazz. Here, he combines elements of jazz-funk and Latin jazz seamlessly and peerlessly, like only a true musical pioneer can.
Closing Kev Beadle Presents Private Collection is James Williams’ Flying Colors. This is the title-track from James 1978 album, which featured trombonist Slide Hampton, while James plays keyboards, piano and electric piano. The seven tracks that comprise Flying Colors, were recorded in just one day, on July 6th 1977. Gradually, the track bursts into life. Soon, it’s veering between jazz and jazz-funk. James’ keyboards, Bill Easley’s flute and later, Slide Hampton’s trombone are at the heart of the action, ensuring closes on a memorable high.
After an absence of sixteen years from compiling compilations, Kev Beadle certainly hasn’t lost his Midas touch. Quite the opposite. The jazz-tinged walk down memory lane that is Kev Beadle Presents Private Collection, is one that’s filled with memorable moments aplenty. Every track is a winner, chosen carefully and lovingly, from Kev’s ever expanding record collection. It’s as if compiling Kev Beadle Presents Private Collection was a labor of love. He seems determined to delve deep into his collection, dusting off rarities and hidden gems, to share his music with a much wider audience. Just like DJ-ing at The Wag Club was part of Kev’s musical eduction, for anyone who loves jazz music, or indeed good music, Kev Beadle Presents Private Collection is part of your musical education. Kev Beadle Presents Private Collection is a compilation they’ll enjoy and cherish. Not only that, but Kev Beadle Presents Private Collection is the first step on a musical journey of exploration, into the world of jazzy, rarities and hidden gems. As BBE Music’s slogan says, Kev Beadle Presents Private Collection is “ real music, for real people,” which will be released by BBE Music on 18th March 2013. Standout Tracks: Kamal Abdul Amil Brotherhood, The Pharaohs Freedom Road, Byron Morris and Unity Sun Shower and James Williams Flying Colors.
KEV BEADLE PRESENTS PRIVATE COLLECTION.
dereksmusicblog
dereksmusicblog 