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.
THE DETROIT SPINNERS-YESTERDAY, TODAY AND TOMORROW.
THE DETROIT SPINNERS-YESTERDAY, TODAY AND TOMORROW.
For The Detroit Spinners, their 1977 album Yesterday, Today and Tomorrow would mark an end of an era for the group. Yesterday, Today and Tomorrow was Phillip Wynn’s final album as lead singer of The Detroit Spinners. This wasn’t the only thing to change. Unlike their five previous studio albums, there were no songs written by Thom Bell and Linda Creed. Similarly, there was a change in the personnel that accompanied The Detroit Spinners.
No longer was the classic lineup of M.F.S.B. providing the musical backdrop for The Detroit Spinners. Granted guitarist Bobby “Electronic” Eli, percussionist Larry Washington and legendary backing vocalists The Sweethearts of Sigma all feature on Yesterday, Today and Tomorrow. Given much of Yesterday, Today and Tomorrow was recorded at the same time as Happiness Is Being With The Spinners, the Baker, Harris, Young rhythm section didn’t provide the Yesterday, Today and Tomorrow heartbeat. The biggest difference with Yesterday, Today and Tomorrow was its commercial performance. Between 1973s Spinners, through 1974s Mighty Love and New Improved then 1975s Pick of The Litter, The Detroit Spinners and 1976, The Detroit Spinners and Happiness Is Being With The Spinners had enjoyed five consecutive gold albums. That was about to change, as you’ll find out, when I tell you the background to The Detroit Spinners’ seventh album Yesterday, Today and Tomorrow.
For Yesterday, Today and Tomorrow, eight songs were chosen. Thom Bell only cowrote one track, Honey, I’m In Love With You, with Leroy and Tony Bell. Sherman Marshall cowrote four tracks on Yesterday, Today and Tomorrow. He penned Me and My Music and You’re Throwing A Good Love Away with Ted Wortham, plus I Found Love (When I Found You) and Just To Be With You with Phillip Pugh. Charles Simmons and J.B. Jefferson wrote I Must Be Living For A Broken Heart and I’m Riding your Shadows Down To Love with Bruce Hawkes. Phil Terry and Michael Burton cowrote You’re The Love of My Life. These eight tracks became Yesterday, Today and Tomorrow. Like the Happiness Is Being With The Spinners, recording of Yesterday, Today and Tomorrow was split between Philly’s Sigma Sound Studios, but also at Kaye Smith Studios in Seattle. Indeed, much of Yesterday, Today and Tomorrow was recorded at the same time as their Happiness Is Being With The Spinners.
When the recording sessions began at the two studios, Philly’s Sigma Sound Studios, but also at Kaye Smith Studios in Seattle, little did The Detroit Spinners realize that Yesterday, Today and Tomorrow would be the final album released by the classic lineup. This included the three lead singers Phillip Wynn, Bobby Smith and Henry Fambrough. They were joined by Billy Henderson and Pervis Jackson. John Edwards makes his Spinners’ debut on You’re Throwing A Good Love Away. Accompanying them, were joined by a tight, talented band. This included a rhythm section of drummer Andrew Smith, bassist Bob Babbit and guitarists Tony Bell and Bobby “Electronic” Eli. Pervis Jackson also played bass on Yesterday, Today and Tomorrow. They were joined by keyboardist Thom Bell and percussionist Larry Washington. Adding backing vocals were legendary backing vocalists the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Thom Bell arranged and produced Yesterday, Today and Tomorrow, which would be released in 1976.
In the release of Yesterday, Today and Tomorrow in 1977, it reached number twenty-six in the US Billboard 200 and number eleven in the US R&B Charts. This became The Detroit Spinners’ least successful album since signing to Atlantic. There was no sixth gold disc for Yesterday, Today and Tomorrow. However, considering that disco was now at the height of its popularity, this is no surprise. Indeed, for a soul album, Yesterday, Today and Tomorrow had been a commercial success. After all, disco was now King. Over in the UK, Yesterday, Today and Tomorrow didn’t fare any better, stalling at number thirty-six. By the time Yesterday, Today and Tomorrow was released, Phillip Wynn had announced his departure from The Detroit Spinners. You’re Throwing A Good Love Away was the lead single from Yesterday, Today and Tomorrow, reaching number forty-three in the US Billboard 100 and number five in the US R&B Charts. Me and My Music then stalled at number thirty-nine in the US R&B Charts. While Yesterday, Today and Tomorrow, and the singles released from the album weren’t as successful as previous releases, this was the end of an era for The Detroit Spinners. DId this era end on a high? That’s what I’ll tell you, when I tell you about the music on Yesterday, Today and Tomorrow.
Opening Side One of Yesterday, Today and Tomorrow, is Me and My Music, the second single released from the album. A piano, rhythm section and chiming guitar combine, before growling horns enter. They set the scene for Phillip’s joyous vocal, which swings along. He seems to be holding back, doesn’t quite unleash his vocal. Punchy harmonies and braying horns accompany him, while the rhythm section provide the arrangement’s heartbeat. There’s quite a different sound and feel from The Detroit Spinners’ previous albums. Although the band are tight, they don’t have the slick, polished sheen of M.F.S.B. Having said that, it’s still a good song, although not a classic from The Detroit Spinners.
Just subtle, pizzicato strings opens I Found Love (When I Found You), Straight away, this much more like what you’d expect from The Detroit Spinners. The tempo is slow, with layers of lush, emotive strings and wistful horns accompanying Phillip’s heartfelt tender vocal. Meanwhile, the rhythm section provide an understated backdrop, while harmonies from the other Spinners and The Sweethearts of Sigma sweep in. They provide the perfect accompaniment and play their part in a track that has “Philly Sound” written all over it.
I’m Riding Your Shadows (Down To Love) picks up where the previous track left off. Here, the tempo is slow. Thom Bell’s arrangement combines swathes of sweeping strings, keyboards, pensive horns and a subtle rhythm section. When the lead vocal enters, Henry takes charge, and then shares lead vocal with Pervis. The vocals are beautiful and impassioned vocal. The contrast between the vocal styles adds to the emotion of the lyrics, as do the tight, soulful harmonies. Flourishes of harpsichord punctuate the arrangement, adding to the beauty and emotion of this tender ballad, something The Detroit Spinners do so well.
You’re The Love of My Life is another track that has The Detroit Spinners’ name written all over it. Growling horns and swirling strings swirl are at the heart of the arrangement. The rhythm section and Larry Washington’s percussion combine, as the band build the drama. Having set the scene, Henry’s grateful, needy vocal enters. He goes on to deliver one of his best vocals on Yesterday, Today and Tomorrow with Phillipe Wynne singing the hook Harmonies from the Spinners and The Sweethearts of Sigma sweep in. They match the emotion and sincerity of the lead. Meanwhile, strings dance and horns punctuate the arrangement, as The Detroit Spinners roll back the years, one more time.
I Must Be Living For A Broken Heart, written by Charles Simmons and J.B. Jefferson closes Side One of Yesterday, Today and Tomorrow. It’s a hurt-filled ballad, where each of The Detroit Spinners play their part. Just piano, the rhythm section, complete with Southern Soul guitars and harmonies combine to create an emotive backdrop. Then Pervis, Henry and Philippe take turns of delivering the lead vocal. Phillip’s delivers his vocal with equal amounts of hurt and heartache. Quivering strings and piano add to the melancholy sound of the arrangement. Later, harmonies from the Spinners and The Sweethearts of Sigma. They add to the sheer emotion and heartache, as The Detroit Spinners demonstrate how they were capable of breathing life and meaning into lyrics.
A chiming, funky guitar opens Honey, I’m In Love With You, which opens Side Two of Yesterday, Today and Tomorrow. Soon, things get uber funky, thanks to the rhythm section, wah-wah guitars, percussion and growling horns. The tempo increases, as the arrangement mixes funk, soul and disco. John Edward makes his Spinners’ debut, combining power and passion. Sometimes, it becomes vampish, complete with hollers and whoops Punchy, soaring harmonies accompany him, while sometimes, the horn riffs seem to “borrow” from David Bowie’s Fame. It’s a very different track from The Detroit Spinners, straddling musical genres, as they attempt to keep up to date with musical fashions
Just an understated combination of piano and drums opens Just To Be With You. It’s the first of two eight-minute epics on Side Two of Yesterday, Today and Tomorrow. Gradually, the arrangement builds. The bass and half-spoken, almost ironic vocal are joined by the lushest of sweeping strings. Then come the wistful horns and Phillip’s hopeful, needy vocal as Thom Bell’s arrangement reveals its beauty and secrets. Heartfelt harmonies join the deliberate piano, swathes of strings as the rhythm section create a beautiful, emotive backdrop as Phillip delivers a captivating, soul-baring vocal, that demonstrates how important he was to The Detroit Spinners’ success story.
Closing Yesterday, Today and Tomorrow and Phillip Wynn’s time as lead vocalist of The Detroit Spinners is You’re Throwing A Good Love Away. This eight minute epic, is a fitting finale from Henry singing lead and Phillipe following him. Bursts of rasping horns, cascading strings and a rhythm section complete with hissing hi-hats give way to a melancholy vocal. Flourishes of harpsichord, bursts of braying horns and dancing strings see the vocal change hands. Soulful, heartfelt harmonies cascade, while Thom Bell adds jazz tinged piano and Larry Washing adds piano. Here, The Detroit Spinners deliver some of their tightest, most soulful harmonies, demonstrating just why this was the classic lineup of The Detroit Spinners.
In many ways, Yesterday, Today and Tomorrow closed a chapter in The Detroit Spinners’ career. Not only was Yesterday, Today and Tomorrow Phillip Wynn’s final album as lead singer of The Detroit Spinners, but ended a run of five gold albums. From 1973s Spinners, through 1974s Mighty Love and New Improved then 1975s Pick of The Litter, The Detroit Spinners could do no wrong. This incredible run of critically acclaimed and commercially successful music ended with Happiness Is Being With the Spinners. While Yesterday, Today and Tomorrow was still a commercial success, it didn’t match the success of The Detroit Spinners’ five previous albums. This wasn’t helped by the lack or material from the songwriting team of Thom Bell and Linda Creed. Although they’d only written two tracks on Happiness Is Being With the Spinners, they contributed no songs for Yesterday, Today and Tomorrow. Similarly, the lack of the Baker, Harris, Young who for so long, had provided the heartbeat on The Detroit Spinners’ albums, including Spinners, Mighty Love, New and Improved and Pick of The Litter, were badly missed. Granted the rhythm section that played on Yesterday, Today and Tomorrow were tight and talented, they were no match for The Mighty Three. Another problem for The Detroit Spinners was the change in musical tastes.
By 1977, when The Detroit Spinners released, Yesterday, Today and Tomorrow, disco was the most popular musical genre. Soul groups, even commercially successful and critically Philly Soul groups weren’t as popular. So in some ways, that Yesterday, Today and Tomorrow was as commercially successful bucked musical trends. Phillip Wynn, seeing how musical tastes were changing, decided it was time to part company with The Detroit Spinners. In January 1977, Phillip announced he was leaving The Detroit Spinners. When, Yesterday, Today and Tomorrow was released, John Edwards was chosen as Phillip Wynn’s replacement. Although The Detroit Spinners still enjoyed sporadic success, they never replicated the success they enjoyed with Phillip Wynn as one of the three lead singers. Yesterday, Today and Tomorrow marks Phillip Wynn swan-song. Although not as consistent as previous Detroit Spinners albums, Yesterday, Today and Tomorrow demonstrates just why The Detroit Spinners were one of the most commercially successful and critically acclaimed groups in the history of Philly Soul, which their five albums between Spinners and Pick of The Litter proves.
THE DETROIT SPINNERS-YESTERDAY, TODAY AND TOMORROW.
DISCO RECHARGE: FESTIVAL-EVITA SPECIAL EDITION & BORIS MIDNEY-THE EMPIRE STRIKES BACK.
DISCO RECHARGE: FESTIVAL-EVITA SPECIAL EDITION & BORIS MIDNEY-THE EMPIRE STRIKES BACK.
By 1979, Boris Midney had established himself as one of the most prolific and pioneering producers of the Euro Disco era. Indeed, it’s no exaggeration to call Boris Midney one of the founding fathers of Euro Disco. Having defected from Russia, Boris became a member of the Russian Jazz Quartet. Soon, Boris had established a career in the music industry. This is no surprise, given he was multitalented musician, a true multi-instrumentalist who could read and write music. By 1976, at just as disco was becoming the most popular musical genre, Boris launch his career as a producer.
Two years later, in 1978, Boris released two albums by studio bands he’d created. These were USA-European Connection’s Come Into My Heart and Beautiful Blend’s Make That Feeling Come Again. A year later, in 1979, Boris released three further albums. This included USA-European Connection’s sophomore album USA-European Connection, Masquerade’s Pinocchio and his debut album as Boris Midney, Caress. By then, Boris Midney had established a reputation as a prolific, innovative producers, who pioneered 48-track recording. For Boris’ next album, it wouldn’t be new material, but songs composed by others, which he’d reinterpret.
In 1979, Boris met Robert Stigwood, who in 1977, had produced Saturday Night Fever. He was also the owner of RSO Records and manager of The Bee Gees. Robert had a proposal for Boris. His idea was that Boris would reinterpret the work of other composers. This wasn’t a new idea. The Salsoul Orchestra had been doing this for several years, reinterpreting The Wiz, Fiddler On the Roof and West SIde Story. However, Robert’s idea was that Boris reinterpret songs from the musical Evita, written by Tim Rice and Andrew Lloyd Webber. With Evita about to be launched as a musical in America, this would help promote the show. Boris accepted the commission. Released in 1979, by another Boris Midney studio band, Festival, Evita resulted in his most commercially successful album.
After the success of Evita, Robert commissioned Boris to do the same with The Empire Strikes Back’s soundtrack. It was released by Boris Midney in 1980, but didn’t replicate the success of Evita. Since then, both Festival’s Evita and Boris Midney’s The Empire Strikes Back have become disco classics. Now over thirty years later, Harmless Records’ Disco Recharge imprint are rereleasing both albums, complete with bonus track. They’ll be rereleased as Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back on February 18th 2013. Before I tell you about the music on Evita and The Empire Strikes Back, I’ll tell you about the background to two classic albums.
FESTIVAL-EVITA.
Evita was the latest musical from lyricist Tim Rice and Andrew Lloyd Webber. Based on the life of Eva Peron, the wife of Argentine President Juan Peron, Eva became known as the first Lady of Argentina. Born into poverty in 1919, she rose to become a revered figure within certain section of Argentine society. Known as Evita, Eva Peron died of cancer, aged just thirty-three in 1952. It was Evita’s story the Rice and Lloyd Webber team transformed into a musical.
June 21st 1978 saw the premier of Evita in London’s West End. By then, the Evita Soundtrack had been released. It became a commercial success, reaching number one throughout Europe. Julie Covington sang the track Don’t Cry For Me Argentina, which gave her a huge hit single. She didn’t want to appear in the West End show, so Elaine Paige was chosen instead. By 1979, Evita was about to be premiered in America.
There was a problem with staging Evita in America. Neither the Evita Soundtrack, nor Julie Covington’s Don’t Cry For Me Argentina had been commercially successful. So with Evita about to open in Los Angeles, a publicity campaign got underway. As part of this campaign, Robert Stigwood hit on the idea of giving Evita a disco makeover. To do this, he headed to see Boris Midney. Soon, Boris was commissioned to record seven tracks from Evita, using the newly formed studio band Festival.
Festival headed to Boris Midney’s legendary 48 track recording studio Eras, in New York. Boris had built the studio from scratch, to his own specification. He was able to properly utilize the potential of the 48 track studio, fusion soul, disco and symphonies. WIth bassist Francisco Centeno, guitarists Brad Johnson and Ray Volpe, percussionist Johnny Santana, harpist Reinhardt Elster plus a string and horn section, recording got underway. Catalina Seviilla, Kevin Owens, plus Lucia and Sylvia Suarez delivered the vocals.Six of the tracks were from the original soundtrack, while Boris wrote Evita’s closing track, Eva’s Theme: She’s A Women. Boris arranged, produced and played keyboards on Evita, and was responsible for the album cover. Once Festival finished recording Evita, Boris Midney’s most intriguing and compelling project would prove the biggest commercial success of his career.
On the release of Evita in 1979, on Robert Stigwood’s RSO Records, the album soared to number one in the US Billboard Disco Charts and reached number fifty in the US Billboard 200. Evita also reached number three in the Dance Music/Club Pay Charts. Don’t Cry For Me Argentina was released as a single, reaching number seventy-two in the US Billboard 100 Charts. However, what made Evita such a commercial success? That’s what I’ll tell you.
Opening Evita is the nine-minute epic Buenos Aires, which sees a wistful piano and subtle strings combining. Gradually, Boris builds the drama, fusing tender, soulful harmonies, percussion and flourishes of piano. That signals the arrangement’s explosion into life. Latin percussion, harmonies and a pounding Euro Disco beat combine, as Festival drive the arrangement along. With Boris keyboards, flourishes of harpsichord and growling horns join swathes of strings it’s a delicious combination. When the punchy harmonies enter midway through the track, you realize a classic is unfolding. They’re joyous, punchy and soulful, the perfect foil for Boris’ disco symphony. Euro Disco, soul and Latin music combine seamlessly and sometimes, dramatically and grandly. As Buenos Aires fades into the distance, you hungrily await the next six tracks.
There’s no let up in tempo on I’d Be Surprisingly Good For You. A pulsating disco beat, dancing strings, rasping horns, Latin percussion and funky rhythm section join forces. Then the heartfelt, sincere vocal enters. Cascading harmonies accompany the vocal, while Festival mix funk, Euro Disco and soul. Melancholy strings sweep and swirl, horns bray and the rhythm section provide a pounding, funky backdrop, as hooks aplenty are delivered by Festival.
Most people will have heard Don’t Cry For Me Argentina, but never like this. Rather than a slow ballad, it’s reinterpreted by Boris an uptempo dance track, with a poppy twist. Layers of lush strings, dramatic horns and tight harmonies combine, while the rhythm section create a the arrangement’s pulsating heartbeat. The lead vocal is delivered emotively and dramatically, but quicker than the original version. This suits a track, where disco and pop unite. Here, Boris breathes new life and meaning into a familiar song, while giving it a dance-floor friendly makeover.
From the opening bars of High Flying Adored, a pulsating Euro DIsco beat thunders along. Horns growl, strings quiver and percussion and keyboards then join the arrangement. Even before the punchy harmonies enter, you’re smitten, by this irresistibly catchy slice of Euro Disco. They accompany a deliberate vocal, which tells the story of Evita at the peak of her popularity. High Flying Adored, with a long way to fall describes her situation perfectly. The interplay between the vocal and harmonies is seamless. It’s as if they drive each other to greater heights, as one of this irresistible track proves one the highlights of Evita.
Rainbow High picks up where High Flying Adored left off. Flourishes of Boris’ keyboards, blazing horns and dancing strings unite with the rhythm section. Like other tracks, they provide the track’s pulsating Euro Disco beat. Urgent, choppy, cascading harmonies join percussion and handclaps. Then at just the right time, Boris drops the strings and horns in. During a breakdown, harpsichord and piano take charge, as Boris teases and tantalizes. Then, he unleashes the rest of the arrangement. It’s as if he can no longer hold it back. What unfolds, is classic Boris Midney, forever the musical innovator, always a leader and never a follower.
She Is A Diamond sees Kevin Owens take charge of vocal, on the last of the original tracks from the Evita soundtrack. Drums pound, horns rasp and strings dance, as the arrangement explodes into life. Meanwhile, a funky bass helps drive the dancing arrangement along. Kevin’s vocal is deliberate and pensive, while harmonies are similarly melancholy, as they question. Later, Johnny Santana unleashes a percussive masterclass, before the track bursts back into life. It’s Euro Disco, funk, soul and Latin music combined, and then given a symphonic twist by Boris. It’s compelling, captivating and sweeps you along, holding you spellbound.
Closing Evita is Eva’s Theme: She’s A Woman, written by Boris. Piano, harpsichord, Latin percussion and cascading strings combine with growling horns. Add to that a pounding, Latin-tinged beat and breathy harmonies. From there, the arrangement dances elegantly, grandly and beautifully along. Harmonies soar soulfully, strings sweep and swirl and horns punctuate the arrangement. It seems Boris is determined to create a track that brings Evita to a dramatic and memorable high. This he does, using a Latin twist to pay homage to Evita, in a way she’d surely approve of.
While Eva’s Theme: She’s A Woman, closed Festival’s Evita, it doesn’t close Disc One of Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back. Not at all. Indeed, there are four other tracks. Two are 12” Promo Mixes released by RSO. They’re Evita Special Dance Music Version Pt. 1, a three-part movement and Evita Special Dance Music Version Pt. 2, a four-part movement. Then there’s the 7” and 12” Version of the single Don’t Cry For Me Argentina. These four tracks are a very, welcome added bonus for collectors of Boris Midney’s work. Indeed, the rerelease of Evita, which was Boris’ most commercially successful album will be welcomed by anyone who loves disco or Euro Disco. Evita saw Boris Midney doing what he did best, pioneering, innovating and fusing musical genres and influences aplenty. So it’s no surprise that following the success of Evita, Robert Stigwood commissioned Boris to give another soundtrack a disco makeover, The Empire Strikes Back.
THE EMPIRE STRIKES BACK.
The Empire Strikes Back, which was the fifth installment in the Star Wars series, was released in 1980. Like previous films, the script was written by George Lucas. Produced by Gary Hurtz, directed Irvin Kershner and starring Carrie Lucas, Harrison Ford and Mark Hammil The Empire Strikes Back was an space opera. British composer and musician John Williams had written the soundtrack to The Empire Strikes Back. It was these songs that Boris Midney would reinterpret when he gave The Empire Strikes Back a disco makeover.
Many of the same musicians and vocalists joined Boris at his Eras Studios in New York. Bassist Francisco Centeno, guitarists Ray Volpe and percussionist Johnny Santana were joined by Bob DePasquale’s Ensemble, who provided the strings and horns. Just like on Evita, Boris arranged, produced and played keyboards on The Empire Strikes Back. He was also responsible for album cover’s photo. When The Empire Strikes Back was released, disco was no longer as popular.
When The Empire Strikes Back was released by Boris Midney in 1980, this came a year after the Disco Sucks’ movement had almost killed disco. It came to a head at Comiskey Park, Chicago on 12th July 1979. After that, disco was no longer as popular. Instead, record companies weren’t releasing disco albums. Disco artists suffered, having been cast aside, in favour of the next musical trend. So, when The Empire Strikes Back wasn’t a commercial success, it’s no surprise. Since then, Boris Midney’s The Empire Strikes Back has become a disco classic, which I’ll tell you about.
Yoda’s Theme opens Boris Midney’s The Empire Strikes Back. There’s a dramatic, sci-fi sound as the track opens. Distant drums boom, synths beep and squeak and then drums, searing, rocky guitars and blazing horns add to the drama. With percussion, keyboards and a pounding, funk-laden rhythm section, complete with hissing hi-hats the arrangement reveals its secrets. Quickly, the drama builds, with urgent harmonies, bursts of grizzled horns and swirling strings combining Euro Disco, funk, classical music and elements of jazz. Elegant, symphonic and grand describes this disco concerto. Later, the arrangement takes on a rocky sound as this dramatic, space opera takes shape. For over seven-minutes, Boris takes you on a genre-fusing journey, that’s bold, brave, dramatic and like all his work, truly groundbreaking.
A sci-fi sound opens The Imperial March (Darth Vader’s Theme), before hissing hi-hats, harpsichord percussion and shivering strings combine. Then having resisted the temptation to drop the rhythm section in earlier, they drive the arrangement along. Soon, they’re like a musical juggernaut, a funky one at that. Strings dance above the arrangement, quivering and shimmering, while horns growl and blaze. By now, funk, Euro Disco, jazz, Latin music and classical music have become one. Breathy harmonies urgently accompany jazzy horns and Latin percussion, as musical genres and influences melt seamlessly into one, molded by the maestro, Boris Midney.
As if from a faraway, distant galaxy, Han Solo And The Princess (Love Theme) meanders into being. The arrangement prowls along. Elements of it briefly remind me of the Love Unlimited Orchestra, albeit with a slow, moody, funky twist. Melancholy, wistful horns, keyboards and the rhythm section create a quite beautiful, pensive sounding track. Percussion is added, while sultry horns and thoughtful keyboards and a slow, but funky rhythm section combine. Later, pizzicato string add to the arrangement’s wistful, pensive and beautiful sound, resulting in this being the highlight of The Empire Strikes Back.
Closing The Empire Strikes Back, is Star Wars (Main Theme). Beeps and squeaks combine with percussion, Blaxploitation era horns and a funky rhythm section. From a slow, moody opening, Boris and his band kick loose one last time. Elegant harmonies, lush strings, braying horns and chiming guitars combine. For their part, the rhythm section provide the necessary funky beat, creating a six-minute Magnus Opus, which closes Disc Two of Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back.
Just like Evita, The Empire Strikes Back saw Boris continue to innovate and fuse musical genres. On The Empire Strikes Back, the Euro Disco influence isn’t as prominent. Granted it’s still there, but much more subtle in parts. In its place, Boris combined elements of everything from funk, soul, classical, Latin and rock music. The result was as equally captivating, innovative musical journey as Evita. Listening to The Empire Strikes Back, I wonder whether Boris Midney could’ve made a career composing film soundtracks? He certainly had the vision, talent and creativity to do so. Like Evita, The Empire Strikes Back sees Boris combine and fuse musical genres and influences. Indeed, his influences and inspiration are eclectic. To his beloved Euro Disco, Boris delves deeply into his musical palette. Like an artist, he produced in Evita and The Empire Strikes Back two very different albums. Ever since their release in 1979 and 1980 respectively, Evita and The Empire Strikes Back have become disco classics.
Both Evita and The Empire Strikes Back have been unavailable on CD for many years. Now, Harmless Records’ Disco Recharge imprint are rectifying this. On February 18th 2013, Disco Recharge will rerelease Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back as a lovingly compiled and luxurious double-album. This is just the latest rerelease from Disco Recharge of Boris Midney’s music. Previously, Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress and Disco Recharge Come Into My Heart and USA-European Connection-Special Edition. Joining these two rereleases, will Disco Recharge: Festival-Evita and Boris Midney The Empire Strikes Back, the next installment in the musical career of Boris Midney, one of Euro Disco’s founding fathers, and a man who is worth of the description visionary, innovator and pioneer. Standout Tracks: I’d Be Surprisingly Good For You, High Flying Adored, Yoda’s Theme and Han Solo And The Princess (Love Theme).
DISCO RECHARGE: FESTIVAL-EVITA SPECIAL EDITION & BORIS MIDNEY-THE EMPIRE STRIKES BACK.
CHANGE THE BEAT-THE CELLULOID RECORDS STORY 1979-1987.
CHANGE THE BEAT-THE CELLULOID RECORDS STORY 1979-1987.
In 2012, Strut Records released Only For You: The Sound of Cajmere and Cajual Records, which paid homage to Cajmere, one of the innovators of the Chicago house scene and his label Cajual Records. This proved to be one of Strut Records’ most critically acclaimed and commercially successful releases of 2012. Now, for Strut Records first release of 2013, they’ve decided to revisit another pioneering, innovative and experimental record label Celluloid Records. To do this, Strut Records will release Change The Beat-The Celluloid Records Story 1979-1987, on 25th February 2013. I’ll now tell you about the story behind Celluloid Records, and and music on Change The Beat-The Celluloid Records Story 1979-1987.
It was in Paris, France in the late seventies that Jean Karakos founded Celluloid Records. This wasn’t Jean’s first involvement with music. He’d spent the last decade running record shops. Much of Jean’s success running record shops came by importing music. Towards the end of the seventies, Jean had established a routine that would prove profitable. Each Sunday night, he headed to London’s Rough Trade Records just when the latest releases arrived. After looking through the new independent releases, Jean would buy copies of he forthcoming week’s releases. Then he’d head back to Paris. Once Jean returned to Paris on Tuesday morning, he’d phone other record shops and sell the records. This was at a time when music was evolving, and evolving quickly.
Punk had proved to a musical game changer three years earlier in 1976. After punk and post-punk, the musical rules change. Indeed, the rules weren’t just rewritten, but ripped up and thrown away. Following punk and post-punk, music was about to change again. In many ways from the nihilistic sound of punk, music was about to evolve into something with a more sophisticated sheen. This change came about as technology entered the musical equation.
Drum machines, synths and samplers were all becoming much more affordable. No longer were drum machines, synths and samplers only available to groups with large budgets and found in high-end recording studios. Instead, they were within the budget of aspiring musicians and producers. This meant artists and producers were able to create and manipulate music that was much more complicated, multi-textured and complex. For anyone looking to start a new record label, this was the perfect opportunity.
When Jean founded Celluloid Records in 1979, he’d already had experience running a record label. Previously, he’d run spiritual jazz label BYG, which meant he knew how a record label was run and the pitfalls surrounding this. So in the Porte de Lilas in Paris, Jean and Gilbert Castro, a former Director of the Maoists founded Celluloid Records. They were a contrasting partnership. While Jean was an extrovert, Gilbert was cultivated and urbane. Jean had also founded Actuel, a monthly magazine, which focused on the artist and current affairs. With Celluloid Records founded, they began releasing music, including reggae tracks licensed from London’s Jetstar label. However, from the day Celluloid was founded, they were releasing cutting-edge music.
One of Celluloid Records first releases in 1979 was Robert Leer and Robert Rental’s album The Bridge. It featured Day Breaks, Day Heals, four minutes where new wave, industrial and ambient music hypnotically combine. As a new decade dawned, then Celluloid Records would enter the most important years of the nascent label’s history.
Five very eclectic tracks from 1980 feature on Change The Beat-The Celluloid Records Story 1979-1987. It seems quite apt that the first is a dub reggae track licensed from Studio 16, a London label. Winston Edwards and Blackbeard’s Downing Street Rock, was a track At 10 Downing Street-Dub Conference. Demonstrating the eclectic nature of Celluloid’s releases is Mathematiques Modernes’ single Disco Rough. Written by Claude Arto and Edwige Belmore, electro and synth pop unite. Similarly eclectic was Ferdinand’s album El Forme, which included Tele: Apres La Metro. Here, Ferdinand, a French group merged new wave, art rock and punk seamlessly. That year, Snakefinger released their genre-fusing, sophomore album Greener Pastures on Ralph Records. Celluloid Records licensed this experimental album, which featured Living In Vain, a track that has Celluloid’s name written all over it. So too does Nini Raviolette experimental, synth pop track Suis-Je Normale. Filed will beeps and squeaks and Nini’s deliberate, sultry vocal. Already, people were taking notice of this pioneering French label Celluloid Records. The following year, 1981, would prove an important one for Celluloid Records, for several reasons
Not only did 1981 see Celluloid Records start building a reputation as a pioneering and experimental label, but Jean would meet a likeminded man who’d prove crucial to the label’s future. That man was Bill Laswell. Jean was now regularly flying between Paris and New York to sell Celluloid’s releases. It was on one of these trips, Jean met Bill, who’d just flown in from Michigan to New York. Bill was another musical innovator, who produced genre-sprawling music. He took various musical genres, deconstructed them and reinvented them as something, new, pioneering and cutting-edge. So Jean, liking what he heard from Bill’s group Massacre, decided Celluloid would release their debut album Killing Time, where avant garde, improvisation and rock combine. Given the importance of this meeting, the title-track, Killing Time features on Change The Beat-The Celluloid Records Story 1979-1987.
Massacre wasn’t the only Bill Laswell project Celluloid would release. They also released Bill’s post-punk dance project Material’s I’m The One in 1982. It sees Bill collaborate with Michael Beinhorn, Bernard Fowler and Nile Rodgers. Another Bill Laswell project is Last Exit, whose track Big Boss man features on Change The Beat-The Celluloid Records Story 1979-1987. Having established their reputation as one of the most eclectic and innovative labels, Celluloid would continue to do so.
Richard Hell and The Voidoids had been releasing music since 1977. Having started as a punk band, their music had mutated into new wave. 1982 saw the release of their sophomore album Destiny Street. In many ways, they were too good as musicians to be called a punk band. They combine funk, rock, garage, new wave and even hip hop. It was delicious fusion of genres and influences, proving their was life after punk. One musical genre that proved even more important that punk, was hip hop.
During his trips to New York and through meeting Bill Laswell, Jean Karakos had first gotten involved with hip hop. This was during the early eighties, when hip hop was growing in popularity. Soon, Celluloid Records started releasing a series of hip hop singles. Several of these hip hop tracks feature on Change The Beat-The Celluloid Records Story 1979-1987. This includes Fab 5 Freddy’s Anglo-French slo-mo rap Beside. It was released in 1982, the same year as Futura 2000’s The Escapades of Futura 2000, which features The Clash. Produced by The Clash, who were now embracing various musical genres and influences, Mick Jones wrote this fusion of electro and hip hop with Futura 2002. Little did they realize, they’d just released a cult classic. The next year, 1983, would prove to be one of Celluloid Records most important years.
By 1983, Celluloid’s reputation as innovative, progressive label had been established. Four tracks on Change The Beat-The Celluloid Records Story 1979-1987, demonstrate this. Celluloid licensed Shockabilly’s 1983 album Earth Vs. Shockabilly from Rough Trade Records. Day Tripper fuses elements of electro, avant garde, rock and punk. That year, Celluloid released two albums of Afrobeat.These were Bobongo Stars’ album Makasi, which features Koteja, and Senegalese singer Toure Kunda’s sophomore album Amadou Tilo. The title-track Amadou Tilo and Bobongo Stars’ Koteja both demonstrate how gradually the emergence in popularity of what was then known as World Music.
Timezone’s The Wildstyle was also released in 1983. Produced by UK DJ Rusty Egan and featuring Afrika Bambaataa and French MC B SIde. It’s the 12’ Vocal version that features on Change The Beat-The Celluloid Records Story 1979-1987. So too does World Destruction, Timezone’s collaboration with former Sex Pistol and now member of PIL, John Lydon. Then later in 1983, Jean and Bill would have a profitable collaboration with a jazz giant.
Later in 1983, Jean and Bill Laswell were working with jazz legend Herbie Hancock, on his electro hit Rockit. Indeed, it was Jean who suggested using a keyboard riff from an early demo as the single’s hook. Jean’s suggestion proved profitable, with the income he received from publishing royalties allowing the pair to continue exploring hip hop. After that came Grandmaster DS.T’s seven-minute epic Home of Hip Hop, released in 1985. Before that, came an eclectic year for Celluloid, 1984.
Change The Beat-The Celluloid Records Story 1979-1987 features three tracks from 1984. This includes Lightnin’ Rod’s Sport, a delicious fusion of funk, jazz and hip hop. It was released eleven years after Lighnin’ Rod released his only album Hustlers Convention in 1973. 1984 also saw the release of B Side With Bernard Fowler’s electro hip hop SIngle Odeon and Mandingo’s album Watto Sitta.
Access to Mandingo’s album Watto Sitta, which featured Foday Musa Suso came about through Bill Laswell. He’d moved on from Celluloid Records, although they continued to support his musical project. Harima, Watto Sitta’s opening track, is a glorious melting pot of influences, sung call and response style. Folk, World Music and a twist of electronic music combine, creating one of the most enchanting tracks on Change The Beat-The Celluloid Records Story 1979-1987.
Two tracks from 1985 demonstrate just how eclectic a label Celluloid was. Sapho released her fifth album Passions, Passions in 1985. Carmel was the track that opened Passions, Passions and the 12” version features on Change The Beat-The Celluloid Records Story 1979-1987. It’s hypnotic synth pop combined with dance music. The same year, 1985, veteran Manu Dibango released his E.P. Pata Piya, which featured Abele Dance ’85 Remix, where dub, hip hop beats and electro combine.
1986 saw a slowdown in the amount of music Celluloid was releasing. Bill Laswell was now collaborating with other artists, including Fred Firth, Yoko On and jazz legends John McLaughlin and Eric Dolphy. However, Celluloid did release ex member of Cream, Ginger Baker’s album Horses and Trees. It featured Dust To Dust, one of the highlights of Change The Beat-The Celluloid Records Story 1979-1987. It’s a fusion of jazz, country and rock, featuring some incredible slide guitar.
Bill Laswell wasn’t the only person to influence and collaborate with Jean at Celluloid Records. So would US producer and music entrepreneur Alan Douglas. This meant that Celluloid Records were able to license albums by The Last Poets and Ronald Shannon Jackson. Indeed, closing Disc Two of Change The Beat-The Celluloid Records Story 1979-1987 is The Last Poets Mean Machine/Mean Machine Chant. Mean Machine was a track from their 1992 hip hop album Retro Fit. This came seven years after their first release for Celluloid Records, Oh My People. Given that The Last Poets had been such an innovative group, it seems fitting that it’s a Last Poets’ track that closes Change The Beat-The Celluloid Records Story 1979-1987, a retrospective of one of the most pioneering European labels of the last forty years.
So, the two discs that comprise Change The Beat-The Celluloid Records Story 1979-1987, feature a suitably eclectic selection of tracks that’s representative of Celluloid Records back-catalogue. Celluloid Records lasted only eight years, but during that time, Celluloid proved one of the most innovative, pioneering and bold record labels. They were never afraid to challenge musical norms, releasing music that strayed from the norm. Sometimes, well away from what was the established musical norm. Indeed, Celluloid Records proved to be a trendsetting label, masterminded by Jean Karakos. Hip hop, electro, synth pop, Afro Beat, dance, avant garde, jazz, rock and much, much more. Often some of Celluloid’s releases defied description, as musical genres seamlessly melted into one. Celluloid Records back-catalogue hasn’t been available since 1995, when it was last licensed. That’s why Strut Records’ forthcoming compilation Change The Beat-The Celluloid Records Story 1979-1987, which will be released on 25th February 2013, will be so widely welcomed by music fans. For anyone whose yet to discover the many and eclectic delights of Celluloid Records’ back-catalogue, then Change The Beat-The Celluloid Records Story 1979-1987 will prove the perfect starting point for a compelling and captivating, genre-sprawling, majestic, musical journey. Standout Tracks: Robert Leer and Robert Rental Day Breaks, Day Heals, Bobongo Stars Koteja, Lightnin’ Rod Sport and Ginger Baker Dust To Dust.
CHANGE THE BEAT-THE CELLULOID RECORDS STORY 1979-1987.
THE STYLISTICS-ROCKIN’ ROLL BABY.
THE STYLISTICS-ROCKIN’ ROLL BABY.
Often, when a group decide to change producer, this can mark a change in their fortunes. This is even more risky when the producer has co-written some of your biggest hits. Forty years ago, The Stylistics were about to release their third album Rockin’ Roll Baby. Their two previous albums, 1971s The Stylistics and 1972s Round 2 had both been certified gold. Much of their success had been down to Thom Bell, who produced these two albums. However, was much more than a songwriter. With Linda Creed, Thom had written much of The Stylistics two previous albums. So if The Stylistics, or their management decided to change producer, not only were they risking losing one of the best producers of the time, but access to one of the hottest songwriting teams. That however, was what happened after the release of Rockin’ Roll Baby. Granted, Rockin’ Roll Baby didn’t match the success of The Stylistics two previous albums, but was certified silver in the UK and featured a million selling single. Quite simply, the story of Rockin’ Roll Baby is a compelling one, as you’ll realize.
After back-to-back gold albums, The Stylistics must have felt under pressure to match the success of their first two albums. So, Thom Bell and Linda Creed got to work, writing six of the ten tracks. They were, Only For The Children, Let Them Work It Out, Make It Last, Love Comes Easy, Rockin’ Roll Baby and The Stylistics’ classic You Make Me Feel Brand New. Thom Bell and Kenneth Gamble penned Payback Is A Dog. Bruce Hawkes and Joseph B. Jefferson cowrote There’s No Reason and with Charles Simmons, penned Could This Be The End and I Won’t Give You Up. These ten track became Rockin’ Roll Baby, which, like The Stylistics first two albums, would be recorded at Sigma Sound Studios in Philly.
For recording of Rockin’ Roll Baby, the five members of The Stylistics Russell Tompkins Jr, James Dunn, Herb Murrell, James Smith, James Smith and Airrion Love headed to the familiar surroundings Sigma Sound Studios in Philly. Accompanying them, were Philadelphia International Records’ legendary house-band M.F.S.B. They included some of Philadelphia’s best musicians. This included a rhythm section of Baker, Harris, Young. Guitarist included Bobby “Electronic” Eli, keyboardist Thom Bell, percussionist Vince Montana Jr, Larry Washington on timbales, bongos and congas. Don Renaldo and His Swinging Strings were joined by a full horn section that included John Davis on tenor and baritone saxophone. Jack Faith played alto saxophone and flute.Adding backing vocals were legendary backing vocalists the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Thom Bell arranged and produced Rockin’ Roll Baby, and once the album was finished, it which was released in November 1973.
On the release of Rockin’ Roll Baby in November 1973, it reached number sixty-six in the US Billboard 200 and number five in the US R&B Charts. Over in the UK, Rockin’ Roll Baby reached number forty-two. The title-track Rockin’ Roll Baby was released as a single, reaching number fourteen in the US Billboard 100 and number three in the US R&B Charts. Ironically,You Make Me Feel Brand New wasn’t released as a single. It also features on The Stylistics fourth album, Let’s Put It All Together. This single became a stonewall Philly Soul classic, reaching number two in the US Billboard 100, number five in the US R&B Charts and number two in the UK. Eventually,You Make Me Feel Brand New sold over a million copies worldwide, and was certified gold. By then, Thom Bell and The Stylistics had parted company. I’ll tell you about that, after I’ve told you about the music on Rockin’ Roll Baby.
Rockin’ Roll Baby opens with the Thom Bell and Linda Creed penned Only For The Children. For an opening track, it’s perfect. The choppy arrangement grabs your attention. Stabs of piano, growling horns, searing guitars and cascading strings unite with percussion, building the drama. Having set the scene, Russell Tompkins Jr’s vocal enters. It’s delivered dramatically, but with sincerity and tenderness. Meanwhile, the arrangement is growing in drama, with harp, flourishes of strings, wistful horns and tender harmonies. Russell seems determined to get across the lyrics meaning. His delivery is deliberate, while the dramatic arrangement is almost saying: “listen.” Powerful, moving and dramatic best describes this opening track.
Could This Be The End is one of the most beautiful, melancholy songs on Rockin’ Roll Baby. Just Earl Young’s drums and hi-hats join Thom Bell’s piano. Then Vince Montana Jr’s vibes and Norman Harris’ guitar enter. Soon, the track decides to give up its melancholy secrets. Russell’s falsetto is tender and thoughtful. Gradually, lush strings, wistful horns and an understated Baker, Harris, Young rhythm section combine. Ron Baker’s bass prowls along the arrangement while tight, soulful harmonies sweep above the arrangement. What follows is one an incredibly beautiful, pensive song, that’s something of a hidden gem in The Stylistics’ back-catalogue.
Let Them Work It Out is another of the slower songs on Rockin’ Roll Baby. It’s another Thom Bell and Linda Creed composition. Here, Russell delivers one of his most heartfelt, tender vocals. His vocal is slow, with harmonies accompanying him. Thom Bell’s keyboards are crucial to the slow, spacious arrangement. Jack Faith’s flute and Ron Baker’s meandering bass add to the thoughtful sound of the arrangement, as Russell, emotively advices: “if you can, Let Them Work It Out.” This he sings with hope and feeling.
Make It Last is quite different in sound to previous tracks. There’s a Latin sound to the shuffling arrangement. M.F.S.B. get the chance to showcase their skills. Percussion, flute, sweeping strings and melancholy horns join Baker, Harris, Young. Then comes Russell’s joyous vocal. He’s in love, found someone he loves. With hope and tenderness he sings: “Make It Last.” Taking their lead from him, strings dance, quiver and shiver, horns rejoice and harmonies sweep in. For their part, the rhythm section and percussion add a shuffling beat. However, it’s Russell’s vocal and Don Renaldo and His Swinging Strings’ that make this one of the highlights of Rockin’ Roll Baby.
Payback Is A Dog, which Thom Bell and Kenny Gamble penned. It’s one of those songs where the maxim what goes around, comes around is put to music. In this case, beautiful music, tinged with heartache and pain. Russell’s vocal is filled with hurt and sadness, while swathes of lush strings sweep slowly. The strings are at the heart of the song’s success. Harmonies sweep in, while Baker, Harris, Young provide the song’s hurt-filled heartbeat. Brief bursts of wistful horns and drama from Earl Young’s drums join Vince Montana Jr’s vibes. They add to the emotion, sadness and pain, as Russell delivers a heartbroken vocal, that closes Side One of Rockin’ Roll Baby.
Side Two of Rockin’ Roll Baby opens with Love Comes Easy. The unmistakable sound of Vince Montana Jr’s vibes and Norman Harris’ jazz tinged guitar are joined by Thom Bell’s keyboards. Horns rasp and Baker, Harris, Young provide the backdrop for Russell’s tender, blissful vocal. He reminisces, thinks back, to the time his relationship started. After that, “Love Comes Easy.” Harmonies accompany him, while Norman’s guitar chimes, strings quiver as Russell offers hope. He almost assures, promises that one day, “Love Comes Easy.” If only life and love were that simple.
There’s No Reason was written by Bruce Hawkes and Joseph B. Jefferson, and is very different to the Thom Bell and Linda Creed tracks. That’s not a criticism, merely an observation. Just hissing hi-hats, pizzicato strings and Norman Harris’ guitar joins cascading strings. Gradually, the arrangement unfolds. Earl Young’s drums signal the arrangement to reveal its secrets. Baker, Harris, Young drive the arrangement along, while deliberate stabs of keyboards, dancing strings and tender, cooing, soaring harmonies accompany Russell’s vocal. He’s given the opportunity to unleash his vocal, his falsetto soaring high and powerfully above the arrangement. Then Thom Bell drops the horns in at the perfect time. Suddenly, as Thom Bell does so well, everything makes sense.
Rockin’ Roll Baby was the lead single from Rockin’ Roll Baby. Horns growl as bongos and the Baker, Harris, Young rhythm section combine. After teasing the listener, M.F.S.B. and The Stylistics kick loose. Baker, Harris, Young drive the arrangement along, with punchy, growling horns and harmonies from the other Stylistics and The Sweethearts of Sigma accompanying Russell’s vocal. Soon, rock and roll, R&B, Philly Soul and jazz combine. By then, M.F.S.B. and The Stylistics have hit their stride, creating an irresistibly catchy fusion of musical genres, where hooks are plentiful.
The Stylistics’ classic You Make Me Feel Brand New sold over one million copies worldwide and was certified gold in the US. Quite simply, this is a stonewall Phlly Soul classic. With Norman Harris’ guitar, layers of lushest strings cascading, stabs of keyboards and rasping horns combine. Once they’ve reached a crescendo Airrion Love takes charge of the lead vocal. His delivery is impassioned and heartfelt. Then he passes the baton to Russell. As if spurred on, he delivers a vocal that surpasses everything that’s gone before. Power, emotion and beauty combine. Meanwhile, M.F.S.B. create the most beautiful backdrop on Rockin’ Roll Baby. Baker, Harris, Young provide the heartbeat, while layers of lush strings from Don Renaldo and His Swinging Strings join Vince Montana Jr’s vibes and tight, soaring harmonies. The result is a five minute Philly Soul Magnus Opus from The Stylistics.
Closing Rockin’ Roll Baby is I Won’t Give You Up. It was written by Bruce Hawkes , Joseph B. Jefferson and Charles Simmons, who previously, had written many hits for The Detroit Spinners. This is another bold, uptempo track, that sometimes, is dramatic and always emotive. With Baker, Harris, Young providing the song’s pulse, strings sweep and swirl, Vince Montana Jr adds vibes and Thom Bell keyboards. Russell’s vocal is deliberate, sincere and filled with emotion. It’s as if he means every word when he sings: “I Won’t Give You Up.” His delivery is heartfelt and impassioned, with harmonies and strings adding the finishing touch, and closing Rockin’ Roll Baby on an emotive high.
In many ways, Rockin’ Roll Baby marked an era for The Stylistics. Rockin’ Roll Baby was Thom Bell’s last album as The Stylistics’ producer. Maybe if Rockin’ Roll Baby had matched the success of The Stylistics and Round 2, then Thom Bell might have produced their fourth album. There was nothing wrong with the music on Rockin’ Roll Baby. Like their two previous albums, The Stylistics, M.F.S.B. and Thom Bell proved a potent partnership. Sadly, that was the end of this dream team. The Stylistics next album, would see a change of producer.
For The Stylistics fourth album, Put It All Together, Hugo and Luigi, who owned Avco Records, The Stylistics’ record label took over production duties. Although Put It All Together proved a commercial success, they had Thom Bell and Linda Creed to thank for that. You Make Me Feel Brand New featured on Put It All Together, and sold over a million copies when released as a single. Following Thom Bell’s exit,The Stylistics never had access to the same quality of songs. If it hadn’t been for Thom Bell and Linda Creed’s Philly Soul classic, You Make Me Feel Brand New, might not have been nearly as successful an album. Thom Bell must have found that quite ironic. After all, he’d supplied the most successful track on Put It All Together.
Sadly, Rockin’ Roll Baby was the last Stylistics album recorded in Philly. After that, their success waned in the US, although they remained popular in the UK. For three albums, The Stylistics were one of Philly Soul’s greatest groups. Following Rockin’ Roll Baby, The Stylistics star never shawn as bright. Different producers and songwriters worked with The Stylistics. They moved label in search of that elusive missing link. That missing link was Thom Bell. He was their producer and mentor, and his songwriting partnership with Linda Creed provided the best material of The Stylistics’ career. What Thom Bell also brought, was M.F.S.B. Philadelphia International Records’ legendary house-band. These three things were irreplaceable. Rockin’ Roll Baby marked the end of an era as far as The Stylistics were concerned. The Stylistics best albums proved to be the three they recorded with Thom Bell. After The Stylistics, Round 2 and Rockin’ Roll Baby, sadly, nothing else came close. Standout Tracks: Only For The Children, Let Them Work It Out, Love Comes Easy and You Make Me Feel Brand New.
THE STYLISTICS-ROCKIN’ ROLL BABY.
THE RITCHIE FAMILY-LIFE IS MUSIC.
THE RITCHIE FAMILY-LIFE IS MUSIC.
Mention the words concept album, and it conjurs up a certain image. Music journalists of a certain vintage, sixth formers in the seventies and of course, bloated prog rock bands. Indeed, every home should have one of these albums. After all, it’s a great way to deal with unwanted guests. Picture the scene, you’ve had a party, it’s down to the people who you’d rather had left much earlier. Things are getting tedious, they’ve cleaned out your drinks cabinet, and getting to the stage where they’re either getting maudlin, boring or unruly. Now is the time to utter the words, “I’ve got this great concept album you must hear.” Abracacadabra, and just like waving a magic wand, you’re home is your own again. Suddenly, excuses are being made, taxis are being called and you can breath a sigh of relief. At last, it’s time for bed. However, not all seventies concept albums fall into the category I’ve described.
Indeed, back in the seventies, one of disco’s most innovative groups, The Ritchie Family, released four disco concept albums. Previously, I’ve reviewed two of The Ritchie Family’s albums, their 1975 debut album Brazil and their 1976 sophomore album Arabian Nights. By January 1977, The Ritchie Family were ready to release their third album, Life Is Music. For Life Is Music, Richie Rome, who was the brainchild behind the Philly based The Ritchie Family decided the concept would be the thirties, albeit with a disco twist.
The Ritchie Family’s two previous albums had been concept albums. Brazil was an album where Latin music and disco became one. Legendary Philly backing vocalists The Sweethearts of Sigma took charge of the lead vocals. Then for Arabian Nights, a new lineup of The Ritchie Family was put in place. They had a lot live up to. After all, the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram had set the bar high on Brazil. For Arabian Nights, The Ritchie Family’s three new vocalists included two former members of Honey and The Bees, Gwen Oliver and Cassandra Wooten. Joining them were Cheryl Jacks. Having made their Ritchie Family debut on Arabian Nights. Both of The Ritchie Family’s two previous albums had proved commercially successful. Could Life Is Music make it a trio of commercially successful concept albums?
For Life Is Music, Richie Rome, Jacques Morali, Henri Belolo and Phil Hurtt penned four tracks, Lady Luck, Liberty, Super Lover and Disco Blues. They also penned Lady Luck with Max Gazzola. Long Distance Romance saw the French songwriting and production team of Henri Belolo and Jacques Morali join with Richie Rome and Phil Whitehead. These six tracks became Life Is Music, which like the first two Ritchie Family albums was arranged and produced by Richie Rome and Jacques Morali at Philly’s Sigma Sound Studios.
With Richie Rome and Jacques Morali producing Life Is Music, Gwen Oliver, Cassandra Wooten and Cheryl Jacks headed to Sigma Sound Studios to record their second album as The Ritchie Family. They were heading back to the thirties, with Richie and Jacques adding a disco twist. Adding that disco twist, were some of Philly’s best musicians, including many former or current members of M.F.S.B, including conga player Larry Washington. With Richie and Jacques arranging and producing Life Is Music, the album was released as the height of disco’s popularity in January 1977.
On the release of Life Is Music in January 1977, the album reached number 100 in the US R&B Charts. The title-track Life Is Music was released as a single but failed to chart. Life Is Music hadn’t quite matched the commercial success of Brazil or Arabian Nights. However, is the music on Life Is Music as good as the music on The Ritchie Family’s first two albums?
Life Is Music bursts into life with the title-track Life Is Music. The rhythm section create a pulsating heartbeat, while strings dance and percussion joins the mix. When the vocals enter, the drama continues. Each of The Ritchie Family take turns of the lead vocal, before combine to create delicious elegant, soaring harmonies. Driven along by the bass, with strings dancing in joy, The Ritchie Family demonstrate their vocal prowess. Delivered with confidence and joy, while spreading hooks aplenty, it’s no surprise this joyous and infectiously catchy track was chosen as the lead single.
When Lady Luck unfolds, instantly, you think of Donna Summer’s I Feel Love. There’s a real Euro Disco sound. The rhythm section drive the arrangement along, while strings cascade, sweeping and swirling. Vocals are delivered powerfully and sensually, while strings and the rhythm section take charge. By then, Euro Disco, Euro Pop and Philly Soul harmonies have united. With a pulsating heartbeat and hooks aplenty, The Ritchie Family pick up where they left off on Life Is Music. Eventually, a breakdown occurs. It gives The Ritchie Family a well deserved break. Bursts of percussion, chiming guitars and the rhythm section combine, before The Ritchie Family take the song to its dramatic crescendo.
Long Distance Romance has a real vintage jazz sound, albeit set to a pounding disco beat. It’s quite different to the previous track. Growling horns, rhythm section and swathes of the lushest strings set the scene for Cassandra’s vocal. Vince Montana Jr’s vibes join the quivering, shimming strings, chiming guitars and pounding disco beat. When a telephone rings, Cassandra answer is sensual and sultry, before being swept away above dancing strings, chiming guitars and rasping horns. For nearly seven minutes, two decades forty years apart unite. Richie Rome fuses thirties jazz with disco and the sweetest Philly Soul. Quite simply, this captivating and bewitching fusion closes Side One of Life Is Music with a jazz, tinged high.
Liberty, which opens Side Two of Life Is Music instantly grabs your attention. Flourishes of strings, a pounding disco beat ensure this is the case. Flamboyant is a perfect description of the track. Cassandra’s vocal is answered by punchy harmonies, while the bass marches the arrangement along. Layers of strings, pounding drums and growling horns see vintage jazz, Philly Soul and disco become one. Again, the thirties and seventies are one. Forty years makes no difference to Richie Rome, as innovator that he was, combines seamlessly musical genres.
Like other tracks on Life Is Music, Super Lover explodes into life. Rasping horns, swirling strings, bells chime and the rhythm section are like a disco juggernaut, driving down the freeway. When The Ritchie Family enter, there’s similarities to The Three Degrees. If you imagine they’d worked with Richie Rome not Giorgio Moroder, this could’ve been them. Strident, sassy, confident and soulful describes their vocals and harmonies. With layers of dancing strings and the bass and drums locked in the tightest of grooves Life Is Music’s best track unfolds. Growling, sultry horns add the finishing touch to this hidden gem of a disco track, that once heard, you’ll never forget.
Closing Life Is Music is Disco Blues, which takes a thirties boogie woogie sound and adds a disco beat. Like other tracks, it works seamlessly. Driven along by a boogie woogie piano and bass lead rhythm section, Richie Rome, ever the innovator, manages to combine disco and boogie woogie jazz. Horns rasp and growl, taking on a sultry sound. Then there are the sassy vocals and whooping, hollering harmonies. Both The Ritchie Family and Philly finest musicians are in disco heaven, ensuring Life Is Music closes on a memorable and hook laden high.
While Life Is Music may not have matched the commercial success of their two previous albums, Brazil and Arabian Nights, there was nothing whatsoever wrong with the music. Indeed, Life Is Music sees The Ritchie Family come close to replicating the success of their debut album Brazil, which featured The Sweethearts of Sigma’s backing vocals. Life Is Music saw the new lineup of The Ritchie Family raise their game. It was as if they were more comfortable as a group and used to each other’s vocals than during Arabian Nights. With a band featuring some of the best musicians in Philly and Richie Rome and Jacques Morali producing Life Is Music, it’s no surprise this is such a good album. Maybe when people heard the words concept album, suddenly, Life Is Music didn’t sound as appealing. Possibly, they were still suffering flashbacks to the dreaded prog rock concept albums earlier in the seventies. What they missed was an absolutely delicious disco album, tinged with vintage thirties jazz, courtesy of The Ritchie Family and Richie Rome. Although just six tracks long, Life Is Music is one of disco’s real hidden gems. During the six tracks on Life Is Music, The Ritchie Family, guided by Richie Rome and Jacques Morali fuse disco, Euro Disco, thirties jazz, boogie woogie and Philly Soul, proving that not all concept albums are the stuff of nightmares. Life Is Music, a delicious disco album from The Ritchie Family proves that. Standout Tracks: Lady Luck, Long Distance Romance, Super Lover and Disco Blues.
THE RITCHIE FAMILY-LIFE IS MUSIC.
GILES-PETERSON-BLACK JAZZ RADIO.
GILES-PETERSON-BLACK JAZZ RADIO.
While there are numerous compilations of music released on jazz labels like Blue Note, Prestige, Columbia, Impulse, Verve and Pacific, one label is often overlooked…Black Jazz Records. Indeed, compilers of compilations often overlook the riches of Black Jazz Records’ back-catalogue. Thankfully, Giles Peterson, one of the UK’s best DJs and crate digger extraordinaire, has recently rectified this, by releasing Giles Peterson-Black Jazz Records on 31st December 2012 on the Snow Dog label. This is Giles’ way of paying homage to one of his favorite labels. Indeed, Giles says that the day he discovered a Doug Carn album, his life changed. So, Giles Peterson-Black Jazz Records, which is a twelve-track mix, is Giles way on sharing one of the musical loves of his life. Before I tell you about Giles Peterson-Black Jazz Records, I’ll tell you about Black Jazz Records.
It was in 1971, in Los Angeles, that pianist Gene Russell and Dick Schlrly cofounded Black Jazz Records. They were two men with a vision. Their vision was a label that released an alternative to the style of jazz that was popular. Not only would this music, which some of is now referred to as spiritual jazz, offer an alternative to traditional jazz, but was tinged with political comment and funk. However, it wasn’t just jazz that Black Jazz Records would release.
Between 1971, when Black Jazz Records was founded and 1976, when the label folded, there was much more to their music than jazz. The music grew to include funk and soul. Spiritual jazz was what Black Jazz Records became best known for. Gradually, Black Jazz Records built an eclectic roster of artists. During 1971, Black Jazz Records released albums that included Gene Russell’s New Direction, Walter Bishop Jr’s Coral Keys, Rudolph Johnson’s Spring Rain, Chester Thompson’s Powerhouse and Calvin Keys’ Shawn-Neeq. Then there were a husband and wife, who’d both become successful recording artists.
They were Jean and Bill Carn. Jean would find fame at Philadelphia International Records, releasing four albums between 1976 and 1981. This included 1976s Jean Carn, 1978s Happy To Be With You and 1979s When I Find You Love. Jean’s final album for Gamble and Huff’s label, was 1981s Sweet and Wonderful, released on the T.S.O.P. imprint. Husband Bill, would become one of Black Jazz Records’ most successful artists. His debut for Black Jazz Records was 1971s Infant Eyes. Spirit of The New Land followed in 1972 and Revelation in 1973. By 1974, when Bill released his fourth and final album for Black Jazz Records, Adam’s Apple, Bill was one of the label’s biggest selling artists. Indeed, Billboard magazine announced Doug Carn was selling more albums than either jazz legends Dave Brubeck and Ramsey Lewis.
By 1972, Black Jazz Records were adding new artists to their roster. The Awakening released their debut album Hear, Sense and Feel in 1972. Similarly, bassist Henry Franklin released his debut album The Skipper. That year, Doug Carn released his sophomore album Spirit of The New Land. The following year, 1973, would prove to be a much busier year for Black Jazz Records.
Among the new signings to Black Jazz Records in 1973, were Walter Bishop Jr’s 4th Cycle. They released Keeper of My Soul, their only album. Kellee Patterson also released Maiden Voyage her only release for Black Jazz Records. Some familiar faces also released new albums for Black Jazz Records.
In 1973, Gene Russell released his second and final album for Black Jazz Records, Talk To My Lady. Similarly, Ari Brown’s The Awakening released Mirage, their second and final album. Two years after his debut album, Rudolph Johnson released his sophomore album The Second Coming. Sadly, this would the end of Rudolph’s time at Black Jazz Records. Bill Carn, who was becoming the label’s most successful artist, released Revelation. The next year, Bill would release his final album for Black Jazz Records.
1974 saw jazz guitarist Calvin Key release his sophomore albums Proceed With Caution. This came three years after his debut Shawn-Neeq. Henry Franklin also released his sophomore album The Player At Home. The same year, Doug Carn was at the height of his commercial success. He was outselling jazz legends like Dave Brubeck and Ramsey Lewis. Bill Carn released Adam’s Apple in 1974. That was his final release on Black Jazz Records. It seemed Bil Carn’s decision to leave Black Jazz Records was well time.
During 1975 Black Jazz Records weren’t exactly a prolific label. Having said that, there were two new albums released, both by new signings. Roland Haynes released his only album 2nd Wave. Cleveland Eaton would release his sophomore album Pretty Good Eaton on Black Jazz Records in 1975. This was the followup to Half and Half, which had been released on Gamble Records in 1973. The following year, Black Jazz Records would close.
When Gene Russell died, Black Jazz Records closed its doors for the first time. After that, the Black Jazz Records was purchased by James Hardge in the early nineties. Most of Black Jazz Records’ back-catalogue was released, apart for three Doug Carn albums. Since then, Black Jazz Records has been unavailable. So the release of Giles Peterson-Black Jazz Records on the Snow Dog label, comes as a welcome surprise for anyone who loves the label’s music. On Giles Peterson-Black Jazz Records, eleven tracks are mixed by Giles. It’s the eleven tracks on Giles Peterson-Black Jazz Records, that I’ll tell you about.
After the Giles Peterson-Black Jazz Radio introduction, comes The Awakening’s Awakening-Prologue Spring Thing, a track from their 1972 album Hear, Sense and Feel. Then two tracks see the mix head in the direction of soul-jazz. First up is Gene Russell’s Black Orchid, from his 1971 album New Direction. It’s followed by the title-track from Rudolph Johnson’s 1972 sophomore album, Second Coming. Henry Franklin’s Beauty and The Electric Tub, a track from 1972s The Skipper sees the mix head in the direction of jazz. Next up is track from one of the most compelling albums Black Jazz Records released.
This was Walter Bishop Jr’s 4th Cycle’s Keeper of My Soul, where elements of modal jazz, blues, Afro-Cuban and soul-jazz becomes one. N’Dugu’s Prayer is the track Giles chose from Keeper of My Soul. His next choice was a no-brainer. There was no way he could omit Bill Carn’s spiritual jazz classic, Higher Ground, from the 1974 album Adam’s Apple. The quality continues with the chanted, hypnotic funk of Cleveland Eaton’s All Your Lover, All Day, All Night. This nine-minute Magnus Opus, along with Bill Carn’s Higher Ground are two of the highlights of Giles Peterson-Black Jazz Radio. Following two tracks of that quality isn’t easy, but Giles manages to do so.
Following two Black Jazz Records’ classic isn’t easy. Chosen to do is, Roland Haynes Second Wave, the title-track to his 1975 soul jazz album is next up. It was Roland’s only album and features Henry Franklin on bass. Then comes the soulful, jazz-tinged sound of Kellee Patterson’s Maiden Voyage, the title-track from her 1973 album. The penultimate track is jazz guitarist Calvin Keys’ Aunt Lovey, from his 1974 album Proceed With Caution. Bookending Giles Peterson-Black Jazz Radio is The Awakening’s Awakening Epilogue. Just like the track that opens Giles Peterson-Black Jazz Radio, this is a track from The Awakening’s Hear, Sense and Feel album, released in 1971. That closes Giles Peterson-Black Jazz Radio, a tantalizing taster of the music of Black Jazz Records, one of the great labels in jazz music.
If you’ve never heard of Black Jazz Records, then Giles Peterson-Black Jazz Radio is the perfect starting point. This will introduce you to the music of one of jazz’s pioneering labels. During a five year period, between 1971 and 1976, they released cutting-edge, innovative music. While some of the music might not have been hugely commercial, it’s because it was brave, bold and ahead of its time. Like many small labels, they were ahead of musical trends and tastes. It would only be later, that people would realize the importance of Black Jazz Records. Indeed, since Black Jazz Records closed its doors, music lovers have delved deep into the label’s back-catalogue. While, Black Jazz Records wasn’t a prolific label, they were more concerned with quality. Whether it’s soul, jazz, funk, spiritual jazz or soul-jazz, Black Records released it. Nowadays, music lovers, plus DJs and crate-diggers, like Giles Peterson spread the Black Jazz Records gospel. Hopefully, Giles Peterson-Black Jazz Radio won’t be the only time Giles dips into the Black Jazz Records’ back-catalogue.
Maybe in the future, Giles will delve deeper into the depths of Black Jazz Records’ back-catalogue? Surely, there’s plenty of material for a carefully and lovingly compiled box set. Giles Peterson is the man for the job. He’s more than a DJ, label owner and crate-digger, he’s a musical educator and tastemaker, who previously, has played his part in the growling popularity of Latin, Cuban and African music. His next job should be increasing Black Jazz Records’ popularity. Giles Peterson-Black Jazz Radio, which was released on 31st December 2012 on Snow Dog Records, is the first in a trio of mixes which will be released by Giles. Once he’s released the last of them, then maybe he could consider a box set to followup Giles Peterson-Black Jazz Radio? Standout Tracks: N’Dugu Prayer, Bill Carn Higher Ground, Cleveland Eaton All Your Lover and Walter Bishop Jr, 4th Cycle’s Keeper of My Soul.
GILES-PETERSON-BLACK JAZZ RADIO.
GINA CAREY…THE SONGBIRD.
GINA CAREY…THE SONGBIRD.
Recently, I interviewed American soul singer Gina Carey, ahead of the release of her ninth album, Gina Carey…The Songbird. During that interview, Gina spoke of how Gina Carey…The Songbird is the start of a new chapter in her seventeen year career. With a new manager guiding her career, the future looks bright for Gina. She’s back, stronger, wiser and even more soulful than ever. Then there’s her forthcoming album Gina Carey…The Songbird which will be released on 31st January 2013. Gina Carey…The Songbird has been kept tightly under wraps. Few people have had the opportunity to hear Gina Carey…The Songbird. I however, am one of the lucky ones. Just a few days ago, I received a copy of Gina Carey…The Songbird, and will tell you about the album, after I’ve told you about Gina’s career so far.
Back in 1996, Gina got her professional breakthrough. She was asked to sing backing vocals for God’s Original Gangsters. After that, Gina signed to Grapetree Records, who released Gina’s debut album In His Time. This was the first of three gospel albums Gina released. In His Time sold over ten thousand copies throughout the United States. Gina was later nominated for two awards by the Black Music Academy Association of America. Following the success of In His Time, Gina came crashing back to earth. Grapetree Records folded, leaving Gina without a label.
Seven years after the release of In His Time, Gina was back, but now she was independent artist. She released her sophomore album Changes in 2003. Then in 2006, Gina released her third gospel album, Tell Um. Her next album would be quite different.
Having released a trio of gospel albums, Gina released her fourth album and what was first soul album My Journey, in 2008. Then three years later, Gina released her most successful soul album, Melodic, in 2011. Melodic reached number one in the UK Soul Charts and was named as one of the best soul albums of 2011. The following year, 2012, Gina would be crowned as the hardest working woman in soul music, releasing three albums.
During 2012 released her trio of albums, Love Letters, Love Letters 2 and Live, Love and Laugh Volume 1. This she managed to do between February and September 2012. Having released three albums during 2012, Gina decided to start work on her ninth album. Gina returned to the studio. She started work on what would become he ninth album Gina Carey…The Songbird, which features thirteen slices of deeply soulful music, which I’ll now tell you about.
Opening Gina Carey…The Songbird is Love Me Too, an uptempo track. Gina’s sultry whispered vocal and a wistful flute combine, before pounding drums and backing vocals enter. Soon, she unleashes a heartfelt, soaring vocal. She scats jazz style, her vocal drenched in delay, demonstrating a powerful, versatile vocal style. Jazz and soul become one. Searing guitars and drums, dramatically accompanying her. The result is a dramatic, but soulful track. Having gotten your attention, you hungrily await the rest of Gina Carey…The Songbird.
There’s no drop in tempo during This Joy, an uplifting and inspirational dance-floor friendly track. Here, Nu-Soul and dance music combine seamlessly. A pumping arrangement, driven along by pounding drums, a sprinkling of melodic keyboards and percussion accompany Gina’s sassy, joyous vocal. The lyrics are a paean to positivity, with Gina’s delivery filled with joy and emotion. Hooks certainly haven’t been rationed, during this soulful, inspirational, dance-floor friendly track.
When The One For Me opens, Gina throws something of a curveball. Keyboards and a roll of drums give way to crispy drums and Gina’s smooth, soulful vocal. Then things get even better. Gina delivers one of her inimitable vocals. It’s unmistakably Gina Carey, but even better than previous albums. Since Live, Love and Laugh Volume 1, Gina’s vocal has gotten even better. Tender, sensuous and sincere are just some words that describe her vocal. Beautiful and soulful are two more. Her vocal cascades and quivers as backing vocals accompanying her. Just drums, keyboards and the backing vocalists, for company, Gina delivers one of her best vocals on Gina Carey…The Songbird.
Never Ending is a mid-tempo Nu-Soul track, where Gina delivers a powerful, confident vocal. Drums, hissing hi-hats and bursts of rasping horns set the scene for her vocal. Multi-tracked backing vocals accompany her, as she delivers a vocal that’s strident, soulful and confident.
My Hero is one of four singles that’ll be released from Gina Carey…The Songbird. It’s another mid-tempo track, that feature a sassy, playful vocal from Gina. Crispy drums, keyboards and organ accompany Gina, as she kicks loose. Her vocal grows in power, passion and playfulness, giving thanks to her hero. Soon, strident and sassy, describes her vocal, as is becomes a confident drawl as she sings: “a real cool daddy.” By the end of the track, you realise why it’s been chosen as a single. Not only is it hooky and infectiously catchy, but anthemic and radio friendly.
Stabs of organ open This Is Our Moment, while a bass prowls along and is joined by drums. Gina scats, while backing vocals take charge. Having set the scene, Gina delivers a quick, quivering vocal. Swathes of backing vocals answer his call, while stabs of organ and the prowling bass. The interplay between Gina and the backing vocals are key to the track. They drive each other to greater heights of urgency and soulfulness.
Take Me Hold Me sees the tempo drop. Not only is it the slowest song on Gina Carey…The Songbird, but one of the most beautiful. Just an acoustic guitar, whispered backing vocals and keyboards accompany Gina’s heartfelt and tender vocal. Later, the rhythm section and percussion combine, as the arrangement meandering along, providing the perfect backdrop for Gina’s sensual, seductive vocal.
Hey Mr. is the lead single from Gina Carey…The Songbird. It’s no wonder. Quite simply, it’s laden with poppy hooks and is one of those tracks that once you’ve heard, won’t forget. The lyrics are infectiously catchy. Here, Gina fuses country and folk with soul and dance music. This works magically. Gina, like a sassy Pied Piper, swings along, trailing mesmeriSing, poppy hooks aplenty, while seamlessly fusing musical genres. One listen and you’ll be smitten.
Straight away, when you hear With You, you’d think that Gina’s musical roots were in New Orleans, not the Windy City of Chicago. The reason for this are the New Orleans’ horns that are crucial to this track’s success. Drums open the track, before the horns take charge. They remind me of New Orleans’ marching bands. When they drop out, Gina’s joyous vocal enters. Backing vocalists join her. Together, they march along, with the horns and drums providing a musical backdrop. Yet again, Gina demonstrates her versatility as a songwriter and singer. Here she’s mixed soul, funk and New Orleans’ marching bands. In doing so, the result is quite irresistible.
Of the thirteen tracks on Gina Carey…The Songbird, Step Into My Love is my favorite track. Slow, sensual and soulful describes the song perfectly. Just slow, spacious drums and a dusting of percussion sets the scene to Gina’s slow, sultry and heartfelt vocal. An acoustic guitar, drums and bass join backing vocalists, join Gina. She surpasses everything that’s gone before. Not only is this her best vocal on Gina Carey…The Songbird but is the best track on the album. It’s so good, it sounds like it belongs on an album by Sade.
Lullaby sees the tempo increase, but there’s no drop in the quality. Indeed, Gina picks up where she left off on Step Into My Love. She delivers one of her sweetest and soulful vocals. Her delivery is impassioned and tender, quivering and shivering in emotion. Just keyboards, percussion and the rhythm section join Gina and the backing vocalists, as she delivers a vocal that’s sweet and soulful, but also heartfelt and tender.
Swathes of keyboards build the drama and emotion before Nothing reveals its soulful secrets. Once the drama has reached a crescendo, the baton passes to Gina. Her vocal is sincere and impassioned. Just drums, organ and backing vocalists accompany her, before the arrangement takes on a contemporary sound. There’s even the addition of a few hip hop scratches. Sometimes, it becomes a sassy drawl, when it soars powerfully above the arrangement. Always it’s soulful, just as you’d expect from Gina Carey…The Songbird.
Closing Gina Carey…The Songbird is My Sunshine. This is a fitting title, given it’s an uplifting, uptempo track where Nu-Soul, jazz, funk and dance music combine. As if determined to close Gina Carey…The Songbird on a real high, Gina unleashes a powerful, passionate and soulful vocal. Piano and the rhythm section join backing vocalists accompany Gina. Later, she unleashes a jazzy scat, demonstrating her talent and versatility, as only Gina Carey…The Songbird can.
As Gina Carey opens a new chapter to her career, I can honestly say that Gina Carey…The Songbird, is the best album of Gina’s seventeen year career. It’s as if since we last heard from Gina Carey…The Songbird that she’s matured, developed and grown as a singer and songwriter. Gina wrote and produced each of the thirteen tracks on Gina Carey…The Songbird. Not only has her voice matured, but so has her songwriting and production skills.
Like previous albums, Gina combines musical genres and influences. There’s everything from Nu-Soul, jazz, funk, soul and Latin music. To that, there’s also a hint of blues, folk and country. I’d describe Gina Carey…The Songbird as a genre-sprawling album, where Gina explores and incorporates musical influences seamlessly.
Good as albums like Melodic, Love Letters and Live, Love and Laugh Volume 1 were, Gina Carey…The Songbird surpasses this. Quite simply Gina Carey…The Songbird is a game-changer of an album. Gina Carey…The Songbird should see Gina make the next step in her career. Commercial success and critical acclaim are about to come Gina Carey…The Songbird’s way. It’s as if each of Gina’s previous eight albums have been working towards Gina Carey…The Songbird.
Although Gina Carey has enjoyed commercial success before, Gina Carey…The Songbird which will be released by Gico Music on 31st January 2013 should surpass their success. Indeed, I wouldn’t be surprised if the next time we hear from Gina Carey…The Songbird, she’ll be signed to a much bigger label. Given how talented and versatile a singer, songwriter and producer Gina Carey…The Songbird this, would be no surprise. With new management guiding her career, then Gina Carey…The Songbird is the start of a new, exciting and successful chapter in the career of Gina Carey…The Songbird. Standout Tracks: This Joy, Hey Mr, Step Into My Love and Lullaby.
GINA CAREY…THE SONGBIRD.
THE TRAMMPS-THE TRAMMPS III.
THE TRAMMPS-THE TRAMMPS III.
Just five days apart, in November 1977, two albums were released that would play a huge part in The Trammps’ career. On 10th November 1977, The Trammps released The Trammps III. Then five days later, on 15th November 1977, the Saturday Night Fever: The Original Movie Soundtrack was released. It featured Disco Inferno, the title-track from The Trammps 1976 album. Little did any of The Trammps realize that Saturday Night Fever: The Original Movie Soundtrack would sell over fifteen-million copies and was certified platinum fifteen times. For The Trammps, this surpassed the success of any of their previous albums. Suddenly, The Trammps were known worldwide, having recorded an iconic and anthemic disco classic. Before this, The Trammps most successful album had been Disco Inferno, which had reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. So when The Trammps III was released, surely the success of Saturday Night Fever: The Original Movie Soundtrack would give The Trammps career a huge boost. Was that the case?
Like previous Trammps albums, many of the same personnel worked on The Trammps III. This included some of Philly’s finest and most talented musicians. Among them, were Ron Baker and Norman Harris, Trammps drummer Earl Young’s partners in the Baker, Harris, Young rhythm section. They also worked together as songwriters, arrangers and producers. When Norman Harris produced an album, Ron Baker and Earl Young would both be there. So would many other Philly songwriters, arrangers and producers. This was the case for the recording of The Trammps III.
Of the eight tracks that became The Trammps III, Ron Baker and Ron Tyson cowrote four tracks, Living The Life, Life Ain’t Been Easy, I’m So Glad You Came Along and It Didn’t Tale Much. Norman Harris cowrote two tracks, including The Night The Lights Went Out with his songwriting partners Allan Felder and Ron Tyson. People of The World, Rise was penned by Norman, Bruce Gray and T.G. Conway. Ron “Have Mercy” Kersey and Leroy Green cowrote Love Per Hour, while Jerry Akines and Johnny Belmon penned Seasons For Girls. These eight tracks became The Trammps III, which was recorded at Philly’s SIgma Sound Studios.
For the recording of The Trammps III, the five members of The Trammps, Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade, head to SIgma Sound Studios. They were joined by many musicians that played on Disco Inferno. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli and T.J. Tindall the guitars. Larry Washington played congas, while Bruce Grey, Carlton Kent, Ron “Have Mercy” Kersey and T.G. Conway added keyboards. Evette Benton, Carla Benson and Barbara Ingram, The Sweethearts of Sigma added backing vocals and were joined by Don Renaldo Strings and Horns. Producers included Norman Harris, Ron Baker, T.G. Conway and Ron “Have Mercy” Kersey. Once The Trammps III was recorded it was released on 10th November 1977, right at the height of disco’s popularity. Would The Trammps III build on the success of Disco Inferno and later, by helped by the popularity of Saturday Night Fever: The Original Movie Soundtrack?
On the release of The Trammps III on 10th November 1977, it reached number eighty-five in the US Billboard 200 and number twenty-seven in the US R&B Charts. The Night The Lights Went Out was released as the lead single in 1977. It reached number eighty in the US R&B Charts. Given the success of Saturday Night Fever: The Original Movie Soundtrack, Disco Inferno was rereleased as a single, reaching number eleven in the US Billboard 100 and number eleven in the UK. Seasons For Girls was then released as the second single from The Trammps III, reaching number fifty in the US R&B Charts. Maybe if The Trammps III had been released later, then it might have cashed in on the popularity of Saturday Night Fever: The Original Movie Soundtrack? However, that wasn’t the case and The Trammps III didn’t achieve the commercial success the music deserved? You’ll realize that when I tell you about the music on The Trammps III.
The Trammps III opens with The Night The Lights Went Out, which Norman Harris arranged and produced. This seven minute epic, was the lead single, and tells the story of the power cuts that hit New York during 1977. Keyboards and a flute build the drama. Then the powerhouse that’s the Baker, Harris, Young rhythm section combine with blazing horns and swirling strings. They signal the arrival or tight, cascading harmonies before Jimmy Ellis growling, impassioned and dramatic vocal enters. The interplay between Jimmy and harmonies from the other Trammps is peerless. Similarly, the arrangement matches the power, passion and drama of Jimmy’s vampish vocal. Strings sweep and swirl, horns bray and blaze and the rhythm section power the arrangement along. Later, during a breakdown The Trammps ad-lib, to a backdrop of congas and rhythm section. After that, Jimmy unleashes another of his trademark vamps, playing his part in another Trammps’ classic.
Love Per Hour was arranged by Fred Wesley and sees no let up in the tempo and drama. Searing guitars and an explosive combination of Baker, Harris, Young growling horns and handclaps provide the backdrop for Jimmy’s vocal. He grabs the song by the scruff of the neck, mixing power, passion and soulfulness. Elegant, soulful harmonies sweep in, while percussion and Norman Harris’ jazz-tinged guitar weave their way across the arrangement. Keyboards and Earl’s drums take charge during a breakdown, as The Trammps add harmonies and handclaps. You sense that soon, Jimmy’s about to make his entrance. Jimmy scats while together, braying horns bray and Baker, Harris, Young provide a funky laden backdrop. Then Bobby “Electronic” Eli’s searing, riffing guitars provide the finishing touch, as The Trammps brilliantly fuse funk, Philly Soul, disco with a twist of Latin and rock.
Norman Harris produced People of The World, Rise, which gradually reveals its secrets. A howling wind and banks of synths add a hint of mystery to the track. Baker, Harris, Young join blazing horns and cascading strings, setting the scene for sweeping harmonies. They float in and out of the arrangement, playing their part in building the drama. Key to the drama are the pounding rhythm section, rasping horns, sweeping, swirling strings. By then, Jimmy Ellis becomes like a preacher, encouraging People of The World, Rise. That is Jimmy’s hopeful message, delivered with passion and sincerity. He drives The Trammps and band to even greater heights of drama. This proves a fitting way to close SIde One of The Trammps III.
Living The Life opens Side Two of The Trammps III. It’s the first of four Ron Tyson and Ron Baker penned tracks. Ron Baker arranged and produced the track, which marks a change in style. The tempo drops and we hear a deliciously soulful ballad. Cooing harmonies from The Trammps and Sweethearts of Sigma give way to Baker, Harris, Young, blazing horns and keyboards. Having set the scene for Robert Upchurch to take charge of the lead vocal. He delivers a beautiful, tender and wistful vocal. Elegant, equally heartfelt and soulful harmonies match prove the perfect accompaniment for Jimmy. Lush strings join the rasping horns, rhythm section and keyboards. They play their part in this beautiful, wistful and soulful ballad.
Seasons For Girls was produced by Ron “Have Mercy” Kersey and is another ballad. This allows Jimmy to showcase another side to his delivery. His slow, gentle, and impassioned delivery, brings to life the lyrics. Harmonies tight and soulful, sweep above the arrangement. They join the lushest of strings, keyboard and Baker, Harris, Young. Norman Harris’ chiming guitar weaves its way across the arrangement. One difference, is the use of synths. Thankfully, they’re used properly, especially as Jimmy delivers one of his tenderest and most heartfelt vocal. Transformed into a Philly Soul balladeer, Jimmy Ellis handles the role perfectly.
After two slow ballads, Life Ain’t Been Easy produced by Ron Baker sees The Trammps and their all-star Philly band lick loose. Earl Young’s drums opens the track, before Baker, Harris, Young drive the arrangement along. As the drama builds, horns growl, strings cascade and Jimmy embarks on a heartbroken vamp. Harmonies from the other Trammps and the Sweethearts of Sigma accompany him, as he lays bare his soul. Meanwhile, the uptempo Philly-made arrangement unfolds in waves. Melancholy horns, jazzy piano and wistful, but soulful harmonies provide the backdrop for Jimmy, as he unleashes a soul-baring, heartbroken vocal. To me, this is Jimmy Ellis at his very best.
I’m So Glad You Came Along has an unmistakable Philly Soul sound. Growling horns, woodwind and Baker, Harris, Young combine. Earl’s hissing-hats and Ron Baker’s prowling bass are joined by swathes of lush sweeping, swirling strings. By now, the Philly Sound is evident. When Jimmy’s powerful vocal enters, it’s filled with hope and happiness. “I’m So Glad You Came Along” Jimmy sings, with harmonies, stabs of piano and dancing strings for company. Soon, Jimmy unleashes his powerful, heartfelt vocal and hope and happiness become one.
Closing The Trammps III is It Didn’t Tale Much, which was produced by Ron Baker and features Robert Upchurch’s lead vocal. Just Norman Harris melancholy guitar, deliberate, thoughtful stabs of piano and pensive strings combine. Then bursts of rasping horns signal the arrival of Robert’s heartfelt, grateful vocal. Filled with joy, and even tinged with disbelief, the arrangement grows. It matches the emotion and drama in Robert’s vocal. Swathes of lush strings, rasping horns and soulful harmonies provide the perfect backdrop, as Robert gratefully and joyously sings of the happiness he’s found. Just like Robert’s vocal on Living The Life, this shows that there was more to The Trammps than Jimmy Ellis lead vocals. Indeed, The Trammps weren’t short of talented vocalists. Indeed, any one of them could deliver a vocal with style, panache and soulfulness.
The Trammps III proved to be quite different to their two previous albums That’s Where The Happy People Go and Disco Inferno. On The Trammps III there were a number of ballads, with Jimmy Ellis and Robert Upchurch each delivering the lead vocal. Like previous albums, there were still plenty of uptempo, dance-floor friendly songs. Maybe The Trammps had realized that disco’s popularity was bound to fall. Then they could fall back on the ballads, taking their music in the direction of The O’Jays and previously, Harold Melvin and The Blue Notes. By 1977, when The Trammps III was released, groups like Blue Magic, The Detroit Spinners and The Stylistics and Harold Melvin and The Blue Notes were no longer as successful. Now The O’Jays were the biggest, most successful Philly Soul group. So, maybe The Trammps were looking at challenging The O’Jays success? This would’ve meant there was life after disco. Although The Trammps III was quite different from previous Trammps albums, it certainly wasn’t lacking in quality.
Indeed, from the opening bars of The Night The Lights Went Out, right until the run out grooves on It Didn’t Tale Much, The Trammps are at their best. The only surprising thing about It The Trammps III, is that it wasn’t a bigger commercial success. Especially given the success of Saturday Night Fever: The Original Movie Soundtrack, which featured The Trammps anthemic disco classic Disco Inferno. Sadly, The Trammps III was the last of The Trammps albums to be a commercial success. While The Trammps released three more albums, 1979s The Whole World’s Dancing, 1980s Mixin’ It Up and 1981s Slipping Out, The Trammps III was their last album to prove commercially successful. For anyone yet to discover The Trammps music, then then Where The Happy People Go, Disco Inferno and The Trammps III, are The Trammps as their very best, fusing disco, funk and Philly Soul with panache, aplomb and sheer soulfulness. Standout Tracks: The Night The Lights Went Out, Life Ain’t Been Easy, I’m So Glad You Came Along and It Didn’t Tale Much.
THE TRAMMPS-THE TRAMMPS III.
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