DISCO RECHARGE: VOYAGE-ONE STEP HIGHER.
DISCO RECHARGE: VOYAGE-ONE STEP HIGHER.
By 1982, Voyage had established themselves as one of Euro Disco’s most innovative groups. Since 1978, Voyage had released a trio of critically acclaimed, cutting-edge albums. Their debut was 1978s Voyage, with Fly Away following later in 1978. Two years later, in 1980, came Voyage’s third album Voyage 3. Now two years after the release of Voyage 3, Voyage would release One Step Higher. This would prove to be Voyage’s final album. Just like Voyage’s three previous albums, musical genres and influences would be seamlessly fused. The man behind Voyage’s musical journey was guitarist Slim Pezin.
Joining Slim in Voyage, were three more of France’s top session musicians. Together, keyboardist Marc Chantereau, bassist Sauveur Malia, drummer Pierre-Alain Dahan and Slim were Voyage. These four musicians, were at the heart of the French Euro Disco scene. Previously, members of Voyage had played on albums by Don Ray, Cerrone and Alec R. Constandinos. Quite simply, Voyage were a group with rich musical heritage. So it’s no wonder that Voyage had established a reputation as one of Euro Disco’s most pioneering groups. When Voyage reconvened to record One Step Higher, this would prove to be Voyage’s final album. Since then, One Step Higher has never been rereleased…until very soon. On 18th February 2013, Harmless Records’ Disco Recharge imprint will release One Step Higher as Disco Recharge: Voyage-One Step Higher.
Just like the three previous Voyage albums Disco Recharge have rereleased, this is no ordinary rerelease. Instead, Disco Recharge: Voyage-One Step Higher is a luxurious double album. Disc One features the original version of One Step Higher, remastered from the original master tapes in Paris. Then Disc Two of Disco Recharge: Voyage-One Step Higher features fifteen original, alternate and remixes of Let’s Get Started, One Step Higher, I Surrender, Nowhere To Hide and Magic In The Groove. An added bonus is the previously unreleased track Almost Made It. As you’ll realize, Disco Recharge: Voyage-One Step Higher this is no ordinary rerelease. Mind you, One Step Higher was no ordinary Euro Disco album, as you’ll realize when I tell you about the music on Disco Recharge: Voyage-One Step Higher.
When Voyage reconvened to record One Step Higher in 1982, music was very different to when they released their 1978 debut Voyage. By 1982, computers were becoming much more commonplace in recording studios. Similarly, synths and drum machines played a much bigger role in recording an album. Most importantly, music was changing. Grandmaster Flash and The Furious Five released their debut album The Message, Afrika Bambaataa released Planet Rock and Michael Jackson released Thriller. Hip hop and electronic music were starting to challenge the now dominance of rock music on the UK, European and US charts. The times they were a changing. So too was Voyage’s music.
For One Step Higher, Voyage would fuse musical genres and influences aplenty. Granted, they’d been doing this since their debut album Voyage. However, they were incorporating the latest musical influences and seamlessly fusing them with a multitude of musical genres. Everything from Euro Disco, funk, soul, rock, electronica and poppy hooks were fused. There’s even a hint of reggae, Latin and Caribbean music by the four members of Voyage over seven tracks.
The four members of Voyage cowrote seven tracks. They’d become One Step Higher, which was recorded at Studio 56, Studios Ferber in Paris and at Farmyard Studios in Little Chalfon in Buckinghamshire. Joining guitarist Slim Pezin, keyboardist Marc Chantereau, bassist Sauveur Malia and drummer Pierre-Alain Dahan were many musicians and backing vocalists Voyage had previously worked with.
Among the musicians and backing singers joining Voyage for the recording of One Step Higher, were the backing vocalists the Birds of Paris. This included Stephanie De Sykes, Kay Garner and Vicki Brown. They were joined by vocalists Anne Calvert, Carole Fredericks who was the sister of Taj Mahal and Arthur Simms who sang the lead vocal on Come and Get It. Tony Bofils played bass on two tracks and Georges Rodi programmed the synths. Once One Step Higher was recorded and mixed at the Farmyard Studios, it was released in 1982.
On the release of One Step Higher in 1982, it may not have been a commercial success, but proved hugely popular in clubs. The single Let’s Get Started, released in 1982, also failed to replicate the success of Voyage’s earlier singles. However, One Step Higher, which was a genre sprawling album, where musical genres and influences were seamlessly fused, has since become a Euro Disco classic, which I’ll now tell you about.
One Step Higher opens with Let’s Get Started, which is the perfect title. From the get-go, Voyage grab your attention, fusing musical genres. Rock, funk and Euro Disco combine, as Voyage remind you of their early albums. Searing rocky guitars riff and thunderous drums pound. Banks of synths and the rhythm section then build the drama. Stabs of synths, the funkiest of basses and vibes combine, while sizzling guitars weave their way across the arrangement. Then comes the lead vocal and accompanied by the sweetest harmonies. They’re delivered urgently and dramatically, but soulfully, in a call and response style. This reflects the flourishes of flamboyance that punctuate the arrangement. Other times, there’s a solidity, precision and tightness to the arrangement. In many ways, this is classic Voyage, doing what they do so well, producing an anthemic, hook laden track.
Come And Get It features Arthur Simms’ lead vocal and sees no let up in the sense of urgency. Like the opening track, Voyage fuse musical genres, while incorporating the latest technology. Synths and sound effects are at the heart of the choppy, driving arrangement. The rhythm section power the arrangement along, while horns growl and rasp and a phone rings. Arthur’s vocal is delivered powerfully, with passion and urgency. Harmonies sweep in, soaring above an arrangement dominated by synths and the rhythm section. Funk, Euro Disco, soul and eighties’ electronic music are the destination. Voyage seamlessly blend these into one. It’s a hopeful, urgent and joyous musical roller coaster journey, where Voyage act as your tour guide.
Latin percussion and spacious rolls of drums open the dramatic sounding One Step Higher. When the vocal enters, Voyage sound not unlike Cameo. The resemblance is uncanny. A tough, sassy and deliberate vocal takes centre stage. With just percussion, rolls of drums and riffing guitars for company, you hear a very different side of Voyage. It’s an innovative, reinvention. From here, you feel, Voyage could’ve forged a career in eighties funk. Handclaps, synths, Latin percussion and Afro-beat influenced drums accompany the synthesized, sneering vocal. Again, this demonstrates that Voyage were never content to stand still. Instead, they strived to innovate and reinvent their sound, like they do here.
I Surrender sees funk and Euro Disco combine with soulful harmonies. It’s another uplifting track where Voyage fuse musical genres and add a plentiful supply of hooks. Unlike many similar songs, I Surrender has stood the test of time. Indeed, like a fine wine, it’s matured with age. Sometimes, there’s even a Talking Heads’ influence to the song. The vocal is sung call and response style, with soaring, soulful harmonies for company. Swathes of synths, blazing horns, percussion and a funky rhythm section joining Chic-style chiming guitars. Key to the song’s success are the sumptuously soulful harmonies. As if spurred on, Voyage produce a funky backdrop. It’s as if they’ve raised their game One Step Higher.
Nowhere To Hide has a uptempo, joyous and singalong eighties sound. Synths are joined by the rhythm sections while whoops punctuate the arrangement. When the vocal enters, Voyage start spreading a plentiful supply of hooks. Melodic, memorable and infectiously catchy, perfectly describes this eighties dance track. Quite simply, resistance is impossible. A pounding bass, chiming guitars, braying horns and harmonies join the synths. Together, they play their part in another uptempo, hook-laden track, where Euro Disco, funk, soul and eighties electronica become one.
Magic In The Groove literally, bursts into life. Soon, you’re on another musical Voyage. Probably, roller coaster is a more fitting description. At breakneck speed, chiming guitars and the rhythm section power this swinging arrangement along. A holler and bursts of laugher signal what’s to come. That’s one of the best vocals on One Step Higher. The vocal is akin to musical sunshine. Along with gospel tinged harmonies and Caribbean percussion and drums three minutes of uber funky, irresistibly catchy music unfolds. Euro Disco, Caribbean percussion and drums, reggae and funk are all thrown into the mix, given a stir by Voyage and hey presto, a delicious dish that’s best tasted often, and regularly, is served up by them.
Closing One Step Higher is Follow The Brightest Star. A thunderous rhythm section, complete with rolls of dramatic drums builds and builds the drama. Then stabs of synths, percussion, pounding drums and funky bass take charge. Somehow, they continue to build the drama. Jazz, funk, Euro Disco and electronica combine. If proof was needed, this demonstrates just how talented and versatile a group of musicians Voyage were. Then midway through the track, punchy, soulful harmonies which remind me of Chic enter. Just when you thought things couldn’t get any better, they do. Voyage then decide to showcase their considerable musical talents, which they do with considerable panache and aplomb. Not only does that provide the icing on the cake to One Step Higher, but is the cherry on top. It’s a fitting finale to One Step Higher and Voyage’s recording career.
While Follow The Brightest Star closed One Step Higher and Disc One of Disco Recharge: Voyage-One Step Higher, there’s still Disc Two to enjoy. This includes fifteen original, alternate and remixes of Let’s Get Started, I Surrender, Nowhere To Hide and Magic In The Groove. An added bonus is the previously unreleased track Almost Made It. That’s what’s in store on Disc Two of Disco Recharge: Voyage-One Step Higher.
Disc Two of Disco Recharge: Voyage-One Step Higher includes four remixes of Let’s Get Started. This includes the original 7” and 12” mixes, plus the alternate and short versions. My favorite is the original 12” mix. Only the original version of One Step Higher features on Disc Two, while there are three mixes of I Surrender. Then there’s four separate versions of Nowhere To Hide. Two versions of Magic In The Groove are featured on Disc Two. There’s the Original 12” Mix and the TV Mix. The previously unreleased Almost Made It isn’t just an added bonus, but a very welcome surprise for Voyage’s many fans. Just like Disc One, Disc Two of Disco Recharge: Voyage-One Step Higher is a tantalizing reminder of why Voyage were one of Euro Disco most successful groups.
So, One Step Higher was Voyage’s final album. In many ways, this was a fitting finale to their recording career. Like their three previous albums, One Step Higher was an innovative, genre-sprawling fusion. During the seven tracks on One Step Higher, Voyage fuse everything from Euro Disco, funk, soul, rock, electronica and poppy hooks. There’s even a hint of reggae, Latin and Caribbean music. Listen carefully and layers of music will unfold, revealing the influence of classic disco, eighties electronic, Chic, Talking Heads and Philly Soul. It’s all there, mixed together by the four members of Voyage.
Unlike so many albums released during the early eighties, Voyage’s One Step Higher hasn’t just stood the test of time, but matured like a fine wine. Thirty-one years after its release One Step Higher, sounds just as good, if not better, than it did in 1982. It was almost fitting that an album as good as One Step Higher closed Voyage’s career. Since then, Voyage have been remembered as one of the pioneers, innovators and finest purveyors of Euro Disco. Disco Recharge’s rerelease of One Step Higher as Disco Recharge: Voyage-One Step Higher, on 18th February 2013, is the perfect tribute to one of Euro Disco’s pioneering groups. If you’re unable to wait until then, then I’d suggest you investigate the many delights of Voyage’s first three albums, 1978s Voyage, with 1979s Fly Away and 1980s Voyage 3, which have all been previously rereleased by Disco Recharge. That will keep you occupied to their swan-song, Disco Recharge: Voyage-One Step Higher. Standout Tracks: Let’s Get Started, One Step Higher, Nowhere To Hide and Follow The Brightest Star.
DISCO RECHARGE: VOYAGE-ONE STEP HIGHER.
MESSAGE FROM SOULVILLE-PRODUCED BY MARC MAC.
MESSAGE FROM SOULVILLE-PRODUCED BY MARC MAC.
It doesn’t seem long since I was choosing my twenty best new releases of 2012. That wasn’t an easy job, given how many albums I review each year. However, there were some albums that undoubtably, were going to be on that list. One of them was Visioneers’ Hipology, released on BBE Music. Quite simply, Hipology was a musical masterpiece, fusing musical genres, influences, breaks, beats and samples aplenty. On Hipology’s second disc, Marc Mac, the man behind the Visioneers, compiled an old school mix-tape. That wasn’t just an added bonus, but a tantalizing reminder of what a mix tape used to sound like. Now, just seven months later, Marc Mac is back, with another mix-tape, Message From Soulville-Produced By Marc Mac.
Message From Soulville-Produced By Marc Mac was released on Omniverse Records on 21st January 2013. This is the third album where Marc Mac has merged civil rights era dialogue with jazz, funk and soul infused hip hop instrumentals. The first instalment of this series was Extend The Knowledge, released in 2011. Then It’s Right To Be Civil followed in 2012. Like Message From Soulville, both albums are incredibly powerful, moving and soulful journeys. The focus of Message From Soulville is the role that black-Americans played in the Vietnam War.
The best way to describe Message From Soulville, is an old-school mix-tape that’s compelling, captivating and incredibly potent and powerful. It’s impossible to listen to the music and dialogue on Message From Soulville without being affected by it. Anyone, unaffected by the music and dialogue, must look at themselves closely.
During the twenty-two tracks on Message From Soulville, Marc looks at the role that black-Americans played in the Vietnam War. This is their story, how the Vietnam War affected them. Snippets of dialogue give a snapshot of their views on the war? Should it have even happened? How did this war come to effect them? Once many of these men returned home, were they ever the same? All these questions and more are posed and answered, against a backdrop of melancholy, wistful hip hop instrumentals.
These hip hop instrumentals on Message From Soulville, were produced by Marc Mac himself. All he needed to do so, were an Akai MPC, bass guitar, synths and a copy of Logic. Add to that, plenty of samples, crunchy hip hop beats and plenty of inspiration. To that, I’d hasten to add, a sense of injustice. Like many people, myself included, it’s like he’s giving a voice to a generation of forgotten men and women. They were sacrifice not just several years of their life, but their safety, wellbeing and ultimately, their lives. Then they were forced to fly halfway around the world, to fight in a foreign country, in a war that like all wars, they possibly neither understood, nor agreed with. These snippets of dialogue are their stories, their views and how the war came to change the direction of their lives.
Marc tales you on a twenty-two track and fifty-two minute, deeply powerful and moving musical journey. That musical journey is Message From Soulville. You’re taken on a journey where thoughtful, introspective and often, inspirational music, for the heart and the head is mixed with civil rights-era dialogue. Just like Extend The Knowledge and It’s Right To Be Civil, you can expect plenty of boom box beats, swathes of the lushest strings and some moving, inspirational dialogue. Dr. Martin Luther King and ordinary soldiers, who fought in Vietnam and lived to the tale, tell you their stories. It’s a snapshot of their views on the war and how it came to effect them.
Listen to some of the dialogue and you’ll realize that, like any war, there’s no real winners. Everyone, regardless of side, is affected. Many of the men whose stories you’ll hear, seem puzzled, confused and doubtful, that what they endured was worth the sacrifice. From the opening bars of Message From Soulville you get a sense of the opposition to the Vietnam War.
Soulville Intro which opens Message From Soulville demonstrates the strength of feeling against the Vietnam War, with the sounds of the anti-war movement. From there, Reason and Sanity offers another possibility to the conflict. Marc adds layers of strings, crispy beats and delay to the strands of dialogue, as they powerfully offer another alternative solution. Brand New Thinkin’ opens a call for change, equality and justice. Quickly, it gives way the soulful strains of Isaac Hayes set against a backdrop of crispy beats and crackly vinyl.
On Front Line Colors a melancholy, jazz-tinged piano solo is fused with the story of a frontline soldier, lacking in training, sent into battle unprepared and unskilled for what lay ahead. His message is a soldier’s race doesn’t matter, each man or woman were in this together.
On Feelin’ Like Clay the sound of Cassius Clay, refusing to enlist gives way to a heartfelt vocal. It soars powerfully and sincerely, above the arrangement, as if in admiration for his decision. Saigon Say No sees a call to defy the government gives way to a melancholy piano. Dialogue is then added, adding the potency of the track. Love Of Self sees choppy hip hop beats, angelic harmonies combined with dialogue, where there’s an air of positivity, that change is starting to happen. Suddenly, people are proud of their color, as the soldier says: “proud to be black.”
Re-Evaluate is one of the most powerful tracks on Message From Soulville. When you hear the mention of the caskets coming home, you realize the reality and enormity of the situation. By then, people’s opinions are changing. Which brings us nicely to Different Light. The dialogue mentions seeing people in a Different Light. What does this mean you ask? A good or bad light? Set against a pensive, melancholy and emotive backdrop of quivering strings and deliberate keyboards. Even more moving, meaningful and powerful is That’s What It Is, featuring an extract from a speech from Dr. Martin Luther King. He speaks of the struggle ahead, while other mention the problems of the South. Someone suggests the problem with the south is it’s run by “gangsters.” When the broody, moody and melodramatic music begins, bursts of the word “gangsters” proves a potent reminder of the racism that people had to overcome.
Afro Pride Soldier sees Marc tackle the subject of identity. The Afro Pride Soldier is stripped of his identity, his hair shorn, transformed into G.I. Joe. This was the ultimate indignity. Somehow, the army was going to change him, strip him of who he was and what he believed in. Boom Bap Dap again, looks at identity, but in a positive way. Through a unique handshake, soldiers from different parts of America are able to distinguish themselves, make themselves stand out and enjoy a sense of brotherhood.
Probably the most powerful and anthemic track on Message From Soulville is Revisionist (Walk On). After just a snippet of dialogue, Marc takes Isaac Hayes’ Walk On By and transforms it into an epic where soul and hip hop unite. To do this, Marc uses crispy beats, swathes of strings, soaring, soulful harmonies sung call and response style, plus filters. The filters help give the track its epic nature. Quite simply, this results in two of the best minutes of music on Message From Soulville.
Reflection Time hears a soldier recount that when they were off-duty, they reflected on what had happened. This was their Reflection Time. After the dialogue, a backdrop of sweet, soulful vocals and crispy beats enters. Filters are added, meaning the music drops in and out, as if recreating their Reflection Time. While they could be trying to relax, the soldiers would constantly be replaying horrors and tragedy that they’d been forced to witness and endure.
Keep Your Word is an almost ironic title for a song. After listening to the album, hearing the dialogue and how soldiers were affected, did the government keep their word to look after the veterans? Did the government keep their word to come back to a country where justice and equality prevailed? Ironically, the music that forms the backdrop to this track is one of the most beautiful on Message From Soulville is Revisionist (Walk On).
G.I. Resistance is an equally beautiful track, where Mac adds snatches potent dialogue. Soul and hip hop seamlessly unite. Similarly, music and social comment become one. One of the most powerful statements is when a veteran says if he had to return to Vietnam, he wouldn’t carry a weapon. On Fort Bragg Revolution the drama and tempo builds. Soul and funk are fused, as wave after wave of music grandly and dramatically builds and builds. Later, the music gives way to dialogue, as a veteran talks of how through time, he changed. Then before you can hear how and in what way, the song is over. You’re left wondering, how he changed and what became of that soldier? Was his life ever the same again? Soul Transformation seems the perfect track to follow Fort Bragg Revolution. It’s a pensive, thoughtful sounding track, where veterans recount how they heard of how America was changing, but not in a good way. Here they were, far from home, fighting for their country and their friends and family were being discriminated against. Like those they were fighting, their friends and family were victims, victims of injustice and inequality.
Clean Home is a track that demonstrates just what Marc Mac does so well. He fuses musical genres and influences peerlessly. In doing so, he creates a beautiful new track. Jazz, soul, Latin, funk and hip hop become one. Then a curveball is thrown, when a snippet of dialogue asks how can American solve another countries problems when it has so many of its own? A similar track closes Message From Soulville. I Am Mr. Simple is a quite beautiful, elegant fusion of musical genres. It floats along, with a scatted vocal drifting above the arrangement. Then later, the music cuts to dialogue of a radio show, where a man passionately makes his point of view, before ending his rant with: “Mr. Simple is here to stay.” How wrong could he be. He was the voice of reason, speaking with passion and dignity.
Whether you’re a veteran of Marc Mac’s legendary mix-tapes or a newcomer to their delights, then Message From Soulville is an album that you must hear. Message From Soulville is this one of the most moving, powerful and emotional albums you’ll hear this year. Not only does it tell the story of one of the longest, bloodiest and most deadly wars in living memory, but does so from a unique perspective, that of black-Americans. This was during a time when injustice and equality was rife. Black-Americans, who were being discriminated against, being denied equality, something many people now take for granted. Almost ironically, they were being asked to fight for their country. Can you imagine that? How must these men and women felt? Nobody would’ve blamed them if they’d said no.
Indeed, Cassius Clay said no. This cost him dearly. He was stripped of his world boxing titles, his reputation left in tatters, due to the way he was perceived by. Instead, his courage should’ve been applauded. Granted it was, but not by the majority of Americans who’d been whipped into a frenzy of patriotism. That is part of the story Message From Soulville tells.
Over fifty-two minutes and twenty-two tracks, Message From Soulville-Produced By Marc Mac, brings to life the story of these men and women. Each of them, had to fly halfway around the world, risking their lives to fight in a war many neither understood nor believed in. When they returned, many of them were never the same. Instead they were mere shells of their former selfs, never the same and forever changed and affected by the horrors and tragedy they endured and experienced. Message From Soulville, which was released by Omniverse Records on 21st January 2013 is a compelling, captivating album, where the story of black-Americans who fought in the Vietnam War is set to music. Marc Mac has payed homage to them, telling their story by fusing musical genres and influences. He fuses civil rights era dialogue with jazz, funk and soul infused hip hop instrumentals. For anyone who wants to hear Message From Soulville, they’d better be quick, as there are only 500 copies available. Believe me, Message From Soulville is one of the most powerful, moving and poignant albums you’ll hear this year. Enjoy the journey and the musical Message From Soulville. Standout Tracks: Re-Evaluate, Revisionist (Walk On), G.I. Resistance and Clean Home.
MESSAGE FROM SOULVILLE-PRODUCED BY MARC MAC.
GEORGE DUKE-DON’T LET GO.
GEORGE DUKE-DON’T LET GO.
There aren’t may artists who’ve worked with such an eclectic range of artists as George Duke. Among the artists George Duke has worked with are Frank Zappa, Anita Baker Flora Purim, right through to Jean Luc-Ponty, Cannonball Adderley, Billy Cobham and George Clinton. Whether it was jazz, rock, soul, disco, R&B or funk, George was the sideman go-to-guy. Singers, producers and musicians had his phone number and would regularly give George a call. It’s now wonder. After all how many musicians were true multi-instrumentalists like George Duke. Piano, keyboards, trombone, contrabass and synths, George could play them. He was also in demand as a producer. Then there’s George’s solo career.
By 1978, George was thirty-two, and already had recorded thirteen solo albums since his 1966 debut George Duke Presented By The Jazz Workshop. He’d signed to Epic and released his two album in 1977, From Me To You and Reach For It. 1978 saw George begin work on album number fourteen, Don’t Let Go, which will be rereleased by SoulMusic Records on 21st January 2013. Joining George were a tight, funky, all-star band, who helped make Don’t Let Go one of George Duke’s most successful albums.
For Don’t Let Go, George wrote eight of the eleven tracks and cowrote two other tracks. He penned We Give Our Love with Leon Ndugu Chancier, Byron Miller and Charles Johnson. Leon Ndugu Chancier and George cowrote Yeah We Going. Pete Escovedo of Azteca and Sheila Escovedo, who later reinvented herself as Sheila E and worked with Prince cowrote Percussion Interlude. Recording of the eleven tracks would take place at Paramount Recording Studios, Los Angeles.
At Paramount Recording Studios, Los Angeles, George was joined for the recording of Don’t Let Go by some of the hottest musicians in town. The rhythm section alone, contained drummer Leon Ndugu Chancier, bassist Byron Miller and guitarists Charles Johnson and Wah Wah Watson. Carol Shive played violin and Sheila Escovedo congas and percussion. Backing vocals came courtesy of Pattie Brooks and Petsye Powell, while Josie James and Napoleon M. Brock add lead vocals. Once Don’t Let Go was recorded, George was about to enjoy one of his most successful albums.
On the release of Don’t Let Go in 1978, it reached number thirty-nine in the US Billboard 200, number five in the US R&B Charts and number seven in the US Top Jazz Albums Charts. Things got even better when the lead single Dukey Stick Pt. 1 reached number four in the US R&B Charts. Then Movin’ On reached number sixty-eight in the US R&B Charts. Don’t Let Go had proved to be one of George Duke’s most successful albums. You’ll realize why, when I tell you about the music on Don’t Let Go.
Opening George Duke’s fourteenth solo studio album Don’t Let Go, is We Give Our Love. A dramatic crash of thunder gives way to a snake like bass, frenzied percussion, keyboards and guitars. Then urgent harmonies enter, before George unleashes a keyboard solo. At breakneck speed, his keyboards weave their way across the arrangement. Percussion and harmonies reflect the sense of urgency and drama, as jazz, funk and Latin music unite. Later, a searing, sizzling rocky guitar from Wah Wah Watson and pounding bass line join the fun, playing their part in grabbing your attention. George does this dramatically, urgently and with aplomb.
Morning Sun sees a change in style, but no drop in tempo. George delivers a heartfelt vocal. It veers between tender, sassy and powerful, sung call and response style with backing vocalists. Meanwhile, crystalline, wah wah guitars dance along the arrangement while the rhythm section and keyboards drive the arrangement along. Harmonies join George, adding a joyful sound, before a ballsy vocal takes charge. It’s fiery, sassy and confident and adds the finishing touch to this explosive slice of musical sunshine.
Percussion Interlude is a two minute track where percussion and congas courtesy of Sheila Escovedo join chanted vocals. TImbales are added by drummer Leon Ndugu Chancier. The result is a track, with an authentic real Afro-Cuban sound.
It’s almost ironic that Dukey Stick, which George delivers with his tongue placed firmly in cheek, gave him one of his most successful singles. His playful, sassy vocal is delivered against an arrangement which is uber funky. A pounding, funky bass, hissing hi-hats and equally funky guitars, are joined by squelchy synths and sweet, bubblegum harmonies. The interplay between George and the harmonies playful, good natured and littered with innuendo. Although something of a novelty track, hooks and innuendo aplenty are in-store for the listener.
Starting Again sees George get back to his usual style. He delivers a tender, hopeful vocal against an understated backdrop. Just the rhythm section, percussion and melodic keyboards accompany him, as the arrangement builds. The taking their lead from George’s emotive soaring vocal, the arrangement grows. This signals the arrival of impassioned, soulful harmonies. By now, George’s vocal is needy, pleading and filled with hurt, resulting in one of the highlights of Don’t Let Go.
The tempo rises on Yeah We Going, which George and Leon Ndugu Chancier cowrote. Here, funk, jazz-funk, soul and R&B combine. George and backing vocalists soulfully and joyfully scat, as the rhythm section, keyboards and percussion provide a pounding, pulsating and action-packed backdrop. Funk later becomes jazz-funk, with the keyboards taking charge. Never does George miss a beat. Neither does he let the tempo drop. He encourages, even cajoles, his band of multitalented musicians to keep this majestic musical juggernaut en route to its destination.
Josie James takes charge of the lead vocal on The Way I Feel. The tempo drop, with the arrangement unfolding in roles. Her ethereal vocal soars elegantly above the jazzy backdrop provided by rhythm section and keyboards. Then as cascading harmonies enter, you sense things are about to change. They do, a Latin infused arrangement unfolds. Quickly, the tempo increases and the arrangement heads in the direction of jazz funk. Just as quickly, things slow way down, the arrangement meandering along Josie and punchy, then soaring, cascading harmonies combining. From there, this musical roller coaster gathers speed, taking you on a musical journey via jazz, jazz-funk, Latin and R&B.
Movin’ On has a jaunty, uptempo introduction. Just keyboards, rolls of drums and George’s vocal combine. Like other tracks, George delivers a curveball. His vocal becomes fiery, sassy and grizzled. Behind him, just the rhythm section, keyboards and harmonies combine. Soon, he’s unleashing a soaring, powerful with harmonies augmenting his lead. When Josie takes charge of the lead vocal, her vocal is a mixture of power, passion and control. It’s as this spurs the band and backing vocalists on to even greater heights. She takes the song to another level. A good song becoming a very good song, and another of Don’t Let Go’s best tracks.
Napoleon Murphy Brock takes over the lead vocal on the title-track Don’t Let Go. It’s another uptempo track, that unfolds at breakneck speed. Both Napoleon and George’s vocal are delivered rapidly. It’s like a musical duel. The band manage to keep up. They seem to rise to, and enjoy the challenge. George’s jazz-drenched keyboards are at heart of the action. Indeed, this is George Duke at his best. He gives a virtuoso performance, with the rhythm section for company. Later, George and Napoleon continue they’re musical duel, but it’s too close to call and is declared a draw.
Preface is just a ninety-second track that you wish was longer. Just keyboards, rhythm section and harmonies produce a dramatic, melancholy and pensive sounding track. It gives way to The Future, which closes Don’t Let Go. Like the preceding track, it has melancholy sound, that meanders blissfully along. Keyboards, rhythm section and crystalline guitars mix jazz and jazz funk. One last time, George and his all-star band demonstrate their talents, producing a wistful, space-age sounding track. It’s the perfect way to close Don’t Let Go.
So, Don’t Let Go was George Duke’s fourteenth solo album in a twelve year period. Given how prolific an artist George was during this time, not just as a solo artist, but as a sideman, the quality you’d expect from George Duke is there. It’s as if George set high standards, and only his best music was released. On Don’t Let Go, he fused everything from jazz, R&B, soul, funk, Afro-Cuban, Latin and his trademark jazz-funk. Much of Don’t Let Go is innovative and bold. Not for George Duke churning out album after album of similar music. Instead he was a musical pioneer, a leader not a follower. Listening to Don’t Let Go, you realize how brave, bold and innovative George Duke’s music was. He wasn’t afraid to fuse musical genres and influences. Neither was he afraid to take advantage of advances in technology. Indeed, George embraced synths and used them properly, utilizing their potential, while producing music that has aged well. With a cast of multitalented band and guest vocalists, Don’t Let Go proved to be one of George Duke’s most successful album. Now Don’t Let Go will be rereleased by SoulMusic Records on 21st January 2013. My advice to anyone buying Don’t Let Go, is Don’t Let Go of what is one of George Duke’s most innovative, genre-sprawling albums. Standout Tracks: We Give Our Love. The Way I Feel, Preface and The Future.
GEORGE DUKE-DON’T LET GO.
PATTI AUSTIN-END OF A RAINBOW-THE CTI MASTERS.
PATTI AUSTIN-END OF A RAINBOW-THE CTI MASTERS.
For Patti Austin, it was almost as if it was written in the stars that she would become a singer. It was her destiny. Quite simply, Patti Austin was born to sing. That is almost indisputable. After all, how many children aged five sign a recording contract. Patti Austin did. Mind you, how many children have Quincy Jones and Dinah Washington as godparents? Patti Austin did.
Born in Harlem, New York in 1950, Patti Austin released her first singles in 1965, when she was just fifteen. A Most Unusual Boy and He’s Good Enough For Me were released on Coral, with Somebody’s Gonna Cry released in 1966 and Got To Check You Out in 1967. By the late sixties, Patti was one of the most in-demand session singers. Her other speciality was singing jingles, with voice advertising everything from burgers, coffee and cosmetic. Then in 1969 Patti released the single Magical Boy on United Artists. Your Love Made the Difference followed in 1970. After that, Patti released singles on Columbia Records and Probe, a subsidiary of ABC Records. The only surprise in the Patti Austin story, is that she was twenty-six when she released her debut album End Of A Rainbow.
Patti Austin’s debut End Of A Rainbow, was released on CTi Records. This was the first four albums Patti recorded for CTi. Havana Candy followed in 1977 and then Live At The Bottom Line in 1979. Body Language, released in 1980, was Patti’s final released for CTi. This brought to an end the opening chapter in a long and illustrious recording career. Now, on 21st January 2013, SoulMusic Records will rerelease End Of A Rainbow-The CTi Masters. This compilation includes End Of A Rainbow in its entirety, plus nine tracks from Patti Austin’s time at CTi, which I’ll now tell you about.
CTi Records had established a reputation as one of jazz’s leading labels by the time Patti Austin signed to them. Given Patti was more of a soul and R&B singer, CTi might seem a strange choice for Patti to sign to. For her debut album, End Of A Rainbow, CTi put together a team of top musicians to work with Patti.
Of the nine tracks that became End Of A Rainbow, Patti wrote eight of them. More Than Yesterday the other track on End Of A Rainbow, was penned by Pat Upton. For the recording of End Of A Rainbow, CTi put together a tight, talented band of leading musicians. This included drummer Steve Gadd, bassist Jeff Berlin and guitarist Eric Gale. Joining them were saxophonist Michael Brecker, percussionist Ralph McDonald and backing vocalists Gwen Guthrie and Vivian Cherry. Recording of End Of A Rainbow, Mediasound in New York and Van Gelder Studios were chosen. Mixing the album was the legendary Rudy Van Gelder, while Creed Taylor produced End Of A Rainbow. Given the personnel involved, you’d have thought End Of A Rainbow would be huge success?
On the release of End Of A Rainbow in 1976, it reached number thirty-one in the US Billboard Jazz Albums Charts. Say You Love Me was released as a single in 1977, reaching number sixty-three in the US R&B Charts. While End Of A Rainbow wasn’t as successful as it might have been, it at least established Patti’s career. Maybe the problem was releasing a soul album on a jazz label, which CTi was. Having released her debut album End Of A Rainbow, Patti’s sophomore album Havana Candy would be released two years later, in 1978. It would see her fortunes improve.
Havana Candy was released in 1977. Much of the same personnel played on Havana Candy, with Dave Gruisin and Larry Rosen producing the album. Unlike her debut album End Of A Rainbow, Havana Candy was a much more eclectic album. Rather that just soul, it encompassed a variety of musical genres. This resulted in Havana Candy reaching number 116 in the US Billboard 200. Now this was progress. Gradually, Patti’s career was taking off. We’re In Love was released as a single, reaching number ninety in the US R&B Charts. For Patti’s next album, CTi would release an album of Patti live.
Live At The Bottom Line was released in 1979. She was accompanied by a tight, multitalented band. This included bassist Will Lee, guitarist David Spinozza and saxophonist Michael Brecker. Each track was a cover version, with covers of Cynthia Biggs and Dexter Wansel’s Jump For Joy, Jeffrey Osborne’s Let’s All Live and Give Together and Bob Dylan and Stephen Bishop’s One More Night. In many ways, Live At The Bottom Line was the perfect showcase for Patti. She was a charismatic and versatile singer, who could sing a variety of musical genres. Sadly, Live At The Bottom Line only reached number thirty-three in the US Jazz Charts. After Live At The Bottom Line, Patti would release just one more album on CTi. However, Body Language would prove her most successful album.
Body Language saw Patti heading to Muscle Shoals to record with what had been one of the best rhythm sections of the sixties and early seventies. However, that was a decade or more ago. This seems a strange decision. Surely, Philly was the place CTi should’ve sent Patti to? Still, drummer Roger Hawkins, bassist David Hood and guitarist Jimmy Johnson were asked to work their magic. Some familiar faces from previous sessions joined them. Saxophonist Michael Brecker and trumpeter Randy Brecker would add the horns. Producing Body Language was Creed Taylor, who’d produced End Of A Rainbow. It seemed that the Muscle Shoals boys weaved their magic.
When Body Language was released in 1980, it reached number sixty-two in the US R&B Charts and number twenty-eight in the US Billboard Top Jazz Charts. The title-track Body Language was released as a single, reaching number forty-five in the US R&B Charts. That brough Patti Austin’s time at CTi to an end. Now I’ll tell you about some of the songs on End Of A Rainbow-The CTi Masters.
The first nine tracks on End Of A Rainbow-The CTi Masters are Patti Austin’s debut album End Of A Rainbow. Opening End Of A Rainbow is the single Say You Love Me, which features Patti at her soulful best. It’s the perfect showcase for Patti, who delivers one of her most tender, heartfelt vocals. Layers of strings, flourishes of harp and an understated rhythm section accompany Patti, as she demonstrates her wide vocal range. This is just the first of the slow ballads that Patti delivers so well. Two more follow in quick succession. In My Life sees Patti scat jazz style, with just crystalline guitars and keyboards guitar for company. Gradually, another emotive, impassioned vocal unfolds. Layers of strings and deliberate chord changes on the keyboards reflect the drama and beauty in her vocal. Soon, it grows in power and emotion, with the sultriest of saxophones proving the perfect finishing touch. Then things get even better on You Don’t Have To Say You’re Sorry. Just an understated arrangement complete with lushest of strings, accompanies Patti. Slowly, deliberately and tenderly she delivers a vocal that’s truly heartbreaking. Her voice tinged with sadness, regret and emotion brings her lyrics to life, demonstrating not only is she a hugely talented singer, but songwriter and storyteller too.
More Today Than Yesterday sees a change in style, with funk and jazz combining. A funky bass, percussion and finger-clicks set the scene for Patti’s jazzy vocal. Light and joyous, she makes the song swing. Her vocal cascades, strings sweep in and cooing harmonies join her. By then, her band flex their musical muscles, adding an arrangement where jazz and R&B combine. As the song closes you wonder why oh why this wasn’t released as a single? There’s no drop in the tempo on Give It Time, where Patti unleashes a powerful, confident vocal. Similarly, her band kick loose. They seem to enjoy showcasing their talents. Strings dance, the rhythm section provide the song’s strident heartbeat, as Patti shows another side to her music.
There Is No Time sees the tempo drop slightly. This mid-tempo track features confident keyboards, percussion and a deliberate rhythm section. Patti’s vocal is pensive, tinged with heartache and hurt. Backing vocalists accompany her, providing the perfect accompaniment to her sweet, rueful vocal.
What’s At The End of A Rainbow sees Patti surpass everything that’s come before. With a subtle, understated arrangement, Patti delivers a spine-tinglingly slow, gentle and beautiful vocal. Just keyboards, acoustic guitar and swathes of strings accompany her. Quite simply, this is the best song not just on End Of A Rainbow, but the whole compilation.
This Side of Heaven sees the tempo increase, and features one of Patti’s most joyous vocal. Its matched by one of the best arrangements on End Of A Rainbow. Patti’s vocal sweeps above the arrangement, which is a mass of lush strings, percussion and keyboards. Like Patti’s vocal, it’s a slice of sunshine. Sunny days on sandy beaches spring to mind, as Patti’s cascading vocal is a mixture of happiness, hope and positivity.
When you hear the opening bars of Sweet Sadie The Savior, you realize something special is unfolding. Just a piano and percussion accompany Patti’s powerful, passionate vocal. Gradually, the arrangement builds. You’re hoping Patti and her band will kick loose. Patti does, her vocal filled with power and emotion, gospel style before the band are allowed of the leash. Throughout the track, you feel that gospel tinged harmonies would be the finishing touch. At last, they arrive, and Patti sings call and response with them. They drive each other to greater heights. The band get in on the act, kicking loose and bringing End Of A Rainbow to a gospel-tinged high.
So what of the other tracks on End Of A Rainbow-The CTi Masters? There are six tracks from Patti’s sophomore album Havana Candy. These are That’s Enough For Me, I Just Want To Know, Havana Candy, I Need Somebody, We’re In Love and Lost in the Stars. Of the six tracks from Havana Candy, three stand out. I Just Want To Know, with a sultry saxophone introducing Patti’s needy vocal. This is Patti at her best. Soulful and heartfelt, and accompanied by backing vocals quite simply, it’s one of the highlights of Havana Candy. The title-track Havana Candy is a hooky, Cuban influenced track, that demonstrates Patti’s versatility. However, It’s surpassed by I Need Somebody, with its gospel influence. Bold, dramatic and fervent describes Patti’s delivery, as the arrangement builds and builds. Cooing, sweeping harmonies accompany Patti as soul and gospel unite, gloriously and deliciously.
Just three tracks from Body Language feature on End Of A Rainbow-The CTi Masters. These three tracks are the title-track Body Language, Another Nail In My Heart and I Want You Tonight. Of these three tracks, the sensual, pulsating Body Language sees a very different side to Patti. Her sultry, sassy vocal is accompanied by a pulsating heartbeat, courtesy of the rhythm section. Bursts of rasping horns, flourishes of keyboards, sweeping harmonies and even rocky guitars are added to the mix resulting in a new sound for Patti Austin for a decade that had newly dawned.
The rerelease of Patti Austin’s End Of A Rainbow-The CTi Masters, by SoulMusic Records on 21st January 2013 is an album anyone who likes their music soulful should enjoy and embrace. Not only does it feature Patti’s debut and best album for CTi End Of A Rainbow, in its entirety, but gives a tantalizing taste of the two other albums she recorded for CTi. This won’t be the only Patti Austin album you buy. Believe me. It took me much longer to review this album than many other albums I’ve reviewed recently. Why? Well, because I enjoyed the eighteen tracks on End Of A Rainbow-The CTi Masters so much, I listened to them so often.
Indeed, End Of A Rainbow-The CTi Masters features an artist who was more than ready to record her debut album. It was as if End Of A Rainbow and her two other albums for CTi were an outpouring of artistic endeavor. At last, Patti Austin had an opportunity to showcase her talents as a singer and songwriter. While End Of A Rainbow, Havana Candy and Body Language may not have been Patti Austin’s most successful albums, it features some of the best music of her career. Following her four years on CTi Patti Austin would enjoy a long and successful career in music, winning a Grammy Award rather belatedly, in 2008. The music on SoulMusic Records’ compilation End Of A Rainbow-The CTi Masters showcases the multitalented singer, songwriter Patti Austin, as she embarked on her career. Should you enjoy your music soulful, then you should enjoy and embrace the eighteen tracks End Of A Rainbow-The CTi Masters. Standout Tracks: Say You Love Me, In My Life, What’s At The End of A Rainbow and Body Language.
PATTI AUSTIN-END OF A RAINBOW-THE CTI MASTERS.
AUDIO ARQUE RECORDS.
AUDIO ARQUE RECORDS.
Since the birth of the digital age, one of the many benefits is that nowadays, musicians worldwide can have their music heard by a much wider audience. This came about at the perfect time. Computers and digital audio workstations were becoming much more affordable. Now all a producer needed, was a copy an Apple Mac, copy of Logic and some inspiration. From their home, anywhere in the world, they could make their own music, found their own label and sell it worldwide. That was all without involving a traditional record company. No longer did artists and producers have to beat a path to a record company’s door, pleading to have their record released. Suddenly, record labels sprung up world. Labels were founded from Paris to Perth and everywhere between Philadelphia and Pretoria.
Indeed, it was in Pretoria, South Africa, two years ago, in November 2010 when Audio Arque Records were founded. Hosia Salvation Mokale was one of the three founders of Audio Arque Records. Since then, the label has been gradually building a reputation as one of South Africa’s up and coming labels. So when I got the chance to hear some of Audio Arque’s music, I jumped at the chance. What I found was a label with a big future ahead of them.
The first of the three tracks I heard was Troy DeepSounds’ Underground Mix of Porompeta. Troy DeepSounds is a DJ, remixer and producer based in Pretoria. From the opening bars, Troy seems determined to grab your attention. Soon, a dramatic and bold slice of the deepest house unfolds. Crunchy drums pound creating a hypnotic effect. Then deliberate stabs of synths enter, just like a clock chimes on the hour. Growling horns join the stabs of synths and steady beats that gallop along. Gradually, the track is revealing its secrets, subtleties and mysteries. It’s like a musical journey, that’s dramatic, bold and orchestral. Too that hooky and hypnotic also describes this eight minute epic.
Launatic Deep released an E.P. Locomotion on Audio Arque Records. Locomotion, the title-track was remixed by Troy DeepSounds. His Rational Deep Mix has hypnotic, choppy sound It marches melodically along. Bursts of vocal escape from the mix of pounding drums, percussion and washes of synths. Reverb is added as the mix moves into the distance. The arrangement canters along, atmospherically and pensively, the vocal probing, quizzing and asking a series of question. Throughout the track, the drums compete and clash, while stabs of synths add to the melodic, mysterious sound.
Troy DeepSounds’ Too Deep, from the Too Deep E.P. is the final track from AudioArque Records. This version is the Blazing Blue mix. It’s more than a little bit special. They’ve definitely kept the best until last. Crisp drums, hissing hi-hats, shimmering synths and percussion are mixed together. They create a delicious slice of the deepest, moodiest house. It meanders along, synths buzzing and shivering, drums pounding and snatches of vocal escaping from the mix. Grandiose flourishes of strings, flamboyantly glide across the arrangement. That’s just the finishing touch to what is the best of this trio of tracks from Pretoria’s Audio Arque Records.
Although I’ve only heard a trio of tracks from Audio Arque Records, this is a label with a good future ahead of it. If they can market themselves further afield than their native South Africa, then Audio Arque Records could, and should establish a good following. They’ll also gain a reputation as a label that produces innovative, quality deep house music. The proof of this is the three tracks I’ve told you about. Hopefully, they’ll continue to grow their roster of artists and expand beyond deep house music. With dance music, or EDM as it’s now called, at the height of its popularity, then Audio Arque Records should seek to benefit from this and allow the rest of the world to hear their music.
AUDIO ARQUE RECORDS.
RONNIE LAWS-MR. NICE GUY AND CLASSIC MASTERS.
RONNIE LAWS-MR. NICE GUY AND CLASSIC MASTERS.
Having spent two years at university in Texas, Ronnie Laws decided the world of academia wasn’t for him. He left university to join a new band who were fusing funk and soul. Ronnie played flute and saxophone on their third album Last Days and Time, released in November 1972. While Last Days and Time reached number eighty-seven in the US Billboard 200 and number fifteen in the US R&B Charts, Ronnie decided being a member of a group wasn’t for him. Following the success of their fourth album Head To The Sky, maybe Ronnie would regret leaving Earth, Wind and Fire? Three years later, in 1975, Ronnie would release his debut solo album, for jazz’s premier label…Blue Note Records.
Ronnie Law’s 1975 Blue Note debut album was Pressure Sensitive, which featured his biggest and best known single, Always There. He released two more albums on Blue Note, 1976s Fever and 1977s Friends and Strangers. After releasing three albums on Blue Note, Ronnie left the label. This couldn’t have been easy, given Blue Note was such a prestigious label.
Next stop was another prestigious label Capitol Records which Ronnie would call home for the next five albums. This included 1978s Flame, 1980s Every Generation and 1981s Solid Ground. Then in 1983, showcasing a new sound was Mr. Nice Guy. Two years later, in 1985, Classic Masters, a retrospective of Ronnie’s career was released by Capitol Records. This covered Ronnie’s career between 1975 and 1982. On 21st January 2013, SoulMusic Records will rerelease both Mr. Nice Guy and Classic Masters on one album. For newcomers to Ronnie Law’s music, this is the perfect introduction to a man whose career started as a jazz saxophonist, but eventually encompassed R&B.
By the time Ronnie Laws came to records Mr. Nice Guy, not only was jazz-funk changing, but so was Ronnie’s music. Not only had jazz-funk’s popularity peaked, but synths were starting to play a bigger role in the jazz-funk. For Ronnie, he was going down a similar path to George Benson. Both were moving from being jazz musicians to R&B artists. Ronnie, like George Benson, was now relying more on his voice than his saxophone. He was now becoming known as a talented singer, with his voice his secret weapon. So it was against this backdrop that work began on Mr. Nice Guy.
MR. NICE GUY.
For Mr. Nice Guy, Ronnie penned six of the nine tracks, Can’t Save Tomorrow, Mr. Nice Guy, Third Hour, Big Stars, Rolling and Off and On Again. Trevor Veitch and Greg Mathieson cowrote In The Groove and Lou Johnson and Jackie English You. Harvey Fuqua, Johnny Bristol and Junior Walker penned What Does It Take (To Win Your Love). These nine tracks became Mr. Nice Guy, which saw old and new techniques deployed.
When recording for Mr. Nice Guy got underway, it was almost like two different albums were being made. While four tracks featured “live” drummer Carlos Vega, Leon Johnson and Raymond Pounder, other tracks featured programmed drums. Back then, drums machines were fashionable. So were synths. They were played by Greg Mathieson, Larry Dunn and Michael Boddicker. This was, after all, the way music was heading. Among the other musicians playing on Mr. Nice Guy were bassists Lee Sklar and Leon Johnson, who also played guitar. Other guitarists included Paul Jackson Jr. and Roland Bautista. Percussionists Lenny Castro and Mayuto Korea, were joined by pianists Barnaby Finch and Greg “Harpo” Hiffman and backing vocalists Brenda Gooch, Gwenche Machu, Debra Laws and Maxi Anderson. Ronnie played saxophone, keyboards, synths, bass and sang vocals. With Mr. Nice Guy completed, it was released in 1983.
On the release of Mr. Nice Guy in 1983, it reached number ninety-eight in the US Billboard 200, number twenty-four in the US R&B Charts and number six in the US Jazz Charts. it seemed that Ronnie’s new style had proved popular with his fans. Reinforcing this were the two singles released from Mr. Nice Guy. The title-track Mr. Nice Guy reached number eighty in the US R&B Charts in 1983. Then In The Groove reached thirty-one in the US R&B Charts. However, what made Mr. Nice Guy such a successful album?
When you press play, and the first few bars of Ronnie Laws’ Mr. Nice Guy flow out of your speakers, two things strike you. One is how underrated a vocalist Ronnie was. Can’t Save Tomorrow demonstrates this. Ronnie’s heartfelt, tender vocal soars dramatically above the arrangement, with rasping horns for company. What also strikes you is how rich in hooks the track is. Although thirty years old, the track, synths and all, has stood the test of time well. The same can be said of In The Groove, one of Ronnie’s most successful singles. It features one of Ronnie’s best vocals, sung joyously call and response style, with a dance-floor friendly arrangement. What Does It Take (To Win Your Love) is Ronnie Laws at his best. Gentle and emotive describes his delivery. With just his saxophone, and a female backing vocalist responding to his call, Ronnie’s vocal surpasses everything that’s gone before.
You sees Ronnie deliver one of his most beautiful, impassioned vocals. He’s accompanied by a backdrop where traditional and modern instruments become one. His saxophone rasps and growls, punctuating the arrangement, while the rhythm section, aided by a drum machine provide the backdrop for his vocal. It’s very much a track with its feet rooted in two decades, the seventies and eighties, with R&B, jazz and eighties electronica fused by Ronnie. Big Star has similarities to You. Drum machines and synths provide the mainstay of this meandering arrangement. Joining Ronnie’s emotive vocal is percussion and his sensual, soaring saxophone. This provides a contrast to the synths and drum machines, as one of Ronnie unleashes a potent vocal and saxophone solo.
Mr. Nice Guy the title-track sees drum machines and synths at the forefront of the eighties arrangement. Sweet harmonies accompany Ronnie’s brisk delivery, while squeaks and beeps aplenty fill the arrangement. Of the nine tracks on Mr. Nice Guy, examine this track’s D.N.A. and it’ll read 1983. For fans of eighties electronic music and jazz, this will bring back memories. The same can be said of Third Hour, where drums machine produce crunchy beats and stabs of synths accompany Ronnie’s needy vocal. Soulful harmonies and a dancing saxophone accompany him, as his vocal veers between R&B and jazz. Big Star sees the drum machines and synths provide the mainstay of this meandering arrangement. Joining Ronnie’s emotive vocal is percussion and his sensual, soaring saxophone. They provides a contrast to the synths and drum machines, as one of Ronnie unleashes an outstanding vocal and saxophone solo.
Rollin’ is one a moody, spacey song where Ronnie unleashes one of his best saxophone solos. It’s so good you don’t want it to end. Then things get interesting. A broody, space-age backdrop unfolds, with Ronnie’s half-spoken vocal drifting in and out. Synths and drum machines merge majestically, as this spacey, surreal and space-age sounding track proves to be a true hidden gem.
Off and On Again which closes Mr. Nice Guy sees Ronnie fuse musical genres. A soaring jazz saxophone, searing rock guitars, eighties drum machines and a vocal that’s almost rapped by Ronnie are all thrown into the musical melting pot. Given a stir by Ronnie, who produced this innovative fusion of musical genres.
Not only did Mr. Nice Guy see Ronnie Laws’ music changing, but so was music and jazz-funk. It was now fashionable and for drum machines and synths to feature on albums, including jazz-funk albums. Gone were the days when “traditional” instruments played by “live” or “real” musicians ruled the roost. Not any more. Technology was available, so musicians took advantage of it. It made their lives much easier. However, the debate that will forever rage is did the music suffer?
Some critics suggest synths and drum machines lead to soulless, dated music. Other critics argue that this was progress, made recording cheaper and easier. Suddenly, it didn’t take the same budget or personnel to record an album. Granted some albums recorded when technology was in its infancy haven’t aged well, others have. Another argument is that the use of early drum machines and synths can make an album sound dated. Again, that album can be countered. Many musical genres can be dated to a time. For example, listen to albums that are either the Philly Sound, classic disco or Motown and you can guess within a few years when the album was recorded. Certain tracks on Ronnie Laws’ Mr. Nice Guy may sound like it was recorded during the early eighties. That’s on observation, not a a criticism. Mr Nice Guy certainly contains some innovative, quality music. The nine tracks on Mr. Nice Guy represents a snapshot of Ronnie Laws’ career, as does Classic Masters, which features some of the best music from his career.
CLASSIC MASTERS.
The second album on SoulMusic Records double-album of Ronnie Laws’ albums is Classic Masters. This eight track album, features two new tracks and six tracks from his six previous albums. These six albums included three albums Ronnie released for Blue Note and three for United Artists and Capitol. His first three albums were on Blue Note Records, 1975s Pressure Sensitive, 1976s Fever and 1977s Friends and Strangers. Then at Capitol Records, Ronnie released another trio of albums, 1978s Flame, 1980s Every Generation and 1981s Solid Ground. Classic Masters, released in 1985 features two new tracks and six tracks from these six albums.
Looking at Classic Masters chronologically, Always There, from Ronnie’s 1975 Blue Note jazz-funk debut Pressure Sensitive, is the earliest track. Produced by ex-Crusader Wayne Henderson and written by Ronnie, William Fulton and Paul B. Allen it gave Ronnie a number forty-five hit in the US R&B Charts. Since then, Always There has been covered by many artists, including Incognito and Side Effect. It’s since become one of Ronnie Laws’ classic tracks.
Fever was Ronnie’s second Blue Note album, released in 1976. By now, jazz-funk and smooth jazz were the order of the day. Sadly, there are no tracks from Fever included on Classic Masters. If you get the chance to hear Fever, the classic title-track is reinvented by Ronnie Laws and his all-star band.
Only Saturday Evening from Ronnie’s third Blue Note album 1977s Friends and Strangers featured on Classic Masters. It failed to chart. By then, jazz-funk was no longer as popular. Disco was now King. Indeed, Ronnie realized this. Released at the height of disco’s popularity, Friends and Strangers saw Ronnie’s signature jazz-funk, give more than a mere nod to disco. Mind you, Ronnie wasn’t alone. Everyone wanted a slice of the disco pie. Instead, we jump to Ronnie’s fourth album Flame, released in 1978.
Flame was released on United Artists in 1978. One of the singles released from Flame was Love Is Here. It reached number fifty-seven as a single. Then, as a new decade dawned, Ronnie’s sound started to evolve.
Every Generation, released in 1980, saw R&B enter Ronnie’s musical equation. Every Generation features Ronnie at his soulful best. His tender, emotive vocal, accompanied by equally heartfelt harmonies is one of the highlights of Every Generation. This gave Ronnie his most successful single, reaching number twelve in the US R&B Charts.
Ronnie’s second album of the eighties was 1981s Solid Ground. Stay Awake was released as a single in 1981, reaching number sixty in the US Billboard Charts and number nineteen in the US R&B Charts. This gave Ronnie his first hit single in the US Billboard 100.
Following Solid Ground was 1983s Mr. Nice Guy. In between the release of Mr. Nice Guy and 1985s Classic Masters, was the single City Girl. It reached number thirty-one in the US R&B Charts and featured on 1975s Classic Masters. Like many of the tracks on Mr. Nice Guy, City Girl featured synths and drum machines aplenty. By then, synths had progressed, and George Shaw joined Ronnie to play the Juno 106, DX7 and Jupiter 6. The other new track on Classic Masters was (You Are) Paradise. There are similarities to Off and On Again on Mr Nice Guy. Again, Ronnie and his band fuse musical genres, while incorporating the new technology. There’s everything from eighties electronica, jazz, rocky guitars and R&B.
So, Classic Masters charts the first six albums of Ronnie Laws’ career. Only 1976s Fever is overlooked. Every other album Ronnie released is represented on Classic Masters. As an added bonus, he wrote two new songs for Classic Masters City Girl and (You Are) Paradise. This allows a newcomer to Ronnie’s music to hear how his career evolved. These six tracks demonstrate a career that changes as musical fashions and technology evolved. Ronnie Laws wasn’t going to be one of these artists who changing musical tastes and fashions saw his career stall. He was determined to change as music changed. He went from a jazz musician to becoming a talented R&B vocalist. Soon, his saxophone was playing second fiddle to his soulful vocal.
Similarly, rather than shun new technology, Ronnie embraced it. He incorporated it into his music. Both his 1983 album Mr. Nice Guy and the two new tracks from Classic Masters demonstrate this. This worked for and against him. It works for him, by showing he was innovative, determined to use and incorporate the benefits technology brought to music. Critics of technology in music would argue it resulted in music that’s dated. However, if Ronnie Laws had continued to make albums like his first three Blue Note albums, he’d also be accused of producing dated music by the pro-technology lobby. In many ways, Ronnie and other musicians who either embraced or ignored technology were between a rock and the proverbial hard place. Not a good place to be. What’s is a good place to be, is sitting in front of your stereo, enjoying Ronnie Laws’ music, including his two album Mr Nice Guy and Classic Masters, which will be rereleased 21st January 2013, on SoulMusic Records. Standout Tracks: Can’t Save Tomorrow, Rollin,’ What Does It Take (To Win Your Love) and Every Generation.
RONNIE LAWS-MR. NICE GUY AND CLASSIC MASTERS.
CARMEN MCCRAE-I AM MUSIC.
CARMEN MCCRAE-I AM MUSIC.
There’s not many artists who, during their career, release over sixty albums and are nominated for seven Grammy Awards. Carmen McCrae did both. It’s no understatement to say that Carmen McCrae was one of the most influential jazz singers in musical history. Having referred to Carmen McCrae as a jazz singer is almost an understatement. Although best known as a jazz singer, there’s much more to Carmen’s career than just jazz. Inspired by the great Billie Holliday, Carmen was a versatile singer, just just as comfortable singing popular music as jazz. Her voice has a warmth and soulfulness. Quite simply, Carmen brought a song to life. So it’s no surprise that in 1975, Carmen McCrae signed to one of the greatest labels in music…Blue Note Records. Her 1975 Blue Note debut I Am Music, which will be rereleased by BBR Records on 28th January 2013, marked the next chapter in Carmen McCrae’s career. Would this new chapter to Carmen McCrae’s career, which opened with I Am Music prove successful?
By the time Carmen McCrae signed to Blue Note, she was already an experienced singer. Her recording career had started in 1953, when she’d released her debut album A Foggy Day With Carmen McCrae on Stardust Records. After that, Carmen had worked with many legendary jazz musicians, including Dave Brubeck. Similarly, Carmen had been signed to some of the biggest record companies.
Decca, Columbia and Atlantic had all been home for Carmen. Now she’d arrived at the iconic jazz label Blue Note. Carmen was one of the first female artists to sign to Blue Note. Marlena Shaw had been the first. and now that Blue Note’s door was open, Carmen strolled through it. By the time Carmen prepared to release her Blue Note debut, I Am Music, music was changing. Even Carmen’s beloved jazz was changing. Although jazz-funk was at the height of its popularity, jazz was no longer as popular. Soul, disco and rock had now surpassed jazz in popularity. So it was against this backdrop, that Carmen began work on what would become I Am Music, her Blue Note debut.
Now at Blue Note, Carmen’s voice had changed and matured. Similarly, under Dr. George Butler, Blue Note Records had changed. He’d been made a director in 1972, and set about making Blue Note the powerhouse it previously had been. Albums by artists like Donald Byrd, Ronnie Foster and Bobbi Humphrey proved commercial successful. Then Marlena Shaw somewhat belatedly, become the first female singer signed to Blue Note. It seemed the sixties sexual revolution had spurred Blue Note into action. For Carmen McCrae’s Blue Note debut, I Am Music, Roger Kelloway was chosen to produce the album.
I Am Music featured ten tracks. They were a mixture of new songs and cover versions. Bernard Ighner, who had already established a reputation as a successful songwriter, penning songs for Marlena Shaw, Jon Lucien, Jerry Butler and Sergio Mendes contributed two songs, A Letter For Anna-Lee and You Know Who You Are. Marilyn and Alan Bergman contributed five songs. They cowrote Like A Lover and with Dave Gruisin penned The Trouble With Hello Is Goodbye. Quincy Jones joined them to write Faraway Lover and producer Roger Kelloway cowrote I Have the Feeling I’ve Been Here Before. The Bergman’s other contribution was Who Gave You Permission? Two songs written by Jelsa Palao, I Never Lied To You and I Am Music, plus a cover of Lieber and Stoller’s I Ain’t There made up I Am Music. Recording of I Am Music took place at United and Western Studios in Los Angeles, during April 1975.
Joining Carmen McCrae for the recording sessions of I Am Music were some of the most talented jazz players. This included a rhythm section of drummers Spider Web and John Geurin, bassist John Ginaelli and guitarist Dennis Budimir. Roger Kelloway played piano and Dave Grusin Fender Rohdes and Arp. They were joined by a string and horn section. Once I Am Music was completed, it was released in August 1975.
On the release of I Am Music in August 1975, it reached number fifty-six in the US R&B Charts and number twenty-two in the US Jazz Charts. In the UK, Who Gave You Permission was released as a single in October 1975, but failed to chart. Carmen McCrae’s career at Blue Note had got off to a successful start with I Am Music, which I’ll now tell you about.
Opening I Am Music, is the Benrnard Ingher penned A Letter For Anna-Lee. After the melancholy, wistful introduction where keyboards, piano and the rhythm section provide an understated backdrop, comes that unmistakable voice. With its lived-in, weary and resigned sound, Carmen carefully and deliberately delivers the lyrics. It’s a voice that’s lived a thousand lives and survived to tell the tale. Gradually, the arrangement grows in power and drama. Strings cascade, the rhythm section adds drama as keyboards provide an atmospheric backdrop. Carmen though takes centre-stage, with powerful, dramatic vocal. She questions, probes and pleads: “do you care?” Given the emotion and feeling in her voice, surely that’s a rhetorical question?
Trouble With Hello Is Goodbye has a similar understated introduction as the opening track. Percussion, tender harmonies, keyboards and weeping guitars set the scene for Carmen’s vocal. It’s heartfelt, tinged with sadness and regret. Soon, her vocal grows in power, as breathes life, meaning and emotion into the lyrics. Harmonies are added at the perfect time, cascading above the arrangement. From there, Carmen delivers a heartbreakingly beautiful and deeply moving vocal.
Faraway Forever is Quincy Jones’ Love Theme From The Getaway soundtrack, with additional lyrics by Marilyn and Alan Bergman. They allow Carmen to roll back the years. Quite simply, her delivery is vintage Carmen McCrae. Again, the arrangement doesn’t overpower Carmen’s vocal. Just standup bass, drums played with brushes and piano accompany her slow, wistful vocal. She delivers each syllable with the utmost care. Soon, Carmen has given herself over to the lyrics, delivering them real feeling. Melancholy strings, subtle vibes and occasional flourishes of harpsichord accompany Carmen. As the years roll back, Carmen demonstrates just why she’s one of the finest jazz vocalists ever. One listen, proves this.
I Ain’t Here sees Carmen deliver Lieber and Stoller’s lyrics with a sassy swing. In an age when musical arrangements were growing ever lavish, all Carmen needs is jazzy piano to accompany her confident, sassy, fiery vocal. Finger clicks and the occasional roll of the bass drum accompany her. The result is a delicious reminder of how jazz used to sound, courtesy of Carmen McCrae.
You Know Who You Are is the second Benrnard Ingher song. Just the piano, the rhythm section, Hammond organ and growling horns set the scene for Carmen. Her powerful, impassioned vocal is accompanied by soaring, gospel tinged harmonies. Then with just the rhythm section and keyboards for company, Carmen delivers one of her best vocals. One minute it’s wistful, tinged with heartache and regret, the next hope and forgiveness shine through. Wiser and stronger, with celebratory gospel style harmonies for company, Carmen is reborn, while demonstrating her versatility as a vocalist and as a storyteller.
I Have The Feeling I’ve Been Here Before is an apt title, given the song sounds like its from another era. Strings wistful and weeping, are joined by standup bass and piano. Carmen’s slow, deliberate reading of the lyrics, highlights their meaning and potency. Flourishes of harp accompany her, as she carefully annunciates lyrics. Swathes of strings add to the emotion and beauty, as Carmen takes you on a melancholy, rueful trip down memory lane, to when music, like life, was very different.
Who Gave You Permission was a track the Bergans cowrote with Billy Goldenberg, for the TV movie Queen of The Stardust Ballroom. Layers of strings tug at your heartstrings, while the arrangement meanders and dances along. Just vibes, piano and the rhythm section accompany the strings. Carmen’s delivery is different. It’s half-spoken vocal. She reminisces, remembering times and places. Now she’s alone, lonely and heartbroken, Carmen asks” Who Gave You Permission” to leave?
For more years than I care to remember, I’ve championed Jon Lucien’s music. Like A Lover is one of Jon’s best known songs. Jon’s version might be the best version, but Carmen’s comes close. With quivering, shivering strings, guitars reverberating and piano combining, Carmen slows the song down, carefully and tenderly delivering the Bergam’s beautiful lyrics. You can’t fail to adore this song. Quite simply, you surrender to its beauty, allowing it to wash over you. Not only is this the best song on I Am Music, but sees Carmen McCrae reinvent a classic track.
I Never Lied To You is the first of two consecutive Jelsa Palao songs. Just a subtle backdrop of ethereal harmonies, piano, wandering bass and guitar accompany Carmen’s pensive vocal. Heartache and hope fill her voice, as it soars and swoops. One minute it’s tender, the next powerful. Always, it’s filled with emotion, hope and heartache competing with each other.
Closing I Am Music is the title-track I Am Music. Just a piano accompanies Carmen’s gentle, thoughtful vocal. Strings reflect the pensive nature of Carmen’s vocal. Soon, the arrangement and Carmen’s vocal grows in power and drama. So too does the emotion that fills her voice. Midway through the track, the rhythm section, flourishes of harpsichord, layers of strings and piano combine with Carmen as the song builds and builds. Woodwind join the arrangement as Carmen delivers one of her most dramatic, emotive vocals, closing I Am Music beautifully and pensively.
Twenty-two years after Carmen McCrae released her debut album A Foggy Day With Carmen McCrae in 1953, and after dalliances with Decca, Columbia and Atlantic, Carmen released I Am Music for jazz’s premier label Blue Note. This must have seemed the perfect fit for Carmen. She was now fifty-five, and one of the most celebrated jazz singers of her generation. So Blue Note must have seemed the perfect label for her career to thrive. Thrive it did.
Carmen McCrae’s career seemed to be rejuvenated at Blue Note. That’s no surprise, given the label was run by many people who knew and understood jazz music. This seemed to spur Carmen on, encouraging her to create one of her best albums of the seventies. I Am Music, which will be rereleased by BBR Music on 28th January 2013, is Carmen McCrae at her very best. Here, Carmen McCrae, the first Lady of jazz is at her very best, delivering each track on I Am Music with care, emotion, soulfulness and beauty. Quite fittingly and apt, is the title, which describes Carmen McCrae perfectly, I Am Music. Standout Tracks: A Letter For Anna-Lee, Faraway Forever, Like A Lover and I Never Lied To You.
CARMEN MCCRAE-I AM MUSIC.
YESKING-OVERPROOF.
YESKING-OVERPROOF.
2008. That’s when Yesking released their debut album Rock This World, which was produced by Yesking head honcho Rhys Adams and Mark Rae, of Rae and Christian. Now five years later, on March 18th 2013, Yesking will release their sophomore album Re-Record Not Fade Away on BBE Music. For Yesking’s legion of fans, that means the wait is nearly over. At Last, as Etta James sang, Yesking’s fans have something to look forward to. To tide any impatient or restless Yesking fans over, during the next two months, comes Overproof, the lead single from Re-Record Not Fade Away. Overproof, you’ll realize when I tell you about it, isn’t just any single. Not all all. Instead, Overproof is a luxurious eight track digital download, which should keep Yesking fans everywhere occupied for the next two months.
Since we last heard from Yesking, they, like music, and the music industry, have undergone a number of changes. Musical fashions seem to change even quicker than before, with new musical genres becoming flavor of the month. Then just as quickly as a new musical genre blossoms, something new comes along to surpass it. For record companies, never before have they faced such challenging times. The way people are consuming and buying music has changed.
Long gone are the days when singles were released on vinyl and sold through record shops. When I first bought singles, they were the old seven inch singles. The twelve inch single had yet to be invented. From there came the invention of the compact disc, which like the twelve inch single, people at the time wondered whether “it would catch on?” To many cynics, both the twelve inch single and compact disc were “fads,” doomed to go the way of betamax video recorders. Eventually, singles were released on compact disc. Then, with the advent of the digital download, the physical sales of singles gradually died a slow and painful death. Much loved and much mourned, the birth of MP3 and MP4s, meant the way people buy, consume and listen to music has changed. Now in 2013, downloads outsell compact discs. For labels like BBE Music, and groups like Yesking, they’ve had to adapt, react to the changes in how people buy, consume and listen to music. An example of this is Yesking’s single Overproof, which will be released on BBE Music.
When singles were released on vinyl, usually their were only two tracks. For an E.P. four tracks were squeezed in. Now with the digital download, there’s no restrictions on the number of tracks on a single package. Overproof, the lead single from Yesking’s sophomore album Re-Record Not Fade Away is a good example of this. In total, there are eight different versions of Overproof in this digital release. There’s the original version of Overproof, an instrumental version, a radio edit and three remixes. The remixes are from BBE Music favorites Chris Read, Sola Rosa and Joe Revell. As an added bonus, Overproof is reinvented, reinterpreted and retitled, becoming Raise Up. An acapella version also is included, which should please DJs everywhere. So that’s eight slices of Yesking to keep their fans occupied. However, what can they expect?
For Yesking fans buying Overproof, and then in March Re-Record Not Fade Away, they’re in for two pleasant surprises. The first is that Overproof feature a new lineup of Yesking. Overproof features the Yesking debut of Mel Uye-Parker’s sultry, sensuous vocal. Raise Up sees Kenny Knotts, a regular feature of the UK’s Dancehall scene add the vocal. Another difference is that, this time around, Rhys Adams produces Re-Record Not Fade Away. So Yesking’s lineup has changed and so has their sound.
Previously, Yesking fused R&B, hip hop, dancehall, ska and ragga. Much of Rock That World was recorded by Rhys Adams and Mark Rae in Ladbroke Grove, which has a rich Jamaican musical heritage. Many of Yesking’s collaborators were based in the borough. Kenny Knotts, Dawn Penn and Veba all featured on Rock That World. That was in the Mark Rae era Yesking. Now Rhys Adams takes sole charge of production duties for Yesking’s sophomore album Re-Record Not Fade Away. Rhys seems to be stamping his authority on the post Mark Rae Yesking sound, producing music which is best described as “dubbed out, reggae influenced songs” which are in similar to the style of music Massive Attack have championed. I’ll explain more when I tell you about Overproof.
From the opening bars of Overproof, you’re won over by Yesking’s new sound. It’s impossible not to be. Harmonies joyfully soar, before things get spacey and gloriously dubbed out.The tempo is slow, the rhythms transporting you far, far away. You head to Jamaica, via Labroke Grove. Spacey, dubby drums, a pounding bass and percussion meander along. Drums crack, then echo in the distance. Then Mel Uye-Parker’s sultry, heartfelt vocal enters. It’s surrounded by the fruits of Yesking’s rhythm section. They provide a pulsating heartbeat, that wanders and ambles along. An angelic, crystalline choir of backing vocalists enter, their scatted harmonies sung emotively and with sheer joy. For five minutes, you’re captivated and enthralled, by this spacey, smokey dub-delicious track, from the new Yesking.
Having enjoyed the original version of Overproof, there’s the added bonus of five other version to revel in. The instrumental version, or should that be the dub version, is just as good. You can hear the keyboards, guitar and rhythms even better. Listen carefully and you’ll hear some atmospheric, vintage Hammond organ licks, chiming guitars and glorious rhythms. Here, the drums seEm spacier and deeper. Effects are added to them, resulting in an uber dubby sound. Similarly, bass seems punchier, pounding, testing the tolerance of your speakers. Certainly the track doesn’t suffer from the loss of Mel Uy-Parker’s vocal. Quite the opposite. Subtleties and nuances reveal themselves, and a new track is born.
Of the other four versions of Overproof, each version offers something new and different to the original track. The Radio Mix sees the track shortened, coming in at just under four minutes. This results in a much more punchier track, which as the description suggests, would be “radio friendly.” The other three remixes, well they offer something different.
BBE Music regulars Chris Read and Sola Rosa are first up. Chris Read’s version of Overproof is dubbier, much more moody and atmospheric. To do this, Chris uses echo and delay, but cleverly and subtly, especially on the vocals and drums. Sola Rosa takes a different approach. This remix is quicker, brisker and more uptempo. It transforms the original track. Then it’s Joe Revell’s turn to get busy remixing Overproof. Joe Revell’s mix is different again. He totally rearranges the track from the opening pensive, wistful beats. There’s a much more understated sound to the track, building up to the joyous harmonies which in the original, were at the start. Again, Joe has transformed the original track, chopping it up, rearranging it and turning it into something that Rhys Adams probably neither imagined, nor envisaged. The beauty of this is that with each remixer approaching the original track in a different way, they’ve come up with something innovative and imaginative. While there’s no right or wrong way to remix a track, there’s only good and bad remixes. Here, Chris Read, Sola Rosa and Joe Revell prove that they’re talented and innovative remixers. As far as remixers go, well they’re three of the good guys. These three remixes demonstrate this.
There are two more tracks on the Overproof single’s package. They demonstrate just how inventive the personnel involved with this project is. Here. Overproof is reinvented and reinterpreted, becoming a totally new track, entitled Raise Up. Most of the track is the same, apart from the vocal. That’s where Kenny Knotts comes in. Kenny a regular feature of the UK’s Dancehall scene, takes charge of vocal duties. His vocal is very different from Mel Uy-Parker’s vocal. While her vocal is sultry and sensual, Kenny’s is heartfelt, has a spiritual quality and an authentic Jamaican sound. An added bonus, which will appeal to DJs is the acapella version of Raise Up.
So, five long years, after the release of Yesking’s debut album Rock This World, Yesking are back. Not only are they back, but they’re back with a new lineup and new sound. Overproof is a tantaliSing taster of what’s just around the corner. What’s around the corner is their sophomore album Re-Record Not Fade Away, which will be released on BBE Music, on 18th March 2013. From what I’ve heard listening to Overproof, then Re-Record Not Fade Away, Yesking have neither burnt out, nor faded away. Just like their debut album Rock This World, Yesking are just as innovative, brave and bold as before. Indeed, Re-Record Not Fade Away is a fitting description of Yesking and their music, as they continue to Rock This World, and at the same time, innovate bravely and boldly.
YESKING-OVERPROOF.
MAMY WATA-PROMESSE.
MAMY WATA-PROMESSE.
Recently, when I was compiling my list of the twenty best new albums of 2012, Offering Recordings were one of the labels that came out on top. Sage Monk’s Heartache Allegory and Idrissa Sissoko’s Lopilopolo, both released by Offering Recordings, featured in my twenty best albums of 2012. Offering Recordings were founded by Boddhi Satva, whose debut album Invocation also featured in my list of best new albums of 2012. Ever since Boddhi Satva founded Offering Recordings, the label has established a reputation as one of the most innovative independent labels. It appears Offering Recordings look harder, and further afield than other labels. Just one listen to their sampler, Offering Recordings Ade 2012 demonstrates this. Ade Alafia Adio, Idrissa Sissoko, Sons of Arhat, Delany Duval and Paul Randolph all featured on Offering Recordings Ade 2012. So did Mamy Wata, whose debut album Promesse will soon be released. Before I tell you about Mamy Wata, whose debut album Promesse, I’ll tell you about his career so far.
Born in the Central African Republic as Dea Nam Gann, Mamy Wata as she’s now known, has been compared to the legendary jazz singer Nina Simone. Now comparisons are often drawn with new artists, but in Mama Wata’s case, this is no exaggeration. Here is an artist who has gradually built up a reputation as one of the most charismatic and talented singers of her generation. While many people might not have heard of Mamy Wata, that will soon change.
Mamy Wata has established a reputation as one of the most charismatic singers you’ll have the fortune to hear. Fusing soul, jazz and blues, Mamy Wata’s voice spans several octaves. From the moment she walks onto a stage, Mamy Wata has you spellbound. What follows is an enchanting evening’s entertainment. With just guitar and percussion accompanying her, Mamy’s performance captivates and enchants. Described as “singing with her body and dancing with her voice,” Mamy Wata is no ordinary singer.
Indeed, Mamy Wata has attained legendary status. All this without the backing of a major record label. Forsaking the hype, bluster and hustle that comes with a major record label behind you, Mamy has done things differently. Instead, Mamy Wata has become something of a mystical figure. Her reputation has spread by word of mouth. This comes through playing festival after festival, winning audiences far and wide over with her compelling fusion of musical genres. Signing a recording contract was only a case of when, rather than if. This is where Boddhi Satva’s Offering Recordings came in.
The first many people heard of Mamy Wata was when they heard Offering Recordings Ade 2012. This was a sampler of the artists on Offering Recordings’ rapidly expanding roster. During 2012, Offering Recordings established a reputation as one of the most innovative labels. They’re at the forefront of what’s referred to as either Nu-Soul, Future Soul or what’s become known as Ancestral Soul. Their latest release is Mamy Wata debut album Promesse.
For Mamy Wata’s debut album Promesse, Mamy wrote and performed each of the nine songs. Accompanying Mamy are David Clavel on guitar, n’goni and backing vocals, bassist Elvin Bironien, violist Sabrina Mauchet and Phillippe Cordelier on djembe, percussion and backing vocals. Offering Recordings founder Boddhi Satva, was the executive producer of Mamy Wata’s debut album Promesse, which I’ll now tell you about.
Opening Mamy Wata’s debut album Promesse, is Miroir. From the opening bars, when just a guitar, percussion and bass combine, you’re spellbound, mesmerised. Then when Mamy’s vocal enters, things move up a gear. She deliver her vocal with real emotion. It’s deeply moving, with a real spiritual quality. The moody, almost haunting understated arrangement suits the song. Her vocal is a combination of passion, power and emotion, especially when she scats jazz style. Sometimes, Mamy’s vocal takes on an ethereal, crystalline sound. Later, Mamy unleashes a vocal that’s not unlike an outpouring of sheer emotion. After this, it’s as if Mamy is spent, exhausted, having given so much of herself during this seven-minute epic.
Papa is very different from the opening track. Just an acoustic guitar accompanies Mamy’s tender, hurt-filled vocal. She tackles the problem of abuse. Her vocal is breathy, sometimes a whisper. It’s as if she’s been worn down by the anguish, suffering and hurt, a mere shadow of her former self. Always, her vocal is filled with sadness and distrust. This is reflected by the melancholy violins. They reflect the hurt and heartache in her voice, as empathy and sympathy are ever-present.
Cesse de Pleurer has a dramatic opening. Mamy’s deliberate vocal is accompanied by equally deliberate bursts of pensive guitar. Space is left in the arrangement, before it’s all change. With guitar and bass accompanying her, the arrangement becomes choppy and almost dramatic. Harmonies accompany her, their tender reply a contrast to Mamy’s confident vocal. By now, it has grown in power. Later, the arrangement becomes much more subtle, before growing in power, drama and emotion. Spurred on, Mamy delivers one of her most fervent, heartfelt vocals on Promesse.
Adoption has a wistful, jazz-tinged sound. Just acoustic guitar and percussion accompany Mamy’s vocal. She delivers an impassioned vocal, her delivery a mixture of jazz and soul in styling. Throughout the song, there’s a warmth and fervor to her vocal. Sometimes, her vocal sounds wistful and melancholy. Despite this, you realize each word is delivered with feeling, sincerity and emotion. The subtle backdrop is perfect for the song. It allows Mamy’s vocal to take centre-stage, which is quite fitting. Quite simply, that’s where it belongs.
Straight away, you realize something special is unfolding as La Peine reveals its beauty and secrets. Mamy’s vocal is a mixture of power and confidence, but also frustration and anger. The song is about the abolition of the death penalty. With just percussion and guitar accompanying her, the arrangement grows in power, becoming frenzied as the frustration and anger in Mamy’s voice grows.
When Regardez Moi opens, Mamy’s vocal is pensive and thoughtful. Soon, it grows in power and passion. It’s as if this song is deeply personal. Just an acoustic guitar and percussion accompany her as she deals with the subject of mental illness. Her vocal is filled with emotion, as she sings of the anguish, confusion and pain sufferers experience. She uses her voice like an instrument. It soars filled with anxiety, pain and confusion. It’s powerful, potent and moving, sounding like a cathartic outpouring of anxiety, emotion and confusion.
Like other songs on Promesse, Mamy tackles another social issue during Dans La Rue, poverty. Just like other tracks, this prompts another powerful, moving outpouring of frustration, anger and emotion. This is Mamy at her very best. Quite simply, it’s impossible not to be moved by her vocal. It grows in power, her voice filled with emotion and pain. It’s as if she shares what people are experiencing. Other times, her vocal wells up, angered, frustrated and disapproval at the injustice and inequality that she’s seen and experienced. Of all the songs on Promesse, this is the most powerful and moving.
The tempo slows, space is left in the arrangement as J’ai Peur unfolds. Mamy’s vocal is deep, powerful and heartfelt. Filled with emotion and with guitars, percussion and backing vocalists accompanying her, you’re spellbound. You can’t help but be won over by Mamy’s impassioned delivery,What follows is a mesmerizing four minute song. Mamy seems to have dug deep, surpassing everything that’s come before, delivering quite simply, her best vocal on Promesse.
Closing Mamy Wata’s debut album Promesse is Dis Moi. Just chiming, crystalline guitars and percussion accompany the tenderest of harmonies. Then confidently and powerfully Mamy’s vocal enters. Like Mamy’s vocal, the guitar is played more stridently. A contrast are the harmonies, which are tender, ethereal and beautiful. It’s as if Mamy and her band are determined to raise their game one more time. This they do, closing Promesse on a deeply moving, emotive high.
Having heard Mamy Wata’s Regardez Moi on Offering Recordings Ade 2012, the release of Mamy’s debut album couldn’t come quick enough. I certainly wasn’t disappointed with Promesse. From the opening bars of Miroir, right through to the closing notes of Dis Moi Promesse it’s a deeply moving, emotive and powerful musical journey. A wide range of social issues are explored, from poverty, the death penalty, mental illness, identity and abuse. This is a brave exploration of some complex social issues. Many artists wouldn’t be brave enough to do so. Instead, they’d play safe and stick with much more familiar themes. So, it’s to Mamy Waty’s credit that she’s explored each of these issues. Mamy Waty tackles each issue head-on, her voice breathing life, meaning and emotion into the nine tracks on Promesse. The result is one of the best albums Offering Recordings have released.
Indeed, Mamy Wata’s debut album Promesse which will be soon be released on Offering Recordings, is one of the finest Ancestral Soul albums that’s been released. I’m sure Mamy Wata has a great future ahead of her, and that we’ll be hearing much more from you, that I can Promesse. Standout Tracks: Miroir, Adoption, Regardez Moi and Dans La Rue.
MAMY WATA-PROMESSE.
NORMAN HARRIS-THE HARRIS MACHINE.
NORMAN HARRIS-THE HARRIS MACHINE.
For Norman Harris, all his hard work building Gold Mind Records had been in vain. Gold Mind Records had been experiencing financial problems and eventually became part of Salsoul Records. Latterly, Gold Mind Records didn’t even have a distributor. Eventually the Cayre brothers decided that the only solution was that Gold Mind became part of Salsoul. Previously, Gold Mind had been an independent company, which the Cayres had formed and Norman Harris had ran. Among the artists Norman Harris signed to Gold Mind were the first Lady of Disco Loleatta Holloway, Philly’s finest vocal trio First Choice and Double Exposure. With Gold Mind now no longer Norman’s label, he decided that now was the time to do something he’d never previously done…release a solo album. So, he signed to the label he’d left in 1975, Philadelphia International Records and would release The Harris Machine, his debut solo album.
Despite his career starting in the early sixties, Norman Harris had never released a solo album. The Harris Machine would be his debut solo album. He’d either been a member of a group, including The Fabulous Playboys, M.F.S.B. or The Salsoul Orchestra. Two years earlier, in 1978, Norman, with his partners in the Baker, Harris, Young rhythm section, had released Baker, Harris, Young’s only album B-H-Y on Salsoul Records. Apart from that, Norman’s career had seen him work as a musician, songwriter, arranger and producer for numerous artists.
During his career, Norman hd been a member of Philadelphia International Records’ legendary house-band M.F.S.B. accompanying artists like The O’Jays, Billy Paul, Harold Melvin and The Blue Notes, The Three Degrees and Joe Simon. Then when many of the original members ofM.F.S.B. left Philadelphia International Records in 1975, after a dispute with Gamble and Huff over money, Norman became a member of The Salsoul Orchestra. At Salsoul Records, Norman accompanied everyone from Loleatta Holloway, First Choice, Carol Williams, Charo, Eddie Kendricks and Double Exposure. Then there was Norman’s work away from Philadelphia International Records and Salsoul Records, as The Harris Machine.
By the early seventies, Norman had built a career as a successful producer. The Harris Machine was a collection of musicians, songwriters, arrangers and producers and that he’d put together. Soon, artists like Blue Magic, Major Harris, The Dells, First Choice, Loleatta Holloway, The Trammps, The Whispers, and Eddie Kendricks were benefiting from Norman’s skills as a musician, songwriter, arranger and producer. However, by then, Norman Harris was an experienced producer, having learnt from producers like Thom Bell and Gamble and Huff. As the seventies came to a close, Norman wasn’t yet forty, but was almost a veteran musically. So, he was ready to release his debut solo album.
Now back at Philadelphia International Records, work began on Norman’s debut album The Harris Machine. Only three songs written by Norman appeared on The Harris Machine. He cowrote Dodge City, Hit City and In Search of Peace of Mind with his regular songwriting partners Alan Felder and ex-Temptation Ron Tyson. The other Norman Harris composition was Bright Eyes, which he cowrote with Kenny Gamble. Other songs were cover versions. There were covers of Major Harris’ I Just Don’t Want To Be Lonely written by Bobby “Electronic” Eli, Vinnie Barrett and John Freeman. Linda Creed and Thom Bell’s You Make Me Feel Brand New and a cover of Harold Melvin and The Blue Notes’ Don’t Leave Me This Way, penned by Gamble and Huff with Cary Gilbert. Among the other tracks were Jack Faith and T.J. Tindall’s In Good Faith and two tracks penned by alto-saxophonist Zach Zachary. These were Skoo-Be-Dooby and Zach’s Fanfare ’80. Recording of The Harris Machine took place at Philly’s Sigma Sound Studios.
Joining Norman Harris for the recording of The Harris Machine, were M.F.S.B. and The Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson. Various arrangers and producers worked on The Harris Machine. Arrangers included Norman, Bruce Hawkes, Jack Faith, Ron “Have Mercy” Kersey and Zach Zachary. Producers included Jack Faith, Zach Zachary, Norman and Gamble and Huff. Once The Harris Machine was recorded at Philly’s Sigma Sound Studios, the album was released in 1980.
On the release of The Harris Machine in 1980, it failed to chart. This was disappointing for Norman’s debut album. It seemed Norman Harris was out of luck. He’d lost Gold Mind Records and now his debut album The Harris Machine, had been a commercial failure. However, is The Harris Machine one of the hidden gems of Philadelphia International Records’ back-catalogue? That’s what I’ll now tell you, when I tell you about the music on The Harris Machine.
Opening The Harris Machine is I Just Don’t Want To Be Lonely, arranged and produced by Norman Harris. Rasping horns, dancing strings and cooing harmonies from The Sweethearts of Sigma join the rhythm section creating a jazz-tinged, joyful and dramatic arrangement. Lead by a standup bass, the unmistakable sound of The Sweethearts of Sigma’s tight, tender harmonies take charge of the vocals. Norman’s guitar is fluid, crystalline and chiming, never once missing a beat. Meanwhile, thunderous drums, growling horns and flamboyant, flourishes of strings dance above the arrangement, while The Sweethearts of Sigma’s delicious harmonies are key to this jazz-tinged makeover of a true Philly Soul classic. With their help and M.F.S.B. providing the musical backdrop, Norman Harris rolls back the years.
Dodge City, Hit City was one of two tracks Norman penned with Alan Felder and Ron Tyson that feature on The Harris Machine. Pounding drums and hissing hi-hats open the track before blazing horns and swirling strings combine. Soon, keyboards, percussion and then The Sweethearts of Sigma add punchy harmonies. Their harmonies are like a sassy, proto rap with a mass of strings, grizzled horns and the rhythm section helping drive this musical juggernaut along. Philly Soul, funk and jazz combine. Bursts of horns and searing, sizzling guitars from Norman combine. Zach Zachary’s saxophone and Norman’s guitar become like two gunfighters. They walk ten paces, turn and shoot. It’s a close call, but Norman comes out the winner, in this shoot-out of virtuoso musicians.
You Make Me Feel Brand New was written by Linda Creed and Thom Bell. Sweeping, heartfelt, harmonies from The Sweethearts of Sigma join punchy horns and swathes of sweeping strings. Add to that, congas, keyboards and percussion. Soon, a familiar song is given a makeover. Drama comes courtesy of the drums and growling horns, while The Sweethearts of Sigma add beauty and emotion. Later, Norman lays down a peerless solo, while thunderous dramatic drums dramatically reflect the beauty and emotion of the song. Cascading harmonies are then added, taking the song to a new level of drama, beauty and emotion.
Zach’s Fanfare ’80 is captivating taste of what might have been. It’s updating an earlier track for a new decade. Grizzled horns, stabs of Hammond organ and the rhythm section combine to build and build the drama. Then just as you’re reveling in M.F.S.B. at their very best, it’s all over. However, it was delicious while it lasted.
Bright Eyes was written by Norman and Kenny Gamble. From the get-go, the arrangement bursts into life. Flourishes of strings, bursts of braying horns and the rhythm section combine. They combine jazz, funk and Philly Soul. Having set the scene, The Sweethearts of Sigma add sassy, sensuous vocals. Swathes of dancing strings, a funky rhythm section and muted horns then take charge, as the arrangement veers between a jazzy to a tough funky sound, as Norman and M.F.S.B. dramatically demonstrate their versatility and combined talents.
In Search of Peace of Mind with written by Norman with his regular songwriting partners Alan Felder and ex-Temptation Ron Tyson. Bursts of thunderous drums, sultry horns and flourishes of strings combine, creating an arrangement that’s reminiscent of something Salsoul would release. The arrangement is dance-floor friendly, floating along combining disco, funk, jazz and Philly Soul. Tender, floaty harmonies from The Sweethearts of Sigma join wistful, rasping horns, Norman’s chiming guitar and fluttering strings. This just goes to show, albeit somewhat belatedly, that Philadelphia International Records could make disco. It’s just a pity that Gamble and Huff let Norman Harris and the rest of M.F.S.B. become The Salsoul Orchestra. If they hadn’t then maybe Philadelphia International Records may have become disco’s premier label.
Don’t Leave Me This Way has become synonymous with Harold Melvin and The Blue Notes. Here, Norman Harris, with M.F.S.B. and The Sweethearts of Sigma reinvent a Philly Soul classic. This isn’t easy. Just a wistful combination of lush strings, percussion, rhythm section and Norman’s fluid, jazzy guitar combines. Adding cooing harmonies are The Sweethearts of Sigma, while Norman lays down one of his best solos. Then M.F.S.B. kick loose. The Sweethearts of Sigma add powerful, soaring harmonies accompanied by blazing horns, swathes of strings and powerhouse of a rhythm section. Then having kicked loose, the arrangement slows back down, allowing Norman’s guitar to take centre-stage. From there, the arrangement veers between the two, bringing new life and meaning to a Philly Soul classic.
In Good Faith sees just percussion, grizzled horns and moody, cinematic strings combine. They produce a broody, haunting backdrop, thanks to pizzicato strings. Then the arrangement grows, filling out. Horns and the rhythm section add drama, before as the song veers between moody, broody to haunting and dramatic. The Sweethearts of Sigma then add elegant, cooing harmonies that provide a contrast. When both sides of the song unite, the result is one that’s moody and cinematic, but also elegant and beautiful.
Skoo-Be-Dooby is another short song written by Zach Zachary. Here, M.F.S.B. become a big band. This gives M.F.S.B. the chance to kick loose, and showcase their versatility. Blazing horns and the rhythm section lead by a standup bass drive the arrangement along. For just one minute, you’re transported back to another age and given another tantalizing glimpse of just what Norman and M.F.S.B. were capable of.
Closing The Harris Machine is I Wish, written by Stevie Wonder. Dramatic bursts of blazing horns, keyboards, rhythm section and whooping, cooing harmonies from The Sweethearts of Sigma combine. Then M.F.S.B. dramatically drive the arrangement along. At breakneck speed, the arrangement unfolds. Just keyboards, the rhythm section and bursts of braying horns combine. Punchy harmonies and dancing strings are added as one last time, M.F.S.B. kick loose. Spurred on, The Sweethearts of Sigma surpass themselves, their harmonies sweeter, sassier and even more soulful. This proves the perfect way to close The Harris Machine.
Nearly twenty years after the start of Norman Harris’ career, Norman released his debut album The Harris Machine in 1980. Sadly, The Harris Machine wasn’t a commercial success and it proved to be Norman’s only solo album. There was nothing whatsoever wrong with the music on The Harris Machine. Rather, it was a case of changes in musical fashions. Disco had died in 1979, and now, as a new decade dawned, the post-disco age dawned. Gone were the days of when fusions of Philly Soul, funk, disco and jazz sold in huge amounts. Neither Philadelphia International Records, nor Salsoul Records were the same forces in music. So, The Harris Machine was a victim of changing musical fashions. After The Harris Machine, Norman Harris never released another solo album.
Indeed, seven years after Norman Harris released The Harris Machine in 1980, Norman Harris died, just aged just thirty-nine. Ten years later, Ron Baker of Baker, Harris, Young rhythm section and production team died in 1990 aged forty-three. Two members of the the legendary Baker, Harris, Young rhythm section had passed away.
Norman Harris was one of Philly Soul’s founding fathers and architects. Music had lost one of its great innovators and pioneers. Norman Harris was much more than a musician, but a songwriter, arranger and producer. In many ways, Norman Harris was a true musical genius. The Harris Machine, Norman Harris’ 1980 debut album was his belated debut solo album and demonstrates just how talented, versatile and innovative a musician, songwriter, arranger and producer Norman Harris was. Standout Tracks: I Just Don’t Want To Be Lonely, Dodge City, Hit City, You Make Me Feel Brand New and Don’t Leave Me This Way.
NORMAN HARRIS-THE HARRIS MACHINE.
BLUE MAGIC-THIRTEEN BLUE MAGIC LANE.
BLUE MAGIC-THIRTEEN BLUE MAGIC LANE.
Blue Magic’s first two album had seen their fortunes vary. Their 1973 eponymous debut album Blue Magic, had been certified gold, and featured the million-selling, Philly Soul classic, Sideshow. Written by Bobby “Electronic” Eli and Vinnie Barrett, Sideshow was also certified gold, after selling over one-million copies. It seemed that Blue Magic were about to rival The O’Jays, Harold Melvin and The Blue Notes and The Stylistics as Philly Soul’s leading vocal group. Sadly, this wasn’t to be the case.
When Blue Magic released their sophomore album Magic of The Blue in 1974, it stalled at number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. For Blue Magic, their third album, 1975s Thirteen Blue Magic Lane was crucial. Would Blue Magic’s third album Thirteen Blue Magic Lane revive their career and see them rival The O’Jays, The Stylistics and The Detroit Spinners as Philly Soul’s leading vocal group.
In many ways, Blue Magic were at a crossroads in their career. Taking a wrong turn could be fatal for their career. Thirteen Blue Magic Lane had to improve on the success of Magic of The Blue. Ideally, Blue Magic wanted to replicate the success of their eponymous debut album. Granted Blue Magic was helped no end by the success of Sideshow. Songs like Sideshow are timeless, classics, can make or rescue a career. Three Ring Circus, written by Bobby “Electronic” Eli and Vinnie Barrett tried to replicate Sideshow on Magic of The Blue. Lightning didn’t strike twice for Blue Magic. So, Thirteen Blue Magic Lane was crucial for Blue Magic. To help revive Blue Magic’s career, some of Philly’s finest songwriters got to work.
For Thirteen Blue Magic Lane, many of the same songwriters got to work. They came up with nine tracks. Norman Harris and Alan Felder contributed four tracks. They cowrote The Loneliest House In The Block and We’re On The Right Track. Alan and Norman penned Born On Halloween with Tanya Jones, while Alan, Norman and Ron “Have Mercy” Kersey cowrote the Magic of The Blue. The other track Alan Felder cowrote was Haunted (By Your Love) by Bruce Hawkes and Ron Tyson. Pat Cooper and Ron “Have Mercy” Kersey contributed Stop and Get Hold of Me. Blue Magic lead singer Ted Mills wrote three tracks, Chasing Rainbows, I Like You and What’s Come Over Me. These nine tracks became Thirteen Blue Magic Lane. Recording took place at the same place as Blue Magic’s first two albums, Sigma Sound Studios in Philadelphia.
Accompanying Blue Magic were the original lineup of M.F.S.B, Philadelphia International Records’ house bamd. Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli and Roland Chambers They were joined by bassists Michael “Sugarbear” Forman and Larry LaBes and drummers Charles Collins. Vince Montana Jr, played vibes Larry Washington, Bunny Harris and Robert Cupit percussion. Carlton Kent, Ron “Have Mercy” Kersey, Dexter Wansell and Ted Mills played keyboards. Just like Blue Magic, Don Renaldo and His Horns and Strings and the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram provided a trademark Philly Sound backdrop. Arrangers included Richard Rome, plus Norman Harris and Ron “Have Mercy” Kersey who produced Thirteen Blue Magic Lane.
On the release of Thirteen Blue Magic Lane in 1975, Blue Magic’s Fortunes improved. Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. Three singles were released from Thirteen Blue Magic Lane during 1975. Chasing Rainbows reached number seventeen in the US R&B Charts, then What’s Come Over Me reached number eleven in the US R&B Charts. Only Magic of The Blue failed to chart. Two top twenty US R&B singles and a top ten US R&B album meant Blue Magic, having been at a crossroads in their career, had taken the right turn. You’ll realize this when I tell you about the music on Thirteen Blue Magic Lane.
Opening Thirteen Blue Magic Lane, is The Loneliest House On The Block, arranged and produced by Norman Harris. Just braying horns, quivering strings, stabs of keyboards and deliberate, sometimes dramatic Baker, Harris, Young rhythm section combine. With piano and Vince Montana Jr’s vibes providing an understated backdrop, a wistful vocal enters. Soon, the baton passes to Ted Mills’ falsetto. His vocal is melancholy, filled with sadness and regret. Wendell Sawyer and Ted feed off each other. They bringing to life and meaning to some heartbreaking lyrics. Heartfelt harmonies, growling horns, thunderous drums and guitars all accompany Ted. The finishing touch are pizzicato string, that tug at your heartstrings. As if spurred on, he unleashes a soaring, soul-baring and wrenching vocal.
Chasing Rainbows was the first of a trio of tracks written by Ted Mills. The tempo drops, with Vince Montana Jr’s vibes, keyboards, sound-effects and the rhythm section combining. Lush strings shiver and horns rasp as Ted’s tender, heartbroken vocal enters. Quickly, his vocal grows in power and emotion. Harmonies and strings reflect the heartache in his vocal. Later, as Ted vocal soars, high and powerfully above the arrangement, it’s as if the hurt and pain is being released. Grizzled horns and the rhythm section reflect this. What Chasing Rainbows demonstrates not just how talented Ted Mills was a singer, but how talented a lyricist he was. He becomes a storyteller, powerfully, emotively and realistically narrating this heartbreaking song about love and loss.
Born On Halloween is a very different track to anything else on Thirteen Blue Magic Lane. It was a spooky, haunting introduction, then gives way to an understated arrangement. Baker, Harris, Young provide the heartbeat, Vince Montana Jr’s sprinkles vibes and searing guitars combine. Then when Ted’s impassioned vocal enters, it’s tenderness personified. Subtle harmonies from the rest of Blue Magic and The Sweethearts of Sigma answer Ted. Meanwhile the arrangement flows along. Bursts of dramatic drums, searing guitars and quivering string reflect the sheer emotion in Ted’s vocal, allowing him to showcase his considerable vocal prowess.
Just a subtle sprinkling of Vince Montana Jr’s vibes opens Haunted (By Your Love). They’re joined by rasping horns, Bobby “Electronic” Eli’s guitar and sweeping strings. Then the tenderest of harmonies from Blue Magic and The Sweetheart of Sigma join. Having set the scene, Wendell’s emotive, needy vocal enters. While Baker, Harris, Young provide the arrangement’s heartbeat, the harmonies and Wendell drive each other to greater heights. Emotion, fervor and sincerity combine with power and pain, against a slow, moody and dramatic backdrop.
I Like You closes Side One of Thirteen Blue Magic Lane. This is the second Ted Mills’ composition. After a burst of a brief breathy vocal, keyboards, rhythm section and harmonies combine with Vince Montana Jr’s vibes. Together, they produce an understated backdrop that sweeps along. Here, Blue Magic take turns delivering the vocal, showing there was more to Blue Magic than Ted Mills. Keyboards give the arrangement an electronic sound. That doesn’t overshadow Blue Magic’s tender, heartfelt and sometimes sensual harmonies.
Side Two of Thirteen Blue Magic Lane opens with Magic of The Blue. Straight away, the tempo rises, with a track that has Philly Sound written all over it. M.F.S.B. kick loose, showcasing their considerable skills. Driven along by the Baker, Harris, Young rhythm section and the unmistakable sound of Bobby “Electronic” Eli’s funky wah-wah guitar, horns blaze and bray and strings dance. Brief bursts of tight, soaring harmonies sweep in and out. By then, M.F.S.B. have become an unstoppable musical juggernaut, fusing funk, Philly Soul and jazz. In many ways, this is more what you’d expect on an album by M.F.S.B. Here, Blue Magic almost play a supporting role, while M.F.S.B. show just why they were the hottest house-band of the seventies.
Having compared M.F.S.B. to a musical juggernaut on the previous track, Blue Magic return to their usual Philly Soul on We’re On The Right Track. The sound of a train whistle sees Baker, Harris, Young drive the arrangement along. Blue Magic climb aboard, adding tight, soulful and sweeping harmonies. Ted’s lead vocal is heartfelt, powerful and filled with emotion. Strings dance, horns rasp and kick and drums inject bursts of drama. Harmonies add to the drama and emotion, sweeping in joyously as Ted unleashes a powerful, impassioned vocal. Together, Blue Magic play their past in one of the most hook-laden, joyous tracks on Thirteen Blue Magic Lane.
When Stop and Get A Hold of Me begins, you’re lulled into a false sense of security. You think this is one of those dream ballads Blue Magic excelled at. Vince Montana Jr’s vibes and ethereal harmonies from The Sweethearts of Sigma combine, before the arrangement almost pauses. This has your attention. The vocal is tender, thoughtful and dreamy. Just the rhythm section, guitars and keyboards provide the backdrop for the vocal. Then, another pause, and Blue Magic throw a curveball. Now the vocal becomes a grizzled, funky vamp. Just as quickly, things return to normal. You’d never have foreseen. After that, you’re expecting the unexpected. What follows is a dreamy slice of Philly Soul, with bursts of dramatic funky vamps. This results in a captivating combination, courtesy of producer Norman Harris.
Closing Thirteen Blue Magic Lane is What’s Come Over Me, written by Ted Mills and featuring Margie Joseph, who shares the lead vocal. When the arrangement opens, it brings to mind tracks from Blue Magic’s two previous albums. Baker, Harris, Young provide the slow, broody heartbeat and Vince Montana Jr’s vibes add a subtle contrast. Lush strings sweep, horns rasp and pizzicato strings accompany Margie’s heartbroken vocal. Her vocal is filled with sadness, emotion and confusion. When Ted takes charge over the lead vocal, he matches the sadness and emotion in Margie’s vocal Harmonies tenderly reply to Ted. Wistful horns, dramatic drums and melancholy strings provide the backdrop for Ted and Margie’s vocal, as they close Thirteen Blue Magic Lane with what’s quite simply, one of the best tracks on the album. Not only that, but it has Blue Magic’s name written all over it.
With Blue Magic’s career at something of a crossroads, they knew that Thirteen Blue Magic Lane could prove crucial to their future career. It really was stick or twist. If Thirteen Blue Magic Lane hadn’t been a commercial success, their hopes of becoming one of Philly’s leading vocal groups could’ve been over. Thankfully, Thirteen Blue Magic Lane saw a change in Blue Magic’s fortunes. Two top twenty US R&B singles and a top ten US R&B album meant Blue Magic, having been at a crossroads in their career, had taken the right turn. There was life after their debut album Blue Magic and Sideshow. That album had set the bar high. Maybe that was the problem. Spurred on by the Philly Soul classic Sideshow, Blue Magic was a lot to live up to. Magic of The Blue hadn’t managed to even come close. Thankfully, Thirteen Blue Magic Lane saw Blue Magic’s fortunes improve.
During the nine tracks on Blue Magic, dreamy ballads and uptempo songs sat comfortably side by side. Each member of Blue Magic played their part in success of Thirteen Blue Magic Lane. This showed that Blue Magic was much more than Ted Mills. While Ted Mills was the lead singer, other members of Blue Magic got the chance to shine during Thirteen Blue Magic Lane. Then on What’s Come Over Me, Margie Joseph joined Blue Magic, resulting in a track that was vintage Blue Magic. It had their name written all over it. Having said that, there was much more to Thirteen Blue Magic Lane than one track.
The Loneliest House On The Block features one of Ted Mills’ best vocals, while Chasing Rainbows demonstrates his talent as a singer and songwriter. Haunted (By Your Love) is one of the most emotive, heartfelt songs on Thirteen Blue Magic Lane, featuring some deliciously soulful harmonies. Magic of The Blue sees Blue Magic and M.F.S.B. become a musical juggernaut. This results in a track that showcases the multitalented M.F.S.B. at the peak of their power. Stop and Get A Hold of Me sees Blue Magic throw a series of curveballs. One minute a dreamy ballad flows along, then the next, the vocal becomes a funky vamp. Like other tracks on Thirteen Blue Magic Lane, Blue Magic show very different sides to their music. Eclectic describes Thirteen Blue Magic Lane. Maybe that’s what made Thirteen Blue Magic Lane such a commercial success.
After the disappointment of Magic of The Blue, Blue Magic were back, nearly reaching the heights of their debut album Blue Magic. Sadly, that was as good as things got for Blue Magic. Following Thirteen Blue Magic Lane, Blue Magic never reached the same commercial heights. Their fourth album, 1976s Mystic Dragons only reached number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. When 1977s Message From the Magic failed to chart, Blue Magic left Atco Records. They only released four more albums between 1981 and 1995, with a different lineup. So, for new comers to Blue Magic’s music, their first three albums, Blue Magic, Magic of The Blue and Thirteen Blue Magic Lane feature Blue Magic at their very best. Indeed, on Thirteen Blue Magic Lane, sees Blue Magic return to the heights of their debut album, fusing Philly Soul, funk and hooks aplenty. Standout Tracks: The Loneliest House On The Block, Chasing Rainbows, Magic of The Blue and What’s Come Over Me.
BLUE MAGIC-THIRTEEN BLUE MAGIC LANE.
AZTECA-PYRAMID OF THE MOON.
AZTECA-PYRAMID OF THE MOON.
During the ten months between the release of Azteca’s debut album Azteca, and the release of their sophomore album, Pyramid of The Moon, the future looked bright for Coke and Pete Escovedo’s genre defying band. Released in December 1972, Azteca had reached number 151 in the US Billboard 200 and number thirty-eight in the US R&B Charts. Then Azteca found themselves opening for Stevie Wonder. For the Escovedo brothers, their decision to leave Santana, look like being vindicated. After all, comparisons were drawn with Santana, 5th Dimension, Funkadelic and Sly and The Family Stone. People forecast that Azteca were on their way to replicating the success these groups were enjoying. Certainly, Azteca didn’t lack talented personnel. Their lineup included bassist Paul Clark and drummer Lenny White, who were already seasoned musicians. Add to that Wendy Haas’ vocals and here was a group who people were forecasted would help shape the music of the new decade. Sadly, that wasn’t to be the case. Azteca’s star shawn brightly, but not for long. Pyramid of The Moon which will be rereleased by BBR Records on 28th January 2013, proved to their final album. Before I tell you what happened to Azteca, I’ll tell you the background to Pyramid of The Moon.
Azteca were keen to build on the momentum generated by their debut album. So, quickly, work began on their sophomore album Pyramid of The Moon. Just like their debut album Azteca, the members of Azteca wrote the majority of the nine tracks. The Escovedo brothers cowrote three tracks. Coke, trumpeter Tom Harrell and vocalist Eric Knowles penned Someday We’ll Get By. Bassist Paul Jackson, Coke and Errol Knowles cowrote Mazatlan. Errol Knowles cowrote two other tracks. He penned Find Love Today with Bill Courtial and cowrote Love Is A Stranger. Saxophonist Mel Martin wrote A Night In Nazca and Whatcha Gonna Do with Pete Escovedo and Paul Jackson. Tom Harrell and Bob Ferreira contributed New Day On the Rise. Together with covers of Mexicana, Mexicana and Red Onions, these nine tracks became Pyramid of The Moon.
Like their debut album Azteca, recording of Pyramid of The Moon took place at Columbia Studios in San Francisco. About eighteen musicians played on Pyramid of The Moon. Key to Azteca’s sound were the rhythm section, horns and a myriad of percussive delights. Joining Coke and Pete Escovedo, were some of the most talented jazz and Latin musicians of the time. This included a rhythm section of bassist Paul Jackson, drummer John Drinck and guitarist Bill Courtial. Bob Ferreira played tenor saxophone, flute and piccolo, trombonist Pat O’Hara, saxophonist Mel Martin and congas came courtesy of Victor Pantoja. Coke played percussion and timbales, while Pete added percussion and was one of the vocalists. Other vocalists included Wendy Hass, Errol Knowles. Producing Pyramid of The Moon were Coke Escovedo and Azteca. Once Pyramid of The Moon was recorded, it was released in October 1973.
On the release of Pyramid of The Moon in October 1973, the album didn’t chart. It stalled at 209 in the US Billboard 200. Even though Azteca were seen as one the hottest new groups, Pyramid of The Moon wasn’t a commercial success. Neither was the only single released from Pyramid of The Moon. Whatcha Gonna Do also failed to chart. After the success of Azteca’s debut album Azteca, Pyramid of The Moon’s commercial failure must have come as a body blow. It also presented a problem. Funding such a large group as Azteca was expensive. After all, there were between fifteen and twenty members of Azteca. Sadly, there wasn’t to be a happy ending for Azteca. I’ll tell you what happened, after I’ve told you about the music on Pyramid of The Moon.
Pyramid of The Moon opens with Someday We’ll Get By, a slice of hope filled, musical sunshine. Here, Latin and pop combine. Straight away, the rhythm section, percussion, Hammond organ and blazing horns unite. They create an uplifting groove that sashays along. Errol Knowles’ vocal is equal parts heartfelt, hopeful and joyous. Wendy Haas tender harmonies prove the perfect foil. Meanwhile, Santana-style guitars, growling horns and a myriad of percussive delights provide the perfect backdrop. The lyrics reflects the hope in Errol’s vocal. He sings: “everyone thinks about the good times, ain’t nobody thinking about the bad.” They’re uplifting, hopeful and have a feel-good sound. Quite simply, it’s four minutes of musical sunshine.
As Mazlatan begins to reveal its subtleties and surprises, as Azteca fuse musical genres. Latin, jazz, funk and even rock combine. There’s a Latin influence as the track opens. Percussion and congas joining an almost chanted vocal. Guitars chime, as the Latin groove builds. Then a roll of drums signals growling horns, that reference funk and Afro-beat. The vocal then is a powerful, rock-tinged explosion of emotion. Then as if spent, the arrangement meanders along. Chanted vocals and then jazzy guitars taking charge. Then Azteca become a musical juggernaut, fusing funk and jazz. Braying horns, percussion and the rhythm section driving the arrangement along. This complex, genre sprawling track, sees Azteca spring surprises aplenty, as they reveal their versatility and musical influences.
Find Love Today the Latin theme, but has a much more complicated musical structure. From the opening note, the arrangement unfolds at breakneck speed, before Azteca through a beautiful curveball. Percussion, a cascading flute, keyboards and the rhythm section join a scatted vocal as the arrangement gallops along. Then it’s all change. Wendy Haas’ ethereal, impassioned vocal enters. She’s accompanied by subtle keyboards and a floaty flute. Soon the arrangement builds, the tempo increases and Errol takes over the lead vocal. When Errol and Wendy combine, their vocals grow in power, with growling horns for company. After that, the arrangement gallops along, before slowing down as Wendy’s vocal returns. Her vocal is truly heartfelt as she sings: “why can’t we find love today?” Hope fills her voice as she breaths life and meaning to the lyrics to this complex, captivating and quite enchanting song.
Pete Escovedo takes charge of the vocal on Whatcha Gonna Do. A lone piano is responsible for the salsa sound, before drums, percussion and Hammond organ enter. Punchy blazing horns give way to Pete’s vocal. The horns and dramatic bursts of thunderous drums reflect Pete’s pain and hurt. He sings in Spanish and English, both call and response. Then, when Azteca kick loose, they’re at their very best. Comparisons with Santana are inevitable, especially after Neil Schon’s searing guitar. It’s the clincher, making this one of the highlights of Pyramid of The Moon.
New Day On the Rise sees the tempo fall and a spacious introduction unfold. Guitars reverberate into the distance and subtle sprinklings of piano combine. Then Azteca throw another curveball. A guitar sears, screams and then soars. Once it dissipates, Azteca deliver another curveball. Rasping horns, the rhythm section and a mass of percussion drive the arrangement along. Having set the scene, Wendy and Pete take charge of the vocal. Wendy’s vocal soars, as if she’s awoken from her dreams. It really is like a New Day On the Rise and she’s ready to tackle it head on. Meanwhile, the arrangement fuses jazz, funk and Latin music. Seamlessly, musical genres melt into one. This is Azteca at their best, fusing musical genres, delivering curveballs and springing musical surprises.
Mexicana, Mexicana is just a two minute track. On Azteca’s debut album Azteca, there were two short tracks. It’s very different from the other tracks. Percussion and drums accompany Pete and Coke’s vocal, which is delivered is Spanish. The understated arrangement just meandering along. Their joyous vocal drift above the arrangement to this intriguing two minute track, that’s shows a very different side to Azteca and their music.
Red Onions is an infectiously catchy track, with a Latin heartbeat. It’s driven along by a guitar, before percussion and rasping horns join the chanted vocals. Soon, you’ll be thinking that the track is familiar? Well, here Azteca draw inspiration from La Bamba. This is La Bamba given a delicious makeover by Azteca. To do this, they deploy growling horns, congas and percussion. Add to that the chanted vocals. Credit must go to trumpeter Tom Harrell and trombonist Pat O’Hara. When they trade licks, things move up a gear. A searing guitar solo, well it’s just the finishing touch, to this infectiously catchy, joyous track.
Love Is A Stranger sees Azteca fuse Latin with soul, funk and gospel. It’s a delicious combination. Blazing horns, a funky rhythm section, percussion and Hammond organ combine, while Errol’s vocal is soulfulness personified. He testifies, while gospel tinged harmonies answer his call. When the vocal drops out, Azteca decide to kick loose. They seem to be spurred on to even greater heights, combining funk, Latin and searing, rocky guitar licks. Good as this is, Errol and the gospel infused harmonies steal the show, on what is the best track on Pyramid of The Moon.
Closing Pyramid of The Moon is A Night In Nazca, a mostly instrumental track. Azteca’s rhythm section combine with percussion, blazing horns and Hammond organ. Guitars have a fuzzy, psychedelic sound, scatted vocals and an electric trumpet combine. By then, jazz, funk, Latin and trippy psychedelia unite. Sweeping and swooping, rising like a phoenix from before, falling as if spent, the arrangement springs surprises and subtleties in equal measures. Then, after less the five minutes, A Night In Nazca is over. Not only does sun set over the Pyramid of The Moon, but time is called on Azteca’s recording career.
Just forty-minutes long, Pyramid of The Moon brought to a close Azteca’s brief recording career. It had lasted only two albums, Azteca and Pyramid of The Moon. They were released just ten months apart. Sadly, Pyramid of The Moon failed to replicate the success of Azteca. Coke Escovedo was first to leave. Then Columbia cancelled Azteca’s recording contract. For the next three years, Azteca continued. Personnel came and went. The lineup seemed to be permanently evolving. Pete Escovedo’s daughter Sheila joined Azteca. Later, she’d be known Sheila E and work with another musical innovator…Prince. By then, Azteca were just a distant memory. So was their second album Pyramid of The Moon.
In many ways, Pyramid of The Moon built on Azteca. Like Azteca, the music was compelling, captivating and enthralling musical melting pot. Musical genres and influences melt into one. compelling, captivating and enthralling musical melting pot. During the nine tracks on Pyramid of The Moon, musical genres and influences melt into one. Latin, jazz, funk, Salsa, Mambo, rock, psychedelia, soul and gospel-tinged harmonies come together as one. They unite under Azteca’s Pyramid of The Moon, which will be rereleased on 28th January 2013, by BBR Records. Just like Azteca, Pyramid of The Moon was a tantalizing taste of one of music’s innovative, pioneering groups…Azteca. Standout Tracks: Someday We’ll Get By, Find Love Today, Red Onions and Love Is A Stranger.
AZTECA-PYRAMID OF THE MOON.
BILLY PAUL-GOING EAST.
BILLY PAUL-GOING EAST.
After releasing Feelin’ Good At the Cadillac Club on Gamble Records in 1968 and Ebony Woman on Neptune in 1970, Billy Paul signed to a newly formed label in Philadelphia. It had been founded by two songwriters, musicians and producers. The label was Philadelphia International Records. Its two founders were Kenneth Gamble and Leon Huff. Neither Billy Paul, nor Gamble and Huff, had any idea of what would follow, nor the effect both would have on soul music. Billy Paul released Philadelphia International Records’ first album in 1971, This was Going East, which will be rereleased by BBR Records on 31st January 2013.
Just a year later, Billy Paul would become Philadelphia International Records’ first male superstar, when he released his most successful album 360 Degrees of Billy Paul. It contains a song that has become synonymous with Billy Paul Me and Mrs Jones. By then, Philadelphia International Records were releaing some of the most influential, innovative and commercially successful albums of the seventies. Before that, was the album that launched Philadelphia International Records, Going East. However, Billy Paul’s recording career started three years earlier.
Before Billy Paul signed to the newly formed Philadelphia International Records, he released two previous albums. His debut album was 1968s Feelin’ Good At The Cadillac Club, released on Kenny Gamble’s Gamble Records. Two years later, as a new decade dawned, Billy released his sophomore album Ebony Woman. Produced by Gamble and Huff, Ebony Woman reached number 183 in the US Billboard 200 and number twelve in the US R&B Charts. Now that Gamble and Huff had formed a new label, Billy Paul had joined up with Gamble and Huff again. Indeed, Billy Paul would released Philadelphia International Records’ first album Going East.
For Billy Paul’s third album Going East, Gamble and Huff only cowrote one track on Going East, Love Buddies. Bobby Martin, one of Philadelphia International Records’ best arrangers penned I Wish It Were Yesterday and cowrote This Is Your Life with Jimmy Webb. Tyrone Brown, who played bass on Going East, wrote East. The other tracks were cover versions. This included covers of Moh Jakke’s Jesus Boy (You Only Look Like A Man) and Gene McDaniels’ Compared To What. C.C. Courtney and Peter Link penned (If You Let Me Make Love To You Then) Why Can’t I Touch You? Closing Going East was There’s A Small Hotel, penned by another legendary songwriting teamRogers and Hart. The nine tracks that became Going East would be recorded at at Sigma Sound Studios, where all the future Philadelphia International Records’ recordings would take place.
Recording of Going East would take place at Sigma Sound Studios. This would become the venue for all the future Philadelphia International Records’ recordings. Accompanying Billy Paul on Going East were an early lineup of M.F.S.B, Philadelphia International Records’ legendary house-band. M.F.S.B’s lineup included the bassist Tyrone Brown, drummer Norman Harrington and guitarists Norman Harris and Roland Chambers. They were joined by pianist Eddie Green, flautist and saxophonist Tony Williams, Vince Montana on vibes and Robert Cripper on congas. Don Renaldo’s string section and Sam Reed’s horn sections completed the lineup. Producing Going East, were Gamble and Huff. Bobby Martin, Lenny Pakula and Thom Bell arranged the nine tracks on Going East. Once Going East was recorded, Philadelphia International Records were ready to release their very first album.
On the release of Going East in 1971, it entered the US Billboard 200 at 197 and number forty-two in the US R&B Charts. Going East hadn’t proved as successful as his previous album Ebony Woman. However, you have to remember it had been released on a newly founded label. Although three singles were released from Going East, none of them charted. Jesus Boy (You Only Look Like A Man) and Magic Carpet Ride were released in 1971, and This Is Your Life in 1972. 1972 would be the year that Billy Paul’s career took-off, with the critically acclaimed and commercially successful. 360 Degrees of Billy Paul. That was still to come. Before that came Going East, an ambitious, genre defying album,spaning jazz, funk and Philly soul, that I’ll now tell you about.
Opening Going East, is East, written by Philly bassist and baritone Tyrone-William Brown. Arranging the track was Lenny Pakula. Straight away, East demonstrates Gamble and Huff’s determination to innovate and push musical boundaries. This is shown with their use of the sound of an airplane taking-off. You’re then taken on a spiritual musical journey. It gives way to Billy’s thoughtful, moving spoken word introduction. As the track begins to reveal its secrets, Billy’s vocal is heartfelt, welling up with emotion. Percussion, keyboards and the rhythm section combine to create a jazzy backdrop. Strings cascade, winds howl and gust while the bass prowls along the arrangement. They join Billy’s fervent vocal, which is key to the track’s success, along with the spiritual lyrics and Lenny Pakula’s atmospheric and dramatic arrangement.
(If You Let Me Make Love To You Then) Why Can’t I Touch You? is a very different track. It’s much quicker, with a jaunty arrangement, where punchy, rasping horns and sweeping, swirling strings accompanying Billy’s impassioned vocal. Thom Bell’s arrangement is jazz-tinged, but still soulful. Strings dance above his emotive, needy vocal, while the rhythm section provide the track’s heartbeat. Although quite different from the opening track, Billy and M.F.S.B. combine to create a jazz-tinged song that’s still soulful and emotive.
This Is Your Life has a lovely understated arrangement. Just the piano and lush strings accompany Billy. His vocal is thoughtful, augmented by The Sweethearts of Sigma. The entrance of the rhythm section signals the arrangement’s unfolding. Bursts of rasping horns punctuate the arrangement, while the strings sweep slowly. Billy goes on to deliver one of his most impassioned, emotive and beautiful vocals on Going East. This he does against an arrangement that’s understated and beautiful, perfect for Billy’s vocal.
Moh Jakke wrote Jesus Boy (You Only Look Like A Man). Bobby Martin’s arrangement is bathed in drama from the opening bars. Drums and short, sharp bursts of rasping horns combine. Then Lenny Pakula’s Hammond organ and grand strings enters. Billy’s vocal is thoughtful, considered and understated. Ethereal harmonies from The Sweethearts of Sigma accompany him. They soar elegantly and powerfully above the arrangement, with flourishes of quivering strings for company. The arrangement grows in drama and emotion. So too does Billy’s vocal. It takes on a spiritual quality, set against a dramatic, theatrical, Magnus Opus of an arrangement.
Demonstrating the variety of music on Going East is Magic Carpet Ride. This track gave Steppenwolf a number three US single in in 1969. It marks another change in direction. Seamlessly, musical genres melt into one. Eddie Green’s piano gives the arrangement a jazzy sound, before Billy’s vocal is delivered at breakneck speed, mixing soul and jazz. Percussion is at the heart of the arrangement, especially West African shekeres. They join waves of Hammond organ and a cascading flute, as the rhythm section drive the arrangement along. Later, Billy’s vocal becomes a scat. By then he and M.F.S.B. have embarked on a tour of musical genres. Their journey takes in elements of jazz, funk, Philly Soul and African music. It truly is a Magic Carpet Ride, with Billy and M.F.S.B. taking you on a memorable musical adventure.
Bobby Martin, who wrote I Wish It Were Yesterday became one of Philadelphia International Records’ best arrangers. He’d later enjoy a successful career as a producer. His arrangement is stunning. Just flourishes of slow, flamboyant piano join Billy’s deliberate, pensive and heartfelt vocal. The lushest of strings sweep in, tugging at your heartstrings. They also reflecting the sheer emotion in Billy’s deliberate, spacious and impassioned vocal. Norman Harris adds his sparse, jazzy guitar, while an upright bass joins the piano and lush strings. Together, they provide the perfect jazz-drenched backdrop for Billy. This allows him to deliver a truly impassioned, heartfelt and quite beautiful vocal.
Compared To What continues the jazzy theme to much of Going East. Just the rhythm section and stabs of Hammond organ combine with Eddie Green’s piano. Billy’s vocal has a similar jazzy style. Bursts of punchy, blazing horns and cascading flute accompany him. Then, this early lineup of M.F.S.B. get a chance to kick loose. They relish this opportunity, doing so with aplomb. Not only does this all them showcase their talent, but their versatility. This would be put to good use over the next decade or so. Billy matches M.F.S.B. every step of the way. He mixes power and passion, just as seamlessly as he fuses soul and jazz, demonstrating his versatility, talent and his ability to bring lyrics to life.
Love Buddies was the only Gamble and Huff penned track on Going East. However, quality as anyone knows, is more important than quantity. With the sultriest of saxophone and Vince Montana’s vibes combining with the piano, Billy’s vocal is full of emotion. Heartfelt and impassioned is a fitting description. There’s a jazzy sound to Bobby Martin’s arrangement. Slow, lush strings add to, and reflect the emotion in Billy’s vocal. Not only does Billy deliver one of his best vocals on Going East, but Love Buddies is one of the highlights of the album. This would become the first of many Gamble and Huff compositions Billy Paul, breathed life and meaning, plus emotion and passion into.
Closing Going East is There’s A Small Hotel, written by Rogers and Hart. It’s the perfect track to close Going East. Billy’s deliver combines elements of soul and jazz. The understated arrangement allows Billy’s vocal to take centre-stage. His vocal is a combination of subtlety, emotion, passion and controlled power. Just an understated combination of slow, lush strings, Norman Harris pensive guitar and Eddie Green’s piano combine. They provides the perfect accompaniment for Billy’s tender, grateful vocal. Together, Billy and M.F.S.B. reinvent a classic track, bringing new meaning and beauty to Rogers and Hart’s song.
Although Going East was Billy Paul’s first album for Philadelphia International Records, he’d previously released two other albums and worked with Kenneth Gamble before. So Billy Paul was an experienced artist. This is reflected in the nine tracks that make up Going East. It’s a mature, highly accomplished and polished album. This polished sound became associated with Gamble and Huff and the Philly Sound. Similarly, Billy Paul and Gamble and Huff would continue to fuse musical genres.
The music on Going East is a fusion of jazz and soul. Having said that, there’s more jazz than soul of Going East. Despite that, there’s no shortage of soul on Going East. Even when Billy’s delivery is jazz-tinged, there’s still a soulfulness to his delivery. During the nine tracks on Going East, Billy’s vocal is ranges from laden with emotion, through heartfelt, impassioned, fervent, inspired and fiery. Very few vocalists could breath life and meaning into a track like Billy Paul. Regardless of whether it was jazz or soul, Billy Paul always brought life and meaning to the lyrics.
Of the nine tracks on Going East, Gamble and Huff only wrote Love Buddies. It was one of the highlights of Going East, bettered only by I Wish It Were Yesterday, which Bobby Martin wrote. This shows that Bobby Martin wasn’t just a hugely talented arranger and producer, but songwriter too. The track that opens Going East, East was also written by another Philadelphia musician, Tyrone-William Brown and is one of the most moving and powerful tracks on the album, with a similar power as The O’Jays Ship Ahoy. Overall, the music on Going East points towards the future sound of Billy Paul, Gamble and Huff and the Philly Sound. Similarly, the musicians that played on the album demonstrate the talent, versatility and sound that M.F.S.B. would become famous for. All this makes Billy Billy’s third album Going East, such an important album in the history of Philadelphia International Records.
A year after Going East, which will be rereleased by BBR Records on 31st January 2013, was released, Billy Paul would go on to release his most successful album. This was 360 Degrees of Billy Paul. It included Me and Mrs Jones, the song that would become synonymous with Billy Paul. However, the album that preceded 360 Degrees of Billy Paul, Going East, is an equally important album. After all, Billy Paul’s third album Going East, launched a legendary label Philadelphia International Records and its first male superstar..Billy Paul. Standout Tracks: East, I Wish It Were Yesterday, Compared To What and Love Buddies.
BILLY PAUL-GOING EAST.
TYRONE DAVIS-IN THE MOOD.
TYRONE DAVIS-IN THE MOOD.
After Carl Davis signed Tyrone Davis to Dakar Records in 1968, success came quickly for Tyrone. His debut single Can I Change My Mind gave Tyrone the first of three US R&B number one singles. A year later, Tyrone released his debut album Can I Change My Mind in 1969. This was the first of seven albums and twenty-five singles Tyrone released for Dakar Records. Then in 1970, Turn Back the Hands of Time, the title-track from his sophomore album, became the most successful single of his career. This resulted in Tyrone’s second US R&B number one single. Tyrone went on to release five further albums on Dakar. The final album was 1975s Turning Point. Its title-track gave Tyrone his third US R&B number one single. By now, major labels were taking an interest in Tyrone Davis, including Columbia Records.
Following the release Turning Point, produced by Leo Graham, Tyrone left Dakar Records, he signed to Columbia Records. His eighth album, and Columbia debut, was 1976s Love and Touch featured the number two US R&B hit single Give It Up (Turn It Loose). Let’s Be Closer Together followed in 1977 and I Can’t Go On This Way in 1978. By 1978, although Tyrone’s albums were selling in larger quantities than his Dakar albums, sales were dropping. Each album was selling less the previous album. Something had to be done to stop Tyrone Davis’ career from stalling. Tyrone’s fourth album For Columbia, In The Mood, which will be rereleased by BBR Records on 28th January 2013, marked a change in Tyrone Davis’ fortunes. Not only would In The Mood prove to be one of his most successful albums, but featuring another top ten US R&B single.
Just eleven years after Tyrone Davis had made his commercial breakthrough, the former chauffeur and valet for blues singer Freddie King had come a long way. He was signed to one of the biggest and most prestigious record labels in the world, about to release his eleventh album in ten years. Tyrone was then forty-one, so was making up for lost time.
For Tyrone’s eleventh album, In The Mood, his producer Leo Graham and some of his band worked on eight songs. This included bassist Paul Richmond, who until 1978, had worked with The Impressions. When work dried up for The Impressions, Paul joined Tyrone’s band. He had plenty work. Guitarist Darryl Ellis was another top musician. Producer Leo Graham wrote You Know What To Do and I Can’t Wait, and cowrote four other tracks. With Paul Richmond, Leo cowrote Keep On Dancin,’ Ain’t Nothing I Can Do and All the Love I Need. Leo also cowrote I Don’t Think You Heard Me with Eddie Fisher. Darryl Ellis, Paul Richmond and Ruben Locke penned the title-track In The Mood and William Hatchet wrote We Were In Love Then. These eight tracks became In The Mood, which was recorded at Universal Studios.
Joining Tyrone Davis and his producer Leo Graham for the recording of In The Mood, were a rhythm section that included bassists Ron Harris, and Bernard Reed Paul Richmond, drummers Steven Cobb and Eddie Fisher and guitarist Darryl Ellis. Percussionists Thomas Radtke and Derf Lecklaw and Terry Fryer on synths were joined James Mack on alto flute, backing vocalists, plus a horn and string section, courtesy of the Bauer Strings. Once In The Mood was recorded, it was released in March 1979.
Before the release of In The Mood, the title-track In The Mood was released as the lead single, reaching number six in the US R&B Charts, Tyrone’s biggest hit since 1977s This I Swear. When In The Mood was released in March 1979, it reached number 115 in the US Billboard 200 and number nine in the US R&B Charts. Then Ain’t Nothing I Can Do reached number seventy-two in the US R&B Charts in June 1972. In The Mood was a return to form for Tyrone Davis, as you’ll realize when I tell you about the album.
Opening In The Mood is the title-track In The Mood. Stabs of blazing horns give way to a meandering, bass-lead rhythm section. It tiptoes along with bursts of soaring harmonies and flute giving way to Tyrone’s smooth, sultry pleading vocal. Horns blaze, harmonies soar and the bass provides a pulsating heartbeat. Tyrone’s needy vocal is filled with emotion and drama, reflected by the horns, pleading harmonies and lush strings. Chiming guitars and melodic keyboards provide the perfect backdrop for Tyrone’s vocal, as sets the scene and gets in the Mood.
You Know What To Do is a very different track, opening with the space-age sound of a vocoder. Soon, a driving funky track unfolds. An uber funky bass, chiming guitar, stabs of braying horns and flamboyant flourishes of strings accompany Tyrone’s raspy, powerful vocal. He gives thanks, with bursts of soaring harmonies for company. They cascade, before it’s all change. The vocoder reenters and things get funkier. Thankfully, it’s used sparingly, as Tyrone mixes funk, soul and space-age sounds, as he vamps his way through the track.
I Can’t Wait sees the tempo drop, on the second consecutive Leo Graham penned track. This is a slow, romantic song, where Tyrone lays bare his soul. Hurt and regret fill his vocal, while lush strings slowly sweep. Joining them a wistful piano and bursts of growling horns. They reflect his pain and hurt. Adding to the drama and emotion are sweeping, punchy harmonies. Together, they each play their part in making this one of the most heartfelt, emotive and beautiful songs on In The Mood. The clincher though, is Tyrone’s inspired vocal that’s makes this one of the highlights of In The Mood.
Keep On Dancin’ was penned by producer Leo Graham and bassist Paul Richmond. Chiming guitars join the rhythm section and horns that remind me of David Bowie’s Fame. Together, they up the tempo on a track that’s dance-floor friendly. Soon, the band kick loose. Taking his lead from them, Tyrone unleashes a vamp, that’s sassy and sensual. Horns and harmonies accompany him. The band give one of their best and funkiest performances, while Tyrone testifies, spreading joy, sass and hooks in equal measures.
I Don’t Think I Heard You has a slight hustle sound when it begins. Again, it’s a track designed for the dance-floor. Swathes of lush strings float along. They’re joined by cooing, sensuous backing vocals. Meanwhile, the rhythm section add a pulsating beat. Stabs of grizzled horns punctuate the arrangement, while the arrangement slows down, taking on a tough, funky sound, with gnarled backing vocals. It’s a song with two sides, floaty and sweeping and tough and funky. This shows two very different sides to Tyrone and his band, resulting is a captivating song.
Ain’t Nothing I Can Do sees the tempo drop and Tyrone become a bedroom balladeer. Instantly, you realize something special is unfolding. The rhythm section create a slow, sultry heartbeat, as meandering keyboards and lush strings set the scene for Tyrone. He doesn’t disappoint. Tyrone delivers an impassioned, sensual vocal. Harmonies sweep in, while bursts of funky bass and blazing horns reflect the drama in his vocal. Producer Leo Graham drops everything into place at the right time, resulting five minutes of sheer sensuousness, that should come with a government health warning. Absolutely stunning. That’s the only way to describe this track.
All The Love I Need sees blazing horns and the rhythm section drive the arrangement along. Tyrone’s joyous vocal, is fervent, heartfelt and filled with hope. He ensures the song is delivered with a swing. Strings dance, horns growl and kick, drums pound and the guitars and bass trade funky licks. The band seem to be spurred on by Tyrone. They up their game, as if realizing this is one of Tyrone’s best vocals. For his part, Tyrone gives thanks, his joyous vocal become an irresistible, swinging vamp.
Closing In The Mood is We Were In Love Then. This is another of the slow, sad ballads, that Tyrone breathes life and meaning into. There’s a nod to James Carr in his impassioned, emotive vocal. Horns rasping, strings sweep and tender harmonies reflect the hurt and heartache in Tyrone’s throaty vocal. It’s almost as if he’s become overcome by emotion. Cooing harmonies try to sooth his broken heart, as memories come flooding back, bringing back the hurt and heartache. Tyrone’s reading of the lyrics brings them to life, and results in a deeply moving, beautiful and soulful way to close In The Mood.
During the eight tracks on In The Mood, you hear different sides to Tyrone Davis. There’s the deeply soulful side of Tyrone, where his heartfelt, heartbroken and impassioned pleas breath life and meaning into the lyrics. For me, that’s Tyrone Davis at his very best. Having said that, when the music gets funkier and tougher, Tyrone rises to the challenge, vamping his way emotively and sometimes, sensually through the songs. Then when the tempo rises and the music becomes dance-floor friendly, Tyrone Davis kicks loose, showing yet another side to his music. With a tight, talented band and some soulful backing vocals accompanying Tyrone Davis, the eight songs fly past. There’s neither filler, nor flops, just an eclectic selection of music. Of the four albums Tyrone Davis had released on Columbia, In The Mood which will be rereleased by BBR Records on 28th January 2013, sees Tyrone back to his very best. While Tyrone Davis’ career started late, then by 1979, when he released In The Mood, Freddie King’s former chauffeur had come a long way. Indeed, In The Mood finds Tyrone Davis back, to his soulful best. Just one listen to In The Mood demonstrates why. Standout Tracks: In The Mood, I Can’t Wait, Ain’t Nothing I Can Do and We Were In Love Then.
TYRONE DAVIS-IN THE MOOD.
DICK JENSEN-DICK JENSEN.
DICK JENSEN-DICK JENSEN.
When most people think of Philadelphia International Records, they think of The O’Jays, Harold Melvin and The Blue Notes, Billy Paul, The Three Degrees and Teddy Pendergrass. However, there’s much, much more to Philadelphia International Records than just these artists. Granted they were among Philadelphia International Records’ most successful artists, but they tell only part of the story. These are just a few of the chapters in the long and illustrious history of Philadelphia International Records and the history of Philly Soul. Dig deeper, and the journey through Philadelphia International Records’ back catalogue becomes a voyage of discovery. For every Billy Paul, Teddy Pendergrass and Harold Melvin and The Blue Notes, there are artists whose music wasn’t as commercially successful. Examples include the Intruders, Spiritual Connection, Bunny Sigler, Monk Montgomery and Anthony White. To that list you could add Dick Jensen, who released just three singles and his one album on Philadelphia International Records. That album was 1973s Dick Jensen, which will be rereleased by BBR Records on 31st January 2013, forty years after its release. Dick Jensen was quite unlike anything Philadelphia International Records had released since its inception in 1971. Mind you, Dick Jensen was no ordinary singer.
Dick Jensen was born in 1942, in Kalihi, on the island of Oahu, the third largest of the Hawaiian Islands. Fittingly, he island of Oahu is known as the gathering place. Its capital is Honolulu, where during the sixties and seventies, people would gather to hear Dick Jensen sing. After graduating from the Farrington High School, Dick Jensen embarked upon a career in music. Using the stage name Lance Curtis, Dick became one of the biggest acts in Hawaii. Then in 1966, Dick went from being a star in Hawaii, to becoming an international star.
The Rollings Stones were looking for someone to open for them during their 1966 American tour. This was where Dick Jensen came in. With Dick opening for The Rollings Stones, his music was heard by a much wider, audience. The man known as “The Giant” mesmerized audiences, singing and dancing. Now Dick was on his way to international fame. He signed to with Don Costa Productions and soon, was dividing his time between Hawaii and Las Vegas. Then in 1969, Dick released his debut album.
White Hot Soul was Dick Jensen’s debut album, released in 1969 on Probe, a subsidiary of ABC Records. Probe seemed a strange choice of label for Dick. Most of their roster were either psychedelic or Prog Rock bands. Still, it was an opportunity for Dick’s music to reach a much wider audience. On the release of White Hot Soul, the album wasn’t a commercial success. Despite this, Dick’s career was progressing. He appeared on the Ed Sullivan show, and was quickly garnering a reputation as one of the most charismatic performers live. As a new decade dawned, Dick’s fortunes changed.
In 1970, Dick made his New York debut. at the Century Plaza. He was now spending time in New York, Las Vegas, Hawaii, Hollywood and Puerto Rico. Then in 1971, two men who’d just founded their own record label decided ti sign Dick Jensen.
Gamble and Huff had founded their own label, Philadelphia International Records, IN 1971. By the time Dick released his first single for Philadelphia International Records, they’d only released three previous singles. Going Up the Mountain, released in May 1971 as ZS7-3504 was the nascent label’s fourth release. On the flip side was Cheers To Love. Like Going Up the Mountain, Cheers To Love was penned by Gamble and Huff. Although Going Up the Mountain failed to chart, by the time Dick released his sophomore album Dick Jensen in 1973, Philadelphia International Records was one of the most successful record companies in America. Between 1971, when Dick released his Going Up the Mountain and 1973, when Dick Jensen was released, Philadelphia International Records had released many critically acclaimed and commercially successful albums. So for an artist looking to make a commercial breakthrough, this was the perfect label.
For Dick’s sophomore album Dick Jensen, Gamble and Huff cowrote seven of the songs. Thom Bell and Linda Creed penned 32nd Street and Bunny Sigler and Phil Hurtt cowrote Shall We Gather By the Water. The other track was a cover of Chuck Jackson and Luther Dixon’s I Don’t Want To Cry. Recording of Dick Jensen took place at Philly’s Sigma Sound Studios, where the Philly Sound was born in the late sixties.
Accompanying Dick Jensen were Philadelphia International Records’ legendary house-band M.F.S.B. This included This included a rhythm section of Baker, Harris, Young and guitarist Bobby “Electronic” Eli, T.J. Tindall and Roland Chambers. They were joined by vibes virtuoso, Vince Montana Jr, Larry Washington on congas and bongos, organist Lenny Pakula and pianist Leon Huff. Add to that Don Renaldo’s Swinging Strings and Horns and The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Arrangers included Vince Montana Jr, Norman Harris and Bobby Martin, while Bunny Sigler, Thom Bell and Gamble and Huff produced the ten tracks that became Dick Jensen, which was released in 1973.
On the release of Dick Jensen in February 1972, the album failed to chart. Neither of the singles charted. Penny For Your Thoughts was released in March 1973 and Peace of Mind in March 1974. Only I Don’t Want To Cry was released in the UK, but failed to chart. This must have been bitterly disappointing for Dick, and everyone at Philadelphia International Records. Gamble and Huff were used to success. They’d become the hottest songwriting and production team of the seventies and weren’t use to failure. So why wasn’t Dick Jensen a commercial success? That’s what I’ll tell you after I’ve told you about the music on Dick Jensen.
Opening Dick Jensen is A Penny For Your Thoughts, one of seven Gamble and Huff penned and produced tracks and arranged by Vince Montana Jr. Straight away, you realise that this isn’t what you’d expect from an album baring the Philadelphia International Records’ logo. Instead, there’s a much more MOR sound, but with a delicious Philly Sound makeover. The arrangement has an understated, jazzy sound. Just rasping horns, the Baker, Harris, Young rhythm section and Lenny Pakula’s Hammond organ combine, before Dick’s heartfelt vocal enters. The Sweethearts of Sigma harmonies are the perfect foil for Dick. With flourishes of strings for company, they tenderly and sweetly answer his call. Norman Harris adds some crystalline jazz-tinged guitar, while horns growl and strings sweep as the arrangement swings along, with Philly Soul, MOR and jazz seamlessly and quite beautifully.
I Don’t Want To Cry sees the tempo increase, allowing Dick and M.F.S.B. to showcase their versatility. With strings swirling frantically and Baker, Harris, Young driving the arrangement along the song explodes into life. Dick’s vocal is much more soulful, delivered with power, passion and emotion. Swathes of strings dance, horns growl and bursts of Earl Young’s thunderous drums add drama. Leon Huff adds boogie woogie piano, while Larry Washington’s bongos and congos adds to the drama. Gospel infused soaring harmonies from The Sweethearts of Sigma, are the finishing touch to this stomping slice of soul.
Three Cheers To Love was written and produced by Gamble and Huff and arranged by one of Philadelphia International Records’ best arrangers, Bobby Martin. It’s a slow, emotive ballad. This is perfect for Dick’s style of delivery. Swathes of the lushest strings and tender, impassioned harmonies from The Sweethearts of Sigma, accompany Dick’s fervent, inspired vocal. He lays bare his soul, delivering the vocal with equal parts of power, emotion and drama. Then there’s Norman Harris’ pensive guitar, bursts of grizzled horns and the strings. They tug at your heartstrings, reflecting the emotion and sincerity in Dick’s vocal and The Sweethearts of Sigma’s harmonies.
Fat Mama is a slice of driving music where jazz, funk and R&B are fused. From the get-go, Dick embarks on a vamp. This he does against a backdrop of Larry Washington’s bongos and congas, piano and Ron Baker’s bass which drives the arrangement along. Blazing horns, stabs of Lenny Pakula’s Hammond organ and flamboyant flourishes of piano combine with searing guitars, as Dick’s vocal becomes a frenzied, vamp. He seems to be taking inspiration from Little Richard, Jackie Wilson and James Brown. It shows a very different side to Dick’s music, and is a tantalizing glimpse of what Dick Jensen live must have sounded like.
Norman Harris arranged New York City’s A Lonely Town. Vince Montana Jr’s vibes, quivering strings and a slow, pensive Baker, Harris, Young rhythm section combine with Dick’s heartbroken vocal. His voice is tender, but filed with sadness. Baker, Harris, Young add a burst of drama, and taking his lead from them Dick’s vocal grows in power and emotion. His vocal is filled hurt, as he tells the story of a musician leaving behind the woman he loves, to head to New York to make a breakthrough in the music industry. Dick brings meaning to the lyrics, his despairing vocal begging, pleading “please let me in.” When his vocal grows in power, you can sense his hurt and heartache. He’s nearly giving up hope. Then at just the right time, harmonies sweep in, while drums add drama, reflecting his pain and hurt. Not only is this the best ballad on Dick Jensen, but the best track, and one of the most moving, powerful songs you’ll hear in a long time.
32nd Street was penned by Linda Creed and Thom Bell, who produced the track. Dramatic. That’s the only way to describe the introduction. Strings quiver and cascade, horns bray and growl, joining ethereal harmonies from The Sweethearts of Sigma and Baker, Harris, Young. Once they reach a dramatic crescendo, Dick’s vocal takes charge. His reading is every bit as dramatic, powerful and emotive. With rasping horns, sweeping harmonies and flourishes of strings Dick delivers a vocal which is enthralling and captivating, guaranteed to have you spellbound and mesmerized.
Going Up On The Mountain is quite different from other tracks. Released in 1971 as a single, it has a late sixties sound. The choppy arrangement unfolds at breakneck speed, driven along by Baker, Harris, Young and searing guitars. Dick’s vocal is gospel-tinged, just like The Sweethearts of Sigma’s harmonies. They provide the perfect accompaniment, as Dick and The Sweethearts of Sigma testify their way through this track fusing Philly Soul, gospel, country, R&B and rocky guitars.
There’s no drop in tempo on Peace Of Mind. It joyously bursts into life. Don Renaldo’s Swinging Strings and Horns join Baker, Harris, Young in setting the scene for Dick’s vocal. A flourish of piano signals Dick to deliver a quick, joyous and swinging vocal. The Sweethearts of Sigma add cooing, sweeping harmonies as Dick becomes a crooner, delivering one of his best vocals. Similarly, M.F.S.B. and The Sweethearts of Sigma produce peerless performances during this joyous, hook laden track, that just swings.
Shall We Gather By The Water sees Earl Young’s drums and waves of Lenny Pakula’s Hammond organ combine. Dick becomes a preacher, weaving his spell over you. Then, Dick and M.F.S.B. kick loose and the arrangement reveals its secrets. Horns growl, strings sweep and swirl as Dick powerfully and passionately vamps, with The Sweethearts of Sigma for company. Their tight, tender and deeply soulful harmonies and M.F.S.B. in full flight are an impressive sound, as Dick Jensen preaches his way through the track, making believers out of everyone who hears the song.
Closing Dick Jensen is Tamika (Come Back Later), the last of the seven tracks Gamble and Huff wrote and produced. Strings cascade urgently, while Baker, Harris, Young add drama and horns bray. They produce an urgent, uptempo arrangement. Dick’s vocal is quick, emotive and powerful. It’s also filled with drama, just like the arrangement. Bursts of thunderous drums, flourishes of piano, percussion and searing guitar match Dick every step of the way, ending Dick Jensen on a dramatic, emotive high.
It’s nearly forty years since Philadelphia International Records released Dick Jensen. Sadly, Dick Jensen wasn’t the most successful album Philadelphia International Records released. Maybe the problem was that Dick wasn’t the usual type of artist Philadelphia International Records. Rather than a soul singer like Billy Paul, Dick Jensen’s music was very different. It ranges from pop and easy listening right through to jazz, pop, gospel and soul. This makes Dick Jensen one of the most captivating and enthralling albums Philadelphia International Records released. You never know what direction the album is heading. That’s what makes Dick Jensen such a compelling album.
While Dick Jensen wasn’t the typical Philadelphia International Records’ signing, his music was given a Philly Sound makeover. With M.F.S.B. and The Sweethearts of Sigma accompanying Dick, there’s a real Philly Sound to the album. That’s the thread that runs through Dick Jensen. Although Dick Jensen wasn’t the type of album you’d expect Philadelphia International Records to release, just like any other album with that famous Philadelphia International Records logo on it, it has one thing in common…quality. From the opening bars of A Penny For Your Thoughts, right through to Tamika (Come Back Later), there’s no drop in quality. Neither Dick Jensen, nor M.F.S.B. miss a beat. Since its release, Dick Jensen which will be rereleased by BBR Records on 31st January 2013, has been an overlooked, hidden gem in Philadelphia International Records. Hopefully, forty years after its release, Dick Jensen will find a much wider, more appreciative audience and introduce the music of “The Giant” to a new generation of listeners. Standout Tracks: A Penny For Your Thoughts, New York City’s A Lonely Town, Peace Of Mind and Shall We Gather By The Water.
DICK JENSEN-DICK JENSEN.
AZTECA-AZTECA.
AZTECA-AZTECA.
With brothers Coke and Pete Escovedo growing up Oakland in the sixties, surrounded by Latin music, it’s no surprise that they decided to form their own group, Azteca. Like Santana, Azteca were a pioneering and innovative group. Their music was a fusion of a multiplicity of musical genres and influences, including Latin and funk. Best known for their vocal and percussive talents, Azteca blazed a trail for Latin music, bringing the delights of Salsa and Mamba to a much wider, appreciative audience. In many ways, Azteca were more than a band, they were musical pioneers and innovators.
So Azteca were much more than a band. Indeed, referring to Azteca as a band in an understatement. A much more fitting description is that Azteca were a pioneering Latin orchestra, featuring up to twenty-five musicians. These weren’t just any musicians. Not at all. Azteca were an all-star band. Among their number were bassist Paul Clark who played on several Herbie Hancock albums, while drummer Lenny White worked with everyone from Miles Davis through to Stanley Clarke and Freddie Hubbard. With such a multitalented lineup, and having honed their skills over several years, Azteca were signed to Columbia Records. In 1972, Azteca released their debut album Azteca, which will be rereleased by BBR Records on 28th January 2013. Before I tell you about the music on Azteca, I’ll you about Azteca and their trali-blazing musical journey.
During the last few years of the sixties, music was evolving quickly. Quickly, musical fashions were changing and melting into one. Musical genres and influences collided, merging and melting into one. Often, artists fused a variety of genres and influences to create their own signature sound. Jimi Hendrix merged blues, rock, jazz, psychedelia, funk and Latin music. Santana did something similar. Their music is a melting pot of rock, blues, psychedelia, jazz, funk, Salsa, Mambo and Latin music. Seamlessly, it melts into something new and innovative. Two musicians that played their part in Santana’s unique and pioneering sound were brothers Coke and Pete Escovedo. Having been part of Santana’s rise to success, Coke and Pete decided to form their own band, Azteca.
For Coke and Pete forming Azteca made perfect sense. They’d grown up in Portland not just surrounded by Latin music, but totally immersed in the music. It was something they loved, lived and breathed. So keen to perfect their percussive skills, Coke and Pete decided to organize Mambo lessons. During these lessons, they were able to benefit from the experience of other musicians’ experience. The effect this had was to hone and perfect Coke and Pete’s percussive skills. However, it wasn’t just Latin music that influenced Azteca’s music. Just like Santana, their music is a melting pot of rock, blues, psychedelia, jazz, funk, Salsa, Mambo and Latin music. This melting of music brought Azteca to the attention of Columbia Records.
Columbia Records signed Azteca and in September 1972, work began on recording their eponymous album Azteca. Recording took place at Columbia Studios in San Francisco. Joining Coke and Pete Escovedo were some of the most talented jazz and Latin musicians of the time. Over a dozen musicians played on the eleven tracks on Azteca. This included a horn section and a myriad of percussive delights. Many of the tracks on Azteca were penned by members of Azteca. Of the eleven tracks, Pete cowrote Peace Everybody and Ah! Ah! Once Azteca was recorded, it was released in December 1972.
On the release of Azteca in December 1972, it reached number 151 in the US Billboard 200 and number thirty-eight in the US R&B Charts. Neither of the singles fared as well. Mamita Linda was released in 1972 and Ain’t Got No Special Woman in 1973, but neither charted. However, Azteca had proved a commercial success, introducing a wider audience to the unique and innovative sound of Azteca, which I’ll tell you about.
Although La Piedra Del Sol which opens Azteca is just seventy-three seconds long, it’s a tantalising taste of what’s in store. Urgent, growling horns, meandering, noodling keyboards and dramatic, question strings merge with a myriad of percussion. A glimpse of crystalline guitars whets your appetite as jazz, Latin, classical and rock unite dramatically. Now Azteca have your attention, they won’t let go.
Mamita Linda picks up where the opening track left off. Thunderous drums, stabs of braying horns, percussion and cascading flute combine as the track explodes into life. The lyrics are delivered in Spanish and English, and delivered with a fervor that matches the arrangement. Accompanying the vocal is a truly infectious arrangement, that gallops and thunders along, mixing Latin, jazz and Salsa. It’s a mass of percussion, drums and piano. Stabs of flute urgently answer the vocal. By the end of the track, you’re spent and exhausted, at the energy and enthusiasm Azteca have expended.
Ain’t No Special Woman sees Azteca seek inspiration from Santana. It’s probably the poppiest track on Azteca. There’s more than a nod to Santana’s Black Magic Woman. Azteca have their tongue placed firmly in their cheek here. It’s as if they’re saying anything Santana can do, so can we. From the opening bars you’re hooked, as Latin, rock, jazz, psychedelia and funk are thrown into Azteca’s musical melting pot and stirred for six minutes. With punchy horns, Hammond organ, rhythm section and percussion the arrangement sashays along. Rico Reyes’ vocal is heartfelt, accompanied by soulful harmonies and later, delivered in a call and response style. Later, when Azteca kick loose, they flourish, showcasing their mesmerizing skills. Frantic percussion, searing, screaming rocky guitars, bursts of growling horns unite to fuse musical genres and influences aplenty. This results in the highlight of Azteca. Here, you can’t help compare Azteca to Santana, albeit with more than a hint of Jimi Hendrix thrown in for good measure.
Empty Prophet sees the tempo drop, with a really moody, bluesy backdrop accompanying Errol Knowles’ despairing vocal. Space is left in the arrangement, proving effective, allowing the vocal to take centre-stage. A wandering bass, rasping horns and thoughtful rhythm section combining with chiming guitars and Hammond organ. Gradually, the arrangement grows in power and drama. So too does the vocal. It grows in emotion, power and doubt, questioning and probing, while breathing life and meaning into some of the best lyrics on Azteca.
Can’t Take the Funk Out of Me sees Azteca combine good-time funk with elements of rock, jazz and Latin music. Add to that gospel tinged harmonies. It’s a delicious fusion. A tough, uber funky bass-line, stabs of blazing horns and sizzling, searing rocky guitar at the heart of the arrangement, while Paul Jackson’s grizzled, sassy vocal briefly reminds me of B.B. King. Gospel infused harmonies accompany Paul, as they drive each other to greater heights. Meanwhile, the band showboat. Their grandstanding is mesmerizing. The rhythm section and horns join keyboards and percussion to create what’s quite simply delicious slice of good time funky music.
When Peace Everybody begins, you’re reminded of the unmistakable opening to Isaac Hayes’ Shaft. It’s the rhythm section complete with hissing hi-hats that lead to this comparison. Bursts of growling horns transform Azteca into a funk-laden musical juggernaut. Driving the arrangement along are the funkiest bass and searing guitar licks. They’re helped by the impassioned vocal, who are joined by joyous, pleading harmonies. Peace Everybody is their plea. Then later, Bob Ferreria jumps into the driver’s seat, his tenor saxophone growling and moaning, injecting jazz into this musical stew. Bob’s healthy sprinkling of jazz is added to the a plentiful supply of funk, augmented by the addition of Latin, rock and psychedelia. The result is a musical feast, which you’ll want several servings of.
Non Pacem meanders into being, Moody, spacey and pensive soon changes into a driving groove, where funk, jazz and Latin music combine. Grizzled horns, sweet, but spacey vocals and a funky backdrop. Then Tom Harrell takes charge, laying down a trumpet solo that’s peerless. It blazes, growls and rasps, while stabs of Hammond organ fill in the spaces. The rhythm section and mass of percussion join the sixties-tinged vocal. Later, the arrangement takes on an Afro-Cuba sound, while jazzy horns dance dramatically above the arrangement. You never know what’s about to happen. Curve balls are thrown by Azteca, teasing and toying with you, but always tantalizing and surprising. Expect the unexpected.
Ah! Ah! sees a change in style, with the track’s Latin influence shining through. Percussion, flamboyant flourishes of cascading flute and the vocal combine, as the arrangement sashays along. Joining the fun are rasping horns, bursts of pizzicato strings and a pounding bass-line. One minute the arrangement sashays along, the next it’s stop start. One thing remains the same, keeping still is impossible. It’s like a call to dance.
Love Not Then sees another change in direction. Like Ain’t No Special Woman, there’s a poppy sound to the track. It flows beautifully along, gradually revealing its laid-back, melodic secrets. Just a chiming guitar, piano and percussion accompany the understated rhythm section. Then tender harmonies float in, giving way to the sweetest and tenderest of vocals from Wendy Haas. The interplay between the harmonies and Wendy’s vocal is exquisite, with lush strings adding to the beauty. Warm, subtle keyboards and rasping horns provide musical contrasts as the arrangement flows beautifully along. Wendy’s vocal and the harmonies are the finishing touch to a track where beauty, emotion, drama and poppy hooks sit comfortably side by side.
It’s almost fitting that track called Azteca typifies what Azteca’s music was about. This is a fusion of musical genres and influences. During four minutes of music, Azteca manage to incorporate jazz, Latin, Afro-Cuban and elements of rock and funk. Drama, power and surprises aplenty are in-store. Horns inject a jazzy sound, helping drive the arrangement along. Percussion is ever-present, adding Afro-Cuban and Latin flavors. For their part, the rhythm section add a touch of funk, while a guitar briefly references rock music. All these references rolled into one are a musical description of the music of Azteca.
Bookending Azteca is Theme: La Piedra Del Sol, which like the opening track, lasts less than two minutes. The arrangement meanders into being, pensive and spacious. A sprinkling of percussion is joined by a broody bass and braying horns. They’re joined by chiming guitar, timbales and percussion. Repetitive, hypnotic and pensive. Azteca probe, questions and quiz, asking a series of musical questions. Towards the end of the track horns provide an answer to the questions, booking Azteca, Azteca-style.
Azteca’s eponymous 1972 debut album Azteca, is a compelling, captivating and enthralling musical melting pot. During the eleven tracks on Azteca, musical genres and influences melt into one. There’s everything from rock, blues, psychedelia, jazz, funk, Salsa, Mambo and Latin, Afro-Cuban music on Azteca. Add to that soulful vocals and gospel-tinged harmonies. When all this is put into Azteca’s musical melting pot and given a good stir, then the result is a delicious musical feast. Curveballs are thrown on regular basis. You learn to expect the unexpected. It’s a musical journey with twists and turns aplenty. Each track is very different from the preceding one. That’s what makes Azteca, such an enthralling and fascinating album.
While the words pioneers and innovators are often used to freely, Azteca this is a fitting description of Azteca. Rather than play things safe, Azteca push musical boundaries, producing cutting-edge music. Although Santana produced similar music before Azteca, Azteca took this further. The music on Azteca fuses even more musical genres and influences than Santana did. It’s even more complex and multilayered. Gradually, and with each listen, further subtleties are revealed. Despite being released in 1972, Azteca which will be rereleased by BBR Records on 28th January 2013, has aged well, just like a fine wine. Still, Azteca is a captivating and enthralling musical melting pot, where Azteca fuse musical genres and influences aplenty, seamlessly, and with flair and panache. Standout Tracks: Mamita Linda, Ain’t No Special Woman, Empty Prophet and Love Not Then.
AZTECA-AZTECA.
MONTANA-I LOVE MUSIC.
MONTANA-I LOVE MUSIC.
1978 marked the start of the next chapter in the long and successful career of Vince Montana Jr. Just a few months earlier, one chapter closed and the next began. The chapter that had just finished lasted three years. It began in 1975, when Vince Montana Jr. founded The Salsoul Orchestra. Vince conducted, arranged, produced and wrote much of The Salsoul Orchestra’s music. For three years, The Salsoul Orchestra was disco’s premier orchestra, while Salsoul Records was disco’s greatest label. Then a dispute between Vince and the Cayre brothers who owned Salsoul would forever change Salsoul and The Salsoul Orchestra. This dispute was over royalties and when it couldn’t be resolved, Vince Montana Jr, decided to quit Salsoul. After this, The Salsoul Orchestra were never the same. While they were still the best disco orchestra, the music was never quite as innovative, flamboyant and complex. Things was starting to change at Salsoul, and this was just the start. Given Vince Montana Jr’s reputation, he wasn’t short of offers. Eventually, he settled on a major label, Atlantic Records, who would release I Love Music, his debut solo album which he released in 1979 as Montana. Would I Love Music replicate the success Vince had enjoyed at Philadelphia International Records and Salsoul?
By the time Vince Montana Jr, signed to Atlantic Records, his career was into its third decade. Vince had been born on 12th February 1928. He grew up in South Philadelphia and by the time he was sixteen, in 1944, Vince was playing in local clubs. Then by early fifties, Vince was working in jazz clubs, where he backed legends like Charlie Parker, Sarah Vaughan, Red Garland and Clifford Brown. Next stop for Vince was Las Vegas, where he played in places like the Golden Nugget and the Freemont Hotel. All the time, Vince was learning his craft and honing his skills. So, when he moved back to his hometown of Philly, he was an experienced, talented and versatile musician.
Back in Philly, Vince played on sessions for local labels, including Cameo Parkway and Chancellor Records. He played on numerous sessions, including recordings by Frankie Avalon, Chubby Checker and Bobby Rydell. Then Vince became a member of the orchestra for the Mike Douglas television show. After that, Vince Montana Jr, returned to Philly, just as the Philly Sound was emerging.
Vince had picked the perfect time to return to Philly, with the nascent Philly Sound developing. Soon, he was working with producers like Thom Bell and then Gamble and Huff. He was not just a musician, but an arranger, producer and songwriter. Look at the sleeve-notes to any Philly Soul classic, and Vince Montana Jr, worked on the album. The Stylistics, The O’Jays, Harold Melvin and The Blue Notes, Blue Magic, Billy Paul, Barbara Mason, The Delfonics, Major Harris and The Trammps all feature the multitalented Vince Montana Jr. Then in 1975, Vince Montana Jr, formed The Salsoul Orchestra.
The Salsoul Orchestra came about almost by accident. Many of the original lineup of M.F.S.B. were locked in a dispute with Gamble and Huff over money. During that time, Vince was discussing a Latin group he’d discovered with the Ken Cayre. Ken wasn’t interested. However, Joe Bataan who was in the next office, overheard them and the idea of a disco orchestra was born. Out of the meeting came the idea of a disco orchestra fused with Latin, salsa, rock, soul, and the big band sound. Add to that the Salsoul logo, which signified a fusion of musical genres and cultures. From that meeting, The Salsoul Orchestra was born. When the original lineup of M.F.S.B.left Philadelphia International Records, they became The Salsoul Orchestra.
With Vince arranging, producing, conducting and writing much of The Salsoul Orchestra’s songs, success came quickly for The Salsoul Orchestra and Salsoul Records Their self-titled debut album The Salsoul Orchestra sold a million copies. From there, a series of innovative albums were released. Vince worked with other artists on Salsoul, including Charo and Loleatta Holloway. Then in 1977, Vince and the Cayre brother were locked in a dispute over royalties. When this couldn’t be resolved, Vince left Salsoul. Straight away, numerous record labels wanted to sign a true musical innovator. Here was a man that was a musical genius. Vince’s eventual destination would be Atlantic Records.
Now signed to Atlantic Records, Vince began work on his debut album I Love Music. Like the music Vince had created at Salsoul, I Love Music would an innovative, fusion of musical genres and influences. Six tracks featured on I Love Music. The title-track was a cover of The O’Jays classic, penned by Gamble and Huff. Another cover version was Aaron Copland’s Fanfare For the Common Man. Vince wrote You Know How Good It Is and Samba De Montana, and cowrote two other tracks. Bobby “Electronic” Eli cowrote Montana and Friends with Vince, while Ronnie Walker and Vince penned Maybe It’s In My Mind. To record Montana’s debut album I Love Music, Vince and some of Philly’s best musicians headed to the familiar surroundings of Sigma Sound Studios.
At Sigma Sound Studios, Vince was joined by an all-star line up. The rhythm section comprised bassist Vince Fay Jr, drummer Grant MacAVoy and guitarists Bobby “Electronic” Eli, T.J. Tindall and Ronnie Walker. Vince played vibes, bells, percussion, piano and electric piano, while Lenny Pakula played organ, Larry Washington played congas and James Walker bongos and timpani. Add to that a full string, woodwind and horn section, including violinist Don Renaldo and flautist Jack Faith. Goody Montana, Vince’s daughter sang the lead vocal on the title-track I Love Music and The Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram sang backing vocals. Arranging, conducting and producing the album was Vince Montana Jr.
On the release of Montana’s debut album I Love Music in 1979, it proved to be one of the most innovative albums Vince Montana Jr, had worked on. Sadly, it didn’t prove a commercial success, failing to chart. Since then, I Love Music has become recognized as one of the most far-sighted, cutting-edge and ambitious albums. You’ll realize that when I tell you about Montana’s 1979 debut album I Love Music.
I Love Music opens with the title-track, I Love Music, featuring Goody Montana singing the lead vocal. This is an ambitious way to open a debut album. After all, The O’Jays version is a stonewall Philly Soul classic. Straight away, congas, bongos and pounding drums combine before that familiar bass line, stabs of piano and lush, dancing strings enter. Then comes Goody’s joyous, powerful vocal. She mixes power, sass, energy and sheer joy. The Sweethearts of Sigma add urgent harmonies. Meanwhile, a mass of percussive delights, swirling strings, growling horns and a pulsating disco beat combine. A piano helps drive the arrangement along, adding to the sheer drama and energy of this joyous arrangement. Add to that, a searing guitar solo from Bobby “Electronic” Eli and later, one of Vince’s signature vibes solos. Hooks aplenty are unleashed, as this infectiously catchy, innovative, reinvention of this Philly Soul classic proves to be a Montana family affair, thanks to the twin talents of Goody and Vince Montana Jr.
You Know How Good It Is was one two tracks Vince wrote. It has his trademark sound as it marches into life. From just pounding drums and bongos combining Vince’s band kick loose. Marching along to the rhythm section’s beat, horns bray and rasp, lush strings sweep and swirl while percussion is sprinkled throughout the arrangement. Vince adds vibes while the arrangement combines elements of jazz, funk, Latin, salsa and disco. After two minutes, Vince strips the arrangement bare. He takes centre-stage before introducing a funk-laden rhythm section, then the grizzled with just a hypnotic beat for company. Gradually, the arrangement rebuilds, marching along to Vince’s beat. Horns blaze, strings dance and Vince’s vibes combine as this innovative, genre-sprawling fusion of musical styles and influences takes shapes. There’s everything from funk, slinky jazz, big band music right through to Latin and Salsa. It’s a truly delicious, serving of cutting-edge music from one of music’s true innovators.
Put It In Love sees Vince introduce The Sweethearts of Sigma, who add harmonies. Here, Vince rolls back the years, returning to big band era for inspiration. Horns growl and kick, Lenny Pakula adds Hammond organ and the bass drives the arrangement along. Vince delivers the lyrics, his lived in voice perfect for the track. The Sweethearts of Sigma prove the perfect foil. Their tight, jazzy harmonies range from heartfelt, sassy sensual and breathy. They soar above the arrangement, witt handclaps for company. With woodwind, sultry horns and Lenny Pakula’s Hammond organ combining, and the bass driving the arrangement along, the result is a vintage slice of big band music that swings along beautifully and brilliantly. What a way to close Side One of I Love Music.
Side Two of I Love Music opens with Fanfare For the Common Man. This is a track that Vince has visited once before, on The Salsoul Orchestra’s Nice ‘N’ Nasty album. Here, he reinterprets it by adding a dramatic, space-age twist. There’s blazing horns aplenty, booming dramatic drums, a myriad of frenzied percussive delights. They add a Latin twist as the rhythm section the provide the track’s pulsating heartbeat. Urgent strings, keyboards, punchy, grizzled horns create a multilayered, complex combination of musical genres and influences. They intertwine seamlessly, making sense, taking you on an enthralling, dramatic journey.
Bobby “Electronic” Eli and Vince cowrote Montana and Friends. Growling horns, a tough, uber funky rhythm section and the lushest of strings provide a series of musical contrasts. To that add Vince’s vibes as the arrangement variously flows, sweeps and bounces along. Orchestral strings float above the bass driven arrangement. Vince lays down peerless and thoughtful vibes solo, before the swathes of strings take charge. Next its the turn of the sultriest of horns, which tugs at your heart strings. Its jazzy sound means you can add jazz, to funk, disco, classical and Latin music. Seamlessly, Vince brings all this together. Not only does he ensure it all makes sense, but flows beautifully, emotively and powerfully along.
Closing I Love Music is Maybe It’s All In My Mind, which was written by Vince and Ronnie Walker. It features Vince on lead vocal and The Sweethearts of Sigma’s harmonies. Just keyboards, emotive strings and percussion join the rhythm section, who inject power and drama into the arrangement. They also set the scene for Vince’s tender, wistful vocal. It’s accompanied by Lenny Pakula’s Hammond organ and The Sweethearts of Sigma’s tender, heartfelt and truly beautiful harmonies. The backdrop for this is a jazz-tinged guitar, layers of lush strings, Vince’s vibes and a meandering bass. Drums add drama, reinforcing the melancholy sound of the arrangement. This is the perfect backdrop for Vince’s vocal and the harmonies, bringing I Love Music to a wistful, melancholy and beautiful end.
Like the albums Vince Montana Jr, worked on at Salsoul Records, his debut solo album Montana was a truly groundbreaking, innovative, fusion of musical genres and influences. Over the six tracks on I Love Music, Vince fused the sound of the disco orchestra with Latin, salsa, rock, soul, and the big band sound. The result is a glorious melting pot of music. From the opening bars of I Love Music, Vince is mixes musical influences aplenty. Hooks are certainly not rationed. His daughter Goody’s vocal is perfect for I Love Music. After that, there’s no let up in the quality of music. Quite simply, Vince doesn’t miss a beat. Three other vocalists play an important part in the sound and success of I Love Music…The Sweethearts of Sigma. Their harmonies on Put It In Love and Maybe It’s All In My Mind, prove the perfect foil for Vince’s lead vocal. They seem to spur Vince on to greater heights. WIth his all-star band providing the backdrop for the six tracks on I Love Music, Vince had picked up where he left off at Salsoul. Sadly, the only difference was that I Love Music wasn’t a commercial success.
As I Love Music was released in 1979, musical fashions were changing. The anti-disco bandwagon was rolling. Suddenly, people said disco sucked. So for a man synonymous with the disco orchestra, the release of Montana’s debut album couldn’t have come at a worst time. While I Music may not have been a commercial success, it’s certainly one of the most ambitious, innovative and cutting-edge albums of the disco era. Since 1979, I Love Music was been reappraised, and now seen as something a minor classic. Indeed, Montana’s debut album I Love Music showcases the talent, creativity and genius of one of the architects of the Philly Sound, Vince Montana Jr. Standout Tracks: I Love Music, You Know How Good, Put It In Love and Maybe It’s All In My Mind.
MONTANA-I LOVE MUSIC.
MAJOR HARRIS-JEALOUSY.
MAJOR HARRIS-JEALOUSY.
During 2012, music lost many great names. One of them was Major Harris, who died on 9th November 2012. Major Harris was just sixty-five and one of legends of Philly Soul. He’d enjoyed a long and successful career, one that spanned over five decades. This success came as part of groups like The Delfonics and as a solo artist. After being a member of The Delfonics between 1971 and 1975, during which time they recorded two albums. Then as The Delfonics career seemed to stall, Major Harris embarked upon his solo career. Between 1975 and 1984, Major Harris released four solo albums. His solo career started with 1975s million-selling My Way. It featured the number one US R&B single. A year later, in 1976, Major Harris released his sophomore album Jealousy. Would Jealousy match the success of My Way? Before I tell that, I’ll tell you about Major Harris’ career.
Major Harris was born on February 9th 1947, in Richmond, Virginia. During his nascent career, Major Harris was a member of The Charmers, The Teenagers, The Jarmels and Nat Turner’s Rebellion. Later, Major Harris released singles a few singles on the Okeh and Laurie labels. Then in 1971, Major Harris caught a break. He replaced Randy Cain in The Delfonics. It seemed Major Harris’ luck was changing.
Unfortunately, Major Harris joined The Delfonics as their fortunes changed. Thom Bell, who had produced their first three albums, and cowrote many of their songs with Linda Creed. However, no longer would Thom Bell be The Delfonics’ producer. For Major Harris’ Delfonics debut, 1972s Tell Me This Is A Dream, Stan Watson, owner of Philly Groove Records, The Delfonics’ label, would coproduce the album with Thom Bell. On its release it reached just number 123 in the US Billboard 200 and number fifteen in the US R&B Charts. If that was disappointing, worse was to come.
Alive and Kicking was released in 1974. Not only would it prove to be The Delfonics’ least successful album, but was their final album. It reached number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. So with The Delfonics’ career on the slide, Major Harris decided that the time was right to launch his solo career.
With Major Harris embarking on his solo career, his debut album My Way was released in 1975. My Was was released to critical acclaim and huge commercial success. My Way reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. If that was good, then things would get even better. After years of trying, Major Harris enjoyed a number one single. Each Morning I Wake Up reached number five in the US Billboard 100 and number one in the US R&B Charts. Not only did this vindicate his decision to leave The Delfonics, but surpassed the success of any of their singles. Having released his debut album in 1975, his sophomore album Jealousy was released in 1976.
For Jealousy, the same personnel that worked on My Way reconvened. This included many members of The Salsoul Orchestra, who previously, had been members of Philadelphia International Records’ legendary house-band M.F.S.B. Norman Harris, Major Harris’ cousin cowrote Ruby Lee with Ron Baker. Bobby “Electronic” Eli and Vinnie Barrett penned Walkin’ In the Footsteps and Talking To Myself, while Bobby cowrote It’s Got To Be Magic with Terry Collins. The other four tracks, Jealousy, I Got Over Love, Tynisa (Goddess of Love) and What’s the Use In the Truth were written by Joseph B. Jefferson and Charles B. Collins. These eight tracks became Jealousy, which was recorded at Philly’s Sigma Sound Studios.
Many of the musicians who played of My Way would also play on Jealousy. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli played guitar. Joining them were Vince Montana Jr, on vibes, Larry Washington played congas and keyboardist Carlton “Cotton” Kent. Ron “Have Mercy” Kersey also played keyboards and synths. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Various arrangers and producers worked on Jealousy, including Major Harris, Norman Harris, Bobby “Electronic” Eli and Ron “Have Mercy” Kersey. Once Jealousy was recorded, it was released in 1976.
On the release of Jealousy in 1976, it reached number 153 in the US Billboard 200 and number thirty-three in the US R&B Charts. Jealousy had failed to match the success of My Way. I Got Over Love was released as the lead single, reaching number twenty-four in the US R&B Charts. It’s Got To Be Magic then reached number ninety-one in the US R&B Charts. The last single was the title-track Jealousy, which reached number seventy-three in the US Billboard 100 and number forty-six in the US R&B Charts. Sadly, none of the three singles replicated the success of Love Won’t Let Me Wait, the number one US R&B single from My Way. However, how does the music on Jealousy compare with My Way?
Jealousy opens with the title-track Jealousy, arranged by Norman Harris, who produced the track with Ron “Have Mercy” Kersey. Just melodic keyboards and swathes of strings combine, before Norman Harris adds his subtle, jazzy guitar. They set the scene for Major Harris. His vocal is strong, deliberate and heartfelt. The Sweethearts of Sigma match his emotion and fervor. Their vocals sweep in, soaring above the arrangement. Meanwhile Larry Washington’s congas, Vince Montana Jr’s vibes, lush strings combine, as Baker, Harris Young provide a pounding heartbeat. Like the harmonies, the arrangement matches the sheer emotion, power and fervor in Major Harris’ voice. This ensures Jealousy gets off to a memorable start.
The tempo drops on I Got Over Love, with a heartbroken female vocalists pleading with Major not to go. Wistful, melancholy horns and emotive strings join Norman Harris’ chiming guitar and Vince Montana Jr’s pensive vibes. When Major Harris’ vocal enters, it’s filled with sadness, regret and even hope, hope for the future. He delivers the lyrics tenderly and thoughtfully. Equally ender, subtle and soulful harmonies from The Sweethearts of Sigma accompany him. They playing a leading role, in the track’s sound and success. Although tinged with sadness and regret, it’s also a very beautiful, melancholy song.
Bobby “Electronic” Eli and Vinnie Barrett cowrote Walkin’ In the Footsteps, which Bobby arranged and produced. This is one of the uptempo songs, allowing Major Harris and his band to kick loose. Stabs and flourishes of piano are joined by sweeping, swirling strings, rasping horns and Baker, Harris, Young. They inject power and drama into the arrangement. By then, Major Harris delivers one of his best vocals on Jealousy, It’s powerful, passionate and filled with emotion. He’s joined by The Sweethearts of Sigma, who add tender, beautiful and soulful harmonies. Soon the band hit their stride. Now the arrangement is a mass of dancing strings, growling horns and bursts of drama from the rhythm section. Add to that the unmistakable sound of Bobby “Electronic” Eli’s guitar and Vince Montana Jr’s vibes and the result is a truly delicious uptempo slice of Philly Soul.
Tynisa (Goddess of Love) closed Side One of Jealousy. It was arranged by Ron “Have Mercy” Kersey who produced the song with Norman Harris. An urgent combination of the Baker, Harris, Young rhythm section, braying horns and cascading strings grab your attention. Then when Major Harris vocal enters, the arrangement takes on a more understated sound. Major’s vocal is pensive and wistful, accompanied by The Sweethearts of Sigma’s heartfelt harmonies. When Major’s vocal grows in power, so does the arrangement. Horns, strings and the rhythm section reinforce and reflect the drama in the vocal. For his part, Major Harris’ delivers a vocal that’s a mixture of melancholia, emotion, power and sadness.
It’s Got To Be Magic opens Side Two of Jealousy and Bobby “Electronic” Eli arranges and produces the track. The tempo drops, swathes of strings sweep slowly above the arrangement, setting the scene for this sensual bedroom ballad. Major Harris’ vocal is sensual, joyful and thankful. Subtle, sensuous harmonies from The Sweethearts of Sigma prove the perfect foil for Major’s vocal. Vince Montana Jr’s vibes, Norman Harris’ jazzy guitar and keyboards provide the perfect backdrop. Later, the rhythm section reflects the playful, sassy and vampish nature of Major’s vocal during this bedroom ballad par excellence.
Ruby Lee was written by Ron Baker and Norman Harris who arranged and produced the song. It’s a song with a strong narrative, filled with social comment and almost ironically, marches along. Growling horns, swirling strings and a pulsating heartbeat from Baker, Harris, Young are joined be Major Harris. His vocal is quick, filled with joy and hope. The Sweethearts of Sigma add cooing, soaring harmonies as the arrangement takes on a hustle sound. By now the band have kicked loose. It’s an impressive sound. A myriad of dancing strings, bursts of blazing horns and a punchy rhythm section march along. Later, there’s a twist. Major’s vocal grows in power, becoming a hurt-filled vamp, as he lays bare his soul. Two years he’s been away, fighting for his country. Now he’s back, Ruby Lee’s gone and his house is up for sale. He’s heartbroken, desperate and has lost hope. Of all the songs on Jealousy, this must be the most moving, powerful and potent. One listen and you’ll understand why.
Talking To Myself was the second Bobby “Electronic” Eli and Vinnie Barrett composition on Jealousy. Just Vince Montana Jr’s, braying horns and Baker, Harris, Young combine to create a slow, understated backdrop for Major’s vocal. Quivering strings signal the arrival of his heartbroken vocal. The Sweethearts of Sigma add harmonies, while shimmering strings, rasping horns and Norman Harris’ sparse, jazzy guitar combine. With Norman’s guitar playing, it’s sometimes what he doesn’t play that makes his playing so effective. Earl Young’s drums reflect the drama and hurt in Major Harris’ vocal as he unleashes one of his most heartfelt vocals, where hope and happiness seem a long way away.
Closing Jealousy is What’s the Use In the Truth. The tempo drops, but the drama and emotion doesn’t. Growling horns, percussion and Vince Montana Jr’s vibes combine with Baker, Harris, Young. They provide an understated backdrop for Major Harris’ wistful, melancholy and dramatic vocal. Soon, The Sweethearts of Sigma add punchy, dramatic and impassioned harmonies. They seem to drive Major Harris to greater heights. His vocal is deliberate, questioning and probing. “What’s the Use In the Truth if you can’t tell a lie sometime” ponders Major Harris, as he delivers one of his most poignant, pensive and impassioned vocals. This seems a fitting way to close Jealousy.
So, that’s the story of Major Harris’ 1976 sophomore album Jealousy. Sadly, neither Jealousy, nor any of the singles released from Jealousy, matched the success of My Way. Part of the problem was that musical fashions were changing quickly. Disco had became the most popular musical genre. For soul singers like Major Harris, this presented a problem. Granted some of the songs on Jealousy are dance-floor friendly, but that didn’t help make Jealousy the commercial success it deserved to be. With an all-star cast of Philly songwriters, arrangers, producers and musicians working on Jealousy, there was nothing whatsoever wrong with the eight tracks on Jealousy. Norman Harris, Major Harris’ cousin, played an important part in the making Jealousy. He cowrote Ruby Lee with Ron Baker, and arranged and produced three tracks on Jealousy. Bobby “Electronic” Eli who cowrote three tracks on Jealousy played an equally important part. This included Walkin’ In the Footsteps and Talking To Myself with Bobby “Electronic” Eli and Vinnie Barrett. Unfortunately, neither of these tracks could replicate the success of Love Won’t Let Me Wait. Following Jealousy, Major Harris wouldn’t release another album on Atlantic Records.
Two years after the release of Jealousy, Major Harris released How Do You Take Your Love in 1978, on RCA Victor. This would be Major Harris penultimate album.1984s I Believe In Love was Major Harris’ final solo album. After that, Major Harris’ musical career continued. Tragically, Major Harris passed away on 9th November 2012, aged just sixty-five. Philly Soul had lost another of its legends. Major Harris left behind a rich musical legacy, including two albums he recorded with The Delfonics and four solo albums. Of these four solo albums, Major Harris‘ best two albums were 1975s My Way and 1976s Jealousy, which include some sumptuous, smooth Philly Soul. Standout Tracks: Jealousy, Walkin’ In the Footsteps, Ruby Lee and Talking To Myself.
MAJOR HARRIS-JEALOUSY.
EDDIE HOLMAN-A NIGHT TO REMEMBER.
EDDIE HOLMAN-A NIGHT TO REMEMBER.
Eddie Holman’s career began when in 1956, he was just ten years old, when he auditioned for the Amateur night at Harlem’s legendary Apollo Theatre. Soon, Eddie was hooked. Music came easy to him, he’d been playing piano and guitar from his early years. Following that night at the Apollo, Eddie was soon singing on Broadway, and even at the Carnegie Hall. His mother realizing Eddie was an extremely talented and gifted singer and musician, enrolled Eddie in Harlem’s Victoria School of Music. Little did she realize, that by the time Eddie was sixteen in 1962, he’d have released his debut single. Fifteen years later, much had happened to Eddie Holman. He’d just singed to Salsoul Records, and would release his second album, A Night To Remember, seven years after his 1970 debut album I Love You. Before I tell you about A Night To Remember, I’ll tell you about Eddie’s career up until then.
When Eddie was a teenager, the Holman family moved to Philadelphia. This was their second move. Eddie had been born in Norfolk, Virginia, in 1946, but the Holman family had moved to New York when Eddie was young. The move to Philly was where Eddie career took off.
By the time Eddie Holman’s career was fifteen, his career began, 1961 saw Eddie recorded his debut single Baby Don’t You Stop for Leopard Records. Then when Eddie signed to Cameo Parkway, he released Somewhere Waits A Lonely Girl in 1962. Between 1962 and 1966, Eddie released a series of singles on the Cameo Parkway label. Return To Me and Don’t Sop Now followed in 1962. This Can’t Be True released in 1965, gave Eddie his first hit single. He was just nineteen, and still at college studying for a degree in music. A year later, Am I A Loser (From the Start) in 1966 was released. From his earliest singles, Eddie was writing songs, often penning the B-sides to his singles. Soon, Eddie become a fixture of Philly’s quickly burgeoning musical scene.
Later in sixties, Eddie was working with The Delfonics and The Stylistics. By 1969, Eddie was signed to ABC Records. He was enjoying further hit singles, with 1969s I Love You, then Cathy Called and Since I Don’t Have You in 1970. Then Eddie Holman hit the musical jackpot with a song that became synonymous with him, Hey There Lonely Girl. It reached number four in the US Billboard 100 and number two in the US R&B Charts in 1970, resulting in the single being certified gold. This was a track from Eddie’s 1970 debut album I Love You, which reached number seventy-five in the US and number ten in the US R&B Charts. Following the success of Hey There Lonely Girl, great things were forecast for Eddie Holman. Sadly that wasn’t to the case.
Following Eddie’s departure from ABC Records, he released singles on a variety of labels. MCA Records, Silver Blue Records, Polydor and ABC Records all released singles by Eddie. No further Eddie Holman albums were released. Then in 1977, just as Eddie’s career seemed to be stalling, he signed for a label whose reputation was soaring, Salsoul Records.
Now signed to Salsoul Records, Baker, Harris, Young Productions would produce Eddie’s long awaited sophomore album A Night To Remember. Salsoul was filled with Philadelphia songwriters, arrangers, producers and musicians. Eddie was among friends, Philly friends who’d not just work on A Night To Remember, but rejuvenating Eddie’s career.
For Eddie Holman’s sophomore album A Night To Remember, Baker, Harris, Young got to work. Ron Baker wrote I’ve Been Singing Love Songs and All My Life. He also cowrote You Make My Life Complete, Time Will Tell and This Will Be A Night To Remember with ex-Temptation Ron Tyson. Norman Harris cowrote Immune To Love with Allan Felder and Ron Tyson. Bruce Gray and T.G. Conway cowrote Somehow You Make Me Feel, while Ron “Have Mercy” Kersey and Stephanie Andrews cowrote It’s Over. These eight tracks became A Night To Remember and were recorded at Philly’s SIgma Sound Studios.
Joining Eddie Holman for the recording of A Night To Remember were The Salsoul Orchestra. This was the classic lineup of The Salsoul Orchestra, featuring undeniably some of the greatest musicians of the seventies. All the Philly greats played on the album. The Baker, Harris, Young rhythm section were joined by guitarists Bobby “Electronic” Eli and T.J. Tindall. Larry Washington added congas, Vince Montana Jr, played bells and vibes and Ron “Have Mercy” Kersey, Bruce Gray and Carlton “Cotton” Kent played keyboards. Jack Faith played flute and violinist Don Renaldo was part of the full string section and horn section that was key to the Salsoul sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, along with Ron Baker, Ron Tyson, Bruce Gray, Phil Hurtt and Carl Helms. Various arrangers and producers, including Ron Baker, Norman Harris, Bruce Gray, T.G. Conway and Ron “Have Mercy” Kersey all worked on A Night To Remember.
On the release of Eddie Holman’s sophomore album A Night To Remember in 1977, it failed to chart. Two singles were released during 1977. You Make My Life Complete reached just ninety-six in the US R&B Charts. Then This Will Be A Night To Remember fared better. It reached number ninety in the US Billboard 100, number twenty-five in the US R&B Charts and number twenty in the US Dance Music/Club Play Charts. This must have been a huge blow not just for Eddie Holman, but everyone involved in A Night To Remember. However, is A Night To Remember something of a hidden gem in Salsoul Records’ back-catalogue?
A Night To Remember opens with You Make My Life Complete which is arranged and produced by Ron Baker. The arrangement has an understated Philly Soul sound. It meanders into being. Just keyboards, percussion, the lushest of strings and Vince Montana Jr’s vibes combine to create an emotive backdrop for Eddie’s tender vocal. His vocal is heartfelt, fervent and inspired. Equally tender harmonies, match Eddie for emotion and beauty. Key to this are the Sweethearts of Sigma. Strings quiver and shimmer, horns subtly rasp. Along with keyboards, they all play crucial roles, setting the backdrop for Eddie’s vocal tour de force. After seven years, Eddie’s back and better than ever.
Time Will Tell was the second Ron Tyson and Ron Baker penned song, Again, Ron Baker arranges and produces the track. Here the tempo increases. Baker, Harris, Young provide the arrangement’s pulsating heartbeat. Horns growl, strings dance and punchy harmonies lead by the Sweethearts of Sigma join Eddie. Soon, a stomping, dance-floor friendly track unfolds. Eddie throws himself into song, his vocal a mixture of power, hope and raw emotion. Sometimes, there’s a slight sixties sound and feel to the song. It some ways, it’s hard to believe this was released on Salsoul in 1977. Having said that, it’s infectiously catchy, anthemic and filled with hope.
Punchy, cascading harmonies join Eddie as Immune To Love unfolds. Norman Harris arranged and produced this slow, deliberate ballad. It’s a perfect showcase for Eddie’s vocal. WIth a roll of Earl Young’s drums, Vince Montana Jr’s vibes and strings combine to create an arrangement that tugs at your heartstrings. Eddie’s vocal is slow and deliberate, filled with hurt, heartache and sadness. Soon, Eddie lays bare his soul, while Earl’s drums reflect Eddie’s hurt. Strings reflect the emotion, while heartfelt harmonies are almost sympathizing with Eddie’s plight. During the song, Eddie breathes life, meaning and raw emotion into Allan Felder, Ron Tyson and Norman Harris’ wistful, melancholy lyrics.
This Will Be A Night To Remember closes Side One of A Night To Remember. Baker, Harris, Young drive the arrangement along, creating a pulsating beat. Keyboards add flamboyance, strings dance appreciatively and joyously and horns growl, The arrangement builds and builds. It’sa truly delicious, vintage slice of Salsoul. One part of you wants this to last forever, the other wants to hear what happens next. What happens is Eddie’s sassy, teasing vocal enters. Eddie becomes Dr. Love. Punchy harmonies accompany him, each forcing the other to greater heights. Meanwhile, The Salsoul Orchestra have kicked loose. They’re at their very best. Flourishes of piano, frantic strings and Baker, Harris, Young drive this musical juggernaut backdrop along. It’s life in the fast lane. This peerless fusion of Philly Soul, disco, funk and jazz brings Side One of A Night To Remember to a memorable, magical high.
I’ve Been Singing Love Songs opens Side Two of A Night To Remember was written, arranged and produced by bassist Ron Baker. The tempo slow, grizzled horns, a deliberate, Baker, Harris, Young rhythm section and swathes of lush sweeping strings set the scene for Eddie’s vocal. Ron Baker’s bass provides the heartbeat, while Eddie’s vocal is tender, emotive and pensive. Harmonies sweep in, with the Sweethearts of Sigma playing a leading role. They reflect Eddie’s melancholy vocal. Then later, Bobby “Electronic” Eli lays down a searing guitar solo, before bursts of Earl Young’s drums signals Eddie and the harmonies to take charge. When they do, they prove to be the perfect combination, pensive, reflective and laden with sadness and regret.
All My Life is the second track Ron Baker wrote, arranged and produced. It’s a much more uptempo track. Rasping horns, cascading strings and the Baker, Harris, Young rhythm section combine to create an uptempo, joyful backdrop for Eddie. He goes on to give thanks, his voice filled with happiness and joy, having met the woman he loves. Harmonies sweep in then cascade. Their soulfulness and emotion drive Eddie to greater heights. His vocal is swept along above the arrangement, as he spreads joy and hooks in equal measures.
Somehow You Make Me Feel was written by Bruce Gray and T.G. Conway. T.G. arranged the track and Bruce Gray produced it. This an uptempo dancer, with The Salsoul Orchestra pulling out the all the stops. Dancing strings, stabs of keyboards and a pounding rhythm section accompany Eddie. He’s spurred on by The Salsoul Orchestra in full flight, grabbing the song and injecting power and passion. Bursts of blazing horns punctuate the arrangement, while strings dance, keyboards add drama and the rhythm section provide the arrangement’s pulsating heartbeat.
Closing A Night To Remember It’s Over, arranged and produced by Ron “Have Mercy” Kersey. Sizzling, rock-tinged guitars, keyboards and the rhythm section combine to create a slow, emotive backdrop. Ron Baker’s bass deliberately drives the arrangement along, before Eddie’s vocal enters. Having set the scene, Eddie’s vocal is slow, heartfelt and filled with hurt. Tight, harmonies soar sympathetically above the arrangement, while strings add to the sadness, emotion and heartache. Although heartbreakingly sad, it’s a very beautiful song, allowing Eddie to showcase his vocal prowess. This seems a fitting way to close A Night To Remember.
Seven years after the release of Eddie Holman’s debut album I Love You, on ABC Records, came his sophomore album A Night To Remember. While Eddie’s fans had had a long wait for the followup to I Love You, Eddie was in good voice on A Night To Remember. Ballads and uptempo tracks sat comfortably side by side. Baker, Harris, Young Productions worked hard Eddie’s sophomore album. Along with the Philly friends, A Night To Remember had “Made In Philadelphia” written all over it. Each of the eight tracks were written, arranged and produced by Philly musicians. Similarly, most of The Salsoul Orchestra who accompanied Eddie Holman on A Night To Remember were from Philly. On the release of A Night To Remember, it wasn’t a commercial success. Looking back with benefit of hindsight, that seems strange. Maybe, musical fashions had changed and Eddie Holman’s music was no longer fashionable.
Given the music on A Night To Remember, it deserved to be a bigger commercial success. There was nothing wrong with the music on A Night To Remember. This meant that there was no followup to A Night To Remember. Sadly, not only was A Night To Remember, Eddie Holman’s the only album he released on Salsoul Records, but his final secular album. So A Night To Remember is a tantalizing taste of one of the most talented and underrated soul singers. A Night To Remember remains not just a hidden gem in Eddie Holman’s back-catalogue, but Salsoul Records back-catalogue. Standout Tracks: You Make My Life Complete, Immune To Love, This Will Be A Night To Remember and I’ve Been Singing Love Songs.
EDDIE HOLMAN-A NIGHT TO REMEMBER.
EDDIE KENDRICKS-HE’S A FRIEND.
EDDIE KENDRICKS-HE’S A FRIEND.
Eddie Kendricks was one of the founding members of The Temptations back in 1960. He then spent the next eleven years as one of The Temptations’ lead singers. Then in 1971, Eddie Kendricks decided to leave The Temptations and embark on a solo career. By 1976, Eddie had released six solo albums. It hadn’t all been plain sailing for Eddie Kendricks. Mixed fortunes best describe Eddie first six albums. Granted Eddie enjoyed commercial success, but there had been some disappointments along the way. So for Eddie’s seventh album, He’s A Friend, it was decided that a new producer be brought in. The very man was Norman Harris, who had gained a reputation as one of the hottest producers of the seventies. Norman “The Machine” Harris wasn’t just a producer, he was one of the founder members of M.F.S.B. and then The Salsoul Orchestra. He was also a songwriter and arranger, who with some of his Philly friends, would write, arrange, produce and play on He’s A Friend. This seemed the perfect partnership, Eddie Kendricks plus Norman Harris and a cast of some of Philly’s best songwriters, arrangers and musicians. However, did this partnership prove to be a dream team? That’s what I’ll tell you, after I’ve told you about Eddie Kendricks’ career up until He’s A Friend and the music on the album.
Following Eddie Kendricks’ decision to leave The Temptations, he released his debut solo album All By Myself in April 1971. It reached number eighty in the US Billboard 200 and number six in the US R&B Charts. This was a promising start to Eddie’s solo career. However, his sophomore solo album wouldn’t prove as successful.
May 1972 saw the release of Eddie’s sophomore album People…Hold On. It reached just number 131 in the US Billboard 200 and number thirteen in the US R&B Charts. This was a disappointment for Eddie. Things would improved for Eddie when he released his third album.
When Eddie released this third album in May 1973, the self-titled debut album Eddie Kendricks, Eddie’s fortunes changed. The album reached number eighteen in the US Billboard 200 and number five in the US R&B Charts. Keep On Truckin’ gave Eddie a dual number one, reaching number one in the US Billboard 100 and US R&B Charts. This was Eddie’s most successful album. Things would improve with his next album.
Boogie Down was released in February 1974, and proved to be Eddie’s most successful solo album. It 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.
Just ten months after Boogie Down, Eddie released For You in December 1974. While For You stalled at number 108 in the US Billboard 200, it reached number eight in the US R&B Charts. The only crumb of comfort for Eddie was the single Shoeshine Boy. It reached number eighteen in the US Billboard 100 and number one in the US R&B Charts. This was Eddie’s third number one US R&B single. Sadly, Eddie couldn’t repeat this feat with his next album.
July 1975 saw the release of Eddie Kendricks’ sixth solo album The Hit Man. It reached just number sixty-three in the US Billboard 200 and number eight in the US R&B Charts. The two singles Happy and Get the Cream Off the Top reached the top ten in the US R&B Charts. Happy would also reach number one in the US Dance Charts. However, Eddie’s last two albums had failed to match the commercial success of albums like Boogie Down. So Norman Harris was called upon to rejuvenate Eddie Kendricks’ career.
For Eddie’s seventh solo album, Norman Harris and a cast of some of Philly’s best songwriters, arrangers and musicians got to work. Norman cowrote three tracks. He penned Part of Me and I Won’t Take No with Allan Felder and Ron Tyson, who used the nom de plume Tyron Presson. They also cowrote Chains with Walter Tyson. These weren’t the only songs Allan Felder cowrote. With Bruce Gray and T.G. Conway he cowrote He’s A Friend and Never Gonna Leave You. Allan and T.G. also cowrote It’s Not What You Got and with Bruce Gray, Allan cowrote All of My Love. Theodore Life and Molden cowrote Get It While It’s Hot. The other two tracks, The Sweeter You Treat Her and On My Way Home, were written by the songwriting team of Buddy Turner, Jerry Akines, Johnny Belmon and Victor Drayton. These ten tracks became He’s A Friend.
Recording of He’s A Friend took place at Philly’s Sigma Sound Studios.Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with bassist Michael “Sugar Bear” Foreman and drummer Charles Collins 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 and A Fantastic Group. Adding backing vocals along with the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, assisted by Bruce Gray, Bruce Hawkes, Carl Helm and Darryl Grant. Arrangers included Vince Montana Jr, Ron “Have Mercy” Kersey, T.G. Conway and Norman Harris who produced He’s A Friend.
On the release of He’s A Friend in February 1976, it reached number thirty-eight in the US Billboard 200 and number three in the US R&B Charts. Four singles were released from He’s A Friend. Chains reached number two in the US Dance Charts. Then Get It While It’s Hot reached number twenty-four in the US R&B Charts and number three in the US R&B Charts. He’s A Friend was the most successful single, reaching number thirty-six in the US Billboard 100, number two in the US R&B Charts and number fifteen in the US Dance Charts. It’s Not What You Got then reached number two in the US Dance Charts. It seemed Norman Harris and his Philly friends had rejuvenated Eddie Kendricks’ career on He’s A Friend. You’ll realize that when I tell you about the music on He’s A Friend.
Opening He’s A Friend is the title-track He’s A Friend, arranged by Norman Harris. The track bursts into life, a thunderous Baker, Harris, Young rhythm section, cascading growling horns and dancing strings. Then the arrangement takes on a hustle sound, thanks to Bobby “Electronic” Eli’s wah-wah guitar. Eddie’s thankful, joyous falsetto enters. It soars above the pulsating arrangement, while lush strings sweep and swirl and horns rasp. Meanwhile, the rhythm section provide the song’s heartbeat. Tender harmonies play an important role, accompany Eddie. Soon, he’s rolling back the years, producing a vintage slice of soul music, with a sumptuous Philly Sound arrangement for company.
APart of Me sees the tempo drop, as Vince Montana Jr. takes over arranging duties. Strings and vibes gently cascade, before broody, pensive strings, keyboards and the Baker, Harris, Young rhythm section combine. Horns rasp, while the arrangement matches Eddie’s heartfelt, fervent delivery. Vince Montana Jr, adds vibes, while flourishes of keyboards, swathes of strings and bursts of powerful drums reflect the emotion and drama in Eddie’s vocal. Gentle harmonies prove a perfect foil for Eddie’s vocal. They match him for emotion, drama, intensity and sheer sincerity on one of the most beautiful tracks on He’s A Friend.
Norman Harris arranged and produced I Won’t Take No, which sees the tempo and emotion increase. Horns blaze and bray, strings cascade and Baker, Harris, Young provide a driving, sometimes dramatic arrangement. Taking his lead from the all-star band, Eddie unleashes a vocal that’s a mixture of pleas, power and passion. Bobby “Electronic” Eli’s wah-wah guitar adds to the arrangement’s sometimes hustle sound. Playing their part are the Sweethearts of Sigma, whose tight, heartfelt harmonies provide a contrast to the the power and drama of Norman Harris’ arrangement. Mostly, the arrangement becomes an unstoppable juggernaut, which is soulful, funky and dance-floor friendly.
Never Gonna Leave You gives Eddie to chance to show another, very beautiful side to his music. The tempo drops for this gorgeous ballad. Eddie delivers one of his most tender, impassioned vocals. With an understated string-laden backdrop, punctuated by rasping horns, subtle harmonies and percussion. The rhythm section provide the track’s understated heartbeat, allowing Eddie the opportunity to showcase his vocal prowess, winning you over with his fervor and sincerity.
Horns rasp, strings swirl and drums add to the drama as Get It While It’s Hot unfolds. The Sweethearts of Sigma add cooing, sassy harmonies before Eddie’s vocal beckons and begs. His vocal is tender, needy and sensual. Behind him, Vince Montana Jr, adds vibes, which are augmented by percussion. Meanwhile, the mainstay of the arrangement is powered along by the rhythm section, helped along by a myriad of strings and horns. However, it’s Vince’s vibes and the Sweethearts of Sigma who play the starring roles, ensuring this sensual, sultry track is truly memorable way to close Side One of He’s A Friend.
Like the previous track, Chains was arranged by T.G. Coway. Thunderous drums, rousing horns, urgent strings and the Sweethearts of Sigma combine, creating an uptempo backdrop for Eddie’s vocal. When the baton passes to Eddie, he plays his part. His vocal is filled with emotion and joy. He helps make this an irresistible track. You’re swept along with lush, dancing strings, braying horn and Baker, Harris, Young, who ensure the arrangement dances and skips along. Bobby “Electronic” Eli’s wah-wah guitar adds a hustle sound, while the Sweethearts of Sigma’s delicious harmonies. The result is a hook-laden track, that’s an irresistible way to open Side Two of He’s A Friend.
The Sweeter You Treat Her is the third and final song Norman Harris arranged on He’s A Friend. The tempo slows, with wistful horns, pensive strings and the rhythm section adding bursts of drama. They set the scene for Eddie’s fervent, impassioned vocal. Strings sweep, horns growl and drums add drama, while tight, heartfelt harmonies accompany Eddie, as he lays bare his soul. Soon, heartache and hurt are revealed, as Eddie wishes “we could start over again.” Wistful, melancholy, dramatic and beautiful. This track is all this and much more.
Searing, sizzling guitars, bursts of braying horns and a pounding Baker, Harris, Young rhythm section open It’s Not What You Got. Strings slowly sweep, while the arrangement unfolds. Powerful, dramatic and dance-floor friendly it is. This seems to spur Eddie into action. His vocal is confident and sassy, with punchy harmonies keeping him company. While the arrangement become a funk-laden juggernaut, Norman Harris lays down one of the best jazz-tinged guitar solos on He’s A Friend. As he does this, the rhythm section, strings and horns that accompany Eddie’s breathy, sensual vocal provide a dramatic, uber funky backdrop, infused with Philly Soul. It’s a tantaliSing fusion of musical genres and influences, with Philly’s finest musicians providing a backdrop for Eddie’s vocal preening and prowess.
On My Way Home has a real Philly Sound from the opening bars, thanks to Don Renaldo’s strings and horns and of course, the Baker, Harris, Young rhythm section. It’s another uptempo track, with Eddie’s vocal floating above the cascading strings and bursts of growling horns. Harmonies accompany Eddie, completing the Philly Sound. They spur Eddie to greater heights of soulfulness, Philly style. Then Vince Montana Jr’s vibe provide a curveball. A brief vibes solo slows things down, teasing the listener. Then the track bursts back into life, heading home to Philly where the track was born.
Closing He’s A Friend is All of My Love. It’s the perfect track to close any album, closing He’s A Friend on a high. Baker, Harris, Young provide the track’s stomping backdrop, while horns bray and strings dance. Eddie scats against a backdrop of warm melodic keyboards. Soon, Eddie unleashes one of his most fervent vocals. As Eddie sings “all of my love, that’s all I have to give,” you believe him. It’s as if he’s given so much during He’s A Friend. The band match Eddie, providing the perfect backdrop for his vocal. A mass of dancing strings, braying horns and Baker, Harris, Young at their very best provide an arrangement that marches along, sweetly and soulfully, bringing He’s A Friend to a deliciously, soulful high.
After two albums where Eddie Kendricks’ career seemed to stall, He’s A Friend saw his career back on track, with the help of Norman Harris and some of his Philly friends. Norman Harris produced He’s A Friend, while his Philly friends wrote, arranged and played on the album’s ten tracks. They never missed a beat, fusing musical genres and influences seamlessly and peerlessly. Accompanied by some of the greatest musicians of the seventies, there was neither a poor track nor filler on He’s A Friend. What there was, on He’s A Friend was vintage Eddie Kendricks. The partnership between Eddie Kendricks and Norman Harris, plus his Philly friends, was sadly a short one.
He’s A Friend would be the first of two albums Norman produced. Goin’ Up In Smoke was released in September 1976. It stalled at number 114 in the US Billboard 200 and number twenty-two in the US R&B Charts. By then, music was changing, with disco now flavor of the month. Leonard Caston produced Slick, released in August 1977. Eddie’s fortunes failed to improve, when Slick reached just number forty-seven in the US R&B Charts. Slick became Eddie’s first album not to enter the US R&B Charts. For many people, Eddie Kendricks two Norman Harris produced albums He’s A Friend and Goin’ Up In Smoke were the last of Eddie’s great albums of the seventies, thanks to Norman Harris and his Philly friends. Standout Tracks: He’s A Friend, A Part of Me, Chains and All of My Love.
EDDIE KENDRICKS-HE’S A FRIEND.
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