IT’S A NEW BEGINNING FOR GINA CAREY…THE SONGBIRD.
IT’S A NEW BEGINNING FOR GINA CAREY…THE SONGBIRD.
31st January 2013 marks the next chapter in Gina Carey’s seventeen year career, when Gina Carey…The Songbird is released. Gina Carey…The Songbird is the ninth album of Gina’s career, and her sixth soul album. This is the start of a new chapter in the career of Gina Carey…The Songbird. She’s back, stronger, wiser and even more soulful than ever. Indeed, Gina Carey…The Songbird is the best album of Gina’s career. Earlier this week, I spoke to Gina and she told me about Gina Carey…The Songbird and her plans for 2013.
Last year, 2012, was the busiest year of Gina Carey’s career. While most albums struggle to release even one album each year, Gina was the hardest working women in soul music. She released a trio of albums between February and September 2012.
2012 started for Gina with the release of her sixth album Love Letters, which was released on Valentine’s Day 2012. This found Gina fusing her own unique mix of soul, jazz, Nu-Soul, gospel and funk. Love Letters was the followup to Gina’s 2011 album Melodic. Not only was Melodic critically acclaimed, but became Gina’s most successful album, reaching number one album in the UK in August 2011. Then just three months after the release of Love Letters, came the sequel, Love Letters 2.
Love Letters 2 was the perfect starting point for anyone new to Gina Carey’s music. It was a combination of old and new songs. There were four songs from Gina’s two previous albums, Melodic and Love Letters. Add to these eight tracks, three new songs. You, Being In Love and You Are Right were from Gina’s next album Live, Love and Laugh Volume 1.
Live, Love and Laugh Volume 1 was released in September 2012. This was a really difficult period for Gina. Her father Eugene Harrison had died earlier in 2012. For Gina, Live, Love and Laugh Volume 1 was Gina’s way of coping with the loss of her father. In many ways, Live, Love and Laugh Volume 1 became Gina’s way of paying tribute to a man who’d inspired, encouraged and believed in Gina. Following the loss of Gina’s father, she decided to take stock of her career so far.
Having taken stock of her sixteen year career, Gina decided that 2013 was a new beginning for her. With that in mind, Gina decided that for the next step in her career, she decided for the first time in her career, to enlist the help of a manager. So, a new manager was brought in to help guide Gina’s new beginning, including her new album Gina Carey…The Songbird.
With thirteen new songs written, Gina and her management team started working on an album title. Various titles were considered, then her manager came up with Gina Carey…The Songbird. Gina decided this was perfect. With an album title, next came the album cover. For that, Gina enlisted the help of her sister, Melanie Harrison, photographer and New York model. It’s Melanie’s photographs that feature on in the publicity shots and album cover. It seems the Carey sisters are a multitalented family. Together, they’re a potent partnership, who’ll play an important part in this new beginning for Gina Carey’s career. This starts with Gina Carey…The Songbird. However, I was interested to hear about Gina’s life and career so far. So, I asked her about her past and musical inspirations.
Gina first became interested in music when she was just aged eight. Inspired by the music of singers like Deneice Williams, Billie Holliday. Gladys Knight and Jackie Wilson. This was the music she heard at home. It inspired her to start singing. Soon, she took a few lessons and started playing piano. Little did she realize that this would be how she’d earn a living.
By 1996, Gina got her professional breakthrough. She was asked to sing backing vocals for God’s Original Gangsters. This lead to Gina signing to Grapetree Records, who would release Gina’s debut album In His Time, the first of three gospel albums Gina released. In His Time sold over ten thousand copies throughout the United States. This lead to Gina being nominated for two awards by the Black Music Academy Association of America. These two categories were the Best Female Gospel Performer and Gospel’s Rising Star. However, then after the success of In His Time, Gina came crashing back to earth. Grapetree Records folded, leaving Gina without a label.
Seven years after the release of In His Time, Gina released her sophomore album Changes. This was released on her own independent label Gico Music, which would release all her future albums. Then in 2006, Gina released her third gospel album, Tell Um. That year, Gina received a prestigious award for her music. This was the Las Vegas Black Music Awards’ for Best Gospel Performer, which she received at the Cashman Theater. Given this would be Gina’s final gospel album, this was the perfect way to close the first chapter in Gina’s career. Her next album would be quite different, but extremely soulful.
Two years after the release of Gina’s final gospel album Tell Um, she released her fourth album and first soul album My Journey. Much had happened to Gina between the release of Tell Um in 2006 and My Journey in 2008. In 2007, Gina auditioned for America’s Got Talent on NBC TV and had performed with Lee Bailey at the inaugural EURWEB Awards. Gina also auditioned for another television show “Showtime At The Apollo.” It was filmed at the legendary Harlem theatre, where so many great singers had appeared. This seemed to inspire Gina. The judges were so impressed with Gina’s performance, that she was twice asked to be a guest the show. It definitely seemed that Gina Carey’s star was rising during 2007. This continued into 2008 when BET J played the video for her True Love single on their Cup show. When Gina would release her next album it would demonstrate her talent as a singer, songwriter and arranger.
Melodic was Gina’s second soul album and fifth album overall. On Melodic, Gina wrote and arranged the songs, while her husband John, played on, and produced Melodic. This was Gina’s most successful album, reaching number one in the UK Soul Charts in August 2011. Then, in December 2011, Gina received a huge accolade, when Melodic was named one of the best soul albums of 2011. Gina was in illustrious company, joining names like Jill Scott, Maysa Leak and Eric Benet. Then in 2012, would see Gina crowned the hardest working artist in soul music.
During 2012 released her trio of albums, Love Letters, Love Letters 2 and Live, Love and Laugh Volume 1. This she managed to do between February and September 2012. Having released three albums during 2012, Gina decided to start work on her ninth album. So, Gina returned to the studio. She started work on what would become he ninth album Gina Carey…The Songbird.
When I asked Gina to tell me about Gina Carey…The Songbird, she said partly, the music has been influenced by the music she heard growing up. It’s also slight more experimental. Still, Gina Carey…The Songbird sees Gina fusing her usual unique mix of soul, jazz, Nu-Soul and funk. There’s also a hint of folk, country, blues, Latin and African music. Gina describes the music as “super smooth, soulful and funky” but also “inspirational, playful, sassy, sultry, mystical and mysterious.” To that, I’d add hook-laden. Ballads and dance-floor floor friendly songs sit comfortably side by side on Gina Carey…The Songbird, which will be released on 31st December 2013.
To coincide with the release of Gina Carey…The Songbird on 31st January 2013, is Hey Mr, a hook-laden fusion of musical genres and influences. After that, the soulful, jazzy, dance track My Sunshine will be released as the sophomore single. Then the sumptuously sultry and sensuous Step Into My Love will become the third single. For the fourth and final single, is another uptempo, funky, dance track My Hero. The four singles are just a tantalizing taste of the thirteen tracks on Gina Carey…The Songbird. These thirteen tracks mark a new chapter in the career of Gina Carey…The Songbird.
Gina has dedicated Gina Carey…The Songbird to her late father, Mr. Eugene Harrison, the man who inspired, encouraged and always believed in Gina. Having heard Gina Carey…The Songbird, I can honestly say that this is a very fitting tribute to Gina’s father. I’m sure Mr. Harrison would be proud of the music on Gina Carey…The Songbird. This is just the first step in a new beginning for Gina Carey…The Songbird. During 2013, Gina hopes to tour the UK and in the future, hopes to collaborates with other songwriters and producer. So, Gina Carey…The Songbird is just the first step in the next chapter in her career. With new management helping guide her career, then Gina Carey…The Songbird marks what will be the start of a new, exciting and successful chapter in the career of Gina Carey…The Songbird.
IT’S A NEW BEGINNING FOR GINA CAREY…THE SONGBIRD.
M.F.S.B.-UNIVERSAL LOVE.
M.F.S.B.-UNIVERSAL LOVE.
When eventually, someone decided to write a proper, comprehensive history of Philadelphia International Records, I hope that they separate the music into two parts. The first part was what I’d call Philadelphia International Records’ golden period, between 1972 and 1975 and then the second part, from 1976 onwards. There’s a good reason for doing this. Between 1972 and 1975, music released by Philadelphia International Records featured the classic lineup of M.F.S.B. They’re often referred to as Philadelphia International Records’ house-band. That however, is doing them a huge disservice.
M.F.S.B. were much more than a house-band. These musicians were also songwriters, arrangers and producers. Look at the sleeve-notes to any album released on Philadelphia International Records between 1972 and 1975, and you’ll see that among the arrangers, producers and songwriters were Vince Montana Jr, Norman Harris and Ron Baker. This dispels the myth, sometimes perpetuated by people who should know better, that M.F.S.B. were “just” Philadelphia International Records’ house band. Indeed, M.F.S.B. provided the heartbeat to the music of Billy Paul, The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and countless others. M.F.S.B. were also one of Philadelphia International Records’ most successful acts.
Love Is The Message was M.F.S.B’s debut album, released in 1973, with M.F.S.B. following later that year. During 1975, a pivotal year for both Philadelphia International Records and M.F.S.B, M.F.S.B. released two more albums. The first of these, Universal Love would prove to M.F.S.B’s penultimate album for Philadelphia International Records. Philadelphia Freedom was released later in 1975. However, when Universal Love was released, M.F.S.B. and musical auteurs Gamble and Huff were locked in a dispute.
At the heart of M.F.S.B’s dispute with Gamble and Huff was money. Although people involved aren’t keen to divulge exact details, it has been alleged that musicians were only offered a pay increase of $5, from $25 to $30 a session. Arrangers and producers were only offered an increase of $10, from $50 to $60 a session. Now this was a risky situation. After all, M.F.S.B. were Philadelphia International Records’ crown jewels. Replacing the original lineup wouldn’t be possible. Where would you find another Baker, Harris, Young rhythm section, Vince Montana Jr, Bobby “Electronic” Eli or Larry Washington? It’s not as if Gamble and Huff would be able to wander down to Manpower and hire an all-star band. Granted Philly had many talented musicians, but not as good as the original lineup of M.F.S.B. This was a high stakes poker game. Who was bluffing?
Dring 1975, while the negotiations continued, there was still music to be made, including albums by M.F.S.B. They would release two albums during 1975. The first was Universal Love.
Universal Love featured eight tracks. Gamble and Huff cowrote just three tracks, Sexy, M.F.S.B and My Mood. Three tracks prove my point about how M.F.S.B. were much more than musicians. Ron Baker cowrote Human Machine with Leon Huff, while Norman Harris and Bobby Martin cowrote T.L.C. (Tender, Lovin’ Care) and Bruce Hawkes and Cynthia Biggs cowrote Love Has No Time Or Place. Norman Harris, Ron Baker and Bruce Hawkes were all locked in the dispute with Gamble and Huff. Of the other two tracks, McFadden and Whitehead plus Victor Castarphen cowrote Let’s Go Disco with Leon Huff. Charles Heardon wrote K-Jee and would later, hit the jackpot, when the track was included on the fifteen-million selling Saturday Night Fever soundtrack. These eight tracks became Universal Love. Like previous M.F.S.B. albums, recording of Universal Love took place at Sigma Sound Studios in Philly, owned by Joe Tarsia.
The recording sessions for Universal Love proved to be the penultimate appearance of the original and best lineup of M.F.S.B. Playing on Universal Love were all the M.F.S.B. greats. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with guitarists Bobby “Electronic” Eli and Roland Chambers. Ron “Have Mercy” Kersey and Leon Huff played keyboards, Larry Washington percussion and Vince Montana Jr. vibes. Violinist Don Renaldo was part of the string section and alto saxophonist Zach Zachery plays an important part in Universal Love’s sound. Norman Harris, Bobby Harris and Bruce Hawkes all arranged or produced tracks, while Gamble and Huff produced five tracks. Once Universal Love was completed, it was released in 1975.
On the release of Universal Love in 1975, it reached number forty-four in the US Billboard 200 and number two in the US R&B Charts. T.L.C. (Tender, Lovin’ Care) was released as a single, reaching number fifty-four in the US R&B Charts and number four in the US Disco Singles Charts. Sexy then reached number forty-two in the US Billboard 200, number two in the US R&B Charts and number one in the US Disco Singles Charts. Given how successful Universal Love had been, surely Gamble and Huff would realize just how important M.F.S.B. were to Philadelphia International Records? Was that the case? I’ll tell you that, once I’ve told you about the music on Universal Love.
Opening Universal Love is the Gamble and Huff penned and produced Sexy, arranged by Bobby Martin. Just Norman Harris’ chiming guitar opens the track, before M.F.S.B. kick loose. Vince Montana Jr’s vibes, Bobby “Electronic” Eli’s wah-wah guitar and an uber funky Baker, Harris, Young join growling horns and lush, dancing strings. Soon, the music veers between funk, disco and jazz. One minute it’s choppy and funky, the next strings ensure it flows smoothly along. Horns blaze, strings swirl and the rhythm section provide a pulsating heartbeat. They’re augmented by vibes, percussion and wah-wah guitars as M.F.S.B. lay down a marker, showing just what they can do. In doing so, the irresistibly fuse funk, jazz and disco seamlessly and peerlessly.
Not many bands have a track named after them. M.F.S.B. did. Written by Gamble and Huff and arranged by Bobby Martin, it’s a fitting tribute to M.F.S.B’s combined talents. Stabs of keyboards, a pounding Baker, Harris, Young rhythm section and waves of Hammond organ combine, before the horns and strings get to work. Horns growl, strings dance with joy while, Vince Montana Jr, subtly sprinkles vibes. Soon, M.F.S.B. have hit their stride. The arrangement is a mass of braying horns, cascading string, while the thunderous rhythm section drive the arrangement along. While every member of M.F.S.B. play their part, it’s the horns that tug at your heartstrings. They’re crucial to the sheer beauty, emotion and drama of the arrangement, making this such a potent, powerful and moving track.
Human Machine was penned by Ron Baker with Leon Huff. It has a much more experimental sound. Given the title, this isn’t unexpected. There’s a spacious, choppy and thoughtful sound to the arrangement as it unfolds. The unmistakable sound of Bobby “Electronic” Eli’s wah-wah guitar is at heart of the arrangement. Keyboards, the Baker, Harris, Young rhythm section and grizzled horns provide the mainstay of the arrangement. When strings sweep in, they smoothen out the arrangement, which still, has a jumpy, edgy sound and feel. Although this track is quite different to the two previous tracks, it’s an innovative track, something which Philadelphia International Records were famous for.
Love Has No Time Or Place closes Side One of Universal Love. Here, backing vocalists join M.F.S.B. Strangely, it isn’t the Sweethearts of Sigma. They play their part in this grand and lush, dance-floor friendly track. Blazing horns, lush, wistful strings and elegant, crystalline harmonies sweep in while Baker, Harris, Young provide a funk, hustle style backdrop. They’re joined by vibes courtesy of Vince Montana Jr, percussion, keyboards and even synths. While this wasn’t the first time synths appeared on a Philadelphia International Records’ album, they seem out of place in the arrangement. Here’s this grand disco orchestra with all these traditional instruments. Then this slightly space-age sounding synth is added. Thankfully this doesn’t spoil the track, as it floats along, with harmonies, strings and horns key to the track’s sound and success.
T.L.C. (Tender, Lovin’ Care) opens Side Two of Universal Love. Written by Norman Harris and Bobby Martin, a curveball is thrown when a jazzy introduction unfolds. Sultry horns take you back to another era. Then it’s all change. Baker, Harris, Young take charge, combining with a Hammond organ and Bobby “Electronic” Eli’s wah-wah guitar. Next comes rasping horns and swirling strings. Norman Harris lays down some of his unique jazz-tinged guitar lines, while pensive horns, dancing strings and bursts of Earl Young’s thunderous drums play crucial roles. There’s a real hustle sound to this joyful, uplifting fusion of Philly soul, jazz, funk and disco, which quite simply, is one of the best tracks on Universal Love.
Let’s Go Disco is driven along by the Baker, Harris, Young rhythm section, piano and percussion. Chanted vocals are added before blazing horns and sweeping strings enter. With the vocals and rhythm section combining, this gives the arrangement a real hypnotic, driving sound. It’s catchy, memorable and sheer simplicity. It’s like a mantra, a call to dance, to a soundtrack provided by M.F.S.B.
K-Jee proved to be the most successful track on Universal Love. Charles Heardon who wrote K-Jee, would later, hit the musical equivalent of fifteen consecutive home runs, when the track was included on the fifteen-million selling Saturday Night Fever soundtrack. From the stabs of keyboards, percussion, urgent flourishes of strings and grizzled horns you’re transported back to disco’s heyday. M.F.S.B. seem to raise their game even higher. A myriad of percussion join Baker, Harris, Young, searing guitars and rasping horns. Strings dance, swirl and sweep and Bobby “Electronic” Eli adds wah-wah guitar. Zach Zachary’s growling alto-saxophone and a wash of wailing Hammond organ provide the icing and cherry for this delicious, cake. So good and tasty was the cake, that it sold fifteen-million slices.
Closing Universal Love is My Mood a much more mellow track. Just a subtle sprinkling of Vince Montana Jr’s vibes, percussion and Norman Harris’ sparse jazzy guitar combine before the arrangement grows. Baker, Harris, Young provide the understated heartbeat. Melancholy strings sweep and swirl, horns rasp and growl while keyboards add a warm melodic sound. M.F.S.B. resist the urge to kick loose one more time. Only the horns, drums and strings are given leeway, but don’t overdo things, bringing Universal Love to a mellow, pensive and quite beautiful close.
The standoff between M.F.S.B. and Gamble and Huff certainly never affected the quality of music on Universal Love. Quite the opposite. It’s almost as if M.F.S.B. were determined to show Gamble and Huff what they were risking losing. This was a high stakes poker game. Universal Love saw the stakes rising. M.F.S.B. upped the ante. Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and Vince Montana raised their game, fusing Philly Soul, funk, disco and jazz. This was another impressive addition to M.F.S.B’s discography. After Universal Love, the original lineup of M.F.S.B. recorded one more album for Philadelphia International Records, Philadelphia Freedom. That proved to be a prophetic title. By the time Philadelphia Freedom was released, the original lineup of M.F.S.B. had achieved their own version of Philadelphia Freedom.
Realizing their demands weren’t going to met, they called Gamble and Huff’s bluff. When no agreement could be reached M.F.S.B. headed to New York, taking their considerable talents to Salsoul Records, where they became The Salsoul Orchestra. As a result, Gamble and Huff lost some of the most talented musicians of the seventies. This included the Baker, Harris, Young rhythm section, who provided M.F.S.B.’s heartbeat, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, violinist Don Renaldo, percussionist Larry Washington and keyboard player Ron “Have Mercy” Kersey. By the time 1975 was over, The Salsoul Orchestra’s debut album had sold over one-million copies. The original members of M.F.S.B. had played and won what was a high stakes poker game. Following the departure of many of the original lineup of M.F.S.B. the music on Philadelphia International Records was still among the best in seventies soul, but lacked something.
That something, was the combined talents of the original members of M.F.S.B. There’s no doubt that Philadelphia International Records were affected by the loss of such hugely talented musicians. M.F.S.B. Mk II couldn’t fill the shoes of their predecessors. Not only was that a big ask, but almost impossible. Granted, their replacements were talented musicians, and Philadelphia International Records continued to release critically acclaimed and commercially successful music. However, M.F.S.B. were never the same. After all, how do you replace the irreplaceable?
Ironically, many of the musicians that became The Salsoul Orchestra flourished. It was as if their talents were unleashed. Baker, Harris, Young, Bobby “Electronic” Eli, Ron “Have Mercy” Kersey and Vince Montana Jr. all flourished as songwriters, arrangers and producers at Salsoul. Gamble and Huff’s loss was very much Salsoul’s gain. Anyone who listens to Universal Love will realize that. Not only does Universal Love features M.F.S.B. at the peak of their powers, but whilst playing one of highest stakes poker games in musical history. The lesson to be learnt from this saga, is that “the workman is worthy of his hire.” Standout Tracks: Sexy, M.F.S.B, T.L.C. (Tender, Lovin’ Care) and Love is My Mood.
M.F.S.B.-UNIVERSAL LOVE.
JOE SIMON-DROWNING IN THE SEA OF LOVE.
JOE SIMON-DROWNING IN THE SEA OF LOVE.
Although Joe Simon had been around since the 1959, releasing his debut album Joe Simon in 1963, for the next ten years, he struggled to make a commercial breakthrough. Granted Joe enjoyed a string on minor hit singles on Vee Jay Records and the Sound Stage label. Unfortunately, he wasn’t making the breakthrough people expected. Then in 1969, Joe’s lucked started to change.
The Chokin’ Kind, released in 1969 on Sound Stage, climbed all the way to number one in the US R&B Charts. Ten years after his career had started, he’d at last made a commercial breakthrough. Then things got better. As a new decade dawned, Joe Simon signed to Spring Records, a subsidiary of Polydor. He was encouraged to sign to Spring, by Paul Richbourg, the Tennessee DJ who’d managed and produced Joe. It was Paul who produced Joe’s seventh album and Spring debut The Sounds of Simon. For the followup to The Sounds of Simon, Spring decided a new producer was needed. Enter Gamble and Huff. They’d produce Joe’s eighth album, Drowning In the Sea of Love, which was a game-changer for Joe Simon’s career.
During the past few years, Gamble and Huff had been establishing a reputation as one of the hottest songwriting and production teams. They’d met at Cameo Parkway and eventually formed their own label Gamble Records. That would provide the basis for a new label they’d formed in 1972, Philadelphia International Records. This was still to come. Little did they realize in 1971, when they started working with Joe Simon what was about to come their way. Helped no end by some of the most talented songwriters, arrangers, producers and musicians, Philadelphia International Records became one of the biggest and most important labels of not just the seventies, but in musical history. For the recording of what became Joe Simon’s Drowning In the Sea of Love, these songwriters, arrangers, producers and musicians would play a crucial part in the album’s sound and success.
For Joe Simon’s eighth album, Drowning In the Sea of Love, Gamble and Huff cowrote five tracks, the title-track Drowning In the Sea of Love, Something You Can Do Today, The Mirror Don’t Lie, Ole Night Owl and Let Me Be the One Who Loves You. Bunny Sigler and Phil Hurtt also cowrote four tracks, Glad To Be Your Lover, I Found My Dad, The Mirror Don’t Lie and If. The other track on Drowning In the Sea of Love was the Thom Bell and Linda Creed penned You Are Everything. These ten tracks were recorded at what would be come a familiar place for Gamble and Huff, Joe Tarsia’s Sigma Sound Studios.
Joining Joe Simon at Sigma Sound Studios for the Drowning In the Sea of Love session, were some of the most important musicians in what became the legendary Philadelphia International Records’ house-band M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists T.J. Tindall and Roland Chambers. Larry Washington played congas and bongos, Vince Montana Jr vibes, Lenny Pakula organ and Leon Huff piano and electric piano. Adding backing vocals and harmonies, were the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Arranging the ten tracks were Bobby Martin, Norman Harris, Ron Baker, Thom Bell and Lenny Pakula. Gamble and Huff produced Drowning In the Sea of Love, which was released in 1972. Drowning In the Sea of Love would prove a game-changer for Joe Simon’s career.
Drowning In the Sea of Love was chosen as the lead single in 1971. It reached number eleven in the US Billboard 100 and number three in the US R&B Charts, selling over one-million copies. This gave Joe Simon a gold disc. It wouldn’t be the last gold disc of 1972 coming Joe’s way. On the release of Drowning In the Sea of Love reached number seventy-one in the US Billboard 200 and number eleven in the US R&B Charts. Then, Pool of Bad Luck reached number forty-two in the US Billboard 100 and number thirteen in the US R&B Charts. When Power of Love was released as a single, it gave Joe his most successful single, reaching number eleven in the US Billboard 100 and number one in the US R&B Charts. Strike two. Here was gold disc number two for Joe Simon. I Found My Dad the reached number seventy-eight in the US Billboard 100 and number fifteen in the US R&B Charts. With Gamble and Huff and Philly’s finest arrangers, producers, songwriters and musicians’ help, Drowning In A Sea of Love had transformed Joe Simon’s career. You’ll realize that when I tell you about Drowning In A Sea of Love.
Opening Drowning In A Sea of Love, is the Gamble and Huff penned title-track Drowning In A Sea of Love, arranged by Thom Bell. Just plucked strings, quivering, quizzical strings, grizzled horns and wah-wah guitars combine, before a dramatic burst of Earl Young’s drums, signals the arrival of Joe’s pleading, questioning vocal. Washes of Lenny Pakula’s Hammond organ, combine with Baker, Harris, Young to drive the arrangement along. Thunderous bursts of Earl’s drums, growling horns and lush strings accompany Joe. Cooing, probing harmonies from the Sweethearts of Sigma are the perfect foil for Joe’s soul-baring, hurt filled vocal. He unleashes a vocal Magnus Opus, as if he’s lived, breathed and survived the pain and heartache he’s singing about. With Gamble and Huff’s production skills and M.F.S.B’s musical backdrop, you realize this album is a game-changer, and hungrily await the rest of the songs.
In some ways, Glad To Be Your Lover is quite different from what Gamble and Huff produced at Philadelphia International Records. That’s no surprise, given Joe’s country background. Granted, the same instruments are used, with braying horns, guitars reverberating and Larry Washington adding congas. When Joe’s thankful vocal enters, Baker, Harris, Young, blazing horns and Lenny Pakula’s Hammond organ provide a sultry backdrop. Harmonies and horns respond to the power and joy in Joe’s vocal, as he gives thanks, Glad To Be Your Lover.
Something You Can Do Today is the first of the tracks Bobby Martin arranged on Drowning In A Sea of Love. Again, Joe’s vocal breathes life, meaning and emotion to the lyrics. This he does against an urgent, dramatic backdrop. Horns rasp and blaze, strings sweep and swirl with purpose and Baker, Harris, Young provide a sense of urgency. Providing a contrast are Norman Harris’ sparse, jazzy guitar, a myriad of percussion and backing vocals. Each play their part in providing a dramatic, powerful and emotive backdrop for Joe’s heartfelt and emotive reading of Gamble and Huff’s lyrics.
As I Found My Dad begins to reveal its secrets, it’s just a pensive, chiming guitar, cascading strings and growling horns. They provide a wistful, questioning backdrop for Joe’s vocal. It’s filled with heartache, before Joe finds hope and happiness. The Baker, Harris, Young rhythm section play a starring role. Ron Baker’s bass drives along, Norman Harris’ guitar is subtle and melancholy while Earl Young’s drums inject bursts of drama. There’s a Spanish influence to the horns, while parts of the arrangement take on a Latin sound. Sometimes, Joe’s vocal is reminiscent of James Carr. With bursts of horns, percussion, swirling strings and harmonies accompanying Joe, heartache and hurt becomes hope and joy as Joe emOtively sings “I Found My Dad.”
Side One of Drowning In A Sea of Love closes with The Mirror Don’t Lie. Although the tempo drops, there’s not let up in the drama and emotion. Here, Joe’s country background shines through, allowing him to deliver one of his most powerful, potent vocals. Norman Harris takes charge of arranging the track. Wah-wah guitars and Ron Baker’s moody bass combine with swathes of strings, as Joe scats. A burst of Earl Young drums reflects the emotion in Joe’s vocal. He digs deep, resulting in one of his most fervent, inspired vocals. You feel he’s lived the lyrics. His delivery is from his heart. Searing guitar licks, bursts of thunderous drums and strings that match Joe’s vocal for sheer emotion all play their part in making this one of the most moving and deeply soulful tracks on Drowning In A Sea of Love.
Earl Young’s pounding drums and Ron Baker’s bass provide the heartbeat for Ole Night Owl. Not to be outdone, Norman Harris adds some beautiful, melancholy guitar licks while Vince Montana Jr sprinkles his inimitable vibes across the arrangement. As if taking his lead from Baker, Harris, Young Joe delivers a wistful, tender and beautiful vocal. Add cooing, punchy harmonies from the Sweethearts of Sigma and the lushest of strings and the result is a quite beautiful tracks that’ll strike a chord with Ole Night Owl’s everywhere.
Linda Creed and Thom Bell, another of the great songwriting partnerships of the Philly Sound penned You Are Everything. Here, a familiar song is slowed down, but bathed in strings and drama. Swathes of the lushest strings join sultry horns and stabs of keyboards. With Ron Baker’s broody bass accompanying Joe, he goes on to deliver a truly stunning vocal. His vocal is raw emotion, Memories come flooding back, with Joe almost filling up, with emotion. The Sweethearts of Sigma add harmonies and with the lushest strings for company prove a potent combination. They reinforce and reflect the emotion in Joe’s vocal as he totally reinvents a classic track.
Joe’s voice is filled with pain and hurt from the opening bars of If, the biggest word in the dictionary. Searing guitars, grizzled horns and a dramatic backdrop for Joe’s vocal. He seems troubled, worried and filled with despair as he sings of the the worlds ills and problems. WIth the Sweethearts of Sigma add impassioned harmonies, Joe sings what If, there’d be no war, poverty or social problems. “If we learn to love one another..the world would be a better place.” M.F.S.B, and the Sweethearts of Sigma play their part in making this Bunny Sigler and Phil Hurtt penned track one of the most moving, powerful and socially relevant songs on Drowning In The Sea of Love.
Let Me Be the One Who Loves You sees the tempo drop again, briefly. Just Larry Washington’s congas, stabs of Lenny Pakula’s Hammond organ and searing guitars combine. When Baker, Harris, Young and Joe take charge, they soon kick loose. Baker, Harris, Young and a piano drive the arrangement along, with Ron Baker’s bass providing the heartbeat. Strings dance, while Joe’s hopeful, joyous vocal is accompanied by the Sweethearts of Sigma. They ensure the song swings along, playing their part in this memorable slice of uptempo, poppy soul.
Not many albums are bookended by million selling singles. Drowning In The Sea of Love is. Pool of Bad Luck closes the album. It has a moody, atmospheric opening. Guitars reverberate, strings swirl urgently and horns growl. Baker, Harris, Young provide a dramatic heartbeat, while Joe delivers one of his impassioned vocals. Urgent, punchy harmonies answer his call, while flourishes of strings and bursts of blazing horns and drums provide a dramatic, urgent backdrop for Joe’s heartbroken vocal. This bookends Drowning In The Sea of Love nicely, an it heads to an emotive, dramatic and soulful close.
After thirteen years in the music industry, most of which had been spent trying to make a commercial breakthrough, critical acclaim and commercial success came Joe Simon’s way. This was down to his decision to hookup with Gamble and Huff and their multitalented team of Philly-based songwriter, arrangers, producers and musicians. The result was Drowning In The Sea of Love, with Joe Simon breathing life, meaning, emotion and drama into the ten tracks fusing soul and country. Providing the musical backdrop was an early lineup of what became Philadelphia International Records’ legendary house-band M.F.S.B. and the Sweethearts of Sigma. Given how many talented people were involved in the making of Drowning In The Sea of Love, it’s no wonder the album proved so successful. Not only was Drowning In The Sea of Love, Joe Simon’s most successful album, but contained two million selling singles. Having rejuvenated Joe Simon’s career, Gamble and Huff never recorded another full album with Joe Simon. They did produce two tracks on his 1973s The Power of Joe Simon.
After working with Gamble and Huff, Joe’s career continued. His fortunes were mixed. He enjoyed five top ten US R&B top ten hits, with his 1975 single Get Down, Get Down (Get On the Floor) giving him the fourth US R&B number one. By the end of the seventies Joe Simon was changing. He’d become a Christian and by the early eighties, decided to record gospel music. That saw the end of a chapter in Joe Simon’s life story. That chapter spanned four decades and over twenty years. During that time, Joe Simon released many albums, but Drowning In The Sea of Love, a deliciously soulful album with a country twist is the best of his career. Two million-selling singles are just one of ten reasons why. Standout Tracks: Drowning In The Sea of Love, The Mirror Don’t Lie, Ole Night Owl and Pool of Bad Luck.
JOE SIMON-DROWNING IN THE SEA OF LOVE.
THE WHISPERS-BINGO.
THE WHISPERS-BINGO.
It’s almost ironic that when The Whispers released Bingo in 1974, which was arguably the best album of their career so far, its success was derailed by a lack of promotion. Bingo was The Whispers’ fourth album, and their first foray outside of their native California. It also saw a change of producer. Their three previous albums had been produced by Ron Carson. For Bingo, The Whispers headed to Philly, where they were given a Philly Sound makeover. Producing Bingo were Baker, Harris, Young, the legendary rhythm section, who had moved into production. They produced ten of the tracks on Bingo, an album which was Philly made. Each of the eleven tracks were written, arranged and produced by Philly’s finest and featured the classic lineup of M.F.S.B, Philadelphia International Records’ legendary house band. Before I tell you about Bingo, I’ll tell you about The Whispers career up till then.
The Whispers had formed in Watts, Los Angeles in 1964, when twin brothers Walter and Wallace “Scotty” Scott joined forces with Nicholas Caldwell, Marcus Hutson and Gordy Harmon .In 1973, there was a change to The Whispers’ lineup. Gordy Harmon left The Whispers. He was replaced by New Orleans born Leavill Degree, who previously, had been a member of The Friends of Distinction. This was the lineup that featured on 1974s Bingo. That would be nine years after The Whispers released their debut single.
A year after The Whispers were formed, they released their debut single The Dip. I Was Born When You Kissed Me was then released in 1966 and Needle In A Haystack in 1967. These three singles were released on the Dore label. After leaving Dore, The Whispers released a series of singles on Soul Clock.
Between 1969 and 1970 The Whispers were signed to the Soul Clock label. The released a series of singles, including This Time Will Come and Remember in 1969, with Planets of Life, I’m the One and Seems Like I Gotta Do Wrong released in 1970. After releasing these singles on Soul Clock, Where Have You Been was released on Roker Records. The next step for The Whispers was signing to Janus, where they’d release four albums between 1972 and 1974.
Now signed to Janus, The Whispers released their debut album in 1972. The Whispers Love Story was released in 1972, reaching number 186 in the US Billboard 200 and number thirty-four in the US R&B Charts. Life and Breath was The Whispers’ sophomore album, released in 1972. It reached number forty-four in the US R&B Charts. 1973s Planets of Life then reached number forty-eight in the US R&B Charts. Although these three albums had charted, the commercial success The Whispers enjoyed, didn’t match their talent. For The Whispers fourth album, which became Bingo, it was decided a new producer was needed. Maybe this would see a change in fortune for The Whispers.
With The Whispers having travelled from Los Angeles to Philly, work began on their fourth album Bingo. Bingo was an album written and recorded in Philly. Of the eleven tracks on Bingo, Norman Harris cowrote seven tracks on Bingo, four with Allan Felder and Bunny Sigler. These were A Mother For My Children, Someone’s Waiting, the title-track Bingo and God Gave Me Everything. Norman also cowrote What More Can A Girl Ask For and Broken Home with Allan Felder and cowrote Will You Be Mine with Ron Baker, who wrote Once More With Feeling. The Sigler Brothers Bunny and Jimmy cowrote Little Red Riding Hood with Allan Felder, while Allan and Bunny cowrote Don’t Take Your Love with Ron “Have Mercy” Kersey. Where There Is Love which was penned by the songwriting team of Bruce Hawkes, Charles Simmons and Joseph B. Jefferson, was the other track on Bingo. Recording of Bingo would take place at Joe Tarsia’s Sigma Sound Studios in Philly.
Joining the five members of The Whispers were the classic lineup of M.F.S.B, Philadelphia International Records’ legendary house band. This included This included a rhythm section of Baker, Harris, Young and guitarist Bobby “Electronic” Eli. They were joined by vibes virtuoso, Vince Montana Jr, Larry Washington on congas and pianist Bunny Sigler. Add to that Don Renaldo’s Swinging Strings and Horns. This all-star lineup of musicians provided the backdrop for the twin lead vocals of Walter and Wallace “Scotty” Scott. Once Bingo was recorded, it was released in 1974.
On the release of Bingo, the album suffered from a lack of promotion. The Whispers’ record label, Janus, failed to promote the album properly. This meant what was meant as a new start for The Whispers, saw Bingo stall at number forty in the US R&B Charts. Four singles were released from Bingo during 1974. A Mother For My Children reached number ninety-two in the US Billboard 100 and thirty-two in the US R&B Charts. The title-track Bingo then reached number forty in the US R&B Charts. What More Can A Girl Ask For then reached number sixty in the US R&B Charts. Where There Is Love then reached number fifteen in the US Dance Charts. Although Bingo featured three minor hit singles and proved to be The Whispers most successful album since their 1972 debut album The Whispers Love Story, this wasn’t enough for Janus. Following Bingo, The Whispers left Janus. This seems ironic. After all, it wasn’t The Whispers fault Bingo had been badly promoted. However, at least Bingo saw The Whispers leave Janus on a high, as you’ll realize, when I tell you about Bingo.
Opening Bingo is A Mother For My Children, produced by Baker, Harris, Young and Bunny Sigler. It’s an uptempo start to Bingo, with keyboards, swirling strings, growling horns and the Baker, Harris, Young rhythm creating a pulsating heartbeat. When the vocal enters, it’s quick, emotive and filled with hurt and despair. Punchy harmonies sweep in, as if sympathising with the plight of two motherless children. The interplay between The Whispers is peerless, driving each other to greater heights of emotion and soulfulness. Meanwhile, horns rasp, strings dance and the rhythm section create an uptempo, sometimes dramatic backdrop. Drama comes courtesy of Earl Young’s drums, while Vince Montana Jr’s vibes and keyboards provide a subtle contrast. Together, M.F.S.B. and The Whispers prove a potent musical partnership. It’s no surprise that this was the most successful single released from Bingo. What is a surprise, is a track so emotive, hook-laden and soulful wasn’t a much bigger commercial success.
Plucked strings and a subtle sprinkling or percussion open Someone’s Waiting. The tempo is much slower and Baker, Harris, Young’s arrangement much more understated. As the heartfelt vocal enters, just a subtle rhythm section, driven along by Ron Baker’s bass, joins Vince Montana Jr’s vibes, lush strings and gently, rasping strings. Soon the drama in Walter’s vocal grows, matched by the Baker, Harris, Young rhythm section, grizzled horns and stabs of piano. Harmonies match the vocal for hope and emotion. They’re tender, beautiful and heartfelt, cascading, a perfect match for the drama and beauty created by M.F.S.B and the vocal. This results on one of the most moving, heartfelt and dramatic songs on Bingo.
Will You Be Mine was written by Ron Baker and Norman Harris, with Baker, Harris, Young producing the track. Layers of Don Renaldo’s strings and sultry horns combine with the rhythm section. They set the scene for Walter’s vocal, which in tender, growing in power and sincerity. Harmonies answer his call. They’re tenderness personified. While M.F.S.B. provide a lush, string drenched, Philly backdrop, Earl Young’s drums inject occasional bursts of power and drama. They signal the arrangement and vocal to grow in power, passion and sincerity. This string laden Philly makeover really suits The Whispers. Not only does it bring out the best in the song, but The Whispers’ vocal prowess.
Just a chiming guitar and percussion combine subtly as Little Red Riding Hood gets underway. There’s a really understated, sultry sound to the arrangement, which allows The Whispers to showcase their harmonies. A lone sultry horns drifts above the arrangement, as the vocal interplay between The Whispers is seamless and peerless. They feed-off each other, driving each other to greater heights. Strings tug at your heartstrings, as the arrangement meanders beautifully along. The tightest, tenderest harmonies and a sultry horn matching the vocal a truly impassioned and deeply moving vocal.
The title-track Bingo closes Side One of Bingo. You realize straight away, something special is unfolding. Blazing horns, swirling strings and a thunderous Baker, Harris, Young rhythm section combine with cascading harmonies. Then the vocal soars dramatically above arrangement, delivered with power, feeling and raw emotion. This seems very real. Meanwhile, a myriad of grizzled horns, dancing string, percussion and driving rhythm section provide a backdrop that reflects the turmoil, heartache and hope in the vocal.
Bassist Ron Baker wrote Once More With Feeling and produced it with Norman Harris and Earl Young. Not only does this track give Ron Baker the chance to showcase his songwriting skills, but lay down a booty-shaking bass line. Earl Young matches him every step of the way. They’re joined by lush strings and Thom Bell influenced horns. The Whispers deliver tender, understated harmonies, which compliment the heartfelt, impassioned vocal. While their tenderness and subtlety are very different to the arrangement’s thunderous, booty-shaking heartbeat, together they prove a perfect foil.
God Gave Me Everything sees The Whispers give thanks for the one they love. Strings are plucked, before horns bray, strings shiver and a burst of the Baker, Harris, Young rhythm signal the arrival of The Whispers’ harmonies. As one, they deliver tight, tender and thankful harmonies, before Walter’s lead vocal enters. With Vince Montana Jr, subtly sprinkling vibes, horns rasp and melodic keyboards wander in. Then a burst of drums signals M.F.S.B. and The Whispers to become one. Strings sweep, horns growl and The Whispers go on to give a vocal masterclass. The harmonies become tighter, more heartfelt and soulful, while the lead vocal grows in intensity and fervor. Soulful and jazzy describes the music, but inspired best describes the performances of The Whispers and M.F.S.B. Of all the songs on Bingo, this Baker, Harris, Young production is the best.
Where There Is Love was produced by Bruce Hawkes and Charles Simmons. This is one of the uptempo tracks on Bingo. Growling horns and dancing strings join Baker, Harris, Young in providing an uptempo, joyful backdrop for The Whispers. What follows is some peerless interplay between the five Whispers. The lead vocal combines power, passion and joy, while tight, sweeping, cooing harmonies prove a perfect foil. Norman Harris adds his chiming, jazzy guitar as The Whispers are swept along by cascading strings punctuated by sultry horns. The result is a joyful, infectiously catchy slice of Philly Soul.
What More Can A Girl Ask For has a jaunty, almost melodramatic backdrop. A harpsichord, shimmering strings, percussion and Vince Montana Jr’s vibes provide this. Baker, Harris, Young provide the emotive, sometimes dramatic heartbeat for a fervent, impassioned and questioning vocal. Harmonies float in, joining the lushest of strings, harpsichord and vibes, creating a wistful, melancholy backdrop for The Whispers vocal tour de force.
Allan Felder. Norman Harris and Ron “Have Mercy” Kersey cowrote Don’t Take Your Love. Instantly, a pulsating arrangement unfolds. Key to this are Baker, Harris, Young who provide the heartbeat. Add to this swirling strings, braying horns and flourishes of piano. Then there’s Vince Montana Jr’s vibes and Norman Harris’ jazz-tinged guitar, playing subtle, but roles. It’s as if The Whispers are spurred into action. Their harmonies are tighter, punchier and more soulful, while Walter’s lead vocal is more commanding and assured. They feed off each offer, driving and encouraging the other to greater heights. Their contributions are questioning, pleading and begging, Don’t Take Your Love. Given the sincerity in their vocals, this must prove irresistible.
Closing Bingo is Broken Home, written by Allan Felder and Norman Harris. Baker, Harris, Young provide a shuffling arrangement, which is influenced by Latin and lounge music. Vince Montana Jr’s vibes, quivering strings and percussion combine giving the arrangement its Latin and lounge influence. When wistful horns and the rhythm section join the now lush strings, a pensive, thoughtful vocal enters. Harmonies subtly sweep in, while bursts of Earl Young’s drums and flourishes of strings reinforce the hurt and heartbreak in the lyrics. Not once does the arrangement overpower the vocal or harmonies. This allows you to focus on the lyrics. They’re delivered pensively and gently. This breathes meaning and life into the hurt, confusion and sadness in the lyrics. Who am I they ask and where am I from? Although this is a thoughtful, melancholy track to close Bingo, it demonstrates the quality of songwriting Bingo.
Ironic and frustrating must have been what The Whispers thought when Bingo wasn’t promoted sufficiently well. Here was their best album to date, with some of the hottest, most creative and talented songwriters, arrangers and producers all collaborating on Bingo. Then there was M.F.S.B. providing a musical backdrop. Anger must have been nearer to the emotions The Whispers were experiencing. After all, Baker, Harris, Young and their musical colleagues provided some of the best songs The Whispers had set eyes on. This spurred them to greater heights of soulfulness, surpassing and then some, their previous albums. Before Bingo was released, The Whispers must have thought they could replicate the success of other groups that had been given a Philly Sound makeover. So when their record company failed to promote Bingo properly, the album may have spawned three minor hit singles in the US R&B Charts and proved their most successful album since their debut, but that was a small crumb of comfort. Worse was to come for The Whispers.
Following Bingo, The Whispers left Janus Records. It would be two long years before The Whispers released another album. They must have rued Bingo’s lack of promotion. After all, groups like Blue Magic and artists like Major Harris had enjoyed huge commercial success with Norman Harris and his Philly friends. Bingo proved to be an opportunity lost for The Whispers. Although The Whispers would enjoy three gold and two platinum certified albums between 1979 and 1990, maybe if Bingo had been better promoted, success might have come The Whispers way earlier. Instead of The Whispers hitting the jackpot with Bingo, it’s remained a hidden gem in their back-catalogue, for nearly forty years. Standout Tracks: A Mother For My Children, Will You Be Mine, God Gave Me Everything and Broken Home.
THE WHISPERS-BINGO.
THE STYLISTICS-ROUND 2.
THE STYLISTICS-ROUND 2.
Just under year since The Stylistics released their debut album The Stylistics in November 1972, which was certified gold, and featured five top ten US R&B singles, The Stylistics released their sophomore album Round 2 in October 1973 on Avco Records. Like The Stylistics, it was produced by Thom Bell, who cowrote seven tracks, six of them with his songwriting partner Linda Creed. For The Stylistics, meeting Thom Bell would transform their career. With Thom Bell producing their albums, critical acclaim and commercial success would come The Stylistics’ way. Indeed Round 2 resulted in three gold discs for The Stylistics. It seemed The Stylistics could do no wrong as they entered Round 2 of their career.
For Round 2, ten tracks were chosen. They were a mixture of three cover versions and seven new songs. This included covers of It’s Too Late, made famous by Carole King, who cowrote the song with Toni Stern. There were covers of Gregory Guess’ Peek-A-Boo and Bacharach and David’s You’ll Never Get To Heaven (If You Break My Heart). Five of the new songs were penned by the successful songwriting team of Thom Bell and Linda Creed, who cowrote the other track Break Up To Make Up With Kenneth Gamble. Linda Creed and Thom Bell also cowrote I’m Stone In Love WIth You with Tony Bell. Just like The Stylistics’ debut album, recording took place at Philly’s Sigma Sound Studios. Accompanying The Stylistics, were many of Philadelphia International Records’ now legendary house-band M.F.S.B. who provided the backdrop for The Stylistics’ vocals.
The five Stylistics lead singer Russell Tompkins Jr, James Dunn, Herb Murrell, James Smith, James Smith and Airrion Love were joined by some of M.F.S.B, who which included some of Philadelphia’s best musicians. This included a rhythm section of Baker, Harris, Young. Guitarists included Bobby “Electronic” Eli, Tony Bell Roland Chambers.They were joined by Thom Bell on piano and harpsichord, percussionist Vince Montana Jr, Larry Washington on congas, plus a full horn, woodwind and string section which included violinist Don Renaldo. Adding backing vocals were legendary backing vocalists the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Thom Bell arranged and produced Round 2, and once the album was finished, it which was released in October 1972.
On the release of Round 2 in October 1972, it reached number thirty-three and number three in the US R&B Charts. History had repeated itself, with Round 2 being certified gold in the US. Chosen as the lead single was I’m Stone In Love WIth You, which became a Stylistics classic. Not only did it reach number ten in the US Billboard 100, number four in the US R&B Charts and number nine in the UK, but sold over a million copies worldwide. This meant gold disc number three for The Stylistics. Break Up To Make Up was the second single, reaching number five in the US Billboard 100 and US R&B Charts, but number thirty-four in the UK. Having sold over a million copies worldwide, The Stylistics received their fourth gold disco. You’ll Never Get To Heaven (If You Break My Heart) was released as a single in 1973, reaching number twenty-three in the US Billboard 100 and number eight in the US R&B Charts. Peek-A-Boo was the final single released in 1973, reaching just number thirty-five in the UK. Round 2 was The Stylistics’ most successful album so far, and proved to be their most successful album ever. You’ll realize why, when I tell you about the music on Round 2.
Opening Round 2 is the million-selling I’m Stone In Love WIth You, penned by Thom and Anthony Bell with Linda Creed. Just a subtle sprinkling of Vince Montana Jr’s vibes joins, a piano, Larry Washington’s congas and an understated, thoughtful Baker, Harris Young rhythm section and gently rasping horns. They provide the perfect backdrop for Russell’s tender, heartfelt and beautiful falsetto. It’s inspired, encouraging the other Stylistics to greater heights of soulfulness and beauty.Taking their lead from Russell, they add gentle, soaring harmonies. Then the lushest of strings, Norman Harris’ sparse, jazzy guitar, bursts of rasping horns and percussion join the arrangement. Thom Bell ensures everything falls perfectly and seamlessly into place, playing its part in not just a Stylistics classic, but a Philly Soul classic.
If You Don’t Watch Out was the first Thom Bell and Linda Creed composition on Round 2. Just the Baker, Harris, Young rhythm section with hi-hats a hissing join percussion, Vince Montana Jr’s vibes and guitars. Having set the scene for Russell’s vocal, his vocal is impassioned, delivered with emotion. Swirling, punchy harmonies are joined by dancing strings, braying horns and Baker, Harris, Young, who provide the track’s heartbeat. Together, The Stylistics and M.F.S.B. ensure the song swings along to a soulful high.
You and Me sees stabs of piano, a powerful Baker, Harris, Young rhythm section and frenzied, swirling strings accompany Russell’s powerful, punchy. His vocal is filled with sincerity, while punchy harmonies, searing guitar licks courtesy of Bobby “Electronic” Eli join Ron Baker’s moody bass. Add to that choppy, stabs of piano and urgent, swirling strings. They provide the perfect backdrop for The Stylistics, one that allows them to showcase their vocal prowess. The interplay between Russell’s lead and the harmonies drives to each to greater heights of emotion and urgency. This results in a track bristling with raw emotion and energy.
By the time The Stylistics covered Carole King’s It’s Too Late, it was becoming a popular song to cover. Billy Paul had covered the sing on his 1972 classic album 360 Degrees of Billy Paul. A moody backdrop of growling horns, Vince Montana Jr’s vibes and percussion combine with a searing guitar and broody bass. The Stylistic reading of the lyrics in pensive, filled with heartache, hurt and regret. Russell’s vocal brings meaning and emotion to the lyrics, while Ron Baker’s broody bass and grizzled horns reflects his pain. Vibes and percussion are ever-present, joining swirling cinematic string and rueful harmonies, as a familiar song is reinvented, with new meaning and extra emotion added.
Children of the Night was another Thom Bell and Linda Creed cowrote and closed Side One of Round 2. Against a backdrop of children playing, keyboards, wah-wah guitars and Larry Washington’s congas combine with the Baker, Harris, Young rhythm section. Russell’s vocal is pensive, thoughtful and tinged with sadness. As strings cascade and an atmospheric backdrop unfolds. Guitars reverberate while percussion and strings add to the emotion in Russell’s vocal. A combination of a masterful, emotive backdrop complete with cinematic strings and Russell’s thoughtful, impassioned reading of the lyrics make this one of the most moving songs on Round 2. In many ways, it’s the perfect way to close Side One.
Side Two of Round 2 opens with a cover of Bacharach and David’s You’ll Never Get To Heaven (If You Break My Heart). Like It’s Too Late, this is another oft-covered track. Just bursts of melancholy horns, percussion, Vince Montana Jr’s vibes and the Baker, Harris, Young rhythm section combine. They signal the arrival of Russell’s vocal Magnus Opus. It’s filled with insecurity, hurt and disbelief. As it floats above the arrangement, horns bray, strings sweep and swirl and harmonies soar. Norman Harris adds his chiming guitar, while percussion is ever-present. The longer the song progresses, the disbelief and hurt in Russell’s voice grows. It becomes a mini-soap opera, with Russell the central character, laying bare his soul for all to hear.
Break Up To Make Up was the second million-selling single on Round 2, written by Thom Bell and Linda Creed with Kenneth Gamble. The tempo slows, with just braying horns, a slow, thoughtful Baker, Harris, Young rhythm section and Vince Montana Jr’s vibes combining. Then comes Russell’s vocal, filled with emotion, confusion and sadness. Subtle harmonies accompany his vocal, while Ron Baker’s helps bass provides the track’s pensive heartbeat. Strings add to the emotion and sadness, while percussion, vibes and rasping horns provide a heartbreakingly sad backdrop for Russell’s heartbroken vocal. Given how emotive, yet beautiful a song this is, it’s no wonder it sold a million copies.
A roll of Earl Young’s drums joins quivering strings, percussion and guitars as Peek-A-Boo unfolds. Russell’s tender, heartfelt vocal is filled with hope and happiness. Harmonies sweep in, while Baker, Harris, Young provide the heartbeat. Horns with Thom Bell’s signature punctuate the arrangement, as strings cascade, reflecting the hope in Russell’s joyous voice.
Just Thom Bell’s piano opens the arrangement, before strings quiver and You’re As Right As Rain reveals its secrets. When Russell’s heartfelt, tender vocal enters, VInce Montana Jr sprinkles vibes, while the Sweethearts of Sigma join the other Stylistics in adding cooing harmonies. Swathes of the lushest strings, percussion and vibes complete the understated, subtle and beautiful backdrop for one of Russell’s inspired and impassioned vocals on Round 2.
Closing Round 2 is Pieces, the fifth Thom Bell and Linda Creed composition. Just Earl Young’s hissing hi-hats and Bobby “Electronic” Eli’s searing guitar combine before horns growl, strings urgently swirl and Baker, Harris, Young powerfully drive the arrangement along. Russell’s vocal is a mixture of power and passion, with the Sweethearts of Sigma joining The Stylistics to add cooing, punchy harmonies. A choppy, driving arrangement takes shape, with urgent strings reflecting the energy and emotion to in Russell’s vocal. This allows Round 2 of The Stylistics’ career to end on an urgent, emotive and dramatic high.
By the time most groups release their sophomore album, they’re happy just to be making a commercial breakthrough. Not The Stylistics. They’d started their career with The Stylistics, which was sold one-million and was certified gold. When Round 2 was released, The Stylistics received their second gold disc. Then things got even better. Much better. Stone In Love WIth You sold over a million copies worldwide, resulting in gold disc number three for The Stylistics. Break Up To Make Up then made it four gold discs in two years. Thom Bell and The Stylistics proved to be a dream team. Here were ten songs, where heartache and hurt and deception sat along happiness, hope and joy. Love songs and songs filled with social comment filled the two sides of Round 2. This meant The Stylistics had released two classic albums in just under a year.
The partnership of Thom Bell and The Stylistics, resulted in The Stylistics becoming one of the most successful purveyors of what became known as the Philly Sound. Sadly, this successful partnership lasted just three albums. Following their third album, Rockin’ and Roll Baby, Thom Bell was replaced as producer by Hugo and Luigi, two former Brill Building veterans. After that, only 1974s Let’s Put It All Together matched the success of The Stylistics’ Thom Bell produced albums. However, The Stylistics’ remained popular in the UK right through to 1975s You Are Beautiful. For many people though, The Stylistics’ Thom Bell produced albums are their three best albums, including 1972s Round 2.
Indeed, Round 2 is The Stylistics at their very best. The combination of Russell Tompkins Jr’s lead singer and harmonies from James Dunn, Herb Murrell, James Smith, James Smith and Airrion Love and you’d have thought things couldn’t get any better. It could and did. M.F.S.B. provided the musical backdrop for The Stylistics, while the Sweethearts of Sigma adding harmonies. The result was a musical dream team, Philly made, that saw The Stylistics become one of the giants of the Philly Sound. They joined Thom Bell’s other protegies The Delfonics and The The Detroit Spinners, plus Gamble and Huff’s trio of The O’Jays, Harold Melvin and The Blue Notes and Billy Paul. What makes this even more remarkable is that The Stylistics were had only entered Round 2 of their career. Their third album, Rockin’ and Roll Baby, would be the last with Thom Bell. However, the partnership between Thom Bell and The Stylistics resulted in the best albums of The Stylistics long and illustrious career, including their sophomore album Round 2. Standout Tracks: Stone In Love WIth You, Break Up To Make Up, You’ll Never Get To Heaven (If You Break My Heart) and Break Up To Make Up.
THE STYLISTICS-ROUND 2.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
By 1977, The Salsoul Orchestra had established their reputation as disco’s premier orchestra. They’d been formed in 1975, and had already released a trio of albums, where disco, Philly Soul, funk, jazz, Latin and classical music were seamlessly fused. Much of the emphasis was on individual members stepping into spotlight and showcasing their considerable skills. With so many talented musicians in The Salsoul Orchestra’s lineup, their was abundance of talent. Baker, Harris, Young provided the rhythm section, Bobby “Electronic” Eli played guitar, Larry Washington congas and percussion while Vince Montana Jr played vibes. Add to that a full horn, string and woodwind section. The finishing touch were the legendary Philadelphia trio of backing vocalists, the Sweethearts of Sigma, who took charge of vocal duties. That’s why The Salsoul Orchestra was so successful.
Founded and lead by vibes virtuoso Vince Montana Jr, who wrote, arranged, conducted and produced much of The Salsoul Orchestra’s music, it seemed they could do wrong when they released their fourth album Magic Journey in 1977. After all, their three previous albums had proved commercially successful, innovative and provided the soundtrack to many dance-floors. Would The Salsoul Orchestra’s fourth album Magic Journey continue this run of commercial success and critical acclaim?
Two years before the released Magic Journey in 1977, The Salsoul Orchestra released thir 1975 eponymous debut album The Salsoul Orchestra. It had reached number twenty in the US Billboard 200 and number fourteen in the US R&B Charts, selling a million copies in the process. In 1976, The Salsoul Orchestra released two albums. Nice ‘N’ Nasty reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. Then following in the tradition of artists like Phil Spector, The Salsoul Orchestra released their classic Christmas album Salsoul Jollies, which reached number forty-eight in the US Billboard 200 and number thirty-eight in the US R&B Charts. The Salsoul Orchestra it seemed, could do wrong. When The Salsoul Orchestra released their fourth album, Magic Journey, they were hoping to continue this run of successful albums.
For The Salsoul Orchestra’s fourth album Magic Journey, nine tracks were chosen. This included cover versions and new material. Of the Salsoul personnel, Vince Montana Jr, contributed three tracks. He wrote Magic Bird of Fire and cowrote Runaway and It’s A New Day With Janice Gugliuzza and Ronnie James. Vince also arranged covers of the folk song Guantanamera and Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. This would prove a controversial choice of song to cover. Other tracks included a cover of the Short Shorts, given a seventies makeover, plus Pasquale Spino’s Journey To Phoebus and Alpha Centuri, written and arranged by Peter De Angelis. So Magic Journey included an intriguing and eclectic collection of tracks that The Salsoul Orchestra recorded at Philly’s Sigma Sound Studios.
When The Salsoul Orchestra arrived at Sigma Sound Studios, a few familiar faces were missing. Usually, Baker, Harris, Young provided the rhythm section. This time, only drummer Earl Young was present. Earl was joined bassists Michael “Sugarbear” Foreman, Gordon Edwards and Jimmy Dejulio, while Charles Collins also played drums. Guitarists included Bobby “Electronic” Eli, T.J. Tindall and Ronnie “The Hawk” James. Giving Magic Journey its percussive sound were Larry Washington, Crusher Bennet and Peter “Choki” Quintero who added congas, bongos and timbales, while Vince Montana Jr played vibes, timpani, wind chimes, bells and marimba. Ron “Have Mercy” Kersey and Cotton Kent played keyboards. Violinist Don Renaldo and flautist Jack Faith were part of a fill string, woodwind and horn section. Adding backing vocals and harmonies were Barbara Ingram, Carla Benson and Evette Benton, the Sweethearts of Sigma. Arranging, conducting and producing Magic Journey was Vince Montana Jr, which was released in 1977.
On the release of Magic Journey in 1977, it reached number sixty-one the US Billboard 200 and number fifty-one in the US R&B Charts. The title-track, Magic Journey was released as a single, reaching number three in the US Dance Music/Club Play Charts. Then Getaway was released as a single, reaching number thirty-three in the US R&B Charts. Incredibly, Runaway featuring Loleatta Holloway’s classic vampish vocal, wasn’t released as a single. So, Magic Journey wasn’t as commercially successful as previous albums by The Salsoul Orchestra, but was the music as good as on previous albums?
Opening Magic Journey is It’s A New Day, written by Vince Montana Jr, with Janice Gugliuzza and Ronnie James. The arrangement bursts into life with the familiar sound of The Salsoul Orchestra. This means a pulsating disco beat courtesy of the rhythm section, dancing strings, flourishes of keyboards, a myriad of percussive delights and rasping horns. They drive the joyous arrangement along, providing a dance-floor friendly, infectiously catchy, joyful sound. What really makes the track are the harmonies. They’re punchy, urgent and soulful. Especially thanks to the Sweethearts of Sigma’s contributions. Like previous albums, they’re at the heart of the song’s joyful, hopeful and hook-laden sound, as disco, Philly Soul, Latin music and jazz unite.
Short Shorts was a track that puzzled critics. It’s a three-minute cover of song released in 1960, albeit with the lyrics changed to include band members. It’s like a trip back in time, to the late-fifties, early-sixties. There’s everything from R&B, surf music and jazz included. Think the hot rod and surf sound and you’re getting there. WIth the sound of an engine gunned, sassy harmonies from the Sweethearts of Sigma join a driving rhythm section, piano and bursts of blazing saxophone. Not only do they help drive the track along, but they help conjur up the sound of California from over fifty years ago. Surfing, hot roads, sandy beaches and drives-ins all come to mind during this three minutes trip back in time. Although sniffy seventies music critics fixated on west coast rock music didn’t like the track means nothing. Instead, it’s a vintage sounding slice of musical sunshine, guaranteed to put a smile on your face.
Runaway saw The Salsoul Orchestra joined by the legendary diva Loleatta Holloway. Although it wasn’t released as a single, it’s since become a stonewall classic. Opening with Earl Young’s thunderous drums at the heart of the rhythm section, quickly, the introduction grows. Rasping horns, swirling strings and percussion accompany Loleatta. Her vocal is confident, defiant and powerful, while powerful drums punctate the arrangement and lush strings cascade. Vince lays down one of his best vibes solos, and with the chiming guitar sound, you’re in disco heaven. The arrangement sweeps along, with its potent combination of dramatic horns and drums, while percussion, vibes and strings provide a contrast. What makes the track is Loleatta’s vocal, as she confidently and defiantly vamps her way through a genuine and timeless disco classic.
A cover of the folk song Guantanamera might seem a strange choice for The Salsoul Orchestra. However, their talents could transform a track totally. Congas, bongos and a plucked harp combine, before the rhythm section, swathes of lush strings and Vince Montana Jr’s vibes take charge. Horns growl, then tender harmonies sweep in. Soon, a delicious fusion of musical styles unfolds. There’s everything from disco, Latin, lounge, jazz and even Caribbean music. Later, Jack Faith adds a flute solo, before layers of strings, growling horns and a myriad of percussion bring new life and meaning to an old song.
Probably the most controversial inclusion on Magic Journey was Andre Mathieu and Victor Vogel’s Theme From Montreal Olympics, 1976: Farewell Song and Ballet of the Closing Ceremony. Critics argued that The Salsoul Orchestra’s traditional soulful sound was sacrificed at the altar of classical music. The counter argument is that with its classical influence, especially the layers of sad, emotive strings at the heart of the arrangement was innovating and challenging and educating listeners. Along with flourishes of harpsichord, healthy sprinklings of percussion, a slow melancholy heartbeat from the rhythm section and the haunting addition of woodwind instruments it was an innovative, challenging track. It took some listener’s in a new direction. Maybe Vince Montana Jr, wanted to educate, as well as innovate. In the process, he allowed the musicians to demonstrate their versatility and considerable talents. That’s no bad thing.
Side One of Magic Journey opens with Getaway. Just subtle bongos and congas open the track. Then The Salsoul Orchestra get down to creating an uber funky track. This means the rhythm section, blazing, braying horns and layers of sweeping swirling strings. They join percussion, wah-wah guitars and keyboards. Horns growl, soaring above the arrangement as searing guitars and cascading strings demonstrate just why The Salsoul Orchestra were by 1977,disco’s premier orchestra. They’re at their best when they kick loose. Here, they fuse funk, jazz, disco and even rocky guitar licks, creating a peerless, funky Magnus Opus.
Magic Bird of Fire was the only track on Magic Bird written by Vince Montana Jr. There’s a real sinister, moody sound, thanks to the strings and grizzled horns. The rhythm section and percussion provide a pulsating, dramatic heartbeat as quivering, shivering strings provide a haunting contrast. A jangly boogie woogie piano adds another contrast and layer as the drama builds and builds. Eventually, it reaches a dramatic climax, then rebuilds, allowing you to enjoy this musical journey again. Again, it’s like the soundtrack to a film. Vince Montana Jr and the rest of The Salsoul Orchestra paint pictures, reminiscent of something Alfred Hitchcock in his prime would’ve produced.
As Journey To Phoebus begins you realize something special is unfolding. Gradually, the drama builds. Cinematic strings, growling horns, wah-wah guitars and a rhythm section that injects a dramatic, pulsating heartbeat. A myriad of percussion, melancholy, wistful woodwind and grizzled horns join bursts of thunderous drums. It’s not unlike the soundtrack to a seventies Blaxploitation movie, albeit one that’s yet unmade. A haunting, sinister vocal is added, before The Salsoul Orchestra continue painting pictures, pictures that are dramatic, moody and funky with a capital F. The result is one of the highlights of Magic Journey.
Closing Magic Journey, The Salsoul Orchestra’s fourth album is Alpha Centuri. The tempo drops, floaty strings, flourishes of harp and a sprinkling of percussion combine with lush strings. The Earl Young’s drums add pounding disco beat, while Bobby “Electronic” Eli adds his trademark guitar sound. What really makes the track is the strings, sweeping and swirling, providing a beautiful, elegant backdrop. Ethereal vocals are added as the drama builds, and the the rhythm section, braying horns and percussion join the lush strings in ensuring this Magic Journey ends in a hauntingly beautiful, ethereal but dramatic high.
While Magic Journey, The Salsoul Orchestra’s fourth album divided opinion among critics at the time, that has to be taken in context. Many critics weren’t fans of disco. Instead, they still were fixated on washed out sixties stars, West Coast rock and the first wave of punk music. To them, disco was the antithesis of their idea of what was fashionable and what people should be listening. They’d set themselves up as arbiters of taste and musical fashion. Given the power they had, they should’ve realized responsibility comes with it. What these reviewers missed, was a genre-sprawling album.
Over nine tracks, The Salsoul Orchestra fused disco, Philly Soul, funk, jazz, Latin and classical music. Like previous albums, The Salsoul Orchestra, lead by Vince Montana Jr, lead the way for disco orchestras. Others may have tried to replicate the sound of The Salsoul Orchestra, but they were fearless trailblazers and innovators. Although they strayed from their previous sound on a couple of tracks, this was quite brave. It took real courage, risking incurring the wrath of acerbic, Cyclopean critics. Although Magic Journey wasn’t The Salsoul Orchestra’s most successful album, it saw The Salsoul Orchestra lay down a gauntlet and challenge their listeners. The challenge was accepting and understanding a complex fusion of music. Despite the critics saying Magic Journey lacked the Philly Soul sound of previous albums, if they’d released similar albums to The Salsoul Orchestra and Nice ‘N’ Nasty they’d have been criticised as releasing formulaic music. Like musicians and especially innovative musicians, The Salsoul Orchestra were dammed if the do, dammed if they don’t. Instead, The Salsoul Orchestra, lead by its brave and innovative took their listeners on a Magic Journey that crossed musical genres, as they started the next chapter in the Salsoul Records’ story. Standout Tracks: It’s A New Day, Runaway, Getaway and Magic Bird of Fire.
THE SALSOUL ORCHESTRA-MAGIC JOURNEY.
THE BEST NEW ALBUMS OF 2012-PART 1.
THE BEST NEW ALBUMS OF 2012-PART 1.
It’s always at this time of year, that lists of what have been the best albums of the year are released. Not to be outdone, I’ve been compiling my lists too. So far, I’ve compiled lists of the best box sets, compilations and reissues. The one I’ve been saving for last is my list of the best new albums of 2012.
Now during the last twelve months I’ve been lucky to review many new albums, from new artists and some familiar faces. However, the only albums that feature on this list are albums that are truly groundbreaking and innovative. Each album has that wow factor. From the opening bars of the album, you’re forced to take notice, immediately realizing that this is a very special album. There’s neither any albums from tired, washed-up sixties and seventies singers, nor the sympathy vote for has-been singers whose last decent album was a generation ago. What you’ll find, is a list of truly innovative albums. These are artists at either the height of their creative powers or about to begin what will be a long and successful career. In total, there are twenty albums on my list of The Best New Albums Of 2012, which I bring to you in four parts.
BODDHI SATVA-INVOCATION.
Back in February, I reviewed Boddhi Satva’s Invocation, which was released by BBE Music in March 2012. From the first time I heard Boddhi Satva’s Invocation I was captivated. I realized straight away, that this was a very special album. It’s beautiful, spiritual, soulful, emotional and deeply moving. Since then, I haven’t changed my mind and have become spellbound, enthralled and enchanted. Invocation is the result of two years work, started by Boddhi in 2010.
The fourteen tracks on Invocation are an eclectic collection of songs spanning Nu Soul, African Roots and Ragga, all with Boddhi Satva’s own unique sound. Boddhi recorded Invocation during visits to Africa, in his home studio, with a basic, modest setup. To record the album, he used just a PC, ordinary sound card, one microphone, plus drums, koras and a variety of other instruments. On Invocation, Boddhi collaborates with a variety of artists including Oumou Sangare, Vikter Duplaix and Vivian K. On Invocations are fourteen tracks, where Boddhi Satva collaborates with a variety of artists, producing some uplifting, inspirational and beautiful music, music that crosses the musical genres.
Invocation is one of the most beautiful, brilliant and compelling albums I heard during 2012. Boddhi Satva fuses musical genres and influences seamlessly. There’s everything from authentic African music, Ragga and hip hop to Nu Soul, jazz and house music. Each track is unique, given its own twist by Boddhi. The quality of music is peerless, with each track leaving you spellbound. It’s also a deeply emotional musical journey.
For Boddhi, he hoped recording Invocation would help heal the inner pain he talks about in the album’s sleeve-notes. I sincerely hope that recording Invocation proved to be a cathartic experience, because it’s a cathartic experience for listeners. Like all good music, the music on Invocation has the power to provoke a variety of emotions. Happiness, joy, sadness, and frustration are just a few of the variety of emotions the music on Invocation provoked. Mostly I found Boddhi Satva’s music uplifting, which is what he always seeks to do when he records music. So, if you want to experience some of the most beautiful and emotive music you’ll have the pleasure of hearing this year, then you should seek out Boddhi Satva’s brilliant album Invocation.
BODDHI SATVA-INVOCATION.
NIGHT OF TREASON-GENTLEMEN AND HOOLIGANS.
Although I don’t usually review new wave or punk rock albums, I had to make an exception when Night of Treason’s album Gentlemen and Hooligans, which was referred to as “the best English punk record from the 70s.” Now, you’ve got to either admire their confidence or think that this album is just a bit special. This isn’t youthful exuberance from a young, inexperienced group of musicians, clutching their first record contract. Instead, Night of Treason are veteran punk rockers, with over 250 concerts under their belt and twenty years experience. So did Gentlemen and Hooligans live up to its hypes the “the best English punk record from the 70s?”
Gentlemen and Hooligans started life as a concept album, with the central character returning to their hometown, wondering what became of his idealistic friends, who he shared his adolescent years with. These years were spent with football, war comics and solvents, before working at the local social security office. However, from a concept album, Gentlemen and Hooligans grew legs, with Night of Treason spawning a number of other tracks. These were so good, that it was almost impossible to leave them off Gentlemen and Hooligans. So, from the original concept album, came thirteen songs from lead singer Pinky and the rest of Night of Treason.
Night Of Treason’s debut album Gentlemen and Hooligans was more than a punk rock or new wave album. There’s more to their music than that. On some of the tracks, they demonstrate a similar rocky style to The Clash. Granted on many tracks, the music is punk of new wave music through and through. During the album, Night Of Treason’s influences range from The Alarm, The Clash, The Jam, Elvis Costello, Billy Bragg, Sham 69 and XTC. Unlike many other punk bands, Night Of Treason are much more accomplished musicians and lyricists. Many of their lyrics are intelligent, blessed with a strong narrative, and are clever, poignant and melancholy. Given that Night Of Treason are such an experienced band, this shouldn’t come as a surprise. For anyone who longs for the heady days of ’76, and is an aging punk or new waver, waiting for the next great punk album to arrive, then your wait is nearly over. Gentlemen and Hooligans lived up to the hype as “the best English punk record from the 70s, bringing to mind the spirit of ’76.
NIGHT OF TREASON-GENTLEMEN AND HOOLIGANS.
DARK ROOM NOTES-DARK ROOM NOTES.
In April 2012 Galway band Dark Room Notes released their sophomore album, Dark Room Notes on BBE Music. This was the followup to their 2009 debut album We Love You Dark Matter, which contained their highly acclaimed single Love Like Nicotine. Since then, much has happened to Dark Room Notes. They’re now a three-piece band, with drummer Darragh Shanahan leaving in 2010. Apart from that, they’ve toured extensively throughout the US, UK and Europe, including supporting Kraftwerk and had their music feature in movie Kiss For Jed Wood. Listening to Dark Room Notes they’ve come a long way in the three years since they released their debut album We Love Dark Matter. Their sophomore album Dark Room Notes demonstrates this.
Dark Room Notes is crammed full of quality music, with the group fusing electro and synth pop, with even some indie rock thrown into the mix. On several tracks on Dark Room Notes, you can hear a real New Order sound shining through. Sometimes this is so strong that you think somehow, you’ve put on a previously unheard New Order album. That’s testament to the quality of the music on Dark Room Notes. Dark Room Notes’ decision not to replace their drummer was a brave one, but the album doesn’t suffer for the absence of a drummer. In the right hands, which is the case here, a drum machine works well. The same can be said of the synths. Far too often, in the past thirty odd years I’ve heard synths used badly, but not here. Instead, it’s quite the opposite, with the synths key to the success of the album. Used correctly, like it is here, the results can be stunning. Another thing that I liked about the album, were the vocals, which bring the lyrics to life, combining emotion, joy, passion and thoughtfulness during the eight tracks. Truly, there isn’t a poor track on Dark Room Notes, with the group looking like having a bright and successful future ahead.
DARK ROOM NOTES-DARK ROOM NOTES.
CEU-CARAVANA SEREIA BLOOM.
Ever since Céu released her eponymous titled debut album Céu in 2005 on Opius Music I’ve been following her career with interest. Since then, she’s released two further albums, 2009s Vagarosa and 2012s Caravana Sereia Bloom. Given just how talented a singer, songwriter and musician Céu is, I’ve always felt that she would eventually make a breakthrough into the mainstream music. It seems I was right. Gradually, Céu’s music is reaching a much wider audience. Her third album Caravana Sereia Bloom, released in April 2012, is her finest album yet and demonstrates that Céu’s talent is deserving of a much wider audience.
Caravana Sereia Bloom Céu’s third album is a compelling album which fuses a variety of styles of music. There’s everything from Latin, soul, funk, hip-hop, bossa-nova, rock and electronic within the thirteen tracks. Each of these tracks are variously impassioned, emotive, joyous, melancholy and beautiful thanks to Céu and her band. Céu is blessed with a beautiful voice, which is capable of exploring a variety of emotions, each with aplomb. However, she’s not just a singer, but a talented songwriter and musician, who co-produced Caravana Sereia Bloom. On Caravana Sereia Bloom, Céu is accompanied by a multitalented band, who produce the perfect musical backdrop for Céu’s beautiful vocal. Although Caravana Sereia Bloom is just her third album, it’s a highly mature, accomplished and polished album. It’ll appeal to anyone who loves Latin music, soul, funk or just good music. Indeed, Caravana Sereia Bloom is the perfect starting point for anyone wanting to discover the beautiful and stunning music of Céu.
CEU-CARAVANA SEREIA BLOOM.
LOS TRANSATLANTICOS-FIRST TRIP.
Los Transtlanticos debut album First Trip was released in May 2012 on BBE Music. The story that leads up to the release of Los Transtlanticos is an intriguing and fascinating one. At its heart, is a friendship between two men who shared a common bond. This common bond was a love of Caribbean music. Six years later, this friendship and love of music would lead to the release of Los Transtlanticos’ debut album First Trip.
The Los Transtlanticos story starts back in 2006, when Dean Bagar, a Croatian born, but Berlin based DJ, producer, record shop and record label owner visited Bogota. There he met Pablo Gaviria, a music producer. Quickly, theyr formed a friendship, with their common bond a love of Caribbean music. After this, Dean started making regular visits to Bogota, where he and Pablo started recording in a local studio. Soon, Pablo’s brother Alvaro Gaviria, an instrumentalist, would then join them. Eventually, the next step for the trio was the formation of a band.
Their new band became Los Transtlanticos. The reason for the name, was not just the distance between the musicians, but their musical approach. Together with a number of Columbian musicians and singers, their new band Los Transtlanticos was born.They made their debut in Berlin, at the Worldtronic Festival in December 2011, where they received an enthusiastic and enraptured response from an enthralled audience. From there, Los Transtlanticos would record their debut album.
From the first to final track, First Trip is a seamless journey where you experience eclectic procession of enchanting music. During that time, the music is variously emotive, impassioned and enthralling. Often the music is compelling, other times it’s bewitching and very often, it’s beautiful. It’s music that’s for the heart and soul. On First Trip, Los Transtlanticos take you on a journey through traditional Caribbean while incorporating reggae, dub and Jamaican DJ toasting. It’s not only Caribbean music that features on First Trip, with soul, Latin and hip-hop all making welcome appearances. There’s even old school Acid House synths which feature on several tracks. Los Transtlanticos’ forthcoming debut album First Trip is a truly compelling fusion of musical styles that once you’ve heard it, you’ll forever be enthralled by its subtleties, charms and beauty. It has an irresistible charm and a sound that’s joyous and is full of the most glorious rhythms.
LOS TRANSATLANTICOS-FIRST TRIP.
THE BEST NEW ALBUMS OF 2012-PART 2.
THE BEST NEW ALBUMS OF 2012-PART 2.
The Best New Albums of 2012-Part 2, covers the period between May and June 2012. These two months proved to be good months for new music. Two veterans of music, Paul Buchanan and Eddie Levert somewhat belatedly, released debut solo albums. Then there were three truly innovative albums, including one of the best hip hop albums of 2012. Read on, and you’ll find out more.
PAUL BUCHANAN-MID AIR.
2012 has been a great year for anyone who loves the music of the Blue Nile. Not only have we enjoyed deluxe reissues of the Blue Nile’s first two albums, 1984s A Walk Across the Rooftops and 1989s Hats, but Paul Buchanan released his long awaited debut album Mid Air in May 2012. Then five months later, in October 2012 a deluxe edition Mid Air was released. This deluxe edition of Mid Air is a double-album, with Disc One featuring Mid Air and Disc Two featuring bonus tracks. This includes instrumentals, remixes and live tracks.
Between 1984 and 2004, the Blue Nile only ever released four albums. Their debut album was 1984s A Walk Across the Rooftops, with Hats following five years later in 1989. Forever the perfectionists, the Blue Nile worked at their own pace. Peace At Last followed seven years later in 1996, with High their final album in 2004. Throughout that twenty year period, the Blue Nile were reluctant stars, who shied away from interviews and publicity. Enigmatic doesn’t even come close to describing them. Even live appearances were something of a rarity. After 2004s High, nothing was heard of the Blue Nile. They’d split up, and no more new music would be released. Even their thirtieth anniversary passed without any celebration. Then in May 2012, Paul Buchanan released his debut album Mid Air. Would it live up to the Blue Nile’s four critically acclaimed albums?
Mid Air is album full of subtleties, nuances and charm. I can’t recommend this album highly enough. It’s a really mature, grown-up album from Paul Buchanan. He’s now fifty-six and his world-weary voice has matured with age, have his talents as a songwriter. Not only has age resulted wisdom, but has resulted in fourteen tales of life, love and loss. To put this into perspective, it took The Blue Nile eight years and two albums to produce fourteen tracks, whereas Mid Air took but two years to complete.
I just hope Paul releases further albums like Mid Air. The music on Mid Air is compelling and emotive. Paul explores a variety of subjects, including life, love and loss, with hurt, regret and sadness constant companions to hope and love. The music is moody, broody and sometimes hopeful, perfect for The Blue Nile’s now grownup audience, who like Paul are eight years older than they were when The Blue Nile released High in 2004. For many of The Blue Nile’s loyal fans, then Mid Air will strike a chord. They too will have experienced, travelled and witnessed the same roads as Paul Buchanan has. Not only that, but they too will concur with his outlook on love, life and loss and will enjoy the fourteen tracks on Mid Air knowing he’s travelled the same roads that they have.
The music on Mid Air, including the bonus ttracks offers further insight into Paul Buchanan. While there have been similarly reluctant stars like Paul Buchanan, there’s rarely been one so complex, articulate and intelligent. Paul Buchanan is able to give voice to the feelings and lives of many people. He provides the voice to his legion of fans, who hope that there’s much more music like Mid Air still to come for Paul Buchanan. Now that The Blue Nile are sadly, no more, then Paul Buchanan carries the mantle they’ve left behind. Thankfully, Paul produced a similar style of music on Mid Air, introspective, poignant and wistful music that’s best enjoyed late at night, After Dark, When Half the World Is Asleep.
PAUL BUCHANAN-MID AIR.
SHIN NISHIMURA-MASH.
Since his 2005 debut album Star Light, Japanese Techno producer Shin Nishimura has released four albums plus two albums of remixes. His fifth studio album Mash, was released in May on the Plaza In Crowd label. This is the follow-up to his previous studio album Q’hey and Shin’s 2007 album Planetary Alliance. However, between 2007 and 2012, Shin has been busy, releasing two remix albums Identity Politics and Identity Politics Part 2, while releasing a series of EP’s for the Plus label. Mash was described by Shin as as containing “UK beats,” and is like a music journey marauding along London’s Tube, which is one of the tracks. Indeed the London influence runs through Mash. Earl’s Court, Neals Yard and Knightsbridge are just three tracks on Mash referencing London. So, Mash was Japanese techno with “UK beats.” Sounds intriguing? Well, Mash was also one of the best techno albums of 2012.
Mash, which is Shin Nishimura’s fourth album is an ambitious, innovative and highly accomplished album of techno. His claim that Shin is an innovative album, with “UK beats” pointing towards the future direction techno is heading, was indeed a bold statement. However, Mash is an innovative album of techno music from a hugely experienced techno producer. In total, there are twelve tracks on Mash, the eleven that make up the album, plus a bonus track Frustration-No Nukes. Using a variety of influences, Shin came up with an album that’s compelling, intriguing and contains an eclectic and consistently high quality of techno. From the opening bars of Unity, until the closing notes of Acid Eye Shin never strays from his mission statement to create, innovate and demonstrate the direction he thinks techno is heading in the future. He’s had plenty of time to think about this, given it’s five years since his last album, Planetary Alliance was released. Given the quality of music on Mash, let’s hope that it’s not another five years until Shin Nishimura’s next album. For anyone who loves techno music, then Mash is an album to look out for. Mash allowed everyone to hear Shin Nishimura’s manifesto for the future direction of techno.
SHIN NISHIMURA-MASH.
EDDIE LEVERT-I STILL HAVE IT.
Never before has an album title been more apt than Eddie Levert’s debut solo album I Still Have It. What Eddie Levert still has, is one of the best voices in R&B music. Eddie proves the maxim that form is temporary, but class is permanent. After joining The O’Jays in 1958, Eddie’s spent over fifty years as lead singer of Canton, Ohio’s favorite sons. Since then, The O’Jays have released album after album of classy, polished soul. During their time on Philadelphia International Records, not only did The O’Jays become one of the label’s biggest acts and success stories, but released a string of classic album. This included Back Stabbers, Ship Ahoy, Survival, Family Reunion, Message In the Music and Full of Love. That’s not forgetting numerous classic singles, including the joyous Love Train, I Love Music, Livin’ For the Weekend, Darlin’ Darlin’ Baby (Sweet, Tender, Love) and Use Ta Be My Girl. One thing Eddie hadn’t done was released a solo album…until May 2012. As if having Eddie Levert’s debut solo album released isn’t something to shout about from the rooftops, there’s an added bonus. Tom Moulton, the godfather of the remix and inventor of the twelve inch single mixes the album.
For years, there have been rumors that Eddie Levert was releasing his debut solo album. At last, I Still Have It was here. Eddie didn’t disappoint. On ballads like Blown Away, What If and All About Me And You, Eddie rolls back the years. The result is vintage Eddie Levert. His voice is peerless, variously full of hurt and heartbreak, plus love and longing. Then on the uptempo tracks like Last Man Standing, Lonely, Don’t Get Much Better, Don’t Lie To Me and Hate’n, Eddie kicks loose, bringing back his glory days with The O’Jays. In many ways, the album’s title is perfect. Indeed, It’s a statement of fact, I Still Have It Eddie Levert is saying. I can’t and won’t argue with that. Class is permanent, form is temporary. I Still Have It is well worth the wait and found Eddie Levert rolling back the years.
EDDIE LEVERT-I STILL HAVE IT.
MATHIAS STUBO-MATHIAS STUBO.
Back in June 2012, Mathias Stubo, one of the rising stars of the Norwegian music scene released his sophomore album Mathias Stubo. Like his critically acclaimed debut album 1979, Mathias Stubo, was no ordinary album. Instead, it’s an ambitious and innovative twenty track genre-sprawling, fusion of musical styles and influences. There’s everything from funk, soul, hip hop, post-disco and Afro-funk on Mathias Stubo’s twenty-tracks. Having set the bar so high with his debut 1979, was Mathias Stubo just as ambitious and innovative?
While second albums can be notoriously hard for any artist, this wasn’t the case for the twenty year old Mathias Stubo. His sophomore album Mathias Stubo saw him pick up where he left off on 1979. The music has the same quality and consistency, with one compelling and intriguing quality slice of music following on the heels of the previous one. It’s like Mathias Stubo has taken all the genres of music that has influenced and moved him during his life, using them to create an eclectic palette of music. From broken beat, jazz, soul and funk, to Nu-Jazz, dub, house and post-disco, it’s all here, mixed up and used by Mathias to create the twenty tracks on Mathias Stubo. Truly, it’s a melting pot of musical genres, sounds and textures. Although only twenty years old, Mathias Stubo has created a mature, ambitious and innovative album, one that contains some wonderful music, music that’s both compelling and intriguing. From ambient, atmospheric soundscapes, to frantic, frenzied, dramatic tracks with secrets and subtleties awaiting discovery, while dance tracks fusing post-disco and house are tinged with jazzy horns and floaty synths. All this, and much, much more is awaiting discovery on Mathias Stubo. It’s an album, where the more you listen to it, the more its subtleties and secrets reveal itself. That’s what makes Mathias Stubo such an ambitious, compelling and intriguing album, and is a worthy successor to Mathias’ debut album, 1979.
MATHIAS STUBO-MATHIAS STUBO.
VISIONEERS-HIPOLOGY.
After a long wait of six year since the release of Dirty Old Hip Hop, Marc Mac under the guise of Visioneers, released the follow-up Hipology, a double-album due in June 2012 on BBE Music. During the intervening six years, Marc hdsn’t been resting on his laurels. Far from it. Indeed, Marc has been one of the hardest working men in music, working under a variety of aliases and guises. This has seen him working as one half of 4Hero, Nu Era and Natures Plan. Then there’s Marc’s work as a producer. He’s previously producing Terry Callier, Jill Scott, Roy Ayers and Phonte. Although his career started back in the late eighties, the project that’s kept Marc busy recently, is the much anticipated Hipology. On Hipology, Marc brings in a number of guests and featured musicians. They’ve collaborated with him in making the album’s fourteen tracks. Each of them helped Marc make Disc one of Hipology an album that’s not just funky and soulful, but chock full of breaks, beats and samples a plenty.
Hipology is just one of these albums that once you’ve heard it once, you constantly play and play. Quickly, its subtleties and charms get under your skin, weaving their way into your soul. It reminds you just why you love music, especially music as good as this. From the opening bars of Dial In (Intro), until the closing notes of Whatever Happened To Peace, Hipology is a musical adventure through a fusion of genres. This ranges from hip-hop, through funk, soul and R&B, taking in breakbeats, Blaxploitation and jazz. So good is this musical adventure, that once it’s over, you want to relive it and all its glories. With each listen, more of Hipology’s subtleties, charms and secrets reveal itself. This complex multilayered symphony has many subtleties, charms and secrets awaiting discovery. This glorious fusion of musical genres comes courtesy of Marc Mac. Then after you’ve discovered the delights of Hipology, you’ve got the mix-tape to enjoy. You sit down, settle back and enjoy losing yourself in the delights of the mix-top Visioneers’ style. So, given the quality of music on Hipology, I’d say it’s been well worth waiting six years for,
VISIONEERS-HIPOLOGY.
THE BEST NEW ALBUMS OF 2012-PART 3.
THE BEST NEW ALBUMS OF 2012-PART 3.
By now, we’re at the third part in The Best New Albums of 2012. The five albums I’ve chosen cover the period between July and September 2012. This includes albums from labels based in Japan, Belgium and the UK. Each of these labels art independent labels, who are dedicated to discovering new, innovative artists, including the next five.
SAGE MONK-HEARTACHE ALLEGORY.
When Boddhi Satva’s record label Offering Recordings released Sage Monk’s album Heartache Allegory in July 2012, the album was available as a free download. This was an innovative approach to the constantly changing music industry, where music is consumed in very different ways. While this was a bonus for music lovers, there’s the argument that by giving music away free, you cheapen the music. However, that wasn’t the case with Sage Monk’s album Heartache Allegory. Here was a beautiful, moving and spiritual album.
Sage Monk was a guest artist on Boddhi Satva’s brilliant Invocation, featuring on the beautiful and heartfelt Stop Crying, which closed Invocation. This set me on a journey to find out more about Sage Monk’s career so far. All he’d released was an E.P. Baram Bakie in 2009, plus two singles in March 2012, Lambs of Summerian Shepherds and Mbesto Ti Abuntu. Then in July 2012, Heartache Allegory was released.
Heartache Allegory is a compelling musical journey. On this musical journey, Sage is joined by hugely talented artists of the stature of C.Robert Walker, Leslie Kisumuna, Quetzal Guerrero, Mizzy, Ade Alafia and Amalia. Together, they create eleven innovative tracks, tracks that straddle musical genres and influences. There’s everything from African Roots, house music, Nu Soul, jazz and hip hop. Four of the tracks are just short snapshots of music, posing questions. Sometimes, Sage Monk doesn’t provide answers, leaving you hanging, wondering and thinking. These tracks provoke thought. Other tracks vary from heartfelt, impassioned and beautiful tracks, through to an innovative and contemporary sound. The vocals are key to the success and sound of Heartache Allegory. Indeed, the music on Heartache Allegory is music that’s from Sage Monk’s heart, music that’s for the heart and soul. and music that’s not only uplifting and inspirational, but extremely emotive and beautiful.
SAGE MONK-HEARTACHE ALLEGORY.
JOE MCALINDEN-BLEACHED HIGHLIGHTS.
Joe McAlinden is something of a veteran of the Scottish music scene. He was a member of Superstar, who signed to Alan McGhee’s Creation Records in 1992. After releasing their debut album Greatest Hits Volume One in 1992, Superstar released six further albums. Their final album was Phat Dat, released in 2000 on the Camp Fabulous label. During his time with Superstar, and post-Superstar, Joe has been played and collaborating with everyone from the BMX Bandits, Teenage Fanclub, Big Star and Edwyn Collins. Indeed, Edwyn Collins would play an important role in Joe’s debut solo album Bleached Highlights.
Most of the time Joe McAlinden writes and records in his home studio in Argyll. This is where work began on his debut solo album Bleached Highlights. Having written the ten tracks that became Bleached Highlights, Joe had to head south. He left behind the beauty of Argyll heading to London to work with another veteran of Scottish music Edwyn Collins, who with Sebastian Lewsley, produced Bleached Highlights.
Although Bleached Highlights is Joe McAlinden’s debut solo album, it doesn’t sound like it. No wonder, he’s a twenty-year musical veteran. Bleached Highlights is crammed full of perfect three-minute pop songs, which benefit from a plentiful supply of poppy hooks. They’re delivered by Joe with emotion, passion, hope, joy and vulnerability. He breathes life and meaning into the ten tracks, as he demonstrates his twin talents of songwriter and singer. Bleached Highlights is a compelling, melodic and beautiful album. I’m sure in years to come, Bleached Highlights will be recognized for what it is, a minor Scottish pop classic. It’s an introduction to one of Scotland’s best kept musical secrets, Joe McAlinden as he embarks on his solo career. Hopefully, Bleached Highlights will be the first of many albums Joe McAlinden releases in his pursuit of pop perfection.
JOE MCALINDEN-BLEACHED HIGHLIGHTS.
SATOSHI FUMI-COLOURS.
The genesis of Satoshi Fumi’s musical career was when he discovered house music in the mid-nineties. It was the house music coming out of Detroit, Chicago and New York that first interested Satoshi. Having discovered dance music, Satoshi embarked upon a life long love of dance music, which lead to a career as a DJ and producer. He started collecting synthesizers and building a home studio. From there, he began making his own music, experimenting with sounds a variety of musical genres. Over time, Satoshi developed his own unique and unmistakable sound, fusing various genres, from techno, Acid House, click, tech house and deep house. Since then, Satoshi Fumi hs become a prolific producer, releasing his debut album Sweet Sensation in 2008. Now four years later, Satoshi Fumi will soon be releasing his second album Colours on pioneering Japanese label Fountain Music in July 2012.
Although there’s been a gap of four years between Satoshi Fumi’s debut album Sweet Sensation and the followup Colours, it’s been well worth the wait. The eleven tracks prove just how imaginative, inventive and innovative a producer Satoshi Fumi truly is. On Colours, Satoshi journeys through a variety of musical genres, including Acid House, ambient music and deep house, before visiting jazzy house tech house and techno. It’s a compelling musical journey, with each track blessed with its own unique sound. This ranges from bold and dramatic, moody and broody, right through light and melodic and even encompassing wistful, melancholy and beautiful. That’s how wide the range of Colours in Satoshi Fumi’s palette is. Satoshi uses his palette well, creating an accomplished musical canvas, where layers of sounds are merged majestically.
SATOSHI FUMI-COLOURS.
IDRISSA SISSOKO-LOPILOPOLO.
During Boddhi Satva’s travels as A&R man for Offering Recordings, one of his latest finds was Idrissa Sissoko in Mali. Having come across Idrissa Sissoko purely by chance, Idrissa played Boddhi just a few songs. Instantly, Boddhi realized just how talented Idrissa Sissoko is, and before the sun had set, Idrissa had signed his first recording contract. Since then, Idrissa Sissoko has recorded his debut album Lopilopilo, which was released in September 2012 by Offering Recordings.
Idrissa Sissoko is a singer and poet, who was born in Kaye, Mali. His musical style has been influenced by the Griot bards. Griot bards much more that master storytellers, they’re hailed as historians, poets and musicians. Griot bards combine wit and satire with their knowledge of politics and history. This tradition in Mali stretches back to the fourteenth century, and can be found in other parts of West Africa. However, when Idrissa was younger, he left Mali, and headed to another part of Africa, Libya, in Northern Africa.
When Idrissa Sissoko arrived in Libya, it was to troubled times.After a few years, Idrissa headed home to Mali. It was lucky he decided to do so, because in Mali he met the man who’d give him his first record contract…Boddhi Satva.
Boddhi Satva’s chance encounter with Idrissa Sissoko was a fortuitous one. If it hadn’t taken place, then we’d never had the chance to experience Idrissa Sissoko’s music. The music on Lopilopilo is best described as emotive, powerful, passionate and intense, but also, moving and soulful. It’s music that’s for the heart and the soul, music that’s cathartic, music that soothes and cleanses the soul. All these are similar qualities to the music on Boddhi Satva’s invocation and on Sage Monk’s Heartache Allegory. You can add Idrissa Sissoko’s debut album Lopilopilo to this list. This is a new type of soul music, what people are referring to as Ancestral Soul. It’s a new genre of soul music, one for the 21st Century, music where two cultures are united through music. Although Lopilopilo is only six tracks long, plus three remixes, it’s an incredibly intense, powerful and moving musical journey, that once you’ve experienced it, will want to relive and experience again.
THE SOULJAZZ ORCHESTRA-SOLIDARITY.
When The Souljazz Orchestra released their acoustic album Rising Sun in 2101, it was to widespread critical acclaim. Now two years later, The Souljazz Orchestra are celebrated their tenth anniversary with the release of their fifth album Solidarity, which was released by Strut in September 2012. During the last ten years, The Souljazz Orchestra have come a long way, with their compelling fusion of musical influences and genres. For their fifth album, The Souljazz Orchestra have changed direction from the acoustic style of Rising Sun to an electric, vocal driven style. Joining The Souljazz Orchestra are a number of guest artists, plus a fascinating and eclectic selection of instruments. They embark on a journey through African, Latin and Caribbean music, via detours into jazz and soul. On that journey, The Souljazz Orchestra sing in English, Spanish, Portugese and Wolof.
For Solidarity, The Souljazz Orchestra dust off an eclectic selection of instruments. Many of these are instruments are long lost, sometimes unloved junk shop finds. A transistor organ, cheap guitars, reverb and echo units. Even an electric piano rescued from a dumpster and an old eight-track Tascam tape machine, that was bought at a yard sale, on which Solidarity was recorded. This gives Solidarity a really raw lo-fi, analogue, soulful sound.
On Solidarity, The Souljazz Orchestra take you on a musical journey through musical genres. There’s everything from Angolan semba, Afrobeat, biguine jazz, Brazilian samba, Carribean, funk, jazz, reggae and Wolof on Solidarity. You hear some glorious rhythms, percussive delights and impassioned, heartfelt vocals. This music is about togetherness, standing up against injustice, discrimination and persecution. What The Souljazz Orchestra want, is to make the world a better place.
That Solidarity was recorded on an old eight-track Tascam tape deck, gives the music a really raw lo-fi, analogue sound. That’s much of Solidarity’s charm. This isn’t a slick, polished production. Instead, it’s music that’s soulful, music that for the heart, the soul and the feet. Many of the tracks are irresistible. You want to submit to their delights and lose yourself in its rhythms. Similarly, you realize that Solidarity is music with a message, music for a new and constantly changing world. Once you’ve embarked upon The Souljazz Orchestra’s musical adventure that is Solidarity, you’ll revel in its glorious, fusion of musical styles and influences.
THE SOULJAZZ ORCHESTRA-SOLIDARITY.
THE BEST NEW ALBUMS OF 2012-PART 4.
THE BEST NEW ALBUMS OF 2012-PART 4.
So, we get to the fourth and final installment of The Best New Albums of 2012. These five albums cover the three months period between October and December 2012. Like the first three installments, there’s an eclectic selection of albums. Here’s my final five of 2012.
BIG BOY BLOATER AND THE LIMITS-THE WORLD EXPLAINED.
Some blues singers are just born to sing the blues. It’s almost as they’re predestined to follow in the well trodden path of bluesmen like Muddy Waters and Jimmy Reed. There’s something about their world weary voices, the experiences they share, and their storytelling skills. With their weary voices, tinged with sadness and regret and hurt and pain in equal measure. One modern bluesman who has all that and much more is Big Boy Bloater. His voice has a world weary, whiskey and cigarettes soaked, lived in sound. Too many late nights and disappointments have colored this veteran of modern blues scene voice, giving it the sound that people have flocked to see for over twenty years. Soon, Big Boy Bloater and The Limits released their second album The World Explained in October 2012. This is the followup to 2011s Big Boy Bloater and The Limits. Now Big Boy Bloater and The Limits are back, with The World Explained. It’s an exploration of “life, love and loss.” These song are a very personal exploration of relationships and ambition along with hopes and dreams.
Quite simply Big Boy Bloater and The Limits’ The World Explained was the best blues album of 2012. No ifs, no buts. It’s no wonder Big Boy Bloater is referred to as the elder statesman of the British blues scene. On The World Explained, one great track follows hard on the heels of the previous one. Each track have two things in common, a great story behind the song and the quality of each song. Big Boy Bloater is like a painter on The World Explained. He draws upon a wide and varied palette of musical colors. Using his memories and experiences, Big Boy Bloater has written ten songs with equally strong musical narratives. So vivid are the pictures Big Boy Bloater paints, that you can imagine the pictures unfolding before your eyes. Tales tinged with paranoia, tragicomedy and pathos. You’re introduced to a cast of colorful characters and emotions, including anger and frustration, pain and hurt and sheer joy. This is vintage blues.
Since his previous album, Big Bloater has matured even further as a singer, songwriter and storyteller. Similar, his guitar playing is breathtaking and peerless. You’ll go a long way before you hear a better guitarist than Big Boy Bloater. That’s why he’s so in-demand as a session musician. Hopefully, pretty soon, his days as a session musician will soon be over. Instead. he’ll be touring the world wooing audiences with his own unique brand of blues and swamp soul, like you’ll find on The World Explained, which is the best blues album of 2012, by far.
BIG BOY BLOATER AND THE LIMITS-THE WORLD EXPLAINED.
DJ VADIM-DON’T BE SCARED.
Often, the word innovator is used too often, but in the case of Saint Petersburg born DJ Vadim, innovator is a fitting description of this veteran DJ and producer. Over the past twenty years, DJ Vadim has DJ-ed in sixty-nine countries, played over 2,500 times and still found time to found his own record label and record nine solo albums. That number rose to ten, when DJ Vadim releases Don’t Be Scared on BBE Music, in October 2012.
This is DJ Vadim’s fourth release for BBE Music, following 2009s U Can’t Lurn Imaginashun. Like U Can’t Lurn Imaginashun, Don’t Be Scared is a fusion of styles, influences and ideas, with DJ Vadim constantly pushing the musical boundaries and reinventing his music. One thing DJ Vadim will never be accused of, is being predictable. While other artists have a “sound” and “style,” not DJ Vadim. His only rule is there are no rules. Everything and anything is possible. Although he describes his music as hip hop, DJ Vadim adds to his musical melting pot elements of electronica, funk, reggae, soul, trip hop, Afro Beat and boogie. So when you drop the needle on a DJ Vadim album, you’re about to embark on a roller-coaster journey where he reveals the contents of his musical melting pot. That’s why DJ Vadim is an innovator and why he was nominated for a Grammy Award in 2002, and is known as the John Coltrane of hip hop. With this unrivaled music pedigree, DJ Vadim’s Don’t Be Scared was a roller coaster journey across genres.
Don’t Be Scared didn’t disappoint. It’s a roller-coaster musical adventure, where DJ Vadim, forever the innovator, and forever reinventing his music, constantly crosses and combines musical genres. There’s everything from Acid House, Afro Beat, ambient, drum and bass, dub, hip hop, Latin, reggae, techno and trip hop within the twelve tracks on Don’t Be Scared, which is the proverbial musical melting pot. DJ Vadim takes all these influences and mixes them up, with a little help from his musical collaborators. Each artist plays their part in the sound and success of Don’t Be Scared, adding their own inimitable vocals. When these vocals are combined with DJ Vadim’s innovative, imaginative fusion of musical genres and influences, the result is a hip-hop album for the 21st century. Although DJ Vadim is almost a veteran of modern dance music, yet again, managed to reinvent his music. In the process, DJ Vadim has created another album of cutting-edge, captivating and compelling music. Don’t Be Scared to discover one of the best hip hop albums of 2012.
DJ VADIM-DON’T BE SCARED.
HOT 8 BRASS BAND-THE LIFE AND TIMES OF.
New Orleans has always been a city with a rich musical heritage, whether it be Dixieland, jazz, R&B, rock ‘n’ roll, funk, Afro Cuban or the city’s brass bands. Back in New Orleans in 1995, Bennie Pete, Jerome Jones and Harry Cook decided to merge two existing bands into a band steeped in the city’s musical traditions, but with a twist. A merger of the Looney Tunes Brass Band and the High Steppers Brass Band resulted in the Hot 8 Brass Band. During the next eleven years, they’ve continued to fuse the sound of New Orleans brass bands,’ hip hop, funk and jazz, while the lives of the Hot 8 Brass Band were touched by tragedy.
Indeed, tragedy repeatedly revisited the members of the Hot 8 Brass Band. Three members of the Hot 8 Brass Band died violent deaths between 1996 and 2006. During this tragedy and turmoil, the Hot 8 Brass Band decided to independently release their debut album Rock With the Hot 8 in 2005. Sadly, it never found the wider audience it deserved. Instead, with a lack of publicity, and no record label to tell the world about their music, the Hot 8 Brass Band were back where they started. They never gave up though.
Their luck changed in 2007, when they signed to the British label Tru Thoughts. They rereleased their 2005 debut album Rock With the Hot 8. Then in November 2012 the Hot 8 Brass Band’s sophomore album The Life and Times Of.
The Hot 8 Brass Band’s sophomore album The Life and Times Of is a genre-sprawling album, which showcases New Orleans’ rich musical heritage and much more. There’s everything from Dixieland, jazz, R&B, rock ‘n’ roll, funk, Afro Cuban to the unique sound of New Orleans’ brass bands. Add to that hip hop and Latin music and the result is an album chock full of musical influences and genres. This includes six new songs penned by the Hot 8 Brass Band plus and a skit entitled Skit. Then there are cover versions of Basement Jaxx’s Bingo Bango and The Specials’ Ghost Town, which breath new life into the originals. These nine tracks, are an emotive and often, joyful roller coaster journey through musical genres. During that journey, the Hot 8 Brass Band showcase their considerable skills and musical versatility. It’s also an album that tells the story of The Life and Times Of the Hot 8 Brass Band.
HOT 8 BRASS BAND-THE LIFE AND TIMES OF.
MIND OVER MIDI-MONOLOG.
Usually, when I review albums they’re released in their thousand. Not when I reviewed Mind Over Midi’s Monolog, released in November 2012, on the Glasgow-based Diametric label. Only 200 copies of Monolog were released. This is the norm for Diametric. Their releases are limited to 300 copies of an album on CD or lovely vinyl. I’d call Diametric a boutique label, and I admire their philosophy. Diametric are certainly not “dedicated followers of fashion.” Instead, Diametric has a “love and passion for electronic music” and realize that electronic music is an “artform.” Like myself, Diametric state on their website that: “trends and hypes are not of interest.” To me, this is admirable. For too many labels, they look to latch onto musical trends and tastes, like a surfer would catch a wave. In doing so, these labels miss out on so many talented artists, whose music deserves to be heard by a wider audience. This is the case with Mind Over Midi.
Norwegian Helge Tommervag has been immersed in electronic music since the early eighties. His career started as a member of the synth-pop group ToC, before launching a solo career with Mind Over Midi. Among Mind Over Midi’s early releases were 1994s Trancesurfer and 1995s Mindworks. Since then, Helge has continued to develop Mind Over Midi’s unique sound. Ambient and minimalist are just two words that succinctly describe the music Mind Over Midi have continued to release.
Mind Over Midi’s ninth album Monolog sees Helge Tommervag further refine his trademark brand of ambient, minimalist music. He’s been practicing, perfecting and refining this sound for nearly thirty-years. So it’s no wonder he’s one of the most practiced, practitioners of the artform of ambient music. Monolog features thirteen tracks of lo-fi ambient music. They’re guaranteed to change your mood and make you think. Moody, broody and pensive, plus dramatic, melodramatic, melancholy and beautiful are just some of the words that describe Monolog. It’s an album that variously, washes over you, embraces you, and forces you to think, as it paints pictures in your mind’s eye. Monolog is best described as the soundtrack to a film that’s yet to be made. Instead, you supply the pictures, while Mind Over Midi supply the music.
Given the resurgence in popularity in ambient music, Monolog has been released with perfect timing. Ambient music is back, back in a big way. After falling out of flavor for several years, there’s been a resurgence in interest in ambient music. So, for anyone looking for some laid-back, late-night music, then Mind Over Midi’s Monolog is perfect. Monolog was one of the best ambient releases of 2012. Indeed, Monolog sees Mind Over Midi joining the ranks of European ambient royalty, where they’re surely to stay.
MIND OVER MIDI-MONOLOG.
FANGA AND MAALEM ABDALLAH GUINEA-FANGNAWA EXPERIENCE.
My final choice from my roundup of the best albums from 2012, is what proved to be an exciting and innovative collaboration from between two giants of the African music scene. This was Fanga and Maalem Abdallah Guinea’s Fangnawa Experience which was released in November 2012 by Strut Records. For anyone with even a passing interest in African music, Fanga’s collaboration with Maalem Abdallah Guinea was a tantalizing and mouthwatering prospect. On one hand you’ve the French-Afro eight-piece collective Fanga, who’ve been fusing Afrobeat, Moroccan Gnawa music and funk for fifteen-years and on the other hand, Abdallah Guinea, a Gnawan maalem. It’s a coming together of musical styles and cultures. Although neither Fange nor Abdallah Guinea speak the same music, they’re united by something that transcends cultures, classes, boundaries and languages..music.
Fangnawa Experience was more than a collaboration between musicians, it was a collaboration between two continents. Fanga are based in France and among the best practitioners of Afrobeat, while Maalem Abdallah Guinea is a Moroccan gnawa master. They were united through music. The result wasn’t just a reworking of six of Fanga’s classic tracks, but a reinvention of them. These six tracks are transformed, with even more emotion, energy, drama and passion injected into them. From the opening bars of Noble Tree, right through to the closing notes of Wouarri, you’re taken on compelling, uplifting and joyous musical journey. Musical influences and genres melt into one. Everything from Afrobeat, gnawa music, funk, soul, jazz and psychedelic influences merge into one. It’s a glorious and totally irresistible fusion of styles and influences. With its unique and hypnotic sound, resistance to Fangnawa Experience is impossible. Best just to succumb to Fangnawa Experience’s rhythmic and percussive delights and enjoy this majestic musical journey through musical genres.
FANGA AND MAALEM ABDALLAH GUINEA-FANGNAWA EXPERIENCE.
Choosing my best albums of 2012 wasn’t easy. There was so much great music released during the year. Interestingly, nearly every album on my list was released by independent labels. It’s these independent labels, including BBE Music, Strut Records, Offering Recordings that are looking hardest for new and talented artists. These labels spend their time scouting the world for talented artists. They’ve succeeded in doing so. Indeed the labels I’ve mentioned during this four part review of 2012s new releases, deserved credit for unearthing so many talented artists. Another thing that’s interesting is how music is delivered and consumed.
During the last year, I’ve come across albums that were made available as free downloads by labels, seen artists release albums independently and come across albums released in small, limited runs. This shows how labels and artists are constantly seeking to reinvent themselves and keep up with an industry that’s constantly evolving. One thing that hasn’t changed is just how eclectic music has become.
It seems every month, new musical scenes and genres are taking shape. Every month music changes, with different styles of music becoming popular and fashionable. Innovative, brave and bold music is released. This is real music, not the commercial pap of so called television talent shows. These shows are reminiscent of the musical wild west, with everyone out to make a quick killing. As The O’Jays sang watch out for “those Backstabbers.” For anyone looking for music that’s meaningful, has depth and will stand the test of time, they’ll need to dig deeper. This involved the real and new music industry, where independent labels are helping to shape and define tastes. That’s where some of the best music is released, including most of The Best New Albums Of 2012. With 2013 just a day away, I’m intrigued to see where music is heading. Let’s enjoy the journey and do this again next year.
THE RITCHIE FAMILY-ARABIAN NIGHTS.
THE RITCHIE FAMILY-ARABIAN NIGHTS.
When The Ritchie Family released their debut album in 1975, the group hadn’t yet settled on a lineup. So, the legendary Philadelphia backing vocals the Sweethearts of Sigma had taken charge of vocal duties. Now a year later, for their 1976 sophomore album Arabian Nights, The Ritchie Family had three new vocalists, including Gwen Oliver and Cassandra Wooten, who had been members of Honey and The Bees. Joining them were Cheryl Jacks. With this new lineup, the first of five different lineups of The Ritchie Family. Now work could begin on their sophomore album Arabian Nights, which was released in 1976,
Many of the same songwriters who worked onThe Ritchie Family’s debut album Brazil, would write tracks for Arabian Nights. The French songwriting and production team of Henri Belolo and Jacques Morali played their part in the three songs on SIde One of Arabian Nights. They cowrote Baby I’m On Fire and cowrote The Best Disco In Town with Richie Rome and Phil Hurtt. The songwriting team of Henri Belolo, Jacques Morali and Richie Rome cowrote Romantic Love with Peter Whitehead. Side Two of Arabian Nights saw The Ritchie Family draw inspiration from Gloria Gaynor’s 1975 album Never Say Goodbye, with the three songs transformed into a disco medley. This included Jimmy Kennedy and Nat Simon’s Istanbul (Not Constantinople), Maurice Jarre’s Lawrence of Arabia (More Than Yesterday, Less Than Tomorrow) and Albert B. Ketelbey’s In A Persian Market (Show Me How You Dance). These six songs became Arabian Nights, which was recorded in Philadelphia at Joe Tarsia’s Sigma Sound Studios.
Joining the new lineup of The Ritchie Family at Sigma Sound Studios, were many of the musicians who played on Brazil. Accompanying The Ritchie Family were a band that included the Baker, Harris, Young rhythm section, assisted by bassist Sugar Bear Foreman, drummer Charles Collins and guitarists Bobby “Electronic” Eli and Craig Snyder. Richie Rome played electric piano, congas came courtesy of Larry Washington, percussion from Bobby D’Amico, Vince Montana Jr, supplied vibes and Don Renaldo provided the strings and horns. Jacques Morali and Richie Rome produced Arabian Nights, which was released in 1976.
On the release of Arabian Nights in 1976, the album reached number thirty in the US Billboard 200 and number twenty-three in the US R&B Charts. The Best Disco In Town was released as a single, and proved to be a floor-filler, quickly becoming a favorite of dancers and becoming a disco classic. However, what does Arabian Nights sound like? In my review of Brazil i said that the Sweethearts of Sigma would’ve been the perfect vocalists for The Ritchie Family? Were the new lineup as good as the Sweethearts of Sigma?
Opening Arabian Nights is the single The Best Disco In Town, which joyously explodes into life. The Baker, Harris, Young rhythm section, growling horns, Larry Washington’s congas and Vince Montana Jr’s vibes combine to create a pulsating disco beat. Meanwhile strings dance appreciatively. Then the three new vocalists Gwen Oliver, Cassandra Wooten and Cheryl Jacks make their Ritchie Family debut. They inject energy, enthusiasm and joy. Their vocals are quick, sweet and sometimes sassy. Male backing vocalists accompany them, complimenting their harmonies. Norman Harris and Bobby “Electronic” Eli add their trademark guitar sound, as layers of strings, blazing horns and the rhythm section provide a pounding disco beat. Seamlessly, The Ritchie Family flit seamlessly switch from the original track, to bursts of recent disco tracks, demonstrating the quality and talent of the band. They never miss a beat over this six-minute, hook-laden, pulsating, disco Magnus Opus.
There’s no let up in the tempo or the pounding disco beat as Baby I’m On Fire opens. A thunderous Baker, Harris, Young rhythm section, furious cascading strings, percussion, funky guitars and flourishes of keyboards signal the arrival of breathy, punchy harmonies. Above the arrangement a flute drifts in, while a powerhouse of a rhythm section drive the arrangement. It heads to a dramatic crescendo, helped along by frenzied, sensual harmonies. The arrangement is a mass of swirling strings, rasping horns, percussion and woodwind while the rhythm section seem determined to take the arrangement to even greater heights. When the breakdown arrives, it’s like a relief, giving the rhythm section time to recharge their batteries. Percussion and Vince Montana Jr’s vibes take charge. Then The Ritchie Family and the band take the arrangement to another dramatic crescendo. By then, you’re spent and exhausted by the frenzied, dramatic music that’s just unfolded.
Side One of Arabian Nights closes with Romantic Love. Swathes of sweeping, swirling strings are at the heart of the arrangement. The rhythm section provide the heartbeat as the arrangement marches along, veering between dramatic to grandiose. The Ritchie Family and male backing vocalists deliver heartfelt, soaring harmonies. Funky guitars, flourishes of piano, cascading strings and rasping horns provide a backdrop where elements of Philly Soul, funk, disco and classical music combine. Here, the vocals veer between something from a Broadway show to punchy and soulful. It’s an impressive and effective combination, dramatic, grandiose and at times overblown, but in a good way, one that typifies disco and its era.
Side Two of Arabian Nights is a three song medley, starting with Jimmy Kennedy and Nat Simon’s Istanbul (Not Constantinople). Straight away, you’re taken from Philly to Turkey, albeit with twist and a disco beat. Strings urgently sweep, providing reminders of hot, dusty nights under the Turkish sun. Meanwhile, Baker, Harris, Young provide the pounding disco beat. They’re joined by percussion, congas, vibes and strings that provide an exotic backdrop for the harmonies. They’re delivered with flamboyance, panache and a swing. There’s everything from Arabian to Russian influences in the arrangement. Add to the melting pot disco and jazz. Give it a stir and this is a tasty dish, totally irresistible and infectiously catchy.
Maurice Jarre, father of Jean Michel, penned Lawrence of Arabia (More Than Yesterday, Less Than Tomorrow). There’s no let up in the tempo. With whoops, an exotic backdrop unfolds. Eastern European and Arabian strings join the rhythm section, bursts of braying horns and a myriad of percussion combine. Punchy, soulful and impassioned harmonies soar, while jazzy horns bray as the arrangement mixes elements of disco, vintage jazz and rounds this of with an exotic twist. It’s a pulsating, complex, multilayered combination of influences and musical genres. With each listen, further subtleties and nuances reveal themselves, drawing you in and compelling you. The result is a captivating and exotic slice of music.
Closing Arabian Nights is A Persian Market (Show Me How You Dance). The strings sounds that open the track, briefly reminds me of that famous scene from Jaws. That similarity doesn’t last long. Soon the harmonies reminds you of Russian Cossack dancers. Then disco and funk meet Eastern sounds and influences. With the Baker, Harris, Young rhythm section providing a thunderous beat, strings sweep and swirl dramatically. Funky guitars and whooping, punchy and joyous harmonies add enthusiasm while the Eastern influence adds to the sense of urgency. You feel The Ritchie Family are determined to do this. They’ve a sense of purpose and do indeed close Arabian Nights on an impressive and dramatic high.
Arabian Nights, The Ritchie Family’s sophomore album saw Richie Rome and Jacques Morali continue to innovate, from the opening track. On The Best Disco In Town, The Ritchie Family incorporate some of the biggest, recent disco hits. Seamlessly, the band which included many of The Salsoul Orchestra, switched from the original track, adding bursts of tracks like I Love Music, TSOP and I Need Love. This they do, peerlessly, never once missing a beat. The three new vocalists Gwen Oliver, Cassandra Wooten and Cheryl Jacks play their part. It’s as if they’re spurred on by the band’s performance and produce one of their best performances on Arabian Nights. For the rest of Side One, it was American disco all the way for The Ritchie Family. Together, the all-star Philly band and the three new vocalists, are a formidable combination. Then on Side Two of Arabian Nights, it’s all change.
On Side Two of Arabian Nights, The Ritchie Family drew inspiration from Gloria Gaynor’s Never Say Goodbye. The three songs on Side Two were an Arabian-tinged medley. This allowed the band and The Ritchie Family to demonstrate their versatility. Like Side One, neither the band nor The Ritchie Family miss a beat. Disco meets exotic. There’s everything from disco, jazz, funk and classical music added to the Arabian sounds. Again, the new vocalists rise to the challenge, producing some impressive performances, which ranged from soulful, sassy and sensuous, right through to dramatic and urgent. However, The Ritchie Family’s new members had a hard act to follow.
Gwen Oliver, Cassandra Wooten and Cheryl Jacks were the first lineup of The Ritchie Family. On The Ritchie Family’s debut album Brazil, Philly’s legendary backing vocalists the Sweethearts of Sigma took charge of the vocals. Given they were the best backing vocalists in music during that period, it’s no surprise that new members came up short. Good as Gwen Oliver, Cassandra Wooten and Cheryl Jacks’ vocals were, and they were very good, they just weren’t as good as the Sweethearts of Sigma. The Sweethearts of Sigma had set the bar high and no-one would come close. Having said that, The Ritchie Family’s sophomore album Arabian Nights is an innovative, hook-laden and pulsating disco album, that anyone who loves music should hear. It’ll only take one listen, and you’ll be smitten, swept away and captivated by Arabian Nights’ considerable charms and delights. Indeed, everyone should enjoy some enjoy a few Arabian Nights with The Ritchie Family for company. Standout Tracks: The Best Disco In Town, Baby I’m On Fire, Romantic Love and A Persian Market (Show Me How You Dance).
THE RITCHIE FAMILY-ARABIAN NIGHTS.
INTRUDERS-SAVE THE CHILDREN.
INTRUDERS-SAVE THE CHILDREN.
Although the Intruders weren’t the most successful group Gamble and Huff discovered, they played an important part in Philadelphia International Records’ history. When Gamble and Huff were considering leaving the Cameo Parkway label to form their own label, it was the Intruders that Gamble and Huff chose to risk their money and futures. Once Gamble and Huff left Cameo Parkway, Gamble Records was established, with the Futures their great hope. In 1966, the Intruders released two singles, (We’ll Be) United and Devil WIth An Angel’s Smile, which gave them two minor hit singles. This was the Intruders’ first hit singles since forming in 1961 and started them on a successful musical journey with Gamble and Huff.
Throughout the rest of the sixties, the Intruders enjoyed a series of hit singles, including three top ten US R&B singles, 1967s Together. Then in 1968, the Intruders enjoyed two huge hit singles, Cowboys To Girls, which reached number one in the US R&B Charts and (Love Is Like A) Baseball Game, which reached number four in the US R&B Charts. Building on the success the Intruders were enjoying, were the Three albums they released. 1967s The Intruders Are Together, 1968s Cowboys To Girls and 1970s When We Get Married all charted, with Cowboys To Girls, the most successful. The success Gamble and Huff had enjoyed with the Intruders would prove crucial when they were looking to secure funding for their new label.
Gamble and Huff decided they wanted to form a new label, which would become Philadelphia International Records. So, when CBS were approached about funding Gamble and Huff’s new label, the success they’d enjoyed with the Intruders would prove crucial. An agreement was reached and one of the most important labels in musical history was born… Philadelphia International Records. However, when the Intruders released their fourth album Save The Children in 1973, it wasn’t on Philadelphia International Records, it was on Gamble Records, subsidiary of Philadelphia International Records.
After a three year gap, work began on the Intruders’ fourth album Save The Children. This would the second album featuring new lead singer Bobby Starr, who’d replaced Sam Brown on 1970s When We Get Married. So the lineup of the Intruders that would record Save The Children was Bobby Starr, Eugene “Bird” Daughtry, Phillip “Phil” Terry and Big “Sonny” Edwards.
For Save The Children, eight songs were chosen. This included covers of Gil-Scott Heron’s Save The Children, Paul Simon’s Mother and Child Reunion and Teardrops. Gamble and Huff cowrote I Wanna Know Your Name, To Be Happy Is the Real Thing and Hang On In There. They also cowrote I’ll Always Love My Mama with McFadden and Whitehead. Intruder Phil Terry cowrote Memories Are Here To Stay with T.G. Conway and Theodore Life. These eight tracks became Save The Children, which was recorded at Philly’s Sigma Sound Studios.
Accompanying the Intruders were the classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists Bobby “Electronic” Eli and T.J. Tindall. They were joined by percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo. Lenny Pakula arranged two tracks, Norman Harris one track and Bobby Martin five tracks. Producing Save The Children, were Gamble and Huff.
On the release of Save The Children in 1973, it reached number 133 in the US Billboard 200 and number twelve in the US R&B Charts. Two singles were released from Save The Children. I’ll Always Love My Mama reached number thirty-six in the US Billboard 100 and number six in the US R&B Charts. Over in the UK, it reached number thirty-two. I Wanna Know Your Name then reached number sixty in the US Billboard 200 and number nine in the US R&B Charts. It seemed The Intruders were making steady, but not spectacular process. However, what does the music on Save The Children sound like? That’s what I’ll now tell you.
The title-track Save The Children arranged by Lenny Pakula opens Save The Children. Washes of Hammond organ, piano, Vince Montana Jr’s vibes and the Baker, Harris, Young rhythm section combine slowly with percussion. Then at just the right moment, heartfelt harmonies sweep in. They set the scene for Bobby’s impassioned vocal. He leaves space between notes, which prove effective. Punchy harmonies cut in, while bursts of Earl Young’s drums and wistful horns combine as the arrangement grows in power and drama. Throughout the sing, he Intruders’ soulful strains bring out the power and meaning of the lyrics, bringing beauty and soulfulness to a familiar song.
Like the opening track, the cover of Mother and Child Reunion sees the track reinvented. It’s very different. Searing guitars, rasping horns, keyboards and the Baker, Harris, Young rhythm section combine fusing jazz and Philly Soul. Strings dance, horns growl as harmonies soar in. Bobby’s vocal is tinged with emotion, with elegant harmonies accompanying. Behind him, the arrangement grows in power, surrounding the Intruders. A myriad of horns, strings, thunderous drums and crystalline guitar unite. They don’t overpower the Intruders. Instead it highlights the quality and soulfulness of Bobby’s lead and the harmonies. Although very different from the original, it’s a compelling take on a classic track.
I Wanna Know Your Name penned by Gamble and Huff and arranged by Norman Harris was the second single released from Save The Children. The tempo drops, but beauty and drama are present. You anticipate something special is unfolding. Norman Harris uses swathes of strings, adds his chiming guitar and piano, setting the scene for Bobby’s tender, pleading vocal. A roll of Earl Young’s drums signals harmonies to sweep in and a Thom Bell influenced horn sound. As Bobby’s vocal grows in power, Vince Montana Jr’s vibes, Norman’s guitar and lush strings play an important part in the arrangement. Melancholy horns and heartfelt harmonies prove the finishing touch to what is the best song on Save The Childen so far…by a long way.
To Be Happy Is the Real Thing, another Gamble and Huff song closes Side One of Save The Children. Arranged by Bobby Martin, one of Philadelphia International’s best arrangers. Just a lone piano and layers of moody strings combine before quickly, the arrangement grows in power. Baker, Harris, Young take charge. Norman Harris’ jazzy guitar chimes and Earl Young’s drums pound. Horns growl and a flourish of piano signals Bobby’s thankful, sincere vocal. Harmonies sweep in and horns growl. Meanwhile, strings celebrate the soulful sound of the Intruders. With flamboyant bursts of piano, lush strings and Norman’s thoughtful guitar joining bursts of horns and thunderous drums, this proves to be the perfect backdrop for this joyful, celebratory slice of Philly Soul.
I’ll Aways Love My Mama, the lead single from Save The Children opens Side Two. After a few bars of the arrangement, you hear a sixties influence. The Baker, Harris, Young rhythm, braying horns and keyboards combine to drive the arrangement along. Soaring, sweeping and sometimes, punchy harmonies and Norman Harris’ guitar combine with keyboards, before Bobby’s enters. It’s full of emotion, as he gives thanks and celebrates his mama. Harmonies sweep in. They too, give thanks and celebrate their memories. Meanwhile the arrangement grows in power, taking on a more Philly Sound. Soon, the song becomes a joyful, celebration, giving thanks to mothers everywhere.
Memories Are Here To Stay sees the tempo slow. Just a melancholy piano combines with dramatic bursts of Earl Young’s drums before strings cascade. They provide the scene for Bobby’s vocal. It’s tinged with sadness and heartache. Behind him, harmonies sweep in, matching Bobby for emotion. The drama in the lyrics is reflected by the arrangement. Bursts of thunderous drums, wistful string and the melanchoiy sound of Lenny Pakula’s Hammond organ and piano see to this. It’s almost as if the band realize this is one of Bobby’s most soul-baring vocals, and as if sympathizing with his plight and plea, produce an equally outstanding performance.
Dramatic stabs of piano and Vince Montana Jr’s vibes join Lenny Pakula’s Hammond organ in creating a dramatic, emotive backdrop as Teardrops reveals its vintage sound. It allows the Intruders to showcase their doo-wop background. Layers of lush strings, a metronomic drumbeat and Vince’s vibes provide the backdrop for Bobby’s heartbroken vocal. Later, occasional bursts of braying horns drift in. Tight, tender, soaring doo-wop harmonies match Bobby for emotion every step of the way. It’s the interplay between Bobby’s lead and the harmonies that make this a delicious slice of vintage music.
Hang On In There, the third Gamble and Huff composition closes Save The Children. It’s another track with an upbeat, positive message. Just piano and congas combine before the arrangement bursts into life. Dramatic bursts of the Baker, Harris, Young rhythm section, growling horns and sweeping strings give way to tight, heartfelt harmonies. Vince Montana Jr’s vibes, Norman Harris’ jazzy guitar and lush strings combine as Bobby delivers one of his best vocals. There’s a sincerity and positivity to his voice, which suits the song. Punchy harmonies sweep in, while the arrangement mixes drama, hope and joy. The arrangement screams out made in Philly. Of the four songs on Side Two, this is one of the best and showcases the Intruders’ vocal prowess.
Save The Children saw the Intruders return after a three year gap. The wait had been worthwhile, with Save The Children the best album of their career. It was a mixture of new material and cover versions. Of the cover versions, the Intruders’ soulful reinvention of Gil-Scott Heron’s Save The Children opened the album in style. Mother and Child Reunion was an intriguing take on an old song. Maybe, that was the wrong song for the Intruders. Of the eight songs on Save The Children, it’s the weakest track. Teardrops the third cover version, saw the Intruders revisit their doo wop days, and featured some outstanding vocal interplay. However, it was on the new material that the Intruders flourished.
Of the new songs, the quality shines through. Gamble and Huff’s three compositions showed they were enjoying one of their hottest spells as songwriters. While the sentiment of I’ll Aways Love My Mama, which Gamble and Huff penned with McFadden and Whitehead is admirable, resulting in a quite beautiful song, it maybe wasn’t the best choice for a single. Granted it tugged at heartstrings and paid homage to Kenny Gamble’s mother Ruby, it seemed out of step with musical fashion. Still, it gave the Intruders a hit single. However, maybe other tracks would’ve been more successful. Rather than Save The Children, the celebratory To Be Happy Is the Real Thing or the upbeat, positivity of Hang On In There, would have been better choices. Maybe sentiment got in the way of commercial reality with Save The Children. I Wanna Know Your Name, arranged by Norman Harris, the second single was a much better choice of single.
Overall, Save The Children saw the Intruders return to form after a three year absence. Their fourth album Save The Children had been worth the wait. Given the important part the Intruders had played in the history of Philadelphia International Records, it seems a shame that Save The Children wasn’t released on that label. Instead, Save The Children was released on Gamble Records and remains something of a hidden gems among lovers of Philly Soul. Maybe in 2013, forty years after the release of Save The Children, it’ll be rereleased, allowing a new generation to discover the soulful delights of the Intruders. Standout Tracks: I Wanna Know Your Name, To Be Happy Is the Real Thing, Memories Are Here To Stay and Hang On In There.
INTRUDERS-SAVE THE CHILDREN.
THE TRAMMPS-DISCO INFERNO.
THE TRAMMPS-DISCO INFERNO.
Eight months after The Trammps released Where The Happy People Go in April 1976, they released their third studio album Disco Inferno In December 1976. A year later, The Trammps career was transformed, when the title-track featured on a movie soundtrack. This was a low-budget movie, produced by Robert Stigwood for $2.5 million dollars and featuring John Travolta. It featured music from M.F.S.B, The Bee Gees, Tavares, Yvonne Eliman and The Trammps’ Disco Inferno. Even when Saturday Night Fever was released, little did anyone connected with the project realize its impact. Soon, Saturday Night Fever became one of the biggest films of the seventies. At the box office, Saturday Night Fever grossed $282.4 million. As for Saturday Night Fever’s soundtrack it was certified platinum fifteen times, selling over fifteen-million copies and staying at number one in the US Billboard Charts for twenty-four weeks between January and July 1978. For every artist or group who featured on the Saturday Night Fever, this was a career game-changer. Disco Inferno became synonymous with The Trammps. However, when The Trammps released their third album in December 1976, it was a very different story.
The Trammps had signed to Atlantic Records in 1975 and released their sophomore album Where The Happy People Go in April 1976. It had reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. Now The Trammps had to build on the momentum of Where The Happy People Go. For their third album, Disco Inferno lead Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade got to work with a few of their Philly friends.
For what became Disco Inferno, Earl Young of The Trammps two musical collaborators Norman Harris and Ron Baker would contribute three tracks. Norman cowrote Body Contact Contract with Bruce Gray and Jimmy Hendricks and Starvin’ with Earl Young and Ron Tyson. Ron Baker wrote I Think I’ve Been Living (On the Dark SIde of the Moon). Leroy Green and Ron “Have Mercy” Kersey cowrote the title-track Disco Inferno. Little did they know that Disco Inferno would become a legendary disco anthem. T.G. Conway, Allan Felder and Ron Tyson cowrote Don’t Burn No Bridges. You Touch My Hot Line was written by Jerry Atkins, Victor Drayton, Reginald Turner and Johnny Belmon. These six tracks were recorded in the familiar surroundings of Philly’s Sigma Sound Studios.
Joining the five members of The Trammps, Jimmy Ellis, Earl Young, Robert Upchurch and Harold and Stanley Wade at SIgma Sound Studios were an all-star cast of Philadelphia’s musicians. Baker, Harris, Young provided the rhythm section and Bobby “Electronic” Eli and T.J. Tindall the guitars. Larry Washington and Robert Cupit played congas, while Bruce Grey, Carlton Kent, Ron “Have Mercy” Kersey and T.G. Conway keyboards. Evette Benton, Carla Benson and Barbara Ingram, The Sweethearts of Sigma added backing vocals and Don Renaldo Strings and Horns played an important part in Disco Inferno’s sound. Producers included Norman Harris, Ron Baker, Earl Young and Ron “Have Mercy” Kersey. Once Disco Inferno was recorded it was released on 29th December 1976, at the height of disco’s popularity.
Disco Inferno was chosen as the lead single from Disco Inferno and reached number fifty-three in the US Billboard 100 and number nine in the US R&B Charts. Over in the UK, Disco Inferno reached number sixteen. On the release of Disco Inferno on on 29th December 1976, it reached number forty-six in the US Billboard 200 and number sixteen in the US R&B Charts. This was an improvement on That’s Where The Happy People Go. When the Ron Baker penned I Think I’ve Been Living (On the Dark SIde of the Moon) was released as a single, it reached number fifty-two in the US R&B Charts. Although The Trammps must have been pleased that their second album for Atlantic Records had been such a success, little did they know what was about to happen. That was still to come. However, what does the music on Disco Inferno sound like? That’s what I’ll now tell you.
Opening Disco Inferno is Body Contact Contract, arranged and produced by Norman Harris. The track bursts into life with the Baker, Harris, Young rhythm section, growling horns, dancing strings and keyboards producing a pulsating heartbeat. Bobby “Electronic” Eli adds a searing solo and Robert Upchurch’s barotone adds punchy backing vocals. That sets the scene for Jimmy Ellis’ vocal. It veers between tender and a grizzled growl. He grabs the song and brings the lyrics to life. With Earl Young’s thunderous drums driving the arrangement along, harmonies sweep in urgently, joining flourishes of keyboards and bursts of Robert’s baritone drift in and out. Meanwhile, frenzied strings dance, horns blaze and bray while Baker, Harris, Young produce a powerhouse of backbeat. It’s the perfect song to open Disco Inferno, dramatic, urgent, soulful and dance-floor friendly, providing a showcase for the twin-talents of The Trammps and their all-star backing band. Now The Trammps have your attention, they won’t let go.
Starvin’ is another track Norman Harris cowrote, arranged and produced. He cowrote the track with Earl Young, Allan Felder and ex-Temptation Ron Tyson. Again, Baker, Harris, Young provide the heartbeat, while melodic keyboards, cascading strings and blazing horns combine to create a dramatic backdrop for Jimmy Ellis’ vocal. His vocal’s full of emotion and pain, as he sings “I’m Starvin’ for your love.” Loneliness and heartache fill his voice, before his vocal becomes a vamp, pleading and begging. Robert Upchurch’s interjections are timed to perfection, proving hugely effective. Similarly, the band provide a dramatic, emotive backdrop. Strings sweep and swirl, horns rasp and Baker, Harris, Young give a masterclass. Ron Baker’s bass and Earl Young’s drive the arrangement along and Bobby “Electronic” Eli adds his trademark funky licks. Meanwhile, sweeping, cooing harmonies from the other Trammps and the Sweethearts of Sigma provide the finishing touch, to Jimmy’s needy pleas.
Ron Baker wrote, arranged and produced I Think I’ve Been Living (On the Dark Side of the Moon). Earl Young’s issing hi-hats and Ron Baker’s lightning-fast bass combine, as the arrangement unfolds. Crystalline guitar licks from Norman Harris and then banks of keyboards unite to build the drama. After a minute, dramatic bursts of Earl’s drums and keyboards signal the arrival of Jimmy Ellis’ pleading, heartfelt, vampish vocal. Tender harmonies from The Trammps and the Sweethearts sweep in. Soon, they grow in power and soulfulness. Meanwhile, the arrangement grows and grows. Philly Soul, funk, jazz and disco unite. Strings dance joyously, horns growl, keyboards add dramatic flourishes and Baker, Harris, Young produce a powerful, dramatic and funky heartbeat. Handclaps and harmonies give the track a gospel twist, as Jimmy Ellis unleashes one of his most impassioned vamps on Disco Inferno. That seems the perfect way to close Side One of Disco Inferno.
Side Two of Disco Inferno bursts into life, with the title-track, Disco Inferno, arranged and produced by Ron “Have Mercy” Kersey. The Baker, Harris, Young section are like a musical juggernaut, with drummer Earl Young driving the track along his hi-hats hissing. Ron Baker’s tough, funky bass matches Earl every step. Don Renaldo strings swirl frantically and his horns growl. Hypnotic keyboards play their part. Then when Jimmy Ellis delivers his vocal, he’s like a disco preacher. His powerful, grizzled vocal grabs the song. Soon, he’s waving his magic, like a disco wand. Punchy, sweeping and cooing harmonies from The Trammps and the Sweethearts of Sigma grow in power. It’s as if they realize something special is unfolding. It is. From the opening bars to the closing notes, Baker, Harris, Young are at the heart of the action. Earl and Ron provide a pulsating heartbeat, while Norman Harris’ jazz tinged guitar playing is subtlety personified. The result is a ten-minute disco Magnus Opus; an anthemic track featuring disco preacher extraordinaire Jimmy Ellis with The Trammps and Philly’s finest musicians produce one of disco’s greatest, most iconic tracks.
Following such anthemic track as Disco Inferno isn’t easy, but Don’t Burn Any Bridges has to do this. Comparisons are almost unfair. Produced by Norman Harris, T.G. Conway’s arrangement has a jaunty, uptempo opening. Flourishes of quizical strings, bursts of drums and grizzled horns combine. Then with a flamboyant flourish of keyboards, urgent harmonies sweep in. When they drop out, Jimmy Ellis takes on the role of preacher, spreading wisdom and advice with a powerful, impassioned vocal. It’s filled with energy, emotion and totally heartfelt. Behind him, strings slip and dance, horns blaze and Earl Young reflects the power and passion in Jimmy’s vocal. Tight soulful harmonies from The Trammps and the Sweethearts of Sigma accompanying Jimmy, as he delivers one of his most heartfelt, sincere and soulful vocals on Disco Inferno.
Closing Disco Inferno is the Earl Young produced You Don’t Touch My Hot Line, arranged by T.G. Conway. Searing guitar licks from Bobby “Electronic” Eli join the Baker, Harris, Young rhythm section, while strings sweep and swirl. Soon, Jimmy Ellis delvers a vocal that’s a combination of passion and power. It’s also deeply soulful, like The Trammps tight, sweeping harmonies. They’re joined by lush strings and blazing horns, while Bobby Electronic” Eli and Norman Harris’ guitars provide contrasts. Horns growl and Earl Young’s drums inject power and drama as Jimmy and rest of The Trammps vamp their way through the rest of the track, closing Disco Inferno on a song that has made in Philly written all over it.
It seems that The Trammps picked up where they left off on Where The Happy People Go and took their music to another level. Not only did The Trammps build on the momentum created by their sophomore album, but Disco Inferno saw The Trammps take their music to even heights of soulfulness and dance-floor friendliness. Philly Soul, funk, jazz and disco were all poured into The Trammps musical melting pot. The result was a delicious and timeless fusion of musical genres. From the opening bars of Body Contact Contract, right through tracks like I Think I’ve Been Living (On the Dark SIde of the Moon), Disco Inferno and the deeply soulful strains of You Don’t Touch My Hot Line, The Trammps never miss a beat.
A combination of The Trammps vocal prowess, plus some of Philly’s best songwriters, arrangers, producers and musicians saw to this. Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Earl Young all deserve credit for their productions on Disco Inferno. So do the all-star line of musicians, featuring some legendary Philadelphia musicians. Especially with such a charismatic vocalist as Jimmy Ellis bringing each song to life with power, passion and emotion. The Trammps and Sweethearts of Sigma’s harmonies were just the finishing touch. When you look at the personnel involved in Disco Inferno and hear the six tracks, you wonder why the album wasn’t a much bigger success. Then a year later, somewhat belatedly, one of the tracks on Disco Inferno became an anthemic, iconic disco classic.
When Saturday Night Fever was released, the title-track Disco Inferno became disco’s anthem worldwide. Fifteen-million copies of the Saturday Night Fever soundtrack were sold and suddenly, everyone knew The Trammps and their music. Some of the artists that featured on the Saturday Night Fever soundtrack didn’t enjoy the longevity of The Trammps. Thirty-six years later, The Trammps music is just as popular. Indeed, many of The Trammps songs, including Disco Inferno, have become anthemic, iconic tracks, part of disco’s rich and vibrant history. Standout Tracks: Body Contact Contract, Starvin’, Disco Inferno and Don’t Burn Any Bridges.
THE TRAMMPS-DISCO INFERNO.
DJ VADIM FEATURING GREG BLACKMAN-I’M FEELIN’ U.
DJ VADIM FEATURING GREG BLACKMAN-I’M FEELIN’ U.
Back in October 2012, DJ Vadim released his tenth solo album Don’t Be Scared on BBE Music. Don’t Be Scared saw the return of one of hip hop’s true innovators. Three years after DJ Vadim’s previous release for BBE Music, 2009s Like U Can’t Lurn Imaginashun, one of hip hop’s veterans was back, and still as relevant. Mind you, DJ Vadim has spent twenty years in music, DJ-ed in sixty-nine countries, played over 2,500 times and released nine previous albums. Not only is he one of hip hop’s veterans, but he’s one of the genre’s innovators.
Like U Can’t Lurn Imaginashun, Don’t Be Scared was a fusion of styles, influences and ideas. Still, DJ Vadim was constantly pushing the musical boundaries and reinventing his music. Nobody could accuse DJ Vadim of being predictable. While other artists have a “sound” and “style,” not DJ Vadim. His only rule is there are no rules. Everything and anything is possible. Although he describes his music as hip hop, DJ Vadim adds to his musical melting pot elements of electronica, funk, reggae, soul, trip hop, Afro Beat and boogie. So when you drop the needle on a DJ Vadim album, you’re about to embark on a roller-coaster journey where he reveals the contents of his musical melting pot. That’s why DJ Vadim is an innovator and why he was nominated for a Grammy Award in 2002. He’s known as the John Coltrane of hip hop. With this unrivaled music pedigree, DJ Vadim’s album Don’t Be Scared was a roller coaster journey across musical genres.
One of the many highlights of Don’t Be Scared was I’m Feelin’ U, which featured the soulful strains of Essex’s number one soul singer Greg Blackman. I’m Feelin’ U is the second single to be released from Don’t Be Scared, and will be released on January 14th 2013. However, it isn’t just the original version of I’m Feelin’ U which features on DJ Vadim’s forthcoming single. There’s also the Radio Version of I’m Feelin’ U, plus a might five remixes.
Each remix takes the original version of I’m Feelin’ U, and transforms it. They use as building blocks, the original version. This means crispy, galloping drumbeats, shimmering and jaggy synths and Greg Blackman’s impassioned, powerful and deeply soulful voice. Set against a backdrop of scratches, washes and stabs of synths that squeak and beep old school style it’s a compelling, innovative track, as you’d expect from DJ Vadim. Then there’s sirens, sound effects and crunchy drums aplenty. They provide the finishing touches to the track. What really makes this upbeat, uptempo track, is Greg’s vocal. It has a presence and soulfulness, taking centre-stage. It’s DJ Vadim who provides the backdrop for Greg’s soulful strains. It’s these building blocks each remixer uses.
The various remixers take the original version of I’m Feelin’ U, and gets to work twisting and transforming the original track. They each bring something new, innovative and intriguing to the track. In total, there are four remixes, ranging from the Mindelixir Remix, right through the Oluchi Remix and Drumagick Remix and then the Yesking Remix and Instrimental. These four remixes are very different and bring something new, innovative and compelling to the original track. Considering they each started with the same stems, that’s even more remarkable. However, given the very different musical backgrounds of each remixer, such an eclectic variety of remixes isn’t surprising. Drumgagik was at the heart of the Brazilian drum ‘n’ bass scene, while Mindelixir’s music is bass heavy and full of beeps and squeaks aplenty. As an added bonus, another track from Don’t Be Scared This Could Be.
The seven tracks on DJ Vadim’s second single I’m Feelin’ U are a tantalizing taste of the multi-talented hip hop veteran’s music. They also introduce the hugely talented and deeply soulful Greg Blackman, Essex’s number one soul singer. Greg is a man with a big future, who we’ll be hearing much more from in 2013. I’m Feelin’ U is the perfect introduction to the music of two multitalented men, DJ Vadim and Greg Blacman. After you’ve heard I’m Feelin’ U, which will be released on 14th January 2013, on BBE Music, then you’ll want to hear much more from DJ Vadim.
This is the he perfect starting point to discover DJ Vadim’s music. The next stop, is Don’t Be Scared, the tenth album from one of hip hop innovators and veterans. It’s a roller-coaster musical adventure, where DJ Vadim, forever the innovator, and forever reinventing his music, constantly crosses and combines musical genres. There’s everything from Acid House, Afro Beat, ambient, drum and bass, dub, hip hop, Latin, reggae, techno and trip hop within the twelve tracks on Don’t Be Scared, which is the proverbial musical melting pot. DJ Vadim takes all these influences and mixes them up, with a little help from his musical collaborators. Each artist plays their part in the sound and success of Don’t Be Scared, adding their own inimitable vocals, including Greg Blackman.
My advice to is, when 14th January 2013 arrives, Don’t Be Scared, pay your money and enjoy the delights of the seven tracks on I’m Feelin’ U, where two multitalented and innovative musicians collaborate, DJ Vadim and Greg Blackman. You never know, This Could Be, ONE your favourite singles of 2013?
DJ VADIM FEATURING GREG BLACKMAN-I’M FEELIN’ U.
THE BEST REISSUES OF 2012-PART 1.
THE BEST REISSUES OF 2012-PART 1.
It’s that time of year when reviewers look back on the best releases of the year. So far, I’ve picked the best box sets and compilations of 2012. Now, it’s time to turn my attention the best reissues of 2012. Given who many albums are reissued on a weekly basis, and how many reissues I’ve reviewed and bought over the past twelve months, that isn’t going to be easy. What makes this even harder, is the amount of albums reissued on a weekly basis.
Nowadays, the reissue market is one of the most buoyant parts of the music industry. It seems music fan’s appetite for updating their music collection is almost insatiable. People want to revisit the music of their youth. Now twenty or thirty years later, they have the disposable income to do so. That’s why it’s no longer just so called “classic albums” that are rereleased. Indeed, nowadays, nostalgia is almost an industry in itself. This means the reissue market is thriving. Each week, dozens of albums are reissued, and no longer in just CD. Recently, album have been rereleased on multiple formats. There’s everything from double and triple albums, right through to lavish box sets and even, albums released on USB. Some of these box sets can cost hundreds of pounds. Given, many fans completists when it comes to a band or artists back-catalogue, record companies have a captive audience for their wares.
For music fans, hungry for nostalgia, they can’t get enough of these reissues. Especially, when many of these reissues see albums previously unavailable for many years. That’s been the case during 2012. Many albums reissued during 2012 have been unavailable since they were released thirty or forty years ago. At last, people can update from their trusty vinyl copies. Similarly, this music is now available for a new generation of music fans to discover. So 2012 has seen classic and rare albums aplenty rereleased. Indeed, over the last twelve months, music fans have been spoilt for choice. I realized this whilst researching this article. So without any further ado, here are my choices for the best reissues of 2012.
DENIECE WILLIAMS-THIS IS NIECY.
Back in February 2012, Deniece Williams’ legendary debut album This Is Niecy was rereleased by BBR Records on February 27. Deneice Williams was almost an accidental singer. Originally, she meant to pursue a career in medicine. After singing part time, Deneice released a series of singles and sang backing vocals for Esther Phillips, Linda Lewis and Stevie Wonder. After being part of Stevie Wonder’s backing vocalists Wonderlove, Deneice signed to Columbia Records in 1976.
Released in 1976, This Is Niecy would prove to be one of Deneice’s most successful albums, being certified gold in the US, and silver in the UK. It also featured a song that would forever be synonymous with Deneice…Free. Apart from Free, another Deneice Williams classic That’s What Friends Are For features on This Is Neicy. Like the other tracks, both were co-written by Deneice. Produced by two music legends Charles Stepney and Maurice White of Earth, Wind and Fire, This Is Neicy launched Deneice Williams career.
Although This Is Niecy was Deniece Williams debut solo album, it’s a really mature and polished album, full of some stunning tracks. By the time Deneice signed to Columbia Records, she was an experienced singer, who’d spent years honing her talent. This Is Neicy was the result of all these years learning her craft. Her experience shines through and Deneice is at her soulful best, breathing life and meaning into each track. She’s at her best on tracks like Free and That’s What Friends Are For. After the success of This Is Niecy, it would be five years before Deniece Williams replicated this success. My Melody, released in 1981 and produced by Thom Bell and along with This Is Neicy are two of the finest albums of Deneice Williams’ career.
DENIECE WILLIAMS-THIS IS NIECY.
SANDY BARBER-THE BEST IS YET TO COME.
Back in 2011, Al Kent released Disco Love Volume 2 and one of my favorite tracks from the compilation was Sandy Barber’s I Think I’ll Do Some Stepping (On My Own). Like many people, I started looking into Sandy Barber’s career. I discovered I Think I’ll Do Some Stepping (On My Own) was a track from Sandy Barber’s 1977 album The Best Is Yet To Come, which was released on Olde Worlde Records. It was unavailable on CD and even vinyl copies were hard to find. Then in February 2012, BBE Music rereleased The Best Is Yet To Come. At last, this hidden gem of an album was available for a new generation of music fans to discover. For many people, Christmas had come early.
As an added bonus, BBE Music’s rerelease of The Best Is Yet To Come features tracks from what was meant to be Sandy’s sophomore album. Sadly, that album was never released. The icing on this delicious musical cake that’s The Best Is Yet To Come, are remixes of Sandy’s classic I Think I’ll Do Some Stepping (On My Own) by John Morales and Glasgow’s disco don Al Kent. What shines through on The Best Is Yet To Come, is Sandy Barber’s versatility as a vocalist. She’s just as comfortable singing slow tracks as the quicker, uptempo tracks. With this mixture of styles of music, The Best Is Yet To Come is an album that all lovers of soul, funk and disco will adore. The rerelease of The Best Is Yet To Come by BBE Music gives everyone to rediscover this hidden gem of album, thirty-five years after it was originally released. For anyone who likes their music deeply soulful, funky and dance-floor friendly, then The Best Is Yet To Come is essential listening.
SANDY BARBER-THE BEST IS YET TO COME.
ELBOW BONES AND THE RACKETEERS-NEW YORK AT DAWN.
When Elbow Bones and The Racketeers released their debut single A Night In Yew York in 1983, it sounded like the soundtrack for a forties nightclub, with its big band sound given a contemporary eighties twist. You could imagine the smokey atmosphere where movie stars, hustlers and gangsters sat side by side, sipping whiskey, gambling and smoking. Meanwhile Elbow Bones and The Racketeers’ provided the perfect jazz drenched, big band soundtrack. Truly, the music was like revisiting another era, but updated for the eighties. A Night In Yew York was one of these irresistible tracks that you couldn’t help but fall in love with. It put a smile on your face, with its sultry, retro sound. Nearly thirty years after A Night In New York’s release, Hot Shot Records rereleased the album, reintroducing Augustus Darnell and his cast of collaborators.
Elbow Bones and The Racketeers saw August Darnell of Kid Creole and The Coconuts reinvent himself. This was very different, much more grownup album. It seemed to appeal to a much wider audience. Augustus put together a multitalented team of vocalists and songwriters. Vocals came from of Stephanie Fuller and Glichy Dan, with songs penned by Augustus Darnell, Stony Browder Jr, Peter Schott and Ron Rogers. The result was a fusion of old and new music, courtesy of Elbow Bones and The Racketeers. A Night In Yew York’s vintage sound was like stepping back in time, to another era, one with a delicious, jazz-drenched soundtrack.
ELBOW BONES AND THE RACKETEERS-NEW YORK AT DAWN.
DONNA MCGHEE-MAKE IT LAST FOREVER.
After making a breakthrough singing with The Fatback Band, Donna McGhee signed to the disco label Red Greg, releasing Make It Last Forever in 1978. Produced by the Greg Carmichael and Patrick Adams, Make It Last Forever, which was rereleased in April 2012, is a true disco classic, with copies changing hands for upwards of $100. Make It Last Forever features the seminal disco classic Mr. Blindman and the Grammy Award nominated I’m A Love Bug. Although Donna McGhee’s debut album Make It Last Forever is perceived one of the best albums of the disco era, it wasn’t a commercial success. Instead, it remains a hidden gem of the disco era.
Following Make It Last Forever, Donna McGhee never released any further solo albums. Instead, Donna continued to ollaborated with Patrick Adams and Greg Carmichael, She played an important role in the success of their music. Her vocals can be heard on many of their most important collaborations. At least BBR Records’ rerelease of Donna McGhee’s only solo album Make It Last Forever means that a new generation of music fans can rediscover this hidden gem, without spending $100 to do so.
DONNA MCGHEE-MAKE IT LAST FOREVER.
THE DELLS-THEY SAID IT COULDN’T BE DONE, BUT WE DID IT!
Not many groups survive twenty-five years in the music industry, but in 1977 The Dells celebrated their twenty-fifth anniversary by releasing their sixteenth album, They Said It Couldn’t Be Done, But We Did It!, which was rereleased by SoulMusic.Com in 16th April 2012. To recapture the success The Dells enjoyed earlier in their career, they headed to Philadelphia, where they hooked up with hook-up with Norman Harris. His production vehicle The Harris Machine included some of Philly’s best songwriters, producers, arrangers and musicians, Norman headed to Sigma Sound Studios to revive The Dells career
The Harris Machine provided a one-stop shop for The Dells. They provided eight tracks for They Said It Couldn’t Be Done, But We Did It!. With The Dells turning back the clock and producing some peerless performances, They Said It Couldn’t Be Done, But We Did It, should’ve fared better. However, the album was released at the height of disco’s popularity. By 1977, soul groups like The Dells were no longer as popular.
Although They Said It Couldn’t Be Done, But We Did It! wasn’t a commercial success, it resulted in one The Dells best albums of the seventies. Indeed, They Said It Couldn’t Be Done, But We Did It! is something of a hidden gem in The Dells’ back-catalogue. Norman Harris’ Philly Sound makeover of The Dells’ music transforms The Dells, and in the process, The Dells became honorary Philadelphians.
THE DELLS-THEY SAID IT COULDN’T BE DONE, BUT WE DID IT!
MARLENA SHAW-WHO IS THIS BITCH ANYWAY?
When Marlena Shaw left Cadet Records after the release of her second album The Spice of Life, she became the first woman to sign to the prestigious Blue Note label. During the four years Marlena was signed to Blue Note, she released some of the best music of her career. Starting with 1972s, Marlena, Marlena Shaw went on to release four studio albums plus one live album. From the Depths of My Soul followed in 1973, the same year as Marlena Shaw Live At Montreux was released. Then came her best Blue Note album, 1975s Who Is This Bitch Anyway!, an innovative fusion of soul and jazz, where Marlena explores of feminist, sexual politics and social issues. For many people, myself included, Who Is This Bitch Anyway?, which was rereleased on SoulMusic Records in August 2012, represents Marlena Shaw at the height of her creative powers. Who Is This Bitch Anyway? surpassed everything she’d previously released, or anything that she’d release after that.
Marlena Shaw is at the height of creative powers on Who Is This Bitch Anyway? This wasn’t just her best album for Blue Note, but her best album ever. Nothing else came close. It’s a bit like an opera, one where the issues addressed are feminism, sexual politics plus social and political issues. On Who Is This Bitch Anyway? Marlena was at her very best, fusing jazz, soul and gospel. Her voice goes from sassy and confident, to emotive, impassioned and tinged with sadness, hurt and regret. It’s no coincidence that a change of producer to Bernard Ighner, lead to the best album of Marlena’s career. They were a perfect fit, like a musical ying and yang. Bernard brought out the best in Marlena Shaw, along with some of the best session musicians of the time. Truly, there isn’t a bad track on Who Is This Bitch Anyway? For anyone yet to discover Marlena Shaw’s music this is quite simply the place to start.
MARLENA SHAW-WHO IS THIS BITCH ANYWAY?
Choosing six of what I regard as the best reissues of 2012 wasn’t easy. It would’ve been easy to choose six of the most successful albums rereleased. However, that would be doing a disservice to albums which, for whatever reason, weren’t a commercial success. Often, fate and sheer bad luck stop an album from being the success the music deserved. While albums like Deniece WIlliams’ This Is Neicy were critically acclaimed and commercially successful, other albums, including Sandy Barber’s The Best Is Yet To Come had the misfortune to be released on smaller labels. If The Dells’ They Said It Couldn’t Be Done, But We Did It!, had been released a few years earlier, the album might have been a bigger success. However, They Said It Couldn’t Be Done, But We Did It! was released at the height of disco’s popularity. Regular readers of this blog will realize, that because an album isn’t a commercial success, doesn’t make it a bad album. You’ll realize this when I tell you about my next installment of The Best Reissues of 2012.
THE BEST REISSUES OF 2012-PART 2.
THE BEST REISSUES OF 2012-PART 2.
The first six reissues of 2012 I reviewed were released between February and August 2012. My first choice from The Best Reissues of 2012-Part 2 was also released in August, before September proved to be one of the best months of 2012 for rereleases.
BILLY PAUL-360 DEGREES OF BILLY PAUL.
Sometimes, an artist releases a single that becomes a huge commercial success and regardless of whatever else they release, they’re forever be known as the artist that recorded “that single.” For Billy Paul, ever since he released Me and Mrs Jones as a single back in October 1972, he’s become synonymous with that one song. Whatever else Billy recorded, and he recorded so much fantastic music during his career, people always remember Billy for Me and Mrs Jones. It went on to give Billy a dual number one single, in both the US Billboard 100 and US R&B Charts. Spurred on by the success of Me and Mrs Jones, when 360 Degrees of Billy Paul was released in November 1972, the album reached number one in the US R&B Charts and number seventeen in the US Billboard 200. This helped launch Philadelphia International Records, and in the process, gave the label its first male superstar. For Billy Paul, 360 Degrees of Billy Paul, which was rereleased in August 2012, by BBR Records, transformed his career. Billy Paul was no overnight star. He’d paid his dues, releasing three previous albums, to little success. However, nothing like the success he enjoyed with 360 Degrees of Billy Paul.
Billy Paul’s 360 Degrees of Billy Paul is best described as a timeless classic, where you hear every side of Billy Paul’s music. He seamlessly flits from the dramatic, socially conscious lyrics of Brown Baby to the despondency of I’m Just A Prisoner, before transforming It’s Too Late into a jazz tinged and emotionally charged track. Then on Me and Mrs Jones Billy Paul becomes a soul balladeer, before the defiance of Am I Black Enough For You. On Let’s Stay Together, the transformation of the song is quite incredible, as Billy and M.F.S.B. produce a spacious, understated version of Al Green’s classic, before making Elton John’s pedestrian Your Song swings, complete with gospel tinged backing vocals. Closing 360 Degrees of Billy Paul is Billy’s jazzy interpretation of I’m Gonna Make It This Time, which proved to be a forecast of the fame and fortune that was about to come Billy’s way. Having become a worldwide star, the icing on the cake was when Billy won a Grammy Award Me and Mrs Jones. After three albums where fame had eluded Billy Paul, his career and life was transformed. So was Gamble and Huff’s nascent label Philadelphia International Records, which went on to become one of the biggest and most influential labels in the history of music. As for Billy Paul, he continued to release a series of successful albums, but none of these albums ever matched the success of 360 Degrees of Billy Paul, timeless Philly Soul classic.
BILLY PAUL-360 DEGREES OF BILLY PAUL.
GQ-DISCO NIGHTS.
After Roberta Flack helped GQ get an audition at Arista Records, Larkin Arnold signed them to Arista Records. Soon, the lives of four musical veterans were forever changed. GQ released their debut single Disco Nights (Rock Freak) in December 1978. It reached number one in the US R&B Charts, selling over-one million copies. GQ were no overnight sensation. Instead, the success GQ were now enjoying was the result of a ten-year musical journey. The road GQ had travelled had been long and twisty. While other bands would’ve quit, GQ’s perseverance was rewarded. Three months after releasing Disco Nights (Rock Freak), GQ released their debut album Disco Nights, which was rereleased in September 2012 by BBR Records. Disco Nights become GQ’s most successful album, reaching number thirteen in the US Billboard 200 and number two in the US R&B Charts.
From the opening bars of Disco Nights (Rock Freak) to the closing notes of GQ’s deliciously, soulful cover of Billy Stewart’s Do I Love You, you’re spellbound by the quality of music. Almost seamlessly, GQ could switch things around. They’re just as comfortable playing jazz, disco or the Philly soul of Make My Dreams A Reality. GQ’s debut album Disco Nights was their Magnus Opus, their most successful and critically acclaimed album, an album which is worthy of being described as a disco classic, and the perfect soundtrack to every one of your Disco Nights.
GQ-DISCO NIGHTS.
M.F.S.B.-LOVE IS THE MESSAGE.
When people refer to M.F.S.B. as Philadelphia International Records’ house-band, they’re doing M.F.S.B. a great disservice. Yes, M.F.S.B. played on every one of the label’s successful albums. This includes Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Ship Ahoy and Family Reunion, Harold Melvin and The Blue Notes’ I Miss You, Black and Blue and Wake Up Everybody or The Three Degrees’ The Three Degrees and International. However, M.F.S.B. were also a hugely successful group in their own right.
Between their 1972 and 1980 M.F.S.B. released eight albums for Philadelphia International Records. M.F.S.B.’s recording career started with their eponymous debut album M.F.S.B. Then in December 1973, M.F.S.B. released their seminal album Love Is The Message, which featured the classic, number one single TSOP (The Sound of Philadelphia) which featured The Three Degrees’ vocals. Before I tell you about M.F.S.B.’s sophomore album Love Is The Message, which was released by BBR Records in September 2012.
Of the eight albums M.F.S.B. released, Love Is The Message wasn’t just the most critically acclaimed and commercially successful, but their seminal album. Describing Love Is The Message as a classic doesn’t do the album justice. Instead, Love Is The Message is more like a Magnus Opus, and a demonstration of the combined talents and versatility of M.F.S.B. Whether it was Philly Soul, jazz, funk or even big band music, M.F.S.B. were just as comfortable playing it. M.F.S.B. could switch seamlessly between genres, and on Bitter Sweet, between time signatures.
M.F.S.B. featured some of Philly’s finest musicians, including the Baker, Harris, Young rhythm section, Bobby “Electronic” Eli, Vince Montana Jr and Larry Washington. Given the combined talents of these musicians, it’s no surprise M.F.S.B’s sophomore album, Love Is the Message sold over one-million copies.
M.F.S.B.-LOVE IS THE MESSAGE.
DOUBLE EXPOSURE-TEN PERCENT.
December 11th 1975 is a significant date in the history Salsoul Records. It was the date that Double Exposure started recording their debut album Ten Percent, which would become their most successful album, and one of Salsoul’s biggest selling albums. Ten Percent which will be released in September 2012 by BBR Records. It featured three Double Exposure classics Everyman, Ten Percent and My Love Is Free.
Before signing to Salsoul, Double Exposure’s career had stalled. Then when they met an old friend, Norman Harris their luck changed. Guitarist, songwriter, arranger and producer Norman Harris was now running his own label Gold Mind Records, a subsidiary of Salsoul. At Gold Mind, Baker, Harris, Young Productions, the production vehicle of the Baker, Harris, Young rhythm section would write, arrange, produce and provide the musicians for the label’s artists. Impressed with Double Exposure Norman recommended Double Exposure to the Cayre brothers, who owned Salsoul. The Cayres liked Double Exposure. Soon, a contract was singed and work would begin on their debut album Ten Per Cent.
With Norman Harris and his Philly friends writing, arranging, producing and playing on Ten Percent, it’s no surprise Double Exposure’s Gold Mild debut was so successful. Indeed, Ten Percent was a featured three hit singles and became one of Gold Mind’s most commercially successful albums. Each tracks on Ten Percent is Of the highest quality. My Love Is Free and Everyman would all become Salsoul classics. Much of the success was down to Norman Harris’ team of songwriters, arrangers, producers. Similarly The Salsoul Orchestra and the Sweethearts of Sigma played their part making Double Exposure’s debut album Ten Percent such a critically acclaimed and commercially successful album. Of all the albums Double Exposure released, Ten Percent is a true classic.
DOUBLE EXPOSURE-TEN PERCENT.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
During 1975, many of the original lineup of M.F.S.B. were locked in a dispute with Gamble and Huff over many. When the dispute couldn’t be resolved, M.F.S.B. left Philadelphia International Records, their destination Salsoul Records, where they became The Salsoul Orchestra. Between 1975 and 1982, The Salsoul Orchestra would release twelve albums. Following the success of their debut single was Salsoul Hustle, The Salsoul Orchestra released their debut album, 1975s The Salsoul Orchestra, which sold over one-million copies.
Gamble and Huff’s loss proved to be the Cayre brother’s gain. It was like an outpouring of creativity. Many of the musicians were experienced songwriters, arrangers and producers. This included the Baker, Harris, Young rhythm section, Vince Montana and Bobby “Electronic” Eli. Each of these musicians played their part in the million-selling debut album. Although it sold over one-million copies in the US, it wasn’t certified gold, as Salsoul weren’t certified by the Record Industry Association of America.
Although The Salsoul Orchestra almost came about by accident, Ken Cayre must have given thanks to the musical Gods that he met Vince Montana Jr. Vince brought about Ken’s vision of Philly Soul fused with a Latin salsa influence. Through Vince Montana Jr, Ken Cayre got his orchestra and the Philadelphia based musicians he so admired. With the Baker, Harris, Young rhythm section creating the album’s heartbeat and Philly legends like Bobby “Electronic” Eli, T.J. Tindall, Larry Washington and the Sweethearts of Sigma all featuring on The Salsoul Orchestra it’s no wonder the album was such a huge commercial success. During the eight tracks on The Salsoul Orchestra, disco, funk, jazz, Latin music and the Philly Sound were fused seamlessly creating a classic album. In the process, it launched Salsoul as a label, a label that would become the greatest of the disco era and one of the most important in musical history. The music on The Salsoul Orchestra is timeless, imaginative and innovative and gave birth to a new wave of disco orchestras. None of them could match The Salsoul Orchestra in full flight.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
FIRST CHOICE-DELUSIONS.
By the time First Choice signed to Norman Harris’ Gold Mind Records, they’d released three albums, 1973s Armed and Extremely Dangerous, 1974s The Player and 1976s So Let Us Entertain You. When So Let Us Entertain You didn’t replicate the success of First Choice’s first two albums, their career needed a boost. For that, they turned to Norman Harris, who was now running his own label Gold Mind Records, a subsidiary of Salsoul Records. First Choice signed to Gold Mind and work began on their fourth album, Delusions, in February 1977.
To revive the career of the three members of First Choice, Rochelle Fleming, Annette Guest and Joyce Jones were joined by cast of Philly’s greatest songwriters, arrangers, producers and musicians. Producing Delusions would be Baker, Harris, Young through their production vehicle Baker, Harris, Young Productions. Not only was First Choice’s career revived, but resulted in two stonewall disco classics Dr. Love and Let No Man Put Asunder.
On the release of Delusions in August 1977, First Choice’s career was back on track. With Baker, Harris, Young’s guidance, First Choice’s first album for their new label Delusions, proved to be the most successful album of their career. It contained two disco classics, Dr. Love and Let No Man Put Asunder. There’s much more to Delusions than just two tracks. Other tracks see First Choice revisit their soulful roots, and feature some of their best vocals on Delusions. On Indian Giver and Gamble On Love Rochelle delivers some of her most emotive, heartfelt and soulful vocals. During Delusions, First Choice flit seamlessly between disco, Philly Soul, funk and pop, demonstrating their versatility. Regardless of the musical genre, First Choice are equally comfortable. Delusions, which was rereleased by BBR Records in September 2012, was not just First Choice’s Magnus Opus, but featured two timeless Salsoul classics Dr. Love and Let No Man Put Asunder.
FIRST CHOICE-DELUSIONS.
September 2012 proved to be a good year for anyone who loved Philly Soul and disco. Reissues of albums from Billy Paul, M.F.S.B, The Salsoul Orchestra and Double Exposure were all released. An added bonus was the release of GQ’s Disco Nights, with the classic single Disco Nights (Rock Freak). While each of these album proved to be commercially successful, my final installment of The Best Reissues of 2012 contains albums which although they failed commercially, contained some innovative, critically acclaimed music.
THE BEST REISSUES OF 2012-PART 3.
THE BEST REISSUES OF 2012-PART 3.
Throughout my review of The Best Reissues of 2012, I’ve reviewed albums that have either been commercial successful or for some reason, failed commercially. Sometimes, there’s nothing wrong with the music. Often, it’s too innovative, released at the wrong time or not promoted enough. Behind each of the my five final reissues from 2012 is a story.
INSTANT FUNK-INSTANT FUNK.
Often, Lady Luck has played her part in the success of artists and record labels. Back in 1978 Norman Harris’ Gold Mind Records was struggling financially. Without a major distributor the outlook was bleak for his beloved record label, even though it was a subsidiary of Saloul. What Norman Harris would give for a million selling single or album. Instantly this musical genius’ problems would be solved. Then ironically, Norman brought a group to Salsoul who’d record a million-selling album…Instant Funk. Sadly, Norman wouldn’t be involved in their success.
New Jersey band Instant Funk began their career as a backing band for artists like Bunny Sigler and The Manhattans. Later they worked for Philly legends like The O’Jays, The Three Degrees, Dexter Wansell and Archie Bell and The Drells. It wasn’t until 1976 that Instant Funk’s recording career began, releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label. Three years later, when Instant Funk, now signed to Salsoul, released their second album Instant Funk. On Instant Funk, which was rereleased by BBR Records in September 2012, was a song that would become a dace classic, selling one-million copies and totally transforming the career of Instant Funk. That song was I Got My Mind Made Up (You Can Get It Girl), which became one of Salsoul’s biggest selling singles.
Often, Lady Luck has played her part in the success of artists and record labels. Back in 1978 Norman Harris’ Gold Mind Records was struggling financially. Without a major distributor the outlook was bleak for his beloved record label, even though it was a subsidiary of Saloul. What Norman Harris would give for a million selling single or album. Instantly this musical genius’ problems would be solved. Then ironically, Norman brought a group to Salsoul who’d record a million-selling album…Instant Funk. Sadly, he wouldn’t be involved in their success.
I Got My Mind Made Up (You Can Get It Girl), wasn’t the only Salsoul classic on Instant Funk. Crying bacame another Salsoul classic. When I Got My Mind Made Up (You Can Get It Girl) was released as the lead single, it reached number one in the US R&B and US Disco Charts, selling over one-million copies. Norman Harris must have looked on despairingly, especially when Instant Funk repeated this feat. Here was a single and album that could’ve save Gold Mind Records. Having brought Salsoul Instant Funk, he never enjoyed the success.
Instant Funk couldn’t have come at a better time for Salsoul. Disco had nearly died at the hands of the Disco Sucks movement and Gold Mind Records’ was experiencing financial problems. Ironically, if Instant Funk had been released earlier, Norman Harris’ financial problems at Gold Mind Records would’ve been over. Sadly, Norman was left high and dry. After doing so much for Salsoul, all his work, effort and genius went unrewarded. Now it was arrangers and producers like Bunny Sigler and Tom Moulton who were playing important parts in the next part of the Salsoul story. Bunny had already played an important part in Salsoul’s success, but now was playing a bigger role. While the artists he’d worked with had been successful, none had enjoyed the success that Instant Funk enjoyed. After spending years as a backing band and releasing just one previous album, Instant Funk hit the musical jackpot. Their fusion of soul, funk, disco, jazz and Latin was new, innovative and importantly, dance-floor friendly, reinforcing Salsoul as the premier dance label, but showing their music moving in a post-disco direction.
INSTANT FUNK-INSTANT FUNK.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING ME.
Back in the spring of 1974, Philadelphia International Records had a busy schedule of releases. They’d three albums scheduled for release. The first of this trio was M.F.S.B’s seminal Love Is The Message and the third was The O’Jays’ classic Ship Ahoy. In between these two prestigious releases was the Philadelphia International Records’ debut of a man who’d not only play an important part in Philadelphia International Records’ success but later, the success of Salsoul Records. This was singer, songwriter, musician and producer Bunny Sigler. Bunny had just completed what was his second solo album That’s How Long I’ll Be Loving You, which was rereleased in October 2012 by BBR Records. It had been seven long years since Bunny had released his debut album Let the Good Times Roll (and Feel So Good) for Parkway Records.
While Bunny enjoyed writing songs, singing was his real love. Over the past two years, Bunny released four singles, to little commercial success. He hoped his Philadelphia International Records’ debut That’s How Long I’ll Be Loving You see him enjoy the success the artists he wrote songs for enjoyed.
On the release of That’s How Long I’ll Be Loving You, it stalled at number twenty-seven in the US R&B Charts. Despite the quality of music on That’s How Long I’ll Be Loving You, it wasn’t the commercial success it deserved to be. Possibly one reason for the album’s commercial failure was a lack of promotion. After all Philadelphia International Records were busy promoting albums by M.F.S.B. and The O’Jays. Another possibility is the wrong singles were chosen? Maybe Love Train wasn’t a good choice for the lead single? Things Are Gonna Get Better seemed a more obvious choice. Similarly, Your Love Is Good seems a much better sophomore single than the title-track. What I can say, is that That’s How Long I’ll Be Loving You deserved to be a bigger commercial success. After the disappointing performance of That’s How Long I’ll Be Loving You, Bunny Sigler only released two more albums for Philadelphia International. Sadly, Bunny never enjoyed the commercial success and critical acclaim other artists enjoyed with his songs or productions.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING ME.
DAN HARTMAN-RELIGHT MY FIRE.
During his career, Dan Hartman wrote almost 250 songs and appeared on over one-hundred albums and worked with everyone from Loleatta Holloway, Dusty Springfield, Little Ricard, Diana Ross, James Brown and Tina Turner. Dan also released eight solo albums between his 1976 debut album Images and his final album Keep the Fire Burning in 1994. Despite such a prolific career, many people will forever remember Dan Hartman for one song, Relight My Fire.
Ironically, when Relight My Fire was released back in 1979, it wasn’t a huge commercial success. Many people think that because the song was so popular and became a timeless, dance classic, that it was one of Dan’s biggest hits. Sadly, that wasn’t the case. Neither Relight My Fire, nor the album Relight My Fire which was reissued by Purpose Music Vaults in November 2012, was a commercial success. Not by a long chalk. Indeed, it wasn’t even one of Dan Hartman’s top ten biggest hits.
While Relight My Fire wasn’t a commercial success, each of the six tracks are packed full of poppy hooks. They’re designed to make a lasting impression. Opening with Hands Down, Relight My Fire continues on its journey through good-time, party music. Love Strong sees Dan the preacher basking in deserved applause, before the album’s centerpiece and masterpiece Relight My Fire. It’s a complex, multilayered track which is like a musical roller-coaster featuring Loleatta Holloway and Dan vamping their way through the ten-minute track. After that comes three more hook-laden slices of good-time, party music, Just For You, I Love Makin’ Music and Free Ride, which closes Relight My Fire. Relight My Fire is Dan Hartman’s disco classic, featuring timeless, joyous, good-time music, full of poppy hooks aplenty.
DAN HARTMAN-RELIGHT MY FIRE.
SYREETA-ONE TO ONE.
Mention the name Syreeta, and somewhat predictably, most people remember her as being married to Stevie Wonder. That, however, is doing Syreeta a huge disservice. Not only did Syreeta play a huge role in transforming Stevie Wonder’s career, writing and appearing on his albums, but enjoyed a successful solo career. Their marriage may have only lasted eighteen months, but the pair remained close friends. Indeed, they owed each other a great deal. Syreeta had played a huge role in transforming Stevie’s career. She helped him make the successful transition from child star to one of the most successful soul singers of the seventies. He gained artistic control over his music, and in the process, came of age musically, releasing the best music of his career between 1972 and 1974. During that period, Syreeta released two albums. Three years after her sophomore album, Stevie Wonder Presents Syreeta, One To One was released in 1976. By then Syreeta’s life had changed.
For One To One, not only had Syreeta a new producer, but a new collaborator and husband. Producing One To One was Leon Ware, who’d just produced Marvin Gaye’s classic I Want You. He was on something of a roll. This made him the perfect replacement for Stevie Wonder as producer. His production style was complex, multilayered and sometimes, lavish. It was perfect for Syreeta’s third album One To One. Leon’s production style seemed to bring out the best in Syreeta.
On One To One, Syreeta gave a series of vocal masterclasses. Emotion, passion, drama and beauty all shine through during One To One. Assisted by a tight, all-star band and producer Leon Ware, One To One became the best album of Syreeta’s three-album career. While commercial success still eluded Syreeta, she proved their life after Stevie Wonder. The three year break she’d enjoyed, had rejuvenated her career. One To One, which was rereleased by SoulMusic Records In November 2012, was the finest album Syreeta had released and is indeed, a hidden gem in Motown’s back-catalogue.
SYREETA-ONE TO ONE.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
Enigmatic, reluctant and contrarian are words that best of describe the Blue Nile, whose 1984 debut album A Walk Across the Rooftops was rereleased in November 2012. The Blue Nile are the complete opposite of most bands. Describing the Blue Nile as publicity shy, is an understatement. Indeed, since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they formed thirty-one years ago, the Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in the Blue Nile becoming one of the most enigmatic groups ever.
On the release of A Walk Across the Rooftops the album wasn’t a commercial success. It stalled at number ninety-nine in the UK charts and dropped out the album after just one week. Neither was A Walk Across the Rooftops critically acclaimed upon its release. Instead, it was a slow burner, with people only realizing the album’s genius since its release. Since then, it’s entered musical folklore, helped no end by The Blue Nile releasing just four albums in twenty long years.
So what makes A Walk Across the Rooftops such a special album? After all, it contains just seven songs and lasts just over thirty-eight minutes. Within these thirty-eight minutes, the lush, atmospheric sound draws the listener in, holding their attention. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to seven peerless vocal performances courtesy of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. Paul’s vocal adds soulfulness to an album that references Brian Eno, Kraftwerk, Tim Buckley, classic soul and seventies funk. The result is a compelling, innovative album. A Walk Across the Rooftops, was so innovative that it was way ahead of its time. Released in 1984, Blue Nile were miles ahead of other groups. They were innovators, leaders of a new wave of Scottish bands, who trailed in their wake. In many ways, A Walk Across the Rooftops is a very Scottish album, but not in a traditional way. On several of the seven songs on A Walk Across the Rooftops, the lyrics bring to mind Glasgow, its streets, its people and its secrets. For Glasgow, you could replace it with Philly, Berlin, New York or Oslo.
THE BLUE NILE-A WALK ACROSS THE ROOFTOPS.
BLUE NILE-HATS.
For most groups, a gap of five years between albums would be unthinkable. It just wouldn’t happen. Either the group would be keen to get a new album released, or their record company would be pressurizing them to do so. Not The Blue Nile. In fact, the five years between their debut album A Walk Across the Rooftops and their sophomore album Hats, wasn’t long by their standards. Indeed, there was a gap of seven years between Hats, and their third album Peace At Last. The gap between albums three and four grew to eight years. High, which proved to be the Blue Nile’s swan-song was released in 2004. It had been so long between albums, that a new millennia had dawned. However, fifteen years earlier, Paul Buchanan, Robert Bell and P.J. Moore released what many people perceive as their finest album, Hats, which was recently rereleased and remastered in November 2012 as a double album.
Five years had passed since A Walk Across the Rooftops had been released by Linn Records. A Walk Across the Rooftops was Linn Records first release. Since then, The Blue Nile were even more enigmatic, almost reclusive and publicity shy. The Blue Nile weren’t exactly your normal band. Not for them the rock “n” roll lifestyle favored by other bands. In many ways, musical fashions and fads didn’t affect them. Their attitude was almost contrarian. Albums were recorded slowly and methodically as the Blue Nile strived for musical perfection. This wasn’t a group willing to jump onto a musical bandwagon in pursuit of fame, fortune or starlets. Quite the opposite. It seemed to be their way or no way. So, for their sophomore album Hats, Paul, Robert and P.J. retreated to the studio. Once there, it seemed they sought musical nirvana, perfection. What they came up with was Hats, which was pretty near it.
Hat’s is a captivating, bewitching and beautiful album, where the Blue Nile lay bare their soul. Not only do they lay bare their soul, but articulate their hopes, fears, frustrations and dreams. Articulating this range of emotions, is Glasgow’s troubled troubadour, who mixes Frank Sinatra, Tom Waits and Tim Buckley, but doing so in a way that’s almost quintessentially Scottish. This newly remastered version of Hats accentuates the Scottishness of the seven songs. However, despite this quintessentially Scottishness, the music transcends geographical boundaries. For anyone whose lived, lost and lost love, then this album speaks to and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again. Combining elements as diverse as Brian Eno, Can, Neu and the Velvet Underground Hats is an album of many influences, but unique. Only the Blue Nile could produce an album so special, so deeply soulful, beautiful and emotive. In some ways, Hats is a very different album from A Walk Across the Rooftops, the Blue Nile’s debut album, but is Hats a better album? Choosing which is the best album is like asking a parent which of their children is their favourite child. Just like they’d refuse to answer the question, I’m going to refuse to choose between not just between two of my favorite albums, but two of the best albums released by a British band in the last forty years.
BLUE NILE-HATS.
Looking back through twelve months of reissues and narrowing several hundred albums to just eighteen was a tortuous process. Some albums picked themselves, including albums by M.F.S.B, The Salsoul Orchestra, Billy Paul, First Choice and The Blue Nile. Other albums were harder to choose. I started with a shortlist of fifty, which became thirty, twenty and then eighteen. Albums were included, replaced by another and then sometimes, reappeared on the final list. What I ended up with, was a combination of commercially successful albums and hidden gems. Each of the eighteen albums is packed full with some quality music. Many albums will be unfamiliar to many people, but are well with discovering. In many ways, what made choosing this list so difficult, was how much great music has been released during 2012. Here’s hoping I’m faced with the same problem in a year from now, when I’m choosing the best reissues of 2013.
FIRST CHOICE-ARMED AND EXTREMELY DANGEROUS.
FIRST CHOICE-ARMED AND EXTREMELY DANGEROUS.
Next year, 2013, marks the fortieth anniversary of First Choice’s debut album Armed and Extremely Dangerous. First Choice were one of the most successful of Philly Soul’s female groups, releasing six albums between 1973 and 1980. The story of how First Choice made their commercial breakthrough is very different to most groups. Rochelle Fleming, Annette Guest and Joyce Jones were just fifteen when they formed The Debronettes. After rehearsing at Annette Guest’s home, they started singing in public, and at talent shows. They were just one of Philly’s many aspiring groups. Then their luck and lives changed, when they decided to audition for one of Philly’s DJs. George Woods was a DJ at Philadelphia’s W.D.A.S. radio station.
When The Debronettes attended the audition at W.D.A.S. George realized that here was a group with potential. He was so impressed with The Debronettes that he called one of the mainstays of the Philly’s burgeoning music scene, Stan Watson, owner of Philly Groove Records. Stan liked the group, but not their name. So he signed The Debronettes, but got them to change their name. Now The Debronettes became First Choice. The lives of Rochelle Fleming, Annette Guest and Joyce Jones would never be the same. While success wasn’t quite overnight, it never is, except in dime store novels, success came quickly for First Choice. One man would play a huge part in the First Choice story, Norman Harris.
To produce First Choice’s debut single, Stan Watson brought in Philly-based guitarist, songwriter, arranger and producer Norman Harris. Norman was a founder member of Philadelphia International Records’ house-band M.F.S.B. and the guitarist in the Baker, Harris, Young rhythm section. By the time he met First Choice, he was establishing a reputation as one of the hottest producers of the time. With First Choice guided by Norman Harris, success wasn’t far away for First Choice.
With the newly named First Choice, they set about recording their debut single, This Is the House Where Love Died. It wasn’t initially a success, but when rereleased under license by Scepter/Wand gave First Choice a minor hit. Encouraged by the success of This Is the House Where Love Died, work began on First Choice’s debut album Armed and Extremely Dangerous.
Stan Watson couldn’t have chosen a better producer for First Choice. The reason for this is quite simple. Norman Harris wasn’t just a producer, he was a songwriter, arranger and one of the best guitarists of the seventies. He was also a founder member of M.F.S.B, Philadelphia International Records’ legendary house-band. At the heart of M.F.S.B, were the rhythm section of Ron Baker, Norman Harris and Earl Young. Known as Baker, Harris, Young, they provided the heartbeat to numerous Philly Soul classics. With Norman producing Armed and Extremely Dangerous what became Armed and Extremely Dangerous, this meant access to the creative talents of many of Philly’s most talented musicians, songwriters, arrangers and producers. Indeed, Armed and Extremely Dangerous features a cast of Philly Soul legends.
Norman Harris cowrote five of the tracks on Armed and Extremely Dangerous with Alan Felder. Another member of Baker, Harris, Young contributed a track. Ron Baker and Thom Bell cowrote One Step Away. Bobby “Electronic” Eli who establishing a reputation as a songwriter and producer cowrote This Little Woman with Carl Fisher. Other tracks included the Kay Rogers and Richard Ahlert composition Runnin’ Out of Fools, while Chuck Brooks penned A Boy Named Junior. The other track was a cover of a song made famous by Al Green, Love and Happiness. These ten tracks were recorded at Philly’s legendary studio Sigma Sound Studios, owned by Joe Tarsia.
Accompanying First Choice for the Armed and Extremely Dangerous’ sessions were many of M.F.S.B. Proving the album’s heartbeat were the Baker, Harris, Young rhythm section. Guitarists included Bobby “Electronic” Eli and Roland Chambers and James Grant played bass. Vince Montana Jr, who arranged two tracks, played vibes, while Larry Washington congas and bongos. Violinist Don Renaldo, was part of a full string section and horn section, which also included alto saxophonist Zach Zachary. Arranging Armed and Extremely Dangerous were Bobby “Electronic” Eli, Vince Montana Jr, and Norman Harris who produced the album. Armed and Extremely Dangerous was scheduled for release in 1973, Now First Choice’s career started in earnest.
The title-track Armed and Extremely Dangerous was chosen as the lead singe, reaching number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts. Considering this was only First Choice’s sophomore single, success had come their way quickly. Then when Armed and Extremely Dangerous was released in 1973, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. This was encouraging given Armed and Extremely Dangerous’ was First Choice’s debut album. Smarty Pants then reached number fifty-six in the US Billboard 100 and number twenty-five in the US R&B Charts. Newsy Neighbors was released as a single in 1974, reaching number ninety-seven in the US Billboard 100 and number thirty-five in the US R&B Charts. First Choice had now established their reputation as one of Philly’s up and coming groups. Three hit singles and a successful debut album, Armed and Extremely Dangerous, was proof of this. However, what does the music on Armed and Extremely Dangerous sound like, and has in stood the test of time, maturing like a fine wine since its release in 1973? That’s what I’ll now tell you.
Armed and Extremely Dangerous opens with Smarty Pants, the first of five Norman Harris and Alan Felder penned songs, which Norman arranged and produced. Bursts of breathy vocals, stabs of growling horns and Larry Washington’s congas and bongos build and build the drama. Then, with swathes of swirling strings and rasping horns for company, Rochelle’s delivers a sassy feisty vocal.Baker, Harris, Young provide the arrangement’s heartbeat and Bobby “Electronic” Eli adds a searing guitar. Punchy, urgent harmonies accompany Rochelle as she delivers a vocal that belies her years. Powerful, tenderness, sassy and smart, it’s all these things and more. Behind her, M.F.S.B. ensure the arrangement swings. Strings sweep and swirl, horns rasp and Vince Montana Jr, sprinkling the unmistakable sound of his vibes. Combine this with First Choice’s vocal prowess and you wonder why oh why, this wasn’t a huge hit single?
Runnin’ Out of Fools sees Rochelle take centre-stage. The rest of First Choice playing supporting roles. Earl Young’s drums, stabs of blazing horns and Vince Montana Jr’s vibes combine, before Rochelle delivers a powerful, heartfelt vocal. She lays bare her soul, displaying vocal that breathes meaning into the music. It’s as if she’s lived them. The arrangement has made in Philly written all over it. Cascading strings, subtle vibes, bursts of horns and the Baker, Harris, Young rhythm section accompany Rochelle. Cooing harmonies sweep in, but mostly it’s Rochelle plays a starring role, bringing life and meaning, to the heartache and hurt in the lyrics. He’s hurt her once, but not again. Later, Zach Zachary unleashes a growling alto-saxophone solo, setting the scene for First Choice to take the song to its emotive, heartfelt and dramatic finale.
the tempo slows way down on A Boy Named Junior, penned by Chuck Brooks. Sad strings, a harpsichord and Ron Baker’s bass combine as the emotion and sadness builds. When Rochelle’s vocal enters, the scene’s been set. Her vocal is wistful, full of emotion and sadness, remembering A Boy Named Junior. Memories come flooding back. Things they did, people they met and times they had. Pictures are painted by First Choice and M.F.S.B, who add a subtle, emotive backdrop. Norman Harris’ chiming guitar, Vince Montana Jr’s vibes and strings which are central to the arrangement and its effectiveness. Tender harmonies and strings accompany Rochelle’s melancholy vocal, as she delivers a vocal that’s melancholy, but tender and quite beautiful.
Al Green cowrote Love and Happiness, a track from his Love and Happiness album. Here, First Choice reinterpret the song. Just meandering, melodic keyboards accompany Rochelle’s tender vocal. Soon, the arrangement unfolds. Stabs of grizzled horns, Norman’s chiming guitar and keyboards accompany Rochelle. Her vocal veers between tender and spacious, to sensual and sassy. Gospel tinged harmonies and growling horns accompany her, answering her call. Mostly, Rochelle’s vocal is tender, suiting the song, but when M.F.S.B. kick loose, her voice grows in power and sass. Although quite different from Al’s original, this cover version really works well, bringing something new and different to the original.
Wake Up To Me, which closes Side One of Armed and Extremely Dangerous is the second Alan Felder and Norman Harris song. Norman arranges and produces this slow, thoughtful track. With the Baker, Harris, Young rhythm section providing a slow, pensive, backdrop, horns rasp, strings sweep and Vince Montana Jr, sprinkles his vibes. Having provided the perfect backdrop, First Choice do their part, adding tight, impassioned and soulful harmonies. Then when Rochelle steps out of the shadows, she delivers a vocal that’s needy, but filled with hope. Her voice grows in power and emotion, with the harmonies and M.F.S.B. providing a perfect, pensive and beautiful accompaniment.
Newsy Neighbors opens Side Two of Armed and Extremely Dangerous. It was one of three singles released from the album. Larry Washington’s congas and bongos give way to rasping horns, dancing strings and Baker, Harris, Young, who drive the arrangement along. Rochelle’s vocal soars powerfully above the arrangement, with harmonies sweeping in. Bursts of Earl Young’s drums add drama, Norman Harris’ guitar is understated and jazz-tinged, while Bobby “Electronic” Eli’s sizzles. Vince Montana Jr, adds vibes, strings cascade and horns kick, while Rochelle and the rest of First Choice drive each other to greater heights of soulfulness. This results in not just a First Choice classic, but a Philly Soul classic.
How do you follow one classic track? For First Choice it’s simple, with another, Armed and Extremely Dangerous. This was the lead and gave First Choice their commercial breakthrough. Like Newsy Neighbors, it was written by Alan Felder and Norman Harris. From the get-go, M.F.S.B. are in full flight. Larry Washington’s congas and bongos, swirling strings and sirens are joined by growling horns. Baker, Harris, Young do their part, providing a pulsating heartbeat. Urgent harmonies sweep in, surrounded by swathes of swirling strings and grizzled horns. Rochelle’s vocal is powerful and sassy, but tinged with regret. Highlighting the danger are Earl’s thunderous drums and stabs of horns. Rochelle unleashes one of her best vocals. Power, passion and emotion unitie with frustration and regret, at falling for a guy like that? While M.F.S.B. and First Choice play their part on the second classic track on Armed and Extremely Dangerous, Rochelle Fleming plays the part of the leading lady perfectly.
Carl Fisher and Bobby “Electronic” Eli cowrote This Little Woman, which Bobby arranged. It’s a slow ballad, where First Choice showcase their harmonies, against a string drenched backdrop. Vince Montana Jr, subtly sprinkles vibes and guitars weep, while Rochelle delivers a vocal that’s tender, thoughtful and filled with emotion. As the song progresses, the drama and emotion builds. Rochelle’s vocal grows in power, breathing beauty and meaning into the lyrics, while Annette and Joyce add some of the best harmonies on Armed and Extremely Dangerous.
There’s Spanish and Latin influences present when This Is the House (Where Love Is) opens. It’s the frantically strummed acoustic guitar, percussion, urgent strings and braying horns that makes me think this. Then the arrangement almost explodes. With the Baker, Harris, Young rhythm section powering the arrangement along, Rochelle’s vocal sees power and urgency combine. Sweeping, punchy, soaring, soulful harmonies have a similar urgency, as this Alan Felder and Norman Harris penned track reveals plenty of subtle poppy hooks.
Closing Armed and Extremely Dangerous is the Ron Baker and Thom Bell composition, One Step Away. A breezy flute floats above an arrangement driven along by Baker, Harris, Young. Strings sweep and swirl, horns rasp and Vince Montana Jr, adds vibes as Rochelle delivers a despairing vocal. “I’m one step away from self destruction,” she sings, while gospel tinged, soaring harmonies urgently answer her call. Bobby “Electronic” Eli adds a blistering guitar line, while strings cascade and Earl Young’s drums dramatically punctuate the arrangement. By now First Choice have hit their stride, the interplay between Rochelle’s lead and the harmonies peerless. It’s as if First Choice are determined to close Armed and Extremely Dangerous on a high. That they do and then some.
Earlier I wondered whether Armed and Extremely Dangerous had stood the test of time? The answer to that is simple, yes. Nearly forty years after First Choice released Armed and Extremely Dangerous, it’s an album that improved with age. With each listen, you hear something new. A subtlety or nuance reveals itself. You never tire of hearing the ten tracks on Armed and Extremely Dangerous. These songs, a mixture of ballads and uptempo tracks alike, are like short stories. They’re narrated by Rochelle Fleming in her own inimitable way. She breathes life, meaning and beauty into each track. While Rochelle Fleming was the leading lady in First Choice, Annette and Joyce played their part. Their harmonies were the finishing touche, the icing on this delicious musical cake.
Similarly, Norman Harris’ role was crucial. Norman Harris, produced Armed and Extremely Dangerous. He also cowrote five tracks and arranged seven of the ten tracks. Whatever project Norman produced, Ron Baker played bass and Earl Young played drums. Many of M.F.S.B. also played on Armed and Extremely Dangerous, and provided the Philly-made backdrop for First Choice’s vocals.
What’s remarkable about First Choice’s debut album Armed and Extremely Dangerous, is that in 1973. each of First Choice were still teenagers. First Choice’s performances on Armed and Extremely Dangerous belies this, showing that a great future lay ahead of the three members of First Choice. That was to be the case, with First Choice becoming one of the most successful of Philly Soul’s female groups. Armed and Extremely Dangerous their debut album, is one of the finest debut albums in the history of Philly Soul and nearly forty years later, is a stonewall, timeless classic. Standout Tracks: Smarty Pants, Wake Up To Me, Newsy Neighbors and Armed and Extremely Dangerous.
FIRST CHOICE-ARMED AND EXTREMELY DANGEROUS.
BLUE MAGIC-THE MAGIC OF THE BLUE.
BLUE MAGIC-THE MAGIC OF THE BLUE.
In the history of one of Philly Soul’s most successful groups, Blue Magic, 1974 was by far, the biggest year of their career. In January 1974, Blue Magic released their debut album Blue Magic. It was both critically acclaimed and commercially successful, reaching number forty-five in the US Billboard 200 and number four in the US R&B Charts. Then, their fourth single, SIdeshow, proved to be a game-changer. Not only did it reach number eight in the US Billboard 100 and number one in the US R&B Charts, selling over one-million copies. Blue Magic’s career was transformed. To build on the momentum of Blue Magic, Philly’s greatest songwriters, arrangers, producers and musicians got to work. The result was Blue Magic’s sophomore album The Magic of The Blue, which was released in December 2012. Would The Magic of The Blue replicate the success of Blue Magic?
For recording of The Magic of The Blue, many of the same personnel that worked on Blue Magic got to work. Bobby “Electronic” Eli and Vinnie Barrett, who’d penned Sideshow tried to recreate the magic of their million-seller. The result was Three Ring Circus. Their other contribution was Talking To Myself, while Bobby cowrote Love Has Found Its Way To Me with Alan Waldman. Vinnie Barrett also cowrote You Don’t Have To Tell Me Goodbye with James Kendricks and Norman Harris. That was one of four songs Norman Harris cowrote. With Pat Cooper and Ronnie Tyson, Norman cowrote Stringin’ Me Along. Alan Felder and Norman cowrote Never Get Over You and with Chuck Brooks cowrote Let Me Be the One. Ted Mills cowrote When Ya Coming Home and Ted Mills penned Looking For A Friend. Together with Morris Bailey Jr, and Edward Green’s Maybe Just Maybe (We Can Fall In Love Again), these tracks became Blue Magic’s sophomore album The Magic of The Blue. Like their debut album Blue Magic, recording took place at Philly’s premier recording studio, and where many Philly Soul classics were recorded, at Joe Tarsia’s Sigma Sound Studios.
At Sigma Sound Studios, work began in 1973. Blue Magic were joined by many members of Philadelphia International Records’ legendary house-band M.F.S.B. So, this meant the Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers and Tony Bell. They were joined by bassists Bob Babbit and Rusty Jackmon and drummers Charles Collins and John Nero. Vince Montana Jr, played vibes Larry Washington congas and Carlton Kent, Ron “Have Mercy” Kersey and Ted Mills piano. 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 Norman Harris, Vince Montana Jr, Bobby “Electronic” Eli and Jack Faith. Norman Harris produced eight songs and Bobby “Electronic” Eli, two tracks. Once The Magic of The Blue was recorded, it was released in December 1974. Could and would The Magic of The Blue replicate the success of Blue Magic?
Three Ring Circus was chosen as the lead single from The Magic of The Blue, reaching number thirty-six in the US Billboard 100 and number five in the US R&B Charts. While Three Ring Circus didn’t replicate the success of Bobby “Electronic” Eli and Vinnie Barrett’s million-seller SIdeshow, it gave Blue Magic a top ten US R&B Charts. When The Magic of The Blue was released in December 1974, it reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. While The Magic of The Blue hadn’t replicated the success of Blue Magic, matching the success of their debut album was a big ask. Maybe, The Magic of The Blue was lost in the run up to Christmas and a January release might have worked better. The second single was Love Has Found Its Way To Me, which reached number forty-five in the US R&B Charts. This must have been a disappointment for Blue Magic. However, The Magic of The Blue had cemented Blue Magic as one of Philly Soul’s biggest groups, as you’ll realize, when I tell you about the album.
Opening The Magic of The Blue is Three Ring Circus, penned by Bobby “Electronic” Eli and Vinnie Barrett. This was their sequel to Sideshow. Both have similar introductions. The sound of the circus, the barker encouraging the crowd to gather round. Then a melancholy backdrop of wistful horns, the lushest strings and a slow, thoughtful Baker, Harris, Young rhythm section sets the scene for Ted Mills’ vocal. It’s tender, tinged with sadness and heartache, with Vince Montana Jr’s vibes sprinkled underneath it. Swathes of strings sweep slowly above, before tight, heartfelt and soulful harmonies enter. They’re joined by bursts of rasping horns, added by Norman Harris, who arranged and produced the song. Brief bursts of Earl Young’s drums effectively reinforce the sheer beauty and emotion of the song, as Blue Magic start their second album where they left off on Blue Magic. Ted’s vocal and the harmonies show Blue Magic are back and just as good as before.
Stringin’ Me Along sees the tempo increase and Philly’s finest musicians kick loose. A guitar reverberates, strings are plucked and Earl Young’s thunderous drums help drive Ron “Have Mercy” Kersey’s arrangement along. Ted’s vocal is heartfelt, filled with hurt. Ron Baker’s bass anchors the arrangement, while horns blaze, strings swirl and the Baker, Harris, Young rhythm section provide a pulsating heartbeat. Harmonies cascade, hi-hats hiss, Bobby “Electronic” Eli adds his wah-wah guitar and Norman Harris adds some of his jazzy guitar licks. M.F.S.B. provide the perfect backdrop for Ted Mills’ vocal. He realizes he’s been fooled, strung along and lays bare his soul for all to hear.
You Don’t Have To Tell Me Goodbye has a dramatic sound from the opening bars. Growling horns combine with the Baker, Harris, Young rhythm section, frantic swirling strings, a piano and Bobby “Electronic” Eli’s wah-wah guitar. Ted’s falsetto vocal is filled with emotion, pleading and hoping. Vince Montana Jr’s vibes providing a subtle contrast, as Bobby “Electronic” Eli’s arrangement veers between subtle and understated to urgent. Harmonies sweep in, as if consoling Ted, at the hurt and heartache he’s going through. This is Blue Magic at their finest, bringing life, meaning and emotion to a song, so much so, that you can’t failed to be moved by this song.
Never Get Over You is another of The Magic of The Blue’s uptempo tracks. Strings sweep and swirl, horns rasp and kick and the Baker, Harris, Young rhythm section provide the song’s pulsating heartbeat. Harmonies unite joyously as Ted delivers an impassioned vocal. Rolls of drums punctuate the arrangement, Vince Montana Jr sprinkles his vibes and Bobby “Electronic” Eli’s wah-wah guitar joins dancing strings and soaring harmonies. The interplay between Ted and the harmonies is peerless. They’re swept along, atop the lushest of dancing strings, while M.F.S.B. produce one of their best performances on The Magic of The Blue.
Talking To Myself closes Side One of The Magic of The Blue, with Vince Montana Jr, arranging this Norman Harris produced track. The tempo drops, with the arrangement taking on a wistful sound. Strings and Thom Bell influenced horns combine are key to this. Meanwhile the Baker, Harris, Young rhythm section provide the slow heartbeat. Ted unleashes his falsetto, soaring emotively above the arrangement, with cooing harmonies proving the perfect accompaniment as Blue Magic. It’s hearbreakingly sad, laden with emotion and demonstrates just why, Blue Magic were one of the best, and most successful Philly Soul groups of the seventies.
Side Two of The Magic of The Blue opens with Let Me Be the One. AgainVince Montana Jr arranges, and Norman Harris produces this uptempo track. Quivering, shimmering strings cascade, horns blaze as Baker, Harris, Young produce dramatic, urgent backdrop for Ted’s pleading falsetto. Harmonies soar, questioning, begging, seeking favor, as they answer Ted’s call. Vince adds vibes, Bobby “Electronic” Eli a searing guitar and Earl Young bursts of thunderous drums. Norman Harris’ understated chiming, guitar and Vince’s vibes are just the finishing touches. Strings dance, as if appreciating the joyous, hook-laden music unfolding, as Blue Magic, become one, feeding off each other, encouraging each other to greater heights of soulfulness and joyousness.
Maybe Just Maybe (We Can Fall In Love Again) sees the tempo fall, but not the drama. Bursts of growling horns, plucked strings, rhythm section and wah-wah guitars accompany the heartfelt, thoughtful harmonies. They set the scene for Ted’s hopeful vocal. Swathes of strings are added, horns rasp as the vocal changes hands. It’s deliberate, impassioned and delivered with emotion. It takes its cue from Ted and when the baton passes to him, he takes things further, injecting even more passion to his pleas. Set against a string-drenched backdrop which adds to the emotion, and sense of hope and emotion, maybe, just maybe, happiness was round the corner.
Love Has Found Its Way To Me was another track written by Bobby “Electronic” Eli, this time with Alan Waldman. It’s Bobby’s searing guitar that opens the track, joining punchy, growling horns, swirling strings and the rhythm section. The song has a quite different sound, with Ted taking a back seat. Instead, the lead changes hands. Although quite different in sound and effectiveness, it still works, with the lyrics delivered with real feeling. Harmonies sweep in, and occasionally, Ted’s soaring falsetto, towers above the rest. While quite different from other tracks, it shows another side of Blue Magic. However, it might have been a very different and indeed better track, with Ted taking charge of the lead vocal.
When Ya Coming Home opens with a half-spoken, heartbroken vocal set against an understated arrangement. Just chiming guitars reverberate, while the rhythm section anchored by the bass provide a subtle backdrop. Lush strings take centre-stage, reflecting the heartache and hurt in Ted’s vocal. Bursts of tender harmonies, melancholy horns and Vince Montana Jr’s vibes all play their part in the arrangement. However, it’s the strings and Ted’s vocal that bring to life the sadness and emotion in Ted Mills and Alan Felder’s lyrics, helped no end by Jack Faith arrangement and Norman Harris’ production.
Closing The Magic of The Blue is Looking For A Friend, written by Blue Magic’s lead singer Ted Mills. The tempo slows way down, but the emotion and heartache grows. Just the Baker, Harris, Young rhythm section combine with rasping horns, quivering strings and Vince Montana Jr’s vibes. Ted seems to have kept one of his best vocals for last. His vocal starts off tender, growing in power. He combines heartache, hurt and raw emotion. Tight, soulful, harmonies sweep in, providing the perfect accompaniment, along with glistening strings and braying horns. While we already knew how talented Ted Mills was as a singer, he proves just how talented a songwriter he also is. This seems the perfect way to close The Magic of The Blue.
Trying to match the success of their debut album Blue Magic was never going to be easy for Blue Magic. This was something of a tall order, nearly impossible. After all, Blue Magic featured a timeless, Philly Soul classic Sideshow. Songs like Sideshow aren’t everyday occurrences for songwriters. Although Bobby “Electronic” Eli and Vinnie Barrett tried to write a successful followup Three Ring Circus, it never matched the success of Sideshow. Similarly, The Magic of The Blue didn’t match the success of Blue Magic. Maybe, Blue Magic was always going to set the bar high for future Blue Magic albums? Future albums would always be measured against the success of Blue Magic. Possibly, it would’ve been better if they’d built up to such a successful album. Now every album was compared with Blue Magic. Forever, comparisons would be drawn. By releasing the followup to Blue Magic, they’d gotten over this obstacle. Now they could get on with the rest of their career.
The Magic of The Blue didn’t disappoint. It may not have featured a single as successful as Sideshow, but cemented Blue Magic as one of Philly’s finest vocal groups of the seventies. WIth Ted Mills at Blue Magic’s helm, Norman Harris and Bobby “Electronic” Eli producing and many of the finest arrangers, songwriters and musicians in Philly working on The Magic of The Blue, it’s no surprise how good an album it is. Of the ten tracks, most of them are vintage Blue Magic. Especially when Ted Mills takes charge of the lead vocal. That’s when Blue Magic are at their very best. Although The Magic of The Blue never matched the success of Blue Magic, it has one thing in common, its quality. Not many groups release two classic albums in one year. Blue Magic did, releasing Blue Magic and The Magic of The Blue back in 1974. Standout Tracks: You Don’t Have To Tell Me Goodbye, Never Get Over You, Let Me Be the One and Maybe Just Maybe (We Can Fall In Love Again).
BLUE MAGIC-THE MAGIC OF THE BLUE.
BENNY TONES-CHRYSALIS REMIXES.
BENNY TONES-CHRYSALIS REMIXES.
Since Benny Tones released his debut album Chrysalis, on BBE Music back in April 2011, Benny has headed off on his travels. Benny’s globetrotting adventures have seen circumnavigate the globe several times. During his adventures, Benny has often worked with, and acted as engineer for his fellow countrymen Electric Wire Hustle. He’s played everywhere from his native New Zealand, the Glastonbury Festival, Europe and even in dusty Texan bars after dark. Adventures, I’m sure he’s had a few. Memories he’ll have many. To help remind him of his travels Benny’s brought back some intriguing mementoes.
Now usually, when people decide to travel the world, they bring back a few souvenirs of their travels, to remind them of their adventures. For most people, it’s usually a few photos, postcards or tourist wares. Not Benny Tones. What Benny’s brought back from his travels is not only totally unique, but a welcome surprise for his many fans. To remind Benny of his travels and adventures, Benny’s brought back thirty, yes thirty new remixes of the tracks from his Chrysalis album. These thirty tracks will be rereleased on 14th January 2013 as a digital download, entitled Chrysalis Remixes.
Among the thirty new remixes on Chrysalis Remixes are remixes from remixers that Benny’s met on his travels. So this means, remixes from Paris’ Tayreeb, Rome’s AD Bourke, Melbourne’s Opiuo, Berlin’s Comfort Fit, San Francisco’s B Bravo and England’s very own fLako. Then there’s remixes from Benny’s fellow New Zealanders TRUTH, Alphabethead and Sal Rosa. The list of DJs not only reflect Benny Tones’ extensive travels, but bring new life, meaning and energy into eight of the tracks from Chrysalis. With seven tracks chosen, sometimes, several remixers are given the chance to remix a track. What they’ve come up with is not only fascinating, but compelling. You’ll realized that when I tell you about some of the remixes on Chrysalis Remixes. Before that, I’ll tell you about Benny Tones.
Over the past few years, New Zealand’s music scene has been thriving. It’s one of the most vibrant musical scenes you’ll come across. Benny Tones is at the heart of that scene. Among the other artists at the heart of New Zealand’s vibrant and burgeoning musical scene are Fat Freddy’s Drop, Ladi6, Karlmarx and of course, Electric Wire Hustle. Indeed, Benny’s performed with and engineered for Electric Wire Hustle during his recent globetrotting travels. During the rise and rise of New Zealand’s musical scene, Benny’s been at the heart of it.
During his career, Benny Tones has undertaken a multitude of musical roles. He’s worked as engineer, DJ, producer and acted as sound tech for Electric Wire Hustle. As an engineer, Benny’s worked with Julian Dyne, Pacific Heights, Solaa, Harbour City Electric and Module. Given Benny’s experience working with other groups, it’s no surprise that he decided to set up his own audio engineering company, Organik Muzik Workz. This also worked well with his career as a producer.
Benny Tones has been producing his own beats since 2002, the year he moved to Wellington, to be at the heart of New Zealand’s musical scene Before that, he’d been a DJ. Moving from DJ-ing to production seems a natural progression for many DJs. However, not every DJ turned producer has what it takes to forge a second career.
Two things a producer needs is talent and patience. Benny has plenty of both. He spent the next four and a half years working on his debut album, Chrysalis. Eventually, Benny Tones released his debut album Chrysalis, on BBE Music back in April 2011. This was just the first step in Benny Tones’ musical journey. The next step would see him globetrotting, and in the process, collecting thirty musical mementoes of his adventures. These musical mementoes were thirty remixes of eight tracks from his debut album Chrysalis. They’ll be released as Chrysalis Remixes, which I’ll now tell you about.
Chrysalis Remixes features remixes of eight tracks from Chrysalis. The first of these is Aero:soul. There are four very different remixes from K*Saba, Negghead, Myele Manzanza and James Skylab. Each remix brings something new to the original track. Two remixes of Aero:soul demonstrate this perfectly. There’s a real moody, dramatic, ambient sound to K*Saba’s remix. Synths play a crucial role in this space-age, broody and cinematic soundscape. By contrast, Neggehead’s remix brings the slow, crunchy drums to the front of the mix. They play an important part in the arrangement, along with a pounding bass and squelchy, old-school synths. Bursts of vocals flit in and out of the arrangement. Soon, a melancholy, moody, but hopeful track unfolds. In many ways, it’s like two new track. Compare the two tracks side by side and you’ll hear very different takes on the original. What’s interesting is how each remixer started with the same stems, transforming them into such different, eclectic and captivating remixes.
Just like Aero:soul, On My Way has been remixed by four remixers. Again, they’ve looked at the original song from very different perspectives. Jetjaguar, Night Panther, Dunk and fLako’s approaches are unique. Whereas fLako uses the synths at the start, introducing the drums and Mara TK’s vocal, Jaguar uses drums to make a dramatic impact. He then a slight Eastern twist and adds effects to transform the vocal. Nightpanther’s Remix uses warm, shimmering synths, hissing hi-hats and a soaring vocal. Then a transformation takes place. Soon, the original track is deconstructed and reconstructed. Space is left, the vocal takes centre-stage. Everything else plays a supporting role, including handclaps, washes of synths and drums. Although each remix brings something new and innovative to the track, by a short head, Nightpanther’s remix is the best of the four.
Four remixers are given the task of remixing Home. Again, each of them have a unique take on the original. Ghost, TRUTH, Comfort and Dizz1 each get to work on the original, reinterpreting the original track. Although each remix is of the highest quality, Dizz1’s Kick Can I Kick It remix stands out and grabs your attention. Thunderous drums pound, not only testing the tolerance of your speakers, but your neighbor’s patience. As drums crash, the remix unfolds. Synths, bursts of samples and then Joe Dukie’s emotive vocal enter. Multi-tracked vocals, percussion and then later, dark, broody, Germanic synths join the mix. It seems the longer the remix goes, the better it gets, becoming dark, dramatic and pulsating. Of all the remixes on Chrysalis Remixes, this is one of the many, many highlights.
Odyssey seems almost seems autobiographical for Benny Tones. It certainly describes perfectly his musical globetrotting adventures. Three remixers, B.Bravo, Kamandi and Alphabethead take charge of remixing Odyssey. The result is three contrasting remixes. B.Bravo’s Lover’s Bounce remix has a lovely, warm sound. It place LP’s ethereal vocal centre-stage. As building blocks, stabs of mellow, shimmering keyboards and slow, spacious, crunchy drums are added. When the power and presence of the drums and the warm, melodic keyboards unite with LP’s vocal, it’s a truly irresistible combination, where musical influences and genres unite seamlessly.
By the time Chrysalis Remixes gets to Nevermind, Benny’s called upon five of his remixer friends. Each don their remixing hat, enter their laboratories, taking turns in twisting and transforming the stems of the original track. Called upon, are Tayreeb, Hooves and JPS, Sal Rosa, Quadrangle and Scratch 22. Play each track alongside the original and you’re spellbound, captivated. You wonder how they went from A to B? Innovative doesn’t even come close to describing each track, especially Quadrangle’s Deepstep remix. He toys and teases with you, before taking you on a mesmerizing, musical journey. Synths slither alongside Mara TK’s echoey vocal. Crunchy drums join twinkling synths, before Quadrangle twists the track. It veers between overpowering and broody, to elegant and ethereal. From there, you hungrily await the next twist in the tail. Layer upon layer of music reverberates, echoing, not just grandly and proudly, but in the case of the vocal, subtly, sparingly and elegantly. When Quadrangle mixes these layers of music together, the result is mesmerising, full of subtleties and surprises aplenty.
Five different remixers are given the chance to give Fire Fly a musical makeover. This includes AD Bourke, Nightshade, Chromatic, Organikismness and Opiuo. Each remix is like the different colors in an artist’s palette. Of the five, Opiuo’s 2008 Remix seems the most subtle when it meanders into being. That’s the first curveball. First appearances can be deceptive. Just synths, bursts of vocal, percussion and drums combine. Soon, it’s time for Opiuo to dig deeper into his palette. Using broader brush strokes, the music grows in power and presence. Synths beep, buzz, and squeak, drums are crisp and crunchy, while the vocal is echoey and punchy. Gradually, Opiuo decides to use even bolder brush strokes. The music pans from left to right, before washes of synths grow in drama, becoming moody and pensive. They provide the perfect backdrop to the heartfelt vocal. After that, one of the best, most moving and evocative remixes on Chrysalis Remixes takes shape, while proving the old adage, that first appearances can be deceptive.
The last remix on Chrysalis Remixes is Chrysalis, the title-track to Benny Tones’ debut album. Here LRD JXN, PepC & Coca, Christoph El Truento and Galapagoose take turns in reinventing the track. Each remixer brings their own ideas and influences to the track, but its LRD JXN who really makes an impression. Synths, gallop along, punctuated by bursts of urgent drums. Together they prove the perfect foil for the urgency and emotion in Sacha Vee’s vocal. Handclaps join squeaks and beeps from the banks of synths. Together, they add to the cascading drama, that unfolds at breakneck speed. A sensual, breathy vocal is swept along, by wave after wave of urgent music. It drives along, until eventually, you sense the track will reach a dramatic, gothic climax. There’s nowhere else to go. By the end of the track, you’re almost spent and exhausted. It’s been an enthralling musical roller coaster journey, one that’s variously grandiose, urgent and frenzied. Not only that, but it’s one of the real highlights of Chrysalis Remixes.
In many ways, Chrysalis Remixes tells the story of Benny Tones’ globetrotting musical adventures. It must have been like a musical Odyssey, that took him to the four corners of the globe, before he returned Home, to New Zealand. Big towns, small towns and even a Little City were all places he visited. At The Centre of each of destination, was music and musicians. Just like each country and its culture were very different, so were the remixers he met. They each brought something rich, eclectic and very different to the original track. The only thing they had in common, was they started with the same building blocks, each song’s stems. After that, it was up to each remixer to bring something, new and innovative. Every remixer involved in Chrysalis Remixes did so. Although sometimes, up to five different remixers remixed a track, each end-result is totally unique. Not once do two remixers come close to producing the same track. That’s what makes Chrysalis Remixes such a captivating and compelling project.
Not once when listening to Chrysalis Remixes did I get the urge to skip a track. Instead, it was like reading a book, each remix was like a new chapter, a new chapter in the musical adventures of Benny Tones. Apollo, the god of music, must have been smiling on Benny Tones during his travels. Indeed, thirty times Apollo watched over Benny, when he met each of the remixers who feature on Chrysalis Remixes. None of these remixers let Benny down. Each remix deserves its place on Chrysalis Remixes. I can see where Benny Tones was coming from when he said there was so many great remixes, that he decided to release them all. Thankfully, you won’t have to wait too long to hear Chrysalis Remixes. It’ll be rereleased on 14th January 2013 as a digital download, by BBE Music. Chrysalis Remixes not only sees the music on Benny Tones’ debut album Chrysalis reinvented, with new life, meaning and energy injected into the songs, but show how many talented remixers are out there, awaiting discover. To me, that bodes well for 2013, and the future of music. Standout Tracks: Aero:soul Negghead Remix, Home Dizz1’s ‘Can I Kick It’ Remix,Odyssey Alphabethead’s Afterlife Remix and Chrysalis LRD JXN RMX.
BENNY TONES-CHRYSALIS REMIXES.
dereksmusicblog
dereksmusicblog 