ORCHESTRE SUPER BORGOU DE PARAKOU-THE BARIBA SOUND 1970-1976.
ORCHESTRE SUPER BORGOU DE PARAKOU-THE BARIBA SOUND 1970-1976.
Samy Ben Redjeb, who was born in Carthage, Tunisia, to a Tunisian father and German mother, founded Analog Africa back in 2005. Since then, Analog Africa, the Frankfurt based reissue label, have prided themselves in seeking out the best in African music. More recently, Analog Africa have started to look further afield, delving into Latin music. All the music Analog Africa release, has has never previously been released outside of Africa. This means each of these compilations is like a voyage of musical discovery. Each compilation is accompanied by in-depth, carefully researched sleeve-notes, which bring to life the stories behind the music. Analog Africa have released music from Burkina Fasso, Angola, Ghana, Togo and Benin. Indeed, it was to Benin, Analog Africa turned to for one of their compilations earlier in 2012. Orchestre Super Borgou De Parakou-The Bariba Sound 1970-1976, was the fifth excursion Analog Africa had taken into Benin. It showcasing the Vodoun inspired rhythms of one of Benin’s most innovative bands, the Orchestre Super Borgou De Parakou. The Bariba Sound 1970-1976 features fifteen progressive tracks, from the Orchestre Super Borgou De Parakou. During these fifteen tracks, the Orchestre Super Borgou De Parakou seamlessly flit from Afro Beat, soul, pop, funk and Benin’s traditional music.
Head to the far north of Benin and you’ll come across the home of the Bariba and Denbi people. They originate from Kwara, a state in northwestern Nigeria. The Bariba people, who are mostly Islamic, have now settled in Borgou region, in Benin. Parakou is region’s pulsating capital, which has played an important role in establishing Benin as one of the heartlands of the Islamic funk belt of Togo, Ghana and Benin. Indeed, during the seventies, Benin provided some of the greatest music not just coming out of the Islamic funk belt, but coming out of the African continent. If Benin was one of most important countries in African music during the seventies, then the Orchestre Super Borgou De Parakou were one of Benin music’s greatest exponents.
The Orchestre Super Borgou De Parakou was founded by Moussa Mama, He was a musical innovator, Moussa took the music of Benin and fused it with Western music. His other influence was the music his father had heard whilst working as a goldsmith in Accra, Ghana. On his return, Moussa’s father taught others about the music he’d heard. Not only did Moussa’s father import music into Benin, but spread the word of the music he’d heard. As is often happens, music and its traditions were passed by word of mouth. Moussa’s father also imported music into Benin. Both his teachings and the music he imported into Benin, influenced both Benin’s musicians and his own son. Soon, bands were being formed, with his son Moussa forming one of Benin’s most important bands the Orchestre Super Borgou De Parakou. They became known as one of the most progressive, innovative bands in Benin.
Moussa Mama was a multi-instrumentalist when he formed the Orchestre Super Borgou De Parakou. Joining Moussa was Benin’s leading drummer Bori Borro and rhythm guitarist Menou Roch. Soon, the Orchestre Super Borgou De Parakou were fusing traditional music with modern music. So, traditional Bariba and Dendi songs and folklore were mixed with Islamic melodies, soul, funk, jazz, and breakbeats Add to this musical melting pot, pachanga, rumba and Afro Beat. When the Orchestre Super Borgou De Parakou played live, the performances were captivating.
When the Orchestre Super Borgou De Parakou played live, soon, their performances became legendary. It seemed that their fusion of traditional and modern music struck a chord with people. The music was pulsating, raw and infectious. Heartfelt, impassioned lyrics full of biting, social comments about the inequality and injustice suffered by the people of Benin. It wasn’t long before this delicious fusion of traditional and modern music came to the notice of one of Benin’s most important record companies.
Celestin Houenou Sezan was cofounded of Albarika Store, which was Benin’s biggest and most prestigious label. Soon, the Orchestre Super Borgou De Parakou were signed to the label. Indeed, the Orchestre Super Borgou De Parakou’s first release was an E.P. and was the first E.P. to be released by Albarika Store. Having recognized the quality and importance of the Orchestre Super Borgou De Parakou’s music, the label soon became the band’s biggest supporter and sponsor.
By then, the Orchestre Super Borgou De Parakou were becoming a voice for Benin’s disadvantaged and disenfranchised. They gave a voice to people who previously, had nobody to act as their advocate. So Albarika Store’s patronage allowed their music to be heard by a much wider audience. It also meant that the Orchestre Super Borgou De Parakou’s music was recorded for posterity. So when Analog Africa came along three decades later, the Orchestre Super Borgou De Parakou’s music was there, awaiting rediscovery by an even wider audience than either Albarika Store or Moussa Mama could’ve imagined. Analog Africa’s compilation Orchestre Super Borgou De Parakou-The Bariba Sound 1970-1976 features fifteen of their legendary recordings, which I’ll tell you about.
Straight away, when you start listening to Orchestre Super Borgou De Parakou-The Bariba Sound 1970-1976, you’re struck by the sheer energy, rawness and passion in the music. It’s a truly eclectic selection music. Traditional Benin music and folklore is music with modern, Western music. There’s everything from Afro Beat, soul, funk, pop and jazz combined with the tradition music of Bariba, pachanga and dendi. It’s captivating, compelling and truly infectious. From the Bariba Soul of Gandigui and Wegne ´Nda M ´Banda through the Bariba Afro Beat of Abakpé and A Na Gan Garo Ka Nam to the impassioned, heartfelt folklore Bariba Ko Guere the energy and passion shines through. Then there’s Afro Beat Dendi of Dadon Gabou Yo Sa Be No.2 and the epic closing track Adiza Claire which introduces you to the Cavacha Bariba sound. During each song, influences and musical genres melt seamlessly into one. African and Western music become one.
On Orchestre Super Borgou De Parakou-The Bariba Sound 1970-1976, two continents unite through one commonality, music. It’s spellbinding, captivating and enthralling. With each listen, you hear new sounds, influences and musical textures. Layer upon layer of music reveals itself. Musical subtleties, secrets and surprises gradually unfold. Moussa Mamma’s musical influence shine through, as does his passion. The lyrics are from the heart, giving voice to people who are isadvantaged and disenfranchised. Together, the Orchestre Super Borgou De Parakou collectively, provide a voice to people who previously, had nobody to act as their advocate. During the seventies, these people’s advocate was the Orchestre Super Borgou De Parakou.
Now over three decades later, Analog Africa have given the Orchestre Super Borgou De Parakou’s music the wider audience it so richly deserves. The fifteen songs that feature on Orchestre Super Borgou De Parakou -The Bariba Sound 1970-1976 are a captivating, compelling and infectiously catchy introduction to not just the Orchestre Super Borgou De Parakou, but the music on Benin. I’m sure that after you’ve heard and enjoyed the music on Orchestre Super Borgou De Parakou -The Bariba Sound 1970-1976, that this will be the first step on a musical journey, where you’ll hungrily seek out much more of the music of Benin. Standout Tracks: Gandigui, Wegne ´Nda M ´Banda, Abakpé and Adiza Claire.
ORCHESTRE SUPER BORGOU DE PARAKOU-THE BARIBA SOUND 1970-1976.
PAUL BUCHANAN-MID AIR-DELUXE EDITION.
PAUL BUCHANAN-MID AIR-DELUXE EDITION.
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. Before I tell you about the music on Mid Air and the disc of bonus tracks, I’ll tell you about Paul Buchanan’s musical career up to the release of Mid Air.
Blue Nile were formed back in 1981, when three former Glasgow University graduates decided to form a band. Although Robert Bell, PJ Moore and Paul Buchanan formed Blue Nile in 1981, it wasn’t until 1984 that they released their debut album A Walk Across the Rooftops, on Linn Records. While A Walk Across the Rooftops was well received, it wasn’t a huge commercial success. Since then, A Walk Across the Rooftops has been recognized as a minor classic. Having released their debut album in 1984, it would be five long years before the Blue Nile released their sophomore album Hats.
After a long five-year wait, during which the Blue Nile’s reputation as an elusive, mysterious group grew and grew. During that time, the Blue Nile recorded an album, didn’t like it and then, like a ritual cleansing of their mistakes burnt the master tapes. Then in 1989, the Blue Nile’s sophomore album Hats was released. Hats was released to critical acclaim and commercial success. It was after the release of Hats, that the Blue Nile decided to embark on one of their rare tours.
Given the Blue Nile are somewhat reluctant stars, who shied away from interviews, publicity it’s no surprise that live appearances were something of a rarity. I was fortunate to see the Blue Nile tour during that tour. That night, they played material from their first two albums, 1983s A Walk Across the Rooftops and 1989s critically acclaimed Hats. Lead singer Paul Buchanan said little between songs, and seemed almost awkward, embarrassed even, by the acclaim and applause the band were receiving after each song. Once the concert was over, people left looking forward to the next Blue Nile album. Little did they realize, it would be seven years after the release of Hats.
Seven years later, in 1996, Peace At Last was released, featuring a very different sounding Blue Nile, driven by Paul Buchanan’ acoustic guitar and featuring a gospel choir. Critics were divided about the Blue Nile’s new directions. Indeed, Peace At Last is something of a misunderstood album. Fans, however, loved Peace At Last. To them it was well worth the seven year wait. They hoped the next album wouldn’t take seven years to make. It didn’t, it took eight years.
The followup to Peace At Last, High, took even longer to make, eight years, but reached number ten in the UK album chart. Given the success of High critics and fans wondered whether at last, The Blue Nile had made their breakthrough. In typical Blue Nile fashion, no further albums were released by the band. Last year, the band’s thirtieth anniversary, rumors were rife about a new album, but nothing happened. Then earlier this year, Blue Nile lead singer Paul Buchanan announced he was releasing his debut solo album. If there was to be no further Blue Nile albums, then this was the next best thing. Mid Air was released on 21st May 2012 on Newsroom Records. However, how does Mid Air differ from The Blue Nile’s four albums?
Eight years after the release of 2004s High, it’s not just a very different sound that greets the listener on Mid Air, but a much older and wiser Paul Buchanan. He’s now fifty-six, and from the music on Mid Air, has spent much of his time reflecting on life and everything it has thrown him. Whether love or loss or pain and death, it has affected Paul and the music on Mid Air. While the death of one of Paul’s closest friends has caused him pain and hurt, making him reflect on mortality, the breakup of The Blue Nile caused him pain and hurt. The Blue Nile were more than just a band, they were three close friends for over thirty years. So, the breakup of the band that Paul thought would last forever was another loss to Paul. This plus everything that’s happened to him in the past eight years has shaped the music on Mid Air.
Mid Air features fourteen songs that Paul wrote in his flat in Glasgow’s west end. With just a piano in his kitchen for company, Paul spent the early hours of many a night writing the songs on the album. Rather than write the songs on his trusty guitar, he preferred the immediacy of the piano. He could just sit down whenever he wanted, working on an idea for a song. Eventually, Paul had fourteen songs written, the recording took place mostly in his Glasgow flat, but also at a studio in Glasgow. Recording of Mid Air took place over two years, with Cameron Malcolm, son of Calum Malcolm The Blue Nile’s former producer. Helping Paul complete the album was Robert Bell, The Blue Nile’s bassist. Eventually, after two years, Mid Air was released on 21st May 2012. How would the album fare compared to The Blue Nile’s four albums?
On the release of Mid Air, the album reached number fourteen in the UK. This meant that Mid Air had almost matched the success of The Blue Nile’s most successful album High, which had reached number ten in the UK. In his native Scotland, Mid Air reached number one, while it reached number four in Ireland. It seems that fans loved the older, wiser and more pensive Paul Buchanan that features on Mid Air. However, why has Mid Air proved so popular? That’s what I’ll tell you after I’ve told you about some of the highlights of Mid Air.
Opening Mid Air is the title-track Mid Air, the first of fourteen short tracks. It seems Paul has heeded Brian Eno’s maxim that a shorter song is a more effective one. It’s just two and a half minutes long, with Paul playing the piano that accompanies him. Straight away, when that familiar voice washes over you, it’s apparent that Paul’s emotive vocal has the same quality that we last heard on High. Neither has he lost any of his talent as a songwriter. Instead, he’s matured as songwriter, with his lyrics pensive, thoughtful and melancholy. His vocal is tinged with sadness and regret at the memories he recalls. Later, wistful strings sweep in, adding to the emotion and sadness of the track. The sparse, pared down arrangement works beautifully, complimenting Paul’s vocal and leaving you wanting more, much more of Mid Air.
For anyone whose spent anytime as a night-owl, sitting, thinking and wondering, then Half The World could’ve been written for them. Opening with the lyrics “half the word has gone to street, half the world is on its knees,” to me, the lyrics paint a picture as Paul sitting in his Glasgow flat, observing the city as it sleeps. He thinks, thinks about the wider world, turning ideas over in his head and in doing so, his stream of consciousness becomes a song, a very good song. In fact, it’s one of the highlights of Mid Air. Just Paul playing the piano and singing some contemplative, intelligent lyrics, before briefly, subtle, melancholy strings make a fleeting appearance. That’s all it takes to make this haunting, heartfelt song one of the highlights of Mid Air.
Newsroom is another late-night song, full of heartbreak, loneliness and hurt. Paul sets the scene with the lyrics “last out the newsroom turn out the lights,” before delivering a triumvirate of moving, hugely emotive lines. “There’s no-one left alive, there’s no-one to make love to, no-one to blame.” The contrasts between the banality of turning out the lights, and the sense of desolation, desperation and loneliness felt by the life of song’s central character is huge. Here, with just the piano accompanying Paul the tortured troubadour, he gets across the sense of bleakness that the reality that their life has become. With Paul’s almost emotionless delivery and the lo-fi arrangement, this works beautifully, but leaves you thankful it isn’t you Paul is singing about.
When you hear I Remember You, there’s a real Blue Nile sound and influence, especially their debut album A Walk Across the Rooftops. It’s the use of synths and gentle horns that accompany Paul and his piano. He’s reflecting, in a contemplative mood, with the arrangement meandering into the spaces left by his vocal. His vocal is laden with emotion and memories. Later, when Paul briefly hesitates, and has to restart the line, this adds to the effectiveness and poignancy of this powerful track.
Wedding Party is a track that demonstrates Paul Buchanan’s talent as a songwriter. Not only does he paint pictures that unfold before your eyes, but he sounds as if he’s lived the lyrics he sings. His Wedding Party is like a tragi-comedy, complete with “tears in the car park” as a former lover marries someone else. Much as she tries, she can’t let it go, the hurt and regret haunting her every waking hour. The addition of the haunting piano and almost broody, menacing strings add to the effectiveness and sadness of a track that many people will be able to relate to, with its sense of love lost, but not forgotten.
Two Children is like a two minute short story set to music by Paul. He paints the picture of a couple with what seems a perfect life. They’ve “Two Children…flowers in every window…and…apples on every tree.” Their relationship is just a facade, with the couple really just two children, playing at grownups. Paul’s delivery has a tenderness, but is tinged with sadness that the reality of the situation can no longer be ignored. With just the piano and melancholy strings accompanying him, this reflects the sadness and pathos of situation perfectly ad subtly.
Tuesday is a relationship, with Paul singing of the “early morning phone call,” and its plea for forgiveness and a return to “how things used to be.” You get the sense that he’s fallen for this before, but lived to regret it. Things you see, can never be same. There’s always the doubts and blame. Paul’s voice reflects this, with piano strings and standup bass providing a complimentary backdrop to this tale of love lost and heartbreak. Older and wiser, Paul knows that things are never the same again, time and experience prove this.
Closing Mid Air is After Dark, the longest track on the album, just under four minutes long. Given how slowly The Blue Nile and Paul Buchanan produce albums, I find myself willing Paul to close Mid Air on a real high. True to form, Paul doesn’t disappoint. He’s kept one of the most melancholy and beautiful tracks until lost. It’s a paean to love, but not in the traditional sense. It’s a love song, but one he sings to Glasgow and its nocturnal side, After Dark. As someone who knows and loves Glasgow, I can only concur with Paul’s sentiments. Paul just playing piano as he gives one of his most impassioned, heartfelt vocals, opening up his heart and singing about the one thing and one place that’s been ever-present during his life, his hometown of Glasgow.
Where the Deluxe Edition of Mid Air differs from the original release in May 2012, is the addition of a second disc of bonus tracks. These offer a revealing insight into Paul Buchanan and his music. There are ten tracks on Disc Two, with three tracks from Mid Air, After Dark, Tuesday and A Movie Magazine transformed into instrumentals. They’re captivating tracks, which show another side to Paul’s music. My True Country is also given a makeover, while Buy A Motor Car is remixed by Robert Bell, Paul’s old Blue Nile bandmate.
There are four tracks on Disc Two that aren’t on Mid Air. The first is Have You Ever Been Lonely, a track that isn’t on Mid Air is one of the most, emotive, heartfelt tracks Paul has recorded. Two other new tracks are Lost, Duty and Lost, which are both welcome additions, providing an insight into Paul’s music. God Is Laughing closes Disc Two, and it’s as if Paul is laying bare his soul, seeking answers and meaning to life and its foibles. For me, this is the classic Paul Buchanan and the perfect way to close Disc Two of Mid Air.
Having spent the last few weeks reveling in the subtleties, nuances and charms of Mid Air, 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, as is 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 from start to finish.
Maybe before Paul turns sixty, we’ll have the followup to Mid Air. I sincerely hope that this is the case, because the Paul Buchanan that can he heard on Mid Air is compelling, emotive music. 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 addition of the second disc of bonus tracks offers further insight into Paul Buchanan and his music. 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. Standout Tracks: Mid Air, Newsroom, Wedding Party and After Dark.
PAUL BUCHANAN-MID AIR.
TWELVE OF THE BEST COMPILATIONS OF 2012 PART ONE-JANUARY TO JUNE.
TWELVE OF THE BEST COMPILATIONS OF 2012 PART ONE-JANUARY TO JUNE.
Having recently picked what I regard as the six box sets from 2012, it’s now time for me to pick twelve of my favorite compilations of 2012. To do this, I’ve had to listen to literally a mountain of music. There’s been so many great compilations during 2012, that choosing just twelve wasn’t easy. In fact, I could just as easily have picked twenty or thirty albums. What I decided to do was pick an eclectic selection of compilations. I could easily have picked my personal favourites. That would’ve meant plenty disco and Philly Soul. Instead, I choose an eclectic selection of music. This list excludes box sets and rereleases of albums. It’s purely a selection of some of the best compilations of 2012.
The first compilation of 2012 I’ve chosen is Deep Disco and Boogie Volume 1, released by the Dutch label Kindred Spirits. Deep Disco and Boogie Volume 1 was compiled by crated digger and record dealer extraordinaire Zaf Chowdry. This would be the first of two compilations Zaf compiled during 2012. Later in 2012, he compiled Private Wax for BBE Music. That was still to come, and Deep Disco and Boogie Volume 1 set the standard high for his second compilation of 2012.
On Deep Disco and Boogie Volume 1, Zaf has selected twelve slices of the deepest disco and boogie. This includes that rarities from China Burton, Cash and Roy Ayers, sitting comfortably beside the lush sounding C.C. Cameron track Live For Love and the fabulously funky Ojeda Penn. These are just a few of the gems to be found on Deep Disco and Boogie Volume 1.
By digging so deep, and unearthing so many hidden gems, Zaf has avoided many of the tired and familiar tracks that often feature on similar compilations. Instead, Zaf Chowdry has dug deep into the crates, to find twelve tracks as good as this. There’s disco and boogie, but with a soulful and funky influence with even gospel twist on Ricky Womack and Christian Essence’s I Need You. All this means Deep Disco and Boogie Volume 1 is an eclectic and compelling compilation. As to the quality of music on Deep Disco and Boogie Volume 1, it’s consistent throughout, without any faux pax or filler.
DEEP DISCO AND BOOGIE VOLUME 1.
Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996 is best described as the soundtrack to the voguing scene during a ten-year period. Disc One includes music by Inner Life, Cheryl Lynn, Loose Joints, Diana Ross and Masters At Work. Then on Disc Two, the quality keeps on coming. There’s tracks from M.F.S.B, First Choice, The Salsoul Orchestra, Junior Vasquez and Nitro Deluxe.
If you decide to buy the three disco set of Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996, it features a Junior Vasquez mix. Not only does Junior Vasquez’s mix feature every track on the album, but includes a track by Ellis D. As a bonus, the triple disc set includes a limited edition set of black and while postcards, featuring photographs of the voguing scene. For all the extra cost of the triple album, it’s well worth spending the extra for Junior Vasquez’s mix and the postcards. Put simply, Soul Jazz Records Presents Voguing and The House Ballroom Scene 1976-1996 is a luxurious compilation, that was lovingly compiled and documents one of the most important musical scenes of the late 20th century.
SOUL JAZZ RECORDS PRESENTS VOGUING AND THE HOUSE BALLROOM SCENE 1976-1996.
Johnny D Presents Disco Jamms Volume 1, which was released in April 2012 isn’t a compilation of tracks from Johnny D’s Henry Street label. Instead, it’s music that personal to him, music that helped shape his Henry Street label. They’re tracks from a variety of sources. This ranges from his crate digging expeditions across New York’s record shops, to tracks that he heard on Shep Pettibone and Frankie Crocker’s radio shows. Add to that, tracks he’d heard in clubs or alternative mixes of classic tracks he’s discovered. By now, you’ll have realized that this is music from a wide range of sources. These says Johnny D are his “secret weapon tracks” and “real disco.” On Johnny D Presents Disco Jamms Volume 1, Johnny shares these “secret weapon tracks.”
On Johnny D Presents Disco Jamms Volume 1 on BBE Music, you’ll find a total of twenty tracks on two discs. Unlike other inferior disco compilations, Johnny D digs deeper, in his quest to find this refreshingly eclectic collection of music. There’s everything from Philly Soul, house and Euro Disco, to soul, R&B and disco. It allows you a sneak preview into the world of Johnny D’s musical influences and DJ sets.
This means music ranging from the Philly soul of The O’Jays, the classic house of Klein and MBO’s Dirty Talk, the Euro Disco of Cerrone’s Look For Love. Then there’sthe Brooklyn, Bronx and Queen’s Band mixture of R&B and post-disco on Time For Love. By now, you’ll realize the quality of music on the compilation. If that’s not enough, how about the soul of Ashford and Simpson’s One More Try, Skky’s classic disco track Call Me or the electro disco of the B Beat Girls’ For the Same Man.
Quite simply, Johnny D is a man with an impeccable and eclectic taste in music, and on Johnny D Presents Disco Jamms Volume 1, he throws just a few musical curve balls. This is what makes this compilation just so irresistible. You never know what to expect next. Never try to second guess Johnny D, as it’s almost impossible to guess what direction Johnny D Presents Disco Jamms Volume 1 will take next. Hopefully, as I write this, Johnny D is working on Volume 2, given the quality of music on Johnny D Presents Disco Jamms Volume 1 on BBE Music.
The Best of Perception and Today Records was released back in April 2012, by BBE Music. This two-disc set, contained thirty tracks, which are a perfect introduction the majestic music of perception and Today Records. Compiled by DJ Spinna and BBE Soundsystem, The Best of Perception and Today Records features a combination of familiar tracks and hidden gems.
Perception Productions were founded in the late sixties by Terry Phillips and Boo Frazier in New York. Their first signings were some of the biggest names in the history of jazz music. This included pianist and vocalist Shirley Horn, legendary trumpet player Dizzy Gillespie and saxophonist and flautist James Moody. This trio of greats had produced some of the most important and influential music in the history of jazz music.
When Perception decided to branch out into other genres of music, they decided to found a new label, Today Records. It released mostly soul and funk music. A young producer, Patrick Adams, proved to be crucial in the success of Today Records. Together with Bill Curtis of The Fatback Band, the duo would drive the label on, releasing some of the most memorable music in the label’s history.
On Disc One of The Best of Perception and Today Records are tracks from Dizzy Gillespie, Astrud Gilberto, Black Ivory, Wanda Robinson and J.J. Barnes. There’s hidden gems from lesser known artists like One Life, Joe Thomas, Madhouse and The Eight Minutes. These tracks range from jazz, soul, funk and Latin music, demonstrating the real eclectic nature of Perception and Today Records.
Disc Two of The Best of Perception and Today Records features a similar eclectic selection of music. These fifteen tracks vary in style, with sizzling funk sitting side by side with some soulful cuts. There’s a Latin tinge comfortably sitting beside the psychedelic stew of Bartel. There’s even one of Wanda Robinson’s poems set to the music of Julius Brockington. This demonstrates the sheer quality of music that can be found in the back-catalogue of Perception and Today Records. For anyone yet to discover either label, then The Best of Perception and Today Records is the perfect starting point.
During 2012, Harmless Records’ released three new volumes of their Disco Recharge series. Given how good each of these compilations were, I could easily have included Disco Discharge-Disco Exotica or Disco Discharge-Midnight Shift. Instead, I decided to choose what was Harmless Records’ rifteenth compilation in their Disco Discharge series in April 2012. This was Disco Discharge-Europa, the fourth compilation celebrating European Disco. Following the success of Disco Discharge-Euro Disco, Disco Discharge-European Connection and Disco Discharge-Euro Beats comes Disco Discharge-Europa, twenty-four slices of Euro and Italo Disco. Again, compiler Mr. Pinks has determinedly, dug deeper in his quest to bring you some of the best, and hottest, Euro and Italo Disco of the eighties.
The twenty-four discs on Disco Discharge-Europa were the perfect disco soundtrack to the summer. Twenty-four tracks filled two discs. On Disc One there were tracks from Taco, Loco Loco, Rose Laurens, Adelph and Digital Emotion. Disc Two contained even more goodies. This included tracks from Cleo, Swan, Lee Marrow, Alan Barry, Vanessa and Dr. Groove.
RICHARD SEN PRESENTS THIS AIN’T CHICAGO.
When I first received Richard Sen Presents This Ain’t Chicago released on Strut Records in June 2012, I was instantly transported back to 1985, when I first heard Chicago House music. Straight away, I realized that things were about to change. This wasn’t just a musical fad, this was something very different. Fast forward two years to 1987, and the Acid House scene was exploding in the UK. For the next few years, the old order was overthrown. Little did we know the effect Chicago house music would have. Soon, house music would become one of the most important musical genres in musical history. However, it wasn’t just American producers that were producing house music, so were their British counterparts, as Richard Sen Presents This Ain’t Chicago documents.
Richard Sen Presents This Ain’t Chicago is a double album of UK House and Acid House tracks recorded between 1987 and 1991. These producers were among the first wave of UK producers. Unlike nowadays, there were no Apple Macs running Logic, Ableton Live or Pro Tools. Instead, it was all very different, with the equipment much more basic or lo-fi. Drum machines, synths, samplers and sequencers were all you had. Either you recorded these tracks onto a basic four-track recorder, or if you had the money, hired a recording studio. Sometimes, a vocalist was used, but all too often, samples were all the producer had. Given how basic the equipment was, the results are quite amazing.
Disc One of Richard Sen Presents This Ain’t Chicago features thirteen slices of UK House and Acid House, produced between 1987 and 1991. These new, young producers were among the pioneers of this new scene. They were based throughout the UK, ranging from Manchester in the North West, Birmingham in the Midlands and London in the South. Among them, are Bang the Party, Baby Ford, The Man With No Name, May and Julie Stapleton, these will bring back memories of clubs like Manchester’s Hacienda and Heaven in London. They’ll also be the soundtrack to many a forty-something’s clubbing days.
For many a veteran clubber the music on Disc Two of Richard Sen Presents This Ain’t Chicago will bring back memories. They’ll remember dancing in dank, dark warehouses. That’s after spending half the night traipsing up and down motorways, A-roads and dimly-lit side-streets. Eventually, you arrived, following the noise of the P.A. and the stream of up-for-it ravers. Once there, you might hear tracks from Sly And Lovechild, Static, Colm III, The E.L.F. and Annette. Listen to the eleven tracks on Disc Two and just like the music on Disc One of Richard Sen Presents This Ain’t Chicago, hazy memories of hedonistic nights, where anything went and usually did will come flooding back.
RICHARD SEN PRESENTS THIS AIN’T CHICAGO.
These six tracks are among my favorite compilations released between January and June 2012. Given how many great compilations were released, I could’ve chosen many other albums. Truly, I was totally spoilt for choice. I started with a mini-mountain of albums, and gradually whittled them down to just six. Although some compilations picked themselves, others were much more difficult to choose. Indeed, on another day, I might choose differently. However, these are the compilations I’ve decided are my six favorites released between January and June 2012. I’m sure choosing my six favorite compilations released between July and December 2012.
BEST COMPILATIONS OF 2012 PART TWO-JUNE TO DECEMBER.
BEST COMPILATIONS OF 2012 PART TWO-JUNE TO DECEMBER.
JOHNICK-YOU KNOW HOW WE DEW.
One of the most eagerly awaited compilations of 2012, was JohNick’s You Know How We Dew, released by BBE Music in August 2012. You Know How We Dew was a double-album featuring twenty-two tracks from Johnick, Johnny D’s collaboration with Nicky Palermo. Many tracks were released during the nineties, mostly on Johhny D’s Henry Street label. Johnny D and Nicky P’s were much more than musical collaborators, but lifelong friends, who embarked upon their musical adventure back in Brooklyn. Their friendship would result in Johnny D and Nicky P releasing some of the most innovative and successful deep house music of the nineties.
Johnny De Mairo and Nicky Palermo Jr, first met in Brooklyn, through their love of music. They lived in the same neighbourhood, and were aspiring mobile DJs by their early teens. They DJ-ed at parties throughout the borough of Brooklyn. Soon, they were hanging out together. The after spending time with Kenny “Dope” Gonzales, one half of Masters At Work, watching him produce music at home, Johnny D started making music.
It was the rawness and energy of the music Kenny was producing, Johnny liked Soon, Kenny was encouraging Johnny to buy a drum machine and sampler. Kenny showed Johnny the basics. Having learnt how to use his new equipment, Johnny taught Nicky and JohNick was born. Soon JohNick’s music was seen as some of the most innovative and influential house music.
Throughout the nineties, JohNick were releasing tracks on Henry Street Music. By 1995, JohNick released their biggest single, Play the World, based on First Choice’s The Player. From there on, JohNick continued to release innovative and influential music, using disco as part of their inspiration. The disco influence can be heard on many of You Know How We Dew. This music gave birth to a new musical genre French Touch and classic aplenty.
You Know How We Dew features some JohNick classic, where old disco tracks are sampled. Three tracks from Disc One are proof of this. The Captain, a track from their 1997 album Non Stop, samples Carrie Lucas’ Dance With Me. Major Sea is a track from JohNick’s The Bay Ridge EP 2, released in 1992, samples Cerrone’s Love In C Minor. Johnick Planet, released in 1998, samples of Dexter Wansel’s Life On Mars. On Disc Two, Open Your Eyes, another track from JohNick’s 1997 album Non Stop, doesn’t just feature one sample, but two. These are the Rolling Stones’ Start Me Up and then Saint Tropez’s One More Minute. Although Heat doesn’t feature any samples, but is one of the best examples of what became known as French Touch, a musical genre JohNick invented.
The best way to describe JohNick’s music on You Know How We Dew is some of the most innovative and influential music of the nineties. For anyone yet to discover JohNick’s music, then You Know How We Dew, released by BBE Music is the perfect starting point.
JOHNICK-YOU KNOW HOW WE DEW.
PRIVATE WAX.
Private Wax, released by BBE Music in August 2012, is the second compilation compiled by Zaf Chowdry, crate-digger and record dealer to the stars. It’s a sixteen track compilation of deep disco and boogie. Many of the tracks are extremely rare and collectable. The sixteen tracks were either privately pressed by the artists involved, or by small, unknown record companies. These tracks weren’t hits. Instead, they disappeared without trace. After that, these tracks languished unloved, lying in dusty basements awaiting discovery. That’s where Zaf, of Zaf Music, the compiler of Private Wax comes in.
When Zaf was compiling Private Wax, he dug deep, seeking out some of the rarest hidden gems in boogie and disco’s history. This includes discovering some real golden nuggets tucked on the B-side of singles. Among them are Mr. Fox’s Party Track, Pure Love’s D.I.S.C.O. Spells Love and Gregory Jolly’s What ‘Em Doing Is My Business. So good are this trio of tracks, that you wonder why they were only released as B-sides? After all, the A-side of these singles were hardly roaring successes? Not only has is his new compilation in Private Wax one of the best compilations this summer, but buying it saves you a small fortune. Buying each of the sixteen tracks individually would not only be prohibitively expensive, but would probably prove impossible, given how rare many of these tracks are.
Indeed, Private Wax isn’t just a compilation that anyone who loves either boogie or disco will adore, but so will anyone who likes their music funky or soulful. From the opening bars of Ashanti’s only single Dance right until the closing beats of Soseme Makonde’s fusion of funk, soul and Afrobeat you never once lose interest. You never once reach for the remote control and skip a track. Instead, you’re spellbound, swept away by sixteen slices of sumptuous boogie and disco. For that, Zaf Chowdry deserves our thanks.
PRIVATE WAX.
INTERNATIONAL FEEL-A COMPILATION.
During 2012, I’ve literally reviewed compilations from the four corners of the world. In October, I reviewed International Feel-A Compilation, released by International Feel Recordings. The label was founded in 2009, by Mark Barrott. Since 2009, International Feel Recordings have been releasing electronica and Balearica. This includes singles from DJ Harvey, Gatta Fritto, Efeel, Rocha, Coyote, Hungry Ghost and Bubble Club. That’s not forgetting albums from DJ Harvey and Gatta Fritto, plus compilations that include International Feel and Locussolus Remixes. Tracks by many of these artists feature on International Feel-A Compilation, the label’s latest release.
International Feel-A Compilation is a double-album, showcasing some of the label’s roster. This includes some of previously releases. Included on International Feel-A Compilation are previously unreleased tracks, plus track that previously, were only available on vinyl. In many ways, International Feel-A Compilation is the perfect introduction to the music on International Feel Recordings.
Among the highlights of Disc One of International Feel-A Compilation are Gatta Fritto’s The Curse, International Peoples Gang’s Second and Flights of Fancy’s ambient soundscape Spacebird. Parada 88’s You’re Gonna Miss Me is fusion of musical genres, including house, techno and Acid House. Disc Two sees the quality continue. Bepu N’Gali’s I Travel To You sees tribal and deep house unite, while Rocha’s Night Music has a much more experimental, leftfield sound. Hungry Ghost’s (I Am A) Series Of Strange Loops has an eerie, captivating and space-age sound that grabs your attention. It shows that there are still some innovative producers making music, that’s challenging, intriguing and compelling.
The music on International Feel-A Compilation is an eclectic selection of electronica. right through to International Feel’s trademark Balearic sound. Many of these artists won’t be familiar to most people, so International Feel-A Compilation is very much a voyage of discovery. These are just a taster of their first thirty-six releases, since Mark Barrott formed International Feel Recordings in 2009. Once you’ve heard the music on International Feel-A Compilation, it won’t be long before you’re delving deeper into International Feel’s back-catalogue.
INTERNATIONAL FEEL-A COMPILATION.
PSYCHEMAGIK PRESENTS MAGIK CIRCLES.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Circles, released in October 2012. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a twelve-track compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more. Four of the tracks are new edits by Psychemagik. On Disc Two, these twelve tracks are seamlessly mixed by Psychemagik. Not only do these twelve tracks showcase Psychemagik’s passion for crate-digging, but celebrate their eclectic taste in music.
When you listen to the twelve tracks on Psychemagik Presents Magik Circles, you’re struck by the sheer eclecticism of the music. There music from France, Italy, Greece and Lebanon, ranging from psychedelic funk, jazz, Balearica, Middle Eastern beats, rock, Latin and prog rock. Often, numerous musical genres are fused in one track. The Bear Brothers’ Love Is sees funk, rock and soul combined. Even more eclectic is Epsilon’s Ayayaya, where Krautrock, psychedelia, soul and cosmic funk combines with psychedelia and space-age sounds. Similarly, Miro’s Safari of Love sees classical music, electronica, ambient, prog rock, disco, funk and rock mixed together in a musical melting pot by Psychemagik.
Each time you listen to the twelve tracks on Psychemagik Presents Magik Circles, you hear something new and different. Layer upon layer of music unfolds, as musical genres merge into one. Most of the tracks on Psychemagik Presents Magik Circles have lain undiscovered and unloved since their release. Thankfully, Psychemagik have rediscovered them and brought them to a wider audience on Psychemagik Presents Magik Circles. If you like your music eclectic, then a treat awaits you on Psychemagik Presents Magik Circles.
PSYCHEMAGIK PRESENTS MAGIK CIRCLES.
ONLY 4 U: THE SOUND OF CAJMERE AND CAJUAL RECORDS.
For the last twenty years, Cajmere has been one of the most influential and innovative producers of the Chicago house music scene, releasing music on his Cajual Records imprint. Twenty years after Cajmere founded Cajual Records in 1992, Strut Records released Only 4 U: The Sound of Cajmere and Cajual Records in October 2012. For anyone who remembers Cajmere’s early releases and followed the progress of Cajual Records this will come as a welcome reminder of the man who helped breath life into a Chicago house scene that was at a crossroads.
Pioneers of Chicago house like Marshall Jefferson and Frankie Knuckles had moved on, while innovative labels like Trax and DJ International had peaked. What was needed was someone who’d kick start a stagnating scene. Enter a man with just a sixty Dollar keyboard, drum machine and basic four-track recorder. Single-handedly, and with patience and determination Curtis A. Jones created some of the music that breathed life and energy into Chicago’s somewhat stagnant music scene.
Cajmere’s first production was the Underground Goodies E.P. released on Clubhouse Records. Not long after that, Cajmere founded Cajual Records and released Coffee Pot, which after being renamed as Percolator, gave Cajemere a worldwide hit. After that, neither Cajmere nor Cajual Records looked back. Soon, Cajmere was releasing tracks, collaborating with other artists and releasing tracks by other artists. He released Chit Chat in 1992. Then Johnny Fiasco released Taurus, a track from his 1993 E.P. Movin’ on Cajual Records. Dajae released Day By Day in 1995, a track from his 1994 album Higher Power. Deep Sensation. a Scottish production team, released Get Together in 1996 and in 1997, Andre Harris released I Can’t Take It. During this period, Cajual Records had entered the most prolific period of the label’s history.
By the turn of the new millennia, releases on Cajual Records became somewhat infrequent. In 2005, Cajmere featuring Dajae released Say U Will, which payed homage to the original pioneers of Chicago house. This seems a fitting way to close Disc Two of Only 4 U: The Sound of Cajmere and Cajual Records, with one of the second wave of Chicago house pioneer’s Cajmere, paying homage to the original pioneers of Chicago house.
ONLY 4 U: THE SOUND OF CAJMERE AND CAJUAL RECORDS.
OFFERING RECORDINGS ADE SAMPLER 2012.
One of my favorite labels of 2012 has been Offering Recordings, who’ve released an eight-track sampler Offering Recordings Ade Sampler 2012 in October 2012. For anyone new to Offering Recordings, then this is the perfect introduction to an innovative label who searches the world for new talent. For smaller, independent record labels, finding new and talented artists isn’t easy. Spotting artists with potential isn’t easy. Indeed, you got to kiss a few musical frogs before finding your musical Prince. One record company that spent more time and effort searching for new artists is Offering Recordings. Since Boddhi Satva founded Offering Recordings in 2008, the label has constantly sought out the best in future soul, and has given new and talented artists a platform to have their music heard. Offering Recordings’ search for new artists has taken them far and wide. Indeed, this search has seen Offering Recordings head to the four corners of the globe. This has paid off.
During 2012, it seems Offering Recordings were determined to search further, and wider than ever before. One of the places they headed to was Mail. In Mali, they met Idrissa Sissoko, who after playing Boddhi Satva just a few songs, was signed on the spot. Then there’s Ade Alafia Adio, who was born in America to Nigerian parents, but moved to Nigeria when he was studying architecture and civil engineering. In Nigeria, Ade decided to follow his heart and become a singer, poet and musician. When Boddhi Satva heard of Ade, he tracked him down to the Netherlands, where he now lived. Like Idrissa, Ade was signed to Offering Recordings, and released his three-track E.P. O.R.G.A.S.M. recently. There are other stories where Offering Recordings have searched far and wide, but these two stories demonstrate Offering’s determination when seeking, signing and releasing music. This year has been particularly busy for Offering Recordings.
Apart from Idrissa Sissoko and Ade Alafia Adio, Offering Recordings have released albums like Sage Monk’s beautiful and spiritual Heartache Allegory, plus music by Mammy Wata, Punk, Delany Duval, Sons of Arhat and Paul Randolph. Tracks by each of these artists feature on Offering Recordings Ade Sampler 2012. Truly, 2012 has been something of a vintage year for Offering Recordings. While other labels talk the talk, Offering Recordings really have walked the walk. For newcomers to Offering Recordings’ music, Offering Recordings Ade Sampler 2012 will give you a delicious taste of their music.
OFFERING RECORDINGS ADE SAMPLER 2012.
Choosing my six favorite compilations between July and December 2012 was even harder than I thought. During this period, there were so many quality compilations released. I was totally spoilt for choice. Having said that, there were some albums that looking back, were really disappointing. Thankfully, the quality compilations outnumbered the dross. These six compilations are among my favorite compilations released between July and December 2012.
What’s noticeable is that of the six compilations, is that four of these compilations were released by British labels. BBE Music released You Know How We Dew and Private Wax, while Leng Records released Psychemagik Presents Magik Circles and Strut Records released Only 4 U: The Sound of Cajmere and Cajual Records. It seems British labels are still among the most innovative and influential in music. For that they deserve praise and congratulations.
The six compilations that I’ve chosen only scratch the surface of six month’s music. People who regularly read my blog will realize just how many compilations have been released during this period. Given the sheer quantity of compilations released, I had a difficult time choosing just six compilations. Some compilations picked themselves, others were much more difficult to choose. Indeed, on another day, I might choose differently. However, these are the compilations I’ve decided are my six favorites released between July and December 2012.
One thing that I’ve realized looking back on the compilations released during 2012, is how much great music I’ve been fortunate to review. There’s been so much great old and new music, released. Much of this music is truly innovative and influential. Indeed, much of this music has either played an important part in musical history, or will do so. Given how good a year 2012 has been for compilations, all I can say is roll on 2013.
6 OF THE BEST BOX SETS OF 2012.
6 OF THE BEST BOX SETS OF 2012.
As 2012 reaches its final few days, and a new musical year beckons, it’s time to look back at the best music released during 2012. Over the next few days, I’ll look back at the best compilations, reissues and new releases. Before that, I’ll pick what I think have been the six best box sets of 2012. Now this is something of a labor of love for me. Why? Well, I can’t resist the delights of box sets. Over the years, I’ve bought more box sets than I’m willing to admit. Whether, it’s label retrospectives, compilations of musical genres or an artists back-catalogue, I just can resist a box set. During 2012, I’ve reviewed many box sets, and just in case anyone with a music-loving friend of relative is wondering what to buy their loved one, here’s six ideas in the order they were released.
AL KENT-THE BEST OF DISCO DEMANDS.
Al Kent’s five disc, disco Magnus Opus The Best of Disco Demands was released on 9th January 2012 by BBE Music. Not only was one of the first box sets released this year, but set the bar high for other box sets. The Best of Disco Demands is no ordinary box set. Quite the opposite. You’ll not find the tired and predictable tracks that many disco compilations feature. Instead, Glasgow’s disco don, DJ and crate-digger extraordinaire digs deeper, in his never-ending quest for hidden disco gems.
In total, there are forty-five disco delights over the five discs of The Best of Disco Demands. Many of these tracks are reedited by Al, giving them a new, 21st DJ friendly sound and style. Each disc comes complete with seventies style covers that bring to mind old K-Tel compilations. The Best of Disco Demands was very much a labor of love for Al Kent. His love of disco and music in general shines through, resulting in some of the gems he’s unearthed.
Like his previous two volumes of Disco Love released by BBE Music, Al Kent has unearthed some real gems. This includes Curtis’ How Can I Tell Her, which I guarantee after one play will become a favorite. One of Philly’s legendary musicians, Don Renaldo, whose a veteran of many a Thom Bell, Philadelphia International Records and Salsoul Records’ session provides Fiddlin’ Around, a read hidden gem from the disco era. Then there’s Mr Qs Party Time, a track that epitomizes just what the disco era was all about. These are just a trio of the many highlights awaiting discover on The Best of Disco Demands.
For anyone who loves disco or their music soulful, then Al Kent’s The Best of Disco Demands is a must-have. Al unearths some of disco’s long-forgotten, hidden gems, which will soon become firm favorites. This will keep lovers of disco happy until Al Kent releases Disco Love 3 on BBE Music early in 2013. The Best of Disco Demands was one of the best box sets of 2012, and set the standard for other box sets that followed. One thing I haven’t told you about Al Kent’s The Best of Disco Demands, is the price. It costs less than £20, €25 or $30, so is one of the real bargains of 2012.
AL KENT-THE BEST OF DISCO DEMANDS.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES.
When Harmless Records announced they were releasing Philadelphia International Classics-The Tom Moulton Remixes in March 2012, it became one of the most anticipated box sets of the last few years. After all, here were thirty-one remixes on four discs, of some of the greatest music released by Philadelphia International Records. Not just any remixes though. Here, were thirty-one remixes, old and new from the man who invented the twelve-inch single and the remix..Tom Moulton.
The thirty-one remixes were a mixture of Tom’s vintage remixes and new ones. Fourteen of the remixes were when Tom was Philadelphia International Records’ favored mixer. As if that wasn’t enough, Tom Moulton had been busy, really busy. He’d remixed seventeen Philly classics. These were brand new remixes, remixes that showed Tom Moulton was back with a bang. He still new how to build tension, and understood how to fill a dance-floor. Tom’s new remixes were up there with his best work of the seventies.
Among the thirty-one remixes were some of Philadelphia International Records’ biggest names. This includes several tracks from The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and M.F.S.B. Then there were some gems like Archie Bell and The Drells’ Where Will You Go When the Party’s Over, Lou Rawls’ You’ll Never Find Another Love Like Mine, The Trammps’ Where Do We Go From Here and Billy Paul’s The Whole Town’s Talking. The four discs of Philadelphia International Classics-The Tom Moulton Remixes was like a voyage of discovery.
One minute you were rediscovering some of Tom’s old remixes, and then discovering the delights of some of his new remixes. Philadelphia International Classics-The Tom Moulton Remixes was a majestic, breathtaking musical journey, well worth waiting for. If you’ve never embarked upon that journey, then now is the time do so. Not only is this four discs of vintage Tom Moulton remixes, but some of the best music Philadelphia International Records ever released.
PHILADELPHIA INTERNATIONAL CLASSICS-THE TOM MOULTON REMIXES.
PHILADELPHIA INTERNATIONAL RECORDS-THE 40TH ANNIVERSARY BOX SET.
Although Philadelphia International Classics-The Tom Moulton Remixes was widely anticipated, this is nothing compared to the frenzy that surrounded Harmless Records’ release of Philadelphia International Records-The 40th Anniversary Box Set in May 2012. Here was a ten-disc retrospective celebrating the fortieth anniversary of Gamble and Huff founding Philadelphia International Records. For anyone like myself, who loves the Philly Sound, then Philadelphia International Records-The 40th Anniversary Box Set was like Christmas coming early.
The ten discs that comprise Philadelphia International Records-The 40th Anniversary Box Set were arranged in chronological order. Each disc covers a period. Founded in 1972, Philadelphia International Records quickly entered what I refer to as the classic period. This was between 1972 and 1975, and was when the label was at the height of its success. Billy Paul, The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and M.F.S.B. were the label’s biggest acts, transforming Philadelphia International Records into America’s greatest soul label, which provided the soundtrack to the early to mid seventies. Then in 1975, the original and classic lineup of M.F.S.B. left Philadelphia International Records, following a dispute with Gamble and Huff over money.
This wasn’t just an exodus of musicians, but songwriters, arrangers and producers. When the original lineup of M.F.S.B. headed to New York becoming The Salsoul Orchestra, this coincided with the rise and rise of disco. Although disco was now the most popular musical genre, Philadelphia International Records still enjoyed success, although not as much as between 1972 and 1975. Teddy Pendergrass and Billy Paul were the biggest solo acts, while The O’Jays were the label’s biggest group. However, like the early years, it’s often the tracks that weren’t hits that are the most intriguing. Singles and album cuts are included, and there’s a plethora of hidden gems awaiting discovery. Then in the eighties, Philadelphia International Records became a very different label.
After The O’Jays’ success dried up, and Teddy Pendergrass left Philadelphia International Records, the label kept releasing music. The sucesss Philadelphia International Records had once enjoyed regularly was long gone, and music had changed. That didn’t mean the music suffered. There was still some great music being released. Some people argued that ten discs was too many, and that the cut of should’ve been 1979. However, that’s why they’re stacking shelves and not running a record label. Post 1979, The Dells, Shirley Jones, formerly of The Jones Girls, The Stylistics, Patti La Belle and Phyllis Hyman all released albums on Philadelphia International Records, music which is well worth investigating, and music that’s worthy of its place on Philadelphia International Records-The 40th Anniversary Box Set.
It’s not just ten discs that are included in the Philadelphia International Records-The 40th Anniversary Box Set. There’s also a lengthy, detailed and informative booklet, detailing Philadelphia International Records’ history. This is similar the sleeve notes accompanying Philadelphia International Classics-The Tom Moulton Remixes. This is just the icing on the delicious cake that is Philadelphia International Records-The 40th Anniversary Box Set. Given there are ten discs, containing over two-hundred tracks, the cost of roughly £50, €62 or $75, is something of a bargain. It’ll certainly be the best Christmas present you could give anyone whose a fan of the Philly Sound.
PHILADELPHIA INTERNATIONAL RECORDS-THE 40TH ANNIVERSARY BOX SET.
P&P RECORDS HITS, HITS, HITS.
While the Philadelphia International Records-The 40th Anniversary Box Set contained ten discs, P&P Hits, Hits, Hits, released in May 2012 trumps this. It’s a fifteen-disc box set, that’s comprehensive overview of the music that Patrick Adams and Peter Brown created not just for P&P Records, but for its various subsidiary labels. Together, Patrick and Peter founded P&P Records in 1974, with their releases distributed by Morris Levy’s Roulette Records. Although many of P&P Records biggest hits were during the heady days of disco, Patrick and Peter realized that their music couldn’t stand still. After all, nothing lasts forever.
This meant new labels for new sounds and styles of music. Gradually, they founded various subsidiary labels, twenty-four of which are represented on the fifteen discs that comprise P&P Hits, Hits, Hits. Among these labels are Clarence Music Records, Golden Flamingo Records, Heavenly Star Records, Land of Hits, Lonnie Records, Sound of Gold, Queen Constance Records, Hit Makers of American Music and Sound of The Universe Corp. Not only were these labels home to some of the biggest artists on the P&P Records’ roster, but contain many a hidden gem and golden nugget.
Among the nearly two-hundred tracks that feature on the fifteen discs of P&P Hits, Hits, Hits, there’s everything from disco to proto-rap, with boogie and funk aplenty. This demonstrates just how innovative, influential and progressive both Patrick Adams and Peter Brown were. At less than £20, €25 or $30, P&P Hits, Hits, Hits is one of the biggest bargains of 2012. The only thing that lets P&P Hits, Hits, Hits down, is the lack of proper sleeve-notes. All that’s in the box are fifteen discs. That let’s P&P Hits, Hits, Hits down slightly. If there was a lavish booklet included with P&P Hits, Hits, Hits, then it would really lift the box set. Having said that, with music as good as is on P&P Hits, Hits, Hits, that’s just a minor quibble.
P&P RECORDS HITS, HITS, HITS.
ATLANTIC SOUL LEGENDS: 20 ORIGINAL ALBUMS FROM THE ICONIC ATLANTIC LABEL.
Back in October 2012, Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set was released. Someone, somewhere had been given one of the hardest jobs in music, choosing just twenty soul albums from Atlantic Records’ back catalogue. This was the result of their endeavors. Here was the reality. Now soul fans would argue about albums that were included and excluded. Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label cover the seventeen-year period between 1958 and 1975, and include albums from four labels. These are Atlantic, their subsidiary Atco, plus the Stax and Volt labels. Ten of the albums are from the main Atlantic label, three from Atco, while five albums are from Stax and two from Stax’s Volt subsidiary.
These twenty albums cover the period between Ray Charles 1958 album What’d I Say to and Sam Dees’ 1975 album The Show Must Go On. Included in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label are albums by true legends like Ray Charles, Booker T and The MGs, Otis Redding, Percy Sledge, Wilson Pickett, Aretha Franklin and Donny Hathaway. There are also a trio of hidden gems from Clarence Wheeler and and The Enforcers, Howard Tate and Sam Dees.
Interestingly, eleven of the albums that feature in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label are debut albums. This includes albums from Booker T and The MGs, Solomon Burke, Rufus Thomas, Percy Sledge, Sam and Dave, The Barkays, Eddie Floyd, Arthur Conley, William Bell, Donny Hathaway and Clarence Wheeler and The Enforcers. In many cases, these debut albums are among the best albums these artists went on to release.
For anyone who loves their music soulful, jazzy and funky, then Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label is for them. It features twenty albums from four legendary labels, Atlantic, Atco, Stax and Volt labels. Many of these albums or worthy of being referred to as classics and are from some of the most talented artists in musical history. What makes this even better, is the price £35. €43 or $53. That’s a bargain price for some classic music.
ATLANTIC SOUL LEGENDS: 20 ORIGINAL ALBUMS FROM THE ICONIC ATLANTIC LABEL.
ACID JAZZ: THE 25TH ANNIVERSARY BOX SET.
My final pick is Acid Jazz: The 25th Anniversary Box Set. This is the third box set released by Harmless Records on my shortlist. It was released in November 2012 and traces the twenty-five year history of Eddie Piller’s Acid Jazz label. This is a compelling and captivating story. From the small acorns of a club night at Dingwalls, Acid Jazz grew into a label whose sales were in the millions. Then Acid Jazz bought the Blue Note nightclub. That was very nearly the end. When the Blue Note lost its license, Eddie Piller nearly lost everything. Courageously and determinedly, Eddie paid back the label’s debts. Rather than walk away, he spent ten years repaying the debts. It’s as if this was a matter of honor. The four discs of music provide the soundtrack to life and times of Eddie Piller’s Acid Jazz label.
Included in Acid Jazz: The 25th Anniversary Box Set are a four discs, a DVD, a limited edition 7 inch single, a detailed and informative book detailing the Acid Jazz as a label and musical genre’s history. Each of the four discs contained in Acid Jazz-The 25th Anniversary Box Set have a theme.
Disc One is entitled Put it All Together and What Do You Get. It features nineteen tracks that are a typical playlist of an Acid Jazz night. This means tracks that range from jazz, soul, funk, Latin, hip hop and rock sit comfortably side-by-side.
Something Happening At the Dance is the description given to Disc Two of Acid Jazz-The 25th Anniversary Box Set. This includes the new music played at Dingwalls, with hip hop instrumentals providing many of the highlights. Added to the hip hop sounds, were elements of other musical genres. Soul, funk, jazz and house music are all added to the mix.
Disc Three of Acid Jazz-The 25th Anniversary Box Set, is entitled How’d We Get Us Here, and features seventeen slices of classic Acid Jazz. So that means tracks from The Brand New Heavies, Incognito, Snowboy, Jamiroquai and The James Taylor Quartet. It’s a collection of track’s that if you analyzed their musical DNA says Acid Jazz.
Not only is Smokers Delight the title of Disc Four of Acid Jazz-The 25th Anniversary Box Set, but the perfect description of this chilled out, laid-back and late-night selection of thirteen tracks. There’s everything from vintage reggae to hip hop on this deliciously chilled out selection of tracks, that close this lovingly compiled box set.
Acid Jazz-The 25th Anniversary Box Set is one of the best box sets released during 2012. It’s best described as lovingly and carefully compiled by Harmless Records, who’ve surpassed themselves again. For anyone wanting a reminder of the heady, glory days of Acid Jazz, then Acid Jazz-The 25th Anniversary Box Set will provoke memories, musical and otherwise, aplenty. However, the music on Acid Jazz-The 25th Anniversary Box Set documents not just a record label, but a musical genre and scene. At £43, €54 or $65, surely Acid Jazz-The 25th Anniversary Box Set is worth it for all the memories and history involved.
ACID JAZZ: THE 25TH ANNIVERSARY BOX SET.
Choosing just six box sets from all the box sets I’ve reviewed during 2012 wasn’t easy, but these are what I consider the best of the year. For further details of Al Kent’s The Best of Disco Demands, Philadelphia International Classics-The Tom Moulton Remixes, Philadelphia International Records-The 40th Anniversary Box Set, P&P Hits, Hits, Hits, Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label and Acid Jazz-The 25th Anniversary Box Set are available elsewhere on this blog. These reviews will tell you everything you could ever want to know about these box sets. Given Christmas is just round the corner, I’m sure any music lover in your life will thank you for any of the box sets on this list. The only thing is, with so much music to listen to, it’ll be a while before you hear from the again.
DIABLOS DEL RITMO-THE COLOMBIAN MELTING POT 1960-1985.
DIABLOS DEL RITMO-THE COLOMBIAN MELTING POT 1960-1985.
Often when I review albums, I’m often frustrated by the lack of sleeve-notes. I like to read about how an album or compilation was made, the inspiration behind it and any backstory. Some albums are better than others, offering detailed and accurate sleeve-notes. Then there’s albums where there are hardly any sleeve-notes. Recently I reviewed a compilation, where apart from a track listing, there were no sleeve-notes. One label whose sleeve-notes are among the best you’ll find are Germany’s Analog Africa label. Proof of this is their twelfth release, Diablos Del Ritmo-The Columbian Melting Pot 1960-1985. Accompanying Diablos Del Ritmo-The Columbian Melting Pot 1960-1985, a double-album of Columbian music, is a sixty-page booklet. It’s more like a min-hardback book, which tells you everything you could ever want to know about the music on Diablos Del Ritmo-The Columbian Melting Pot 1960-1985. These are some of best sleeve-notes I’ve come across this year. Given how in-depth and detailed the sleeve-notes are, hopefully the music on Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 will match the quality of the sleeve-notes. Will that the case?
During the past few years, German label Analog Africa have established a reputation for releasing lovingly compiled and lavish compilations of African music. Analog Africa pride themselves in digging deeper than other labels, in their quest to bring African music to a wider audience. During this period, they’ve discovered a treasure trove of music, from countries that include Angola, Benin, Burkina Fasso and Togo. Now Analog Africa have turned their attention to Colombian music, especially Columbian music influenced by African, Caribbean and French music. This would allow Analog Africa to diversify slightly, but stay true to their first love, African music.
Eventually, and after sifting through a mountain of music, Analog Africa settled on thirty-two tracks. These were chosen few. Not only was their enough to fill one disc, bit two discs of Colombian music. Rather than focus entirely on one genre of Columbian music, Analog decided to cast their net wider. In doing so, Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 features a variety of musical genres.
Disc One of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 features everything from Afrobeat, Caribbean Music, Champeta and Pelenque Sounds. These fourteen tracks are influenced by African, Caribbean and French music. Much of this music was brought into Columbia by sailors, who arrived into Barranquila. The music of Africa, the Caribbean and France influenced Columbian musicians. Listen carefully to the fourteen tracks on Disc One, and you’ll hear these influences shine through. Colombian musicians didn’t blindly copy these influences. Instead, Colombian musicians they took these influences, and added to that, their own interpretation. However, it’s not just the music of Africa, the Caribbean and France that you’ll hear on Disc One. Funk, rock, Latin and jazz can all be heard during the fourteen tracks. As a result, many of the tracks fuse influences and musical genres, including some of the highlights of Disc One of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985.
Choosing just a few tracks from Disc One of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 isn’t easy, given the consistent quality. Some tracks pick themselves, epitomizing the fusion of musical genres. Fuentes All Stars’ Pégale A La Nalga is a good example of this. It’s a driving slice of Afrobeat, where funk and jazz also shine through. For me, Los Salvajes’Amor Salvaje is one of the compilations highlights. With its breathy, sultry vocal, chiming guitars and growling horns, it’s an irresistible hidden gem of track. Abelardo Carbono was one of Colombian music’s mavericks. The hypnotic delights of Quiero Mi Gente is proof of this. Congas, percussion and searing, chiming guitars accompany Abelardo’s vocal. Soon, he’s cast a spell over you. When an ethereal female vocal soars above the arrangement, this is the finishing touch. Conjunto Barbacoa’s twelve-minute epic Calambre fuses elements of Caribbean and African music and closes Disc One of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 on a captivating high. Other tracks worthy of a mention are Julián Y Su Combo’s Enyere Kumbara, Sexteto Manaure’s Bajo El Trupillo Guajiro and Wganda Kenya’s Shakalaodé. During the twenty-five years between 1960 and 1985, which the music covers, Colombian music is constantly evolving, changing and drawing inspiration from abroad and local musicians.
On Disc Two of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985, the music concentrate on local musical genres. This includes the tropical musical genres. One of these are the big band porro porro sound. Then there’s gaita, cumbiana, mapale, chande and descargo. These genres demonstrate the eclectic nature of Columbian music. Indeed, Colombian music has vast variety of musical riches awaiting discovery. The eighteen tracks on Disc Two of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 demonstrate this perfectly. For anyone yet to discover the delights and riches of Columbian music, then this is a perfect starting point. Among the highlights of Disc Two, are a trio of tracks from Andrés Landero, El Garabato’s Cumbia Soledeña, Los Curramberos De Guayabal’s La Bulla and Sonora Tropical’s Lluvia. These seven tracks are just a tantalizing taste of the delights of Disc Two of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985.
Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 sees Analog Africa celebrate their twelfth compilation in style. Quite simply, Diablos Del Ritmo-The Columbian Melting Pot 1960-1985 is the perfect starting point for anyone wanting to discover the many, varied and eclectic delights of Colombian music. The music, which is of the highest and consistent quality throughout, will act as an introduction, setting you on a voyage of discovery. From there, you’ll go in search of the music of the artists on Diablos Del Ritmo-The Columbian Melting Pot 1960-1985. You’ll want to hear much more from artists like the Fuentes All Stars, Abelardo Carbono, Andrés Landero and Sonora Tropical’s Lluvia. Similarly, the in-depth and detailed sleeve-notes will act as your guidebook, allowing to know the difference between Champeta, cumbiana and chande. After you’ve hungrily devoured the delights of Diablos Del Ritmo-The Columbian Melting Pot 1960-1985, you’ll then decide to explore African Analog’s eleven previous releases. Like Colombian music, African Analog’s back-catalogue has many delights to discover and devour. So, I’m sure that Diablos Del Ritmo-The Columbian Melting Pot 1960-1985, won’t be the only album of Colombian music you’ll add to your record collection and similarly, it won’t be the only release from African Analog’s back-catalogue you’ll buy. Standout Tracks: Fuentes All Stars Pégale A La Nalga, Los Salvajes’Amor Salvaje, El Garabato Cumbia Soledeña and Los Curramberos De Guayabal La Bulla.
DIABLOS DEL RITMO-THE COLOMBIAN MELTING POT 1960-1985.
GLADYS KNIGHT AND THE PIPS-IMAGINATION.
GLADYS KNIGHT AND THE PIPS-IMAGINATION.
In 1973, it came as no surprise that Gladys Knight and The Pips decided leave Motown. After all, Gladys Knight had been forced to live in the shadow of Diana Ross. To onlookers. Diana Ross was Motown’s chosen one, while Gladys Knight had to settle for second best. So after six years at Motown, Gladys Knight and The Pips decided it was time to step out of the shadows. Rather than play a supporting role at Motown, Gladys Knight and The Pips would play a starring role at Buddah Records. They were an ambitious label, who were building up a roster of heavyweight artists. Gladys Knight and The Pips debut album for Buddah Records was Imagination, released in October 1973. So, Imagination, was the start of the next chapter in Gladys Knight and The Pips career. Not only would Imagination prove to be a new start for Gladys Knight and The Pips, but was a career defining album. You’ll realize this, when I tell you about the back Gladys Knight and The Pips’ Buddah Records debut Imagination.
Now signed to Buddah Records, Gladys Knight had at last, stepped out of Diana Ross’ shadow. Rather unfairly, Diana Ross seemed to be favored over Gladys. Looking back, it seemed Gladys was almost under-appreciated at Motown. Although Gladys Knight and The Pips had an abundance of talent, sometimes it seemed that other Motown acts were given special treatment when it came to new material and producers. That must have proved frustrating and for Gladys Knight and The Pips. Surely, they must have felt they deserved better. At Buddah, Gladys Knight and The Pips’ talent was appreciated. For Gladys Knight and The Pips’ eleventh album, Imagination Buddah Records had assembled a talented team of personnel.
For Gladys Knight and The Pips’ Buddah Records debut Imagination, nine tracks were chosen. Five of these tracks were written by Jim Weatherly, including two songs that would become synonymous with Gladys Knight and The Pips. These were Midnight Train To Georgia and You’re the Best Thing That Happened To Me. Covers of the Gerry Goffin and Barry Goldberg penned I’ve Got To Use My Imagination, Johnny Nash’s I Can See Clearly Now and Paul Williams’ Perfect Love. Window Raisin’ Granny was written by Gladys Knight, with the three Pips, William Guest, Merald Knight and Edward Patten. Recording of Imagination took place in New York and New Jersey.
Recording of Imagination took place at New Jersey’s Venture Sound Studios and Bell Sound Studios in New York. Three producers or production teams worked on Imagination. Kenny Kerner and Richie Wise co-produced four tracks, while Tony Camillo produced four tracks. Gladys Knight and The Pips produced the track they cowrote, Window Raisin’ Granny. Once Imagination was recorded, the album was set for release in October 1973. Little did Gladys Knight and The Pips know, that Imagination was a career-changing album.
On the release of Imagination in October 1973, it reached number nine in the US Billboard 200 and number one in the US R& Charts. Not only did Imagination surpass the success of any of Gladys Knight and The Pips’ previous albums, but it gave the group their first gold disc. The lead single from Imagination was the Jim Weatherly penned When Peaceful Waters Flow, which reached number twenty-eight in the US Billboard 100 and number six in the US R&B Charts. While that might have seemed a success for other artists, it was nothing compared to what would follow for Gladys Knight and The Pips.
Midnight Train To Georgia reached number one in the US Billboard 100 and US R&B Charts in 1973. In the UK, Midnight Train To Georgia reached number ten. Then in 1974, Midnight Train To Georgia won a Grammy Award for The Best Vocal Performance By A Duo, Group Or Chorus. Success kept on coming for Gladys Knight and The Pips, when I’ve Got To Use My Imagination then reached number four in the US Billboard 100 and number one in the US R&B Charts. The final single released from Imagination was Best Thing That That Ever Happened To Me, another Jim Weatherly composition. It reached number three in the US Billboard 100 and number one in the US R&B Charts. Like Midnight Train To Georgia, Best Thing That That Ever Happened To Me became synonymous with Gladys Knight and The Pips. So Gladys Knight and The Pips’ decision to leave Motown wasn’t just vindicated, but transformed her career. Imagination proved to be the most successful album of Gladys Knight and The Pips’ career. You’ll realize why, when I tell you about Imagination.
Opening Imagination is a Gladys Knight and The Pips’ classic, Midnight Train To Georgia. Just a roll of drums gives way to the atmospheric sound of a Hammond organ and piano. Then Gladys delivers a heartachingly, heartfelt vocal. Punchy, dramatic harmonies from The Pips reply to Gladys. By now, you realize a classic is unfolding. Listen to the lyrics, they’re filled with sadness and beauty. They’re about a failed musicians, who heads to L.A. to become “a superstar…but didn’t get far.” So heads back to Georgia, to his old life, with his dream over. Later, his girlfriend, settled and successful in L.A. heads to Georgia, love proving more important than fame and bright lights. Gladys Knight and The Pips paint images, filled with emotion, sadness and pathos. Her voice delivers the lyrics in a way that make them sound personal. This could be the story of Gladys Knight, so real and impassioned is her delivery. For four minutes, Gladys Knight and The Pips bring Jim Weatherly’s lyrics to life, breathing meaning, emotion and beauty into them, and in the process, create a classic, career defining song.
I’ve Got To Use My Imagination was one of three singles to reach number one in the US R&B Charts. A pounding rhythm section, stabs of blazing horns and Gladys’ sultry vocal combine. Bursts of urgent harmonies from The Pips are added, before strings cascade frantically. Soon, Gladys’ vocal grows in power and passion. Swathes of swirling strings, stabs of horns, sweeping harmonies and pounding drums provide the perfect backdrop for Gladys’ sassy, powerful vocal. She makes the song her own, helped no end by The Pips and Kenny Kerner and Richie Wise’s production.
Storms of Troubled Times grabs your attention from the get-go. Layers of cascading strings and the powerful rhythm section unite. Then its all change, with just chiming guitars accompany a tender, soul-baring vocal from Gladys. Her reading of Jim Weatherly’s lyrics is emotion personified. The Pips add equally heartfelt harmonies, while layers of the lushest of strings add to the emotion. With just piano, chiming guitars and sweeping harmonies Gladys delivers a vocal that’s truly heartfelt, laden with sincerity. The result is one of the best tracks on Imagination.
While Midnight Train To Georgia is a track that’s become synonymous with Gladys Knight and The Pips, the same can be said of Best Thing That Ever Happened To Me. Again, Gladys’ delivery is inspired, as if the lyrics mean something to her. It’s almost as if the song is semi-autobiographical. The song’s success is helped no end by the arrangement. It has a lovely understated sound as the song opens. Just piano, guitar and percussion combine, before the bass signals the arrival of Gladys’ vocal. Her vocal is laden with emotion, her phrasing perfect, highlighting words and phrases. Soon the arrangement unfolds. Drama, beauty and emotion reveal themselves. Lush strings, piano and the rhythm section are joined by soulful, soaring harmonies. Despite the quality of the rest of arrangement, it’s Gladys’ vocal that casts its spell over you. Gladys goes on to deliver four minutes of the most spellbindingly beautiful music you’ll ever hear. It stops you in your tracks and like Midnight Train To Georgia, is worthy of being called a classic.
Once In A Lifetime Time, the fourth Jim Weatherly composition closes Side One of Imagination. It’s another slow ballad, filled with beauty, drama and emotion. Swathes of strings, flourishes of harpsichord and the rhythm section combine, before harmonies soar, setting the stage for Gladys’ tender, emotive vocal. Her vocal is tinged with sadness, regret and resignation. As she realizes her relationship is over, her voice grows in power, drama and emotion. The finishing touch is the arrangement, with it use of strings and harpsichord, which reflects the beauty in Gladys’ vocal and the sadness and heartache in Jim Weatherly’s lyrics.
When Peaceful Waters Flow opens Side Two of Imagination, and is the final Jim Weatherly song on the album. There’s an understated sound to the arrangement, with just chiming guitars reverberating while piano, cymbals and soaring harmonies combine. Then with a flourish of harpsichord, Gladys’ tender, wistful vocal enters. Just piano, percussion and the rhythm section accompany Gladys, as the arrangement grows. Harmonies cascade, while Gladys’ vocal grows in power, emotion. She showcases her ability to breath life and meaning into lyrics, her vocal veering between tenderness and powerful, but always soulful.
I Can See Clearly Now was written by Johnny Nash. Bursts of urgent, dramatic and deliberate harmonies sweep in. A bass takes charge, before The Pips take over the lead vocal. Soon, the lead switches hands. Cooing harmonies take on a gospel sound as the arrangement builds and builds. Later, the track takes on a celebratory, joyful sound, eventually reaching a dramatic crescendo. Although this showcases The Pips vocal prowess, compared to the Jim Weatherly penned tracks, it’s a lightweight track, one that seems out of place on Imagination.
Perfect Love sees Imagination get back on track. Layers of elegant, lush strings, bursts of harpsichord and a slow, deliberate rhythm section set the scene for the lead vocal. Again, The Pips take over lead vocal duties. Quickly, the arrangement grows in power, beauty and drama. Soon, The Pips harmonies grows in power, becoming like an ethereal choir, of angelic voices. Thankfully, Perfect Love is much better than the previous track. While it’s not of the of the standard of the first six tracks, at least it gets Imagination back in track.
Closing Imagination is Window Raisin’ Granny, written by Gladys Knight and The Pips. Growling horns, a driving rhythm section and piano give the arrangement a tough, funky sound. When the lead vocal enters, it’s Bubba who delivers it. He’s accompanied by sweeping harmonies, searing, riffing bluesy guitars and grizzled horns. Soon, musical genres become one. Blues, jazz, soul and funk all play their part in this compelling fusion of musical genres, that show’s another side to Gladys Knight and The Pips.
After six years at Motown, it was definitely time for Gladys Knight and The Pips to leave the label. Maybe, they should’ve moved sooner. Thankfully, their decision to leave Motown was vindicated. Not only did Imagination feature two stonewall classics in Midnight Train To Georgia and Best Thing That Ever Happened To Me, but it was Gladys Knight and The Pips most successful album. Imagination gave Gladys Knight and The Pips their first number one album in the US R&B Charts and first gold disc. Then there were three number one singles in the US R&B Charts and one in the US Billboard 100. Add to that a Grammy Award in 1974. Despite all the commercial success that Gladys Knight and The Pips enjoyed with Imagination, it’s not a perfect album.
Right through the first six tracks, Imagination is a flawless album. You think that this is a classic in the making. Then the final three songs let Imagination down somewhat. Imagination goes off the rails with I Can See Clearly Now. It’s is a lightweight track at best. Why it was chosen seems strange, given how out of place it seems. It interrupts the flow, feel and vibe of Imagination. Both Perfect Love and Window Raisin’ Granny are better tracks, but well short of the standard of the first six tracks. Really, they just don’t quite match the quality of the first six tracks. Granted, the delivery and arrangements are both good, but Gladys’ lead vocal is sorely missed. Given the quality of the other six tracks, maybe comparisons are unfair. Jim Weatherly penned five great tracks and the Goffin and Goldberg composition I’ve Got To Use My Imagination is of a similar quality. Maybe I’m being hard on Imagination, but for the first six tracks, it’s a flawless album. Sadly, it somewhat loses its way in the final three tracks. Despite this, Imagination showed that Gladys Knight and The Pips stepping out of the shadows and into the limelight. At last Gladys Knight and The Pips had the star billing they so richly deserved. Imagination shows just what Gladys Knight and The Pips were capable of and remains one of the finest albums of their career, and for six tracks, is Imagination is totally flawless. Standout Tracks: Midnight Train To Georgia. Storms of Troubled Times, Best Thing That Ever Happened To Me and Once In A Lifetime.
GOODY GOODY-GOODY GOODY.
GOODY GOODY-GOODY GOODY.
Often, looking back through musical history, one decision can change forever change a group or label’s future. Whether it was Gamble and Huff’s decision to allow their legendary house-band M.F.S.B. to leave Philadelphia International Records following a dispute with money, or Harold Melvin’s decision not give give Teddy Pendergrass equal billing in Harold Melvin and The Blue Notes, both proved decisions that would change the course of musical history. After all, Teddy Pendergrass was the man behind Harold Melvin and The Blue Notes’ huge success for four albums. Similarly, M.F.S.B. weren’t just a band, they included songwriters, arrangers and producers. Baker, Harris, Young, Bobby “Electronic” Eli and Vince Montana Jr, all played a huge part in M.F.S.B’s sound. Truly, they were irreplaceable. However, sometimes people don’t learn from past mistakes.
Now the former members of M.F.S.B. were The Salsoul Orchestra. They’d brought considerable talents to Salsoul Records, and quickly, made the label disco’s premier label. Their creativity was key to this. There was a problem though. Vince Montana Jr. who founded The Salsoul Orchestra and conducted, arranged, produced and wrote much of its music was locked in a dispute with the Cayre brothers over royalties. When this dispute couldn’t be resolved, Vince Montana Jr. decided to quit Salsoul. He wasn’t short of offers and settled on a major label.
Vince Montana Jr. signed a contract with a major label, Atlantic Records. This was about to start the next chapter of his career. He’d formed The Montana Orchestra, but decided that this would be what Sly and The Family Stone would call a Family Affair. Joining Vince was his daughter Denise, in a group that payed homage to an old Johnny Mercer Goody Goody, which featured Vince’s genius and Denise’s vocal talents. Their eponymous Atlantic debut album was Goody Goody, released in 1978. Would the success Vince Montana Jr, enjoyed continue with Goody Goody’s debut album Goody Goody?
With Vince now out on his own, he set about writing material for Goody Goody’s debut album Goody Goody. He wrote four tracks, Super Jock, Bio-Rhythms, It Looks Like Love and You Know How Good It Is. Vince’s other contribution would prove to be a hugely memorable track. He cowrote Number One DJ with Bud Ross and Len Rocco. The title-track and inspiration for the new name for Vince’s latest project was a cover of Johnny Mercer’s Goody Goody. To record Goody Goody, he headed to one of Philly’s legendary studios, which must have felt like a second home to Vince, Sigma Sound Studios.
Recording of Goody Goody took place at Philly’s Sigma Sound Studios and Alpha International Recording studios. Six tracks were recorded, with Vince conducting, arranging and producing. Denise added vocals, including one track that would prove to be a minor classic, Number One DJ. Once the six songs were recorded, Goody Goody was released later in 1978.
On the release of Goody Goody in 1978, the album reached number fifty in the US R&B Charts. Two singles were released from Goody Goody, proving popular and lighting up dance-floors. Number One DJ and It Looks Like Love proved to be two more classics from the pen of Vince Montana Jr, as you’ll realize when I tell you about Goody Goody.
Opening Goody Goody is Number One DJ, which Vince cowrote with Bud Ross and Len Rocco. A pounding, pulsating rhythm section, percussion and Vince Montana Jr’s vibes combine with keyboards, building up waves and rolls of drama. Having set the scene, a burst of drums signals the arrival of Denise’s vocal. It veers between tenderness and sweetness, to sassy and powerful. Behind her, the band provide a dance-floor friendly, funky arrangement. When her vocal drops out, the band take centre-stage. Keyboards, percussion, the sultriest of horns and the tough, funky rhythm section combine. Then when they’ve had their moment in the sun, it’s Goody time. Denise vocal starts off tender, a sultry horn answering her call. Soon, her vocal grows in power, while dad Vince sprinkles the magical sound of his vibes in the background. After that, this seven-minute epic, of a disco classic comes to a hook-laden high.
From the get-go it’s drama all the way on Super Jock. Thunderous drums, keyboards and a pounding bass combine with hissing hi-hats and percussion. A burst of Denise’s vocal drenched in echo enters, before the drama continues. Vince adds vibes, which provide a contrast and soon, Denise scats. Her voice soars elegantly and powerfully, as Vince arrangement reveals its secrets. Stabs of keyboards, bursts of vocals, vibes and congas all escape from the arrangement. Add to this slapped bass, pounding drums and flourishes of dramatic keyboards. Although this is what Vince was doing at Salsoul, it’s taken to a new level. He’s incorporating new sounds and ideas. There’s everything from disco, funk, Philly Soul, jazz and prog rock keyboards in the arrangement. While other people were jumping on the disco bandwagon, Vince Montana Jr, was looking to reinvent the disco sound. Still, he remained an innovator, pushing musical boundaries in a bold, dramatic and flamboyant way, as this track proves.
Bio-Rhythms demonstrates Vince Montana Jr’s innovative, pioneering side. Like the previous track, he grabs your attention from the opening bars. Drums see to this. They’re joined by percussion, congas, crashing cymbals and shakers. Then a bass is slapped, before a bank of keyboards and synths joins. The music becomes dark, grand and influenced by both classical music and prog rock. Listening to the arrangement is a bit like peeling an onion, another layer reveals itself. Contrasts are everywhere. From shakers, timbales and percussion to the rolls of drums, bold bass and stabs of keyboards. Again, genres are fused, with funk, disco, early boogie, jazz, Latin and even prog rock all mixed together. The result is a cutting-edge, dramatic, multilayered track, where musical genres seamlessly become one. This seems fitting way to close Side One of Goody Goody.
The title-track Goody Goody, penned by the legendary Johnny Mercer opens Side One of Goody Goody. Rolls of drums, handclaps, keyboards and funky rhythm section combine with Denise to make the song swing. She mixes power, passion and a touch of sassy. Her voice soars above the arrangement, as if she’s determined to pay homage to one of America’s greatest songwriters. Doing their part, are the band. They make sure the song goes with a jazzy swing. To do this, they add soulful harmonies, melodic keyboards as the rhythm section provide a backdrop where jazz, funk and soul combine Later, boogie woogie keyboards, the ever-present, deliberate bass and bursts of harmonies help Denise drive the track along to its joyous, swing high. It’s fitting homage to Johnny Mercer, arranged, conducted and produced by another musical legend, Vince Montana Jr.
A wistful flute opens It Looks Like Love, one the singles released from Goody Goody. Then drums pound, Vince Montana Jr, sprinkles subtle vibes and Denise’s dramatic vocal is drenched in echo. Chic style guitars, sweeping, swirling lush strings and a funky bass are added. Denise then adds a breathy, sultry, sensuous vocal. Gradually, one of the best arrangements you’ll hear unfolds. Vince adds everything at just the right time. Shakers, guitars, keyboards, swathes of strings and a pulsating bass line are added at just the right moment. It’s a masterful arrangement. It marries elements of jazz, funk and disco. Not only does Denise deliver one of her best arrangements on Goody Goody, but it features Vince Montana Jr at his best when it comes to arranging and production. No wonder it’s a timeless, disco classic.
Closing Goody Goody is You Know How Good It Is, which sounds like something you’d expect The Salsoul Orchestra to have released. A bass anchors the arrangement, as chiming guitars, woodwind, keyboards and the rhythm section combine. Banks of keyboards and percussion build the drama before glorious, rasping horns enter. They give the track a real vintage sound. The bass marches the arrangement along, as Vince adds vibes, while keyboards, percussion, strings combine. Then a funky rhythm section and keyboards join forces, taking charge of ensuring the track swings along. Subtleties and surprises aplenty are in store. Later, a jazzy piano slows things way down, giving the track a real smokey, jazzy sound. From there, the rest of this eight minute epic unfolds, taking you on glorious jazzy journey. During this journey, the King of the disco orchestra’s demonstrates his musical versatility. Vince ensures the track swings, taking Goody Goody along to a glorious jazz-drenched high.
Goody Goody, which marked Vince Montana Jr’s first post-Salsoul Records album proved to be a bold, innovative album. This marked the next chapter in the Vince Montana Jr, story. For this new chapter, Goody Goody proved to be a Montana Family Affair. Vince Montana Jr was the King, and founding father of the disco orchestras. His daughter Denise, was a talented singer and would provide the vocals on Goody Goody. The six tracks on Goody Goody demonstrated that Salsoul Records’ loss, was very much Atlantic Records’ gain. Like his time at Salsoul, Vince was an innovator, who kept abreast of musical tastes.
Vince Montana Jr, realized that by 1978 music was changing. Rather than just revisit the Salsoul sound, Vince decided to move his music forward. What he did, was fuse a variety of musical genres over six tracks. Just like on The Salsoul Orchestra albums Vince worked on, Goody Goody, saw Vince incorporate elements of jazz, soul, funk and Latin. To Vince’s musical palette, he added bold prog rock keyboards, classical stylings, hooky Chic-style guitars and some vintage jazz on You Know How Good It Is. The result is an album that’s innovative, bold, brave and genre-sprawling. Like his days at Salsoul, and before that, Philadelphia International Records, Vince Montana Jr, proved that he was one of music’s innovators and trendsetters.
Throughout Vince Montana Jr’s long career, he was always a leader, not a follower. This had been the case throughout his career. At Philadelphia International Records and the Salsoul Records Vince played huge roles in the critical acclaim and commercial success enjoyed. The same can be said of Baker, Harris, Young and Bobby “Electronic” Eli. Both labels enjoyed huge commercial success and critical acclaim. One must ask, would either label have reached the sane heights without the creativity and genius of these five musical giants?
Indeed, after the original M.F.S.B. left Philadelphia International Records M.F.S.B. were never the same band. While they were good, they never great, never a musical goliath, reaching the same heights. History repeated itself at Salsoul. Once Vince Montana Jr, left Salsoul, The Salsoul Orchestra were never the same. It was Vince who was The Salsoul Orchestra’s inspiration and driving force. When Vince left, the Cayres tried replacing Vince’s creative genius with DJ remixers. That didn’t even come close to replacing Vince. It was akin to going from driving a Ferrari to driving an old Chrysler. Over the next couple of years, The Salsoul Orchestra’s biggest names played less and less of a role. The orchestra Vince founded, was soon a very different one. It was with Vince Montana Jr at the helm, that The Salsoul Orchestra were at their best. What Salsoul lost was Atlantic Records’ gain.
Goody Goody proves this. For his Atlantic debut, Vince didn’t recreated the Salsoul sound. While this would’ve proved commercially successful, it wouldn’t have satisfied his desire to produce innovative music. On Goody Goody, he does this, with his daughter Denise’s help. On Goody Goody, Vince Montana Jr, produced cutting-edge music, which thirty-four years later, still sounds as innovative, bold and timeless, as it did in 1978. Standout Tracks: Number One DJ, Goody Goody, It Looks Like Love and You Know How Good It Is.
GOODY GOODY-GOODY GOODY.
BUNNY SIGLER-LET ME PARTY WITH YOU.
BUNNY SIGLER-LET ME PARTY WITH YOU.
Bunny Silger seemed to have been around the Philadelphia music scene forever, by the time he signed to Norman Harris’ new label Gold Mind Records, where he’d release his fifth album Let Me Party With You in 1978. Eleven years before, Bunny had released his debut album Let the Good Times Roll in 1967, on Cameo Parkway. Although it failed to chart, the title-track Let the Good Times Roll and Lovey Dovey gave Bunny two minor hit singles. By 1974, Bunny had signed to Gamble and Huff’s Philadelphia International Records, releasing three albums between 1974 and 1976. That’s How Long I’ve Been Loving You, Bunny’s 1974 sophomore album, proved his most successful release on Philadelphia International. It reached number twenty-seven in the US R&B Charts. After that, 1975s Keep Smilin’ and 1976s My Music both failed to chart. Following My Music, Bunny decided to leave Philadelphia International Records and head to New York, where he joined Norman Harris’ new label Gold Mind Records. Gold Mind Records would release Let Me Party With You in 1978. Would Let Me Party With You this see an improvement in Bunny Sigler’s fortunes?
At Gold Mind Records, Bunny joined up with many former members of M.F.S.B, Philadelphia International Records legendary house-band. They’d left the label following a dispute with Gamble and Huff over money. Their destination was Salsoul Records, where they became The Salsoul Orchestra. Since then, Norman Harris had been given his own label to run, Gold Mind Records, which would now be home to Bunny Sigler. Indeed, it was on Norman Harris’ Gold Mind Records, that Bunny Sigler released his 1978 album Let Me Party With You. Given Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records maybe a change in label would mark a change in Bunny’s fortunes?
For Bunny Sigler’s Gold Mind debut album, Let Me Party With You, six tracks were penned. Bunny wrote three tracks, You’re Love Is Good, I’m A Fool and Time To Twist. With his brother Jimmy Sigler, Bunny cowrote I Got What You Need and with Kim Miller, Raymond Earl and Scotty Miller, penned Let Me Party With You (Disco-Disco-Disco). These six tracks were recorded in Philly, at Sigma Sound Studios and Philadelphia Music Works.
Unlike many of the albums released on Gold Mind Records, it wasn’t the familiar lineup of musicians. There was neither the Baker, Harris, Young rhythm section, nor Bobby “Electronic” Eli. Neither do the Sweethearts of Sigma’s backing vocalists grace Let Me Party WIth You. Instead, accompanying Bunny were a rhythm section of bassist Raymond Earl, drummer Scotty Miller and guitarist Kim Miller. Fred Bahler, Jimmy and Bunny Sigler played keyboards, Scotty Miller and Larry Stricklen congas, Sam Peaks supplied the horns. Dennis Richardson played piano, while Charles Williams and Fred Bahler played keyboards. Instant Funk also featured on Let Me Party With You which Bunny produced and Tom Moulton mixed. Would Bunny Sigler’s change of label see a change in his fortunes when Let Me Party With You was released in 1978?
On the release of Let Me Party With You in 1978, Bunny’s fortunes improved when the album reached number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this four hit singles. Only You reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. Let Me Party With You (Disco-Disco-Disco) reached number forty-three in the US Billboard 100, number eights in the US R&B Charts and number twenty-seven in the US Dance Music/Club Play Charts. I Got What You Need reached number forty-two in the US R&B Charts and then Don’t Even Try (Give It Up) reached number ninety-four in the US R&B Charts. It seemed Bunny Sigler’s decision to leave Philadelphia International Records had been vindicated. Let Me Party With You, which I’ll now tell you about, proves this.
Let Me Party With You opens with Let Me Party With You (Disco-Disco-Disco), a twelve-minute epic, which sounds not unlike a party in the studio when the track begins. Whoops, hollers and handclaps give way to a driving, funky rhythm section, stabs of keyboards, growling horns and percussion. Bunny’s good time vocal ensures the song swings, slowly revealing its secrets and surprises. Soon, Bunny is one-part cheerleader, his enthusiasm infectious. He’s desperate to make sure the song swings. Funky, joyous and dance-floor friendly, this track’s all this and more. Doo-wop harmonies accompany Bunny as he vamps his way through the track enthusiastically and energetically, determined to make the sure the song swings. Although very different from the music on That’s How Long I’ve Been Loving, Bunny’s back, with a bang.
You’re Love Is Good is quite different from the opening track. It’s a much more laid-back track. Harmonies, handclaps and rasping horns accompany keyboards before Bunny and his band kick loose. A blazing, meandering horn, keyboards and rhythm section add funk to Bunny’s sassy vocal and punchy harmonies. Stabs of keyboards and handclaps punctuate the arrangement. Soon, Bunny vamps, mixing power and passion. This is perfect for the arrangement. So are the waves of harmonies and strings that sweep in. Now Bunny adds some of his trademark soul. He testifies his way through the track, with punchy harmonies for company while his band supply some uber funky music. This ten minute epic, closes Side One of Let Me Party With You, and is one of the highlights, with Bunny back to his very best.
Bunny penned I Got What You Need with his brother Jimmy. Just a moody, spacey, sometimes funky bass sets the scene for Bunny’s sassy, breathy vocal. There’s a jazzy sound to the spacious arrangement. Breathy, sensual backing vocals give way harmonies and a heartfelt, impassioned vocal. Soon, Bunny’s sensuous vocal teases, with the sultriest of saxophone solos and soaring harmonies for company. Add to this bursts of dramatic drums and pulsating bass line and you’ve the finishing touch. The result is seven minutes of sheer sensuality and one of the best songs Bunny recorded.
I’m A Fool has a spacious, moody and funky arrangement as it unfolds. Just a broody bass line, keyboards and guitars combine as a questioning scatted, heartbroken vocal enters. Then the tempo quickens. The rhythm section, searing guitars and stabs of keyboards drive the arrangement along. Bunny’s vocal is filled with sadness and emotion. With such an emotive vocal, the arrangement doesn’t disappoint. It’s drama personified, providing the perfect backdrop, for Bunny’s vocal and reflecting the heartache and emotion in his vocal.
It’s Time To Twist sounds like Bunny looked to the past for inspiration when writing this song. The song literally bursts into life. A driving, funky rhythm section, bursts of space-age synths, searing guitars and stabs of bluesy horns set the scene for sweet, soulful harmonies. Bunny’s powerful gnarled vocal becomes a vamp, while crystalline guitars and washes of keyboards replace his vocal. By then, you realize Bunny has looked to the past for inspiration, fusing blues, funk and soul, adding to that generous supply of hooks.
Closing Let Me Party With You is Don’t Even Try (Give It Up), written and arranged by Gregory Herbert. Bunny has saved the best to last, as he decides to revisit his soulful past. Straight away, you realize something special is unfolding. A bursts of drums ushers in chiming guitars, rasping horns and waves of atmospheric keyboards. The rhythm section create the track’s slow, beautiful and soulful heartbeat. For his part, Bunny delivers a tender, heartfelt vocal. Truly, he rolls back the years, delivering a vocal filled with emotion, joy and hope. It’s the perfect way to close the first chapter in the part of the Bunny Sigler story.
With Bunny Sigler now signed to Norman Harris’ Gold Mind Records, Let Me Party With You represents the next chapter in his career. While Bunny hadn’t enjoyed the success his music deserved at Philadelphia International Records, it was almost as if Bunny was reinvigorated and rejuvenated at Gold Mind Records. Let Me Party With You proved to be Bunny most successful album, surpassing even his Philadelphia International Records’s debut That’s How Long I’ve Been Loving. On Let Me Party With You mixed musical genres old and new. Unlike some soul singers during the disco era, Bunny didn’t throw the soul out with the bathwater. He combined Philly Soul with funk, disco, jazz and a twist of the blues. The result was six tracks, where Bunny mixed good-time party music, funky licks and some heartfelt soul. The record-buying public loved the music on Let Me Party With You, resulting in the album number seventy-seven in the US Billboard 200 and number eighteen in the US R&B Charts. Add to this, four hit single and Bunny Sigler was back, asking to Let Me Party With You. Given how good the music is on Let Me Party With You is you can’t refuse. Standout Tracks: You’re Love Is Good, I Got What You Need, I’m A Fool and Don’t Even Try (Give It Up).
BUNNY SIGLER-LET ME PARTY WITH YOU.
THE DETROIT SPINNERS-HAPPINESS IS BEING WITH THE SPINNERS.
THE DETROIT SPINNERS-HAPPINESS IS BEING WITH THE SPINNERS.
Ever since The Detroit Spinners had signed to Atlantic Records, their fortunes had been transformed. Their 1967 debut album, The Original Spinners, released on Motown, had failed to chart. Three years later, now signed to V.I.P. Records, their 1970 sophomore album 2nd Two Around, saw their fortunes improve slightly. 2nd Time Around reached just number 199 in the US Billboard 200 and number forty-six in the US R&B Charts. Another three years passed, and The Detroit Spinners had signed to Atlantic Records and they’d meet a man who’d transform their career…Thom Bell.
With Thom Bell arranging and producing The Detroit Spinners, they were about to enter the most successful period of their career. What followed, would see The Detroit Spinners become one of the legends of Philly Soul. Starting with 1973s Spinners, their next four albums would be certified gold. Spinners reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. 1974 proved to be The Detroit Spinners’ most successful year. Mighty Love reached number sixteen in the US Billboard 200 and number one in the US R&B Charts, then New and Improved proved their most successful album. It reached number nine in the US Billboard 200 and number one in the US R&B Charts. Following three consecutive number ones in the US R&B Charts, 1975s Pick of the Litter reached number eight in the US Billboard 200 and number two in the US R&B Charts. Happiness Is Being With The Spinners, released in 1976, proved to be the end of an era for The Detroit Spinner, proving to be their final album to be certified gold. Before I tell you about the music on Happiness Is Being With The Spinners, I’ll tell you about the making of the album.
Given The Detroit Spinners were now one of Philly Soul’s most successful groups, some of the most talented songwriters provided songs for Happiness Is Being With The Spinners. Linda Creed and Thom Bell who’d written so many tracks for The Detroit Spinners, cowrote two tracks, You’re All I Need In Life and The Rubberband Man. Bruce Hawkes, Charles Simmons and J.B. Jefferson cowrote three tracks, If You Can’t Be In Love, Toni My Love and Four Hands In the Fire. Phil Terry, T.G. Conway and Theodore Life penned Now That We’re Together, Michael Burton wrote The Clown and Sherman Marshall and Tony Bell cowrote Wake Up Susan. The eight tracks that became The Detroit Spinners seventh album, Happiness Is Being With The Spinners was recorded at not just at Philly’s Sigma Sound Studios, but also at Kaye Smith Studios in Seattle.
The five Detroit Spinners, Henry Fambrough, Billy Henderson, Pervis Jackson, Bobby Smith and lead Phillip Wynn were joined by some of Philadelphia’s best musicians and backing vocalists. This included a rhythm section of drummer Andrew Smith, bassist Bob Babbit and guitarists Tony Bell and Bobby “Electronic” Eli. They were joined by keyboardist Thom Bell, percussionist Larry Washington and M.F.S.B, Philadelphia International Records’ house-band. Adding backing vocals were legendary backing vocalists the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Thom Bell arranged and produced Happiness Is Being With The Spinners, which would be released in 1976.
On the release of Happiness Is Being With The Spinners, it reached number twenty-five in the US Billboard 200 and number five in the US R&B Charts, giving The Detroit Spinners their fifth consecutive gold disc. Two singles were released from Happiness Is Being With The Spinners. Wake Up Susan reached number fifty-six in the US Billboard 100 and number eleven in the US R&B Charts. The Rubberband Man gave The Detroit Spinners their most successful single, reaching number two in the US Billboard 100 and number one in the US Billboard R&B Charts. Over in the dance charts, The Rubberband Man reached number one in the US Disco Charts and number fourteen in the US Dance Music/Club Play Singles Charts. Such a successful single and album like Happiness Is Being With The Spinners, proved a fitting way for The Detroit Spinners to end an era, as you’ll realise, after I tell you about the album.
Happiness Is Being With the Spinners opens Now That We’re Together on a positive, hopeful note. The rhythm section, wistful horns and chiming guitars combine slowly, leaving space, before the lushest of strings enter. When the vocal enters, it’s deep and heartfelt, quickly changing hands, giving way to Bobby Smith’s tender vocal. Swathes of strings cascade, horns rasp and the rhythm section add bursts of drama. Washes of keyboards become one with the strings, while the vocal grows in power, passion and hope. Meanwhile, the other Spinners add sweeping, cooing harmonies, helped no end by the Sweethearts of Sigma. They play their part in getting Happiness Is Being With the Spinners to a beautiful, hopeful start.
Not only was You’re All I Need In Life written by Linda Creed and Thom Bell, but the arrangement is classic Thom Bell. Rasping horns, chucka-chucka guitars, stabs of keyboards and a powerful, dramatic rhythm section join layers of sweeping strings. They set the scene for the half-spoken vocal. It draws you in, compels you to listen, wondering what’s about to happen next. Bobby’s impassioned vocal, part tenderness and part emotion sits below lush strings, braying horns. For its part, the rhythm section that veers from providing a steady heartbeat, to adding bursts of drama, reflecting the emotive vocal. Harmonies tight and soulful from the Spinners and Sweethearts of Sigma provide the finishing touch to a song that has Thom Bell and The Detroit Spinners’ name all over it. Not only that, but it’s heartfelt, soulful and tenderness personified.
If You Can’t Be In Love is the first of three songs penned by Bruce Hawkes, Charles Simmons and J.B. Jefferson. A chiming guitar, melancholy horns, quivering strings and slow, thoughtful rhythm section set the scene for Bobby’s impassioned vocal. Harmonies sweep in, strings swirl dramatically and Bobby lays bare his soul. The other Spinner play their part, adding tight, heartfelt and sometimes, punchy harmonies as strings shiver and the bass anchors the arrangement. Later, a saxophone solo adds to the sadness and emotion of this heartachingly beautiful, melancholy ballad.
Rubberband Man gave The Detroit Spinners their biggest hit single and was written by Thom Bell and Linda Creed. Phillip Wynn takes over the lead vocal. A funky, driving rhythm section stabs of piano, with flourishes of boogie woogie piano joining percussion. Then as the band kick loose, you realize something special is unfolding. Soon, the rhythm section become a powerhouse. Phillip’s foxy, sassy vocal is answered by soaring harmonies. Bursts of boogie woogie piano join a funky, powerful rhythm section, frenzied strings and punchy harmonies. Together, they prove the perfect accompaniment to Phillip’s sass and the hook supplied by Thom Bell and Linda Creed. Having closed Side One of Happiness Is Being With the Spinners with a bang, you hungrily await Side Two.
Toni My Love is very different from anything that’s come before on Happiness Is Being With the Spinners. A moody, meandering bass, hissing hi-hats, shivering strings and bursts of dramatic horns take the arrangement in a jazzy direction. Bursts of jazzy guitar join Bobby’s pensive vocal. His vocal is tinged with sadness, as he sings: “Toni my love you don’t know what you’re doing, seems like you don’t get better.” These are heartbreaking lines, delivered with feeling. After that, cinematic strings, bursts of horns and basso vocal add to the moody, melancholy and jazz tinged sound. This wistful arrangement proves the perfect backdrop to some of the saddest, most moving lyrics on Happiness Is Being With the Spinners.
Four Hands In the Fire is third song written by Bruce Hawkes, Charles Simmons and J.B. Jefferson. The tempo drops way down, with just hissing hi-hats, crystalline guitars and a broody, spacious bass giving way to flourishes of strings. They set the scene for Bobby’s impassioned, gospel-tinged vocal. As the arrangement grows in power, drama and emotion heartfelt harmonies courtesy of The Spinners and Sweethearts of Sigma sweep in. Thom Bell uses layers of strings to reflect and amplify the beauty and meaning of the lyrics, which are among the best on Happiness Is Being With the Spinners. Similarly, this is one of Bobby’s most heartfelt vocals and one of Thom Bell’s best productions.
From the opening bars of Clown waves of emotive music unfold. Layers of strings, keyboards and a slow rhythm section join with growling horns and searing guitars. Flourishes of harp and dramatic rolls of drums set the scene for the impassioned pleas of Bobby. Emotion fills his vocal as keyboards and cascading strings accompany him. Bursts of drama courtesy of the rhythm section accompany his vocal and like the arrangement, grows in power, emotion and drama. Horns growl, strings swirl and the rhythm section add drama and power. Everyone plays their part in making this melancholy, heart-wrenching song truly memorable.
Closing Happiness Is Being With the Spinners is Wake Up Susan, the lead single. It allows the Detroit Spinners to close the album on an uptempo, hook-laden high. The rhythm section, blazing horns and swirling strings give way to punchy harmonies from the Sweethearts of Sigma. Soon, the baton passes to Billy, whose joyful vocal is delivered with a swing. As if spurred on, the band seem to lift their game. Bobby grabs the song, making it his own. Harmonies from the Sweethearts of Sigma and Spinners sweep in and out, playing their part in bringing Happiness Is Being With the Spinners to a joyous, uplifting and hook-laden high, with one of the album’s highlights.
In many ways, Happiness Is Being With the Spinners represented the end of an era for The Detroit Spinners. Happiness Is Being With the Spinners was the last of their albums to be certified gold. After that, although The Detroit Spinners’ albums sold well, their music was never as popular. It seemed groups like The Detroit Spinners were no longer as fashionable. Soon, their albums entered the charts in the lower reaches. Disco was now King, and sadly, Philly Soul wasn’t as popular. Worst was to come, when The Detroit Spinners lost one of its members and then two years later, lost their mentor Thom Bell.
Phillip Wynn left The Detroit Spinners in January 1977, with John Edwards replacing him. While John Edwards was a talented singer, Phillip Wynn’s timing proved perfect. He left The Detroit Spinners just as their fortunes started to change. Whether, Phillip saw times were changing, his decision to become a solo artist, was well timed. Between 1977 and 1979, the hit singles The Detroit Spinners had enjoyed started drying up. Whereas their singles were big sellers, they were now just giving the group minor hits. Thom Bell stayed loyal to The Detroit Spinners, producing 1977s Yesterday, Today and Tomorrow and Spinners 8, but after 1979s From Here To Eternally, sensed The Detroit Spinners had had their day in the sun. Michael Zager tried to revive The Detroit Spinners’ fortunes on Dancin’ and Lovin.’ However, music was a very different place from The Detroit Spinners’ heyday.
With Thom Bell as their mentor, The Detroit Spinners were giants of Philly Soul between 1973 and 1976. From 173s Spinners, through 1974s Mighty Love and New Improved then 1975s Pick of The Litter, The Detroit Spinners could do no wrong. This incredible run of critically acclaimed and commercially successful music ended with Happiness Is Being With the Spinners. Not only did Happiness Is Being With the Spinners match the quality of their five previous albums, but proved a deeply soulful, satisfying, way end an era. Never has an album title proved more prophetic than Happiness Is Being With the Spinners. Indeed, Happiness Is Being With the Spinners, especially the music The Detroit Spinners released between 1973 and 1976. Standout Tracks: Now That We’re Together, You’re All I Need In Life, Toni My Love and Wake Up Susan.
THE DETROIT SPINNERS-HAPPINESS IS BEING WITH THE SPINNERS.
JAZ AND MENDOZA-FANTASY.
JAZ AND MENDOZA-FANTASY.
Any new record company that describes itself as combining the best of the “old school values,” with “new school digital thinking,” has gotten my attention. Not only that, but it’s gotten my respect. All too often, in music, the past is dispensed with way to freely and quickly. It’s discarded like yesterday’s newspapers. That’s wrong. If you think about it, without the past we wouldn’t have gotten here? Think about it logically, without disco, house wouldn’t exist. Similarly, without all these sixties and seventies soul, jazz and funk albums, would hip hop have ever have been invented? So the past got us to where we are now. So for a new label to not only respect the past, but incorporate into its way of music is quite refreshing. That’s what San Francisco’s Handmade Records have done. This must be working, because they’ll soon release their eight release, Jay and Mendoza’s Fantasy, which I’ll now tell you about.
Fantasy is the second collaboration between Billy Jaz and Eduardo Mendoza. Jaz and Mendoza are a production duo based in San Francisco. Great things are forecasted from Jaz and Mendoza. It seems, not only they looking to be going places, but do so quickly. From the opening bars of this slice of funky house you just know something special is unfolding. Hesitant becomes moody and then melodic. A broody vocal flits in while pounding drums drive the arrangement along. Warm washes of melodic keyboards, bursts of urgent, teasing vocals and a moody synths then join. Each play their part as the drama builds. The broody vocal briefly rejoins, while crunchy drums help build the drama. Soon, you realise this a quality slice of funky house. Not only that, but it’s infectiously catchy, melodic where hooks certainly haven’t been rationed.
On what we used to refer to as A-Side of Fantasy, is the original mix and flip it over, so to speak, and you can hear the Jay Tripwire Remix. This means double helpings of Fantasy, albeit with a twist, that reinterprets this delicious slice of funky house.
Although Fantasy is only Jaz and Mendoza’s second collaboration, I’m sure they’ll be looking to grow their back-catalogue in 2013. They’ve put their considerable experience and talents to good use, proving that two heads have double the chance of filling and rocking dance-floors. Given how good Fantasy is, they’ll be continuing to fill and rock dance-floors, but much further afield than San Francisco.
JAZ AND MENDOZA-FANTASY.
THE RITCHIE FAMILY-BRAZIL.
THE RITCHIE FAMILY-BRAZIL.
In the seventies, Philadelphia was a musical hotbed, with the City of Brotherly Love giving the world some of the greatest groups of the decade. Everyone remembers artists like Billy Paul, Teddy Pendergrass and Barbara Mason, plus groups like The O’Jays, The Three Degrees, M.F.S.B, The Trammps and Harold Melvin and The Blue Notes. Dig deeper, and Philadelphia as a musical city has so much more to offer. Love Committee, The Jones Girls, First Choice, Double Exposure and Archie Bell and The Drells to name a few. As disco began to rival Philly Soul as the Philadelphia’s most popular musical genre, other groups sprung up in Philly, including The Ritchie Family. They went on to become one of disco’s pioneering groups. Between 1975 and 1983, The Ritchie Family released nine albums, with lineup constantly evolving. Their debut album Brazil, was released before The Ritchie Family’s lineup was established. Taking charge of the vocals were another legendary Philly trio, the Sweethearts of Sigma. They were the greatest backing vocalists of the seventies, and played their part in cementing The Ritchie Family’s reputation as pioneers of disco. You’ll realise this when I tell you about Brazil, The Ritchie Family’s 1975 debut album.
When Honey and The Bees, another Philly group split-up, Cassandra Wooten and Gwen Oliver enrolled at Philadelphia’s School of Performing Arts. There they met Cheryl Mason Jacks. Later, the trio met Philadelphia record producer Richie Rome, who had lent his name to The Ritchie Family. Adding a T to his christian name, The Ritchie Family, who were created producer Jacques Morali were born. Little did they realize, that in The Ritchie Family, here was one of disco’s pioneering groups were born. All that was still to come. For The Ritchie Family’s debut album, Brazil, there was no established lineup of The Ritchie Family, three legendary Philly backing vocalists would fill this void… Sweethearts of Sigma.
With The Ritchie Family having no established lineup yet, the three legendary Philly backing vocalists the Sweethearts of Sigma, must have seemed the perfect choice. Their backing vocals can be heard on productions by Thom Bell, Gamble and Huff, Norman Harris and many more. Look at the sleeve-notes to any classic Philly Soul album and the Sweethearts of Sigma’s name will be there. Evette Benton, Carla Benson and Barbara Ingram were the Sweethearts of Sigma. Later, they’d provide backing vocals at Salsoul Records and became the voice of The Salsoul Orchestra and The Salsoul Strings. For The Ritchie Family’s 1975 debut album Brazil, the Sweethearts of Sigma provided the vocals.
While the Sweethearts of Sigma provided the vocals, Beauris Whitehead, French producers Henri Belolo and Jacques Morali cowrote five of the tracks. This included Dance With Me, Life Is Fascination, Lady Champagne, Let’s Pool and Pinball. The other three tracks were cover versions, including Peanut Vendor, Frenesi and Ary Barroso’s Brazil. These eight tracks were recorded at Philly’s Sigma Sound Studios.
At Sigma Sound Studios, Richard Rome arranged the tracks and was assistant producer. Producing Brazil was Jacques Morali, while the Sweethearts of Sigma added the vocals. 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 guitarist Bobby “Electronic” Eli. Richie Rome played piano, congas came courtesy of Larry Washington, Vince Montana Jr, supplied vibes and Don Renaldo provided the strings and horns. Once the eight tracks that became Brazil were recorded, Brazil was released in 1975.
The lead single from Brazil was the title-track Brazil, which reached number eleven in the US Billboard 100. Dance With Me, the second single, then stalled at number eighty-four in the US Billboard 100. When The Ritchie Family’s debut album Brazil was released, it reached number fifty-three in the US Billboard 200 and number twenty-six in the US R&B Charts. Considering Brazil was The Ritchie Family’s debut album, and the group didn’t even have an established lineup, Brazil proved a commercial success, and launched one of disco’s pioneering groups, as you’ll realize when I tell you about Brazil.
Peanut Vendor opens Brazil, with a sound that’s made in Philly written all over it. A combination a funky, powerhouse of a rhythm section from Baker, Harris Young joins Bobby “Electronic” Eli’s wah-wah guitar, braying horns, lush, dancing strings and breathy backing vocals from the Sweethearts of Sigma. As strings cascade and horns blaze, Vince Montana Jr, sprinkles his vibes across the arrangement. Tender, sensuous harmonies sweep in, while jazzy horns, funky guitars and swathes of dancing strings combine. The clincher is the Sweethearts of Sigma vocal and harmonic masterclass. Their vocals veer from sweeping, sensuous, whooping and punchy. Combined with this all-star Philly band, it’s a glorious combination, joyous, innovative and pioneering, where Philly Soul, funk jazz and disco seamlessly become one.
From the get-go, Frenesi bursts into life. Bursts of Earl Young’s drums, Larry Washington’s congas and Bobby “Electronic” Eli’s wah-wah guitar before bang, it’s all change. Horns growl, strings sweep and swirl frantically and Baker, Harris, Young kick loose, driving the track along. Woodwind provide a jazzy sound, Vince Montana Jr’s vibes provide a contrast as swathes of strings dance and high-licking horns unite, as this eight-minute epic reveals its secrets. When the Sweethearts of Sigma, needy, sensual harmonies enters, that’s the finishing touch. After that, a myriad of percussion, woodwind, grizzled horns and swirling strings join the Sweethearts of Sigma in taking you on a mesmeric musical journey where drama, beauty, sensuousness are ever-present.
Brazil was the lead single from Brazil, giving The Ritchie Family a number eleven single in the US Billboard 100. No wonder. After just a few notes you realise why. It’s grandiose, flamboyant and dramatic. Growling horns, frantic, cascading strings and a pulsating heartbeat from the Baker, Harris, Young rhythm section give way to whooping, cooing and elegant harmonies from the Sweethearts of Sigma. Their harmonies float above the arrangement, atop layer of the lushest strings and punchy horns. Soon, the Sweethearts of Sigma’s harmonies become punchy, urgent and dramatic. With blazing horns, swirling strings and the Sweethearts of Sigma’s harmonies they close Side One in flamboyant, soulful and dramatic style.
Opening Side Two of Brazil is Dance With Me, the first of five consecutive tracks penned by Beauris Whitehead, Henri Belolo and Jacques Morali. There’s certainly no let up in the drama. The Baker, Harris, Young rhythm section, growling horns and cascading strings join a deliberate, sultry and heartfelt vocal. Vince Montana Jr, adds subtle vibes, Bobby “Electronic” Eli’’s guitar is funky, wah-wahing its way across the arrangement. Whoops of joyous harmonies sweep in, with jazz-tinged rasping horns and woodwind for company. Soon the Sweethearts of Sigma take charge. They showcase their considerable vocal prowess. Behind them, the band seem spurred on, to ever greater musical heights. Strings sweep even higher, horns rasp that bit more and the rhythm section provide a heartbeat that’s even more pulsating. Now wonder, given the Sweethearts of Sigma spurring them on.
Life Is Fascination sees musical genres and influences combine. Swirling strings with classical stylings, funk is supplied by the Baker, Harris, Young rhythm section and Bobby “Electronic’ Eli’s guitar while the Sweethearts of Sigma add vocals and harmonies that are Philly Soul through and through. They even outdo The Three Degrees for soulfulness. Horns rasp, strings swirl and sweep furiously and the rhythm section add a powerhouse of a rhythm section. However, it’s the Sweethearts of Sigma at their very best that make this one of Brazil highlights.
Dramatic. That’s the best way to describe the introduction to Lady Champagne. Bursts of the Baker, Harris, Young rhythm section, flourishes of strings and growling horns set the seem for the Sweethearts of Sigma. A sassy, powerful vocal is accompanied by punchy, whooping and doo-wop harmonies while jazzy woodwind and Ron Baker’s bass play important roles. Strings sweep and swirl, as the vocal grows in power and passion. Jazz, Philly Soul, funk and disco strings all play their part in this dramatic, impassioned slice of vintage sounding soulful music.
As Let’s Pool begins, it’s not unlike something you’d expect to hear on a Three Degrees album released on Philadelphia International Records. A combination of rasping horns, swathes of strings, Vince Montana Jr’s vibes and the Baker, Harris, Young rhythm section ensure this. Soon, it’s all change, and the track heads in a direction direction. You could almost cha cha to the arrangement and its jazzy sound. Plucked strings, punchy, breathy harmonies from the Sweethearts of Sigma and growling horns joining the rhythm section. Drama, beauty and flamboyance are combined, with the tight, talented band of Philly’s finest musicians and the Sweethearts of Sigma becoming one. They tease and tantalize, taking you on a genre-sprawling musical genre that’s truly irresistible.
Closing Brazil is Pinball. Against a backdrop of sound effects meant to replicate a pinball table, the arrangement unfolds. Recreating this sound is percussion and Vince Montana Jr’s vibes, before the rhythm section, bursts of braying horns and layers of urgent strings. The Sweethearts of Sigma add sassy vocal and punchy harmonies. These are perfect for the arrangement, that unravels at breakneck speed. Driven along by a pounding bass, layers of strings and sweeping harmonies that accompany a dramatic vocal, this brings Brazil to a dramatic conclusion.
Listening back to The Ritchie Family’s debut album Brazil, one thing that strikes me as something of a mystery? That’s why the Sweethearts of Sigma weren’t chosen as the permanent vocalists for The Ritchie Family. Given the Sweethearts of Sigma experience and considerable talents, which they showcased on Brazil, they were the natural choice. That this wasn’t the case, seems a missed opportunity? Richie Rome and Jacques Morali had the vocalists for The Ritchie Family already. There was no need to look elsewhere. No matter how hard or long they looked, they’d never find a trio of singers with the talent that Evette Benton, Carla Benson and Barbara Ingram had. Quite simply, the Sweethearts of Sigma were peerless. They’d no equal. Similarly, the musicians that played on The Ritchie Family’s debut album Brazil played their part in the album’s success.
With legendary musicians like Baker, Harris, Young plus Vince Montana Jr, Bobby “Electronic” Eli and Larry Washington playing on Brazil and providing the backdrop for the Sweethearts of Sigma’s vocals, it’s no surprise that The Ritchie Family’s debut album Brazil was such a success. Add to the equation producer Jacques Morali and Richie Rome’s arranging and production skills. It’s only then that you realize just why from The Ritchie Family’s debut album Brazil, they cemented their reputation as one of disco’s pioneering groups. This meant that yet another name was added to Philly’s musical hall of fame…The Ritchie Family. While The Ritchie Family went on to enjoy commercial success after Brazil, I just wonder whether they’d have enjoyed much more commercial success and critical acclaim with the Sweethearts of Sigma adding vocals, like they did on Brazil. Standout Tracks: Peanut Vendor, Brazil, Dance With Me and Life Is Fascination.
THE RITCHIE FAMILY-BRAZIL.
LOVE COMMITTEE-LAW AND ORDER.
LOVE COMMITTEE-LAW AND ORDER.
Gold Mind Records was subsidiary of Salsoul Records, run by legendary Philadelphia guitarist, songwriter, arranger and producer, Norman Harris. Norman was responsible for running the label, discovering the talent and with some of his Philly friends, writing, recording and producing these acts. Loleatta Holloway, First Choice and Double Exposure are just a trio of the acts that Norman brought to Gold Mind. In 1978, Norman’s new signing were Love Committee, who back in the sixties, were called The Ethics. Twelve years after The Ethics released their debut single for Vent Records, Think About Tomorrow, The Ethics had a new name and new lineup. Love Committee was their new name and Love Committee would release their debut album Law and Order on Norman Harris’ Gold Mind Records. Before I tell you about the music on Law and Order, I’ll tell you about Love Committee’s musical journey.
Love Committee were one of many Philadelphia soul groups formed in the sixties. Their original lineup featured Larry Richardson, Joe Freeman, Norman Frazier and future-Temptation Ron Tyson. Later, Michael Bell replaced Larry Richardson. Having released their debut single Think About Tomorrow on Vent Records, The Ethics released further singles on Vent. This includes 1969s Standing In the Darkness and Farewell. After leaving Vent, The Ethics signed to Baker, Harris, Young’s newly formed label Golden Fleece Records, releasing Good Luck in 1974. Later, The Ethics changed their name to Love Committee and signed to Norman Harris’ Gold Mind Records.
For Love Committee’s debut album Law and Order, Norman Harris would play a huge part in the album. He put together some of Philly’s best songwriters, musicians, arrangers and producers to work on what became Law and Order. Similarly, Ron Tyson cowrote each of the eight tracks, with a variety of collaborators
Norman Harris cowrote four tracks with Allan Felder and Love Committee lead singer, Ron Tyson. They were the title-track Law and Order, If You Change Your Mind, Pass the Buck and Give Her Love. Ron Tyson cowrote Tired of Being Your Fool with Eddie Moore, and Cheaters Never Win with Allan Felder and T.G. Conway. T.G. Conway, Bruce Gray and Ron cowrote Just As Long As I Got You, while Bruce Gray, Bruce Hawkes and Ron cowrote Put It In the Back of Your Mind. These tracks would become Law and Order, which was recorded at Philly’s Sigma Sound Studios.
When Love Committee set about recording Law and Order, they were accompanied by some of Philly’s finest musicians and backing vocalists. The Salsoul Orchestra’s rhythm section came courtesy of Baker, Harris, Young, helped along by bassist Jimmy Williams and drummer Keith Benson. Guitarists included Bobby “Electronic” Eli, Eddie Moore, T.J. Tindall and Roland Chambers. Keyboardists included Ron “Have Mercy” Kersey, Cotton Kent, Bruce Hawkes, Bruce Grey and T.G. Conway. They were joined by Larry Washington on congas and percussionists Allan Felder and Ron Tyson. Don Renaldo supplied the strings and horns, while the Sweethearts of Sigma, Evette Benton, Carla Benson and Barbara Ingram added backing vocalists. Ex-Temptation Ron Tyson sang lead vocals, but like his former group, The Temptations, the lead vocal changed hands. Eight tracks were recorded, with a variety of production teams, including Baker, Harris, Young, Allan Felder, Ron Tyson and Norman Harris producing Law and Order. Once Law and Order was recorded, it was ready for release in 1978.
When Law and Order was released in 1978, the album failed to chart. Only Tom Moulton’s remix of the title-track Law and Order charted, reaching number twenty-one in the US Dance Music/Club Play Charts. Considering the quality of music and personnel involved in Law and Order, this must have come as a crushing blow to Love Committee, as you’ll realize when I tell you about the music on Law and Order.
Opening Law and Order is the title-track Law and Order, penned and produced by Allan Felder, Ron Tyson and Norman Harris. Bobby “Electronic” Eli’s searing guitar, lush, dancing strings and a pounding, powerful and sometimes, funky Baker, Harris, Young rhythm section create a dramatic backdrop. Blazing horns, percussion and keyboards combine before the tightest, soulful harmonies give way to Ron’s powerful, vampish lead vocal. He delivers lyrics filled with cutting, social comment with sheer passion. Soon, the lead switches hands, a soaring falsetto the perfect replacement, responding to Ron’s call. Harmonies, frantic strings and Baker, Harris, Young ensuring the song swings along. Ron Baker gives a masterclass on bass. His pounding bass and Earl Young’s drums, help drive an arrangement that’s a mass of cascading strings, sizzling guitars, and the soulful, soaring harmonies along. It’s a perfect way to open Law and Order. Uptempo, full of hooks and bursting with energy and social comment. You’re left wanting to hear more, much, much more.
The tempo drops on the Ron Tyson and Eddie Moore penned Tired of Being Your Fool. Produced by Ron Tyson and arranged by Ron “Have Mercy” Kersey, it’s a beautiful, soulful track, where Ron lays bare his weary soul. Quivering strings, burst of a wistful horns and Norman Harris’ pensive, jazz-tinged guitar combine with Ron emotive, soaring vocal. Soon, the drama and emotion increases. Baker, Harris, Young, swathes of strings and broody horns provide a backdrop that reflects this. Ron’s vocal is filled with sadness and regret, while the Sweethearts of Sigma and the rest of Love Committee add soulful, truly heartfelt harmonies. They’re the perfect accompaniment to Ron’s impassioned pleas, as he lays bare his soul for all to hear.
If You Change Your Mind is the second of the tracks written and produced by Allan Felder, Ron Tyson and Norman Harris. Jack Faith arranges what is a string laden ballad, with cooing harmonies from the Sweethearts of Sigma. Ron’s half-spoked, heartbroken vocal is answered by a falsetto that brings to life the sadness and heartache in the vocal. Slow, sad strings, a thoughtful Baker, Harris, Young, complete with Ron Baker’s pensive bass and Norman Harris’ pensive guitar. Layers of strings cascade, joining the cooing Sweethearts of Sigma while horns rasp as the vocal sees optimism and hope mixed with heartache and hurt. The result is one of the most beautiful tracks on Law and Order.
Cheaters Never Win see Baker, Harris, Young produce a track, that from the opening bars has Baker, Harris, Young’s name all over it. Shimmering strings, wistful, rasping horns and Norman Harris’ chiming guitar open the track, before it reveals its secrets. At the heart of the action are the Baker, Harris, Young rhythm section providing a pulsating, sometimes, pounding, dramatic heartbeat. Ron’s vocal is full of despair and frustration, with the Sweethearts of Sigma and the rest of Love Committee adding heartfelt, soulful harmonies. Add in the swathes of swirling strings, chiming guitars and Ron’s despair filled vocal and this bring Side One of Law and Order to emotive, uptempo and dramatic high.
Pass the Buck opens Law and Order and is another Baker, Harris, Young production, arranged by Ron “Have Mercy” Kersey. The track bursts into life, Ron’s powerful, vampish vocal accompanied by sweeping, swirling strings, a funky Baker, Harris, Young rhythm section and growling horns. With a burst of Earl Young’s drums and flourishes of piano, Ron delivers a vocal filled with searing social comment, about unfairness, poverty and injustice. Dramatic harmonies from the other members of Love Committee and the Sweethearts of Sigma prove the perfect foil for Ron’s angry, frustrated vampish vocal, Baker, Harris, Young join frantic strings and grizzled horns in providing the backdrop for one of Ron’s best vocals on Law and Order, where his vocal mixes anger, frustration and social comment, but with a real swing.
Put It In the Back of Your Mind was produced by Ron Tyson and arranged by Jack Faith. Swathes of strings, rasping horns, piano and a jazzy Baker, Harris, Young rhythm section build up the drama and emotion for an impassioned falsetto. Soon, Ron takes over the vocal, mixing power and passion. Harmonies from the Sweethearts of Sigma and Love Committee sweep in, and are delivered with a jazzy swing. The interplay between the lead vocal and harmonies are filled emotion and drama, while the big band style arrangement complete with rasping horns, swirling strings and punchy harmonies are just the finishing touch to this uptempo slice of old time jazzy music.
Give Her Love is the third and final track written and produced by Allan Felder, Ron Tyson and Norman Harris, who arranges the track. The tempo drops way down, as Ron delivers one of his most moving vocal. Just a slow, considerate Baker, Harris, Young rhythm section, cooing harmonies from the Sweethearts of Sigma and Love Committee and lush strings build the drama, beauty and emotion. So when Ron’s vocal enters, he’s the perfect backdrop to lay bare his soul and feelings. Norman Harris’ chiming guitar, lush strings and wistful horns join harmonies, as Ron delivers a heartfelt, impassioned vocal. As the emotion in his voice grows, so does the drama in the arrangement. Ron emotively vamps his way through the track, resulting in a heartbreakingly beautiful song.
Closing Law and Order is Just As Long As I Got You, produced by Baker, Harris, Young. Written by Bruce Hawkes, Ron Tyson and T.G. Conway, this allows Love Committee to close Law and Order on a real high. The tempo increases and hooks are plentiful. Larry Washington’s congas, a pounding Baker, Harris, Young rhythm section, blazing horns, sweeping strings and a flourish of keyboards give way to tight, soulful harmonies. Ron’s vocal is a mixture of tenderness, power and passion. Soon, the vocal changes hands, with the falsetto taking charge. Norman Harris’ guitar, bursts of horns, swirling strings and dramatic flourishes of Earl Young’s drums combine, setting Love Committee up for a big finish. With the baton passed, they do their part Ron’s lead and the harmonies pushing the other to greater heights of hook, laden soulfulness.
That Love Committee’s debut album Law and Order wasn’t a much bigger commercial success, almost seems unjust. It’s one of these albums where you’re spellbound from the opening bars right through to the closing notes. Law and Order includes just eight songs, lasting forty minutes, where lead singer Ron Tyson, Michael Bell, Joe Freeman and Norman Frazier showcase their considerable vocal, and harmonic talents. Heartachingly beautiful, soul-baring ballads and hook-laden, uptempo tracks sit comfortably side by side. Mind you, given the personnel that played on Law and Order, this is no surprise.
On Law and Order, Love Committee were accompanied by some of Philly’s greatest musicians. This included Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and the legendary backing vocalists the Sweethearts of Sigma. Law and Order truly, featured a musical all-star cast. Arrangers like Ron “Have Mercy” Kersey, Bruce Hawkes and Jack Faith, plus producers like Baker, Harris, Young and the trio of Allan Felder, Ron Tyson and Norman Harris all played their part. That’s why Love Committee’s debut album Law and Order is such an accomplished album. Indeed, Law and Order is yet another of Philly Sou’s hidden gems. Not only that, but it’s one of the few albums released on Norman Harris’ Gold Mind Records not to be a commercial success.
Maybe part of the problem with Law and Order’s lack of commercial success was Gold Mind Records were experiencing financial problems. Just a year later, Gold Mind had to be rescued by Salsoul Records and absorbed into Salsoul. Sadly, all Norman Harris’ hard work and genius was for nothing. Love Committee’s debut album Law and Order way not have been one of the most successful albums Norman Harris was involved in, but it shows just how talented Norman was as a musician, songwriter and producer. Similarly, Law and Order demonstrates just how talented Love Committee were. Given the quality of music on Law and Order, the album deserved to be a much bigger commercial success. Standout Tracks: Law and Order, If You Change Your Mind, Cheaters Never Win and Give Her Love.
LOVE COMMITTEE-LAW AND ORDER.
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
Ever since Teddy Pendergrass left Harold Melvin and The Blue Notes, the success he’d enjoyed with his former group kept on coming. By 1981, Teddy had released five albums since his solo career started in 1977. From his 1977 debut album Teddy Pendergrass was certified platinum, Teddy cemented his reputation as Philadelphia International Records’ most successful solo artists. Then in 1978, not only was Life Is A Song Worth Singing certified platinum, but gave Teddy his first number one album in the US R&B Charts. Teddy released in 1979 proved his most successful album, reaching number five in the US Billboard 200, number one in the US R&B Charts and was certified platinum. Proving Teddy could do no wrong, his 1979 live album Live! Coast To Coast was certified gold.
TP, released in 1980, saw the success continue into a new decade, giving Teddy his fourth and final platinum disc. Although 1981s It’s Time For Love was a commercial success, being certified platinum, it failed to match the success of his four previous albums. Then just before Teddy released his sixth album, 1982s This One’s For You, Teddy’s life was transformed. Suddenly, music was the least of Teddy’s concerns. After being involved in an automobile accident, Teddy was paralyzed from the waist down. It was against this life changing event that Teddy released This One’s For You. However, Teddy Pendergrass proved to be one of the most determined and courageous men ever, as you’ll realize, after I’ve told you about This One’s For You.
This One’s For You was Teddy’s sixth album for Philadelphia International Records. His previous album It’s Time For Love was Teddy’s first album not to be certified platinum. However, Teddy was still the most successful artist one Philadelphia International Records. So, for This One’s For You the label’s best songwriters provided songs.
Given how important to Philadelphia International Records Teddy Pendergrass was, This One’s For You saw the label’s best songwriters and producers get to work. Gamble and Huff contributed This Gift of Life, Now Tell Me That You Love Me and It’s Up To You (What You Do With Your Life). I Can’t Win For Losing was penned by McFadden and Whitehead with Victor Carstarphen. The title-track This One’s For You was a song written by Barry Manilow and Marty Penzer. Ashford and Simpson, who’d long enjoyed success as songwriters, producers and artists cowrote Only To You. Another successful songwriting partnership wereLeRoy Bell and Casey Bell, who cowrote Loving You Was Good. Together with Richard Roebuck’s Don’t Leave Me Out Along the Road, these eight tracks became This One’s For You.
Recording of This One’s For You took place at Philly’s Sigma Sound Studios. Accompanying Teddy were M.F.S.B. while the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram add backing vocals. Jack Faith and Bobby Martin were two of the arrangers on This One’s For You. Gamble and Huff produced three tracks, while McFadden and Whitehead with Victor Carstarphen and Ashford and Simpson produced a track. Once This One’s For You was recorded, tragedy intervened and Teddy Pendergrass’ life was never the same again.
Before This One’s For You was released, Teddy was involved in an automobile accident. Tragically, his spine was damaged, resulted in him being paralyzed from the waist down. Set against such a tragic backdrop, the commercial success of This One’s For You must have seemed irrelevant to everyone involved. Teddy was just thirty-two, and at the height of his career. When This One’s For You was released, it reached number fifty-nine and number six in the US R&B Charts. This was Teddy’s least successful album and his only album so far, not to be certified gold or platinum. However, that would change in years to come. Two singles were released from This One’s For You. The Gift of Life reached number thirty-one in the US R&B Charts in April 1982 and I Can’t Win For Losing reached number thirty-two in the US R&B Charts in September 1982. Although This One’s For You wasn’t Teddy’s most successful album, the circumstances surrounding its release, and Teddy’s accident make it a quite poignant album, which I’ll now tell you about.
Opening This One’s For You is a song McFadden and Whitehead cowrote and co-produced with Victor Castarphen, I Can’t Win For Losing. synths and cascading strings join the rhythm section before Teddy’s vocal enters. The first thing you notice is the eighties sounding production. It’s quite unlike early Philadelphia International Records’ productions. A meandering bass line, stabs of space-age synths and cascading strings join the rhythm section, before Teddy’s vocal enters. One thing that’s the same is Teddy’s powerful, impassioned pleas. Still, Teddy can breathe life and meaning into lyrics. Soaring harmonies courtesy of the Sweethearts of Sigma, sweep in. Meanwhile, strings swirl and the bass helps drive the arrangement along, as Funk and Philly Soul combine. Here, the Philly Sound is given an eighties makeover, but Teddy Pendergrass’ vocal prowess stays the same.
This One’s For You is a cover of Barry Manilow and Marty Penzer penned track. It’s transformed, with plenty of soulfulness added. Teddy’s tender, half-spoken, hesitant vocal is accompanied by the lushest of strings, ethereal harmonies from the Sweethearts of Sigma and wistful woodwind. This very beautiful, understated combination is perfect, with Teddy delivering one of his most heartfelt vocals. Power and passion combine, with just keyboards, woodwind and the rhythm section accompanying him. Bursts of drums add drama and reflect the growing power of Teddy’s vocal, as he delivers a vocal that’s heartfelt and like unburdening of his soul. Quite simply, it’s a beautiful song.
Loving You Was Good sees the tempo increase on a track written LeRoy Bell and Casey James. It’s as if they’ve written the track with Teddy in mind. Chiming guitars, a pounding rhythm section and growling, moody horns join shimmering strings. They provide the perfect backdrop for Teddy’s emotive vocal, tinged with sadness and regret. The Sweethearts of Sigma add tender, soaring harmonies as the arrangement is much more like what you’d expect on an album released by Philadelphia International Records. Strings cascade, rasping horns and stabs of keyboards join the rhythm section to drive the arrangement along, mixing drama and emotion. Teddy with the help of the Sweethearts of Sigma’s soulful harmonies delivers a vocal filled with emotion, regret and heartache. This is Teddy doing what he was so good at, bringing a song to life, as if he’d lived the lyrics and survived to tell the tale.
Closing Side One of This One’s For You is The Gift of Life, which given the lyrics is extremely poignant. Especially when Teddy sings “This Gift of Life which you can’t buy with money.” It brings home the reality of Teddy’s situation. Just a slow, careful rhythm section, swathes of lush strings and piano accompany Teddy’s vocal. It veers between pensive and when it grows in power, becomes celebratory. The Sweethearts of Sigma accompany him, as the arrangement grows in power and drama, as Teddy gives thanks for The Gift of Life, one of the most poignant songs Teddy Pendergrass ever recorded.
Now Tell Me That You Love Me opens Side Two of This One’s For You. It’s the second Gamble and Huff song. Swathes of slow, lush strings, guitars and keyboards combine with Teddy’s half-spoken vocal. His vocal is full of emotion and heartfelt. The Sweethearts of Sigma accompany Teddy, adding punchy harmonies that answer Teddy’s call. Strings quicken, while the piano and guitar are at the heart of the arrangement. What makes the song, is Teddy’s impassioned pleas, matched all the way for emotion by urgent harmonies from the Sweethearts of Sigma. With Teddy and the Sweethearts of Sigma at their very best, singing a song penned by Gamble and Huff, things don’t get much better than this. Take it from me.
The last Gamble and Huff song on This One’s For You is It’s Up To You (What You Do With Your Life). Bursts of growling horns and the rhythm section join the lushest of strings to dramatically open the track. Soon, the tempo slows and Teddy steps up to deliver one of his trademark vocals. He mixes power, passion and raw emotion. His vocal grows in power, taking command of the song, while a piano, guitar, woodwind and the rhythm section provide a backdrop that grows in power and drama. Once Teddy’s vocal rejoins, the Sweethearts of Sigma join him. Their harmonies are just the finishing touch to the song, as Teddy unleashes a vocal where power, raw emotion and drama unite brilliantly.
Don’t Leave Me Out Along the Road opens with just stabs of keyboards, a thoughtful rhythm section and emotive strings. When Teddy’s vocal enters, it’s filled with hurt and heartache, the piano answering Teddy’s tender call. Strings add to the sadness and emotion, as do the Sweethearts of Sigma’s cooing, heartfelt and soaring harmonies. As the arrangement progresses, it reveals its beauty, sadness and emotion, as it heads to its dramatic ending.
Closing This One’s For You is Only To You penned and produced by Ashford and Simpson. This is a much more uptempo track, allowing Teddy to close the album on a high. Bursts of blazing horns, a pounding rhythm section and swathes of strings unite, before giving way to a piano lead arrangement. Teddy’s vocal is filled with feeling, as he heads into bedroom ballad mode. This is something Teddy is so good at, some might say the best. His vocal grows in power and drama, becoming a vamp, with the Sweethearts of Sigma’s soulful, punchy harmonies for company. They play their part in an arrangement that matches Teddy for power, drama and emotion every step of the way, resulting in Teddy closing This One’s For You with a bedroom ballad par excellence.
Every time I listen to This One’s For You, I find it an extremely poignant album, given what happened to Teddy Pendergrass just before its release. What makes This One’s For You even more poignant is the celebratory The Gift of Life, given its lyrics and their celebration of life and its sacred nature. Then there’s the album cover to This One’s For You, with Teddy standing strident and proud. It’s a heartbreaking image, given just what happened.
Even though This One’s For You didn’t match the success of his five previous albums, this isn’t a reflection of the music. By 1982, soul music was no longer as popular. Musical tastes were changing and soul singers like Teddy Pendergrass were no longer as popular. However, despite changing fashions in music and Teddy having suffered a horrific, tragic accident, resulting in him being paralyzed from the waist down, he continued to enjoy commercial success.
Through sheer determination, grit and courage, Teddy Pendergrass’ career continued, and the success he’d enjoyed returned. While he only released one more album for Philadelphia International Records, 1983s Heaven Only Knows. It was Teddy’s least successful album, but when he signed to Asylum, his first album for his new label, 1984s Love Language was certified gold. Four years later, after releasing 1985s Workin’ It Back on Asylum, 1988s Joy released on Elektra was also certified gold. After that, Teddy released three further albums for Elektra. They were 1990s Truly Blessed and 1993s A Little More Magic. You and I was Teddy’s final secular album, released in 1997.
Despite the tragedy that befell Teddy Pendergrass, his career continued. That’s testament to his courage and bravery. 1982s This One’s For You was released just after Teddy’s life changed for evermore. This One’s For You is a poignant album, from one of the greatest soul singers of his generation, Teddy Pendergrass. Although This One’s For You wasn’t Teddy Pendergrass’ most successful album, it features Teddy at his very best. Standout Tracks: Loving You Was Good, The Gift of Life, Now Tell Me That You Love Me and It’s Up To You (What You Do With Your Life).
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
Back in 1958, Frankie Vali walked into a nightclub in Newark, New Jersey and immediately, was bowled over by the band that were playing. Straight away, Frankie knew this band were special and knew why. The secret to their success was the man who wrote and arranged their music. When he asked who this songwriter and arranger was, he discovered it was Charlie Calello. Soon, Frankie Vali and Charlie Calello started working together, and Frankie Vail and The Four Seasons were about to enjoy the most successful period of his career. So was Charlie Calello.
By 1966, needing a change, Charlie spent two years at Columbia as an arranger and producer. It was in 1966 that The Charlie Calello Orchestra’s debut album Direct Hits was released. Two years later, Charlie decided it was time for another change. He became an independent songwriter, arranger and producer. What followed, was a career that spanned a further five decades. Charlie Calello went on to work with some of the names in music, working on over two-hundred albums. This includes everyone from Bruce Springsteen through Barbara Streisand, Odyssey, Frank SInatra and Laura Nyro. Eventually, Charlie became the most prolific arranger in musical history. Read Charlie’s extensive discography, and you’ll discover he’s worked on over one-hundred hits, sixteen of which sold over one-million copies, while fifteen were Grammy nominated. It seems that Charlie Calello has worked with an eclectic variety of artists and is capable of arranging and producing every musical genre, including disco, The Charlie Calello Orchestra’s 1979 sophomore album Calello Serendade, which I’ll now tell you about.
During the disco era, disco orchestra’s became big business. Obviously, The Salsoul Orchestra were the first and greatest disco orchestra. Soon other orchestras were formed, with the personnel often interchangeable. Many members of The Salsoul Orchestra also played on albums by John Davis Monster Orchestra. Often, classical musicians were drafted in, given the preference for lush strings and growling horns. Just about any type of track could be given the disco orchestra treatment. Whether it was new songs or old songs, they could be draped in strings, with horns and a pounding disco beat added. On The Charlie Calello Orchestra’s 1979 album Calello Serendade, Charlie chose seven classic track to give the disco treatment.
For Calello Serendade, Charlie chose to cover classics that included Stardust, penned by Hoagy Carmichael and Mitchell Parish, who cowrote Moonlight Sernenade with Glenn Miller. Another track made famous by Glenn Miller was In the Mood, written by Joe Garland. These three tracks and four other tracks, including covers of Sy Oliver’s Opus One and Louis Prima’s Sing, Sing, Sing made up The Charlie Calello Orchestra’s 1979 debut album Calello Serendade, which was recorded at two studios, House of Music and the Hit Factory, with Charlie producing the album.
When recording of The Charlie Calello Orchestra’s 1979 album Calello Serendade began, it was with a lineup that included a full string and horn section. The Charlie Calello Orchestra’s lineup included a number of well known names. Michael Brecker played tenor saxophone, Barry Miles piano, David Spinozza guitar, Jimmy Maelen percussion and Steve Jones drums. Among the backing vocalists were four some huge names. Jocelyn Brown of Inner Life, Chic’s Alfonso Anderson and Luther Vandross, who knew Alfonso from singing backing vocals on Chic. This was one of several projects Luther Vandross was involved in, before he became a worldwide star. Then there was the legendary Cissy Houston. Such a talented quartet of backing vocals were literally the icing on this musical cake. Calello Serendade was released in 1979, which wasn’t exactly a good year for disco.
Disco by 1979, was waning in popularity. The Disco Sucks movement were at the forefront of the anti-disco movement. On 12th July 1979, at Comiskey Park, Chicago disco almost died at Disco Derby Demolition Night. Following that night, disco headed underground and no longer enjoyed the same commercial success. So it’s no surprise that when Calello Serendade was released, it wasn’t a commercial success. Since then, Calello Serendade has remained a favorite among connoisseurs of disco and is played by DJs in the know. Now thirty-three years later, disco is enjoying yet another Indian Summer and albums like Calello Serendade are being rediscovered. So, this seems like a good time to tell you about The Charlie Calello Orchestra’s 1979 album Calello Serendade.
Opening The Charlie Calello Orchestra’s Calello Serendade is a cover of Moonlight Serenade. The tempo is slow, but only temporarily. Horns that sound as if they’re from an old big band session, join a rhythm section and piano that provide a dramatic backdrop. Then just as you’re enjoying Charlie’s homage to Glenn Miller, when bang, it’s all change. Tight, elegant and soulful harmonies are almost an announcement that the tempo is about to increase. In comes the pounding disco beat. Now The Charlie Calello Orchestra take Moonlight Serenade to 127 Disco Heaven. This means lush strings, floaty, punchy harmonies, percussion and stabs of horns. What follows, is a compelling, captivating makeover of an old classic, with bags of style and panache.
Rolls of pounding drums open Sing, Sing, Sing, while chiming guitars, booming bass and percussion combine. Soon, this familiar track is deconstructed and reconstructed disco style. Punchy, jazzy horns join lush, dancing strings and the drama and power provided by the rhythm section. Together, they dance joyously across the arrangement. Hooks are certainly not rationed and keeping still isn’t an option. You want, and indeed long to throw yourself headlong into this track and celebrate the genius of Louis Prima who penned this track and of course, Charlie Calello who produced it.
From the get-go, power and drama combine on Temptation. Thunderous drums, flourishes of string, growling horns, percussion aplenty and a funky bass unite, mixing disco, jazz, funk and classical music. In some ways, it’s quite different in sound from other tracks, given the dramatic classical stylings and its occasional funky side. There’s a grandiose sound, with layers of strings and bursts of energetic horns uniting. The thunderous drums are ever-present and play their part in the track’s disco sound. Together, genres unite as Side One of Calello Serendade reaches a dramatic high.
Stadust opens Side Two of Calello Serendade. Just a flourish of guitar and piano give way to a rasping alto-saxophone before the lushest of strings sweep in. Then, a burst of the rhythm section signals the arrangement to reveal its secrets. Light harmonies, growling horns, dancing strings and a pounding disco beat combine. Punchy, dramatic harmonies drift in and out, while a piano adds flamboyant touch. Soon, the heartfelt harmonies grown in power and drama. They unite adding a soulful, elegant sound while horns kick, strings sweep and swirl as pounding drums provide a pulsating heartbeat to this joyous, hook-laden take on an old classic.
Percussion, hissing hi-hats and finger clicks join doo-wop style harmonies and pounding bass as In the Mood is given a makeover. Soon, horns recreate the Glenn Miller sound, but with a thunderous, disco beat. Tight, cascading harmonies join the bass line as The Charlie Calello Orchestra lick loose. Horns rasp and growl, staying true to the original, while the harmonies are given a twist. They veer between tender, breathy and sassy. Always, they’re delivered with a swing. Where things get very different is the backbeat. It’s fast, pounding and dance-floor friendly, mixing jazz, disco and soul seamlessly
Opus One explodes into life. A powerhouse of a driving rhythm section are joined by punchy, high-kicking horns. Breathy backing vocals are like the starter in musical race at breakneck speed. With a standup bass helping power the arrangement along, horns bray and blaze, string sweep and swirl frantically. Throughout the track, the rhythm section provide the a pounding, pulsating beat. Resistance is impossible. Michael Brecker unleashes a peerless saxophone solo that. Even after that, things get better. The drama builds and builds, with grizzled horns, searing guitars, dancing strings and that constant pounding disco beat playing their part in one of the real highlights of Calello Serenade.
Calello Serenade closes with Skyliner, which has a real jazzy sound, albeit set to a disco beat. Hissing hi-hats, thunderous drums, blazing horns and jazzy piano combine to make the arrangement swings. Horns with vintage, muted sound are added, giving the arrangement a sound that’s reminiscent of the big band era. Piano, chiming guitars and standup bass add to the authentic sound, as do the rasping horns and swathes of lush strings. Where things differ, is the drums, which are disco through and through. When they unite, with jazz and disco becoming one, the result is a delicious reminder of another era, but with a disco twist.
The Charlie Calello Orchestra sophomore album Calello Serenade was released thirteen long years after their debut album Direct Hits in 1966. This was the second of a trio of albums The Charlie Calello Orchestra released between 1966 and 1980. Their final release was 1980s Sing, Sing, Sing, which like Calello Serenade, was released on Midsong International Records. Sadly, Calello Serenade was released too late in the disco era. 1979 saw disco’s popularity wane and if Calello Serenade had been released earlier, say in 1977 or 1978, might have been a much bigger success. Commercial success didn’t come The Charlie Calello Orchestra’s way when Calello Serenade was released. There was nothing whatsoever wrong with music on Calello Serenade, Instead, musical fashions had changed. Now thirty-three years later, looking back at Calello Serenade, the fusion of disco, jazz, soul, funk and classic music has stood the test of time. New life and meaning was breathed into seven classic tracks, by The Charlie Calello Orchestra on Calello Serenade. The result is another example of disco orchestra’s at their very best. Standout Tracks: Moonlight Serenade, Sing, Sing, Sing, Stadust and In the Mood.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
THE EBONYS-THE EBONYS.
THE EBONYS-THE EBONYS.
During the seventies, Philadelphia International Records was one of the most successful record labels in America. Without a doubt, it was one of Philly Soul’s greatest label. Between 1972 and 1975, it seemed Philadelphia International Records could do no wrong. Artists like The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees, Billy Paul and M.F.S.B. transformed Gamble and Huff’s label into one of soul’s greatest ever labels. However, Gamble and Huff weren’t invincible. Like other successful producers, they released albums that weren’t a commercial success. Often, many of these albums deserved to been much bigger commercial successes. Sometimes, looking back, it’s hard to believe that an album wasn’t a much bigger success. A case in point is The Ebonys, a New Jersey group, founded in 1968 and discovered by Leon Huff. The Ebonys were a quartet, comprising Jenny Holmes, David Beasley, James Tuten and Clarence Vaughan. They released their debut album The Ebonys in 1973, five years after The Ebonys were formed in New Jersey. Great things were expected of The Ebonys, but sadly, that wasn’t to be.
The Ebonys were formed back in 1968, in New Jersey, when Jenny Holmes, David Beasley, James Tuten and Clarence Vaughan decided to form a group. They spent time honing their sound, which many people have compared to The Dells. Their styles are similar, David Beasley’s lead baritone and the soaring falsetto that’s an answering second lead. By 1969, The Ebonys were ready to record a single. They released Can’t Get Enough, arranged by Art Freeman and produced by Ron Carson. Can’t Get Enough was released on the Soul Clock label. Although that was The Ebonys debut single, two years later, they’d released their first single for Philadelphia International Records. Success it seemed was heading their way.
Leon Huff discovered The Ebonys, and realizing the group’s potential, signed them to Philadelphia International Records. Their first single for Philadelphia International Records was You’re the Reason Why, released in 1971. This was just the year before Philadelphia International Records started its run of releasing commercially successful and critically acclaimed albums. You’re the Reason Why reached number fifty-one in the US Billboard 100 and number ten in the US R&B Charts.Determination didn’t fare as well in 1971, reaching number forty-six in the US R&B Charts. Despite this, given the early success that The Ebonys enjoyed, Gamble and Huff must have thought that here was a group that could help their nascent label make the next step. By the time The Ebonys released their debut album, The Ebonys Philadelphia International Records was a very different label.
By the time work started on The Ebonys debut album, Philadelphia International Records was now beginning its journey to becoming one of the most successful labels of the seventies. Two of Philadelphia International Records’ 1972 releases, Billy Paul’s 360 Degrees of Billy Paul and The O’Jays’ Back Stabbers had proved game-changers. Commercial success and critical acclaim had come their way. Maybe some of this would rub off on The Ebonys?
For The Ebony’s debut album The Ebonys, Gamble and Huff cowrote four tracks, Hook Up and Get Down, I’m So Glad I’m Me, Nation Time and You’re the Reason Why. They also cowrote Sexy Ways with Carl Gilbert. Leon Huff wrote It’s Forever and cowrote I’ll Try with McFadden and Whitehead. Phil Terry, T.G. Conway and Theodore Life cowrote Life In the Country. Together with a cover of I Believe, this became The Ebonys debut album, The Ebonys, which was recorded at Sigma Sound Studios.
Recording of The Ebonys took place at Joe Tarsia’s Sigma Sound Studios, with M.F.S.B. accompanying The Ebonys. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli and T.J. Tindall, They were joined by Lenny Pakula on Hammond organ, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and strings and horns courtesy of Don Renaldo. Arrangers included Bobby Martin, Ron Baker, Lenny Pakula, Thom Bell and T.G. Conway. Producers included Gamble and Huff plus the songwriting and production team of Phil Terry, T.G. Conway and Theodore Life. Once The Ebonys was recorded, the album was released in 1973.
It’s Forever was chosen as the lead single, reaching number sixty-eight in the US Billboard 100 and number fourteen in the US R&B Charts in 1973. The Ebonys reached a respectable number thirty-three in the US R&B Charts. What was disappointing was The Ebonys never entered the US Billboard 200. I Believe was the final single released from The Ebonys. It was released in 1974, reaching number thirty-four in the US R&B Charts. Sadly, that was the extent of the success The Ebonys enjoyed at Philadelphia International Records. After the early promise of 1971s You’re the Reason Why, The Ebonys was their only album released Philadelphia International Records. However, is The Ebonys another of the hidden gems of Philadelphia International Records’ back catalogue? That’s what I’ll tell you, when I tell you about the music on The Ebonys.
Opening The Ebonys is the Gamble and Huff penned Hook Up and Get Down, arranged by Lenny Pakula. Bursts of a thunderous Baker, Harris, Young rhythm section and growling horns add drama, reminding me of Edwin Starr’s War. They’re joined by stabs of Lenny Pakula’s Hammond organ, that give way to James’ urgent, powerful lead vocal. It’s delivered with drama and has a real presence. Horns growl, strings swirl, the rhythm section provide a powerful backdrop and Vince Montana Jr’s vibes provide a subtle contrast. When the vocal changes hands, the other Ebonys demonstrate their talents and vocal prowess. Later, Norman Harris lays down one of his trademark guitar lines, as the arrangement grows in power, drama and urgency. It’s the perfect opener to The Ebonys, grabbing you’re attention, resulting in you hungrily wanting to hear more, much more.
It’s Forever sees Bobby Martin one of Philadelphia International Records’ best arrangers produce this Leon Huff song. The tempo drops, the style changes and immediately you take notice. Just a piano, Vince Montana Jr’s vibes and lush strings combine, before bursts of rasping horns add drama to the beauty. Tender harmonies sweep in, adding to the beauty and emotion. They’re accompanied by Ron Baker’s moody, pensive bass. Then James “Bootie” Tutenlead vocal enters. He has a similar style and presence to Teddy Pendergrass. His baritone takes command of the song, growing power and raw emotion. This is no one man band. Each member plays their part, their contrasting vocal styles complimenting the other, especially the answering falsetto second lead. Together, their styles unite, becoming one, playing their part in what is one of the most beautiful, moving songs on The Ebonys. No wonder it was chosen as the lead single.
Life In the Country was penned and produced by Phil Terry, T.G. Conway and Theodore Life. It has a much more understated, thoughtful sound. Sound effects including running water and birds whistling join a subtle guitar as cinematic strings the arrangement unfolds. The tender, heartfelt vocal ponders the problems of country and city life. He’s joined by harmonies that compliment and magnify the beauty of his lead vocal. Strings and the rhythm section play their part in creating an arrangement that’s pensive, melancholy and quite beautiful, and is the perfect backdrop for The Ebonys to showcase their vocal talents.
Sexy Ways closes Side One Of The Ebonys. This was a collaboration between Gamble and Huff and Carl Gilbert. Again, Bobby Martin arranges a track which sees The Ebonys change tack. This is a real fusion of genres. Soul, funk, jazz and even gospel and doo-wop harmonies are revealed. James dynamic baritone soars, with elegant, gospel harmonies. A burst of Earl Young’s drums and M.F.S.B. kick loose. Horns, blaze, a powerful, Baker, Harris, Young rhythm section, Hammond organ and percussion combine. Flourishes of piano and doo-wop harmonies are added, as James ensures the song swings, as he mixes sensuality, power and hooks aplenty, bookending Side One perfectly.
I’m So Glad I’m Me opens Side Two of The Ebonys, with Gamble and Huff writing and producing a track arranged by Thom Bell. This Philly Soul dream team don’t disappoint. Norman Harris’ jazzy guitar, percussion, cascading strings and braying horns are joined by punchy harmonies and then James’ impassioned please. His vocal grows in power and passion, while punchy, soaring harmonies with a sixties sound accompany him. M.F.S.B. play their part, ensuring this celebratory, uplifting slice of soul opens Side Two of The Ebonys in style, with the help of three Philly Soul legends.
McFadden and Whitehead cowrote I’ll Try with Leon Huff, with Lenny Pakula arranging the song. From the opening bars, you realize a beautiful song is unfolding. Layers of slow, lush strings, a sprinkling of soaring harmonies, piano and the Baker, Harris, Young rhythm section combine. You await James’ heartfelt pleas. His vocal is reminiscent of Teddy Pendergrass, combining power and emotion, sometimes becoming a vamp. Tight, elegant and soulful harmonies join rasping horns, lush strings and the drama supplied by Baker, Harris, Young. When the soaring falsetto enters, that’s the clincher. The interplay between it and James’ lead is sheer emotion and beauty, becoming one, with the harmonies a beautiful added bonus. Why this song wasn’t released as a single seems a missed opportunity.
Nation Time is third of four Gamble and Huff songs on The Ebonys, and sees the tempo increase. There’s a real joyous sound, when the song bursts into life. Rasping horns, lush strings, keyboards and a powerful heartbeat courtesy Baker, Harris, Young rhythm section are responsible for this. Harmonies are tight, soaring soulfully and providing the perfect foil to James’ urgent, vampish delivery of Gamble and Huff’s message of unity. The longer the track progresses, the more impassioned The Ebonys’ message becomes, while M.F.S.B. provide a dramatic backdrop that reinforces this.
Ron Baker of the legendary Baker, Harris, Young rhythm section, arranged I Believe, giving this much covered song an emotive makeover. Waves of drama courtesy of Lenny Pakula’s Hammond organ, weeping strings, percussion and the Baker, Harris, Young rhythm section, join by Zach Zachary’s alto-saxophone. They provide the perfect backdrop for James’ inspired, impassioned reading of the lyrics. He combines emotion, drama and power, matched all the way by the other Ebonys. Their harmonies compliment his lead perfectly, as does M.F.S.B. It combines power and drama with beauty and a melancholy sound. Later, Ron uses Zach Zachary’s alto-saxophoneto good effect, using it to bring together the song together perfectly. The result is a transformation of an old song, becoming one that’s not celebratory and inspirational, but deeply moving.
Closing The Ebonys is You’re the Reason Why, where The Ebonys close the album on a high. Written and produced by Gamble and Huff, Thom Bell arranged a song that bursts dramatically and soon, joyously into life. Quivering strings, dramatic bursts of Earl Young’s drums, braying horns and soaring harmonies introduce David’s powerful, emotive vocal. Strings and harmonies reflect the emotion and happiness in his vocal. Vince Montana Jr, adds vibes, before the drama builds and builds. At the heart of the drama are the Baker, Harris, Young rhythm section, strings some stunning harmonies. Together, they provide the fitting accompaniment to James’ soul-baring vocal Magnus Opus, that brings The Ebonys to a dramatic, emotive crescendo.
While The Ebonys style was similar to The Dells, sadly, their music never enjoyed the same success. The combination of James “Bootie” Tuten’s powerful baritone, that’s reminiscent of Teddy Pendergrass and the answering falsetto second lead was a deliciously soulful, potent and effective combination, mainstream commercial success eluded The Ebonys. Their debut album The Ebonys is one of these albums that, despite there being nothing whatsoever wrong with the quality of the music, commercial success eluded them. Although The Ebonys reached number thirty-three in the US R&B Charts, and that they enjoyed several successful singles, they didn’t release another album on Philadelphia International Records.
Instead, their 1976 sophomore album, Sing About Life, was released on Buddah Records. Sadly, it didn’t even match the success of their debut album. Sing About Life was the last album The Ebonys would release. Their recording career was tragically short and it’s a case of what might have been. If commercial success was all about talent alone, then The Ebonys would have enjoyed a longer, more successful career and their 1973 debut album The Ebonys would’ve been critically acclaimed and commercially successful. That wasn’t to be the case, and in many ways, shows just how cruel a place the music industry can be. Like so many other albums, The Ebonys remains loved by a few, rather than by many, remains a cruel and ironic twist of fate. Standout Tracks: Hook Up and Get Down, It’s Forever, I’m So Glad I’m Me and I’ll Try.
THE EBONYS-THE EBONYS.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
Three years before Billy Billy Paul released Got My Head On Straight in 1975, he’d released his fourth album 360 Degrees of Billy Paul. Not only had 360 Degrees of Billy Paul made Billy Paul a worldwide star, but had played its part in launching Philadelphia International Records as one of soul’s premier labels. Since the success of 360 Degrees of Billy Paul, Billy’s life had been transformed. No longer was he just one of soul music’s rising stars, now he was known worldwide, helped no end by the success of Me and Mrs Jones. Now, Billy Paul was Philadelphia International Records’ first male superstar.
During the three years since the release of 360 Degrees of Billy Paul, Billy had only released one studio album, 1973s War of The Gods, which reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. It only featured one hit sings, Thanks For Saving My Life which gave Biily a top ten US R&B hit single. The following year, 1974, Billy released Live In Europe, which reached number 187 in the US Billboard 200 and number ten in the US R&B Charts. By 1975, it was two years since Billy’s last album. So he headed to Sigma Sound Studios with Philadelphia International Records’ legendary house-band M.F.S.B. to record the followup to War of The Gods. This would be Got My Head On Straight, which I’ll now tell you about.
For Got My Head On Straight, Philadelphia International Records’ best songwriters got to work. Gamble and Huff wrote five of the tracks and with other songwriting partners, cowrote two other tracks. This included penning Be Truthful To Me with McFadden and Whitehead. Together, Gamble and Huff wrote five of the tracks and with other songwriting partners, cowrote two other tracks. This included penning Be Truthful To Me with McFadden and Whitehead. The Gamble and Huff and McFadden and Whitehead partnership joined Billy Paul to cowrite Black Wonders of the World. Dexter Wansel wrote Billy’s Back Home and Bernard Ighner wrote Everything Must Change. These nine tracks were recorded where all of Philadelphia International Records’ recordings were recorded, Joe Tarsia’s Sigma Sound Studios.
For the recording of Got My Head On Straight, M.F.S.B. would accompany Billy Paul. This would prove to the last time Billy would be accompanied by the classic lineup of M.F.S.B. They were locked in a financial dispute with Gamble and Huff, which when it couldn’t be resolved, saw many of M.F.S.B. leave the label and become The Salsoul Orchestra. Among those that headed to New York, becoming The Salsoul Orchestra were the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and keyboardist Bunny Sigler. Even the legendary backing vocalists the Sweethearts of Sigma decided Salsoul Records was the place to go. They all played on Got My Head On Straight, and were some of architects of the Philly Sound. Arranging the nine tracks were Bobby Martin and Lenny Pakula. Gamble and Huff produced Got My Head On Straight, which was released in 1975.
Before the release of Got My Head On Straight in 1975, Be Truthful To Me was released in 1974. It reached number thirty-seven in the US R&B Charts. When Got My Head On Straight was released, it reached number 140 in the US Billboard 200 and number twenty in the US R&B Charts. Billy’s Back Home was then released as a single, but stalled at number fifty-two. While War of The Gods hadn’t matched the success of 360 Degrees of Billy Paul, neither did Got My Head On Straight. However, did Got My Head On Straight deserve to fare better?
Opening Got My Head On Straight is July, July, July, July, penned by Gamble and Huff. Stabs of piano create a wistful backdrop before M.F.S.B. kick loose. Horns blaze, the Baker, Harris, Young rhythm section inject power and drama. Ron Baker’s bass and Earl Young’s drums provide the heartbeat, as Billy’s hopeful, joyous vocal enters. Vince Montana Jr, sprinkles vibes, as percussion, punchy horns and cascading strings enter. Billy’s vocal grows in power and emotion with the Sweethearts of Sigma adding heartfelt, soulful harmonies. They prove the perfect accompaniment for Billy. So do M.F.S.B, who demonstrate just why they were such an important part of the Philadelphia International Records’ success story. A mass of blazing horns, frantic strings and thunderous rhythm section accompany Billy as he delivers vocal that like the arrangement, is passion and power personified. Billy’s back, and back with a bang.
Billy’s Back Home was the second single released from Got My Head On Straight, and deserved to fare much better. Just keyboards and synths combine to create a melancholy backdrop for Billy’s tender vocal. The arrangement has an understated sound, with a synth proving a contrast for the keyboards and Vince Montana Jr’s vibes. Soon, shimmering lush strings and the Baker, Harris, Young enter, while the Sweethearts of Sigma add the tenderest of harmonies. Billy’s vocal grows in power and emotion, becoming melancholy. It’s as if “Billy’s Back Home” but has anyone noticed? This must have rung true for many American veterans returning home from fighting in another pointless war. There’s emotion, melancholia and even a touch or irony in his vocal, as he breathes life and meaning into some pensive, but beautiful lyrics.
I’ve Got So Much To Live For has Caribbean sound, as the arrangement explodes joyously into life. Percussion, Vince Montana Jr’s vibes, swirling strings, growling horns and a dramatic Baker, Harris, Young rhythm section combine. Tender, gentle and punchy harmonies from the Sweethearts of Sigma provide a contrast to the power and drama supplied by the horns and the rhythm section. Billy matches the power and drama, add joyfulness as he gives thanks. Similarly, Vince’s vibes provide a contrast and give the track an authentic Caribbean sound and feel, as Billy proves how versatile a singer he truly is.
Black Wonders of the World closes Side One of Got My Head On Straight. From the get-go, you realize something special is unfolding. Bobby “Electronic” Eli’s wah-wah guitar joins Ron Baker’s moody bass and percussion from Larry Washington. Slowly, the arrangement begins as this Gamble and Huff, McFadden and Whitehead Magnus Opus reveal its secrets. Strings add to broody backdrop as Billy delivers the lyrics with feeling and sincerity. Earl Young’s drums and Ron Baker’s bass provide a pulsating heartbeat, before waves of Hammond organ, wash-wah guitars and urgent harmonies from the Sweethearts of Sigma add to the drama and emotion. Meanwhile, Billy pays homage to some of the legends of the civil rights’ movement. As Billy mentions their name, it’s with a reverence and respect that’s fitting, given the sacrifices they made for equality and justice. Of all the songs on Got My Head On Straight, this is without doubt the most moving and touching.
Enlightenment opens Side Two of Got My Head On Straight and is the first of two Gamble and Huff penned tracks. Just a pensive, meandering arrangement with synths, Ron Baker’s thoughtful bass and strings combine. They’re joined by serene harmonies, before Billy’s tender, questioning vocal enters. The Sweethearts of Sigma accompany him, matching Billy for tenderness and soulfulness. Their contribution proves the perfect accompaniment, adding swirling, punchy harmonies as Billy voice grows in power and feeling. Billy brings meaning and emotion into the lyrics. His power, and the Sweethearts of Sigma’s elegance and serenity, prove a potent, and indeed soulful and emotive meeting of musical minds.
When It’s Your Time To Go is very different from the previous arrangement, and deals with the subject of death, but with an uptempo twist. A buzzy, bouncy combination of synths, Vince Montana Jr’s vibes and the Baker, Harris, Young rhythm section combine with Billy’s punchy vocal. Soaring harmonies from the Sweethearts of Sigma, swathes of lush strings and washes of Lenny Pakula’s Hammond organ combine with Norman Harris’ jazzy guitar, as Billy’s vocal becomes celebratory and even joyous. Sadness isn’t option. Remember the good times is his message, as Philly Soul and funk are fused while Billy scats his way to the track’s close reminding you “no tears.”
Be Truthful To Me is another of the uptempo tracks, where Philly Soul and jazz unite. Growling horns, swirling strings and a swinging Baker, Harris, Young give the arrangement a jazzy twist. Billy joins the fun, delivering his vocal with a similar swing, but with a sting, warning; “Be Truthful To Me.” The Sweethearts of Sigma surpass themselves, adding the sweetest of punchy harmonies. By now M.F.S.B. have been transformed into a big band, and Billy’s becomes an old crooner. It’s a glorious transformation, with M.F.S.B, the Sweethearts of Sigma and Billy, at his best, revisiting, and paying homage to the sounds of the big band era.
Everything Must Change is a song that’s been covered by many people, but Billy’s version is a combination of beauty, emotion and soulfulness. Just an understated combination of piano, percussion and guitar combine as Billy delivers a vocal where he lays bare his soul for all to see. He explores the subtleties and nuances of the lyrics, bringing previously unheard meaning and beauty into an old song. So sincere is Billy’s delivery, you feel he means every word. He leaves space within the lyrics. That’s the signal for the Sweethearts of Sigma to enter, delivering heartfelt harmonies. After that, Billy delivers a heartachingly beautiful vocal, before with the Sweethearts of Sigma’s help, the song reaches a dramatic, moving conclusion.
Closing Got My Head On Straight is My Head’s On Straight, which bursts joyously into life. Instantly, you realize Billy’s determined to close the album on a high. This he does, with M.F.S.B. and the Sweethearts of Sigma. This means swathes of dancing strings, growling horns and the Baker, Harris, Young rhythm section adding a sometimes, dramatic heartbeat. For his part, Billy’s vocal is power, passion and positivity. He’s “a man with a plan” and his head’s on straight. There’s a joyous, celebratory sound to his vocal and the arrangement, as he ensures Got My Head On Straight ends on an uplifting high.
Two years after the release of his previous album, War of The Gods, Billy’s Back Home at Philadelphia International Records, and back with a bang. From the opening bars of July, July, July, July you realize Got My Head On Straight is going to be a musical journey to savor. After that, the songs vary in style, but the quality remains never drops. Throughout Got My Head On Straight, there’s a message in the music. The most moving and potent is Black Wonders of the World, where Billy pays homage the courage and bravery of the heroes of the civil rights movement. Another message song is When It’s Your Time To Go, where Billy’s message is “no tears,” celebrate someone’s passing. Everything Must Change is similarly moving, with Billy transforming the track into an emotive, epic. Then there’s the wistful sound of Billy’s Back Home, which must have rung true to many a returning Vietnam veteran. They too must have thought, I’m home but has anyone noticed? Other songs are much more joyous and uplifting.
This includes the celebration that is I’ve Got So Much To Live For. Be Truthful To Me is a gloriously uplifting and hook laden trip back to the big band era. Two celebratory songs open and close Got My Head On Straight. July, July, July, July, opens My Head’s On Straight and in between, Billy never misses a beat. There’s neither a bad track, nor any filler, just one great track after another. This is no wonder, given the personnel who played on Got My Head’s On Straight,
The classic lineup of M.F.S.B. and the Sweethearts of Sigma joined Billy on Got My Head On Straight. So it’s no surprise that this is such a good album. The only surprise is that Got My Head On Straight wasn’t a much bigger commercial success. It only reached number 140 in the US Billboard 200 and number twenty in the US R&B Charts. Given how good the music on Got My Head On Straight is, it should’ve been a much bigger commercial success. While it was more of a commercial success than 1973s War of The Gods, Got My Head On Straight never matched the success of 360 Degrees of Billy Paul. Instead, the powerful, moving music on Got My Head On Straight remains one of the hidden gems of Billy Paul’s illustrious back catalogue, awaiting rediscovery for Philly Soul fans old and new. Standout Tracks: Black Wonders of the World, Enlightenment, When It’s Your Time and Be Truthful To Me.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
Between 1972 and 1975, Harold Melvin and The Blue Notes released a quartet of albums that saw one of the most successful artists in the history of Philly Soul. During that period, commercial success and critical acclaim were constant companions for Harold Melvin and The Blue Notes. They were no overnight success story, having struggled for success on the supper club circuit. Then when they added former drummer, and charismatic baritone, Teddy Pendergrass as lead singer. Soon, their fortunes changed and by their third album To Be True, they were about to enter the most successful year of their career. However, not all was well behind the scenes of Harold Melvin and The Blue Notes, even when To Be True was recorded.
Suddenly, after adding Teddy Pendergrass as their lead singer, Harold Melvin and The Blue Notes were one of Philadelphia International Records most successful acts. This started with their 1972 debut album I Miss You, which was originally released as Harold Melvin and The Blue Notes. It reached number fifty-three in the US Billboard 200 and number four in the US R&B Charts. I Miss You featured three singles, If You Don’t Know Me By Now, I Miss You and Yesterday I Had the Blues. If You Don’t Know Me By Now gave Harold Melvin and The Blue Notes their first number one US R&B number one single and proved to be a timeless Philly Soul classic. After the success and critical acclaim of I Miss You, the success kept coming for Harold Melvin and The Blue Notes.
The followup album to I Miss You was Black and Blue, released in 1973, which saw the commercial success and critical acclaim continue. Black and Blue reached number fifty-seven in the US Billboard 200 and number five in the US R&B Charts. Three singles were released from Black and Blue, including two stonewall classics The Love I Lost (Part 1) and Satisfaction Guaranteed (Or Take Your Money Back). I’m Weak For You was the third single, but failed to replicate the success of the two previous singles. Like I Miss You, Black and Blue featured a number one single in the US R&B Charts, The Love I Lost (Part 1) and had reached number seven in the US Billboard 100. With the critical acclaim and commercial success continuing, surely things couldn’t get better for Harold Melvin and The Blue Notes?
After all, two critically acclaimed and commercially successful album and two number one singles in the US R&B Charts meant that Harold Melvin and The Blue Notes were now going toe-to-toe with The O’Jays to be crowned Philadelphia International Records most successful group. Sadly, after just two albums cracks were appearing within Harold Melvin and The Blue Notes. They threatened to derail the success Harold Melvin and The Blue Notes were enjoying.
Teddy Pendergrass was the lead singer, and the man who’d done so much to bring success to the previously struggling Harold Melvin and The Blue Notes. He wanted equal billing with Harold Melvin, or even better, to be recognized as the star of the group. Frantically, behind the scenes a compromise was sought? What about Teddy Pendergrass and Harold Melvin’s Blue Notes? That wasn’t going to happen. Harold Melvin was a proud man and had founded the group. As a temporary compromise, their third album, To Be True, this would see the group billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. At least this solved the problem, albeit temporarily. Thankfully, the warring factions put aside their differences. Having done so, they released what would prove to be Harold Melvin and The Blue Notes most successful album, To Be True. Success it seemed kept on coming Harold Melvin and The Blue Notes’ way.
With Philadelphia International Records’ finest songwriters working on Harold Melvin and The Blue Notes’ third album, there was every chance that the success would keep on coming. Gamble and Huff cowrote four tracks, including To Be True, Hope That We Can Be Together Soon, Nobody Could Take Your Place and Somewhere Down the Line. McFadden and Whitehead also contributed four tracks. They cowrote Where Are All My Friends, Pretty Flower and Bad Luck With Victor Carsterphen. Their other composition was It’s All Because of A Woman, which they penned with Leon Huff. Bobby Martin arranged the eight tracks and Gamble and Huff produced To Be True.
Recording of To Be True took place at Philly’s Sigma Sound Studios, owned by Joe Tarsia. Accompanying Harold Melvin and The Blue Notes were the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists guitarists Bobby “Electronic” Eli, Roland Chambers T.J. and Tindall. Vince Montana Jr, played vibes, Larry Washington congas and bongos, Lenny Pakula played organ, Leon Huff electric piano and alto-saxophonist Zach Zachary. Strings and horns came courtesy of Don Renaldo and His String and Horn Section, while the Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton added backing vocals. Once To Be True was completed, it was ready for release in 1975.
Where Are All My Friends was chosen as the lead single, and released in 1974, reaching number eighty in the US Billboard 100 and number eight in the US R&B Charts. Bad Luck (Part 1) fared even better, reaching number fifteen in the US Billboard 100 and number four in the US R&B Charts. On the release of the third and final single, Hope That We Can Be Together Soon, it reached number forty-two in the US Billboard 100 and number one in the US R&B Charts. This gave Harold Melvin and The Blue Notes their third US R&B number one single in three albums. When To Be True was released in 1974, it surpassed the success of both I Miss You and Black and Blue. Not only did it reach number twenty-six in the US Billboard 200 and number one in the US R&B Charts, but saw Harold Melvin and The Blue Notes receive their first gold disc. Harold Melvin and The Blue Notes had now reached the most successful period of their career, as you’ll realize when I tell you about To Be True.
Opening To Be True is Where Are All My Friends, penned by McFadden and Whitehead with Victor Castarphen. It’s an uptempo opener, layers of lush strings, punchy growling horns and the Baker, Harris, Young rhythm section, who provide a powerful heartbeat as The Blue Notes add tender harmonies. When Teddy’s troubled vocal enters, his vocal is full of loneliness and hurt. He grabs the song, injecting emotion and passion into the lyrics, laying bare his soul. Cascading, heartfelt harmonies from The Blue Notes and the Sweethearts of Sigma sweep in and out. They join swirling strings as Teddy delivers one of his most impassioned vamps. It’s classic Teddy Pendergrass, helped no end by The Blue Notes and M.F.S.B. at their very best. Ironically, a year later, neither The Blue Notes, nor the original lineup of M.F.S.B. would be on Philadelphia International. Their fortunes would vary drastically.
Even after a few bars of the Gamble and Huff penned To Be True, you realise something special is about to unfold. A dramatic burst of Earl Young’s drums, washes of Lenny Pakula’s Hammond organ and Norman Harris’ jazzy guitar join the lushest of strings. Then when Teddy’s vocal enters, it’s a combination of tenderness, emotion and sadness. Elegant harmonies from The Blue Notes and the Sweethearts of Sigma soar above the arrangement. Horns rasp, strings sweep and Norman Harris’ sparse guitar playing are key to the beautiful arrangement. So are bursts of drums that add drama. Teddy’s vocal is delivered with feeling, and later, his half-spoken vocal is the clincher. That’s the icing on this deliciously, beautiful bedroom ballad, with the tender harmonies the cherry on the top.
Pretty Flower sees Larry Washington’s bongos open the understated arrangement. A piano adds to the melancholy sound of Teddy’s vocal. Slowly, the arrangement builds. Norman Harris’ subtle guitar, tight harmonies and strings that add to the wistful sound join the arrangement. In many ways, this is not unlike a Teddy Pendergrass solo. Later, horns growl, before the Baker, Harris, Young rhythm section and piano build up the drama. The harmonies remain wistful, as Teddy’s vocal grows in power and passion, as this slow burner of a song heads to its dramatic conclusion.
On Hope We Can Be Together Soon, which close Side One of To Be True, Sharon Paige’s vocal features. The arrangement has an understated sound, with Bobby “Electronic” Eli’s wah-wah guitar, Vince Montana Jr’s vibes, Larry Washington’s bongos and Norman Harris’ guitar in creating a pensive arrangement. Eventually, Sharon’s needy vocal enters, providing the perfect foil for Teddy. It’s tenderness personified. So to is M.F.S.B’s jazzy backdrop. They mix subtlety with occasional bursts of drama. Wistful woodwind, wah-wah guitars, Vince’s vibes and percussion provide an understated backdrop. Meanwhile, Ron Baker’s confident bass and bursts of growling horns provide a contrast. In Sharon Paige, Teddy has the perfect foil. Her vocal seems to spur Teddy to greater heights of heartfelt soulfulness, as he delivers one of his tenderest vocals on To Be True.
Side Two of To Be True Nobody Could Take Your Place, which sees dramatic waves of strings and moody horns combine with Earl Young’s urgent, driving drums.They’re joined by Lenny Pakula pensive keyboards and provide the perfect backdrop for Teddy’s vocal. It’s tinged with emotion and heartache. Soon, its grows in power and drama, as Teddy vamps, complete with harmonies from The Blue Notes and the Sweethearts of Sigma. As the drama grows, strings sweep and swirl frantically, horns blaze. They join Baker, Harris, Young in providing a dramatic, powerful backdrop that reflects and magnifies the sheer heartache and regret in Teddy’s desperate vocal. This is Teddy at his best, helped no end by The Blue Notes, the Sweethearts of Sigma and M.F.S.B. at their very best.
Somewhere Down the Line sees the tempo slow, but the emotion and heartache continues. Swathes of slow strings, rasping horns and a wistful, pensive Baker, Harris, Young rhythm section set the scene for Teddy’s vocal. It’s filled with regret and resignation, at the realisation that at last, his relationship is over. Still, there’s hope he believes, but you sense he’s not fooling himself. The tenderest harmonies from The Blue Notes sweep in, before Vince Montana Jr’s vibes, a piano and strings that reflect Teddy’s heartache join. This is a classic Gamble and Huff song that tells a story, something that they were so good at. In Teddy, they’ve a singer that can bring meaning and emotion into the lyrics. Of all the songs on To Be True, this is one of Teddy’s most emotive, heartfelt deliveries and is a vocal tour de force.
Of all the singles Harold Melvin and The Blue Notes released, Bad Luck is one of the best. It’s a Philly classic, with Teddy vamping his way through the song, with swooning harmonies from The Blue Notes. M.F.S.B. play their part, from the opening notes. Baker, Harris, Young provide a pulsating heartbeat, a driving piano, rasping horns and cascading strings provide the backdrop for Teddy’s sassy, feisty masterclass. Vince Montana Jr. sprinkles vibes as the harmonies soar. Then Teddy and M.F.S.B. join forces. They drive each other to previously unreached heights. What follows is an explosion of powerful, hook-laden, dance-floor friendly Philly soul. This would prove to be one of the high-points of Harold Melvin and The Blue Notes and is a totally timeless track.
Closing To Be True is It’s All Because of A Woman. Just Ron Baker’s bass and Earl Young’s drums combine with a lone piano to create a slow, moody and bluesy backdrop. Teddy’s vocal is filled with pain and sadness, as a wailing Hammond organ and Norman Harris’ sparse piano enter. Soon, the arrangement grows in power and emotion. Horns growl, strings cascade furiously and a powerhouse of rhythm section courtesy of Baker, Harris, Young join forces. The Blue Notes add soaring, emotive vocals. Then, as if spent, Teddy’s vocal becomes thoughtful, introspective and heartfelt. With each bar, the emotion and drama builds, as Teddy lays bare his weary soul, questioning, thinking aloud and wondering what’s become of his. For over five music, it’s like a Philly Soul opera, with Teddy Pendergrass as the star. What a way to close To Be True.
To Be True was the third of four albums to feature the classic lineup of Harold Melvin and The Blue Notes. Much was going on behind the scenes at Philadelphia International Records. Given how successful Harold Melvin and The Blue Notes’ first two album had been, Teddy Pendergrass felt he deserved at least equal billing. By To Be True the group were now billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. Given how good To Be True is, it’s no wonder Teddy wanted equal billing. Quite simply, he was the star of Harold Melvin and The Blue Notes. While the Blue Notes harmonies played an important part, Teddy was irreplaceable. He could take a song by the scruff of the neck, breathing life, meaning and emotion into lyrics. Sadly, the rest of the group, including founder Harold Melvin didn’t see or realise how important Teddy was.
Later in 1975, Harold Melvin and The Blue Notes released their fourth album Wake Up Everybody. Still Teddy and Harold Melvin couldn’t come to a compromise. When the dispute between Teddy and Harold Melvin couldn’t be resolved, Teddy left the Harold Melvin and The Blue Notes after the fourth album Wake Up Everybody, which ironically, proved to be their most successful album, being certified platinum. Teddy signed a solo deal with Philadelphia International Records. He went on to become one of the label’s biggest stars. Out of the seven albums Teddy released on Philadelphia International Records, four were certified platinum and one gold. Life was never the same for Harold Melvin and The Blue Notes after Teddy Pendergrass.
Teddy’s shoes proved too big to fill. Replacement lead singers joined and left. Never again did Harold Melvin and The Blue Notes enjoy the commercial success and critical acclaim they’d enjoyed between 1972 and 1975. During this period, they released four albums, including To Be True, which is a masterclass in Philly Soul starring Teddy Pendergrass at his finest. He struts his way through To Be True, stopping only to deliver some heartachingly beautiful vocals. In doing so, he proved to be the star of Harold Melvin and The Blue Notes. It’s just a pity other people didn’t realize this, then maybe we could’ve enjoyed more than just four albums from Harold Melvin and The Blue Notes, more of the success that proved to good To Be True. Standout Tracks: Where Are All My Friends, Somewhere Down the Line, Bad Luck and It’s All Because of A Woman.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
Anyone familiar with the history of Philly Soul, will realize that some of the best music was written or produced by musical partnerships. Obviously the best known is Gamble and Huff, but there are many more. The Baker, Harris, Young rhythm section were also a successful production partnership, while Norman Harris forged successful songwriting partnerships with Allan Felder and Bunny Sigler. Guitarist and producer Bobby “Electronic” Eli, enjoyed a successful songwriting partnership with Vinnie Barrett, writing classics like Sideshow, recorded by Blue Magic. Dexter Wansel and Linda Creed proved a potent songwriting partnership, penning a classic tracks aplenty. Another of Philly Soul’s successful partnerships was McFadden and Whitehead.
Gene McFadden and John Whitehead had formed their partnership in Philly back in the seventies and went on to become one of the most successful songwriting and production partnerships. Apart from writing and producing other artists, McFadden and Whitehead enjoyed a successful recording career. Their 1979 eponymous debut album McFadden and Whitehead featured a stonewall, seminal Philly Soul classic, Ain’t No Stopping Us Now. Not only did Ain’t No Stopping Us Now give McFadden and Whitehead a gold disc, but their debut album McFadden and Whitehead proved to be their most successful album. Before I tell you about McFadden and Whitehead, I’ll tell you about McFadden and Whitehead’s career.
When Gene McFadden and John Whitehead were just teenagers, they formed The Epsilons, which also included future member of Harold Melvin and The Blue Notes, Lloyd Parks. Soon, they were discovered by Otis Redding and toured with Otis until his tragic death in 1967. Just five years later, in 1972, McFadden and Whitehead cowrote their first Philly Soul classic.
After Gamble and Huff formed Philadelphia International Records, McFadden and Whitehead joined the nascent label as songwriters. Their first success was Back Stabbers, which they cowrote with Leon Huff. This launched McFadden and Whitehead as songwriters. Soon, they would become one of Philadelphia International Records’ most successful songwriting partnerships. Later, they add production to their talents. At Philadelphia International they worked with artists like The O’Jays, Harold Melvin and The Blue Notes, Teddy Pendergrass, M.F.S.B, Archie Bell and The Drells, Patti La Belle and The Jones Girls. Soon, their songwriting and production skills were noticed further afield, and saw McFadden and Whitehead work with some of the biggest names in music.
Given their track record as songwriters and producers, McFadden and Whitehead’s talents were in demand away from Philadelphia International Records. Soon, McFadden and Whitehead were working with some of soul music’s royalty. This included writing and producing for Stevie Wonder, Gladys Knight, James Brown, Gloria Gaynor, The Jackson 5 and Melba Moore. By 1979, McFadden and Whitehead decided to add another string to their bow, becoming recording artists.
For McFadden and Whitehead’s 1979 debut album for Philadelphia International Records, entitled McFadden and Whitehead, they cowrote eight tracks with Jerry Cohen. This included one track that would become synonymous with McFadden and Whitehead, Ain’t No Stopping Us Now. Recording of Ain’t No Stoppin’ Us Now and the other seven tracks took place at Philly’s legendary studio, Sigma Sound Studios.
Accompanying McFadden and Whitehead on their debut album McFadden and Whitehead a rhythm section of drummer Keith Benson, bassist James Williams and guitarists Dennis Harris and Bobby “Electronic” Eil guitar. They were joined by keyboardist Jerry Cohen, percussionists Don Renaldo, Bobby Cupid and David Cruse. Adding backing vocals were The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton, The Futures and McFadden and Whitehead. McFadden and Whitehead produced McFadden and Whitehead, which was released in 1979.
Ain’t No Stoppin’ Us Now was the lead single from McFadden and Whitehead, released in 1979. It was a huge success, reaching number thirteen in the US Billboard 100, number one in the US R&B Charts and number ten in the Dance Music/Club Play Charts. This gave McFadden and Whitehead their first gold disc. When McFadden and Whitehead was released, it reached number twenty-three in the US Billboard 200 and number five in the US R&B Charts. I’ve Been Pushed Aside was released as the followup to Ain’t No Stoppin’ Us Now in 1980, but stalled at number seventy-three in the US R&B Charts. McFadden and Whitehead proved that there was no end to McFadden and Whitehead’s talents. Not only were they successful songwriters, arrangers and producers, but after the release of McFadden and Whitehead.
Opening McFadden and Whitehead is the classic single Ain’t No Stoppin’ Us Now. As the song bursts into life, James Williams’ pounding, meandering bass line plays a vital part in arrangement. It provides the pulsating heartbeat. Drums and guitars join lush sweeping, swirling strings, before the Sweethearts of Sigma’s tight, joyous harmonies sweep in. Burst of rasping horns signal the arrival of John Whitehead’s lead. His delivers is like a paean to positivity. John becomes a preacher, preaching belief and positivity. Nothing is insurmountable. Anything is possible. The Sweethearts of Sigma add soulful, impassioned harmonies, as if convinced by John’s message. By then, swathes of strings, bursts of growling horns, keyboards and the rhythm section provide the perfect, joyful, catchy backdrop. Disco, soul and funk unite. Gene adds backing vocals, joining the Sweethearts of Sigma. Later, as this seven minute Magnus Opus goes through the gears, John and Gene with the Sweethearts of Sigma take the track to its hook laden, uplifting and joyous conclusion. After seven majestic minutes, you realize just why this is a timeless, seminal Philly Soul classic, that sold over eight-million copies.
I’ve Pushed Aside was the followup to Ain’t No Stoppin’ Us Now. Following such a classic wasn’t easy, but McFadden and Whitehead give it their best. Growling horns, cascading horns and punchy harmonies from the Sweethearts of Sigma give way to the hearfelt vocal. Drama and emotion unite, both in the arrangement and vocal. Bursts of swirling strings add to the drama, while John and Gene vamp and plea their way through the arrangement, with cascading harmonies from Sweethearts of Sigma for company. Swirling strings, rasping horns, dramatic drums and soaring harmonies provide the perfect backdrop for John’s vocal. He lays bare his soul, while Gene and the Sweethearts of Sigma reflect and highlight his heartache. The result is a deeply soulful, emotive roller coaster of a track, that’s also heartachingly beautiful.
Mr. Music sees McFadden and Whitehead change style, taking the album in the direction of funk. Gone is the Philly Soul of I’ve Pushed Aside and the fusion of disco, Philly Soul and funk of the classic Ain’t No Stoppin’ Us Now. Replacing this is a slice of funk that reveals its secrets at breakneck speed. John’s sassy vocal is accompanied by the funkiest of bass lines from James Williams, handclaps and growling horns. Gene adds vampy backing vocals, as John’s vocal becomes a feisty, sassy snarl. Like Ain’t No Stoppin’ Us Now, there’s no short of hooks and James Williams’ funky bass plays a starring role.
I Just Wanna Love You Baby sees the funk and sass of the previous track continue. Chiming guitars, punchy tender harmonies from the Sweethearts of Sigma give way to John’s powerful, sassy and confident vocal. He’s accompanied by growling horns and an uber funky rhythm section. They sound like they belong on a P-funk album. The Sweethearts of Sigma’s soaring, soulful harmonies remind you this is an album released on Philadelphia International Records. Having said that, John’s vocal is power and passion personified, as he vamps his way through the track, complete with a gloriously funky arrangement, that brings Side One of McFadden and Whitehead to a close.
Got To Change opens Side Two of McFadden and Whitehead. Again, James Williams bass plays an important part, as do the soaring, swooping and soulful harmonies from the Sweethearts of Sigma. John’s vocal soars, filling the space between the harmonies. The layers of the lushest string sweep and swirl as the drama builds and builds. Only then does John’s pleading vocal enter, as he sings how things have “Got To Change.” It’s a song with a message, just like their first hit single Back Stabbers. He delivers a truly heartfelt vocal against the pounding, pulsating bass, lush, sweeping strings and soaring harmonies. Drama and anger join sadness and emotion as guitars chime, strings swirl and horns growl as John, with Gene adding backing vocals delivers one of his most impassioned, heartfelt vocal. He pleads and begs for things to change as one of the highlights of McFadden and Whitehead reveals its secrets.
You’re My Someone To Love sees the tempo slow, with the arrangement revealing a sound that has made in Philly written all over it. The arrangement, with the lush strings, guitars drenched in reverb and slow rhythm section remind me of Thom Bell’s work with The Delfonics and The Stylistics. James Williams’ meandering bass proves the only difference. When John’s vocal enters, it’s one of his emotive, impassioned deliveries. His vocal grows in power and soulfulness, as the Sweethearts of Sigma’s harmonies sweep in. They add to the song’s emotion and beauty as John delivers what’s one of his best vocals. It’s a vocal Magnus Opus from John Whitehead on what is a hidden gem of a bedroom ballad.
Like other songs on McFadden and Whitehead, James Williams’ powerful, funky bass opens I Got the Love. It doesn’t take long to realize this songs roots are in Memphis circa 1966. A driving, funky rhythm section, piano, growling horns and gospel tinged harmonies from the Sweethearts of Sigma join John’s vocal. His delivery reminds me of Otis Redding, as he vamps his way through the song, feeding off the Sweethearts of Sigma’s tight, soaring harmonies. Blazing horns, a bluesy piano and the driving rhythm section combine soul and gospel. Again, John is like a preacher, testifying, as he makes you a believer in McFadden and Whitehead’s vintage sounding fusion of sixties soul and gospel.
Closing McFadden and Whitehead is Do You Want To Dance? Lush strings, sweep and swirl while a thunderous, funky rhythm section and John’s vocal teases you. The arrangement slowly unfolds, revealing the lushest of strings, tough keyboards and a funky rhythm section, lead by James Williams’ bass. They’re joined by cascading harmonies courtesy of the Sweethearts of Sigma. Then at last, John’s whispery, breathy vocal enters. Soon it grows in power, with the Sweethearts of Sigma adding joyful harmonies, horns rasping and strings sweeping and swirling. John’s vocal become a foxy, sassy drawl as he teases, before unleashing a powerful vamp, matched all the way by the Sweethearts of Sigma. They match him for soulfulness and joyousness as this anthemic, hook-laden dance-floor friendly closes McFadden and Whitehead on a high.
By the time McFadden and Whitehead released their debut album McFadden and Whitehead in 1979, they were ready to make their return as recording artists. For too long, they written, arranged and produced other artists. In their hearts, they knew that they could match or surpass the success these artists enjoyed. So they set about writing eight tracks with bassist Jerry Cohen. These songs became McFadden and Whitehead, which gave them the most successful album of their career. McFadden and Whitehead was helped no end by the success of the seminal classic Ain’t No Stoppin’ Us Now, which sold eight million copies worldwide. Since then, it’s become a Philly Soul classic, as popular now, as it was in 1979. However, there was much more to McFadden and Whitehead than just one song.
Heartfelt, soul-baring ballads like Got To Change and You’re My Someone To Love are among the album’s highlights, joining the two singles Ain’t No Stoppin’ Us Now and I’ve Been Pushed Aside. Do You Want To Dance brings McFadden and Whitehead to a hook-laded, dance-floor friendly close. The success of McFadden and Whitehead couldn’t have come at a better time for Philadelphia International Records. No longer were Philadelphia International Records enjoying hit after hit like the label’s early years. Teddy Pendergrass and The O’Jays were Philadelphia International Records’ biggest stars. So the success of McFadden and Whitehead helped prove that Philadelphia International Records was still a major force in soul music.
Following McFadden and Whitehead, McFadden and Whitehead only released one further album for Philadelphia International Records, I Heard It In A Love Song in 1980. Three years later, in 1983 their third and final album, the aptly titled Movin’ On was released on Capitol Records. However, neither of these albums matched the success and quality of McFadden and Whitehead, who proved that they were much more than songwriters, arrangers and producers, but also successful artists in their own right. McFadden and Whitehead, featuring the eight-million selling Philly Soul classic Ain’t No Stoppin’ Us Now is proof of this. Standout Tracks: Ain’t No Stoppin’ Us Now, I’ve Been Pushed Aside, Got To Change and You’re My Someone To Love.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
One of the phenomenon’s of the disco era, was the arrival of the disco orchestra. Obviously, the best known and without doubt, best, and most successful was The Salsoul Orchestra. They played their part in making Salsoul Records disco’s most successful and classic label. Other record companies, having seen the success Salsoul was enjoying, decided to climb onboard the disco bandwagon. Soon record companies were releasing singles and albums from other, newly formed disco orchestras. This included the THP Orchestra, the Mike Theodore Orchestra and the Charlie Calello Orchestra. For Sam Weiss, a veteran of the music industry, his newly founded record label SAM Records’ would have their very own disco orchestras, the John Davis Monster Orchestra, who’d release their debut album Night and Day in 1976. There would be many similarities between The Salsoul Orchestra and the John Davis Monster Orchestra.
Sam Weiss founded SAM Records in Long Island City, New York in 1976. He was something of a veteran of the music industry. He’d been involved in the music industry since the late forties, when he and his brother Hy founded Parody Records. Although the company wasn’t a commercial success, and soon folded, the Weiss brothers persevered. Eight years later, in 1954, they founded Madison Records, which was primarily a vehicle for releasing R&B records. Soon, Madison was releasing soul, doo wop, pop, rock, soul and gospel. Madison continued right through until the late seventies. By then, Sam Weiss had founded Sam Records, which he specifically setup to cash in on disco’s popularity. Having founded SAM Records in 1976, the nascent label released it’s first release, Doris Troy’s Woman and The Ghetto. 1976 would also see the John Davis and The Monster Orchestra’s release their debut album Night and Day.
John Davis and The Monster Orchestra’s debut album Night and Day was a mixture of six cover versions of Cole Porter songs and two original tracks. Tell Me How You Like It was written by John Davis who cowrote I Can’t Stop with guitarist Craig Snyder. These two tracks joined covers of I Get A Kick, Night and Day, I’ve Got You Under My Skin, In the Still of the Night, You Do Something To Me and It’s D’lovely. This was Cole Porter, but given a disco twist by John Davis and The Monster Orchestra on Night and Day. Helping John Davis do this, were some legendary Philly musicians.
Some of the musicians that played on albums by The Salsoul Orchestra also were members of John Davis’ Monster Orchestra. This includes the rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarists Bobby “Electronic” Eli and Roland Chambers. Larry Washington played percussion, strings and horns came courtesy of Don Renaldo and backing vocals from the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Only guitarist Craig Snyder and John Davis, who played keyboards, flute and saxophone. He conducted the orchestra and produced Night and Day, which was released in 1976.
It was John Davis and The Monster Orchestra’s first single I Can’t Stop which was SAM Records’ first ever twelve inch single. It reached the top five in the US Charts. Night and Day was released to just minor success. However, by the time John Davis and The Monster Orchestra released their sophomore album
Opening John Davis and The Monster Orchestra’s debut album Night and Day, is the John Davis penned Tell Me How You Like It. Charles Collins drums and Michael “Sugar Bear” Foreman bass open the track, driving the arrangement along. They’re joined by Bobby “Electronic” Eli’s searing, guitar, layers of strings, percussion and punchy horns. This combination provides a funky, musical powerhouse. The Sweethearts of Sigma’s light, tender harmonies float in and out. They grow punchy, taking on an urgency. Soon, the arrangement becomes a musical juggernaut, driven along by Charles’ drums, Michael’s bass and Bobby’s guitar. Having got your attention, the Sweethearts of Sigma’s delicious harmonies continue to hold it as, their soulfulness proves the perfect foil to the orchestra’s fusion of disco and funk.
When Cole Porter wrote I Get A Kick Out of You, he would never expect it to be given a disco twist. Cascading strings, a pounding rhythm section and high kicking horns unite before The Sweethearts of Sigma ensure the song swings. Their harmonies are tender and soulful, but grow in power and funkiness. Swathes of the lushest strings join their harmonies, which grow punchy, lick the horns. Bobby “Electronic” Eli adds a funky wah-wah guitar as the rhythm section provide a relentless and furiously, funky heartbeat. When this is combined with the Sweethearts of Sigma’s harmonies, the result is Cole Porter, but not as we know it. Instead, his music is given a delicious makeover, where funk, Philly soulful and disco unite.
The title-track Night and Day is the second of six Cole Porter songs. Percussion, wah-wah guitars and the rhythm section unite, before dancing strings and blazing horns enter, mixing funk and disco. Then, with a holler, the soulfulness arrives. It comes courtesy of the Sweethearts of Sigma. They add tight, impassioned harmonies, which grow punchy and powerful. With a whoop they take their leave, but you hope it’s not for long. Soon, they’re back, proving the perfect contrast the power and majesty of the orchestra. Like other disco orchestras, the sound is grand, laden in strings and horns, with a pounding, dance-floor friendly heartbeat. For me, the Sweethearts of Sigma provide a contrast and what is the finishing touch. This is the icing on a very moreish cake, one that’s delicious, one you long to eat at once, but instead, decide to savor its delights and subtleties slowly. After each listen, some subtlety or secret reveals itself and only then, do you discover just how rich a musical cake this truly is.
I’ve Got You Under My Skin is given a similar treatment to I Got A Kick Out of You. Layers of lush strings sweep and swirl, horns rasp and the rhythm section add a pounding, funky beat complete with Bobby “Electronic” Eli’s wah-wah guitar. At breakneck speed the arrangement unfolds, revealing elements of soul and jazz, plus plenty of funk and disco. When the Sweethearts of Sigma’s harmonies enter, they’re soulfulness personified. Their tight, impassioned harmonies are joined by percussion aplenty, braying horns, cascading strings and a funky Philly rhythm section. Sometimes, the harmonies become punchy and dramatic, highlighting and accentuating Cole Porter’s lyrics, It’s like the Sweethearts of Sigma are paying homage to Cole Porter’s genius, their delivery soulful and jazzy. Indeed, without their contribution this wouldn’t be anything like as good. So good is this track, that’s one of the real highlights of Night and Day.
I Can’t Stop opens Side Two of Night and Day. John Davis cowrote the track with guitarist Craig Snyder. The song almost explodes into life. A thunderous, funky rhythm section, searing guitar, growling horns and the lushest strings combine. With a flourish of strings, Philly songbirds the Sweethearts of Sigma add soulful and heartfelt, then sassy and breathy harmonies. Their harmonies are replaced by washes of wailing Hammond organ, punchy grizzled horns and dancing strings. Later, the Sweethearts of Sigma add soaring, dramatic and punchy harmonies, before the rhythm section give a musical masterclass, fusing funk and disco. Bassist Michael “Sugar Bear” Foreman and drummer Charles Collins add a pounding, funky backbeat, while guitarist Bobby “Electronic” Eli’s playing is funky, flashy and confident. He uses his trademark effects well, as John Davis and The Monster Orchestra get Side Two of Night and Day off to an explosive, funky and electric start.
Bursts of dramatic horns open In the Still of the Night, before percussion, keyboards and luscious strings float in. Although still funky, thanks to horns and rhythm section, there’s a slightly more understated sound. The Sweethearts of Sigma’s harmonies are heartfelt and tender, floating in and out. Later, Bobby “Electronic” Eli shows how he got his nickname. He puts his effects and trickery to good use, before Sweethearts of Sigma float back in atop swirling strings. Then Bobby’s guitar, keyboards and the rhythm section give another musical masterclass, against a sensual, backdrop, complete with moans and groans. From there, the track heads to its dramatic climax.
Like other Cole Porter songs on Night and Day, You Do Something To Me is given a complete makeover. Staying true to the song’s heritage are layers of the lushest strings. They’re joined by growling horns, a pounding, thunderous rhythm section that provides the funk quotient. When the Sweethearts of Sigma harmonies enter, they’re light, tight, tender and timeless. You can imagine them singing the song in a jazzy style just as well. These harmonies float amidst the strings, taken on a journey where musical genres unite. Later, the harmonies become sassy and feisty, as funk, disco, Philly Soul and jazz unite. This seamless fusion of genres results in a track that’s dance-floor friendly, beautiful and laden with hooks. Thirty-six years later, the song still has a truly timeless sound.
Closing Night and Day is It’s D’lovely, which open with a Charleston sound, courtesy of the Sweethearts of Sigma’s harmonies. Woodwind, muted horns, lush strings and the rhythm section roll back the years, mixing delicious old time jazz sound with a dance-floor friendly sound. Rather than disco dancers, you think of flappers dancing in art deco dance-halls to an orchestra of musicians wearing dinner suits. It’s a musical trip down memory lane, complete with sound effects and the Sweethearts of Sigma’s harmonies give a thirties makeover. It allows the John Davis Monster Orchestra to close their debut album Night and Day with a vintage sound, that pays homage to Cole Porter, but with a subtle twist. In doing so, they paint vivid pictures of yesteryear, when Cole Porter was in his pomp. This seems a fitting tribute to one of America’s great composers.
Given the similarities with the personnel involved in both The Salsoul Orchestra and the John Davis Monster Orchestra, it’s no surprise that there are many similarities in the sound, style and quality of music on Night and Day. This was very similar to what was going on with The Salsoul Orchestra. All that John Davis was missing was the Baker, Harris, Young rhythm section and vibes virtuoso Vince Montana Jr. Instead, John Davis had a rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarist Roland Chambers. They all played in The Salsoul Orchestra, alongside Bobby “Electronic” Eli, percussionist Larry Washington, Don Renaldo’s Strings and Horns and the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. With so many of the same personnel, involved in The Salsoul Orchestra and the John Davis Monster Orchestra, what was needed was someone who was a visionary and innovator like Norman Harris or Vince Montana Jr. That’s where John Davis came in. He brought everything together, resulting in an innovative combination of two new songs and six cover versions Cole Porter songs. This became Night and Day, which marked the debut of the John Davis Monster Orchestra.
Following Night and Day, the John Davis Monster Orchestra went on to release three further albums between 1977 and 1979. Up Jumped the Devil followed in 1977, with 1978s Ain’t That Enough For You and then The Monster Strikes Back in 1979. By then, disco was no longer as popular, having almost died on the 12th July 1979, at Comiskey Park, Chicago. However, the album that launched one of the great disco orchestras was Night and Day. Its success was down to John Davis bringing together some of the most talented, creative and versatile musicians and backing vocals. Most of them came from one city, that provided the soundtrack to the seventies…Philly.
Of all the Philly musical legends, three vocalists played a huge part in Night and Day’s success. They were the Sweethearts of Sigma. Their harmonies were key to the sound and success of Night and Day. Without their harmonies, Night and Day wouldn’t have been as good an album. Add to musical equation Don Renaldo’s Strings and Horns, plus the combined talents of musicians like Bobby “Electronic” Eli, Roland Chambers and Larry Washington, then Night and Day proved to be a majestic fusion of disco, funk, Philly Soul and jazz. Thirty-six years later, and Night and Day, the debut album from the John Davis Monster Orchestra is one of the best albums released by a disco orchestra, which is blessed with a truly, timeless sound. Standout Tracks: I Get A Kick Out of You, Night and Day, I’ve Got You Under My Skin and You Do Something To Me.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
dereksmusicblog
dereksmusicblog 