THE O’JAYS-SURVIVAL.
THE O’JAYS-SURVIVAL.
That The O’Jays released an album in 1975 entitled Survival, is almost ironic. 1975 would prove to be a traumatic year for The O’Jays’ label Philadelphia International Records. During 1975 Gamble and Huff were locked in a dispute with many of the members of their legendary house-band M.F.S.B. over money. Eventually, after the dispute couldn’t be resolved, many of M.F.S.B. left the label, heading to New York, becoming The Salsoul Orchestra. In one fell swoop, Philadelphia International Records lost some of its most important personnel. Gone were the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli and the legendary backing vocalists the Sweethearts of Sigma. These were no ordinary musicians, they were also arrangers, songwriters and producers. M.F.S.B. realizing they were worth much more, decided that Salsoul Records was the place to go. Disco was the future and The Salsoul Orchestra transformed Salsoul into disco’s premier label. During the long-running negotiations about money, Gamble and Huff still had a record label to run. Undoubtably, Philadelphia International Records’ biggest group were The O’Jays, who’d release two albums during 1975. These were Survival and Family Reunion. Survival was the followup to 1973s platinum certified Ship Ahoy, which gave The O’Jays their first US R&B number one album, which I’ll now tell you about.
Survival was The O’Jays third album for Philadelphia International Records. Their two previous albums had proved to be critically acclaimed and commercially successful. Backstabbers, released in 1972, had reached number ten in the US Billboard 200 and number three in the US R&B Charts, resulting in The O’Jays’ first gold disc. Ship Ahoy, released in 1973, surpassed the success of Backstabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts. This gave The O’Jays their first platinum album, after Ship Ahoy sold over a million copies. So the pressure was on Gamble and Huff to replicate the success of The O’Jays first two albums.
Gamble and Huff were up for the challenge, penning five of the eight tracks on Survival. Leon Huff wrote Never Break Us Up, while Bunny Sigler cowrote two tracks. He cowrote Let Me Make Love To You with Allan Felder and cowrote What Am I Waiting For with ex-Temptation Ron Tyson. These eight tracks were recorded at Sigma Sound, with Gamble and Huff producing Survival and Bobby Martin arranging the tracks.
Survival would prove to one of the final albums the original and classic lineup of M.F.S.B. While they’d also feature on Family Reunion later in 1975, by then they’d headed for New York and became The Salsoul Orchestra. So Survival is one of the last times musicians like the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli, percussionist Larry Washington, keyboardist Bunny Sigler and the legendary backing vocalists the Sweethearts of Sigma featured on an album recorded by a Philadelphia International Records’ artist. Equally poignant was that Survival was the penultimate album to feature Bill Powell, who two years later, in 1977, would die of cancer. It seemed the times and personnel were changing at Philadelphia International Records. Would this affect the success of Survival?
Give the People What They Want was released as a single in 1975, reaching number forty-five in the US Billboard 100 and number one in the US R&B Charts. This was The O’Jays third number one US R&B single, following Backstabbers and Love Train. Let Me Make Love To You was then released as a single, but stalled at number seventy-five in the US Billboard 100 and number ten in the US R&B Charts. On the release of Survival in April 1975, it was well received by critics, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts. Survival had given The O’Jays their second gold disc, ensuring The O’Jays remained Philadelphia International Records’ biggest group. However, given the turbulence behind the scenes at Philadelphia International Records and William Powell’s failing health, did this affect Survival?
Opening Survival is the US R&B number one single Give the People What They Want, penned by Gamble and Huff. Earl Young’s thunderous drums and hissing hi-hats open the track, before Ron Baker’s funky bass, defiant harmonies and growling horns unite with searing guitars. Then comes Eddie Levert’s angry, frustrated vocal. His vocal is filled with defiance, accompanied by harmonies that match his frustration and anger. Eddie demands that they “Give the People What They Want” and that’s the “truth.” M.F.S.B. provide a dramatic, equally angry, demanding backdrop. Horns growl and rasp, while the Baker, Harris, Young rhythm section play dramatically, defiantly and with a sense of urgency. Along with the horns, they’re key to this much tougher funky sound. Like earlier O’Jays albums, this another of Gamble and Huff’s “message songs.” It’s like a wake up call, where The O’Jays protest at the inequality, injustice and unfairness like only The O’Jays can. Thirty-seven years later, this track is just as relevant and totally timeless.
Let Me Make Love To You was the second single released from Survival. It was one of two songs Bunny Sigler cowrote, this time with Allan Felder. Eddie’s pleading vocal is sung against a wailing, atmposheric Hammond organ, before Earl Young’s drums add drama. Norman Harris’ thoughtful, jazz-tinged guitar reflects the emotion in Eddie’s vocal, while slow, lush strings, rasping horns and tight, impassioned harmonies play their part in an arrangement where beauty, emotion and drama unite. Baker, Harris, Young play their part, Norman’s guitar adding beauty and Earl’s drums adding both beauty and drama. The longer the track progresses, the more the emotion and sincerity in Eddie’s vocal grows. He pleas and begs, delivering a vocal that’s emotive, heartfelt and needy. This makes this easily, one of the highlights of Survival.
The title-track Survival, is one of five tracks written by Gamble and Huff. Blazing, cascading horns join the Baker, Harris, Young in driving the arrangement along. Punchy harmonies join the mix, with Eddie delivering a vocal that’s filled with desperation, sadness and resignation. This is another Gamble and Huff song with a message. Given the perilous economic state and the social problems, Eddie gives a voice for those that are struggling: “it’s survival of the fittest,” but some people aren’t fit enough. People, Eddie realizes are struggling to keep from drowning in a sea of despair and poverty. There’s no safety net to catch them. Again, anger fills his vocal, at the suffering he sees every day. M.F.S.B. reflect this anger, adding a dramatic, searing arrangement, that unfolds in waves. The rhythm section and horns play vital rolls, while Vince Montana Jr, adds his trademark vibes, providing a contrast to the drama and power. Punchy, soaring harmonies join Eddie’s scathing vocal, which brings to life the tragedy, drama and despair in the lyrics.
Where Did We Go Wrong closes Side One of Survival. It’s another of the slower songs. Lush, sweeping strings join Vince Montana Jr’s subtle vibes and piano. Harmonies full of sadness and regret wonder “Where Did We Go Wrong.” The vocal is filled with heartache and hurt, harmonies cascading, while strings reflect the emotion, sadness and heartache. Norman Harris’ pensive, sparse guitar playing adds to the sadness, as does the piano, vibes and strings. Here, each of The O’Jays plays their part in the songs success, their vocals tender, heartfelt and filled with a hurt that seems real.
Rich Get Richer opens Side Two of Survival and sees Gamble and Huff continue their message songs. Here, their lyrics are filled with social comment at life’s injustice. However, given their dispute with M.F.S.B. there’s an irony to the song. Stabs of slow, melodic keyboards provide a backdrop for Eddie’s vocal. He’s almost like a preacher, before M.F.S.B. kick loose. Maybe they saw the irony too? Strings sweep and swirl, horns bray and rasp, Baker, Harris, Young produce an angry, powerful backdrop and Eddie unleashes a vocal full of anger and frustration at the exploitation of people living in ghettos. They remain living in poverty, while “the folks that live on the hill Rich Get Richer.” Eddie’s anger and frustration seems real, as do the harmonies, which are filled with emotion. M.F.S.B. somehow, seem to raise their game again. Baker, Harris, Young provide the heartbeat, while strings cascade, horns growl and Vince Montana Jr, adds his vibes. They provide a perfect and fitting backdrop for The O’Jays anger, frustration and despair. The lyrics are still as relevant and true today as in 1975.
Moody, cinematic strings, Vince Montana Jr’s vibes and keyboards join with a thoughtful Baker, Harris, Young rhythm section as How Time Flies unfolds. Eddie’s vocal is pensive, thoughtful and filled with emotion as he remembers the past. Strings add a beautiful backdrop, while the rest of M.F.S.B. give the track an understated, beautiful sound. Later, the tempo increases, giving the arrangement a jazzy sound, while high-kicking horns add a funky, dramatic sound. Norman Harris’ guitar provides an equally thoughtful, pensive sound to Eddie’s vocal and the harmonies. Here,The O’Jays deliver some of their tightest, most soulful and heartfelt harmonies, while Eddie Levert delivers one of his most moving and beautiful vocals.
What Am I Waiting For was penned by Bunny SIgler and ex-Temptation Ron Tyson. Dramatic flourishes of strings and blazing horns give way to soaring harmonies, Vince Montana Jr’s vibes and Norman Harris’ tender guitar. They provide an arrangement that veers between understated and dramatic, reflecting The O’Jays’ harmonies. Eddie’s vocal is laden with hurt, heartache and emotion. Bursts of Earl Young’s drums and keyboards add drama, while lush strings, Vince’s vibes, a Norman Harris’ jazz-tinged guitar provide a delicious contrast. This combination of drama and subtlety is the perfect accompaniment to one of Eddie’s most heartfelt, soul-baring deliveries.
Closing Survival is the Leon Huff composition Never Break Us Up, which has a jazzy sound when it opens. Rasping horns, cascading strings, keyboards and the Baker, Harris, Young rhythm section combine to create this jazzy backdrop. A burst of drama from Earl’s drums signals Eddie’s impassioned vocal. Harmonies and sweeping, swirling strings and punchy horns ensure the arrangement swings along. The O’Jays’ harmonies and Eddie’s lead drive each other to greater heights of soulfulness. Meanwhile M.F.S.B. prove their versatility, seamlessly transformed into a big band as they ensure Survival swings to a memorable, jazzy close.
Survival survived the turbulent times that were unfolding at Philadelphia International Records unscathed. What with Gamble and Huff locked in a dispute with M.F.S.B. over money, plus William Powell’s failing health, it’s remarkable that Survival is such a good album. It gave The O’Jays their first US R&B number one album and their second gold disc. With its combination of socially conscious songs, slow songs and relationship songs, Survival was a worthy successor to Ship Ahoy. Certainly, The O’Jays hadn’t run aground with Survival. They remained, Philadelphia International Records’ biggest success story. Mind you, by 1975, groups like The Three Degrees and Harold Melvin and The Blue Notes were about to leave Philadelphia International Records. More worryingly, so were M.F.S.B.
Although M.F.S.B. would feature on The O’Jays next album, somewhat ironically called Family Reunion, by then they’d have become The Salsoul Orchestra. Regardless of how people choose to spin this loss, this hurt Philadelphia International Records. M.F.S.B’s dispute with Philadelphia International Records reached a dramatic conclusion later in 1975. Unable to resolve their dispute, M.F.S.B. remembering that “the workman is worthy of their hire” headed to Salsoul, where the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli and the legendary backing vocalists the Sweethearts of Sigma transformed Salsoul into disco greatest label. Back in Philly, the name M.F.S.B. continued, but without the legends who’d made them one of Philadelphia International Records’ not just the greatest house band in soul, but a successful group in their own right.
While Philadelphia International Records continued to produce some of the greatest soul music of the seventies, Philly Soul’s popularity was overtaken. Disco became the most popular genre of the mid, to late seventies. Providing the soundtrack and accompanying many of its biggest stars were The Salsoul Orchestra. Meanwhile, Philadelphia International Records’ biggest stars continued were Teddy Pendergrass, Billy Paul and The O’Jays, who continued to enjoy the critical acclaim and commercial success they’d enjoyed since their Philadelphia International Records’ debut album Backstabbers. Their third album, Survival wasn’t just a matter of survival, but progress, that saw The O’Jays become one of the greatest groups in the history of Philly Soul, releasing eight albums, three of which were certified gold and five platinum. Standout Tracks: Give the People What They Want, Let Me Make Love To You, Where Did We Go Wrong and What Am I Waiting For.
THE O’JAYS-SURVIVAL.
FIRST CHOICE-THE PLAYER.
FIRST CHOICE-THE PLAYER.
In the early seventies, Philadelphia had become the soul capital of America. Forget about Detroit or Memphis, Philly was where some of the greatest soul music was being produced. Philly was a hive of musical creativity, with the Philly Sound providing the soundtrack to much of the seventies. This soundtrack came courtesy of The Stylistics, The Delfonics and The Detroit Spinners all produced by Thom Bell, while at Philadelphia International Records, Gamble and Huff enjoyed success with The O’Jays, Billy Paul, Harold Melvin and The Blue Note. Dig deeper, and other producers were producing some of the critically acclaimed and commercially successful music. This included guitarist and songwriter Norman Harris, who would go on to enjoy a hugely successful production career. Blue Magic, Major Harris, Loleatta Holloway, Double Exposure, Gloria Gaynor, Eddie Holman and First Choice.
First Choice would go on to become one of Philly’s most successful female soul groups. Their career began when Rochelle Fleming, Annette Guest and Joyce Jones were just fifteen, and known as The Debronettes. They got their breakthrough after auditioning for Georgie Woods a DJ at Philadelphia’s WDAS radio station. Georgie was so impressed with The Debronettes, that he called Stan Watson, owner of Philly Groove Records. Stan liked the group, but not their name. Soon, The Debronettes became First Choice. To produce First Choice’s debut single, Stan Watson brought in Philly-based guitarist, songwriter, arranger and producer Norman Harris. This would prove to be something of a minor masterstroke.
The benefit of hiring Norman Harris, was Norman wasn’t just a guitarist and producer. He was a songwriter and arranger, plus one of the hottest rhythm section in soul, Baker, Harris, Young. With Ron Baker on bass, Norman on guitar and Earl Young on drums, these three legendary musicians gave Philly Soul it’s heartbeat. Then there was Norman’s songwriting skills, including his partnership with Alan Felder and often, Bunny Sigler. Where Norman went, Ron Baker and Earl Young, as did many of Philadelphia International Records’s house-band M.F.S.B, who’d work with First Choice.
For their first single, First Choice recorded This Is the House Where Love Died. It wasn’t initially a success, but when rereleased under license by Scepter/Wand gave First Choice a minor hit. First Choice’s second single Armed and Extremely Dangerous, written by Norman Harris and Alan Felder, gave First Choice their a hit single. It reached number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. When their debut album Armed and Extremely Dangerous was released, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. With their debut album having given them a commercial success, Norman Harris started work on First Choice’s second album The Player.
After the success of Armed and Extremely Dangerous, it was important to build on the momentum of First Choice’s debut album. Norman Harris and Alan Felder set about writing songs for what became The Player. They wrote the title-track The Player and Guess What Mary Jones DId and with Bunny SIgler, penned You Took the Words Right Out of My Mouth. Bunny Sigler also Hustler Bill with Jean Lang. Frank Johnson and Terry Woodward cowrote You’ve Been Doin’ Wrong For So Wrong, while Gerry Shury and Ron Roker wrote Guilty and Bob Reneu wrote All I Need Is Time. These tracks became The Player, which was recorded at Philly’s premier recording studio, Sigma Sound Studios.
Joining First Choice at Sigma Sound Studios, were many of Norman Harris’ friends who he played with in M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, Herbert Smith and Ron Louis Smith. They were joined by bassist Barry Gibson, and drummer Jerry Goldsmith. Larry Washington played bongos and congas and Ron “Have Mercy” Kersey played piano and organ. They were joined by vibes virtuoso Vince Montana Jr, alto-saxophonist Zach Zachary and Don Renaldo and His Horns and Strings. Norman Harris produced and arranged The Player, while Vince Montana Jr, and Ron “Have Mercy” Kersey arranged tracks. The Player, First Choice’s sophomore album, was released in 1974.
Two singles were released from The Player in 1974. The first of these was The Player (Part 1), which reached number seventy in the US Billboard 100 and number seven in the US R&B Charts. This gave First Choice their first top ten single in the US R&B Charts. Guilty then reached number 103 in the US Billboard 100 and number nineteen in the US R&B Charts. On the release of The Player, the album surpassed the success of Armed and Extremely Dangerous, reaching number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. It seemed that First Choice were on their way to becoming Philly Soul’s premier female group. However, what made The Player such a successful album? That’s what I’ll tell you, when I tell you about the music on The Player.
Opening The Player is the title-track, The Player, penned by Alan Felder and Norman Harris, who arranged and produced the track. Growling blazing horns, sweeping. swirling horns and a driving, dramatic Baker, Harris, Young rhythm section combine with percussion and funky guitars before punchy harmonies enter. Then enters Rochelle Fleming’s sassy, feisty vocal. Her vocal is a mixture of power and passion. Anne Guest and Joyce Jones’ harmonies prove the perfect foil for Rochelle’s vocal. They provide a backdrop that’s dramatic, punchy and deeply soulful. With strings dancing, Larry Washington’s bongos and congas and Bobby “Electronic” Eli’s guitar providing a funky backdrop, Earl Young’s drums provide power and drama. Likewise, the grizzled horns add to track’s sheer drama. Later, Vince Montana Jr, sprinkles vibes across the arrangement as Rochelle, accompanied by harmonies and Norman Harris’ jazz-tinged guitar. The result is a four-minute, musical epic, that’s dramatic and emotive, but also funky and deeply soulful.
Guilty was the second single released from The Player and was arranged by Vince Montana Jr. There’s no let up in the tempo, with Larry Washington’s bongos and congas joining a pounding Baker, Harris, Young rhythm section, cascading strings and then Rochelle’s heartfelt, impassioned vocal. She joins Anne and Joyce, adding harmonies that are equally heartfelt and soulful. When her vocal returns, she makes the song swing, as strings dance above the arrangement. Punchy horns, melodic keyboards and a powerhouse of a rhythm section drive the track along at breakneck speed. As Zach Zachary lays down a blistering alto-saxophone solo, this proves to be the icing on what is a delicious, dance-floor friendly slice of Philly Soul.
Norman Harris, Alan Felder and Bunny Sigler forged a successful and potent songwriting partnership. Their contribution to The Player was You Took the Words Right Out of My Mouth. From the get-go, there’s a moody, dramatic, funky backdrop. Key to this are Bobby “Electronic” Eli’s wah-wah guitar, Ron “Have Mercy” Kersey’s keyboards, blazing horns and the Baker, Harris, Young rhythm section. They unleash waves of funky music, complete with swathes of lush strings. Rochelle’s vocal is powerful, deliberate and tinged with emotion. Urgent, punchy harmonies accompany her, as her vocal grows in confidence and power. Similarly, the arrangement combines drama and power, with emotion, creating a moody, broody backdrop, that’s funky, soulful and thanks to Rochelle, full of sass and confidence.
You’ve Been Doin’ Wrong For So Long, which was arranged by Ron “Have Mercy” Kersey closed Side One of The Player. The tempo slows, but the drama remains, and the soulfulness increases. Ron “Have Mercy” Kersey’s wailing. atmospheric Hammond organ joins growling horns, slow, lush strings and a slow, thoughtful Baker, Harris, Young rhythm section. When Rochelle’s vocal enters, she’s at her soulful best, reminding me of Gladys Knight at her best. Her vocal is slow, filled with sadness, regret and resignation. She’s realized her man isn’t for changing, as she lays bare her soul. Heartfelt harmonies sympathize with her plight, while a Magnus Opus of an arrangement unfolds. A combination of lush strings, rasping horns and Earl Young’s drums reflect the drama, dilemma and heartache she’s going through. Although laden with sadness, regret and emotion, it’s a vocal masterclass from Rochelle Fleming, which shows how she could bring a song to life, breathing meaning into its lyrics.
Side Two of the Player opens with the Bunny Sigler and Jean Lang penned Hustler Bill, arranged by Norman Harris. Hustler Bill swaggers along the sidewalk, guns his car and then horns blaze, strings swirl and sweep while percussion and the Baker, Harris, Young rhythm section add a tough, swaggering, funky arrangement, complete with Bobby “Electronic” Eli uber funky guitar licks. Rochelle’s vocal is the complete opposite. It’s tender and heartfelt, with a touch of vulnerability. Soon, her vocal changes, becoming strong, defiant and angry. A she points out Hustler Bill’s failings, the harmonies reinforce the error of his ways. Later, her vocal veers between the two styles, while the arrangement reflects and compliments her vocal. Her anger is matched by power and drama, her vulnerability and tenderness reflected by a much more subtle sound. It’s like an emotive roller-coaster, a kitchen sink drama where an exasperated woman, decides enough, and reads her partner the proverbial riot act. Let’s just hope for his sake, he changed his ways.
Vince Montana Jr, arranged All I Need Is Time, written by Bob Reneu, which has a much more understated sound. It allows First Choice to showcase their harmonic delights, and features one of Rochelle’s most soulful vocals. Quivering, shivering strings, Norman Harris’ thoughtful jazzy guitar and a slow Baker, Harris Young rhythm section give way to impassioned, emotive heartfelt harmonies. When Rochelle steps forward, she delivers a vocal that’s one of the most soulful she ever recorded. Harmonies sweep in, strings sweep and as if spurred on, the band somehow, raise their game. They provide a backdrop that’s wistful, melancholy and dramatic, one that’s fitting for what is, a vocal tour de force from Rochelle Fleming.
Guess What Mary Jones Did is the second Alan Felder and Norman Harris penned track. Norman arranged and produced a track that’s very different from the previous track. Here, Rochelle plays the part of the wronged woman, delivering her vocal with a mixture of anger, frustration and feistiness. Bobby “Electronic” Eli’s searing guitar, shivering strings, rasping horns and a thunderous Baker, Harris, Young rhythm section are joined by First Choice’s harmonies. Then when Rochelle’s vocal enters, it’s a mixture of anger, frustration and drama. Earl Young’s drums, cascading strings and growling horns reflect and reinforce this drama. Norman Harris’ production, the band’s performance and Rochelle Fleming’s angry, frustrated vocal make this a feisty fusion of funk and Philly Soul.
Closing The Player is an instrumental version of Guilty, arranged by Vince Montana Jr. The track bursts into life, with layers of the lushest strings dancing with joy. They join a pounding, Baker, Harris, Young rhythm section, growling horns, Larry Washington’s bongos and congas before a brief burst of First Choice’s vocals enters. When they drop out, the cascading strings, blazing horns, percussion and the rhythm section take charge. Then another tantalizing taste of First Choice is introduced, only to disappear way too soon. From there, you’re teased, awaiting its return as this glorious, string and horn laden reveals its secrets. Strings dance, joining punchy horns that kick and Baker, Harris, Young demonstrate why they were the hottest rhythm section of the seventies. Later, Zach Zachary lays down a blistering alto-saxophone solo, that’s joined by First Choice’s tight, soulful harmonies as they bring The Player to an infectiously catchy close, fusing funk, Philly Soul, jazz and Latin music majestically.
First Choice’s sophomore album The Player saw them pick up where they left off on Armed and Extremely Dangerous. They were well on their way to becoming Philly’s finest female soul group. By now, the music industry were realizing that this Philly trio were going places and were keen to sign them. It’s no wonder. With Rochelle Fleming’s lead vocal plus Annette Guest and Joyce Jones’ harmonies, here was a group that had a huge future. Key to their success was Norman Harris. He produced The Player, cowrote three of the songs and brought in some of Philly’s greatest musicians, songwriters, arrangers and producers to work on The Player. Here was a musical machine, that would provide First Choice with material and accompany them. In Rochelle Fleming, First Choice had one of the most talented lead singers. She could breath life and meaning into lyrics. Whatever emotion was required, Rochelle could deliver this. Similarly, ballads or uptempo tracks, Rochelle was equally at home. Although Annette and Joyce were both talented singers, Rochelle could’ve easily enjoyed a solo career. Listen to two of the slower tracks, You’ve Been Doin’ Wrong For So Long and All I Need Is Time and you’ll hear a voice that rivals Gladys Knight for sheer soulfulness. Her delivery is exquisite, emotion personified. However, Rochelle stayed a member of the group she’d founded, First Choice.
Although First Choice enjoyed commercial success, they never enjoyed the critical acclaim and commercial success their music truly deserved. While many people are familiar with their three albums for Salsoul, their first three albums, including The Player show a quite different side to their music. Back in 1974, when they were at their soulful best, the future looked bright for First Choice. After Armed and Extremely Dangerous, First Choice were on the cusp of greatness. They were about to be crowned the first Lady’s of Philly. Their only rivals were The Three Degrees, another legendary Philly Soul group. Once The Player was released, First Choice were crowned Philly Soul’s Queens. Nearly forty years later, Philly Soul’s first female group, can still wear their crowns with pride, having released some timeless music, including albums like Armed and Extremely Dangerous and of course, The Player. Standout Tracks: The Player, Guilty, You’ve Been Doin’ Wrong For So Long and All I Need Is Time.
FIRST CHOICE-THE PLAYER.
THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
After a series of modest hit singles, The Trammps contract with Buddah Records ended. Baker, Harris, Young decided to form their own label, Golden Fleece Records, which would release their debut album, Trammps. Released in 1975, Trammps reached number 159 in the US Billboard 200 and number thirty in the US R&B Charts. On Trammps were hit singles like Stop and Think, Trammps Disco Theme, Love Epidemic, Trusting Heart and Where Do We Go From Here. Three of these singles, Stop and Think, Trammps Disco Theme and Trusting Heart reach the top ten in the US Disco Charts.
Not to be outdone, and possibly to cash-in on the success of their former signing, Buddah Records released The Legendary Zing Album. This contained a mixture of singles remixed by Tom Moulton and previously unreleased tracks. Unfortunately, for Buddah Records, The Legendary Zing Album failed to chart. However, things were going better for The Trammps.
Over at Atlantic Records, someone realized that this was a band with a big future. Atlantic Records signed The Trammps and they set about recording what would become their third album, Where The Happy People Go. It would be released in 1976. Before that The Trammps had an album to record, which they’d do with a little help from their Philly friends.
To help The Trammps record their third album, Where The Happy People Go they decided to give some of their Philly friends a call. This meant that joining the five Trammps, Jimmy Eliis, Earl Young, Robert Upchurch and Harold and Stanley Wade would be not just some of the Philly’s best musicians, but equally talented songwriters, arrangers and producers.
They’d all worked together many times, whether with Thom Bell or Gamble and Huff. By 1975, many of the musicians who’d been part of M.F.S.B, Philadelphia International Records’ legendary house band, had quit en masse. Following a dispute with Gamble and Huff over money, they’d headed to New York to become The Salsoul Orchestra. Indeed, many of the musicians who worked on Where The Happy People Go, would help transform Salsoul into disco’s premier label.
Seven songs would become Where The Happy People Go. This included two written by Ron Baker, of the Baker, Harris, Young rhythm section. Ron wrote, That’s Where The Happy People Go and Love Is A Funky Thing. Bruce Gray and T.G. Conway cowrote Disco Party and cowrote Can We Come Together With Alan Felder. Alan also cowrote Hooked For Life with Norman Harris and Bunny Sigler. Norman Harris and Leroy Green wrote the album opener Soul Searchin’ Time. The only non Philly penned tracks was a cover of Eddie Floyd, Steve Cropper and Wilson Pickett’s Ninety-Nine and A Half, done Philly style. Recording of Where The Happy People Go took place in the familiar surroundings of Philly’s Sigma Sound Studios.
Joining The Trammps for the recording of Where The Happy People Go, were some of the best musicians in Philly. While Baker, Harris, Young rhythm section supplied the heartbeat, Stanley Wade and Michael Foreman played bass and Bobby “Electronic” Eli guitar. Larry Washington played congas, Bruce Grey grand piano and Ron “Have Mercy” Kersey and T.G. Conway keyboards. Various arrangers and producers worked on different tracks and once Where The Happy People Go was finished, released in 1976.
Hooked For Life was released as a single in 1975, reaching number seventy in the US R&B Charts, number eight in the US Disco Singles Charts and number five in the Dance Music/Club Play Singles Charts. Then in That’s Where The Happy People Go was released in 1976, reaching number twenty-seven in the US Billboard 100, number twelve in the US R&B Charts and number one in both the US Disco Singles Charts and Dance Music/Club Play Singles Charts. Soul Searchin’ Time then reached number sixty-seven in the US R&B Charts. When Where The Happy People Go was released in 1976, it reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. Atlantic Records had found their disco group in The Trammps, who were about to enter the most successful period of their career, starting with Where The Happy People Go, which I’ll now tell you about.
Opening Where The Happy People Go is Soul Searchin’ Time, penned by Norman Harris and Leroy Green. Arranged by Ron Baker and produced by Baker, Harris, Young. Earl Young’s thunderous drums, growling horns, wah-wah guitars and the funkiest of bass combine before Jimmy Eliis rasping vocal enters. He grabs the song, injecting passion and power. Tight, punchy harmonies sweep in, soaring high and soulfully. Ron Baker’s bass matches Earl’s drums every step of the way, as Jimmy gives a vocal masterclass. Horns rasp and growl, strings quiver and shiver and Norman Harris jazz-tinged guitar drifts in and out. Waves of drama and power give way to Jimmy’s vampish vocal. He takes on the roll of a musical preacher. The rest of The Trammps become believers, in Jimmy’s sheer soulfulness and passion, sung against an arrangement that’s uber funky and laden in drama.
That’s Where The Happy People Go was written, arranged and produced by Ron Baker. It’s a track where beauty and elegance is replaced by a joyous, musical explosion. Just a piano, wistful woodwind and melancholy strings join, creating a beautiful backdrop. Then a tender flourish of piano gives way to the Baker, Harris, Young rhythm in full flight. This powerhouse produce a thunderous driving arrangement. Swathes of dancing strings join them, before Jimmy Ellis steps forward. He goes on to deliver a growling, heartfelt vocal masterclass. The rest of The Trammps contribute sweeping harmonies, as Jimmy vamps, power and passion uniting. Cascading strings replace harmonies, as handclaps and keyboards join the rhythm section. Then Jimmy unleashes a vocal tour de force. “Boogie, boogie, boogie” sing The Trammps almost appreciatively. Jimmy hollers “Lord have mercy,” as if spent and exhausted, given his energetic and exuberant performance. To me, this is one of the finest tracks The Trammps ever recorded. One listen, I’m sure you’ll be a believer too.
Can We Come Together sees Earl Young’s pounding drums joined by a wailing wah-wah guitar unite as the arrangement unfolds. Strings sweep and swirl, Ron Baker’s funky bass, keyboards and growling horns are joined by Jimmy’s impassioned vocal. Harmonies tight and soulful sweep in, joining Jimmy before the vocal changes hands. Earl dramatically pounds his drums, as if his life depends on it. Later, Norman Baker and Bobby “Electronic” Eli trade guitar licks, as delicious vocal interplay takes place. Jimmy and other Trammps a perfect match. Jimmy’s vocal is powerful, full of urgency, energy and emotion while soulful, sometimes subtle harmonies sweep in and out. This is compelling and captivating contrast, while the arrangement is a the perfect match for the drama, energy and emotion of Jimmy’s vocal.
Disco Party is a fitting description for this uptempo, joyous track. Against what sounds like a party in the studio, the Baker, Harris, Young rhythm section combine with Bobby “Electronic” Eli’s searing guitar and a pounding piano. The Trammps add urgent harmonies and handclaps, before Jimmy Ellis makes his entrance. Horns growl and Jimmy’s vocal is quick, delivered with an urgency. Meanwhile, the arrangement mixes Philly Soul, funk and disco, revealing its secrets. Baker, Harris, Young provide the funk, as do The Trammps harmonies. Later, like Jimmy’s vocal they’re soulfulness personified. Norman Harris and Bobby “Electronic” Eli guitars add contrasting styles, before a funky piano and growling horns provides the icing on this hook-laden and infectiously catchy fusion of musical genres.
Ninety-Nine and A Half an old Stax track is given a Philly makeover by Ron “Have Mercy” Kersey. He arranges and produces the track, and Jimmy Ellis injects his trademark passion, drama and enthusiasm. From the opening bars, the track almost explodes. The Baker, Harris, Young rhythm section are joined by blazing horns, searing guitars and Jimmy’s vampish vocal. Sweeping, soulful harmonies drift in and out, as The Trammps and their backing band take a slice of Southern Soul, made in Memphis and inject a much needed injection of passion, drama and sheer soulfulness.
After the power and drama of the previous track, Hooked For Life sees a change in style. It’s a dramatic ballad, arranged by Norman Harris and produced by Baker, Harris, Young. Strings dance with joy, while the Baker, Harris, Young rhythm section provide the track’s heartbeat. Melodic keyboards, lush strings and punchy horns join Jimmy’s impassioned, heartfelt vocal, as he sings about romantic obsession. His voice is tinged with emotion, as Philly Soul and funk unite. Punchy, dramatic harmonies sweep in and out, before keyboards, strings and the rhythm section mix melancholia and drama. When Jimmy’s vocal returns, he’s still smitten, still Hooked For Life on a track that’s beautiful, emotive and timeless, whilst providing a showcase for The Trammps soulful side.
Closing Where The Happy People Go is Love Is A Funky Thing, written, arranged and produced by Ron Baker. There’s a much more understated sound, when just congas and bongos open the track, before Norman Harris’ thoughtful guitar and melodic keyboards join. This gives the track a pensive, almost moody sound. Space is left in the arrangement, with Earl Young’s drumming a perfect example of this. Chiming guitars, drums and keyboards join Ron Baker’s meandering bass. Together, they provide another side to The Trammps and their music, one that’s melancholy, moody and thoughtful.
Having signed The Trammps, Atlantic Records must have thought they’d hit the jackpot. Here was a group, The Trammps that could combine the two most popular genres of the seventies, Philly Soul and disco. Not only that, but The Trammps came complete with their very own team of Philly-based songwriters, arrangers, producers and musicians. This included some of the most talented, innovative and creative musical minds of the seventies. Looking at the musicians involved in the making of Where The Happy People Go, each one is a legend. Similarly, The Trammps featured five Philly legends. Featuring the vocal prowess of Jimmy Ellis, who could inject drama, emotion, energy and passion into a song, plus tight, soulful harmonies from Earl Young, Robert Upchurch and Harold and Stanley Wade, this was a musical marriage made in heaven. Little did anyone know, that the effect their next album would have.
The followup to Where The Happy People Go was Disco Inferno, which was certified gold and the title-track featured on a soundtrack that sold twenty-five million copies. That was Saturday Night Fever and would feature Jimmy Ellis vocal Magnus Opus, where he became a preacher and dancers, his followers. All that was still to come. Where The Happy People Go was a tantalizing taste of what was still to come from The Trammps. Where The Happy People Go featured seven scintillating songs from The Trammps, where Philly Soul and disco unite. Each of these songs were made in Philly and one listen and you’re smitten, by Trammps soulful, disco sound and taken to Where The Happy People Go. Standout Tracks: Soul Searchin’ Time, That’s Where The Happy People Go, Can We Come Together and Hooked For Life.
THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
BLUE MAGIC-BLUE MAGIC.
BLUE MAGIC-BLUE MAGIC.
Having left The Delfonics, Randy Cain started working with Ted Mills, a Philadelphia-based songwriter. The pair would cowrite songs for the Philly-based WMOT production company. Not long after they started collaborating, Randy and Ted met Shades of Love, a Philly vocal group yet to make their commercial breakthrough. Featuring Keith Beaton, Richard Pratt and brothers Wendell and Vernon Sawyer, the WMOT production team realized they lacked one thing, a charismatic lead singer. This is where Ted Mills came in. Ted was added to the quartet previously known as Shades of Love and the group was renamed as Blue Magic. Little did they realise, that another in a long line of Philly’s commercially successful and critically acclaimed vocal groups had just been born. For Blue Magic’s debut album Blue Magic, what they needed was a talented producer. One of Philly’s greatest ever musicians, Norman Harris was starting to establish a reputation as one of the hottest up-and-coming producers. Norman would produce Blue Magic. With some of the Philly’s most talented songwriters, arrangers, musicians and backing singers working with Blue Magic on their debut album Blue Magic, surely the album was guaranteed to a commercial success?
For Blue Magic’s debut album Blue Magic, Philly’s most talented and creative minds got to work. New lead singer Ted Mills wrote two tracks, What’s Come Over Me and Spell, and with Al Felder cowrote Tear It Down. Alan Felder cowrote four other tracks, Stop To Start with Jimmy Grant and three tracks with Norman Harris. They were Look Me Up, Welcome To the Club and Answer To My Prayer. Bobby “Electronic” Eli and Vinnie Barrett cowrote Sideshow and with John Freeman, cowrote Just Don’t Want To Be Lonely. These nine tracks were recorded at Philly’s greatest recording studio, Sigma Sound Studios.
At Sigma Sound Studios, work began in early 1973. Blue Magic were joined by many members of Philadelphia International Records’ legendary house-band M.F.S.B. So, this meant the Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers Ted Cohen. The were joined by bassists Jimmy Grant, Lee Smith and Jimmy DeJulio, and drummer Larry James. Vince Montana Jr, played vibes Larry Washington percussion and Carlton Kent and Ron “Have Mercy” Kersey piano were joined by Don Renaldo and His Horns and Strings. With Norman Harris producing Blue Magic, the album was ready for release in January 1974.
Blue Magic had released their debut single Spell in 1972, which had reached number thirty in the US R&B Charts. Look Me Up was then released in 1973, reaching number thirty-six in the US R&B Charts. Stop To Start was then released later in 1973, enjoying crossover success. It reached number seventy-four in the US Billboard 100 and number fourteen in the US R&B Charts. When Blue Magic was released in January 9th 1974, it reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. Helping sales of Blue Magic was the fourth single Sideshow, which reached number eight in the US Billboard 100 and number in the US R&B Charts, resulting in the single being certified gold. Producer Norman Harris had worked hos magic with Blue Magic. A number one US R&B single that was certified gold and top ten US R&B album was proof of this. However, in terms of Philly Soul classics, is Blue Magic one of them?
Opening Blue Magic is Sideshow, penned by Bobby “Electronic” Eli and Vinnie Barrett. Arranged and produced by Norman Harris, the song tells the story of a circus, where rather than animals, the sideshows are all failed romances. There’s a wistful, dreamy and melancholy sound when a slow, thoughtful rhythm section, Vince Montana Jr’s vibes, lush strings and rasping horns give way to a circus barker. Then comes the main attraction, Ted Mills’ heartfelt, tender vocal. His voice is tinged with sadness, heartache and regret . Percussion, emotive strings, a plucked harp and subtle vibes combine to create an understated backdrop for Ted’s vocal. Harmonies sweep in, adding to the dreamy, melancholy sound. Norman Harris’ adds some sparse, jazzy guitar, while Ron Baker’s bass and Earl Young’s drums provide the song’s heartbeat. Together they provide a heartbreakingly sad, emotive and melancholy backdrop for Ted’s vocal, that’s also beautiful and timeless.
Look Me Up sees an about turn from Blue Magic. This is a much more uptempo track. From the get-go when strings dance joyously, joining Earl Young’s thunderous drums, growling horns and Norman Harris’ jazzy guitar. Ted’s vocal is filled with hope, soaring powerfully and joyously. Harmonies and a sprinkling of Vince Montana Jr’s vibes combine, before the band kick loose. Horns blaze, strings cascade and the rhythm section combine Philly Soul, funk and drama. Percussion and vibes join the arrangement, as Ted and the rest of Blue Magic feed off each other. As the vocal drops out, the band showcase their considerable skills, exploring the song’s subtleties and secrets, in a jazzy style. Guitar licks are traded, while keyboards, percussion and the rhythm section improvise, before Blue Magic return. Then Ted’s lead vocal and harmonies trade places, while the Philly made arrangement fuses a tantalizing combination of Philly Soul, funk, jazz and early disco.
What’s Come Over Me sees the tempo drop, revisiting the dreamy, wistful sound of Sideshow. It’s like a carousel ride, but a melancholy one. A burst of Earl Young’s drums give way to Vince Montana’s thoughtful vibes, flourishes of harp, lush strings and wistful horns. They create a slow, spacious backdrop for Ted’s impassioned vocal. Harmonies reply to his call, his vocal growing in power and emotion. Growling horns, a dramatic rhythm section and vibes combine creating an arrangement that’s a fittingly emotive, moving and heartfelt backdrop for Ted’s soul-baring and beautiful vocal.
Alan Rubens and Steve Bernstein produced Just Don’t Want To Be Lonely, penned by Bobby “Electronic” Eli, Vinnie Barrett and John Freeman. This was the only track Norman Harris didn’t produce. Thunderous, pounding drums, lush strings and blazing horns combine, creating a dramatic crescendo. They set the scene for Ted’s vocal, which is sung with feeling and power. Harmonies and strings sweep in, while horns rasp. Vince Montana Jr, who arranged the track, sprinkles vibes subtly, before Ted’s half-spoken, sultry vocal is accompanied by tender harmonies. When the vocal drops out, the horns, rhythm section and strings unite before Ted’s heartfelt vocal returns, breathing new life, meaning and beauty into a Philly classic.
Stop To Start is arranged and produced by Norman Harris, and is reminiscent of an old show tune when the track begins. Strings, vibes and the rhythm section combine with keyboards, before giving way to Ted’s tender vocal. The vocal changes hands, as the arrangement grows in power, emotion and drama. It veers between drama and tenderness, with the vocal changing hands. Horns with a Thom Bell sound, punctuate the arrangement, which becomes musical roller-coaster. Power and drama plus tenderness and subtlety are constant companions, while emotion and beauty are always ever-present during this captivating musical journey.
Welcome To the Club is another of the uptempo tracks, written by Norman Harris and Alan Felder. Although soulful, it’s funky and dance-floor friendly. It almost explodes into life, with the Baker, Harris, Young rhythm section creating the arrangement’s heartbeat. Bobby “Electronic” Eli lays down some of his trademark guitar riffs, while funky keyboards and dancing strings provide a backdrop for Ted’s soaring, joyful vocal. Tight, punchy and often, urgent harmonies accompany him, while Earl Young’s drums reflect this urgency. Ted takes the lyrics, making them his own, while the band match his urgency and enthusiasm matching him every step of the way. Later, the band take centre-stage, improvising and magically mixing funk, Philly Soul and jazz, providing the finishing touch to this uplifting, hook-laden dance-floor friendly track.
Spell was Blue Magic’s debut single, written by Ted Mills. Here, there’s more than a hint of The Delfonics and The Stylistics. It’s a slow, spacious ballad, where Ted’s lead vocal is emotive and heartfelt, while the rest of Blue Magic add some of their most impassioned harmonies. Bobby “electronic” Eli’s guitar is shrouded in filters, while the Baker, Harris, Young rhythm section add drama and lush strings add an emotive backdrop. This is perfect for Ted’s vocal and the tight, sweeping harmonies. Vince Montana Jr, sprinkles vibes across the arrangement, while Earl’s drums reinforce the drama and emotion in Ted Mills lyrics and vocal. For a debut single, it’s a highly accomplished track, that’s a tantalising taste of what was to come.
Answer To My Prayer was third track written by Norman Harris and Alan Felder. Vince Montana Jr’s vibes join swirling strings, percussion and the rhythm section before Ted’s gentle, hopeful vocal enters. He delivers his vocal with feeling, thankfil that he’s found the Answer To My Prayer. Horns punctuate the arrangement, as if in celebration. Punchy harmonies enter, and with the lush strings, dramatic drums and vines add to this joyous, sometimes melancholy sounding love song.
Closing Blue Magic is Tear It Down, another understated song, interspersed with bursts of drama. Quivering strings, vibes and percussion combine with bursts of chiming guitars and pounding drums. They build up the tension and drama, before Ted’s vocal enters. His vocal is laden with sadness and despair, at the loss of the one he loves. Harmonies reflect the sadness in his vocal, their tender melancholy sound a perfect accompaniment to the arrangement. He pleads and begs, his vocal filled with equal amounts of heartache and hope, as Blue Magic reaches an emotive, melancholy and dramatic ending.
Less than two years after Blue Magic were first formed, their debut album Blue Magic saw the group join the ranks of Philly’s soul elite, with an album that’s undoubtedly a Philly Soul classic. Whether ballads like Sideshow and What’s Come Over Me, or uptempo tracks like Look Me Up and Welcome To the Club, Blue Magic are equally at home, working their soulful magic. For a debut album, Blue Magic was critically acclaimed and commercially successful. Blue Magic reached the top ten in the US R&B Charts, plus featured four hit singles, including Sideshow, which reached number one in the US R&B Charts and was certified gold. By adding Ted Mills as lead vocalist to the old lineup of Shades of Blue, a new Philly soul group was born. Add to the equation, Norman Harris, one of the top up-and-coming producers who produced Blue Magic. Norman worked his magic, producing an album of beautiful ballads and uptempo, dance-floor friendly tracks. Key to the success of the nine tracks that became Blue Magic, were the personnel that wrote, arranged and played on them.
Norman Harris put together an all-star band, including many of M.F.S.B, Philadelphia International Records’ legendary house-band, including Baker, Harris, Young, Bobby “Electronic” Eli and Vince Montana Jr, who arranged three of the tracks. Of course, the success of Blue Magic was helped along by the number one single, Sideshow. This timelss dreamy, melancholy ballad was penned by Bobby “Electronic” Eli and Vinnie Barrett and brought Blue Magic to the public’s attention. Since then, Blue Magic have become members of Philly’s soul elite. The album that started this journey, was Blue Magic, their timeless classic 1974 debut album. Standout Tracks: Sideshow, Look Me Up, Stop To Start and Answer To My Prayer.
BLUE MAGIC-BLUE MAGIC.
M.F.S.B.-M.F.S.B.
M.F.S.B.-M.F.S.B.
By 1973, Philadelphia International Records was well on the way to becoming one of the most successful record labels of all time, whilst supplying the soundtrack for the seventies, and a generation. Critically acclaimed and commercially successful albums started flowing out of Philadelphia. This included The O’Jays’ Backstabbers, Harold Melvin and The Blue Notes’ I Miss You and Billy Paul’s 360 Degrees of Billy Paul. Each of these albums have one thing in common, the musicians that played on these albums. Known as M.F.S.B, not only would they accompany the artists on Philadelphia International Records, but became one of the label’s most successful groups. M.F.S.B. would released eight studio albums between 1973 and 1980. Their debut album was 1973s M.F.S.B. which featured the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, percussionist Larry Washington and Don Renaldo and His Strings and Horns. These legendary musicians, were responsible for shaping and defining what became known as the Philly Sound. Sometimes, these musical legends don’t receive the credit they’re due. All too often, when someone mentions Philadelphia International Records, people think of Gamble and Huff. However, without the combined talents of M.F.S.B, who were much more than just musicians. People line Ron Baker, Norman Harris, Lenny Pakula and Vince Montana Jr, were songwriters, arrangers and producers, whose creativity and in some cases, sheer genius made Philadelphia International Records the musical force it became. All this creativity, talent and indeed, genius, shines through on the six songs that became M.F.S.B. Before I tell you about M.F.S.B, I’ll tell you about the background to the album.
Way before Philadelphia International Records was founded, the various musicians that became M.F.S.B. played together. They regularly played together in sessions for a whole host of artists. Look at any album by The Delfonics, The Detroit Spinners, The Stylistics or any number of artists and the same names played on each album. If Earl Young played drums, then Ron Baker would play bass and Norman Harris guitar. This would continue even during M.F.S.B’s time at Philadelphia International. The members of M.F.S.B. would have side projects, say working with producer Thom Bell or as producers in their own right. Norman “The Machine” Harris and Bobby “Electronic” Eli both worked as successful producers. Whoever they worked with, they’d pick up the phone to the rest of M.F.S.B. and instantly, an all-star backing band was in place. However, one thing these musicians had never done, was record as a band. Their debut album would come when they recorded M.F.S.B’s debut album M.F.S.B. in 1972.
Six songs were chosen for M.F.S.B’s debut album M.F.S.B. This included covers of Curtis Mayfield’s Freddie’s Dead, Sly Stone’s Family Affair and Poinciana, written by Buddy Bernier and Nat Simon. The other three songs were written in-house at Philadelphia International. This included one of their early success story’s, Backstabbers, previously a hit for The O’Jays and the title of their 1972 album. It had been written by McFadden and Whitehead with Leon Huff, who also contributed Lady In Low. Kenneth Gamble’s only contribution was Something For Nothing, which he cowrote with Thom Bell and Roland Chambers. These six tracks would be recorded at Sigma Sound Studios in Philly.
The lineup of M.F.S.B. was what’s become known as the classic lineup. Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers T.J. Tindall and Reginald Lucas. Anthony Jackson also played bass, and drummers included Karl Chambers and Norman Farrington. Vince Montana Jr, played vibes and Larry Washington congas and bongos. Lenny Pakula played organ, Eddie Green and Harold Williams piano and Leon Huff electric piano. Joining Don Renaldo and His String and Horn Section were saxophonist and flautist Tony Williams and alto-saxophonist Zach Zachary. Gamble and Huff produced the six tracks that became M.F.S.B, which was released in 1973.
On the release of M.F.S.B. in 1973, it reached number 131 in the US Billboard 200 and number twenty in the US R&B Charts. Only one single was released from M.F.S.B, Family Affair, which failed to chart. However, for a debut album M.F.S.B. had been a commercial success. M.F.S.B was just the beginning though, but what a way to start their career.
Opening M.F.S.B is a cover of Freddie’s Dead, arranged by Bobby Martin. The track explodes into life, searing guitars, cinematic strings, percussion and a pounding, dramatic Baker, Harris, Young rhythm section. Ron Baker plays standup bass, while Zach Zachary unleashes a blistering, blazing alto saxophone solo. Joining him are rasping horns, a dramatic rhythm section, chiming guitars and percussion. Later, Vince Montana Jr. lays down a vibes solo, while behind him, waves of dramatic, frenzied music unfold. M.F.S.B. deliver the music with equal amounts of drama, urgency and passion. It’s almost as if they pride themselves are their ability to seamlessly fuse jazz, soul and funk during seven minutes of scintillating, music. If Freddie’s Dead, then this is the most fitting tribute.
Another of the cover versions on M.F.S.B. is Sly and The Family Stone’s Family Affair. Not for M.F.S.B. the loose, laid back sound of the original. There’s much more urgency and drama in the music. Sometimes, M.F.S.B. even outdo Sly Stone for sheer funkiness. Waves of pounding, punchy and dramatic music unfold. Horns punchy and growling join a thunderous Baker, Harris, Young rhythm section and melodic keyboards. Bobby “Electronic” Eli lays down a dramatic guitar line, while funk, soul and jazz combine. Wah-wah guitars, grizzled horns, a driving rhythm section and keyboards provide the engine to this powerhouse of a track, that masterfully totally reinvents Sly Stone’s classic.
Something For Nothing was the only song Kenny Gamble cowrote on M.F.S.B. He cowrote the song with Roland Chambers and Thom Bell, who arranged the track. Just a pensive piano panned left, explores the arrangement, before it’s all change. A thunderous rhythm section, dramatic piano, Vince Montana Jr’s vibes and horns, complete with Thom Bell signature sound combine. Strident, dramatic and with a sense of urgency, the arrangement unfolds. Waves of horns, swathes of strings and the Baker, Harris, Young rhythm section in full flight combine dramatically. Vince’s vibes sit in the background, as wave upon wave of dramatic, theatrical music unfold majestically and symphonically.
Backstabbers had given The O’Jays a huge hit, but here M.F.S.B. totally reinvent the song. It becomes something it was never meant to be, but thank goodness. From the get-go, M.F.S.B. kick loose. It’s as if arranger Lenny Pakula dares them. A flute, thunderous, dramatic Baker, Harris, Young rhythm section are joined by blazing horns, searing guitars and a Lenny Pakula’s wailing Hammond organ. Having given the track a jazzy twist, they add elements of funk, rock and soul. As the horns kick loose, they reveal a heartfelt, soulful, emotive sound, that draws you in. Searing rocky guitars explore the track’s nuances, while the rhythm section add drama whilst providing the track’s pulsating heartbeat. Vince Montana Jr’s vibes and percussion are almost a calming contrast to the drama, energy, enthusiasm and power of the rest of M.F.S.B. For six minutes plus, they take Backstabbers, explore its subtleties, secrets and nuances, deconstructing and then reconstructing the track. In doing so, they rebuild, revitalize and reenergize a classic track, M.F.S.B. style.
Lay In Low is arranged by Norman Harris and given a delicious, jazzy twist. Space, beauty and emotion are ever-present, with just Vince Montana Jr’s vibes, Earl Young’s thoughtful drums and Norman Harris jazz-tinged guitar combining. Sultry horns are joined by Lenny Pakula’s Hammond organ and percussion courtesy of Larry Washington. Soon, M.F.S.B. have locked into the tightest, sultriest and most beautiful jazzy grooves. So good and so beautiful is the track, you hope it goes on forever and that you find the secret of eternal life, so the track can massage your weary soul.
Closing M.F.S.B. is Poinciana, arranged by Vince Montana Jr. He gives the track an orchestral sound, using swathes of the lushest strings and dramatic flourishes of grandiose piano. This time, the rhythm section’s role is to provides a steady heartbeat. The piano, flute and quivering, shivering strings take centre-stage. They’re the stars of the show, while bursts of wah-wah guitar drift in and out. Later, Norman Harris steps forward, adding a jazzy guitar solo, while layers of strings sweep above, providing an emotive backdrop. The result is a dramatic, grand and orchestral track, where Vince Montana Jr, shows how innovative, talented and creative an arranger he was.
Having previously provided the musical backdrop for artists like The O’Jays, Harold Melvin and The Blue Notes and Billy Paul, it was time for M.F.S.B. to show they were more than the hottest house-band in America. It was like a challenge. Not only did M.F.S.B. rise to the challenge, but revelled in it. They kicked back and then kicked loose, showing that now was the time they stepped out of the shadows. Suddenly, all this creativity was unleashed. Cover versions new and old were reinvented. Songs subtleties, secrets and nuances were explored. Then the song was deconstructed and then reconstructed in a way that had never ever been envisaged. Proof of this are Freddie’s Dead, Backstabbers and Family Affair, where funk, soul and jazz become one. Proving M.F.S.B. were no one trick pony, is the jazz-tinged beauty of Lay In Low and the majestic, orchestral sound of Poinciana. While M.F.S.B. might not have been M.F.S.B’s most successful album, it showed their versatility and creativity. It also showed that M.F.S.B. were an innovative, multitalented band.
Without M.F.S.B, Philadelphia International Records might not have become the success story it became. Maybe, critical acclaim and commercial success might have eluded them. History may have been very different. Thankfully, that wasn’t the case. At least Gamble and Huff realised just how talented M.F.S.B. were. They went on to become one of Philadelphia International Records’ most successful artists. The album that started this off was M.F.S.B. It’s proof, if any were ever needed, of just how versatile, creative and innovative a band M.F.S.B. were. Standout Tracks: Freddie’s Dead, Backstabber, Family Affair and Lay In Low.
M.F.S.B.-M.F.S.B.
THE STYLISTICS-THE STYLISTICS.
THE STYLISTICS-THE STYLISTICS.
Often, when people mention the Philly Sound, they immediately think of Gamble and Huff. That’s doing a huge disservice to another of the architects of the Philly Sound, Thom Bell. He worked with some of the most successful groups of the Philly Sound. The Detroit Spinners, The Delfonics and The Stylistics were just some of Thom Bell’s early successes. It was with The Delfonics that Thom Bell made his name, producing them between 1967 and 1971. This proved to the most successful period of their career. Then when Thom stopped working with The Delfonics, he’d guide another legendary Philly Soul group to fame..The Stylistics. Thom Bell produced their debut album The Stylistics, which would feature five top ten US R&B singles. Before I tell you about the music on The Stylistics, I’ll tell you about the background to the album.
The Stylistics formed in 1968, when two Philly groups The Percussions and The Monarchs became one. Lead singer Russell Thompkins Jr, James Smith and Airron Love had been members of The Monarchs, while James Dunn and Herbie Murrell were members of The Percussions. Little did they realize that when they joined forces, they’d be one of the most successful soul groups of the early seventies.
Marty Bryant, The Stylistics road-manager had penned You’re A Big Girl Now with Robert Douglas. He was a member of The Stylistics’ backing band, Slim and The Boys. The Stylistics recorded the song, which was released on Sebring Records. It became a regional hit and resulted in The Stylistics signing with Avco Records. They were fortunate that when they signed to Avco, that Thom Bell had become available and would produce their debut album The Stylistics.
Thom Bell realized when he first heard The Stylistics that in Russell Thompkins Jr, here was a singer with potential, Potentially, he could be a soul legend, replicating or even surpassing the success of The Delfonics. So Thom Bell and his songwriting partner Linda Creed started writing songs for The Stylistics’ debut album The Stylistics. They wrote eight of the nine tracks. The other tracks was the Marty Bryant and Robert Douglas penned You’re A Big Girl Now. With the material for The Stylistics written, The Stylistics and a group Philly’s top session musicians and backing singers headed to Philly’s Sigma Sound Studios.
At Sigma Sound Studios, Thom Bell would produce The Stylistics. Joining them were the Baker, Harris, Young rhythm section and guitarist Roland Chambers. They were joined by vibes virtuoso and percussionist Vince Montana Jr and organist and pianist Lenny Pakula. There was also a full string, horn section and woodwind section, including Jack Faith on flute. Barbara Ingram, who’d later become one of the legendary Sweethearts of Sigma backing vocalists was joined by Linda Creed on backing vocals. Once The Stylistics was recorded, it was ready for release in 1971.
You’re A Big Girl Now was the lead single, released in 1971. It reached number seventy-three and number seven in the US R&B Charts. Stop, Look, Listen (To Your Heart) then reached number thirty-nine and number six in the US R&B Charts. You Are Everything was the last single released in 1971, reaching number nine and number ten in the US R&B Charts. Then when The Stylistics was released, it reache number twenty-three and number three in the US R&B Charts, resulting in a gold album for The Stylistics. Betcha By Golly, Wow became the most successful single, when it reached number three and number two in the US R&B Charts in 1972. People Make the World Go Round then reached number twenty-five and number six in the US R&B Charts. Even the most optimistic member of The Stylistics couldn’t have imagined that The Stylistics would result in a gold disc and five top ten US R&B Charts. However, that’s what happened. Given how successful The Stylistics was, it must be a Philly classic. Is that the case? That’s what I’ll now tell you, when I tell you about the music on The Stylistics.
Stop, Look, Listen (To Your Heart) opens The Stylistics. The arrangement has an understated sound, with just a plucked harp, subtle rhythm section, wistful horns and lush strings combining. When Russell’s heartfelt falsetto enters, Vince Montana Jr’s vibes play gently. They merge beautifully with the lushest of strings and tenderest of harmonies. Thom Bell’s arrangement is masterful, subtle and beautiful. Similarly, Russell soul-baring vocal is beautiful and impassioned. Later, a melancholy horn, with Thom’s signature sound proves to be just the finishing touch. When all this is combine, the result is one of the most beautiful, timeless songs The Stylistics recorded.
Point of No Return opens with the Baker, Harris, Young rhythm section providing the track’s pounding beat. Earl Young’s drums help drive the track along, with Ron Baker’s bass matching him beat for beat. Norman Harris lays down a searing guitar solo while strings dance and Lenny Pakula adds a pounding piano. Russell’s falsetto soars, taking on a punchy style, with the other Stylistics, Barbara Ingram and Linda Creed adding tight harmonies. The harmonies drift in and out, while Earl’s drums give the track its heartbeat and Russell delivers what can only be described as vocal tour de force that’s the icing on this delicious musical cake. Cut a slice, and it says Philly made.
Betcha By Golly, Wow was the most successful of the five singles released from The Stylistics. It’s another Thom Bell and Linda Creed composition, with Thom’s arrangement a mixture of subtlety and drama. Wistful horns, quivering strings and Earl Young’s confident drums combine, before Russell’s tender vocal enters. Percussion, piano, flourishes of harp and rasping horns accompany his vocal. Harmonies sweep in, with the other Stylistics and backing vocalists combining. Later, the unmistakable sound of Norman Harris’ guitar enters. Norman’s guitar takes centre-stage, before Russell’s heartfelt vocal returns. He delivers one of his best vocals on The Stylistics, with a little help from some of Philly’s greatest musicians and backing vocalists.
Country Living is a a much more uptempo track. From the get-go, the Baker, Harris, Young rhythm section provide the track’s heartbeat. Punchy, rasping horns and swirling strings give way to Russell’s punchy, dramatic heartfelt vocal. He’s looking forward to going back to the simplicity of Country Living. It’s almost as of this brings back memories. Russell’s paints pictures, while the rest of The Stylistics add harmonies. The arrangement grows. Horns, strings and a pounding rhythm section combine, as the arrangement becomes choppy and dramatic. It’s really effective. So are the harmonies accompanying Russell’s lead vocal. Here, the rest of The Stylistics show that there was more to the group than Russell Thompkins Jr. Without their contribution, the song would be same. Similarly, without Thom Bell’s production skills, this wouldn’t be the same. He had the uncanny knack of dropping instruments in just where it makes sense.
Like the other singles on The Stylistics, You’re A Big Girl Now has a timeless sound. Chiming guitars, drums and heartfelt harmonies sweep in as Russell’s soaring falsetto enters. His tender vocal unites with the harmonies, before taking centre-stage. When they unite, their voices become one. The Baker, Harris, Young rhythm section provide the track’s heartbeat, while The Stylistics showcase their vocal prowess. Russell’s vocal soars above a half-spoken vocal, while Lenny Pakula’s Hammond organ provides an atmospheric and beautiful backdrop.
Although many groups have recorded You Are Everything, The Stylistics version is the definitive version. Guitars swathed in filter are joined by the Baker, Harris, Young rhythm section, piano, Vince Montana Jr’s vibes and shimmering strings. Russell’s vocal is tinged with sadness and emotion. He’s joined by the other Stylistics plus Barbara Ingram and Linda Creed’s backing vocals. Wistful horns with Thom Bell’s trademark sound join layers of cascading strings, as the arrangement grows in drama, emotion and sadness. So too does Russell’s vocal, with the song becoming an emotional roller-coaster, where drama, heartache and emotion unite. That’s why this is The Stylistics version is the definitive version and will never, even be better. One listen proves this.
Just a sprinkling of vibes and percussion from Vince Montana Jr, opens People Make the World Go Round. Cinematic strings, Hammond organ, Earl Young’s hissing hi-hats and percussion give the track a broody, moody backdrop. When Russell’s vocal enters, his reading of Thom Bell and Linda Creed’s socially conscious lyrics is full of emotion, sadness, and even resignation. He delivers his vocal against a backdrop that’s moody and cinematic. He paints pictures in your mind of a video that was never shot. Wistful, melancholy horns, flourishes of harp, percussion and vibes aplenty and bursts of dramatic drums combine. They provide a fitting backdrop for Russell’s vocal, as describes troubled times, as this six minute Magnus Opus unfolds. Forty-one years later, this musical masterpiece of a Philly Classic is just as relevant, and as a result, is a truly timeless track, one of the highlights of The Stylistics.
Ebony Eyes opens with Norman Harris’ jazz-tinged, chiming, Vince Montana Jr’s percussion and Earl Young’s pounding drums uniting. Russell’s tender falsetto joins, soaring and growing in power. The other Stylistics add harmonies that compliment his vocal. Their vocal interplay is peerless. They seem to feed off each other, pushing each other to greater heights of soulfulness. Later, Lenny Pakula lays down a melancholy sounding Hammond organ, that’s the finishing touch to a track that’s a perfect showcase for The Stylistics plentiful vocal talents.
Closing The Stylistics is If I Love You. Earl Young’s pounding drums join growling horns, sweeping, swirling strings and Russell’s impassioned vocal. Sweeping, elegant harmonies answer and accompany Russell’s vocal. Vince Montana Jr, adds vibes, horns rasp, strings cascade and harmonies sweep as the arrangement waltzs along like a carousel ride, bringing their debut album The Stylistics to a joyous, dramatic conclusion.
From the moment Thom Bell clapped eyes on The Stylistics, he said he saw potential in Russell Thompkins Jr. He was proved correct, but probably in his wildest dreams, never thought that their debut album The Stylistics would prove as successful. Not only was The Stylistics certified gold in America, but featured five top ten singles in the US R&B Charts. That’s not forgetting Betcha By Golly, Wow was the most successful single, reaching number two in the US Billboard 100 and number three in the US R&B Charts. It seemed Thom Bell was a man with the Midas touch. He’d enjoyed success with The Delfonics, and now that he’d finished working with them, hooked up with The Stylistics. This was the start of the most successful period of both Thom Bell, and The Stylistics’ career.
Thom Bell’s success with The Stylistics lasted for three albums. After their debut album The Stylistics, Round 2 followed in 1972 and then Rockin’ Roll Baby in 1973. After that, Thom Bell would enjoy commercial success and critical acclaim with The Detroit Spinners.
Similarly, The Stylistics were about to embark on the most successful part of their career. Following the success of The Stylistics, they’d release six further albums between 1971 and 1975. Three of these were certified gold in America, one was certified gold in the UK and four were certified silver in the UK. During this period, The Stylistics were one of the most successful purveyors of the Philly Sound. However, it would take a lot to surpass the success of The Stylistics, their critically acclaimed debut album. It brought The Stylistics to the attention of soul fans on both sides of the Atlantic. Forty-one years after its release, The Stylistics is a totally timeless album, where each of the nine songs is a like a mini, musical masterpiece, thanks to the songwriting team of Thom Bell and Linda Creed. Although The Stylistics was just the first step in The Stylistics musical journey, it was a huge step. Together, The Stylistics and Thom Bell would prove a potent musical partnership. While further critical acclaim and commercial success would follow, the album that started this musical journey, The Stylistics would prove to be one of the best albums of The Stylistics long and illustrious career. Standout Tracks: Stop, Look, Listen (To Your Heart), Point of No Return, You Are Everything and People Make the World Go Round.
THE STYLISTICS-THE STYLISTICS.
S.E.L.-DAYDREAM.
S.E.L.-DAYDREAM.
While many people may not yet have heard of S.E.L. or to give her, her real name, Emma Louise Bucknor, that could and should be, all be about to change. S.E.L’s new single Daydream has just been released. It’s the latest offering from one of the hottest names in the UK’s Nu-Soul and Nu-Jazz scenes. In many ways, it’s as if all her life, S.E.L. has been working towards forging a career in music. All her life, from the age of six, S.E.L. has been immersed in music. Before I tell you about Daydream. I’ll tell you about S.E.L’s career so far.
Before being transformed into S.E.L, Emma Louise Bucknor’s life was dominated by music. She started playing piano and violin aged just six. Five years later, aged just eleven, S.E.L. made her professional debut. Surprisingly, given her background, it was neither playing piano nor violin. Instead, S.E.L. made her debut as a vocalist. This didn’t stop her from becoming a classically trained musician. Qualifications in music and performing arts followed, before S.E.L. headed to university. It was during a degree in music, that S.E.L. joined her first group.
At university, S.E.L. was asked to join a new girl group, Lyrical Force. They enjoyed some success, performing professionally. Then S.E.L. decided to pursue a solo career. Having left Lyrical Force, S.E.L. she quickly established a reputation as a gifted and up and coming artist. Soon, S.E.L. had established a reputation as versatile singer, equally comfortable singing rap as R&B. This lead to S.E.L. working with a variety of producers, including Mind Set Entertainment. Having decided to leave Lyrical Force, then pursue a solo career, S.E.L. decided to join another group.
Soul Essence was the group that made S.E.L. decide to forego her solo career. Not only did this provide her with the opportunity to work with artists of the stature of Omar and IceBurg Slim, but gain a wealth of experience. Then the members of Soul Essence decided they wanted to embark on their own projects. So S.E.L. was now without a group. Then Delroy Murray offered her the chance to gain some valuable insight and experience that would help her career no end.
It was during S.E.L’s third year at university, that she met Delroy Murray. She was given the chance to get some work experience the Music Corporation. This allowed S.E.L. the opportunity to discover how the music industry worked. It also gave her the chance to sing with Delroy Murray’s band. S.E.L. was part of his band during shows like 291 and Lovers Rock Reunion. She sung alongside Michael Gordon and Paulette Tajah. This gave S.E.L. the opportunity to join Tahiltha Voices, where she sang alongside Toyin Adekade. They then toured with George Nooks, Lukie D and Sanchez. Then S.E.L. was given the chance to work with a legend of British music and join their family.
It was in 2005 that S.E.L. was asked by Jazzie B to join the ranks of Soul II Soul’s backing vocalists. She was following in the footsteps of legendary vocalists like Carleen Anderson, Rose Windross and Caron Wheeler. Working with Soul II Soul gave S.E.L. invaluable experience. Not only had she worked with one of the innovators of British music Jazzie B, but was now part of the Soul II Soul family. That wasn’t S.E.L’s only encounter with legends of British music.
Between 2005 and 2010 S.E.L. worked as a backing vocalist and vocal arranger. This allowed her to work with a variety of musicians and gain a wealth of experience. Then in 2011, S.E.L. was signed to Elton John’s label Rocket Records. but not as a singer. Instead, she was signed to cowrite Jake Simms’ debut album. This allowed S.E.L. to showcase her songwriting skills. The next time S.E.L. would write a song, would be for herself.
Having gained experience working with and for some of the biggest names in British music, 2012 saw all S.E.L’s hard work, perseverance and persistence pay off. She signed to Cubit Records, a subsidiary of Universal. Her debut single Necessary was released to critical acclaim. Canada, China, Europe, Japan and South Africa were won over by S.E.L’s vocal prowess. At last, S.E.L. had announced herself on the world stage. In doing so, she’d garnered a reputation as a rising star of the British Nu-Soul and Nu-Jazz scenes. It seemed her hard work had paid off. Building on the success of Necessary is S.E.L. new single Daydream, which I’ll now tell you about.
Given the quality and success of Necessary, Daydream has a lot to live up to. Somehow S.E.L. manages to do so. From the opening bars, when stabs of keyboards and washes of synths combine to create a dramatic backdrop. Then when S.E.L’s vocal enters, it’s heartfelt, impassioned and dramatic. It’s as if she really means every word she sings. Her vocal grows in drama, emotion and power, with her band matching her every step of the way. The rhythm section, with pounding drums providing its heartbeat, join wistful horns, synths and keyboards. Waves of searing guitar licks and punchy harmonies join the arrangement, as S.E.L. grows, reaching an emotive, impassioned crescendo. Soul, jazz and even rock combine, as S.E.L. and her band create a track that’s not just anthemic and beautiful, but dynamic and dramatic.
It wasn’t going to be easy for S.E.L. to followup such an impressive debut single as Necessary. It was something of a soulful masterpiece. However, not only has S.E.L. matched the quality of Necessary, but bettered it. Daydream has something that not many songs have, great lyrics, hooks aplenty and to top it all, an anthemic quality. The more you play Daydream, the more you realize this. S.E.L’s delivery is heartfelt, impassioned and dramatic. Her voice has a maturity, and is soulfulness personified. She’s a talented singer and songwriter, whose more than paid her dues. Over the past ten years, S.E.L. has persevered and persisted. All the time she’s been learning. Knowledge certainly is power as far as the music industry is concerned. Certainly S.E.L. has gained plenty knowledge, to add to her experience. One vital thing S.E.L. doesn’t lack is talent. Daydream her new single is proof of this, and builds on the success and critical acclaim of Necessary. 2012 has been a big year for S.E.L. and I’m certain 2013 will be an even bigger one.
S.E.L.-DAYDREAM.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
Given the amount of music that’s released on a weekly basis, finding time to review everything isn’t easy. Often, some releases get overlooked in the process. This I discovered recently, whilst looking through two mountains of albums. They contain just some of the recent releases I’ve received. Within these two mountains, are a pile of albums awaiting a review. Nearly every musical genre is represented. There’s everything from blues, disco, house, psychedelia, rock and world music awaiting a review. So gradually, I’m going to work my way through this backlog of releases. The first of this backlog I’ve decided to review is a recent release from the prolific reissue label Fantastic Voyage, Later Alligator-Louisiana Rock and Roll. It’s a double-album, featuring fifty slices of what’s described as “a lip smackin’gumbo of rockin‘ musicality.” Sounds good to me, so let’s see if the music matches the hype.
Fantastic Voyage have recently become one of the most prolific reissue labels, specializing in reissuing everything from blues, rock and roll, surf music, jazz and just about every other musical genre you care to mention. Often, their releases focus on one part of America, with New Orleans, Texas and Louisiana being the focus of their attention. For Later Alligator-Louisiana Rock and Roll, Fantastic Voyage have called upon the services of compiler DJ Jailhouse John Alexander, who presents the Wild Wax Show. John has dug deep into his collection, coming up with an eclectic selection fifty tracks. There’s everything from R&B, rock and roll, country and boogie represented on the two discs. Many of these tracks are from well known names, including Jerry Lee Lewis, Dale Hawkins, Fats Domino, Champion Jack Dupree, Huey “Piano” Smith and even a young Dolly Parton, before she found fame and fortune. Sitting side-by-side with established artists, are some less well known artists. This includes contributions from Johnny Jano, Chris Kenner and Red Smiley. So Later Alligator-Louisiana Rock and Roll looks like a tantalizing taste of Louisiana’s rich musical heritage. Is that the case though?
DISC ONE.
With twenty-five tracks to choose from, choosing just a few isn’t easy. Some, however, pick themselves .It’ll come as no surprise that one of the giants of rock and roll opens Later Alligator-Louisiana Rock and Roll. Piano pounding Jerry Lee Lewis’ Lewis Boogie was a B-side to The Return of Jerry Lee Lewis, which was released in 1958 on Sun Records. It’s also one of the highlights of the Disc One’s highlights. It seems even The Killer’s B-sides were better than most peoples singles. However, The Killer isn’t the only big name on Disc One.
Dale Hawkins’ is best known for his hit single Suzy Q. My Babe shows there’s much more to his music. It was written by Willie Dixon, and features Roy Buchanan on guitar. Released on Checker Records, this shows Dale at his best, fusing blues, country and rock and roll. Bobby Charles found success at Chess Records, with singles like Later Alligator, Laura Lee and Time Will Tell. Take It Easy Greasy wasn’t a single though. This was the B-side of Time Will Tell, released on Chess Records in 1956. Although just a B-side and released early in Bobby’s long career, it’s since become a minor swamp pop classic and is just one of many written by Bobby. While these tracks show artists at the height of their success, one track is a taste of an artist before fame came their way.
One interesting inclusion is Dolly Parton’s Puppy Love, released in 1959 is very different from what she’d later release. What it does show is a glimpse of what was to come. Eight years later, in 1967, Dolly would make her commercial breakthrough. While Dolly Parton is one of the biggest stars on Disc One of Later Alligator-Louisiana Rock and Roll, it’s the lesser lights that contribute some of the other highlights.
Among the less well known singer are Texas born, Harry Choates. He released Louisiana Boogie in 1950, making this one of the oldest cuts. It showcases his own brand of fiddle boogie, where he mixes folk, country and Cajun music. Tibby Edwards is almost unknown outside of Texas and Louisiana. This is something a shame considering how talented he was. His music was influenced by Hank Williams and Lefty Frizzel. Flip, Flop and Fly, a cover of the Big Turner song, sees Tibby change tack, combining rock “n” roll and rockabilly. This isn’t the only fusion of styles on Disc One. Indeed, Al Ferrier’s Kiss Me Baby sees Al fuses an irresistible combination of rock ‘n’ roll and R&B on this 1959 cut for Rocko. Some of the tracks didn’t find the commercial success they deserved. One especially, stands out.
Gene Wyatt’s impassioned please on Lover Boy are another of the hidden gems on Disc One. Released in 1957 on the Ebb label, Chess Records were offered the chance to release this track. They passed up the opportunity and since then, this track has lain undiscovered. Its inclusion here, shows what Chess turned down. Who knows what might have become of Gene Wyatt is things had turned out differently?
Among the other tracks that deserve a mention on Disc One are Johnny Ray Harris’ Cajun Weekend, released in 1960. It seems Johnny was just a few years too late in releasing this self-penned track. Maybe two or three years earlier and things might have been different, but this was one of three singles he released on his own Ray label. Jerry Kennedy’s angst ridden Teenage Love Is Misery, released in 1958 and Al Terry’s feisty, sassy Watch Dog are two other tracks well worthy of a mention. They’re among the hidden gems that are given a new lease of life on Disc One of Later Alligator-Louisiana Rock and Roll.
Disc One of Later Alligator-Louisiana Rock and Roll combines a mixture of well known and lesser known artists. Although the title refers to the music as rock and roll, that’s too narrow a description. There’s everything through blues, boogie, Cajun, country, R&B and rockabilly on Disc Two. From the track-listing to Disc Two of Later Alligator-Louisiana Rock and Roll, it looks like the music will be just as eclectic. The only difference is more big names feature on Disc Two.
DISC TWO.
Indeed, there’s big names aplenty on Disc Two of Later Alligator-Louisiana Rock and Roll. Fats Domino, Dale Hawkins, Huey Piano Smith, Jerry Lee Lewis and Champion Jack Dupree. Rather that start Disc One with a bang, it’s Dave Bartholomew’s take on the standard When The Saints Go Marching In. Released in 1954, rock “n” roll, jazz and blues combine, while Dave delivers the vocal with a sassy swing, bringing new life into an old song. Bobby Charles’ Later Alligator is a slice of driving rock “n” roll, released in 1955. It too swings, complete with rasping, growling horns aplenty. Fats Domino doesn’t let the side down with I’m Gonna Be A Wheel Some Day, released in 1959 on Imperial. Although it’s catchy, it’s not as full-on as Later Alligator. Still, it’s a reminded of just how talented Fats Domino was. While it lacks the energy of some of Fats’ other cuts and is a more subdued song, this can’t be said of three songs.
Champion Jack Dupree’s Shim Sham Shimmy is almost an explosion of energy and joyousness. Released in 1954, this is rock “n” roll, boogie woogie and blues rolled into one, with Champion’s vocal a sassy, snarl. Jerry Lee Lewis pounds his piano on Jamabalaya, delivering the definitive version of this track. Released in 1958 on Sun, it’s a track that’s totally timeless and is one of the highlight of Disc Two. So too is Dale Hawkins’ Suzie Q, which was released in 1957. Since then, Suzie Q has become synonymous with Dale. It features song searing guitar licks from a fifteen year old James Burton as blues and rock “n” roll unite. For anyone yet to discover the delights of Huey “Piano” Smith and The Piano Clowns, then High Blood Pressure released in 1957, is the perfect introduction. Here, rock “n” roll, boogie woogie piano and growling horns play their part is this delicious fusion of genres. Like Disc One, its not just the big names that are responsible for the best tracks on Disc Two.
Proof of this is Ray Vict and His Bop Stoppers’ We Gonna Bop Stop Rock. Released in 1957, rock “n” roll and rockabilly collide, for two tantalizing minutes. Like so many artists on this compilation, commercial success eluded this track. The same can be said of Chris Kenner’s horn driven slice of R&B Sick and Tired. John Fred and His Playboys’ 1958 single Shirley, is full of poppy hooks as rock “n” roll and R&B are fused seamlessly. Hook laden, catchy and like a walk down music’s memory lane, it had so much going for it. Just like the other two tracks, why this track wasn’t a commercial success seems strange? Mind you, I could just as easily say the same about my final choice from Disc Two of Later Alligator-Louisiana Rock and Roll.
In many ways, I’ve kept the best until my last choice. Margaret Lewis’ Cheaters Never Win reminds me of Patsy Cline. Both women have similar voices, which bring to life the hurt and heartache in lyrics. Here, blues and country combine, as Margaret delivers one of the most heartfelt and emotive vocals on Later Alligator-Louisiana Rock and Roll.
Later Alligator-Louisiana Rock and Roll features fifty tracks that cross the musical genres. Describing it as rock and roll, like the title does, is something of an understatement. There’s much more to discover on Later Alligator-Louisiana Rock and Roll. This includes blues, boogie woogie, Cajun, country, jazz, rock ‘n’ roll, rockabilly. These tracks are from a mixture of well known and lesser known artists. Mostly, the quality of music doesn’t waver, with familiar faces and hidden gems aplenty awaiting discovery. Not only does Later Alligator-Louisiana Rock and Roll feature fifty genre-sprawling tracks, but features lengthy and informative sleeve-notes from Lucky Parker. All this costs just £7, €9 or $10, making Later Alligator-Louisiana Rock and Roll one of the real bargains of these recession hit times. Whether you’re a veteran or newcomer to these genres of music, there’s plenty of quality music that’s not unlike a musical trip down memory lane, before Elvis, The Beatles and Rolling Stones. Unlike so much music released since the music on Later Alligator-Louisiana Rock and Roll, much of the music on the two discs is absolutely timeless. Indeed, Later Alligator-Louisiana Rock and Roll is voyage of musical discovery that could very well lead to a lifelong love affair with music from Louisiana. Later Alligator-Louisiana Rock and Roll might just be a first date, but won’t be your last. Standout Tracks: Dale Hawkins My Babe, Harry Choates Louisiana Boogie, Huey “Piano” Smith and The Piano Clowns High Blood Pressure and Jerry Lee Lewis Jamabalaya.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
GREAT BRITISH ALBUMS.
GREAT BRITISH ALBUMS.
Usually, in the run-up to Christmas, record companies find any excuse to release compilations, best of’s and box set galore. Wander through you’re local record shop, and you’ll find the umpteenth album of greatest hits from the usual suspects, including rock stars of yesteryear topping up their pension plans. Often, a similar album was released last year, or failing that, the year before. Then there’s compilations. Every possible musical situation is covered. I’m sure they’ll be the usual cash-ins, that are only ever released at Christmas. There’s sure to be everything from driving anthems, Christmas songs, and dance parties galore. I’m sure every musical genre will be covered. So expect the usual compilations of commercial dance music, eighties pop and what every Christmas would be complete without, a barrel scraping Northern Soul compilation. Lastly, there’s box sets. Now I thought Christmas had come early, when recently I came across a box set entitled Great British Albums. After all, surely such box sets are only released at Christmas? Having checked that a couple of months hadn’t passed without me noticing, I decided to check-out what Great British Albums has to offer. With such a bold, almost boastful title, I was expecting great things from the twenty albums included in Great British Albums. Did the quality of music on the twenty albums included in Great British Albums match the title?
For any compiler given the job of compiling a box set entitled Great British Albums, they’re faced with something of an uphill task. Making this task even harder, is the description of Great British Albums. It’s meant to contain “genre defining albums” with a “unique sounds, innovative style and cult status.” Choosing twenty such albums isn’t going to be easy. Everyone, critics included, have their own favorites and reasons for their inclusion. Some albums pick themselves. The Beatles would have at least one album in the box set, either Revolver, Rubber Soul or Sgt. Pepper’s Lonely Hearts Club Band. So would the Rolling Stones, possibly Exile On Main Street. Other albums I’d expect to find are Dusty Springfield’s Dusty In Memphis, either Van Morrison’s Astral Weeks or Moondance or Pink Floyd’s Dark Side of The Moon. What about an album by David Bowie, Roxy Music, The Who, Led Zeppelin or The Smiths, who like the other artists I’ve mentioned, are among the most important artists in the history of British music. Guess what, not one of these artists are included in Great British Albums. The reason for this is quite simple and shows that the idea behind Great British albums is fundamentally flawed.
The problem with the Great British Albums box set is that it only covers RCA, Columbia, Epic and Sony. To compile a box set of twenty Great British Albums, this would’ve required all the major record labels to cooperate. This would probably be impossible. So what we have is a box set that should be entitled Great British Albums Released By RCA, Columbia, Epic and Sony. However, having told you what’s not included in Great British albums, I’ll tell what is in the box set.
Great British Albums covers the period between 1968 and 2010. Starting with Fleetwood Mac’s Mr. Wonderful and ending with The Vaccines’ What DId You Expect From The Vaccines 2010. I’m sure these two albums give you a flavor of the eighteen other albums in between. As you’ll realize, calling the box set Great British Albums, is maybe a slight exaggeration.
Given how important the sixties were musically, and the effect British groups had on music, the sixties are grossly under represented. The only album included is Fleetwood Mac’s 1968s album Mr. Wonderful. It’s one of the highlights of Great British Albums. Featuring the original and some would say classic lineup, which included guitarist Peter Green, drummer Mick Fleetwood and John McVie. This is the polar opposite of what Fleetwood Mac became circa Rumours. Mr. Wonderful features Peter Green at his very best, and is a reminder of just how talented he was. From Mr. Wonderful, there’s a gap of four years, to what many people see is where the seventies rock went awry.
Prog rock is a musical genre that divides opinion. One of the biggest prog rock bands were Emerson, Lake and Palmer, who released Tarkus in June 1971. Given prog rock was a musical genre British groups excelled at, I can see why a prog rock album was included, but wonder whether this is the right album? Mott The Hoople’s All the Young Dudes, comes close fulfils the criteria laid out. Released in September 1972 and produced by David Bowie, this was Mott The Hoople’s best album and features Ian Hunter at his very best. Forty years later, it’s stood the test of time, whereas Jeff Beck’s overblown and Blow By Blow, released in March 1975 hasn’t. It’s a self-indulgent album, where like an attention seeking child, Jeff Beck says “look at me.” There’s no disputing he’s a hugely talented guitarists, but Blow By Blow is neither a classic, nor even a great album. By the time the next album in Great British Albums was released, music had changed, drastically.
By the time The Only Ones released their eponymous album The Only Ones in April 1978, punk was now flavor of the month. Many critics had been won over by the one chord wonders of punk. Punk, post-punk and new wave all made their presence felt. There were the odd memorable albums. While The Only Ones was a decent album, it certainly is neither a great, nor classic album. I’d argue whether its inclusion can be warranted. London Calling, The Clash’s Magnus Opus was different though. Released in December 1979 and produced by Guy Stevens, London Calling is The Clash at their finest, snarling, full of political and social comment. While London Calling is a classic album well worthy of inclusion, so too would Joy Division’s Unknown Pleasures. Sadly, it’s overlooked. Indeed, Factory Records, one of the most important independent British labels in represented by an album that takes Great British Albums into the eighties.
Factory Records is represented by John Cooper Clarke’s Snap, Crackle and Bop. Released in 1980, referring to Snap, Crackle and Bop as a great album, is over-egging the musical pudding. It’s a good album, indeed I’d say it’s a very good album from one of British music’s mavericks and commentators. Since its release, it’s attracted a cult following. Sadly, referring to it as a great album, is possibly pushing things. The same could be said of the Psychedelic Furs album Psychedelic Furs, released in February 1980. Yes, it’s a cult classic, but referring to it as a great album is debatable. In many ways, Great British Albums seems to be about including an eclectic selection of albums, as the next two albums prove.
if you think about what’s missing from Great British Albums, you’ll realize neither heavy metal nor live albums have been represented..until now. Judas Priest’s British Steel, released in April 1980. This is a live album recorded during their British Steel Album. Now Judas Priest were one of the most successful British heavy metal groups, but surely if British Judas priest were to represent British heavy metal, the surely a better album could’ve been included. Mind you, British Steel shows how good a live band they were. One of the most questionable inclusions is Adam and The Ants’ Kings of The WIld Frontiers, released in December 1980. All I can say is why? Dressing up as pirates or highwaymen and releasing singles as forgettable as Antmusic doesn’t make a group innovators. Classic album this definitely isn’t, neither is it great album, merely forgettable. Things improve during the rest of the eighties.
Prefab Sprout’s Steve McQueen, released in June 1985 and produced by Thomas Dolby is what I’d refer to as an underrated classic. It showcases the genius of Paddy McAloon, one of the most talented British singers and songwriters. Steve McQueen is just one in a series of minor classics, including From Langley Park To Memphis, Jordan the Comeback and Let’s Change the World With Music. Quite simply, Steve McQueen is one of the highlights of Great British Albums. Big Audio Dynamite’s This Is Big Audio Dynamite was released in October 1985 and featured a post-Clash Mick Jones, who produced the album. While there’s some innovative music on This Is Big Audio Dynamite, comparisons will always be drawn with The Clash. This is unfair, given how different the music is. Other contenders I’d have rather included are The Cult’s Love or The LA’s debut album The LA’s. I could just as easily argue for the inclusion of an album by The Cure, X.T.C. or Depeche Mode. In many ways, Great British Albums is a box set that provokes debate and discourse. Everyone will have their own ideas about what albums deserve included. Some of the albums included in Great British Albums, rather than being British albums, remind me of and make the think of specific cities.
Calling Deacon Blue’s Raintown a British album is something i’d dispute. To me, Raintown is a quintessentially Scottish album. I’d go further and say it’s a Glasgow-centric album, much like Blue Nile’s A Walk Across The Rooftops, which I’d say is much more worthy of inclusion. Of all the Scottish albums, Raintown is a genuine classic. While Raintown is a Scottish albums, The Stone Roses debut album The Stone Roses, released in May 1989 and Primal Scream’s Screamdelica are Manchester albums. They’re two of the best albums released by Manchester bands. Both are stonewall classics, John Leckie produced The Stone Roses indie rock at its best and Screamadelica is stunning fusion of indie rock and dance. These two albums are Manchester’s music at its best, only The Smiths are missing from Great British Albums. After 1991, things go somewhat awry for the rest of Great British Albums.
Apart from Screamadelica, only the Manic Street Preachers’ Everything Must Go, released in May 1996 represents British music in the nineties. Featuring the classic lineup of Manic Street Preachers, Everything Must Go was their best album. It represents the Manic Street Preachers before they sold their soul to poppy hooks and commercial success. However, surely there are other British groups from the nineties worthy of inclusions? How about Oasis’ Definitely Maybe or (What’s the Story) Morning Glory?, Blur’s Parklife, when they were at the height of their Britpop success. Or how about an album from New Order, Pulp, Leftfield, Massive Attack or Portishead? With just two albums from the grossly underrepresented nineties, the noughties are represented by four albums.
Faithless’ No Roots, released in June 2004, is the first of four albums where the debate about whether the album’s inclusion is worthy. Certainly the dance-floor friendly No Roots is representative of the time it was released and is Faithless’ best albums. Like Kasabian’s Empire, released in August 2006, which saw a revival in indie rock, judging whether both albums will stand the test of time is just a bit early. Both were successful albums, released to critical acclaim, but whether in ten or twenty years time, they’ll have stood the test of time, is for others to decide. Whether Mark Ronson’s Version, released five years ago, in April 2007 is worthy of inclusion is highly debatable. Granted he’s an innovator, but some of the tracks on Version come across as lightweight. Some of the collaborations are better, including his collaboration with Amy Winehouse on Valerie, but others are less memorable. The final album included in Great British Albums is The Vaccines’ What DId You Expect From The Vaccines, released in March 2010. Although the album was well received and commercially successful, like the inclusion of Kasabian’s Empire and Mark Ronson’s Version, they seem somewhat strange additions. After all, they’ve been released relatively recently. At the time, they weren’t regarded as timeless classics. These weren’t instant classics like London Calling, The Stone Roses or Screamadelica. Maybe in the future, when further volumes of Great British Albums are being released, then they’ll be worthy of inclusion, but this time around is way too soon.
In many ways, Great British Albums is a bit like a burger from a fast-food joint, it looks better than it really is. Draped in the Union Flag, Great British Albums looks as if a sturdy, musical feast is in-store. Sadly, it’s more of a snack. Open the box set, the sleeve-notes are slightly disappointing. They describe Great British Albums “genre defining albums” with a “unique sounds, innovative style and cult status.”
If that’s the case, why no albums from The Beatles like Revolver, Rubber Soul or Sgt. Pepper’s Lonely Hearts Club Band. Similarly, Dusty Springfield’s soulful Magnus Opus Dusty In Memphis is missing. So too is the innovation of Van Morrison’s innovative Astral Weeks or Moondance or Pink Floyd’s Dark Side of The Moon. What about album from David Bowie, Roxy Music, Led Zeppelin, The Smiths or even The Sex Pistols? Instead we’re meant to believe Adam and The Ants, Judas Priest, The Vaccines and Kasabian are innovators? While some of the artists are true innovators, including The Clash, John Cooper Clarke, Prefab Sprout, The Stone Roses and Primal Scream, others are hardly innovators. That’s one of the reasons why Great British Albums is fundamentally flawed. Another is many ground-breaking, innovative genres are ignored. Many of them are British, including Trip Hop and Ambient House. That means no Leftfield, Massive Attack, Portishead or The Orb.
Two other reasons Great British Albums is fundamentally flawed are the title and the concept. Calling the box set Great British Albums is flawed as several albums are far from great, never mind innovative, unique or having attained cult status. Proving this are Jeff Beck’s overblown Blow By Blow, the pantomime of Adam and The Ants’ King of The Wild Frontiers and Judas Priest’s British Steel. Instead, the twenty albums included in Great British Albums are an eclectic selection of albums by British artists. It would’ve been a much better box set if the cutoff date for albums was the year 2000. Anything after that date is almost too new, to be worthy of inclusion. Like wine, albums need time to mature, for critics to decide their importance. Granted some albums you realize instantly they’re going to forever change the musical landscape and history. However, Faithless’ No Roots, Kasabian’s Empire, Mark Ronson’s Version and The Vaccines’ What DId You Expect From The Vaccines are hardly musical game-changers.
What Great British Albums is, is a talking point. Great British Albums provokes debate, brings back memories and often, proves infuriating, but similarly great fun and controversial. Sometimes, you wonder why an album was even included? Other times, you rediscover an album you’d long forgotten. It’s like meeting an old friend, after many years apart. Whether it’s worth buying Great British Albums, will depend on the extent of your record collection. What I discovered, was I have many of the albums. Indeed, given the current fashion for remasters and special editions, several albums I’ve got multiple copies of. However, given there are twenty albums included in Great British Albums, some with bonus tracks and it costs roughly £25, $38 or €30, then it represents good value for money. Whether like me, you’ll think that Great British Albums is a concept that’s fundamentally flawed and sometimes, frustrating and infuriating. At the same time, it’s a compellingly eclectic selection of albums, that shows how rich, varied and innovative British music is. Proof of this comes from The Clash, The Stone Roses and Primal Scream, plus memorable musical moments from Fleetwood Mac, Mott The Hoople, Emerson, Lake and Palmer, Prefab Sprout, Deacon Blue and Manic Street Preachers.
GREAT BRITISH ALBUMS.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
For a label looking to release a retrospective compilation of an artist’s career, things don’t always go smoothly. Pitfalls aplenty await the label. Often their persistence, never mind patience is sorely tested. Indeed from deciding to rerelease an album or compilation can take years. There’s everything from finding out who now owns the rights to the songs, licensing tracks and in some cases, even tracking down master-tapes can prove problematic. In many cases, especially with compilations, a compiler starts with a wish-list of a hundred tracks. From there, they narrow that list down to a list of possibilities. Sometimes, the cost of licensing tracks are far too prohibitive. Once the list of tracks that becomes a compilation is finalized, many of their “first choices” are missing. The result is about compromises and financial reality. Occasionally, when a release is taking too long, a label has to admit defeat. They can neither afford to spend time nor resources pursuing a release that is proving to be problematic. However, New York label Luaka Bop persisted in their determination to release a compilation of a remarkable, maverick singer, the Brazilian cult her Tim Maia. It took them ten long years, but in October 2012, their persistence paid off when they released Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia. Before I tell you about the highlights of Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia, I’ll tell you the almost surreal and sometimes psychedelic life and adventures of Tim Maia.
Tim Maia couldn’t have timed the release of his debut alum Tim Maia better. It was 1970, Brazilian music was about to reach the peak of its popularity. To help consolidate the music’s popularity and get people talking about it, what was needed was an artist whose personality wasn’t just larger than life, but bigger than that. In Tim Maia they found just the artist. Here was a man who was married five times, had six children and spent time in prison. Then there was his rock and roll lifestyle. Copious amounts of drugs and alcohol were part of Tim Maia’s diet. Whether this played its part in Tim joining a cult obsessed by UFOs is unknown. Yet despite Tim’s obsessive pursuit of hedonism, excess and a rock and roll lifestyle, he still managed to make some incredible music. Despite the quality of this music, mention Tim Maia’s name and people will say Tim who? That’s a great shame, because not only is Tim’s life a compelling story, but his music deserves a much wider audience.
By 1970, Tim Maia was twenty-eight, the eighteenth child in a family of nineteen. Aged just six, Tim earned a living delivering homemade food, which his mother cooked. This would be the nearest Tim got to an ordinary job. Having learnt to play the guitar whilst a child, Tim’s musical career started at aged fifteen. He formed his first band The Sputniks. Then two years later, Tim headed to America, believing this was the land of opportunity.
With just twelve dollars in his pocket and unable to speak English, Tim arrived in America. He called himself Jimmy at customs, and bluffed his way into the country, saying he was a student. Living with extended family in Tarrytown, New York Tim worked various casual jobs and augmented his meagre earnings by allegedly, committing petting crimes. Soon, he learnt to speak and sing English. This lead to him forming a vocal group The Ideals, who recorded one of Tim’s songs. Having planned on never returning home to Brazil, things went wrong for Tim in 1964. He was caught in a stolen car in Daytona, Florida. After serving six months in prison, Tim was deported back to Brazil. Even then, Tim Maia liked living life on the edge.
Now back in Brazil, Tim Maia had to kickstart his nascent musical career. During his time away from Brazil, times and music had changed. Then Tim had a break, when Elis Regina became entranced by his song These Are the Songs. It had been released as a single, but she she asked Tim to duet with her on the song. They recorded the song in English and Portuguese, and the song featured on Elis’ 1970 album Em Pieno Veroa. This gave Tim’s career a huge boost.
Recording with such a famous Brazilian singer lead to Tim signing a recording contract. His debut eponymous debut album Tim Maia, spent twenty-four weeks on the Brazilian charts. His music was something of a game-changer for Brazilian music. Never before had soul and funk music been combined with Brazilian music. Now soul and bossa nova and funk and baiao became intrinsically linked. They intertwined. Two nation’s musical styles and heritage’s became one. It was a fusion of cultures and musical genres. This musical melting pot marked Tim Maia’s entrance to Brazilian music.
Soon, Tim Maia was at the vanguard of a new musical movement, Black Rio. This new Afro-Brazilian musical and cultural movement was heavily influenced by the American civil rights movement. However, for Tim party politics didn’t interest him, but partying did. He was at heart a pleasure seeker, a hedonist and out to enjoy life. For Tim, music wasn’t about changing the world, but having a good time.
Ever the contrarian, each of Tim’s albums were entitled Tim Maia. He wrote and recorded in English and Portuguese. Maybe by writing songs in English, Tim had an eye on crossing over into the American and European markets. Then in 1971, flushed by the commercial success of his debut album, Tim decided to head to London. In London, Tim celebrated his newfound success. There he enjoyed the rock and roll excesses. Drink and drugs were his way of celebrating his success. One of the drugs he discovered, like many had discovered to their cost, would prove to be his undoing.
In London, Tim discovered L.S.D. He became an advocate of its supposed mind opening qualities. He took two-hundred tabs of L.S.D. home to Brazil, giving it to friend and people at his record label. Little did Tim know, but this was like pressing the self-destruct button. Three years later, in 1974 and just as Tim was finishing his fifth album, he discovered and joined a religious cult, the cult of Rational Energy, who fixated on UFOs. Tim was now clean-shaved, dressed in white and no longer drank, ate red meat, smoked or took drugs. Always in his hand was a mysterious book. Even his music changed. From his fifth album Racional, Tim’s music reflected the change in his personality and character. While his voice improved from Racional, the lyrics made no sense. Then in 1976, Tim quit the cult.
When Tim quit the cult, after Racional Volume 2, he’d fallen out with its leader. He felt duped and wanted the two Ratconal albums destroyed. His music changed from his first post-Racional album, entitled Tim Maia, released in 1976. From 1976 onwards, Tim Maia continued to release albums through the rest of the seventies, eighties and nineties. While albums kept on coming, his shows were hit and miss affairs. Sometimes he’d turn up, play an outstanding set, other times he’d play a mediocre or shambling set. On many occasions, he’d fail to turn up. He returned to is rock and roll lifestyle, living life to the fullest.
His final album was Nova Era Glacial, released in 1995. Sadly three years later, Tim died in March 1998. His shows and behavior had become predictable since his 1976 post-Racional comeback. Since his death, Tim Maia’s music has been a well-kept secret, spoken about in hushed tones. Like many maverick musicians, Tim Maia’s story sees myth and reality become intertwined. Truth and reality become one, just like his music was fusion of influences and musical genres. You’ll realize this, when I tell you about some of the highlights of Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia.
As Que Beleza which opens Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia, is a horn driven funky track, begins where Latin music, jazz and classic rock combines. Horns add funk and jazz, while the percussion adds an authentic taste of Brazilian music and searing, soaring Santana-esque guitars add a rocky, Latin twist. Tim’s vocal supplies the soul. His vocal is heartfelt, delivered in Portuguese, with dramatic horns replying to his call. It’s a compelling, captivating melting pot of influences and musical genres, that’s the perfect introduction to Tim Maia’s music. Not only does it whet your appetite, but leaves you hungrily wanting more, much more.
Of the fifteen tracks on the compilation, Let’s Have a Ball Tonight epitomises Tim’s carefree, hedonistic attitude. He makes it clear politics, aren’t his bag. Instead “love is the answer.” He combines funk, soul, psychedelia and Latin music. His half-spoken, emotive vocal is sung against an arrangement that’s a slow, fusion of styles. There’s even a bluesy sound to the tracks, where the rhythm section, chiming guitars, percussion and Hammond organ prove the perfect foil to Tim’s vocal, which references Jimi Hendrix, Bob Dylan, gospel and soul music. Soon, he’s like a preacher, winning over and converting the nonbelievers. This is the track, that’ll win converts to Tim Maia’s music. One listen and they’ll become believers.
Given how American soul music influenced Tim Maia’s music, I wonder whether Brother Father Mother Sister is Tim paying homage to the hottest house-band of the seventies, M.F.S.B, known as Mother, Father, Sister, Brother. With cascading strings, chiming guitar’s that pay tribute to Philly’s finest, this is one Tim’s Magnus Opus. His vocal is deliberate, accentuating and annunciating the lyrics. If you listen carefully, you’ll realise these lyrics are some of his best. Combine all this, and not only is this a track that’s soulfulness personified, but it’s dance-floor friendly and infectiously catchy.
Nobody Can Live Forever sees pounding drums and percussion combine, before a Hammond organ ushers in Tim’s Jimi Hendrix style vocal. Tim’s delivery has a similar, deliberate style. As Tim sings “Nobody Can Live Forever,” the lyrics take on a poignancy, given his early death. The band fill the space left by his vocal, using waves of gloriously, repetitive, pensive rocky licks. Moody, thoughtful and melancholy, this track is all that and much more, including outstanding.
I Don’t Care sees another side to Tim Maia when the track opens. There’s a moody, despairing sound before the arrangement bursts into life. Tim, openly defiant unleashes a vocal that’s cascades, soulfulness, despair and bravado combining. The arrangement is similarly dramatic and wistful. Strings sweep and swirl dramatically, horns rasp emotively and the rhythm section build the tension. They provide a fitting backdrop to a vocal that’s tinged with desperation, but openly defiant. In many ways, it’s poignant, given it could be almost autobiographical.
Over Again is a much more uptempo track. Percussion, keyboards and rhythm section combine before Tim’s vocal enters. There are similarities to Terry Callier and Tim Buckley in Tim’s vocal. Accompanying Tim are tight, sweeping harmonies, that are the perfect foil to his vocal. They match him for soulfulness. Joining them are the lushest of strings, bursts of blazing horns and an atmospheric wailing Hammond organ. The finishing touch are the rhythm section, which provide the track’s heartbeat, adding bursts of drama. It’s a glorious combination of soul, funk and rock, where Tim Maia lays bare his soul for all to hear.
My final choice from Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia is The Dance is Over. Fittingly, features one of Tim’s most heartfelt, emotive vocals. It’s as if the lyrics are personal, describing Tim’s life and attitude to it. Flourishes of cascading strings are key to the arrangement, before after a minute, a Hendrix style guitar solo is unleashed. Not only does this grab your attention, but sets up Tim’s vocal. Although melancholy mingles with hope and hedonism, you wonder who the real Tim Maia is? Is he really this hedonistic, thrill-seeker who seemed hell-bent on living life on the edge, or was he someone who in reality, was insecure and introspective and was looking for answers?
Listening to Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia and researching his life, I’ve come to the conclusion that like many maverick singer-songwriters, Tim Maia was touched by genius but fundamentally flawed. He could’ve, and should’ve, been a huge star. Sadly, something held him back. It stopped him from receiving the commercial success and critical acclaim his music richly deserved. This was music shaped by a multiplicity of musical influences, genres and of course, his lifestyle. His music is a compelling, captivating fusion influences and musical genres. Everything from soul, funk, jazz, rock, bossa nova and baiao thrown into Tim Maia’s mystical and psychedelic musical melting pot. Similarly, Tim’s lifestyle including drink, drugs, multiple-marriages and imprisonment all shaped and influenced Tim Maia’s music. It’s then given a stir by one of music’s true maverick’s, who on the verge of critical acclaim and commercial success, made a couple of decisions he would later come to regret.
The first of these was Tim’s dalliance with L.S.D. in 1971. If that was his first mistake, his second was definitely, his decision to join a cult derailed his career. Maybe if Tim had never celebrated his success in London, then things might have been very different. Somewhat ironically, given the amount of music Tim Maia recorded and released, the two albums he recorded during his time with cult, have gained cult status. These two albums, were just a snapshot of his career, but one that affected his future. After leaving the cult, Tim continued releasing music, but his live shows became unpredictable. They were either outstanding, mediocre or didn’t happen. All this fueled the mythology that surrounds Tim Maia. In a cruel and tragic twist of fate, Tim Maia died young, like many maverick musicians. He was just fifty-five when he died in 1998. Since then, the mythology and rumors surrounding Tim have increased, as has his popularity.
Now belatedly, Tim Maia’s music is enjoying an Indian summer. So for anyone yet to discover the delights of Tim Maia’s music, then they’ve a majestic, musical journey ahead of them. The best place to start is quite simply Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia. It’s the perfect primer and introduction to a Tim Maia, who lived life on the edge, exuberantly reveling in the excesses of the rock and roll lifestyle. Maybe without living his life in the way he did, his music wouldn’t have been either as memorable, magical, eclectic and timeless. So maybe we should be thankful that Tim Maia was both touched by genius and fundamentally flawed. Standout Tracks: Let’s Have a Ball Tonight, Brother Father Mother Sister, Nobody Can Live Forever and The Dance is Over.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
BLUE NILE-HATS.
BLUE NILE-HATS.
For most groups, a gap of five years between albums would be unthinkable. It just wouldn’t happen. Either the group would be keen to get a new album released, or their record company would be pressurizing them to do so. Not the Blue Nile. In fact, the five years between their debut alum A Walk Across the Rooftops and their sophomore album Hats, wasn’t long by their standards. Indeed, there was a gap of seven years between Hats, and their third album Peace At Last. The gap between albums three and four grew to eight years. High, which proved to be the Blue Nile’s swan-song was released in 2004. It had been so long between albums, that a new millennia had dawned. However, fifteen years earlier, Paul Buchanan, Robert Bell and P.J. Moore released what many people perceive as their finest album, Hats, which was recently rereleased and remastered as a double album. Disc One features the newly remastered version of Hats, while Disc Two contains a disc full of Blue Nile rarities. When I recently reviewed the Blue Nile debut album, A Walk Across the Rooftops which was also rereleased and remastered, I said that I found it hard to decide whether A Walk Across the Rooftops or Hats was their finest album. Once I’ve reviewed Hats, I’ll now decide which album is indeed the Blue Nile’s finest hour.
Five years had passed since A Walk Across the Rooftops had been released by Linn Records. A Walk Across the Rooftops was Linn Records first release. Indeed, Linn had specifically set up the label to release A Walk Across the Rooftops. It was the perfect way to showcase Linn’s high end hi-fi products. During the previous five years, the Blue Nile proved they were no ordinary band.
Describing the Blue Nile isn’t easy. They were enigmatic, almost reclusive and publicity shy. The Blue Nile weren’t exactly your normal band. Not for them the rock “n” roll lifestyle favored by other bands. In many ways, neither musical fashions nor fads affected them. Their attitude was almost contrarian. Albums were recorded slowly and methodically as the Blue Nile strived for musical perfection. This wasn’t a group willing to jump onto a musical bandwagon in pursuit of fame, fortune or supermodels. Quite the opposite. It seemed to be their way or no way. So, for their sophomore album Hats, Paul, Robert and P.J. retreated to the studio. Once there, it seemed they sought musical nirvana, perfection. What they came up with was Hats, which was pretty near it.
Hats featured seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra, a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was group effort, with Paul, Robert and P.J. taking charge of production duties. Guiding them, was Callum Malcolm, who with Paul and Robert took charge of recently remastering both A Walk Across the Rooftops and Hats. On the release of Hats, American audiences proved more discerning and appreciative of the Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed, but not a commercial success. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. While this was a small crumb of comfort for the Blue Nile, in the UK, they remained a well kept secret. Since the release of Hats, like their debut album A Walk Across the Rooftops it’s become a minor classic. Indeed, if everyone who claimed to have originally bought Hats had indeed done so, the Blue Nile would’ve been fabulously wealthy. Now twenty-three years later, somewhat belatedly, Hats has been remastered and rereleased. This seems like the perfect opportunity to decide whether A Walk Across the Rooftops or Hats was the Blue Nile’s finest hour.
In many ways, Hats is a like a musical journey, a voyage of discovery. Over The Hillside is the first step on the journey. Slow, spacious drums, washes of wistful synths and a dramatic guitar combine. Then Paul’s worldweary vocal enters. The sheer drudgery, repetitiveness and almost hopelessness of everyday life flavors Paul’s vocal. Sage-like, he sees through living to work and working to live. It fills him with dread and despair. Reflecting this, is the arrangement, with its somewhat industrial, repetitiveness. Drums with a synthetic, monotonous regularity and washes of wistful synths combine. As the drums reflect the pointlessness of the 9 to 5 life, synths offer a sympathetic backdrop. Meanwhile, eloquently and giving voice to the lack of hope, opportunity and escape, is Paul’s vocal, which brings to life the relentless grind of modern life. Bleak, honest but eloquence personified is this five minute track.
A sprinkling of cascading synths gives way to thunderous drums and washes of synths as The Downtown Lights begins. Soon, Paul Buchanan’s tortured vocal enters. It’s a mixture of emotions, worldweary, but heartfelt and reassuring. Drums cracks, synths fill the gaps and a pounding, broody bass reflects the drama in Paul’s vocal. As the arrangement grows in power and drama, so too does the emotion and reassurance in Paul’s voice. When he sings “it’s alright,” you believe him. His vocal grows in emotion and soulfulness, enveloped by swathes of synths, a funky bass and crispy drums. Later, as the power, drama and emotion grows, driven along by chiming guitars, you realize this is deeply soulful, but not soul music. Instead, it’s music for the soul, music about love, being in love and insecurity.
Waves of synths meander, growing in tension and drama. Let’s Go Out Tonight has just began to reveal its cerebral beauty. Guitars chime, while the backdrop is minimalistic. Paul’s whispered vocal is filled with despair. His relationship is almost over. It’s on its last legs. Rather than stay home and talk about it, it’s easier to go out. Best to dance around the subject and problems, rather admit it’s over. Meanwhile, synths, keyboards and guitar join Paul’s vocal, as he lays bare his soul, his hurt and heartache. His voice is tinged with regret and sadness, as if he can’t believe it’s over. For anyone whose been in this situation, or is going through it, then this song describes it perfectly. Quite simply, this is highlight of Hats and one of the Blue Nile’s greatest songs.
The tempo increase on Headlights On The Parade. So too does the emotion. Blue Nile mix moody funk courtesy of the bass and guitars with waves of bright, hopeful synths and stabs of keyboards. It’s almost as if they’re setting the scene for the worldweary troubadour, Paul Buchanan. From the moment Paul’s vocal begins, his vocal is filled with emotion. Saying: “I love you” isn’t easy, it’s hard, the three hardest words for him to say. Waves of symphonic, hopeful music cascade, envelop Paul’s vocal as he finally plucks up the courage.When he does, it’s almost a relief, it seems. Keyboards and quivering strings join him. Having found the courage, they serenade the one he loves. The result is an elegant, symphonic and beautiful song, one about conquering and overcoming the fear of commitment and the fear of rejection.
From A Late Night Train is a track that’s wonderfully moody and melancholy. The arrangement is broody and minimalistic, meandering behind Paul’s heartfelt vocal. It’s a bit like Frank Sinatra meets Brian Eno. Keyboards picked out carefully and cautiously are joined by occasional bursts of wistful horns. Slowly, Paul delivers lyrics that are poetic, with a strong narrative and steeped in emotion. His half-spoken vocal is filled with sadness, as he sings of his relationship being “over now.” You can imagine him heartbroken, sitting on the late night train, wondering why and what could I have done differently? Considering this track is only four minutes long, it’s a poetic, descriptive and emotive tour de force, Blue Nile style.
Squelchy synths, crunchy drums and percussion join a funky bass as Seven A.M. unfolds. A combination of an industrial sounding arrangement, which brings to mind Can, Neu and Velvet Underground join Paul’s worldweary, wistful vocal. Pensive, probing and questioning, he wonders “where is the love?” It’s a question posed a thousand times before, puzzling poets and philosophers alike. Paul sounds just as puzzled, pondering, wondering. Lovelorn and confused Paul and the Blue Nile bring out the subtleties and beauties of the lyrics, but pose a question that’s unanswerable, even for them.
Saturday Night sees the Blue Nile close Hats with another of their Magnus Opus.’ Like Let’s Go Out Tonight, this is classic Blue Nile. Washes and stabs of synths, chiming guitars, a buzzing bass and crispy drums combine with Paul’s vocal. It’s a mixture of hope, happiness and longing, but tinged with insecurity. Washes of synths and lush strings cascade. They sweep and swirl, and are joined by chiming guitars. Together they envelope Paul’s deeply soulful vocal. His vocal is filled with hope and emotion and plays its part in one of the most beautiful tracks the Blue Nile ever recorded. As if a remastered version of Hats isn’t enough in itself, then there’s the bonus disc.
Unlike the original version of Hats, the newly remastered and rereleased version includes a second disc of six bonus tracks. While these tracks may not be particularly rare, they offer an insight to an enigmatic band. A live studio version of Seven A.M, alternate versions of Saturday Night Let’s Go Out Tonight are three hidden gems from the Blue Nile back-catalogue. So too is the live version of Headlights On the Parade, which is the perfect reminder of how good a live band the Blue Nile were. The Wires Are Down is a tantalizing glimpse of the Blue Nile and what might have been. I’m sure there’s many more tracks like this hidden, safely away in the Blue Nile’s vaults. Hopefully, before too long, we’ll be able to hear many more of these hidden gems. So, having told you about the newly released, remastered version of Hats, is Hats a better album than their debut album A Walk Across the Rooftops?
Hat’s is a captivating, bewitching and beautiful album, where the Blue Nile lay bare their soul. Not only do they lay bare their soul, but articulate their hopes, fears, frustrations and dreams. Articulating this range of emotions, is Glasgow’s troubled troubadour, who mixes Frank Sinatra, Tom Waits and Tim Buckley, but doing so in a way that’s almost quintessentially Scottish. This newly remastered version of Hats accentuates the Scottishness of the seven songs. However, despite this quintessentially Scottishness, the music transcends geographical boundaries. For anyone whose lived, lost and lost love, then this album speaks to and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again. Combining elements as diverse as Brian Eno, Can, Neu and the Velvet Underground Hats is an album of many influences, but unique. Only the Blue Nile could produce an album so special, so deeply soulful, beautiful and emotive. In some ways, Hats is a very different album from A Walk Across the Rooftops, the Blue Nile’s debut album. However, is Hats a better album?
A Walk Across the Rooftops was one of the best debut albums released by a Scottish, or indeed British band. A Walk Across the Rooftops belongs in every self-respected record collection. So too does Hats. Both albums are the perfect introduction the Blue Nile and their music. After just one listen to the seven tracks on A Walk Across the Rooftops and Hats, you’ll fall in love with the music of the Blue Nile. These were the two best albums of the Blue Nile’s career. Choosing which is the best album is like asking a parent which of their children is their favorite child. Just like they’d refuse to answer the question, I’m going to refuse to choose between not just two of my favorite albums, but two of the best albums released by a British band in the last forty years. Instead, I’ll leave you to decided. The best way to do this, is to buy copies of A Walk Across the Rooftops and Hats, two of best albums by one of music’s best kept secrets. Standout Tracks: Let’s Go Out Tonight, From A Late Night Train, Seven A.M. and Saturday Night.
BLUE NILE-HATS.
SURINAM! BOOGIE AND DISCO FUNK FROM THE SURINAMESE DANCE FLOORS ’76-83.
SURINAM! BOOGIE AND DISCO FUNK FROM THE SURINAMESE DANCE FLOORS ’76-83.
All too often, when compilers decide to compile an album of disco, boogie and funk, they stick to what I’d call tried and tested tracks. They’re hardly adventurous, and as a result, far too many compilations of predictable, if not boring compilations are released.Granted their are exceptions to this rule.
Indeed, BBE Music have released compilations like Sadar Presents Soul In the Hole, Private Wax and The Best of Disco Demands. Then there was Under The Influence Volume 1-Compiled By Red Greg and Deep Disco and Boogie Volume 1, compiled by Zaf Chowdry and released on the Dutch label Kindred Spirits. Now ten months after Kindred Spirits released Deep Disco and Boogie Volume 1, they’ve released a new compilation, which sees them dig even deeper, in their quest to discover some rare, fantastically funky and dance floor friendly music. The result is Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. For anyone yet to discover the delights of vintage Surinamese music, then the ten tracks on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83 are the perfect primer.
For anyone whose knowledge of geography and political history, is somewhat lacking and I include myself, a quick geography and history lesson is needed before I tell you about the music on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. Surinam, which borders French Guyana, Guyana and Brazil, only gained independence from the Netherlands on 25th November 1975. Before that, it was a colony of the Netherlands. Roughly half-a-million people inhabit Surinam, with 350,000 other people of Surinamese descent. Many of these people live in the Netherlands. Even during Dutch rule, Surinam had a thriving and vibrant musical scene.
Since gaining independence, the Surinamese music scene has thrived and continued to grow. Best known for Kawina and soul music, Surinam music encompasses all things jazzy, soulful, funky and dance-floor friendly. Between 1976-1983, Surinam produced much music that crossed over, becoming popular during the boogie and disco eras. These tracks were discovered by determined crate-diggers and people of Surinamese descent. They took these hidden gems and soon they found a wider audience. They were spun them in clubs across Europe, American and further afield. This resulted in artists like Erwin Bouterse and The Group Roetoe, Sumy and Solat being heard outside Surinam for the first time. Nowadays, these obscure tracks are becoming increasingly rare and harder to find. So for anyone wanting to discover the delights of Surinamese music from between 1976-1983, you two options. Either mortgage your house and purchase some of these tracks, or for those with a budget to consider and a family to feed, pick up a copy of Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83, which I’ll now pick the highlights of.
Funk meets disco on Alwin Reingoud’s Sweet Dream, which opens Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. Keyboards, blazing horns and the funkiest of bass lines unite to create an irresistibly catchy track. The rhythm section provides a pounding funky backdrop, while Alwin’s vocal is akin to a slice of sunshine. Harmonies accompany his vocal, keyboards, chiming guitars and growling horns unite to create a track that’s three of the most enjoyable minutes you spend listening to music. Timeless, dance-floor friendly and gloriously uplifting describes this track. Sadly, Alwin’s career was cut short when he’d to join the army. Only five-hundred copies of this hidden gem were pressed, so copies are extremely rare.
Erwin Bouterse And The Group Roetoe have two tracks on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. These are Disco Party and Groovy Weekend. Disco Party is a driving slice of horn driven funk, that explodes into life. From the opening bars, it’s an explosive melting pot of influences. Funk, disco, Afrobeat and Latin music. All this is here and much more. Percussion aplenty, a driving, furiously funky rhythm section, grizzled horns and Erwin’s vocal combine. As the vocal changes hands, a soaring falsetto enters. Soon it’s funky vamp, before banks of keyboards give way to a frenzied percussive break. It’s a glorious combination, one that’s a call to dance and hedonism. Groovy Weekend is slower, but there’s no let up in sheer funkiness. Wah-wah guitars, a pounding bass and keyboards are joined by percussion and Erwin’s shamanistic vocal. Like Disco Party, it’s a track where musical genres unite, becoming one. It could only have been recorded in the seventies. Despite this, it’s stood the test of time. Sadly, Erwin’s music was rejected by EMI and maybe, somewhat belatedly, his music will find a wider, more appreciative audience.
Solat feature twice on the compilation, with Try, Try, Try and You Are Gonna Miss Me which features Billy Jones. Try, Try, Try is the best of the two tracks, where soul and funk unite, for three magical minutes. Again, funky is a good description of the arrangement. So is punchy, spacious and flowing. The rhythm section, keyboards, percussion and rasping horns combine with deeply soulful and heartfelt vocals. Billy delivers the lead, while female vocalists who sound as if they belong on a seventies Philly Soul track add harmonies. Although deeply soulful and funky, it’s a track that’s dance-floor friendly. You Are Gonna Miss Me has a similar fusion of funk and funk. Billy’s vocal is soulful and sassy, while the arrangement is uber funky. Blazing horns, a myriad of percussion and a pounding rhythm section are as funky as Billy is soulful and sassy.
Sumy have a trio of tracks on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. They’re Funkin In Your Mind, Going Insane and Soul With Milk a track from Sumy’s Trying To Survive album. Of the three tracks, my favorite is Funkin In Your Mind. Just chiming guitars, stabs of keyboards and a slapped bass combine as the track takes on a slightly, experimental sound. Washes of synths and bursts of harmonies combine, as Sumy showcases what could be described as a space-age funk sound. He raps the vocal, his tongue poked firmly in his cheek, with dramatic harmonies and stabs of keyboards for company. While this is quite different from previous tracks, it shows Sumy to be an artist keen to push musical boundaries. The same can be said of Soul WIth Milk which also has an experimental sound. There’s shades of David Axelrod, Dexter Wansel and many more musical innovators and pioneers in Sumy’s music. Surprises aplenty in store for the listener during a track that shows another side to Surinamese music.
Thunderstorm’s Here’s To You is one of the highlights of Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. It’s one of the most soulful tracks on the compilation. Written by Randy Muller and originally recorded by Skyy on Salsoul. This seems apt, given arrangement’s Salsoul influence. Shivering, swirling strings, rasping horns, a spacious, yet funky rhythm section and keyboards accompanying a vocal that reminds me of Delegation or The Real Thing. Tight harmonies sweep in, and are a contrast to the impassioned vocal. When all this is combined, it brings new life to a familiar track. The result is a jaunty, bounding track, one with a real feel-good sound. Given the sound, you’d think it was recorded by an American band, not a Surinamese one. It just shows, music transcends geographical boundaries.
Usje Sukatma’s Waiting For Your Love closes Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. Thunderous drums, percussion and wah-wah guitars combine with a lilting, joyous vocal. It’s heartfelt and soulful. This irresistible arrangement almost bounces along, spreading happiness in its wake. Keyboards and a vocoder are added, giving the track a boogie sound. As boogie and soul unite with funk, the result is a slice of downright funky music. It’s a sound that’s like a slice of musical sunshine, and it’s impossible not to succumb to its charms and delights. It seems the perfect way to close Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83.
Of all the compilations I’ve reviewed recently, Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83 is quite simply, one of the best. Not only is it the perfect introduction to Surinamese music, but it’ll have you searching high and low, and far and wide for similar compilations. Sadly, this is the only compilation of its type. Kindred Spirits deserve the utmost credit for unearthing ten glittering, hidden gems and bringing them to a wider audience. When many of these tracks were released, they were either in small quantities, or to an audience that failed appreciate their charms and delights. Thankfully, people’s musical tastes are more discerning and adventurous. I’m sure that anyone who likes their musical soulful, funky and dance-floor friendly will appreciate the ten tracks on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. Many of these tracks have stood the test of time. They’d still fill a dance-floor even over thirty-years later. I’m sure not only will people who enjoy Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83 dig deeper into the delights of Surinamese music, but will hungrily await Volume Two. Let’s just hope the good people at Kindred Spirits are working on it already. Until then, you can savor the ten tracks on Surinam! Boogie and Disco Funk From The Surinamese Dance Floors ’76-83. Standout Tracks: Erwin Bouterse And The Group Roetoe Disco Party, Solat Try, Try, Try, Thunderstorm Here’s To You and Usje Sukatma Waiting For Your Love.
SURINAM! BOOGIE AND DISCO FUNK FROM THE SURINAMESE DANCE FLOORS ’76-83.
MARY WELLS-THE COMPLETE 20TH CENTURY COLLECTION.
MARY WELLS-THE COMPLETE 20TH CENTURY COLLECTION.
After four hit laden years at Motown, Mary Wells dropped a bombshell, when she announced she was leaving Motown. Mary couldn’t have chosen a better time to leave Motown. She was holding all the cards, and had just enjoyed the equivalent of a Royal Flush. My Guy had just reached number one, when Mary’s lawyers filed a suit announcing her intention to leave Motown. Her lawyers argued that Mary aged just seventeen when she signed to Motown, was still a minor. The courts agreed, despite Mary’s mother countersigning the contract. With the court finding in Mary Wells’ favour, she was free to leave Motown. After that, Mary and Motown’s legal teams were locked in talks to negotiate Mary’s release from Motown. Eventually, by the end of the summer of 1964, Mary Wells was free to sign to 20th Century Fox, for a then record, $250,000 advance. Sadly, Mary’s career at 20th Century Fox was brief. She released just two albums, which contained some of her finest music. These were 1965s Mary Wells and 1966s Love Songs To The Beatles, which were recently released by SoulMusic Records as Mary Wells-The 20th Century Collection. Unfortunately for Mary her time at suffered from backlash by DJs, who took umbrage to Mary’s decision to leave the mighty Motown.
With Mary Wells now signed to 20th Century Fox, she was to discover that glitters isn’t always gold. She’d been offered such a sizable advance, refusing it would’ve been foolhardy. It was an offer Mary couldn’t refuse. However, she would soon discover that 20th Century Fox weren’t as well equipped as Motown when it came to marketing her music. There was a further complication, one that seems almost bizarre nearly forty years later.
Radio DJs felt Mary had been disloyal to Motown. They refused to play Mary’s 20th Century Fox releases. DJs almost seemed to take it personally that an artist should decide to leave Motown. They felt Motown had backed Mary Wells, and that this was a two-way street. Whether they were as loyal to their own employers is unknown? What they were overlooking, was that no longer were artists willing to stand being treated as hired hands. They should’ve realised, that “the workman was worthy of their hire.”
What DJs forgot is that back in the early sixties, many small labels treated artists liked hired hands. Often artists were exploited by small labels, with royalties remaining unpaid and when they were paid, were a fraction of what the label made. So why shouldn’t artists enjoy the freedom of labor other employees enjoyed? Mary’s contract wasn’t legally enforceable and quite rightly, she was able to sign for a new label. As an artist, with a string of successful singles and albums, she was entitled to a her, $250,000 advance. Not in the la-la world the radio DJs lived in. They had the power and used it, to ensure Mary’s music went unheard.
Regardless of the quality of music Mary Wells recorded for 20th Century Fox, it wasn’t played by these DJs. Mary had done the unthinkable and left Motown. They weren’t going to forgive Mary in a hurry. It didn’t matter what producers, songwriters and musicians Mary worked with, her music wasn’t heard on radio. Unfortunately, this boycott coincided with Mary releasing some of the best music of her career. Considering the music Mary had previously released, this is saying something.
Before signing to 20th Century Fox, Mary Wells had been one of Motown’s most successful artists. Mary was born in 1943, had a tough childhood. She suffered from spinal meningitis, which meant she was temporarily paralysed, and became partially deaf and blind. After two years in hospital, Mary recovered and returned home. Soon, she’d discover a talent that would become her career.
After Mary’s mother heard her singing at home, she encouraged her to sing in talent shows in the Detroit area. She was still in her early teens, soon started singing and writing songs. By the time she was seventeen, she was a singer, but a songwriter. She had written a song, Bye Bye Baby and approached songwriter and producer Robert Bateman about getting Berry Gordy to listen to her composition. Mary had thought Jackie Wilson would be perfect to sing the song. By the time Berry Gordy heard the song, he was no longer writing for Jackie. Instead, Berry offered Mary a recording contract.
When Bye Bye Baby was released, it reached number forty-five in the US Billboard 100 and number ten in the US R&B Charts in 1960. This launched Mary’s career. Hits like I Don’t Want To Take A Chance followed, before Smokey Robinson was entrusted with producing Mary Wells. The One Who Really Loves You, the Grammy nominated You Beat Me To the Punch and Two Lovers gave Mary three consecutive US R&B hits and two consecutive hits in the US Billboard 100. Solo studio albums included Mary’s 1961 debut Bye Bye Baby, her 1962 sophomore album The One Who Really Loves You and 1963s Two Lovers. A single that will forever be synonymous with Mary Wells was My Guy, which reached number one in the US Billboard 100 and number five in the UK. My Guy was also the title of Mary’s final Motown studio album, released in 1964. The next studio album Mary released would be for her new label, 20th Century Fox.
MARY WELLS.
For Mary’s debut album for 20th Century Fox, Mary Wells, her new label scoured the country for the right material. This included the Sidney Barnes and J.J. Jackson penned My Mind’s Made Up, Van McCoy’s We’re Just Two of A Kind and Rudy Clark’s Why Don’t You Let Yourself Go and Everlovin’ Boy. Louis Pegues wrote two of the singles from Mary Wells, Stop Takin’ Me For Granted and Ain’t It the Truth. At least four producers worked on Mary Wells. Carl Davis, Bob Bateman and Andre Williams are three of them, while the producer of three tracks are unknown. Once Mary Wells was recorded, the album was set for release in 1965.
On the release of Mary Wells, on 20th Century Fox it failed to chart. A year later, in 1966, Mary Wells was rereleased by Movietone and reached number 145. The singles fared better. Ain’t It the Truth reached number forty-five in the US Billboard 100. Stop Takin’ Me For Granted then reached number thirty-four in the US Billboard 100 and number thirteen in the US R&B Charts. The hits kept coming, with Never, Never Leave Me the final single released from Mary Wells. It reached number fifty-four in the US Billboard 100 and number fifteen in the US R&B Charts.
He’s A Lover then reached number seventy-four in the US Billboard 100. Then in 1966, a non-album track, Me Without You penned by Sidney Barnes and J.J. Jackson reached number ninety-five in the US Billboard 100. This is one of six bonus tracks on Disc One of Mary Wells-The 20th Century Collection. While Mary Wells didn’t replicate the success Mary’s previous albums and singles at Motown, this wasn’t helped by the lack of radio play. Listeners and DJs missed out on some great music.
There were twelve tracks on Mary Wells, four of which were released as singles. The singles were well chosen and are among Mary Wells’ highlights. Two of the singles were written by Louis Pegues. He’d later fine fame as Lou Courtney. Both Stop Takin’ Me For Granted and Ain’t It the Truth were among the highlights of Mary Wells. It was as if Louis had written these songs with Mary in mind. She breathed life and meaning into them. Another of the singles, Use Your Head, which was co-written by Chuck Barksdale of The Dells in just thirty minutes. It gained some much deserved radio play, and is Mary Wells at her soulful best. Then there was Mary’s heartfelt, pleas on Never, Never Leave Me, which gave Mary a top-twenty US R&B hit single. However, there was more to Mary Wells than four singles.
Van McCoy contributed We’re Just Two of a Kind, a slice of easy listening soul. Sidney Barnes and J.J. Jackson showed just how talented a songwriting a team they were, by writing the emotive and thoughtful My Mind’s Made Up. Then there was the sheer sadness and emotion of How Can I Forget You, which Louis Pegues cowrote. It seemed that despite being on a new label, Mary Wells had lost none of her soulfulness and ability to breath life, meaning and a range of emotions into the twelve tracks. That the sheer intransigence of small-minded DJs, meant Mary Wells never found a wider audience is like a modern day Greek tragedy. Fate and hidden agendas had transpired against Mary Wells and her new label 20th Century Fox. Maybe her next album would prove more successful.
LOVE SONGS TO THE BEATLES.
It seems almost apt that Mary Wells next album would see her pay homage to The Beatles. Following the release of Mary Wells, Mary had spent time touring with The Beatles. They had become champions of Mary’s music and proved supportive towards Mary’s career. Indeed, for Mary’s second album for 20th Century Fox, Mary decided to take up The Beatles offer to record some of their songs. Previously, The Beatles had offered Mary a long list of songs she could record for future albums. Eventually, Mary chose twelve songs, which would become Love Songs To the Beatles, which would be released later in 1965.
With a plentiful supply of hits and quality music from one of the hottest and successful songwriting teams, Lennon and McCartney, Mary Wells was spoilt for choice. She chose well. Early and mid-period Beatles songs including Help, Please Please Me, Do You Want To Know A Secret, And I Love Him and I Should Have Known Better all featured on Love Songs To the Beatles. Surely a combination of The Beatles and Mary Wells’ sheer soulfulness would rejuvenate Mary’s career, and see her reach the heights she enjoyed at Motown.
When Love Songs To the Beatles was released in 1965, the album failed to chart. Neither did the only single released from I Should Have Known Better, I Should Have Known Better. It seemed the lack of radio play and 20th Century Fox’s lack of marketing prowess held back sales of I Should Have Known Better. Again radio listeners and record buyers missed out not just on some of the best music of Mary’s career, but some of the best covers of The Beatles’ songs.
Love Songs To the Beatles saw Mary Wells give twelve Beatles tracks a jazzy makeover. In a similar vein to Frank Sinatra’s work with Nelson Riddle, arranger Joe Mazzu and producer Bernie Wayne worked their magic with the twelve tracks. Tracks like All My Lovin,’ Please Please Me and I Saw Him Standing There were transformed. Mary’s vocal was transformed, delivering the songs with a jazzy style, that sometimes, swung.
Other tracks, including Do You Want To Know A Secret, And I Love Him and Can’t Buy Me Love were given also given makeover. This saw Mary deliver them in a looser, more laid back style. She leaves space and a sense of pensiveness to the songs. The other tracks ranged from a Latin sound to the poppy sound of Help and Yesterday. During the twelve tracks on Love Songs To the Beatles, Mary showcased her sheer versatility, mixing, jazz, soul, pop and Latin music. Despite this new side to Mary’s music, sales were disappointing. Mary Wells career at 20th Century Fox was over before it had even started. In many ways, it wasn’t anything to do with the music, instead, it was more about hidden agendas and self-important DJs.
That Mary Wells two 20th Century Fox albums, Mary Wells and Love Songs To the Beatles failed commercially was no reflection on the music on the two albums. Instead, it was the result of a concerted campaign by self-important DJs, determined to derail Mary’s career. Add to the equation 20th Century Fox’s lack of marketing experience in dealing with a potential soul superstar. Maybe if Mary had signed to another label, one more experienced and expert in marketing and PR, then Mary Wells could’ve become one of soul’s biggest superstars. Marketing was important even forty years ago. Maybe a guerilla marketing campaign highlighting the unfairness of radio DJs would’ve helped. Possibly a more experienced and expert PR department might have managed to get the renegade DJs onside. Instead, Mary Wells career suffered and what should’ve been the next step in becoming the first Lady of Soul stalled. Following Mary Wells’ brief career at 20th Century Fox, Mary never seemed to stay long at a label. For the rest of her career, she changed labels and never really reached the heights of her Motown years. Certainly Mary Wells’ time at 20th Century Fox shows proves that all that glitters isn’t gold. At least Mary Wells time at 20th Century Fox wasn’t in vain. During her short stay at 20th Century Fox, Mary Wells released some of the finest music of her career. That music, including Mary Wells and Love Songs To the Beatles, plus six bonus tracks, feature on Mary Wells-The 20th Century Collection which was recently released by SoulMusic Records. Mary Wells-The 20th Century Collection proves beyond all reasonable doubt, that there’s much more to Mary Well’s career than her time at Motown.
MARY WELLS-THE COMPLETE 20TH CENTURY COLLECTION.
SYREETA-ONE TO ONE.
SYREETA-ONE TO ONE.
Mention the name Syreeta, and somewhat predictably, most people remember her as being married to Stevie Wonder. That, however, is doing Syreeta a huge disservice. Not only did Syreeta play a huge role in transforming Stevie Wonder’s career, writing and appearing on his albums, but enjoyed a successful solo career. Their marriage may have only lasted eighteen months, but the pair remained close friends. Indeed, Stevie and Syreeta owed each other a great deal.
Syreeta had played a huge role in transforming Stevie’s career. She helped him make the successful transition from child star to one of the most successful soul singers of the seventies. He gained artistic control over his music, and in the process, came of age musically. He went on to release a string of commercially successful, critically acclaimed albums. Starting with 1972s Music of My Mind, the next few years saw him release classics like 1972s Talking Book, 1973s Innervisions and Fulfillingness’ First Finale in 1974. 1974 proved to be an important year for Syreeta too.
It was the year her sophomore album Stevie Wonder Presents Syreeta was released. This was the followup to her 1972 debut album Syreeta, which Stevie Wonder had also produced. So, Syreeta and Stevie Wonder had proved beneficial to each other’s career. However, by the time Syreeta released her third album One To One, which was recently released by SoulMusic Records, Syreeta’s life would’ve changed.
Although it was in Detroit Syreeta Wright made her name as a singer, it was in Pittsburgh, Pennsylvania she was born in August 1946. Syreeta started singing when she was just four, around the time her father died. Her family moved between Carolina, Detroit and Pittsburgh, but eventually, settled in Detroit, just as Syreeta started high school. It was in Detroit that Syreeta’s thoughts turned to music as a career.
Her first involvement in music was singing in local groups. However, when Syreeta got a job as a receptionist at Motown in 1965, her career started. She progressed to working as a secretary, working for producer Mickey Stevenson. Then, Brian Holland of Holland, Dozier and Holland started working with Syreeta, helping her to hone her vocal talents. Soon, she was singing on demos. As Rita Wright, which Berry Gordy renamed her, Syreeta released her debut solo single I Can’t Give Back the Love I Feel, which was penned by Ashford and Simpson. Later in 1968, Syreeta met another artist who’d play a part in her nascent career…Stevie Wonder.
Stevie Wonder met Syreeta in 1968, and encouraged her to pursue a career as a singer-songwriter. By 1970, they were married and moved to New York. It was in New York Stevie Wonder set about gaining artistic control over his music and setup his own publishing company. This lead to the album that transformed Stevie Wonder’s career Talking Book. Sadly, it was during this time that Syreeta and Stevie’s marriage broke-up. Ironically, 1972 would also be the year Syreeta released her debut album Syreeta.
Four years after the release of her debut single, Syreeta released her eponymous album Syreeta in 1972. It was released on Mowest, Motown’s new West Coast label. Syreeta cowrote three tracks with Stevie Wonder, who produced Syreeta and wrote Happiness. While Syreeta didn’t include any hit singles, it’s perceived as one of the best albums released on the Mowest imprint. Two years later, Syreeta’s sophomore album would be released on the Tamla imprint.
For Syreeta’s sophomore album, Stevie Wonder Presents Syreeta, the album was released on Tamla. The eleven tracks were written by Syreeta and Stevie Wonder. Like her debut album Syreeta, Stevie Wonder Presents Syreeta didn’t contain any singles. By 1974, Stevie Wonder had become one of the biggest and busiest artists in music. His production work had to take a back seat. He only wrote and produced one further single for Syreeta Harmour Love, in 1975. Two years later, when Syreeta released her third album, One To One not only had she a new producer, but a new collaborator and partner.
There was a gap of three years between Stevie Wonder Presents Syreeta and One To One. During that time, internal politics at Motown frustrated Syreeta. She wanted more artistic control over her music. This would allow her to explore new ideas musically. During this three year period, Syreeta had met Curtis Robertson Jr, and they cowrote four tracks on One To One. To produce One To One, Leon Ware, fresh from producing Marvin Gaye’s classic album I Want You was chose. Syreeta’s first choice was Charles Stepney, but tragically, he died in May 1976. So with Leon Ware tasked with producing One To One, a new chapter in Syreeta’s career began.
Of the eight tracks on One To One, Syreeta and Curtis Robertson Jr, cowrote four tracks. Syreeta wrote three other tracks and cowrote I Don’t Know You with producer Leon Ware. Leon cowrote Tiki Tiki Donga with Curtis Robertson Jr, while the other track was the Stevie Wonder penned and produced Harmour Love. The seven new tracks were recorded at three separate studios.
Kendum Recorders in Burbank plus The Record Plant and Crystal Industries in Hollywood were the three studios where One To One was recorded. Joining Syreeta were a rhythm section of bassists Chuck Rainey and Curtis Robertson Jr, drummers Alvin Taylor, Howard King and James Gadson plus guitarists Ray Parker Jr, David T. Walker, Greg Poree and Marc Silverman. Saxophonist Gary Bartz, keyboardists Greg Phillinganes and Sonny Burke and percussionists Eddie Bongo Brown and Mayuto were joined by backing vocalists Jim Gilstrap and Marietta Araiza. This was a real “all-star” lineup that accompanied Syreeta. Producing One To One was Leon Ware, fresh from the success of I Want You. Could he work his magic on One To One?
On the release of One To One in 1977, the album failed to chart. That made it three albums in a row that had failed commercially. Even Leon Ware’s Midas touch hadn’t helped. However, was One To One something of a hidden gem, like Syreeta’s debut album Syreeta? That’s what I’ll tell you, after I’ve told you about the music on One To One.
One To One opens with One To One, one of three tracks Syreeta wrote. Swathes of sweeping strings, join the rhythm section, percussion and keyboards in creating a dramatic backdrop for Syreeta’s cascading vocal. It soars soulfully, as she scats, before delivering a heartfelt, impassioned vocal. Leon Ware uses layers of strings as a building block. He then adds keyboards, percussion and the rhythm section creating a backdrop that’s dramatic, multilayered and beautiful. There’s a richness and boldness to arrangement, which grows in power. The longer it progresses, the better it gets. Backing vocalists add to the song’s soulfulness, as Syreeta delivers one of her best vocals, not just on One To One, but her first three albums.
I Don’t Know was a track Syreeta cowrote with Leon Ware. There’s a real Marvin Gaye sound to the track, especially in the percussion. Think Mercy, Mercy, Mercy and you’re on the right lines. Bold, pounding keyboards, wistful horns, swirling strings and the rhythm section combine to create an arrangement that grabs your attention. Layers and textures of music become one. Syreeta’s lilting vocal grows in power and passion. Soon her vocal becomes sensuous, then playful. Her band lock into the tightest of grooves, keyboards, percussion, chiming guitars and lush strings heading to growling saxophone solo. From there, the track takes on a gospel sound, as Syreeta and her backing vocalists testify in a call and response style. It’s a curveball you never saw coming, but is a glorious twist in the tail in this tantalizing track, where Syreeta seamlessly fuses genres.
Rest Yourself is another of the tracks Syreeta wrote. It features the tenderest of vocals from Syreeta, sung against an arrangement that compliments her vocal. Space is left in one of Leon Ware’s best arrangements. Not once do the band ever overpowering Syreeta’s vocal. They compliment and accentuate the song’s charms and beauty. A melancholy horn, piano, slow, subtle rhythm section and the lushest of strings are joined by equally tender harmonies. They intertwine with Syreeta’s heartfelt, pensive vocal. She explores the lyrics, bringing out their subtleties, nuances and secrets, and not forgetting their considerable beauty.
It doesn’t take long to realize that this song has Leon Ware’s name written all over I Too Am Wanting. He cowrote the track with Syreeta and Curtis Robertson Jr. As the song opens, it has a moody, pensive sound. Woodwind, strings and deliberate stabs of piano are responsible for this. When Syreeta’s vocal enters, it’s slow, emotive and dramatic. It’s deliberate, sensual and full of longing. You focus purely on Syreeta’s vocal, that’s how good it is. You’re transfixed by its beauty and sensuousness. Behind her swathes of lush strings, piano, bursts of chiming guitars and the rhythm section become one. They unite as Syreeta’s vocal elegantly and gracefully cascades. Quite simply, the result is one of the most beautiful songs Syreeta recorded.
From the elegance and beauty of the previous track, there’s a change of style on the Leon Ware and Curtis Robertson Jr, penned Tiki Tiki Donga. It’s totally unlike any other track on One To One. It has a quite experimental sound, that meanders into being. Eastern and African sounds unite, while a plentiful supply of percussion gives way to a pounding funky bass. Strings sweep in, their beauty a contrast to the power of the rest of the arrangement. Syreeta’s vocal cascades, scatting, as the track takes on a lush and at the same time, experimental sound. In amongst the layers and swathes of music, sits Syreeta’s vocal. It’s elegant and beautiful, delivered with emotion. Although totally unlike any other track on One To One, it shows Syreeta’s versatility.
Waves of lush strings carry Syreeta’s tender, cascading vocal as Don’t Cry begins to reveal its secrets and beauty. Woodwind wistfully punctuates the arrangement, while a rasping horn playfully meanders. They accompany the rhythm section and a truly heartfelt vocal from Syreeta. Her vocal is delivered with emotion, tinged with sadness, but always tender and beautiful. Leon Ware’s multilayered arrangement compliments her vocal, reflecting the beauty in Syreeta’s vocal. The result is a slow wistful, melancholic arrangement where beauty is interspersed with drama. What really makes this such a beautiful track, is Syreeta’s heartfelt, emotive vocal.
Harmour Love is the only track not produced by Leon Ware. It was written and produced by Stevie Wonder and gave Syreeta a minor US R&B hit in 1975, reaching number seventy-five. While it lacks the depth of the other tracks, it’s a track full of poppy hooks aplenty. Caribbean music, reggae, soul and pop all combine for three minutes. A guitar penned far right joins percussion, keyboards and the rhythm section to create a jaunty, uplifting track, with a feel-good sound. Stevie Wonder sings backing vocals, while Syreeta’s vocal is akin to a slice of sunshine and happiness.
Bookending One To One is One To One (Reprise) where Syreeta revisits the opening track. So good is the track, that it deserves a reprise. It’s a combination of a hugely talented producer, working with a tight, all-star band and of course, a vocal tour de force from Syreeta. Not only was One To One the perfect start to the album, but the perfect way to close One To One.
In many ways, Leon Ware was the perfect producer for Syreeta’s first post-Stevie Wonder album One To One. With Stevie concentrating on his own career, his production career was put on hold. Maybe this was just as well. Syreeta’s first two albums, Syreeta and Stevie Wonder Presents Syreeta hadn’t been a commercial success. Although his last collaboration Harmour Love gave Syreeta a minor US R&B hit, it wasn’t taking Syreeta’s music in a direction that offered her a future. It wasn’t exactly classic Stevie Wonder. Granted it was catchy and full of poppy hooks, but was no musical War and Peace. So maybe, it was time for Stevie Wonder and Syreeta to go their separate ways.
Leon Ware, who’d just produced Marvin Gaye’s classic I Want You, was on something of a roll. This made him the perfect replacement. His production style was complex, multilayered and sometimes, lavish. It was perfect for Syreeta’s third album One To One. Leon’s production style seemed to bring out the best in Syreeta. The seven new tracks, including the experimental sounding Tiki Tiki Donga, saw Syreeta seemingly revitalized and reenergized. From the opening bars of One To One, right through to the closing bars of One To One (Reprise), Syreeta gave a series of vocal masterclasses. Emotion, passion, drama and beauty all shawn through during One To One.
Assisted by a tight, all-star band and producer Leon Ware, One To One became the best album of Syreeta’s three-album career. While commercial success still eluded Syreeta, she proved not only was their life after Stevie Wonder. The three year break she’d enjoyed, had rejuvenated her career. One To One, which was recently rereleased by SoulMusic Records, was the finest album Syreeta had released and is indeed, a hidden gem in Motown’s back-catalogue. Standout Tracks: One To One, I Don’t Know, I Too Am Wanting and Don’t Cry.
SYREETA-ONE TO ONE.
OLIVIA DE LANZAC-SPANISH MONK.
OLIVIA DE LANZAC-SPANISH MONK.
Recently, I had the pleasure of reviewing Olivia De Lanzac’s forthcoming album for BBE Music Uncut, which will be released on 26th November 2012. This will be Olivia’s sophomore album, and the followup to 2010s Baby Let’s Play House. Uncut is a genre-crossing collection of compelling and eclectic tracks. It’s almost as if everything Olivia has previously released, and everyone she has collaborated with, have influenced the nine tracks on Uncut. There’s everything from funk, hip hop, ambient, jazz, Latin, dub, drum and bass and Indian music. Apart from a multiplicity of musical genres, the influences on Uncut are just as plentiful. Nightmares On Wax, Sly and Robbie, Brian Eno, Massive Attack and Leftfield all spring to mind. One of my favorite tracks on Uncut, was Spanish Monk, which featured one of Olivia’s best vocals. Indeed, Spanish Monk is the perfect introduction to the multitalented Olivia De Lanzac, whose a songwriter, musician, arranger and producer. Before I tell you about Spanish Monk, I’ll tell you about Olivia’s musical odyssey, that’s seen her cross two continents and live in three separate different countries.
Olivia De Lanzac was born in the Congo, brought up in Greece and now, is based in London. This journey has influenced Olivia’s musical career and her work as an artist and producer. Before embarking on a solo career, Olivia was a member of Quad Throw Salchow. They released their debut single Unwelcome Guest in 2006, on Try Science Records. A year later, in 2007 Olivia embarked on her solo career.
Baby Let’s Play House Parts 1 and 2 was Olivia’s debut single, released in 2007, for Tony Carrasco’s Multitronix label. In 2008, Olivia released two further singles, Hush and Steppin’ N2 Rhythm.
Later in 2008, Quad Throw Salchow released their second single. Quad Throw Salchow’s second single was Chrome September, released on the Tummy Touch label, who’d release their only album Speed in 2009. Speed was Quad Throw Salchow’s only album. The next album Olivia would feature on, would be her debut album.
2010 saw Olivia release her debut solo album Baby Let’s Play House, on the Multitronix label. Let’s Play House was a digital only release, but allowed Olivia’s music to reach a wider audience. Following the release of her debut album, Olivia’s next project was a collaboration with Marlon D. This included remastering sessions for Marlon D’s Afrika Vs. NYC. The next step on Olivia De Lanzac’s musical odyssey was recording the followup to Baby Let’s Play House.
Following the collaboration with Marlon D, Olivia decided to concentrate on her solo career. She set about recording her sophomore album Uncut. In total, nine tracks were recorded, where Olivia journeys through genres and influences. Funk, soul, ambient and Latin music all come to the fore during Uncut. One of my favorite tracks on Uncut, was Spanish Monk, which I’ll now tell you about.
After a wash of moody synths, The Spanish Monk bursts into life. Thunderous drums, percussion and bass take you on a journey where influences so diverse as jazz, drum and bass, Latin and ambient music combine. A haunting vocal, floats above the arrangement, as the track reveal its many sides and influences. Later, there’s a Latin sound and feel to the music. The more you listen to the track, the more you hear. Influences and layers of music reveal themselves as Olivia seamlessly fuses influences and genres to create one mesmeric track.
For anyone yet to discover the delights of Olivia De Lanzac’s music, then Spanish Monk is the perfect introduction. It’s a fusion of musical genres and influences, just like the other eight tracks on Uncut, which will be released by BBE Music on 26th November 2012. On Uncut, every musical genre that’s influenced Olivia’s music, is mixed together in a musical melting pot. Each of nine tracks on Uncut, were written, arranged and produced by Olivia De Lanzac. Her musical odyssey has seen her cross two continents and live in three countries. After a journey lasting six years, Olivia De Lanzac has found a label she can call home, BBE Music. The music eclectic selection BBE Music releases, reflects Olivia’s musical tastes, which shine through on Uncut, including on Spanish Monk, one of Uncut’s highlights.
OLIVIA DE LANZAC-SPANISH MONK.
DELEGATION-DELEGATION II.
DELEGATION-DELEGATION II.
Although Delegation calling their third album Delegation II, might seem somewhat confusing, but in many ways it made sense. Delegation II the second album to feature the new lineup of Ricky Bailey, Ray Patterson and Bruce Dunbar, who’d replaced founding member Len Coley. So essentially, Eau De Vie, Delegation’s sophomore album and now Delegation II marked the second chapter in the story of Delegation’s career. It was also Delegation’s second album for their new label Ariola. In many ways, the new lineup of Delegation was almost like a new band. On Eau De Vie, new member Bruce Dunbar seem like an inspired choice to replace Len Coley, who left Delegation after their debut album The Promise of Love.
While Eau De Vie failed to replicate the success of Delegation’s debut album The Promise of Love, this was almost understandable. Here was a group who’d lost a founding member, added a replacement, and in the process, recorded an album for a new record label. This couldn’t have been easy. Although Eau De Vie was an album long on quality soulful, funky music, it didn’t enjoy the success it deserved. In the UK, Eau De Vie failed to chart, while in the US it reached number sixty-nine in the US R&B Charts. Heartache No. 9 and Welcome To My World may only have given Delegation minor hits in the US, but lit up dance-floors, not just in America, but much further afield. This must have provided some small crumb of comfort to Delegation. What they really needed was to replicate the success of The Promise of Love. Both Delegation and their new label Ariola, they must have hoped that Delegation’s third album, Delegation II which will be rereleased by BBR Records on 26th November 2012, would prove more successful than its predecessor. Would that be the case?
Like Eau De Vie, Ken Gold would produce Delegation II, and cowrite many of the songs. Ken cowrote five tracks his songwriting partner Micky Denne. They also cowrote Turn On To City Life with Lynton Naiff played keyboards and arranged the strings and horns. Delegation’s members contributed just two tracks. Ricky Bailey and Bruce Dunbar cowrote Dance, Prance, Boogie with Ray Patterson, who penned Free To Be Me, and with Ricky Bailey cowrote Gonna Keep My Eyes On Me. Tony Mansfield contributed 12th House, one of Delegation II’s singles. These tracks were recorded at London’s Roundhouse Studios.
Joining Delegation were a band containing a rhythm section of drummer Nigel Martinez, bassists John Plotel and rhythm and lead guitarist Robert J. Ahwai. They were joined by the familiar faces of keyboardist Lynton Naiff, percussionist Ken Gold. New members of the band included Trevor Spencer who played syndrums, Kofi Ayivor on cabassa and congas, plus a full string and horn section. The string and horn sections were arranged and conducted by Lynton Naiff, while Ken Gold produced Delegation II. Together, they gave Delegation II a much more polished sound. Would this new sound on Delegation II see Delegation rediscover the success they enjoyed on their debut The Promise of Love, or would commercial success continue to elude them?
Delegation II was released in the UK in December 1980 as Delegation. Like Eau De Vie, Delegation II failed to chart. When Singing was released as a single in January 1981, it too, failed to chart. The only hope was that like Eau De Vie, Delegation II would prove more successful in the US?
On the release of Delegation in the US in February 1981, it was given a makeover. With a new cover and new title, Delegation II as Delegation was released as, it was hoped that the album would prove more popular in the US. Sadly that wasn’t to be. Delegation II failed to chart. Unlike Eau De Vie, it failed to even enter the US R&B Chart. The only crumb of comfort was that In Love’s Time, released in February 1981, to coincide with Delegation II, reached number fifty-four in the US R&B Charts. For Delegation and Ariola, this was a crushing blow and resulted in another change in personnel. Before I tell you about what happened, I’ll tell you about the music on Delegation II.
Opening Delegation II is Feels So Good (Loving You So Bad), the first of the Ken Gold and Micky Denne compositions. It’s as if Delegation are determined to grab your attention. There’s a real funky sound as the track bursts into life. Chiming guitars are joined by hollers, blazing horns, cascading strings and the funky rhythm section. Ricky’s vocal is joyous, delivered with a swing, as horns and harmonies accompany him. Strings are key to sound, swirling and sweeping furiously. Like so many of the tracks on Eau De Vie, this track has a proliferation of hooks, is dance-floor friendly and benefits from an uplifting, joyful sound. Now Delegation have your attention, can they hold it?
Dance, Prance, Boogie with its good-time, party sound reminds me of many a seventies funk track. It seems Ricky, Bruce and Ray Patterson have looked to the past for inspiration. Growling horns and the funkiest of rhythm section join with Chic-esque guitars before Delegation add tight harmonies. Then when Ricky’s vocal enters, it’s feisty and sassy. Behind him, the band go into funk overdrive, referencing classic funk and disco. It’s a potent, dance-floor friendly combination, with Delegation’s soulful harmonies just the finishing touch.
In Love’s Time has a very different sound, much more reflective, pensive and soulful sound. That’s the case from the moody, dramatic opening bars. Keyboards, washes of synths and a funky rhythm section combine with wistful horns. Soon, there’s an Earth, Wind and Fire to the track, even more so when the harmonies enter. Bruce takes charge of the vocal, his vocal tender and heartfelt, his vocal reminiscent of Maurice Bailey. Although this influence is undeniable, it results in a very beautiful, deeply soulful track, that’s one of the highlights of Delegation II. Maybe if Delegation had recorded more tracks like this, then their music might have found a wider audience?
Singing opens to a backdrop of a party atmosphere, before revealing its funky secrets at breakneck speed. There’s a healthy sprinkling of percussion added, with Ghanian musician Kofi Ayivor on cabassa and congas giving a percussive masterclass. He’s joined by rasping horns, keyboards and the rhythm section, who collectively, create an uber funky backdrop for Ricky’s impassioned, joyful vocal. Soulful harmonies accompany him, as this track reveals its rhythmic delights. Keeping still isn’t possible. It’s irresistibly and infectiously catchy. The music is like a call to dance, with Delegation providing the soundtrack.
12th House sees Delegation return to their soulful sound, on a track written by Tony Mansfield. There’s a thoughtful, somewhat melancholy sound to the arrangement. Just keyboards open the track, before the rhythm section and guitars join. Bruce takes charge of the vocal, his voice perfect for lyrics, which are intelligent and pensive. He’s accompanied by some of the best harmonies on Delegation, on a track that’s soulful, funky, spacious and wonderfully wistful.
From the opening bars of In the Night, you could be forgiven for thinking that you’re listening to Chic. Not only do Delegation sound like Chic, but replicate their sound accurately. Strings sweep and swirl, guitars chime and a pounding, funky bass drives the rhythm section along. Then when a flourish of keyboards signal the arrival of Ricky’s vocal, the comparisons with Chic end there. His vocal is soulful and heartfelt, with sweeping, equally soulful harmonies accompanying him. While the arrangement has the funky, dance-floor friendly Chic sound, Delegation add their own soulful stylings. This results in delicious fusion of influences and styles, which thirty-one years later, still sounds as hook-laden and catchy as the day it was recorded.
Turn On To City Life sees Ken Gold, Mickey Denne and Lynton Niaff return to Earth, Wind and Fire for inspiration. It’s not as obvious as on In Love’s Time, but still shines through. As the horns rasp and growl and the rhythm section add a funky backdrop, the lushest of strings sweep in. They’re joined by the tight, heartfelt and hugely soulful harmonies. Ricky’s vocal has a similar soulfulness, while chiming guitars lush strings play important parts. So too, do bursts of dramatic drums. Later, Lynton adds a peerless synth solo. It sets up Ricky’s vocal perfectly, as drama and soulfulness combine seamlessly.
Ray Patterson contributed Free To Be Me, one of the slowest and most beautiful tracks on Delegation II. It has an understated, spacious sound, with just guitars, keyboards and lush strings combining with Ray Patterson’s vocal. The harmonies that accompany Ray’s vocal, are tight and heartfelt, among the most soulful on Delegation II. Ironically, this track proved to be Ray’s only lead vocal. He was seen as more of a guitar player than vocalist, but this track disproves that theory.
I Wantcha Back was the last Ken Gold and Mickey Denne penned track on Delegation II. Again, there’s a Chic influence in the arrangement. Primarily it’s the chiming guitars and sweeping, swirling guitars. They’re joined by a tight, funky rhythm section and sweeping, punchy harmonies that accompany Ricky’s impassioned, pleading vocal. Delegation really lift their game, delivering a harmonic masterclass on what is, the best of the Ken Gold and Mickey Denne compositions. Not only is the track gloriously catchy, but laden with memorable hooks,
Closing Delegation II is Gonna Keep My Eyes On You, written by Ray Patterson and Ricky Bailey. It’s as if Delegation are determined to close Delegation on a high. Pounding, dramatic drums, swathes of swirling strings and chiming guitars combine with keyboards before Ricky’s emotive vocal enters. The arrangement bounds along, revealing a jaunty, dance-floor friendly sound. Tight harmonies sweep in, while keyboards, drums and quivering, shivering strings add drama and reflect the emotion in Ricky’s vocal. Soon Delegation hit their soulful stride, closing Delegation with what’s quite simply a hidden gem of a track, that’s both dance-floor friendly, deeply soulful and dramatic.
Listening back to Delegation II, it certainly wasn’t the quality of music that caused the album to fail commercially. Indeed, the music was soulful, funky and dance-floor friendly. Like Eau De Vie, Delegation II has a plentiful supply of memorable hooks. Key to this were six tracks penned by Ken Gold and Mickey Denne. They’d already gained a reputation for penning commercially successful tracks for a variety of artists. Similarly, Ken Gold had gained a reputation as a producer with the Midas touch. Sadly, Ken luck ran out with Delegation II. Even by drawing inspiration from Chic, Earth, Wind and Fire and seventies funk, Delegation II failed to match the success of either Eau De Vie and The Promise of Love. With Delegation II failing commercially, one of Delegation decided to leave the group
Bruce Dunbar, the newest member of Delegation, decided that Delegation II would be his swan-song. This meant that briefly, Delegation became a duo. Although Delegation became a trio again, they never enjoyed the commercial success of The Promise of Love and Eau De Vie. While Delegation II which will be rereleased by BBR Records on 26th November 2012, may not have matched the commercial success of either of these albums, it certainly replicates their quality. Standout Tracks: Feels So Good (Loving You So Bad), In Love’s Time, 12th House and In the Night.
DELEGATION-DELEGATION II.
BLUE NILE-A WALK ACROSS THE ROOFTOPS.
BLUE NILE-A WALK ACROSS THE ROOFTOPS.
Enigmatic, reluctant and contrarian are words that best of describe the Blue Nile, whose 1984 debut album A Walk Across the Rooftops was rereleased just two days ago. The Blue Nile are the complete opposite of most bands. Describing the Blue Nile as publicity shy, is an understatement. Indeed, since Paul Buchanan, Robert Bell and Paul Joseph Moore formed the Blue Nile, they’ve been one of the most low-profile bands in musical history. It seems that when they formed thirty-one years ago, the Blue Nile ticked the “no publicity” box. This has proved a double-edged sword, and resulted in the Blue Nile becoming one of the most enigmatic groups ever.
Having released their debut album A Walk Across the Rooftops in 1984, only three further albums were released during the next twenty years. Five years after A Walk Across the Rooftops came 1989s Hats. This marked the end of the original Blue Nile sound, where influences so diverse as Kraftwerk, Brian Eno and Frank Sinatra united. The next time Blue Nile released an album, they turned to America for inspiration.
Seven long years passed, where Blue Nile fans wondered what had become of Glasgow’s most enigmatic trio. Then the unthinkable happened. The Blue Nile signed a million Dollar deal with Warner Bros. and along came Peace At Last, released in 1996. Gone was the sound of A Walk Across the Rooftops and Hats, with the America-influenced Peace At Last showing a different side to the Blue Nile and their music. Paul, Robert and P.J. were back, but it was a different sound. One constant was Paul’s worldweary vocal. He was still the tortured soul, who wore his heart on his sleeve. Opinions were divided among fans and critics. Little did we know that Peace At Last was their penultimate album.
High released in 2004, proved to be the Blue Nile’s swan-song. It was very different from their first two albums, Although soulful, High lacked the European influence of A Walk Across the Rooftops and Hats. Some critics unkindly called High soul for the wine bar generation. Obviously, they didn’t quite get High, or more likely, didn’t want to. Maybe they didn’t want to understand its subtleties and nuances. What they neither understood nor realized was that the Blue Nile were never a band to stand still. Instead, they’d always tried to innovate and ensure their music evolved and was reborn. Sadly, there would be no rebirth for the Blue Nile’s music. After just four albums, the Blue Nile were no more. Even when they spilt-up, the Blue Nile never told anyone. Instead, like the lover that waits for the letter that never arrives, Blue Nile fans waited for an album that was never released.
Last year, 2011 was the thirtieth anniversary of the Blue Nile’s formation. Rumours of new material, or even a box set of unreleased material proved just wishful thinking. Then ever the contrarians, the Blue Nile announced the rerelease of A Walk Across the Rooftops and Hats. This was typical Blue Nile, contrarian to the end, rereleasing their two Magnus Opus’ thirty-one years after they first formed. Even the story of how A Walk Across the Rooftops came about, is typical Blue Nile. Not for the Blue Nile signing to a traditional record company. First they formed their own label, then released A Walk Across the Rooftops on a label founded by a prestigious hi-fi maker to showcase their products.
The Blue Nile were formed in 1981, when two friends Paul Buchanan and Robert Bell, met Paul Joseph Moore, all of whom met at Glasgow University. Before forming the Blue Nile, Buchanan and Bell were previously members of a band called Night By Night. Try as they may, a recording contract eluded them. Night By Night’s music wasn’t deemed commercial enough. So Paul, Robert and P.J. decided to form a new band, Blue Nile.
Once the Blue Nile were formed, they set up their own record label Peppermint Records. It was on Peppermint Records that The Blue Nile released their debut single, I Love This Life. This single was then picked up and rereleased on the RSO label. Unfortunately for the Blue Nile, RSO became part of the Polygram label and I Love This Life disappeared without trace. Despite this setback, Blue Nile persisted.
Blue Nile kept writing and recording material after the merger of RSO with Polygram. Some of that material would later be found on A Walk Across the Rooftops. When recording engineer Calum Malcolm heard The Blue Nile’s music, he alerted Linn Electronics. At last, their luck had changed.
Linn gave The Blue Nile money to record a song that they could use to demonstrate the quality of Linn’s top-class hi-fi products. When Linn heard the track they were so pleased, they decided to set up their own record label, which would release their debut album A Walk Across the Rooftops 1984.
Although this allowed the band to finally release their debut album A Walk Across the Rooftops, Paul Buchanan later wondered whether Linn was the right label for the Blue Nile to sign to. He felt that Linn didn’t operate like a record label. Mind you, he conceded that, during this period, The Blue Nile weren’t like a band.
When A Walk Across the Rooftops was released in 1984, although it wasn’t quite to critical acclaim, but the reviews were at least positive. A Walk Across the Rooftops was quite different from other albums released in 1984. Since its release, A Walk Across the Rooftops has gained almost a cult status. It’s widely recognised as one of the finest British albums of the last forty years, as you’ll realise when I tell you about Disc One, which features A Walk Across the Rooftops
A Walk Across the Rooftops opens with the title-track, A Walk Across the Rooftops. Like much of the album, the tempo is slow, the sound moody and hauntingly beautiful. It’s a song about love, and being in love. Washes of Brian Eno influenced synths meander in, joined by percussion. They add drama and tension, while the slow tempo adds to the impact of the lyrics. Beautiful lush strings, the slow steady beat of a drum machine and Paul Buchanan’s worldweary vocal, become one. Soon, Paul’s vocal and the arrangement grow in power, emotion and drama. Although it’s a love song, it’s a love song with a difference. Paul sings of his love for Glasgow, name-checking the things he loves about the city. For five minutes, drama and emotion unite to create what’s quite simply a beautiful track, featuring a vocal tour de force from Glasgow’s Frank Sinatra and troubled troubadour Paul Buchanan.
Tinseltown In the Rain is the most upbeat song on A Walk Across the Rooftops. The funkiest of bass line, stabs of keyboards and guitars unite. When Paul’s vocal enters, he delivers some really beautiful, poetic and Glasgow-centric lyrics. They reminds me of Glasgow. Even the title puts me in mind of a rainy, winter’s night in Glasgow. People going about their business, walking hand in hand on a cold, wet winter’s night. Lovers walking hand in hand, neon lights casting their shadows over them, the buildings and the city. Strings that sweep and swirl furiously, take this track to another level. Meanwhile the slap bass drives the track along, with flourishes of keyboards for company. Together, they create a track that’s a funky, orchestral, symphonic Magnus Opus, and one that’s wonderfully Glasgow-centric.
Rags To Riches like all the tracks on A Walk Across the Rooftops is written and produced by Paul Buchanan and Robert Bell. Straight away, you realise the remastering breathes new life and meaning into the song. There’s more depth to the music. Sounds and textures shine through. So do the atmospheric sounds that open the track. Along with the mid-tempo beat, meandering waves of synths give the arrangement a somewhat industrial, Kraftwerk sound. What makes the song are the lyrics, plus Paul’s heartfelt, worldweary vocal. He’s like a modern-day minstrel or troubadour, delivering a vocal bathed in sadness, passion and pathos. As the industrial sound continues, building and growing, it becomes dramatic and even, challenging. Still, beauty and emotion shines through. Paul referencing and influenced by troubadours and crooners, lays bare his soul against a post-modernist backdrop, that’s drama personified.
Stay sees the tempo and the emotion and heartache grow. Synths, drums that crack like whips and percussion set the backdrop for Paul’s vocal. He pleads, his vocal tinged with emotion, sorrow and sadness, as sings about his crumbling relationship. Robert Bell’s thunderous, dramatic, slapped bass crackles. It’s as if it’s reflecting the electricity in Paul’s vocal. Welling up with emotion, he pleads, asks, begs, his partner to stay. He’ll change: “learn to understand you.” It’s hugely moving, emotional and soulful. You can’t help but feel and sympathize for Paul and his plight, on what’s quite simply, a Blue Nile classic. Not only is one of the highlights of A Walk Across the Rooftops, but their career.
Just a wistful, melancholy piano opens Easter Parade and accompanies Paul’s weary vocal. The tempo is slow, the sound haunting and beautiful. It’s apparently about a young man being stuck on a street whilst an Easter parade takes place around him. This evokes old and painful memories, when he attended church and learned about religion and the death of Christ. This is a sad, spiritual and incredibly moving and hauntingly beautiful song.
Heatwave sees the Blue Nile tease and toy with you, before the newly remastered track comes alive. After meandering slowly into life, stabs of synths, percussion and then thunderous drums signal the arrival of Paul’s vocal. His vocal is filled with sadness, despair and even bitterness. Soon the arrangement loses its moody, pensive sound. Although other bands kick loose, the Blue Nile don’t. That’s not quite their thing. They nearly do though, just don’t tell anyone. Guitars and bass unite. Together with washes of synths and crunchy drums, they provide a sound where hope shines through. They also provide a backdrop for a peerless vocal from Paul. Although his vocal might be worldweary and tired, hope shines through. Textures and layers of music unfold, washing over you, drawing you in. The band play under and around Paul’s vocal, with Paul, Robert and P.J. becoming one. They unite, to create a track that’s a timeless, emotive roller-coaster that you don’t want to ever climb of.
Closing A Walk Across the Rooftops is Automobile Noise. It sees a return to the industrial sound that is heard on Rags To Riches. Again, the tempo is slow, with Brian Eno and Kraftwerk influencing the track. There’s a combination of avante-garde and more traditional sounds as the track reveals its secrets. This works, and works well. Thunderous crashes of cymbals, crispy drums and melancholy keyboards create a compelling backdrop for Paul’s vocal. He delivers some insightful lyrics about one person’s struggle to cope with life in the city. They find urban life tiring, almost soul destroying. Soon, they tire of the daily grind, they’re fed up just keeping their head above water. Gradually, they long to walk away from chasing the wealth the city promises. Sadly and tragically, it’s always just out of their reach. Of all the songs the Blue Nile wrote, the lyrics to Automobile Noise are among their most insightful and honest. Twenty-eight years after A Walk Across the Rooftops, these lyrics are just as relevant, poignant and insightful.
As if the original version of A Walk Across the Rooftops newly remastered isn’t enough of a bonus for fans of the Blue Nile, there’s also Disc Two, containing seven bonus tracks. Six of these seven tracks have previously been released, mostly on various singles released during the last thirty years. The only previously unreleased track is St. Catherine’s Day. For Blue Nile completists, this makes buying the newly remastered version of A Walk Across the Rooftops worthwhile. So good is the remastering, that the other six bonus tracks are like new tracks. Indeed, of all the remasters I’ve heard in 2012, A Walk Across the Rooftops sets the standard for future remasters.
So what makes A Walk Across the Rooftops such a special album? After all, it contains just seven songs and lasts just over thirty-eight minutes. Within these thirty-eight minutes, the lush, atmospheric sound draws the listener in, holding their attention. Before long, the listener has fallen in love. They fall in love with music that’s hauntingly beautiful, emotive, dramatic and pensive. Much of this is thanks to seven peerless vocal performances courtesy of Glasgow’s very own Frank Sinatra, Paul Buchanan. He plays the role of the troubled troubadour, to a tee. His worldweary, emotive, heartfelt and impassioned vocal sounds as if it’s lived the lyrics he’s singing about. Lived them not just once, but several times over. Paul’s vocal adds soulfulness to an album that references Brian Eno, Kraftwerk, Tim Buckley, classic soul and seventies funk. The result is a compelling, innovative album. A Walk Across the Rooftops, was so innovative that it was way ahead of its time. Released in 1984, Blue Nile were miles ahead of other groups. They were innovators, leaders of a new wave of Scottish bands, who trailed in their wake. In many ways, A Walk Across the Rooftops is a very Scottish album, but not in a traditional way. On several of the seven songs on A Walk Across the Rooftops, the lyrics bring to mind Glasgow, its streets, its people and its secrets. For Glasgow, you could replace it with Philly, Berlin, New York or Oslo.
A Walk Across the Rooftops is also full of subtleties, secrets and nuances. Layers, textures and hidden depths await discovery. These secrets and nuances come to life on the newly remastered version of A Walk Across the Rooftops. This crystalline new sound comes courtesy of Paul Buchanan, Robert Bell and Callum Malcolm. From the moment you hear the opening bars of A Walk Across the Rooftops, you hear things that previously, had lain undiscovered. It’s not unlike an old picture that after years covered in grime, is cleaned suddenly, a new picture emerges. Similarly, the remastering process means that A Walk Across the Rooftops suddenly comes to life. It’s reenergized, becoming something the original CD never was. You’ll be astounded at the differences. Play the original version and remastered version and you’ll never reach for your much played, much loved and treasured copy of A Walk Across the Rooftops again.
For anyone yet to discover the Blue Nile, you’ve yet to discover one of the greatest and underrated bands of the last thirty years. Although they have only made four albums in thirty years, they were four great albums. A Walk Across the Rooftops is one of the best debut albums released by a Scottish, or indeed British band. A Walk Across the Rooftops belongs in every self-respected record collection. It’s the perfect introduction to the Blue Nile, and their music. After just one listen to the seven tracks on A Walk Across the Rooftops, you’ll fall in love with the music of the Blue Nile. After that, I’d recommend Hats, which was the follow up to A Walk Across the Rooftops. It’s as good, if not better than A Walk Across the Rooftops. While Peace At Last and High had considerably more commercial success than the first two albums, I prefer A Walk Across the Rooftops and Hats. They’re the perfect introduction to one of Scotland’s best ever bands, the Blue Nile, whose music deserved to savored and treasured. One listen to A Walk Across the Rooftops, and you’ll be smitten by the Blue Nile, and treasure their majestic music forevermore. Standout Tracks: Tinseltown In the Rain, Stay, Heatwave and Automobile Noise.
BLUE NILE-A WALK ACROSS THE ROOFTOPS.
ACID JAZZ: THE 25TH ANNIVERSARY BOX SET.
ACID JAZZ: THE 25TH ANNIVERSARY BOX SET.
Over the last twenty-five years, record companies have come and gone. New labels have been set up, released innovative music, and then, they’re gone. Many of these people found that running a label wasn’t as easy as they thought. Often, the business-side got in the way of what they really loved, making music. Sometimes, people setup labels releasing music which was too specialist, too niche, and as a result, they weren’t commercial successfully. Occasionally, luck conspired against new labels. They released the wrong music, at the wrong time. Maybe they were ahead of the curve, and months or a year later, a musical scene or genre would explode. Then there was what could called the unacceptable side of music.
These were labels that fail have been set up by people who are only in it for the short-term. For them, they see the chance to exploit a scene or musical genre that’s growing in popularity. Anyone who survived the early and heady days of Acid House, will remember labels being setup, releasing a few releases that sold well and then disappeared, in some cases with bills unpaid and angry creditors keen to catchup with them. Those behind the label cashed-in and exploited the popularity of Acid House. The same can be said of people organising raves, selling T-shirts, printing flyers or any number of things. To these people, back when a generation were being drip-fed the “greed is good” philosophy, they made a quick buck and “retired” from music. They neither loved, nor believed in the music. While numerous labels failed, and everyone will be able to remember a series of labels that sadly, are no longer around, for a variety of reasons, some labels have survived. Not only have they survived, but they’ve thrived and continued to release innovative and cutting-edge music.
Often, they’re setup by people immersed in music, people whose love of music runs through their veins. Music is their lifeblood, their passion, providing meaning to their lives. For these people, music means much more than money. Music is art, not a commodity. It’s a journey of exploration, one that continues throughout life. This seems the perfect description of Eddie Piller and Giles Peterson, who founded Acid Jazz Records in 1987. So, to commemorate their twenty-fifth anniversary, is a fantastic achievement. Acid Jazz-The 25th Anniversary Box Set was recently released by Harmless Records celebrates and commemorates twenty-five years of Acid Jazz Records. It seems almost fitting that this is no ordinary box set. Quite the opposite, as you’ll soon realize, when I tell you about Acid Jazz-The 25th Anniversary Box Set.
Towards the end of 1987, Eddie Piller was a twenty-three year old mod, who despite his age, was almost a veteran of London’s music scene. Previously, he’d run a mod fanzine Extraordinary Sensations and formed his own label Countdown, which was distributed by Stiff Records. Then Eddie’s life and luck changed. Stiff became insolvent, Countdown was caught up if fall out and Eddie was without his label. Worse was to come, The Prisoners, one of Countdown’s signings split-up and Eddie started to feel disillusioned by the mod scene he so loved. Soon, he took to spending time at jazz and soul clubs, where he’d meet a like-minded music lover.
Back in 1987, Giles Peterson was a soul boy, but unlike many people who loved soul music, also loved jazz and Latin music. This set Giles apart and still does. He’s not and never has been, narrow-minded in his musical tastes. Quite the opposite, eclectic best describes Giles’ tastes. He was just as busy as Eddie, compiling the Jazz Juice compilations and compilations for the Street Sounds’ label, plus hosting his Mad On Jazz radio show on BBC London. So when Giles met Eddie, it was a meeting of musical minds.
The pair met at Nicky Holloway’s Special Branch Nights and soon, were working together. This included the nascent Talkin’ Loud and Saying Something on Sundays at Dingwalls. It was almost logical, that the pair should start a label. Eddie released a cover of a Herbie Hancock track, Theme From Blow Up, by The James Taylor Quartet, which featured The Prisoners’ organist. Quickly, a scene was developing at Dingwalls and Eddie and Giles became tastemakers, spinning old jazz, soul, funk and Latin music. Eclectic was their playlist, with everything from Jimmy Smith, Charles Earland, Public Enemy, Dinosaur Jr, and Alice Clark sitting side-by-side. As their house-band, Giles and Eddie had The James Taylor Quartet. Something was stirring, a new scene was organically growing and developing.
By 1987, music was changing and Giles and Eddie would be at the vanguard of a new musical movement. Thankfully, the old guard were toast. Gone was the selective door policies of certain soul and funk nights. Acid House was King and house music was the future. Not for Giles and his DJ partner Chris Bangs. They declared they were playing Acid Jazz. New and old music became one, with the music having a message. Whether it was hip hop, soulful house, vintage jazz, including classic labels like Blue Note and Prestige, or soul or Latin music, this was what the spun. Giles and Eddie Piller used this nascent scene as their inspiration for their new label, Acid Jazz Records.
Acid Jazz Records’ debut release saw Giles’ flatmate Rob Gallagher recite poetry over a version of the Curtis Mayfield penned Freddie’s Dead, cut by Pucho and The Latin Soul Brothers. Released by Galliano as Fredrick Lies Still, this set the ball rolling. Then came three mini albums from UK jazzers, including Bukky Leo’s Rejoice In Righteousness. Soon singles were released, including by Chris Banga, under a number of aliases and even, a single by Paul Weller’s Style Council as King Truman. One of Acid Jazz’s most important releases were by A Man Called Adam.
Like Acid Jazz Records, A Man Called Adam enjoyed longevity and proved to be one of the nascent label’s earliest signings. They featured on the two volumes of the Totally Wired compilations, which brought together the elite of the UK’s Acid Jazz scene. This included The Brand New Heavies, who made their appearance on Volume Two. They’d prove to be one of Acid Jazz’s best and most successful signings.
With the Acid Jazz scene blossoming, major labels took notice. This included Phonogram Records, who in 1988, signed The James Taylor Quartet. Their next signing was a bigger one…Giles Peterson. Phonogram Records offered Giles the bait of his own label Talkin’ Loud. Leaving with Giles were Galliano and another band, The You Disciples. At least Eddie still had The Brand New Heavies.
1990 saw the release of The Brand New Heavies debut album, which garnered radio airplay, but wasn’t a huge success in the UK. When the album was released, The Brand New Heavies found themselves without a lead singer. Touring wasn’t possible. US label Delicious Vinyl, who licensed the album, solved the problem. They added N’Dea Davenport’s vocal to backing tracks and released the track as Never Stop, which reached number three in the US R&B Charts. Meanwhile, times were tough at Acid Jazz. House music’s popularity meant the label’s finances suffered. Eddie tried to sell Acid Jazz to Island Records for £30,000. Their A&R rep said no. Oops. This would later prove to have been the deal of the century.
While Talkin’ Loud, Giles Peterson’s new label seemingly lead the way in the UK Acid Jazz scene, it was The Brand New Heavies that saved Acid Jazz Records. Their relaunched debut album sold over 300,000 copies, when licensed to London Records. Then when Jamiroquai signed to Acid Jazz Records the label had another huge success on their hands. Starting with their debut single When You Gonna Learn. Jamiroquai helped secure Acid Jazz’s future. With the label secure, an old face rejoined the label, and oh, they bought a club.
Rejoining Acid Jazz Records were The James Taylor Quartet, in late 1993. Then in 1994, Acid Jazz Records bought the Blue Note night club. It became one of the hottest and most influential clubs in London. All went well for Acid Jazz, with Mother Earth becoming another of the label’s success stories. Other artists Jamiroquai and The James Taylor Quartet sold well, especially Jamiroquai, who sold millions of albums. Later, Gregory Isaacs, the legendary reggae artist was signed but by 1997, Acid Jazz hit a problem, ironically, with the Blue Note, which was by then, a hugely influential and successful club.
In 1997 problems arose with the Blue Note. Purchasing the property had proved problematic, but eventually, its cash flow covered the costs. Then the local council revoked the Blue Note’s license. What had become a profitable club had to shut. The area was redesignated as a residential area. No longer was there the money to service its debts. Rather than just enter insolvency and walk away from the Blue Note’s debts, Eddie Piller courageously and determinedly, spent the next decade paying off the club’s debts. He undertook a managed exit and eventually, and with his head held high, and reputation in tact, managed to do so. With the future resolved Eddie got back to running his beloved label.
Since then, Acid Jazz Records, albeit on a smaller scale, has continued to release music. This has included records by Jinrai, Andy Lewis’ Are You Trying To Be Lonely, featuring vocals from Paul Weller plus releases by Jasmine Kara and Janice Graham. These releases are the next step in the Acid Jazz Records’ story. The previous twenty-five years can be found on . Acid Jazz-The 25th Anniversary Box Set, which I’ll now tell you about.
DISC ONE.
Disc One of Acid Jazz-The 25th Anniversary Box Set, 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.
Hammond organ heroes are well represented, including Ivan “Boogaloo Joe” Jones’ Black Whip, Charles Earland’s Murriley and Jimmy Smith’s Who’s Afraid of Virginia Wolfe Part 2. They sit comfortably aside the Small Faces’ I Can’t Dance With You, Dinosaur L’s Go Bang No. 5, Spanky WIlson’s You and The Isley Brothers’ Love The One You’re With. There’s also Erma Franklin’s Light My Fire, Gil Scott Heron’s epic Lady Day and John Coltrane and the beautiful Golden Lady by Jose Feliciano. A welcome addition is Alice Clark’s Don’t You Care, Lonnie Liston Smith’s Expansions one of my favorite cosmic jazz track’s and the deliciously funky, Right On from Clarence Wheeler and The Enforcers. These nineteen wonderfully eclectic tracks, are a magical, sometimes mystical musical journey, that’s not unlike a trip back in time, to the early days of Acid Jazz at Dingwalls on a lazy Sunday afternoon.
DISC TWO.
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.
Among the highlights are A Man Called Adam’s Earthly Powers, Young MC’s Know How, Sugar Bear’s Don’t Scandalize Me and Stonebridge’s Jazzy John’s Freestyle. A Tribe Called Quest, Nu Yorican Soul and The Brand New Heavies all contribute tracks and Dread Flimstone’s From the Ghetto. Another track that’s included, is the one that launched Acid Jazz Records, Galliano’s Fredrick Lies Still. These sixteen tracks are from a variety of labels. They’re not just a reminder of the sounds of many an Acid Jazz club night, but demonstrate groups like The Brand New Heavies and Nu Yorican Soul’s music evolving and growing. Later, not only would The Brand New Heavies would play a huge part in the Acid Jazz Records’ success story, but saved the label from near-disaster.
DISC THREE.
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 that, but it brings back the memories.
Indeed, from the opening bars memories come flooding back. This includes seeing The James Taylor Quartet play a storming set in Glasgow, many years ago. Then there’s Snowboy’s New Avengers, Incognito’s delicious and deeply soulful Always There and the delights of the Young Disciples Get Yourself Together. Add to this Snowboy’s brilliant The New Avengers, which is a very welcome addition. Closing Disc Three is Funky Jam, from the UK’s only true rock ‘n’ band Primal Scream. When I looked down the credits to Disc Three, I couldn’t believe that some of the tracks are very nearly, twenty-five years old. Many of them have a timeless sound and many people, will wish they’d aged as well.
DISC FOUR.
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. New and old sit side by side. Vintage reggae from Max Romeo joins hip hop from Cypress Hill, Jazzy Jeff and The Fresh Prince. Among the other delights are Snowboy’s Astralisation, Mr. Scruff v Manasseh’s Rassellas, Dread Flimstone’s Render Your Heart and an eight-minute dub version of Sandals Nothing which brings not just Disc Four, but Acid Jazz-The 25th Anniversary Box Set to a deliciously chilled out close. It’s the perfect smokey selection of tracks to close this lovingly compiled box set.
Dig deeper into the depths of Acid Jazz-The 25th Anniversary Box Set, and you’ll find a DVD featuring an interview with Acid Jazz founder, supremo and survivor Eddie Piller. This includes twelve-tracks, which opens with Snowboy covering The Sex Pistols Anarchy In the UK. What a way to open the DVD. After that, tracks from The Brand New Heavies, The James Taylor Quartet, The Third Degree, Matt Berry and Twisted Tongue follow. Then as if that’s not enough Acid Jazz goodness, there’s a seven-inch vinyl single with previously unreleased tracks from The Brand New Heavies. Never Stop is the A-Side, featuring Jan Kincaid, and the B-Side is an instrumental of Rock Steady. For me the real icing on the Acid Jazz cake is a book entitled, The Cover Art of Acid Jazz. It’s like a journey back in time. You remember Acid Jazz Records’ releases over the last twenty-five years. It’s a demonstration of just how innovative and creative the covers were. They provoke not just musical memories, but memories of where you were, and what you were doing. That’s just the perfect finishing touch to Acid Jazz-The 25th Anniversary Box Set.
Of all the box sets I’ve come across during 2012, Acid Jazz-The 25th Anniversary Box Set is one of the best. It’s best described as lovingly and carefully compiled. There’s more to Acid Jazz-The 25th Anniversary Box Set than you first think. From small acorns, the label grew into a label whose sales were in the millions. Then after the Blue Note nightclub 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. How many other label owners would’ve gone to such lengths? That says a lot about Eddie Piller.
Acid Jazz-The 25th Anniversary Box Set begins with an eclectic selection of music that made Dingwalls on a Sunday such a popular destination for a sprinkling of DJs and like-minded music lovers. This included Acid Jazz Records‘ founders Eddie Piller and Giles Peterson. After this, Acid Jazz Records became one of the most innovative, influential and important British record labels. The Brand New Heavies, Incognito, Jamiroquai, Snowboy and The James Taylor Quartet were some of Acid Jazz’s most successful signings. There’s much, much more to Acid Jazz Records than a quintet of artists. Many, many more artists released singles and albums for Acid Jazz Records. In many cases, this included some of the most innovative and cutting-edge music of the time. Much of this can be found on this lovingly and carefully compiled collection of eclectic and innovative tracks. 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. One man founded both that scene and Acid Jazz Records and Acid Jazz-The 25th Anniversary Box Set is a celebration of both, and also one of its founding father’s…Eddie Piller.
ACID JAZZ: THE 25TH ANNIVERSARY BOX SET.
BRIAN ENO-LUX.
BRIAN ENO-LUX.
It seems only fitting given how often I review albums of electronic music, that I review Brian Eno’s new album Lux. After all, Brian Eno is the Godfather of electronic music and one of the genre’s founding fathers. Ever since his days with Roxy Music, Brian Eno was an innovator, looking to explore and push the boundaries of music. When he eventually tired of constantly touring with Roxy Music, Brian Eno decided to pursue a solo career. In many ways, Brian turned his back on fame and fortune, in pursuit of his art. Glam rock he realized, was a passing phase. Electronic music was the future. He was interested in technology and taking his inspiration from minimalist painting which interested and inspired him, decided to forge a career in ambient music. Brian released his debut solo album Here Come the Warm Jets in 1973, with ambient classics like 1975s Another Green World, 1978s Ambient 1: Music For Airports and Music For Films following soon after. During that period, Brian was busy with his “other career,” as a producer.
This included David Bowie’s Berlin Trilogy of 1977s Low and Heroes and final instalment, 1979s Lodger. Since then, Brian Eno has released over twenty albums and produced some of the biggest groups in music and forged a career as a remixer. He’s produced albums by Talking Heads, Devo, U2 and ahem, Coldplay. Brian has also remixed tracks by Massive Attack and Depeche Mode. Apart from production work and remixes, Brian Eno has collaborated with artists that include David Byrne, Robert Fripp and Robert Wyatt. Then there’s Brian Eno’s interest in the arts and politics. So it’s no wonder that Brian Eno solo albums are becoming something of a rarity. Granted, he’s collaborated with Jon Hopkins and Leo Abrahams on 2010s Small Craft On A Milk Sea and with Rick Holland on 2011s Drums Between the Bells. Fittingly, for an artist as innovate, inventive and bold as Brain Eno, both these albums were released on Warp Records, a label known for, and which prides itself on releasing innovative music. It’s Warp Records that recently released Brian Eno’s latest album Lux, his first solo album since 2005s Another Day On Earth. Seven years later, Brian is back, with what he calls “his most ambitious work to date.”
Lux, which is Brian’s first solo album for Warp Records, and sees Brian find inspiration from two sources. One is artwork he discovered in The Great Gallery of the Place of Venaria in Turin, Italy. There are twelve sections to Lux, which is separated into four tracks. The other inspiration are his classic seventies ambient albums. He reflects on, and builds upon the themes and sounds that can be found on albums like Ambient 1: Music For Airports and Music For Films and later, his 1983 album Apollo-Atmosphere and Soundtracks. Together with Leo Abrahams on Moog Guitar and Neil Catchpole on violin and viola, Brian came up with four tracks, that last seventy-five minutes, where he revisits and revisits his classic ambient sound, bringing it up to date with a makeover. Will Brian Eno prove that the music on Lux is just as relevant and innovative as it was in 1973, on his debut album Here Come the Jets? That’s what I’ll tell you, after I’ve told you about the four tracks on Lux.
Opening Lux, is Lux 1, a meandering, somewhat moody, spacious and thoughtful soundscape. Washes of synths, keyboards wistful strings and an occasional, elegant stab of piano enter. It’s almost as if the arrangement is stretching, awakening, not unlike a flower opening in spring. You can hear Brian’s seventies ambient sound shine through. This is contrasted with darker, moodier keyboards and strings. The arrangement is in no rush to reveal its secrets and hidden depths. Layers of music unfold. Often, as Miles Davis pointed out, the space between the notes is just as important. Occasionally, the music takes on an Eastern sound. Brian seems determined to challenge the listener, adding sounds that change your mood, make you think and sometimes, even slightly unsettle you. Quite simply, it’s compelling, complex and full of contrasts. One minute it’s beautiful, wistful and pensive, the next challenging, moody and almost makes you feel uneasy. Certainly it’s never bland, never predictable and like so much of Brian Eno’s music, innovative.
Waves of jarring music resonate as Lux 2 unfolds. Brian it seems, wants your attention. With strings and synths producing a sound that’s certainly challenging and even, slightly unsettling and disturbing, you’re forced to take notice. Again, Brian references the sound of Ambient 1: Music For Airports and Music For Films, and sometimes, Apollo-Atmosphere and Soundtracks. He does this subtly. It’s not a case of copying the music, but reminding the listener of its importance and innovation, but what it can become. Using this, and of course the artwork from Turin for inspiration, a gently cascading, mood-altering soundscape reveals its layers and textures. Bells, synths and strings take turns of massaging your senses in a way that’s pleasant and pleasing. Then Brian decides you need challenged. Then the sounds can unsettle you, make you think of their meaning and effect. This is ambient music for the mind. Rather than background music, which some ambient music becomes, this stimulates internal and external discourse, challenging you and your mind. What is the music about, what does it mean and what does it mean to me, and in a wider context? That this all stems from eighteen meandering, minimalist minutes of music is even more impressive.
Lux 3 has a fuller sound as it opens. Waves of bolder music, roll into the distance. Replacing them is space. Eventually, another wave of music replaces it. Instantly, you can tell this is Brian Eno. It has “his” sound. Anyone familiar with his seventies ambient classics will realize this. Sometimes, Brian separates the music. Panned right are the unsettling side of the track, panned left is the melancholy, wistful sound. Then just to shake things up, he switches things around. It becomes like two sides to Brian Eno’s music. Darkness and light. Morning and night. Hope and desperation. Contrasting sound and layers of music unfold. I can hear the influences of Ambient 1: Music For Airports and Music For Films. Back then, Brian Eno was at the forefront of ambient music. Now nearly forty years later, that’s still the case. He may be older, and certainly wiser, but don’t let anyone try to tell you he’s any less innovative or relevant. This quite beautiful, cerebral, pensive and melancholy track is proof of this.
Closing Lux is Lux 4. Dark, spacious stabs of challenging, jarring music open the track. It’s like Brian is laying down the gauntlet. Stay with me if you can. Persist and you’re privy to some wistful, thoughtful and haunting music. Just keyboards, with echo and delay used subtly and spaciously, meander along. They almost float in your mind’s eye. Close your eyes the music paints pictures. It takes your imagination on a journey, if you’ll let it. Mostly it’s relaxing, pleasant and pleasing, but even when Brian lays down a challenge, you rise to it. You enjoy where he and the music take you. He uses the old panning trick. Left side is pleasant and dreamy, while right side is dark and moody. When they become one, the music takes on an eerie, but quite beautiful, minimalist sound. From there it wanders and meanders taking you and your emotion and imagination on a journey of discovery, not unlike the one in Alice In Wonderland. Here, things are dreamy, pleasant, minimalist and full of secrets, surprises and subtleties, except they’re musical. Just don’t be late, for this very important date…with Brian Eno.
Thirty-nine years after his debut album Here Come the Warm Jets, Brian Eno released his first solo album for seven years, Lux. People wondered whether he’d been sidetracked by art, politics, production work and remixes. Would this be the return form from Brian Eno? Was he still the innovator, the elder statesman and Godfather of electronic music? Could he somehow, release an album that showed that after forty years making music, he still had something to offer? The answer to that is straightforward. ‘Yes’. Lux sees Brian Eno combine his vintage, classic seventies and early-eighties ambient sound and with the help of technology old and new, produces a complex, multi-textured album, Lux. On Lux, twelve sections are contained within four track. They’re not unlike the changing seasons, offering something new and different. Each track toys with your emotions, takes you on a journey, painting pictures in your mind and takes you places you never expected to go. For your part, you close your eyes and enjoy a musical journey that’s variously melancholy, wistful, challenging, beautiful, elegant and always, innovative. While many of Brian Eno’s counterparts cease to be relevant musically, although they’re still releasing music, Brian Eno is forever the innovator, forever inventive, creative and open to experimenting musically. In many ways, Brian Eno is the last man standing when it comes to seventies music, as Lux proves beyond doubt. Standout Tracks: Lux 1,Lux 2, Lux 3 and Lux 4.
BRIAN ENO-LUX.
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