DELEGATION-EAU DE VIE.
DELEGATION-EAU DE VIE.
Often, it seems American bands have a monopoly when it comes to producing quality and successful soul and funk music. Sometimes, British groups can match their American counterparts in the success stakes. It doesn’t happen often, but very occasionally, a British band releases a single or album that takes America by storm. One group that managed this, were Delegation, formed in Birmingham during the mid-seventies by Ricky Bailey, Len Coley and Roddy Harris. Delegation worked with songwriter and producer Ken Gold, who previously, worked with The Real Thing, Liquid Gold and Billy Ocean. After enjoying chart success in the UK with Where Is the Love (We Used To Know) and You’ve Been Doing Me Wrong in 1977, Delegation’s music successfully crossed the Atlantic. This success started with Oh Honey, which reached number six in the US R&B singles charts in 1978. The same year, Delegation’s debut album The Promise of Love reached number eighty-four in the US Billboard 200 and number eight in the US R&B Charts. Then just as Delegation looked like breaking the near monopoly American soul groups were enjoying two things happened. They changed record labels, signing to Ariola and Len Coley left the band. Replacing Len for the recording of their sophomore album Eau De Vie was Bruce Dunbar, a former Broadway singer who’d starred in the musical Hair. His falsetto vocal was a near perfect fit for Delegation’s sound and style. However, losing a founding member, plus changing labels, was pretty traumatic, especially for a group just beginning to make it big stateside. How would this affect Delegation when they released Eau De Vie, which will be rereleased by BBR Records on 26th November 2012? That’s what I’ll now tell you.
Having made a commercial breakthrough on both sides of the Atlantic, losing a member must have been galling. All the hard work, and progress made over the last few years was now at risk. In many ways, it was almost like a new band. So when it came to recording Eau De Vie, founding members Ricky Bailey and Roddy Harris plus new member Bruce Dunbar must have wondered what the future held. Could they build on the success of Oh Honey and their debut album The Promise of Love? Would their existing fans take to the new member’s singing style? Then there was the question of attracting a wider audience. There was also the adding complication of having signed to a new label. This meant dealing with new management, A&R staff and promotion people. Their heads must have been spinning. They’d gotten so close to becoming one of the few British soul bands to establishing a fan-base in America. Now all this was up for grabs. At least they had songwriter and producer Ken Gold guiding them through this new chapter in Delegation’s career. Indeed, Ken Gold would play an important part in Eau De Vie.
Of the nine tracks on Eau De Vie, Ken Gold cowrote seven of them. Six of these tracks were with his songwriting partner Micky Denne. The other track Darlin’ (I Think About You), Ken and Micky penned with Lynton Naiff. Ricky Bailey, one of the founding members of Delegation cowrote the other two tracks with Ray Patterson. Somewhat aptly, Welcome To My World saw Ricky and Ray cowrite the track with new vocalist Bruce Dunbar. These nine tracks became Eau De Vie.
Recording of Eau De Vie took place at three London studios, The Roundhouse Studios, SARM Studios and CBS Studios. A band containing a rhythm section of drummer Graham Jarvis, bassists Dil Katz and Alan Jones and rhythm and lead guitarist Robert J. Ahwai were joined by keyboardist Lynton Naiff and percussionist Ken Gold. String and horn sections were arranged and conducted by Lynton Naiff, while Ken Gold produced Eau De Vie. This was the first album featuring the new lineup of Ricky Bailey, Roddy Harris and Bruce Dunbar. Could they replicate the success of The Promise of Love on Eau De Vie?
In the UK, Eau De Vie was released in October 1979 and failed to chart. Neither did Put A Little Love On Me released in October 1979. Things weren’t looking good for the new lineup of Delegation. Sadly, things failed to improve. Neither You and I released in February 1980 nor Heartache No. 9, released in October 1980 failed to chart. The only hope was Eau De Vie might fare better in America.
For Ariola, Delegation’s new label, they must have breathed a sigh of relief when Eau De Vie reached number sixty-nine in the US R&B Charts in April 1980. Granted it failed to match the success of The Promise of Love, but at least the album charted, unlike in the UK. Welcome To My World was released as a single in April 1980, reaching just number fifty in the US R&B Charts. Then three months later, in July 1980, Heartache No. 9 reached number sixty-six in the US R&B Charts and number fifty-nine in the US Disco Charts. While Delegation and their record company must have been disappointed, the addition of a new member meant it was not dissimilar to launching a new group. However, should Eau De Vie have fared better commercially? That’s what I’ll tell you, once I’ve told you about the music on Eau De Vie.
Eau De Vie opens with the single Heartache No. 9, one of the six Ken Gold and Micky Denne penned tracks. Straight away, the track bursts into life, bringing to mind Chic. Chiming, funky guitars join the rhythm section, lush dancing strings and rasping horns. Then when the vocal enters, it’s not unlike The Real Thing. It’s a real mixture of influences and genres. Funk meets soul and disco, while British and American music become one. Glorious harmonies sweep in and out, as the joyous, uplifting and hook-heavy track reveals its delights. You’re swept along above an arrangement that’s funky and soulful while the vocal is soulful, tender and joyful. A track this good, sets Eau De Vie up nicely and if the other tracks are as good, this could be something special? Will that be the case though?
As Sho’ Nuff Sold On You opens, it reveals an understated sound. Percussion and keyboards combine as the arrangement builds. When the harmonies enter, you can’t help draw comparisons with Chic again. Then when the vocal enters, it has a tougher, funkier sound. This sounds as if it’s written specifically for the American market. It’s delivered with sassy, backing vocalists responding to Ricky Bailey’s vocal. Bruce Dunbar’s soaring falsetto is a perfect fit, yang to Ricky’s ying. Later, the harmonies become punchy, as the track takes on a seventies American funk sound, with even a touch of Sly and the Family Stone. Horns growl, percussion and a funky rhythm section play their part in demonstrating another side to Delegation’s music, one that’s uber funky.
One More Step To Take is another of the uptempo tracks. From the opening bars you’re won over, smitten. Ken Gold and Micky Denne work their magic, penning a track heavy on hooks. Waves of drama courtesy of the rhythm section join dancing strings, percussion and handclaps before Ricky’s vocal enters. When it enters, his vocal is laden with joy and emotion. Tight harmonies sweep in, reminding me of The Real Thing. They add the finishing touch. After that, it’s just a case of settling back and enjoying a track that’s an uplifting, joyous slice of good-time, sunshine soul. Why it wasn’t released as a single in the UK seems a missed opportunity.
Blue Girl sees another change in style, with the tempo dropping. There’s a wistful, melancholy sound to the introduction. Keyboards, rhythm section and percussion give way to Ricky’s tender vocal. It’s filled with sadness and emotion, sung against a backdrop of heartfelt harmonies and a meandering, wistful arrangement. The arrangement meanders along, keyboards and guitars key to its sound, providing the perfect backdrop for Ricky’s vocal. He breathes life and meaning into the lyrics, revealing his versatility as a vocalist. Harmonies reply to his call, playing their part in one of the most beautiful tracks on Eau De Vie.
There’s similarities with Darlin’ (I Think About You) and the opening track Heartache No. 9. That’s no bad thing, given their uptempo, infectiously catchy sound. Chiming guitars join the rhythm section in driving the arrangement along. A pounding bass, keyboards, blazing horns and sweeping swirling strings join a jazz-tinged guitar before Delegation add punchy harmonies. By now, the guitar licks are reminiscent of Niles Rogers on an old Chic album. That’s high praise. The harmonies and Ricky’s vocal feed off each other. They seem to drive each other to greater heights, as soul, funk and disco combine. It’s a potent, heady and hugely catchy combination. Mind you, with Ricky’s lead vocal, the punchy harmonies and a lyrics by Ken Gold, Micky Denne and Lynton Naiff, that’s no surprise.
You and I sees the Chic influence shine through again. Everything from the guitar, keyboards and lush strings is reminiscent of Bernard Edwards and Niles Rogers at their peak. It’s only when the harmonies enter, things change. They’re tight and punchy, while Ricky’s vocal is impassioned and heartfelt. With chiming, Chic guitar licks ever-present, the arrangement floats along, with Delegation soulfulness personified. Why the single wasn’t a commercial success, in retrospect, seems something of a mystery.
Like other tracks on Eau De Vie, Stand Up (Reach For the Sky) just bursts into life. A dramatic, pounding and funky rhythm section, rasping horns, percussion and chiming guitars join swirling strings before Ricky’s vocal enters. When it does, that’s when the vocal interplay begins. Delegation reveal their harmonic talents. They feed off each other, the vocal changing hands, harmonies sweep in and out and Delegation give a harmonic masterclass. Add to this, rasping horns, cascading strings and funky guitar licks and the result is another joyous, uplifting track.
Welcome To My World is another of the slower tracks on Eau De Vie, but shows Delegation at their soulful best. The arrangement has a melancholy, wistful sound. Woodwind, a slow, pensive rhythm section and keyboards usher in some tight, heartfelt and deeply soulful harmonies. They’re beautiful and emotive, as is Bruce Dunbar’s vocal. His falsetto vocal is perfect for the lyrics, with Ricky and Roddy adding some of the best harmonies on the album. Later, a half-spoken vocal is accompanied by harmonies and from there, Bruce unleashes a vocal that’s beautiful, heartfelt and full of emotion. Together with the harmonies, this is why this is the highlight of Eau De Vie.
Closing Eau De Vie is fittingly, Put A Little Love On Me, written by Ken Gold and Micky Denne, who wrote so many of the album’s best tracks. Delegation seem determined to finish the album on a high. The arrangement bounces along, reminding me of Liquid Gold, another of Ken Gold’s groups. Funk and soul unite. A pounding, funky rhythm section, synths, percussion and chiming guitars combine creating a hugely catchy backdrop. Then when Ricky’s vocal enters, he delivers a powerful, sassy and feisty vocal. Punchy harmonies accompany his vocal, while horns rasp and the songs swings along. Later, Ricky becomes a cheerleader, as if encouraging the group to end Eau De Vie on a high. This they do, with a track that’s catchy and dance-floor friendly.
Earlier I posed the question whether Delegation’s sophomore album Eau De Vie deserved to fare better commercially. The answer to that is a resounding yes. That Eau De Vie failed to even chart seems remarkable. However, in retrospect, that’s not surprising. By April 1979 when Eau De Vie was released, music was changing. Disco’s popularity had waned and by July 1979, would become something of a musical pariah. Then there was the problem of radio play. In the UK, even by 1979, the UK had only one “state” broadcaster, whose music was shall we say, unadventurous. They tended to play only what was commercially successful and were content to feed the listening public a diet of what can only be described as inoffensive, populist music. Even commercial radio, which was in its infancy, was following the lead of the “state” broadcaster and seemed to think listeners deserved a diet of bland music. Soul, funk and jazz music weren’t exactly high on radio playlists, except if it was something commercially successful. Even when disco was at the height of its popularity, all the British public heard was the acceptable and commercial side of disco. So for groups like Delegation, getting their music heard wasn’t easy. As for the music press, they were divided along the lines of those who’d jumped on the punk and post-punk bandwagon and journalists who still thought that Neil Young, Pink Floyd and Led Zepellin were cutting-edge. At least in America Delegation found a slightly more appreciative audience.
In America, Eau De Vie failed to replicate the success of The Promise of Love. Given that this was the “debut” album from the new lineup of Delegation, this wasn’t a surprise. It would take time for listeners to adapt to the new lineup’s sound. What UK listeners and many American listeners missed, was an album full of hook-heavy, soulful and funky music. Whether it was the uptempo or slow tracks on Eau De Vie which will be rereleased by BBR Records on 26th November 2012, Delegation didn’t disappoint. They never missed a beat and Eau De Vie is an album that’s full of quality music. There’s neither filler nor padding. Just great music. Eau De Vie is Delegation at their very best. Delegation were proof that when it came to soul and funk music, sometimes, British groups could match their American counterparts for quality, soulfulness and funkiness. Eau De Vie is proof of that. Standout Tracks: Heartache No. 9, One More Step To Take, Blue Girl and Welcome To My World.
DELEGATION-EAU DE VIE.
GEORGE McCRAE-GEORGE McCRAE.
GEORGE McCRAE-GEORGE McCRAE.
Describing George McCrae as an overnight success would be wrong. Instead, the success that would come his way come about almost accidentally. Lady Luck decided to look George’s way. Having spent years of trying to forge a career in music, George McCrae had just about given up hope. He was planning to head back to college, to study law enforcement. Then his luck and life changed. His wife Gwen had been booked to record a song called Rock Your Baby. Gwen was late for the recording session of Rock Your Baby, so George stepped into the breach. Rock Your Baby would become synonymous with George McCrae, reaching number one in over eighty countries. Following the success of Rock Your Baby, George hooked up with Harry Wayne Casey and Richard Finch of KC and the Sunshine Band, who’d written and produced Rock Your Baby. They wrote and produced Rock Your Baby, George’s debut album. It reached number thirty-eight in the US Billboard 200 and number seven in the US R&B Charts. Following up such a successful single and album, wasn’t going to be easy. So when George released his eponymous, sophomore album George McCrae in 1975, it must have been with a sense of trepidation. Was it even possible to replicate the success of Rock Your Baby? That’s what I’ll tell you, after I’ve told you about the background to George McCrae, which will be rereleased by BBR Records on 26th November 2012.
In many ways, Rock Your Baby must have become something of a poisoned chalice for George McCrae. Whatever he’d release would always be comparisons would be drawn. Indeed, regardless of all the other singles and albums George released, he became synonymous with one single, Rock Your Baby. So when it came to writing material for George’s sophomore album George McCrae, Harry Wayne Casey and Richard Finch of KC and the Sunshine Band must have been determined to prove that Rock Your Baby wasn’t a one-off. Like George, they were keen to show that there was more to George McCrae than one track. Harry and Richard were enjoying the hottest period of their career. Not only were they hugely successful as KC and the Sunshine Band, but as songwriters, musicians and producers. Could they work their magic again on George McCrae?
For recording of George McCrae’s sophomore album George McCrae, the recording took place at T.K. Records cutting-edge recording studios. Joining George, Harry and Wayne were a number of session players. This included a rhythm section Richard, playing bass and percussion, guitarist Jerome Smith and drummer Robert Johnson. While they provided the album’s heartbeat, Harry played keyboards and Fire adding backing vocals. Fire were a trio featuring Beverley Champion, Margaret Reynolds and Jeanette Holloway. Together with a horn section of trumpeter Vinnie Tanno, tenor saxophonist Mike Lewis and baritone saxophonist Whit Sidener, the nine tracks that became George McCrae were recorded, with Harry and Richard producing the album. Could lightning strike twice for George McCrae and would he enjoy and replicate the success of Rock Your Baby?
Unlike many albums, there was no single released in advance of the release of George McCrae in June 1975. It reached number 152 in the US Billboard 200 and number twenty-four in the US R&B Charts. So far, lightning hadn’t struck twice in the same place. Nor would it. I Ain’t Lyin’ stalled at number thirty-one in the US R&B Charts in July 1975. Honey I, was released in November 1975, and fared better, reaching number sixty-five in the US Billboard 100 and number eighteen in the US R&B Charts. Over in the UK, George McCrae proved more popular.
Sing A Happy Song was released as the lead single in March 1975, reaching number thirty-eight. It’s Been So Long gave George a number four single in in July 1975. When George McCrae was released in September 1975, it reached number fifty-four. When I Ain’t Lyin’ was released in November 1975, it reached number twelve and then Honey I reached number thirty-three in the UK in February 1975. While George McCrae proved more popular in the UK than the US, it failed to match the success of Rock Your Baby. Maybe people were expecting Rock Your Baby Mk. II. That’s not what they found on George McCrae, as you’ll realize when I tell you about the album.
Baby Baby Sweet Baby opens George McCrae. It’s an uptempo track with a driving rhythm section and chiming guitars creating the backdrop for George’s vocal. Bursts of drums signal the entrance of George’s tender, distant vocal. Although the rhythm section are key to the track’s sound, providing its heartbeat, it’s Jerome Smith’s guitar that’s a show-stealer. It’s flamboyance personified, although nit to be outdone, Harry adds a few flourishes of keyboards for good measure. This proves important to the driving, uptempo arrangement, which has Harry and Wayne’s signature sound. For his part, George’s vocal is tender, soft and soulful.
You Treat Me Good has a similar Miami hustle sound to many of the tracks on Rock Your Baby. Percussion. A pounding rhythm section and keyboards combine to create a pulsating, sultry arrangement. When George’s vocal enters, it’s heartfelt and sensual. Richard slaps and pounds his bass, which is at the heart of the pulsating, dance-floor friendly arrangement. So too are joyous harmonies which accompany George’s impassioned vocal.
It’s no surprise I Ain’t Lyin’ gave George a hit on both sides of the Atlantic. From it’s opening bars you’re smitten. A thunderous, funky rhythm section, growling horns and percussion combine before George makes his entrance. His vocal is a combination of power and passion mixed with joy. Soon, George and his tight, talented band take you on a journey that’s funky and soulful, but also sensuous and joyous. George unleashes whoops and hollers, strutting his way through one of the real highlights of George McCrae.
You Got To Know has a quite different sound. It’s almost a trip back in time to the sixties and shows another side to Harry and Wayne’s songwriting and production skills. An organ sound whose roots are the church, gives way to searing, sizzling guitars and a driving rhythm section. Soul, R&B and rock combine with gospel, which influences George’s delivery. Here, we hear another side to George McCrae, one far removed from Rock Your Baby. This is a side of George I’d like to hear much more of. In many ways, it’s a fleeting glimpse of what might have been.
It’s Been So Long sees George revisit a more sixties sound. Harry and Wayne’s band combine a dramatic rhythm section, growling horns and keyboards to create a fitting backdrop for George’s heartfelt, emotive vocal. Having built up the drama, George doesn’t let them down. He delivers a vocal that’s filled with emotion, longing and need. As the song progresses, George unleashes a vocal that’s power, emotion and power personified. Backing vocals accompany him, providing the finishing touch to the heartfelt, soulful highlight of George McCrae.
Honey I (I’ll Live My Life For You) was the most successful single released from George McCrae in the US. Waves and washes of Hammond organ join a pounding, funky rhythm section, percussion and chiming guitars. Instantly, you realize something special is unfolding. The waves of mesmeric Hammond are a huge clue. Backing vocals and handclaps accompany George’s emotive vocal. It’s classic call and response, riding the wave of this Miami hustle arrangement. Waves of funky, dance-floor friendly music unfold, and George and his backing vocalists Fire, feed off each other. Like the tight, talented and funky Miami band, they prove the perfect foil for George, on a track where funk, soul, gospel and disco unite seamlessly.
Take This Love of Mine is a track that combines elements of fifties and sixties music. The mainstay of the driving arrangement is sixties soul, although Jerome’s guitars are fifties rock ‘n’ roll. So too are the flamboyant flourishes of Jerry Lee Lewis style keyboards. Having set things up for George, he delivers a punchy, sassy vocal, as soul and rock and roll combine. They provide a vintage sounding and hugely memorable backdrop to this hook-laden slice of yesteryear.
When I First Saw You sees percussion, Hammond organ and a pounding rhythm section accompany George’s deliberate vocal. By leaving space between the lyrics, the dramatic pauses mean you pay attention, wondering what George is about to say. The gist of it is he’s in love, smitten. This is love at first sight. His delivery is effective, mixing joy and hope. Harry and Wayne’s band provide a driving arrangement, with half-spoken lyrics added to George’s joyous vamp through the track.
Sing A Happy Song closes George McCrae and sees soul, rock, gospel, pop and funk combine. From the get-go, when Southern rock guitars, rasping horns, keyboards, percussion and the rhythm section combine to create a genre-sprawling arrangement that’s catchy and memorable. When George’s vocal enters, you realize this is good-time, joyous music. George becomes the preacher, trying to covert you, with this slice poppy, slice of sunshine soul. Try as you may, you can’t help but succumb. Soon you’re turned into a believer in George’s uplifting, good-time sunshine sound.
While George McCrae’s sophomore album George McCrae failed to match the success of Rock Your Baby, that wasn’t because of the quality of music. Rock Your Baby is a track that if you’re really, really lucky comes along once in your career. It’s a classic track and it’s almost impossible to replicate this. For George McCrae, following up such a successful single and album, was nearly impossible. In many ways, any album would’ve come up short. So Harry Wayne Casey and Richard Finch took George’s music in a different direction on George McCrae. Disco, funk, soul, including sixties soul, plus a twist of Latin and rock all feature on George McCrae. Add to that a plentiful supply of poppy hooks courtesy of Harry and Richard. With a tight, talented band providing a backdrop for George’s vocal, George McCrae failed to match the success of Rock Your Baby. Still it was a success, and showed that there was much more to George McCrae than Rock Your Baby. On George McCrae, George, with Harry Wayne Casey and Richard Finch’s help, George produced an album which showcased a versatile vocalist, one capable of seamlessly delivering a variety of genres of music.
Now that George had released the followup to Rock Your Baby, he could get on with the rest of his career. In many ways, George was in a no-win situation when he released George McCrae which will be rereleased by BBR Records on 26th November 2012. Anything less than a replication of the success of Rock Your Baby would wrongly be perceived as a failure. That was the wrong way of looking at the commercial success of George McCrae. Rock Your Baby was a one-off, never to be repeated. George McCrae was the next step in the rest of his career and one which demonstrated just how versatile and talented a singer George McCrae really was. Standout Tracks: I Ain’t Lyin,’ You Got To Know, It’s Been So Long and Take This Love of Mine.
GEORGE McCRAE-GEORGE McCRAE.
MORE LIKE TREES-FULL CIRCLE.
MORE LIKE TREES-FULL CIRCLE.
Just nineteen months after More Like Trees played their first concert in an East London pub, the London-based, acoustic trio release their debut E.P. Full Circle on 26th November 2012, on BBE Music. Ever since that debut gig, More Like Trees have built a loyal following and in the process, while generating a huge buzz within the music industry. It’s no surprise More Like Trees have become so popular, given how hard they work. They’ve become regulars on the festival circuit, ever since they hooked up with Joe Driscoll. Secret Garden, Sham Bala and Green Man are just a few of the festivals where More Like Trees have played. While becoming a regular and favorite of festival and concert-goers, the three members of More Like Trees, guitarist and lead vocalist Josh, double bassist Lachlan and cajon and percussionist Matt have refined their own totally unique sound. Not only is this sound unique, but it’s lead to More Like Trees single handedly, founding a new scene, strum and bass.
Strum and bass sees More Like Trees fuse everything from drum and bass, flamenco, folk, hip hop, indie, classical and dance music. More Like Trees dispense with traditional musical rules. Instead, the reinvent and redefine a new, innovative, fusion of musical genres. This new sound has a freshness and is forward-thinking. No wonder, given that no musical genre is off limits. Similarly, collaborations with like minded artists are welcomed. On Full Circle, More Like Trees are joined by a number of guest artists.
Joining More Like Trees on Full Circle are Joe Driscoll, American loop-pedaller extraordinaire. Joe and More Like Trees are now regulars at The Local Posse sessions, where they met John Hendicott, who produced Full Circle and their debut album. Among their other collaborators at The Local Posse, are The Boxettes, Lazy Habits, John Fairhurst Band and Buffalo Ink. Collaborations for More Like Trees are a two-way process and lead to them releasing a live album.
Previously, More Like Trees have collaborated with the world’s leading female drum and bass MC Tali. This lead to More Like Trees collaborating with Tali on a live, acoustic reworking of her Dark Days, High Nights album in September 2011. Now just fourteen months later, More Like Trees have released their debut E.P. Full Circle, which I’ll now tell you about.
Opening More Like Trees’ debut E.P. Full Circle is The Night which has unveils wistful, melancholy sound when just flourishes of flamenco guitars and double bass combine. Lush strings kick in, as a deliberate, heartfelt vocal enters. It’s then that the arrangement grows, almost threatening to explode. Drama and power build and grow. A myriad of percussion, pounding drums and emotive strings take charge, accompanying a vocal that’s power and passion personified. As if spent and exhausted with the emotion that’s been expounded, there’s a lull in the arrangement. From there it builds back up, becoming a roller coaster of emotions and musical genres. Folk meets flamenco, jazz, indie and classical music. They unite to create a track that’s emotive, impassioned, heartfelt and quite beautiful.
Quivering, shivering classical strings laden with sadness open Keep On Going. They’re joined by deliberate, plucked guitars and a raspy, throaty vocal. This reminds me of Tom Waits at his finest. By now, classical and folk music combine with a healthy sprinkling of vintage Tom Waits. Drums add drama. So do the grandiose strings. They sweep and swirl theatrically and frantically. It’s a hugely impressive sound, designed to move both you, and your emotions. A double bass joins the acoustic guitar, giving the arrangement a haunting, classical sound. Drums have a very different reference point, drum and bass. The result is a dramatic, compelling and effective combination of musical genres. Who’d have imagined classical music could be combined with drum and bass, jazz and a worldweary vocal that’s reminiscent of Tom Waits in his prime could sound so good?
All Red sees a broody, moody meandering double bass joined by a melancholy acoustic guitar. Then when Josh’s vocal enters, it’s troubled, growing in tempo and power. He’s almost desperate to deliver the lyrics, doing so with drama and feeling. His vocal is delivered at breakneck speed, with just drum and bass drums, acoustic guitars and classical influenced strings which add sadness and emotion, for company. Indie sounding drums provide a pounding backbeat, as Josh lays bare his soul. Although different from the two previous tracks, the fusion of musical genres continues. There’s everything from indie, drum and bass, flamenco, jazz and classical music thrown into More Like Trees musical melting pot as they rewrite the musical rules.
Closing Full Circle, More Like Trees’ debut E.P. is Lady Lay, which sounds like a subconscious nod to Bob Dylan. It certainly doesn’t sound like it though. Instead, it’s an explosion of flamenco guitars and dramatic drums. Then when More Like Trees have your attention, Josh delivers a deliberate, impassioned vocal against an arrangement that bursts back into life. You can’t resist it. This is new and fresh, full of energy and enthusiasm. It gallops along. Wistful, classical strings, percussion, thunderous drums and flamenco guitars unite, providing the backdrop for Josh’s vocal that’s delivered energetically and enthusiastically, at an impressive breakneck speed. Then after just under four frantic minutes, the track reaches its dramatic crescendo. What a way to close Full Circle.
After hearing the four tracks on Full Circle, More Like Trees debut E.P, you’re left drooling at the prospect of More Like Trees debut album. Quite simply, it’s a delicious taster of More Like Trees debut album. I can’t wait to hear that album, and by then, I’m sure they’ll have generated even more of a buzz than they already have. After all, how many bands can seamlessly fuse flamenco, folk, classical, jazz, drum and bass, indie, hip hop and even, some vintage Tom Waits? It’s a compelling combination of genres and influences, delivered with an unmatchable passion. Josh delivers the lyrics with a sense of desperation. It’s like a stream of consciousness, that once delivered, comes as a relief. His delivery is theatrical, in the manner of the late Alex Harvey, or more recently, Ian Dury. He seems born to perform and play some stunning guitar licks. if you think Jimi Hendricks playing flamenco, you’re spot on. Fellow band members, double bassist Lachlan, and cajon and percussionist Matt are perfect foils. So too, are Claire Wackrow and Charmian Keay on violins and backing vocalists. Together, More Like Trees and their musical friends and collaborators have produced four genre-sprawling tracks, which have been influenced by six decades of music. The result is Full Circle, which will be released on 26th November 2012, by BBE Music. Full Circle is a delicious and tantalising taster of one of London’s hottest new bands, More Like Trees, who with talent like this, we’ll definitely be hearing a lot more of.
MORE LIKE TREES-FULL CIRCLE.
NICKI RICHARDS-LAY YOUR HANDS ON ME PARRISH JAMES AFRO HOUSE ONCEOVER REMIX.
NICKI RICHARDS-LAY YOUR HANDS ON ME PARRISH JAMES AFRO HOUSE ONCEOVER REMIX.
One of the latest musical innovations is releasing an E.P. featuring multiple remixes of a single. Usually, the E.P. features the original version of a single, plus three other remixes. For Hawaii born and New York-based Nicki Richards, she took this concept one step further. Rather than three remixes, seven separate remixes of Lay Your Hands On Me featured on her Lay Your Hands On Me E.P. released on Nicki’s own label, Hydrus Music. These seven remixes brought and breathed new life and meaning into the latest single from one of music’s best kept secrets Nicki Richards. Of the seven remixes of Lay Your Hands On Me, Parrish James Afro House Onceover Remix is the most innovative and dance-floor friendly. Before I tell you about Parrish James Afro House Onceover Remix of Lay Your Hands On Me, I’l tell you about Nicki Richards career so far.
Whether it’s soul, jazz or dance music, Nicki Richards is equally comfortable singing it. As if this isn’t impressive enough, Nicki is a songwriter, musician, arranger and producer. Nicki released her debut album back Naked (To the World) in 1991, on Atlantic Records. However, it would be another seventeen years before Nicki released her sophomore album.
After a gap of seventeen years, during which she’d immersed herself in music, Nicki Richards released her sophomore album Nicki in 2008. featured a cast of world class musicians. On Nicki, horns came courtesy of Tower of Power, Marcus Miller added bass and ex-Crusader Joe Sample played piano. This shows how highly regarded Nicki Richards is in musical circles. Thankfully, there wasn’t such a gap between Nicki’s second and third albums.
Four years after the release of Nicki, Nicki Richards has released Tell Me, which features a cast of special guests. Randy Brecker, Christian McBride, Take 6 and Lenny White all appear on Tell Me, which was released on Nicki’s own label, Hydrus Music. Indeed, the guest artists which appear on Tell Me, are just a few of Nicki’s musical friends. Her musical friends include Randy Brecker, Fonzi Thornton, Tawatha Agee and Parrish James who remixed Lay Your Hands On Me, the lead single from Nicki’s third album Tell Me, which. I’ll now tell you about.
Parrish James Afro House Onceover Remix of Lay Your Hands On Me opens with thunderous, bouncy drums and percusssion combining, before chanted harmonies enter. They’re panned left, while Nicki’s vocal is panned right and then sensuously, moves centre-stage. Her vocal is deeply soulful, sensual and joyous, growing in power and confidence. Tight, chanted harmonies have an African-roots influence, as keyboards, pounding drums and percussion unite, creating a fitting backdrop for Nicki’s diva-esque vocal. The end-result is an anthemic track, guaranteed to fill any dance-floor. No wonder, given Nicki Richards soulfulness and sensuality plus her presence and power. Indeed, I can’t help but draw comparisons to another legendary singer whose music ranged from soul to dance music, Loleatta Holloway.
Earlier I referred to Nicki Richards as music’s best kept secret. Many people yet to discover Nicki’s music will be racking their brains trying to think where they’ve heard her name. Well, I’ll put you out of your misery. Recently, Nicki Richards has been singing backing vocals for Madonna on her 2012 MDNA Tour. This seems almost ironic, given how talented Nicki Richards is. She deserves better, given her talent. Not only is she a singer, songwriter, musician, arranger, producer and now owner of Hydrus Music, which recently, released Tell Me, Nicki Richards’ third album. Lay Your Hands On Me, which was the lead single from Tell Me is a tantalizing taste of the multi-talented Nicki Richards.
On the Lay Your Hands On Me E.P., there were seven separate remixes, the best of which is Parrish James Afro House Onceover Remix. It’s an innovative makeover, which breathes new life, energy and meaning into a slice of sensuous, soulful, dance music. Given how talented a remixer Parrish James is, I want to hear more of his remixes and hear him remixing even bigger projects in the months to come. He’s a hugely talented remixer, who has the ability to transform a track, taking it in unexpected directions, that transform and reenergize the track. I’m sure Nicki Richards is glad she has such a talented friend.
For anyone yet to discover Nicki Richards’ music, then one listen to Lay Your Hands On Me will tempt you to buy her third album, Tell Me. Only then, you too, will be privy to music’s best kept secrets Nicki Richards and you can Tell Me that you’re now a believer her music.
NICKI RICHARDS-LAY YOUR HANDS ON ME PARRISH JAMES AFRO HOUSE ONCEOVER REMIX.
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MIND OVER MIDI-MONOLOG.
MIND OVER MIDI-MONOLOG.
Usually, when I review albums they’re released in their thousand. Not today. When Mind Over Midi released Monolog on 12th November 2012, on the Glasgow-based Diametric label, only 200 copies of Monolog were released. This is the norm for Diametric. Their releases are limited to 300 copies of an album on CD or lovely vinyl. I’d call Diametric a boutique label, and I admire their philosophy. Diametric are certainly not “dedicated followers of fashion.” Instead, Diametric has a “love and passion for electronic music” and realize that electronic music is an “artform.” Like myself, Diametric state on their website that: “trends and hypes are not of interest.” To me, this is admirable. For too many labels, they look to latch onto musical trends and tastes, like a surfer would catch a wave. In doing so, these labels miss out on so many talented artists, whose music deserves to be heard by a wider audience. This is the case with Mind Over Midi, who I’ll tell you about, before telling you about Monolog.
Helge Tommervag, who is from Kristiansund, on Norway’s north eastern coast, has been immersed in electronic music since the early eighties. His career started as a member of the synth-pop group ToC, before launching a solo career with Mind Over Midi. Among Mind Over Midi’s early releases were Trancesurfer, which featured on a compilation released by Norwegian music magazine Rock Furore in 1994 and then Mindworks, on XS II, To the Ravezone a compilation of Norwegian techno released in 1995. After that, Helge has continued to develop Mind Over Midi’s unique sound. Ambient and minimalist are just two words that succinctly describe the music Mind Over Midi have continued to release.
Following these early releases, Mind Over Midi have released numerous singles, E.P.s and albums, between 1995 and 2012. This started with the Elektrical Activity E.P. 1, which was released on Beatservice Records. Later in 1995, came Elektrical Activity E.P. 2 and a year later, in 1996, Mind Over Midi released their debut album Elektrical Activity in 1996, on Beatservice Records. Their sophomore album was 1998s Ice Acoustik, which was also released on Beatservice Records. So too, were Mind Over Midi’s next three albums, 2001s Project 3, 2003s Statement and 2006s Monopoly. During that period, Mind Over Midi contributed tracks to compilations aplenty, including the Warners’ 1996 compilation AbStract Tracks, Beatservice Recordings’ Artic Circles’ compilations and Water Music Records’ 2002 compilation Excursions. Then there are Mind Over Midi’s remixes, which has seen them remix tracks by Motion Control, Lorenzo and Gork. By the time Mind Over Midi released their next album, it was for a new label.
2009s Habitat was Mind Over Midi’s followup to Monopoly, released on the Silent Season label. During the next three years, Mind Over Midi averaged an album a year. 2010 was their first digital only album, released unsurprisingly in 2010, on Berserk Fabrik. With a new decade dawning, Mind Over Midi’s next release would be for Glasgow-based label Diametric.
Mind Over Midi’s debut album for Diametric was Components, released in 2011. In keeping with Diametric’s philosophy, Components was released in limited numbers. So too is Monolog, Mind Over Midi’s ninth album, released on 12th November 2012. It features thirteen minimalist, ambient soundscapes which are pensive, moody, reflective and introspective. This is music for the mind, music which will change and shame your mood and emotions, as you’ll realize, when I tell you about the highlights of Monolog.
Enable opens Monolog, with a moody, broody, melodramatic sound. Soon the momentum builds. A wave of momentous, multilayered music grows. It’s unleashed, meandering and wandering. White noise joins washes of synths. Together, they drone, as if warning you that this wave of pensive, powerful music is about to reveal its hidden depths and secrets. Having grown, toying and teasing you all the way, it eventually, and is if relieved and spent, reaches a crescendo.
Interface sees Monolog’s experimental, introspective sound continue. There’s an understated, industrial sound to the track. Spacey, dubby drums, washes of eerie synths and unmistakable sound of worn vinyl combine. Synths meander, squeaking and beeping, the buzzing above and around you. It’s as if they’re encircling you, surrounding you. Squeaks and beeps join crackles and clicks as this eerie, haunting soundscape reveals its otherworldly sound.
Decoder is best described as a wave of dramatic, moody and menacing music. The darkness descends, threatening to overpower you. As Decoder unfolds, your taken into another world. Darkness doesn’t surround you. iInstead, it takes you on a journey. It’s slow, inching ever-closer to the final destination, one you almost dread. Like Enable, this wave of music builds and grows. Industrial strength synths take charge, producing a spine-tingling, roller-coaster journey, inducing fears and phobias. Then once eventually the journey is over, you breath easily, forgetting the tension and suspense. Instead, you realize just how powerful, effective and emotive Mind Over Midi’s music is.
Straight away, Divider takes on space-age, lo-fi sound. It’s not unlike being fired into space, orbiting the earth in a spaceship designed by Mind Over Midi. Washes of synths, white noise and sound effects combine with delay, creating a multi-textured sound that spirals round and round. Clicks and crackles add to the lo-fi, ambient sound, that takes on warmth, that surrounds and embraces you. What never changes, is the sense of being taken on a journey, one deep into another world.
Clicks, crackles and introspective synths combine as Remote, takes on an analog sound. These clicks and crackles surround the washes of synths, which unfold, taking you on a meandering, moody and melancholy journey. Although melancholy and wistful, it’s pleasing, pleasant and memorable. Circuitry then paints a dark, bleak landscape. Mind Over Midi’s trademark washes of synths combine with slow, spacey and pulsating drums. As they provide the track’s pulse, haunting, waves of moody, melodramatic and often elegant, crystalline synth add a quite beautiful, mood-changing counterpoint.
Sensor gallops slowly and broodily, gradually stretching, exploring its elegiac, plaintive depths. It drones, on a voyage of discovery, meandering moodily, but at the same time, melancholy textures.
Source crackles, clicks and drones, riding waves and washes of synths. They grow in drama and depth, their eerie, yet strangely warm sound reverberating into the middle-distance. Lo-fi, ambient and minimalist the music is, but it’s quite definitely captivating and compelling as it reveals its subtleties and secrets. Modus follows on from Source, as it reveals surprises and subtleties aplenty. Clicks, crackles and squeaks escape from the arrangement, as it decides to reveal its sonic surprises. They’re like a hostage, struggling to escape its captors. As they eventually emerge from the track’s hidden depths, their addition are welcomed them with open ears.
Counter seems determined to make its presence felt. Its menacing sound grows in dramatic waves. Again there’s a space-age sound, as if bounding weightlessly through space. It’s moody and broody, embracing you. Strangely, you miss it once it’s gone. Replacing it is the equally saturnine Connector, which bubbles and squeaks, splashes of water and waves of synths combining. Layers and textures unfold, taking on an organic sound, as if Neptune is rising from the depths of Mind Over Midi’s music.
Interrupt revisits the sound of earlier tracks, the droning, buzzing sound reminiscent of an old biplane encircling you. It gets closer, taking you on a two-minute, lo-fi, ambient journey, where minimalistic beeps and squeaks keep you company.
Monolog closes with Disable where the eerie, menacing sound seems to go into overdrive. From the get-go this soundscape makes its presence felt. Waves of music crash like waves. Their elegance are contrasted by the moody, menacing sound that sits above it. The after just three minutes, this compelling combination of contrasts comes to a conclusion, one that’s pensive, reflective and introspective.
Mind Over Midi’s ninth album Monolog sees Helge Tommervag further refine his trademark brand of ambient, minimalist music. He’s been practicing, perfecting and refining this sound for nearly thirty-years. So it’s no wonder that by Mind Over Midi’s ninth album Monolog, that he’s one of the most practiced, practitioners of the artform of ambient music. Monolog features thirteen tracks of lo-fi ambient music, which are guaranteed to change your mood and make you think. Moody, broody and pensive, plus dramatic, melodramatic, melancholy and beautiful are just some of the words that describe Monolog. It’s an album that variously, washes over you, embraces you, and forces you to think, as it paints pictures in your mind’s eye. Monolog is best described as the soundtrack to a film that’s yet to be made. Instead, you supply the pictures, while Mind Over Midi supply the music. In many ways, Mind Over Midi couldn’t have timed the release of Monolog better.
Given the resurgence in popularity in ambient music, Monolog has been released with perfect timing. Ambient music is back, back in a big way. After falling out of flavor for several years, there’s been a resurgence in interest, and in releases of ambient music. So, for anyone looking for some laid-back, late-night music, then Mind Over Midi’s Monolog is perfect. It’s a collaboration between two countries, Scotland and Norway, which has resulted in Mind Over Music releasing an ambient Magnus Opus, Monolog. It was recently released by Diametric, and quite simply, is one of the best ambient releases of 2012. Indeed, Monolog sees Mind Over Midi joining the ranks of European ambient royalty, where they’re surely to stay. Standout Tracks: Decoder, Divider, Sensor and Connector.
MIND OVER MIDI-MONOLOG.
http://soundcloud.com/diametric-music/14-diam-mind-over-midi-monolog
DOUBLE EXPOSURE-LOCKER ROOM.
DOUBLE EXPOSURE-LOCKER ROOM.
Following the trials and tribulations that surrounded Double Exposure’s sophomore album Fourplay, Locker Room their third and final album, proved to relatively plain sailing. Having released their debut album Ten Percent Salsoul in 1976, there was a two year delay with the followup. This was due to alleged discrepancies regarding Double Exposure’s bookings and management expenses. Salsoul didn’t want to start recording another until album until the problems were resolved. So the momentum Double Exposure built up after the success of Ten Percent wasn’t built upon. Then when Fourplay was released, neither the album, nor the singles charted. After the success of Ten Percent, and singles like Ten Percent, Everyman and My Love Is Free, Double Exposure looked like being Salsoul’s next big success. With Norman Harris at the peak of his creative powers, and Salsoul benefiting from the combined talents of some of the greatest musicians, songwriters, arrangers and producers, Salsoul circa 1976, was one of the most successful labels of the disco era. However, things started to change.
Vince Montana Jr. left Salsoul after a dispute with the Carey’s over royalties. Suddenly, The Salsoul Orchestra lost its founder and conductor. Then the Careys decided the future was DJs remixing not just singles, but whole albums. Some of these DJs weren’t musically trained and would sit with an engineer, who’d take charge of the technical side of things. This is how some of the remixes took shape. Then there was the controversy over Larry Levan’s remixes and whether he did or didn’t actually remix them. With the arrival of the supposed superstar DJ-remixers, personnel changed. The all-star lineup that graced early Salsoul Orchestra albums dwindled. By 1979, when Double Exposure released Locker Room, Salsoul was a very different label.
By the time the quartet of James Williams, Joseph Harris, Charles Wittington and Leonard “Butch” Davis set about recording their third album Locker Room, they needed a successful album, or at least a hit single. To help them with this, were some of Salsoul’s A-Team. Ron Baker wrote two tracks, I Got the Hots (For Ya) and Where Have You Been All My Life. Bruce Hawkes and Pat Cooper wrote Can We Be In Love, while James and Bunny Sigler cowrote I Wish That I Could Make Love To You. The other two tracks were Ice Cold Love, penned by Buddy Turner, Jerry Atkins and Johnny Bellmon and Why Do We Have To Go Our Separate Ways written by Brian Evans and Cheryl Dickerson. These six tracks would be recorded at Sigma Sound Studios with The Salsoul Orchestra accompanying Double Exposure.
Accompanying Double Exposure at Sigma Sound Studios were The Salsoul Orchestra which featured a rhythm section of bassist Ron Baker, drummers Early Young, Keith Benson and Scotty Miller and guitarist Norman Harris, Bobby “Electronic” Eli and T.J. Tindall. Larry Washington and Bobby Conga played congas, while Ron “Have Mercy” Kersey, Bunny Sigler, Bruce Hawkes, Bruce Gray and Carlton “Cotton” Kent played keyboards. Don Renaldo took charge of the strings and horns while The Sweethearts of Sigma Evette Benton, Carla Benson and Barbara Ingram added backing vocals. Arranging and production was split between a number of arrangers and producers, while the DJs remixed the six tracks to give it a dance-floor friendly sound. Once Double Exposure’s third album Locker Room was completed, it was released in July 1979, just when disco nearly died.
July 1979 wasn’t the best month to release an album by a group whose music was synonymous with disco. On 12th July 1979, Disco Demolition Night took place at Comiskey Park, Chicago, when thousands of disco records were blown up by the zealots of the Disco Sucks movement. After that, disco was no longer as popular. Suddenly, record labels, record shops and record buyers were no longer interested in the delights disco had to offer. So it’s no surprise that neither Locker Room, nor the single I Got the Hots (For Ya) charted. It was a case of history repeating itself. Locker Room’s predecessor Fourplay had failed to chart. However, in the case of Locker Room, it was just a case of an album being released at the wrong time, as you’ll realize, when I tell you about the album.
Opening Locker Room is the Ron Baker arranged, penned and produced I Got The Hots (For You), which was the only single released from Locker Room. It has a very different sound to previous Double Exposure songs. The Philly Sound of previous albums is replaced by a tougher, funkier sound. Handclaps give way to Ron’s pounding bass, thunderous drums, a piano riff and then blazing horns. Percussion is added before Double Exposure add punchy harmonies, complete with whoops and hollers. Horns growl as the rhythm section add tougher funkier backdrop. Then when Jimmy’s vocal enters, it veers between tenderness and powerful. Harmonies sweep in, offering the same contrasting sound, and similarly, The Salsoul Orchestra veer from funky to soulful. For seven minutes, Double Exposure’s sound is transformed by Ron Baker. It’s a remarkable transformation and results in a funky, yet remarkably soulful and timeless sounding track, where thankfully, Double Exposure never quite shake off their Philly roots.
After one Ron Baker penned track, Ron follows this up with another Where Have You Been All My Life. It’s more like what you’d expect from Double Exposure. Philly Soul, harmonies, lush strings, rasping horns and Baker, Harris, Young, what more can you ask for? The Baker, Harris, Young rhythm section, rasping horns and swathes of lush strings accompany Jimmy’s heartfelt, impassioned vocal. He grabs the song, injecting sheer soulfulness, while the rest of Double Exposure add flowing, sweeping harmonies. They drift in and out, as strings dance joyously and horns growl. Meanwhile, Baker, Harris, Young provide the arrangement’s heartbeat and Bobby “Electronic” Eli adds some of his magic. By the end of the track, it’s an example of what Salsoul did so well, a track whose hook-laden sound is guaranteed to lift your spirits and make your life feel a whole lot better.
Bruce Hawkes another Salsoul veteran takes charge of arranging and production duties on Can We Be In Love. Double Exposure drop the tempo, with swathes of shivering, quivering strings and wistful horns accompanying Jimmy’s lead vocal. He lays bare his soul, while Norman Harris’ jazz-tinged guitar, woodwind and rasping horns meander above the arrangement. Harmonies are tight, heartfelt, revealing their beauty and soulfulness while Earl Young’s drums add drama. From their the drama and emotion grows, heading into overdrive, guaranteed to toy and tease your emotions. Soul and jazz are combined by Bruce Hawkes as, The Salsoul Orchestra create an arrangement where drama, emotion and beauty is fused. For their part, Double Exposure combine heartfelt harmonies and a tour de force of a lead vocal from Jimmy Williams.
Ron “Have Mercy” Kersey arranged and produced Ice Cold Love another of the funkier tracks. From the get-go, a thunderous rhythm section, growling horns, and handclaps and searing, sizzling guitars combine to create an arrangement that races along like an express train heading between Philly and New York. Jimmy delivers the lyrics with emotion, as if believing every word. Punchy harmonies accompany his vocal, as his vocal becomes a vamp. During a breakdown, melodic keyboards, the funkiest of rhythm section, handclaps and percussion rebuild the arrangement as Jimmy and punchy harmonies unite to take the track to its dramatic, impassioned and uber funky crescendo.
Jimmy and Bunny Sigler cowrote I Wish That I Could Make Love To You, which Bunny produces and Jack Faith arranges. It doesn’t take long to realise this is a Jack Faith arrangement. His name is written all over it. Just lone pounding drums and then shakers enter before the arrangement builds. Keyboards, swathes of dancing strings and the rhythm section join forces. Jack builds the drama and sense of anticipation. After ninety-seconds, impassioned harmonies enter and Jimmy delivers a vocal that’s from his heart. It’s delivered with feeling and passion, cooing harmonies accompanying it. Soon, swathes of strings combine with Jimmy’s vocal and some of the best harmonies on Locker Room. The longer the arrangement progresses, the better it gets. By the end of the track, you realise that this is quite simply a glittering gem of a track whose soulful delights should’ve been released as a single.
Closing Locker Room is Why Do We Have To Go Our Separate Ways, arranged and produced by Ron “Have Mercy” Kersey. A real curveball is thrown, when a searing, riffing, rocky guitar weaves its way across the arrangement. For company, it has a slow moody rhythm section and Hammond organ. Then Jimmy’s vocal replaces the guitar. His vocal is full of sadness and regret, with harmonies that reflect the drama, emotion and heartache in Jimmy’s vocal. They combine with an arrangement that grows in power and drama. Soon, the song becomes an emotional roller coaster. Key to this is a vocal that’s so convincing you almost believe Jimmy’s reliving the hurt and pain he’s singing about. This is hugely soulful, heartfelt and dramatic and showcases Double Exposure’s soulful side. What you hear is a hugely talented, accomplished group, who by 1979, were in their prime, as this track proves. Sadly, that wasn’t to be the case.
Listening to Locker Room, and their two previous albums Ten Percent and Fourplay, you’d have though the best was still to come from Double Exposure. Locker Room featured six tracks where Double Exposure fused Philly Soul with a tougher, funkier sound that saw their music change. Despite changing sound on the opening track I Got The Hots (For You) and Ice Cold Love, Double Exposure stuck to their Philly Sound on the other four tracks. The result was an album that saw Double Exposure back at their best. While Locker Room failed to chart, it had the misfortune to be released the month disco almost died. Even a classic album could’ve slipped by unnoticed during this time. Granted this made it two albums in a row from Double Exposure that had failed to chart. Despite this, they were releasing some of the best music of their career. Maybe if Double Exposure hadn’t lost a year to the legal dispute, they’d have been able to build on the momentum and success of Ten Percent. Then they could’ve released the followup Fourplay earlier and Locker Room wouldn’t have been released as the Disco Sucks campaign came to an ugly head. You’d have thought it was worthwhile rethinking Double Exposure’s future, and giving them another opportunity to replicate the success of Ten Percent. Tragically, that wasn’t the case. Indeed. Locker Room, just six soulful, sometimes funky tracks, was the Salsoul swan-song from the quartet of James Williams, Joseph Harris, Charles Wittington and Leonard “Butch” Davis. After Locker Room, Double Exposure left Salsoul and never revisited the heights and success of Ten Percent. Locker Room remains a glistening gem, hidden in the Salsoul Records’ back-catalogue, which is well worth discovering and hearing the Salsoul swan-song from four of its most-talented, soulful sons. Standout Tracks: I Got The Hots (For You), Where Have You Been All My Life, I Wish That I Could Make Love To You and Why Do We Have To Go Our Separate Ways.
DOUBLE EXPOSURE-LOCKER ROOM.
ENNIO MORRICONE-MORRICONE IN COLOUR.
ENNIO MORRICONE-MORRICONE IN COLOUR.
Probably the most prolific, highest profile and best respected film composer of the past sixty years, is Ennio Morricone. He has written over five-hundred soundtracks. These soundtracks cover every possible genre of film. Mention his name to many people, and they’ll associate Ennio Morricone with the soundtracks he scored for Sergio Leone’s Spaghetti Westerns. The quartet of 1964s A Fistful of Dollars, 1965s For A Few Dollars More, 1966s The Good, the Bad and the Ugly and 1968s Once Upon A Time In the West made Ennio Morricone a household name. However, there’s much, much more to the eighty-four year old, Italian composer’s career than just four Spaghetti Westerns. Indeed, the man dubbed The Maestro’s carer started with 1959s The Death of A Friend and spanned a further six decades. The Maestro has never shirked a challenge, scoring films from everything from everything from big-budget blockbusters like Bugsy, In the Line of Fire and Mission To Mars through art-house films. His soundtracks have sold over fifty-million copies and he’s won awards worldwide, including an Academy Award for the soundtrack to The Days of Heaven. Whether Ennio Morricone would have won further Academy Awards and even that elusive Oscar if he written scores for more blockbuster films or more populist films, we can only speculate. What can be said, is Ennio Morricone’s soundtracks are truly eclectic. A recent box set Morricone In Colour, released by Bella Casta, demonstrates the sheer eclectic nature of Ennio Morricone’s work. As you’ll see, it’s a snapshot of Ennio Morricone’s work during two of the most productive decades of his career.
Morricone In Colour, is a four-disc box set, which features eight film scores, written by Ennio Morricone during a ten-year period between 1969 and 1979. In addition the eight original film scores, are a number of bonus tracks. These eight scores encapsulate everything about Ennio Morricone’s work. Eclectic. That’s how best to describe The Maestro’s music. Not only does it encapsulate his unique sound, but reflects the era’s musical diversity. There’s everything from a quintessentially sixties sound, an arty-erotica and sensuousness, right through to a cocktail-cool, jazz-tinged sound. Add to this a twist of Latin music, a plenty of drama and not forgetting humor. It’s everywhere, especially when The Maestro cocks a snook at the perceived pretentiousness of prog rock. Essentially, Morricone In Colour is a snapshot at The Maestro’s work during one of the most prolific periods of his career, starting in 1969.
LOVE CIRCLE.
This four-disc, eight score epic that is Morricone In Colour, begins in 1969. The first of the two scores on Disc One is Metti, Una Sera A Cena (Love Circle,) an Italian drama directed by Giuseppe Patroni Griffi, which starred Jean-Louis Trintignant. Metti, Una Sera A Cena was an entrant in the 1969 Cannes Film Festival. Conducting the orchestra is Bruno Nicolai, who worked extensively with Ennio Morricone. For me, much of the soundtrack has a quintessentially sixties sound, especially Alla Luce Del Giorno and the Eastern sound of Ric Happening. Other tracks range from melodramatic, broody and understated. Of the eight soundtracks, this has to be my favorite. Given it’s rarity, buying Morricone In Colour for this soundtrack alone makes commercial sense.
WINGED ANGELS.
Forza G (Winged Angels) is the second soundtrack on Disc One. Released in 1971, and directed by Duccio Tessari Forza G starred Riccardo Salvino and features an orchestra conducted by Bruno Nicolai. This is a real gem of a soundtrack, one that’s beautiful, melancholy and wistful. There’s an understated sound that you lose yourself in. An example of this Ripresa Prima and Ripresa Terza. Granted, the tempo sometimes increases, with a jaunty jazzy sound revealing itself. Mostly, it’s just a quite beautiful, pensive soundscape whose charms, subtleties and secrets are guaranteed to win you over.
HE AND SHE.
Disc Two sees a return to 1969, and the drama of L’Assoluto Naturale (He and She). This is perceived as a classic of sixties Italian cinematography. Directed by Mauro Bolognini, starring Laurence Harvey and featuring an orchestra directed again, by Bruno Nicolai. Just a small cast featured on this classic film, which was matched by a minor classic of a soundtrack. The songs change like the seasons, provoking a variety of emotions and thoughts. As usual, The Maestro paints pictures with music especially on tracks like the pensive, thoughtful L’Assoluto Naturale, the growing drama of E-Facile or the haunting, broody Studio De Colore. For The Maestro’s fans, this thirteen-track is well worth hearing and like the other soundtrack from 1969, is one of the real highlights of Morricone In Colour.
EVEN IF I WANTED TO WORK WHAT COULD I DO?
The second score on Disc Two of Morricone In Colour is Anche Se Volessi Lavorare Che Faccio? (Even If I Wanted To Work What Could I Do?) This film was released in 1972, directed by Flavio Mogherini and starred Enzo Cerisico. It’s best described as eclectic in sound and the musical genres it references. Jazz, funk, classical music, Euro Pop and Italian music in Per La Strada, it’s all there. Ennio throws this into his musical melting pot and stirred. Sometimes, genres melt into one. Ora A Te, Poi A Me is a case in point. Funk, jazz, classical and opera rolled into one. Tramonto with its melancholy, emotive sound has The Maestro’s name all over it and is quite simply, the highlight of the score.
THE BIRD WITH THE CRYSTAL PLUMAGE.
One of the best known films to feature on Morricone In Colour, is The Bird With the Crystal Plumage, or to give it its correct title, Uccello Dalle Plime Di Cristaldo. The film is loosely based on Frederic Brown’s novel The Screaming Mimi. Directed by Dario Argento, who was making his directorial debut, the film was released in 1970 and featured Tony Musante and Suzy Kendall. On its release, it was nominated for the 1970 Edgar Allan Poe Award and since then, has becoming a compelling, cult-classic. Sometimes, Ennio’s music has a jazz-tinged, experimental sound, especially on tracks like Corsa Sui Tetti, where The Maestro toy with tonality. Chilling, spine-tingling and hugely dramatic describes Svolta Drammatica. La Citta Si Risveglia sees drama, tonality and subtlety fused over three mesmeric minutes from The Maestro. For anyone yet to discover the sights and sounds of The Bird With the Crystal Plumage, then this is well worth seeking out, and persevering with.
FOUR FLIES ON GREY VELVET.
Quattro Mosche Di Velluto Grigio, or Four Flies On Grey Velvet was released in 1971. Again, the film is directed by Dario Argento and stars Michael Brandon. During the score, Ennio is an innovator, fusing atonality and humor. The humour comes when he sends up the perceived pomposity and pretentiousness of prog rock. This he does over seven tracks, adding to this a healthy sprinkling of jazz. From the opening bars of the opening track, Quattro Mosche Di Velluto Grigio (Titoli) a classic European sixties soundtrack sound meets prog rock. It’s a compelling combination. A Hammond organ provides an unmistakable sixties sound. Meanwhile, searing guitars, dramatic drum fills and rolls, searing, screeching guitars and melodramatic vocals add prog rock influence. Later, on track fifteen, Ennio gives a brief glimpse of the overblown sound Queen would make a career of, before taking the track in the direction of jazz. Looking back at the seventies and prog rock, it seems Ennio saw through its pretentiousness sound and decided to burst its bubble. However, he didn’t manage to do so, and despite his efforts, it’s still a popular musical genre.
THE CAT.
On Disc Four of Morricone In Colour, it’s a case of fast forwarding through half a decade. 1977 saw the release of Il Gatto, (The Cat), directed by Luigi Comencini and starring Uno Tognazzi. The music veers between classical influenced opening track Il Gatto to the cocktail jazz of L’attico Illumanato and Terrazza. Then there’s the contrast between the sheer sensuousness of Marriangela E La Seduzione and the jaunty Latin sound of Samba In Tribunale. Over the thirteen-tracks that comprise Il Gatto, The Maestro showcases the sheer eclecticism of his music, which even thirty-five years later, is blessed with a timeless, contemporary sound.
A DANGEROUS TOY.
Il Giocattolo is the last of the eight soundtracks that comprise Morricone In Colour. Quite fittingly, this was a year before Ennio decided to cut down on his film work, to concentrate on his concerts. Directed and co-written by Giuliano Montaldo and starring Nino Manfredi, Il Giocattolo was released as music changed drastically. Disco was no longer as popular, punk became post-punk and aging rock stars decided it was safe to make a return. They hadn’t been consigned to the dustbin of history as the faux-revolutionaries of punk forecast. Despite this, The Maestro continued to innovate and reinvent his music.
Indeed, during Il Giocattolo he revisits a sixties sound on Una Gita Mancata and unleashes the chilling suspense of Telefonata Minacciosa. Although less than two-minutes long, it’s two of The Maestro’s most intense and compelling minutes. You’re almost scared to look behind the sofa. From there drama, suspense and space are three features of the mesmeric Mirraggio E Agguato, which is akin to something Hitchcock could conjur up in his prime. In many ways Il Giocattolo is a compelling, enthralling and spine-tingling close to Morricone In Colour. He toys and tantalizes your subconscious, changing your mood and messes with your emotions, just as a master storyteller or filmmaker would. The only difference is The Maestro does so with music.
The best way of describing Morricone In Colour, is a snapshot in time, from one of the most innovative, eclectic composer of soundtracks. Morricone In Colour covers a ten year period between 1969 and 1979, where he collaborate with some of the best Italian directors of this era. Like his music, these films were cutting-edge, pushing the boundaries of cinematography. For anyone whose yet to discover Ennio Morricone’s music, then Morricone In Colour is a good introduction. It allows them to discover the many sides to his music. There’s everything from cocktail jazz, arty-erotica, drama, suspense, humor and some sixties sounds. Unlike other recent compilations of Ennio Morricone’s music, these are original recordings. All too often, box sets of Ennio Morricone’s music fails to do justice to The Maestro’s music. Not Morricone In Colour. Indeed, Morricone In Colour, this four-disc, eight soundtrack collection which was recently released by Bella Casta will delight connoisseurs of Ennio Morricone’s music. Similarly, newcomers to The Maestro’s career, will hungrily devour the delights of the eight soundtracks and the additional bonus tracks. I’m sure after just one listen to the eight soundtracks that comprise Morricone In Colour, will become devoted followers of the man they call The Maestro’s music.
ENNIO MORRICONE-MORRICONE IN COLOUR.
THE BEST OF BBE 2012.
THE BEST OF BBE 2012.
Probably one of the most difficult jobs in music came when BBE Music decided to compile their latest digital release, The Best of BBE 2012 which will be released on 3rd December 2012. After all, BBE Music have been on something of a roll during 2012. That’s something of an understatement. For BBE Music, 2012 started In January with Al Kent’s five-disc disco Magnus Opus The Best of Disco Demands. After that, the quality kept on coming. There was the rerelease of Sandy Barber’s The Best Is Yet To Come and Jean Wells’ Soul On Soul. Then came the first of two albums from Johnny De Mairo. This started with Johnny D Presents Disco Jamms Volume 1, then came JohNick’s You Know How We Dew. One of my favorite albums from BBE Music was Boddhi Satva’s beautiful and spiritual Invocation and its followup, the Invocation Instrumentals. As if this isn’t enough great music, there were eponymous albums from Mathias Stubo, Dark Room Notes and Newban, plus albums like Los Transatlanticos’ First Trip, Bara Brost’s Kokolores and more recently, Visioneers’ Hipology, DJ Vadim’s Don’t Be Scared and Olivia De Lanzac’s Uncut. That’s not forgetting compilations that included The Best of Perception and Today Records, Keb Darge and Little Edith’s Legendary Wild Rockers 2, Latin Concrete, Snowboy Presents New Vintage, Private Wax and more recently, Sadar Bahar Presents Soul In the Hole. As you’ll realize, it wasn’t easy for BBE Music to narrow it down to just fifteen tracks. So good has their music been in 2012, BBE Music could just as easily released a double or triple album. Why not go the whole nine yards and release a box set? Alas, BBE Music have restricted themselves to fifteen tracks, which I’ll now pick my ten highlights of.
My first choice is one of my favorites of 2012, Sandy Barber’s I Think I’ll Do Some Stepping On My Own. This was a track from a rerelease of Sandy’s 1977 album The Best Is Yet To Come. It also featured on Al Kent’s The Best of Disco Demands. Clyde Otis, Natt Adderley and Jay Hoggard cowrote the track, with Jay producing it. What makes the track is Sandy’s glorious, defiant vocal. It’s powerful and soulful, as the arrangement reveals flourishes of keyboards, a funky rhythm section, rasping horns and percussion. Later the lushest of strings that float above the arrangement, while punchy, rasping horns add drama. From there, the arrangement grows, revealing its beauty and drama. Soon, you realize that this is stunningly soulful, timeless sounding track, that demonstrates just how talented a vocalist Sandy Barber really is.
Of all the disco compilations I’ve reviewed in 2012, my favorite has to be Al Kent’s disco Magnus Opus The Best Of Disco Demands. It was five discos of disco gems. Panache’s Sweet Jazz Music released in 1979, on the Canadian label Rota Enterprises label and produced by the Just Brothers, this is a track you wonder how you’ve lived without it. It almost explodes into life. Percussion, handclaps, a driving rhythm section, chiming guitars and jazz-tinged keyboards join together and take you on melodic, musical journey. Jazz, soul, funk and Latin music unite as one, taking you on a seven minute journey of discovery. Irresistibly catchy, hypnotic and guaranteed to get you on your way to Disco Heaven 127, that’s what this track is.
July saw the release of Bara Brost’s second album Kokolores, which opens with The Gunman. It features a vocal from Conan Kowalski. His wistful, melancholy vocal is perfect for the track’s haunting, thoughtful lyrics. They set you thinking. Who is this flawed character that Conrad sings about? He deliver his vocal against a backdrop of meandering, melodic synths and keyboards. Then, Bara Brost throw their first curve-ball of Kokolores. His vocal gives way to crunchy hypnotic beats, while waves of synths, hissing hi-hats and percussion provide a backdrop that’s variously light, melodic, hypnotic and infectiously catchy. Now Bara Brost have your attention, they hold it for the rest of their First Trip.
Boddhi Satva’s Invocation wasn’t just one of my favorite albums of 2012 from BBE Music, but one of my albums of the year. Nankoumandjan, is track from Invocation, and was recently released as a six-track E.P. This is the original version of the track, which featured on Boddhi’s album Invocation. Nankoumandjan features Mangala Camara, from Kaye in Mali a former protege of Salif Keita. This is a track that features some glorious rhythms, that reveal themselves during the track. Powerful drumming, percussion, bursts of squelchy synths and of course the impassioned and emotive vocal of Mangala Camara. His voice has a compelling and spiritual quality, on a track that has a real African roots sound, augmented by synths. There’s a joyous and uplifting quality to what is an epic track one that lasting seven epic minutes.
Dark Room Notes released Baby Don’t Hurt Me No More a single in early March 2012. It was one of the highlights of their album Dark Room Notes. With a combination of synths and pounding drums the track opens. Soon, they give way to an ethereal female and louder male vocal. Taken together, they sound a bit like New Order, more so with the wash of synths and drums that accompany them. If you shut your eyes, you think its Barney and Gillian from New Order. All that’s missing is Hooky’s trademark bass. What they do have, are two aces up their sleeve. These are the dual guitars. They’re quick, chiming brightly, while drums pound and bright synths are key to the track’s success. Add to this an atmospheric vocal and the result is a glorious, quite joyful sounding track.
June 2012 saw the release of Mathias Stubo’s eponymous sophomore album. Those High Frequency Feelings is track from Mathias Stubo. It’s a fusion of sounds and styles that from the opening bars. It grabs your attention and doesn’t let go until the closing notes. Think funk, jazz, Latin, broken beat and even early noughties Nu-Jazz all combined in one bubbling melting pot. Stabs of horns, a proliferation of percussion, bursts of a driving funk drenched rhythm section that give way, to stabs of rasping jazzy horns while synths reverberate above the arrangement. Burst of vocal and drums that add drama. There’s so much going on that you daren’t blink, for fear of missing something. It’s a frantic, compelling and complex combination of sounds. Mathias has a used an eclectic palette of sounds and influences, painting them on with bold brush strokes, resulting in a quite fantastic sonic canvas, where the more you listen the more you hear, and the better it gets.
Los Transatlanticos released First Trip in August 2012. Donde Esta Marie is a joyful explosion of uplifting, feel-good music. This is music for the heart, feet and soul. For just under three irresistible minutes, the music sweeps you along in its pounding, impassioned wake. A proliferation of percussion and pounding drums are key to the glorious rhythms that unfold. Meanwhile, a punchy joyous vocal and a a frantic piano solo combine, before later, stabs of blazing horns join the party. When this is all combined the result is glorious, passionate track to lose yourself in, one that’s for the heart, the feet and very definitely, the soul.
DJ Vadim’s Don’t Be Scared was released back in October 2012, and saw the John Coltrane of hip hop joined by a cast of guest artists, including Jman. It’s Jman’s vocal that helps the track burst dramatically into life. Against the sound of crackly vinyl, Jman’s punchy, energetic vocal pogoes across the arrangement. For company it has thunderous drums. Soon hip hop meets drum and bass, as Jman furiously lays down a rap at breakneck speed. As drums, synths and percussion accompany him, you realize it’s impossible to keep still. Truly, it’s an explosion of emotion, drama and energy where DJ Vadim and Jman rewrite hip hop rules. Not only that, but DJ Vadim the veteran producer and DJ proves his music is just as relevant and innovative as back in the early days of hip hop.
BBE Music rereleased Newban’s two albums Newban and Newban 2 in October 2012. Both albums are real hidden gems. Free Your Mind, from Newban 2, is a jazz track that could only have been recorded in the seventies. It has that unmistakable sound. There are further similarities with the music of Jon Lucien, Andy Bey and even Gil Scott Heron. When the guitar accompanies the tender, impassioned vocal it’s almost like finding a lost track from Jon Lucien. Soon, percussion and the rhythm section join as the arrangement begins to reveal its secrets and beauty. Later, Newban’s horn section add blazing horns that could only belong on a seventies jazz album. They drift in and out, adding drama while percussion and guitars add subtle contrasts, and the rest of Newban chant “Free Your Mind.” By then the arrangement is laid-back and mellow, reminiscent of something from the late sixties. Then stabs of growling horns bring the Newban to a dramatic and compelling conclusion.
The last track from The Best of BBE 2012 is from the JohNick compilation You Know How We Dew, which was released in August 2012. On it was Major Sea, a track from JohNick’s The Bay Ridge EP 2, released in 1992. When I started listening to the track, I recognized the sample JohNick used straight away. It’s from Cerrone Love In C Minor. Finding the right sample and using properly are two very different things, and JohNick put the sample to good use. Only fifteen-seconds of reverberating drums have elapsed before the sensuous sample is introduced. Cerrone’s growling horns, cascading strings, layers of keyboards and percussion are added to the drums that dramatically drive the track along. Having found the perfect sample, JohNick use it brilliantly. It’s at the heart of the track, as they unleash wave upon wave of dramatic, hypnotic pounding music, music that’s guaranteed to liven up any dance-floor.
Choosing just ten of the tracks on The Best of BBE 2012 to mention wasn’t easy, so goodness knows how the compiler narrowed down 2012’s releases to just fifteen tracks. Indeed, I could just have chosen Jean Wells’ Have A Little Mercy, Visioneers’ Swahililand or More Like Trees’ The Night from The Best of 2012. What The Best of BBE 2012 does show, is the consistent quality of music BBE Music releases. They’re not in the habit of releasing inferior music. Instead, they concentrate on releasing innovative, eclectic music that showcases new and established artists. They seem to constantly scour the globe, searching for new artists. 2012 saw them release music from artists based in Africa, Europe and South American. What’s more, they rereleased forgotten gems like Sandy Barber’s The Best Is Yet To Come, which is one of my favorite rereleases of 2012. It seems whether its new music, music from established artists, rereleases or compilations, BBE Music have surpassed themselves. Beating 2012 for quality will be difficult for BBE Music, but I’m sure they’ll rise to the challenge. While other labels have struggled to adapt to the ever-changing musical landscape, BBE Music haven’t stood still. They’ve risen to challenge and become of the UK’s best and most respected independent labels. The music BBE Music have released is proof of this, as The Best of BBE 2012 which will be released on 3rd December 2012 shows. All I can say is let’s have more of the same in 2013 BBE Music. Standout Tracks: Sandy Barber I Think I’ll Do Some Stepping On My Own, Boddhi Satva Nankoumandjan, Newban Free Your Mind and JohNick Major Sea.
THE BEST OF BBE 2012.
JOHNNIE TAYLOR-EARGASM.
JOHNNIE TAYLOR-EARGASM.
By the time Johnnie Taylor released Eargasm in 1976, he was one of music survivors, capable of adapting with the ever-evolving musical landscape. During Johnnie Taylor’s career, he’d sung gospel, blues, soul, funk, R&B and by 1976, disco. Johnnie’s career had spanned three decades, and much had changed in music. Indeed, just the year before he released Eargasm, which will be rereleased by BBR Records on 26th November 2012, the label where Johnnie Taylor had made his name had folded. At Memphis based Stax Records, Johnnie Taylor enjoyed the most successful period of his career so far. Indeed, it was at Stax Johnnie Taylor earned the reputation “The Philosopher of Soul.” Then when Stax folded, Johnnie Taylor signed to Columbia and released Eargasm, which contained the first single to be certified platinum, Disco Lady. Before I tell you about the music on Eargasm, I’ll tell you about “The Philosopher of Soul’s” career.
Johnnie Taylor grew up in Memphis, Arkansas and like so many future soul singers, cut his teeth singing gospel. His first break in music came when he replaced Lou Rawls in the gospel sextet Highway QC’s, which had previously, launched Sam Cooke’s career. After the Highway QC’s Johnnie replaced Sam Cooke in the Soul Stirrers in 1957. Then when Sam Cooke founded the his own label, SAR Records, Johnnie was one of his first signings. Rome Wasn’t Built In A Day, a song made famous by Sam Cooke, was Johnnie’s first single. Then when Sam Cooke died in 1964, SAR Records, without its founder and driving force at the helm, eventually folded. Somewhat ironically, this resulted in Johnnie signing to the label where he enjoyed the most successful period of his career.
Following the demise of SAR Records, Johnnie signed to Stax in 1966. One of Johnnie’s first releases for Stax was the Isaac Hayes and David Porter penned I Got To Love Somebody, released in 1966. Then in 1967, he released his debut Stax album Wanted One Soul Singer. 1968 saw the release of one of Johnnie’s classic Stax albums, Who’s Making Love, with the title-track that became one of Johnnie’s biggest and best known singles, selling over one-million copies and resulted in the single being certified gold. It reached number five in the US Billboard 100 and number one in the US R&B Charts. By now, Johnnie was one of Stax’s biggest stars. 1969 saw Johnnie release a trio albums, The Johnnie Taylor Philosophy, Raw Blues and Pure Stamps. As the sixties drew to a close, and a new decade dawned, Johnnie’s star shawn as brightly.
One Step Beyond was Johnnie’s first album of the new decade, released in 1970. It contained Jody’s Got Your Girl and Gone, which reached number twenty-three in the US Billboard 100. Then came 1973s Taylored In Silk, a slice of the smoothest soul for The Philosopher of Soul. It contained another number one US R&B singles, the Mack Rice penned Believe In Me (You Believe In Me), which was certified gold, having sold over a million copies. Taylored In Silk also contained another track that would become synonymous with Johnnie, the bittersweet Cheaper To Keep Her, which reached number two in the US R&B Charts. After Johnnie’s Magnus Opus Taylored In Silk, he only released one further album for Stax, 1974s Super Taylor. Then when Stax folded in 1975, Johnnie signed to Columbia, trading Southern Soul for disco.
For the second time, Johnnie Taylor had been signed to a label that subsequently folded. First SAR Records, then Stax. At Columbia, Johnnie’s new label, he was able to experience and enjoy stability. Like other artists who’d been signed to Stax, namely The Staple Singers and Isaac Hayes, Johnnie Taylor had crossover and enjoyed mainstream success. Here was a singer with two gold discs to his name. One man who’d played an important part in Johnnie Taylor’s success was his engineer, producer and songwriter Don Davis. He was signed along with Johnnie. They were, after all, a team. Indeed Don Davis would cowrite eight of the nine tracks on Johnnie’s Columbia debut Eargasm.
For Johnnie’s Columbia debut, he’d record one of the tracks Don Davis cowrote. Disco Lady saw Johnnie trade soul for disco. Disco Lady was written Don Davis cowrote with Harvey Scales, Al Vance, George Worrell and David Van Pitte. The other eight tracks saw Don Davis collaborate with a variety of songwriting partners, including his collaborators on Disco Lady. Of the nine tracks on Eargasm only You’re the Best Girl In the World wasn’t co-written by Don Davis. Instead, it was a collaboration between Norma Toney, Carl Robinson, Rudy Robinson and David Van Pitte. It seemed Don Davis and his songwriting partners were on a roll when then penned the tracks on Eargasm
When it came to recording the nine tracks on Disco Lady, recording took place in three studios. At Muscle Shoals Sound Studio in Alabama, some of the best session musicians of the time played on several of the tracks, including a rhythm section of drummer Roger Hawkins, bassist David Hood and guitarist Jimmy Johnston. Add to this keyboardist Barry Beckett. The other sessions took place at United Sound Systems, Detroit, Michigan. Among the musicians were Bootsy Collins, who played bass on Disco Lady. Johnnie laid down his vocals at the Sundance Studios in Dallas, Texas. Not only was Don Davis engineer and producer, but played guitar on several songs. Once Eargasm was complete, Johnnie Taylor was about climb onboard the disco bandwagon. It was a journey that would prove successful.
Before the release of Eargasm, Disco Lady was released as a single in January 1976. Disco Lady gave Johnnie a dual number one single. Not only did it give Johnnie his third US R&B number one single, but reached number one in the US Billboard 100. It sold over two million copies and became the first single to be certified platinum. Over in the UK, Disco Lady peaked at number twenty-five. When Eargasm was released in March 1976, it reached number five in the US Billboard 200 and number one in the US R&B Charts. Somebody’s Gettin’ It was then released in May 1976, reaching number thirty-three in the US Billboard 100 and number five in the US R&B Charts. It seems Johnnie’s move from Stax to Columbia and from soul to disco had transformed his career. With Don Davis at his side, Johnnie was enjoying the most successful period of his three decade career. Why was Eargasm so successful? That’s what I’ll tell you, as I tell you about the music on Eargasm.
Eargasm’s opening track is the platinum single Disco Lady. There’s no making the listener wait for the big hit, it’s first out of the block. It’s one of the eight tracks penned by Johnnie’s right-hand man Don Davis. Mellow keyboards, chiming guitars and a pulsating, funky rhythm section open Disco Lady, before Johnnie’s sassy, vampish vocal enters. He almost struts his way through the arrangement, with equally sassy, feisty and foxy backing vocalists and blazing horns for company. Everpresent is Bootsy Collin’s uber funky bass-line, which provides the track’s heartbeat. Johnnie calls upon all his experience and sass, delivering a vocal tour de force, helped no end by Brandy’s backing vocals. Even after just one listen, you’ll realize why this track sold over two million copies. It’s sassy, sensuous and downright funky.
Trying to followup a track like Disco Lady isn’t easy. Please Don’t Stop (That Song From Playing) penned by Don Davis, Wade Marcus and Carl Austin has to try. Given it’s a quite different style of song, comparisons can’t be drawn. Johnnie returns to smooth, silky soulful side. His vocal is heartfelt and laden with emotion, the arrangement understated, allowing his vocal to take centre-stage. Lush strings, keyboards, a subtle rhythm section and cooing backing vocalists accompany Johnnie as he delivers a vocal that’s vintage Johnnie Taylor, and oozing with sheer soulfulness.
On Don’t Touch Her Body (If You Can’t Touch Her Mind), Johnnie dishes out relationship advice. No wonder he was dubbed “The Philosopher of Soul.” Where the previous track was soulful, this one is funky. Quivering, shivering strings join keyboards and a funky rhythm section that’s straight off a Blaxploitation album. They create a dramatic backdrop for Johnnie’s vocal, which is dripping in innuendo. His vocal is full of sass and confidence, tongue placed firmly in cheek. Backing vocalists sweep in and out as the rhythm section produce one of the funkiest and most dramatic arrangements on Eargasm.
I’m Gonna Keep Loving You has a broody, moody and dramatic backdrop. Just keyboards, rhythm section and emotive strings combine with Johnnie vocal. It’s filled with despndency and despair. Cooing backing vocalists reply to his call, while the arrangement is understated and thoughtful, with a funky twist. This allows you to focus on Johnnie’s vocal, which is laden with sadness and emotion. Synths are added, but thankfully, not overused. However, what makes this such a beautiful track, is Johnnie’s vocal, which brings to life the lyrics and their heartache.
You’re the Best Girl In the World was the only song not co-written by Don Davis. It finds a more optimistic Johnnie. The change in mood is apparent from the get-go. A combination of rhythm section, keyboards and cascading strings combine with woodwind, before Johnnie’s tender vocal enters. It grows in power and emotion, as the string-drenched arrangement unfolds. Bursts of drama are added, as Johnnie’s vocal grows in power. Rasping horns, flourishes of keyboards join Johnnie as he grabs the track by the scruff of the neck, injecting soul, emotion and passion into it. It’s a vocal masterclass from one of most experienced soul singers of the time.
Running Out of Lies sees a changed in style and tempo. Johnnie draws upon his three decades of experience here. A meandering, moody arrangement where stabs of keyboards join the rhythm section in accompanying Johnnie. His vocal’s full of confusion, hurt and guilt. He delivers his vocal in a style where blues, gospel and soul combine. Backing vocalists, lush strings and growling horns are added to an arrangement where the emotion, heartache and drama in Johnnie’s vocal is reflected. Later, Johhnie vamps his way through the lyrics, delivering them with raw emotion. It’s impossible not to be moved by his delivery, which is part desperation, drama and dispondency.
Somebody’s Gettin’ It was the other single released from Eargasm. It has a gloriously funky, slow and broody introduction. Growling horns, an uber funky rhythm section and wah-wah guitars are joined by Johnnie’s emotive vocal. Percussion and a wailing, atmospheric Hammond organ joins Johnnie’s vocal which is full of heartache and hurt. Bursts of percussion and grizzled horns add to the drama and emotion of this funk-laden track, which showcases Johnnie Taylor’s versatility.
The tempo increases on It Don’t Hurt Me Like It Used To and so does the heartache and emotion. Drums drive the track along, while wistful woodwind and emotive strings accompany Johnnie’s hurt-filled vocal. Cooing backing vocalists and rasping horns Johnnie, as strings sweep and swirl as Johnnie reveals the hurt and pain he suffered. Time he has healed the pain, with Johnnie whooping and hollering. This seems like bravado, although it sounds as if the pain remains. Although this track was recorded in 1976, it has a retro sound, as if it’s lain undiscovered in Stax’s vaults since the sixties. To me, it’s something of a hidden gem, from one of soul’s survivors.
Closing Eargasm is Pick Up the Pieces, where Johnnie returns to his soulful side and sound. He delivers one of his most impassioned, heartfelt vocals. His voice is filled with hurt and pain. Backing vocals tenderly accompanying his vulnerable vocal. The arrangement is understated, perfect for the track. As the rhythm section provides it’s emotive heartbeat, percussion punctuates the arrangement and strings shiver and quiver. Johnnie reveals one of his most impassioned, heartfelt vocals bringing Eargasm to a soulful conclusion.
Although the best known track on Eargasm saw Johnnie Taylor climb onboard the disco bandwagon, most of the other tracks feature Johnnie doing what he does so well, singing soul. Indeed, six of the nine tracks on Eargasm see Johnnie at his soulful best. Among the highlights are the quartet of I’m Gonna Keep Loving You, You’re the Best Girl In the World, Running Out of Lies and Don’t Hurt Me Like It Used To. These four tracks showcase Johnnie Taylor’s soulful prowess and demonstrate just why he was called “The Philosopher of Soul.” The other two tracks on Eargasm see Johnnie return to his funky side. Don’t Touch Her Body (If You Can’t Touch Her Mind) and Somebody’s Gettin’ It showcase not just Johnnie’s soulful side, but his sheer versatility. During the nine tracks on Eargasm, Johnnie also draws upon his experiences singing gospel and blues. He was equally at home singing these styles of music. In many ways, it’s a misnomer to refer to Eargasm which will be rereleased by BBR Records on 26th November 2012, as a disco album. Instead, Eargasm is a reminded of the sheer versatility and soulfulness of Johnnie Taylor a man whose career spanned multiple musical genres and five decades and saw him crowned “The Philosopher of Soul.” Standout Tracks: Disco Lady, You’re the Best Girl In the World, Running Out of Lies and Don’t Hurt Me Like It Used To.
JOHNNIE TAYLOR-EARGASM.
KC AND THE SUNSHINE BAND-PART 3.
KC AND THE SUNSHINE BAND-PART 3.
Imagine you’re a member of a band whose just released a triple-platinum album. Not just any triple-platinum album, but one featured two number one singles. How do you follow this up? This was the problem facing Harry Wayne Casey and Richard Finch, or as they’re better known, KC and The Sunshine Band. The success of KC and The Sunshine Band marked a turnaround in fortunes for Harry and Wayne. Their 1974 debut album Do It Good had failed to chart, but after noticing a change in the musical landscape, decided to change tack musically.
R&B was no longer as popular, with disco becoming the most popular musical genre. Artists who previously, had made their reputation as soul or R&B singers or groups decided to jump on disco’s bandwagon. Realising disco was the future, KC and The Sunshine Band decided to do likewise. Disco was the future, and between 1975 and 1979, KC and The Sunshine Band would become one of the most successful purveyors and practitioners of disco. They’d released five albums, two of which were certified platinum and two which were certified triple-platinum. KC and The Sunshine Band released in 1975, was the album that started this run of commercially successful albums. It proved their most successful album, reaching number four in the US Billboard 200 and number one in the US R&B Charts. Add to that two number one singles in the US Billboard 100 in That’s the Way I Like It and Get Down Tonight. By the time KC and The Sunshine Band hit record shop’s shelves, work began on the followup, Part 3 which will be rereleased by BBR Records on 26th November 2012. Part 3 proved that lightning could strike twice in the same place. Not only would Part 3 be certified triple-platinum, but featured three number one singles. Soon, KC and The Sunshine Band would become disco Kings.
For Part 3, Harry Wayne Casey and Richard Finch set about writing the eight tracks that became Part 3. These eight tracks were written by Harry and Richard, and contained a plentiful supply of poppy, memorable hooks. Disco, soul, funk, R&B and Latin music was combined with the sound of the Caribbean during the eight tracks. These eight tracks would be recorded at TK Records Miami studios, with Harry and Richard joined by the session musicians that made up KC and The Sunshine Band.
When Harry “Wayne” Casey and Richard Finch started recording what became Part 3, they were joined by the a number of session players. Harry sang lead vocal, Richard played bass, drums and percussion, with guitarist Jerome Smith and drummer Robert Johnson key to the band’s sound. Beverley Champion, Margaret Reynolds and Jeanette Williams added backing vocals. Together with a horn section of trumpeters Ken Faulk and Vinnie Tanno, tenor saxophonist Mike Lewis and baritone saxophonist Whit Sidener, the eight tracks were recorded, with Harry and Richard arranging and producing Part 3.
Before the release of Part 3, (Shake, Shake, Shake) Shake Your Booty was released as the lead single in June 1976, it gave KC and The Sunshine Band a dual number one single, reaching number one in the US Billboard 100 and US R&B Charts. Over the Atlantic in the UK, it reached number twenty-two in the UK. KC and The Sunshine Band were on a roll. When Part 3 was released in October 1976, it reached number thirteen in the Us Billboard 200 and number five in the US R&B Chart. Snap. Part 3 gave KC and The Sunshine Band their second triple-platinum album. The next single was I Like To Do It, which reached number thirty-seven in the US Billboard 100 and number four in the US R&B Charts in November 1976. While 1976 would prove successful for KC and The Sunshine Band, so would 1977.
I’m Your Boogie Man saw KC and The Sunshine Band start 1977 with a number one single. It reached number one in the US Billboard 100, number three in the US R&B Charts and number forty-one in the UK in January 1977. Keep It Coming saw the hits keep on coming for KC and The Sunshine Band during the summer of 1977. This gave them their third number one single from Part 3. The fourth single reached number two in the US Billboard 100, number one in the US R&B Charts and number thirty-one in the UK in June 1977. Wrap Your Arms Around Me was released in November 1977, reaching number forty-eight in the US Billboard 100 and number twenty-four in the US R&B Charts. KC and The Sunshine Band were by now, one of disco’s biggest success stories. Part 3, which I’ll now tell you about, proves just why.
Opening Part 3 is Baby I Love You (Yes I Do). Chiming guitars drive the arrangement along, while keyboards and the rhythm section create a slice of good-time funky music. Harry’s vocal is delivered with sass, while the rest of the band lock into a mesmeric, joyous groove. It’s impossible to resist the track’s poppy hooks and rhythmic delights. Later, bursts of horns and harmonies are the icing on this slice of joyful, good-time funky music.
Wrap Your Arms Around Me has a heavier, funkier side. Punchy, blazing horns join the rhythm section and percussion as KC and The Sunshine Band pick up where they left off on Part 3’s opener. Harry’s vocal is filled with joy and promise. A slapped bass, pounding drums and stabs of grizzled horns all play their part in the track’s sound and success. So too does Harry’s sassy, vampish vocal,
I Like To Do It sees a hint of Latin and Caribbean music unite with KC and The Sunshine Band’s usual fusion of soul, funk and disco. From the get-go, the track bursts into life, spreading its joyous sound. Chiming guitars, percussion and a funky rhythm section join braying horns and handclaps. Harry’s vocal has a laid-back, lazy sound that’s perfect for the track. Handclaps and harmonies join the stabs of horns as KC and The Sunshine Band spread their unique sunshine sound.
As (Shake, Shake, Shake) Shake Your Booty begins, you immediately hear similarities with George McCrae’s Rock Your Baby. That’s no surprise, given Richard and Harry also cowrote this. Of the eight tracks on Part 3, this is the catchiest of lot. It’s full of memorable, poppy hooks. Just keyboards, rhythm section and chiming guitars, accompany Harry’s foxy, sassy vocal. Blazing horns are key to the track’s sound, reinforcing the hooks. They also add to the track’s hook-laden, good-time, funky sound. By the end of the track, you’ve succumbed to the track’s irresistible charms and realised just why, it reached number one in the US.
Although the tempo drops as Let’s Go Party opens, the funk quotient increases. Big style. Keyboards, rhythm section, and guitars unite with growling horns and percussion. They create a backdrop that’s full of glorious rhythms and percussive delights. Harry whoops and hollers during the track, driving the band to greater heights of funkiness. This they do, whilst creating the perfect soundtrack to any party, one that will be funky with a capital F.
Come On In is sees elegant, soulful, sweeping harmonies provide a contrast to the power, drama and sheer funkiness provided by KC and The Sunshine Band. Guitar licks, stabs of keyboards and a powerhouse of a rhythm section are joined by rasping horns. Soon, the drama and power build. Harry’s vocal is filled with happiness and joy. He becomes like a cheerleader, encouraging and rousing the band. Bursts of growling horns, a pounding and funky rhythm are joined by keyboards as KC and The Sunshine Band provide a rousing, uplifting slice of dramatic, funky music.
When I’m Your Boogie Man was first released, people thought Harry was singing about the bogey man. Thankfully, it was the boogie man. The track has an understated sound before bursting into life. Stabs of dramatic, blazing horns, a thunderous, funky rhythm section and melodramatic keyboards combine as Harry becomes the boogie man. Stabs of horns accompany his vocal, adding drama and proving crucial to the sound and success of the track. Later, during a breakdown, when the horns drop out, the piano and guitar take charge. When they return, they drive what is one of the highlights of Part 3, to dramatic, horn laden crescendo.
Closing Part 3 is Keep It Comin’ Love, which gave KC and The Sunshine Band a number one US R&B single. As often proves to be the case, the last track on the album is one of the best. This is the case. From the opening bars, when piano and chiming guitars combine with a pounding, rhythm section, you realize something special is about to unfold. When Harry’s hopeful, joyous vocal enters, this proves to be the case. High kicking, blazing horns and harmonies accompany him as he unleashes a heartfelt vocal. With a plentiful supply of poppy hooks combining with the track’s joyous, sweet sound Part 3, closes with the highlight of the album. It’s one of these track’s that once you’ve heard it, won’t forget in a hurry.
Part 3 is best described as good time, funky music with a healthy sprinkling of disco added. It’s joyous music designed for the dance-floor. For any party, it’s the perfect soundtrack. Even though it’s twenty-six years since Part 3 was released, Part 3 has aged well. Indeed, like so much good music, it has a timeless sound. Unlike other albums from this era, it’s stood the test of time. Eight tracks filled with a plentiful supply of memorable, poppy hooks follow hot on the heels of the previous one. Part 3 proved lightning can strike twice in the same place. Like their sophomore album KC and The Sunshine Band, Part 3 was certified triple-platinum. As if that wasn’t success beyond Harry Wayne Casey and Richard Finch’s wildest dreams, Part 3 featured three number one singles. It seemed Harry and Richard could do know wrong. Part 3 which will be rereleased by BBR Records on 26th November 2012, saw KC and The Sunshine Band join disco’s royalty. They went from being Princes of disco, to disco Kings. The music on Part 3, KC and The Sunshine Band’s third album, includes some of the best music of their career. Indeed, the eight tracks that comprise Part 3, are packed full of poppy hooks aplenty and perfectly showcase KC and The Sunshine Band’s good-time, funky sound, which is still guaranteed to get keep any party going. Standout Tracks: Baby I Love You (Yes I Do), (Shake, Shake, Shake) Shake Your Booty, I’m Your Boogie Man and Keep It Comin’ Love.
KC AND THE SUNSHINE BAND-PART 3.
OLIVIA DE LANZAC-UNCUT.
OLIVIA DE LANZAC-UNCUT.
For Olivia De Lanzac, whose new digital album Uncut has just been released by BBE Music, her musical journey has seen her cross two continents and live in three countries. Olivia 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. Uncut is best described as a genre-crossing collection of compelling and eclectic tracks. It’s almost as if everything Olivia has released and everyone she has collaborated with, have influenced the nine tracks on Uncut. So Olivia’s life, the people she’s worked and collaborated with have influenced her music. However, there’s a third influence. This other influence is the label Olivia is now signed to, BBE Music. The music BBE Music have released has influenced and shaped her musical tastes. Like Uncut, BBE Music’s releases are best described as eclectic. Indeed, for anyone trying to categorize BBE Music’s releases, eclectic is a good description. They’ve prided themselves on releasing quality, eclectic music for over fifteen years. It seems that Olivia De Lanzac and BBE Music are a musical marriage made in heaven. Is that the case? That’s what I’ll tell you, when I tell you about the music on Uncut. Before that, I’ll tell you about Olivia’s career so far.
Before to embarking on a solo career, Olivia De Lanzac was a member of Quad Throw Salchow. They released their debut single Unwelcome Guest in 2006, on Try Science Records. A year later, Olivia embarked on her solo career. She released her debut single Baby Let’s Play House Parts 1 and 2 in 2007, for Tony Carrasco’s Multitronix label. In 2008, Olivia released two further singles, Hush and Steppin’ N2 Rhythm. 2008 proved to be a busy year for Olivia, with Quad Throw Salchow releasing their second single. Chrome September was 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.
Olivia released her debut solo album Baby Let’s Play House in 2010, on Multitronix. Let’s Play House was be 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, which I’ll now tell you about.
Opening Uncut is Sketches of Blue, where hip hope and ambient combine. As the track opens, it’s like eavesdropping on a conversation. It’s just two guys having a conversation. Soon, a pounding, funky bass, crunchy drumbeats and stabs of keyboards combine. Later, synths that remind me of nineties ambient music and bursts of horns enter. They all play their part in creating a spacious, moody soundscape. It takes its influences from hip hop, ambient music and seventies funk. There’s a Nightmares On Wax sound to the track. It’s not unlike Smoker’s Delight and Car Boot Soul, with its mellow, laid-back and smokey sound that washes over you.
Get Free picks up where Sketches of Blue left off. It has a space, moody and mellow sound. Crispy beats, stabs of vocal and percussion and joined by wistful bursts of horns. Filters are added, as the track’s gloriously repetitive sound draws you. Later, as delay is added, as the vocal encourages you to “Get Free.” The track takes on a spacey sound, washes of keyboards and a pounding bass joining drums, percussion and occasional scratches. Bursts of horns and handclaps are just the finishing touch to what is a truly innovative ambient soundscape. It takes the best of nineties and noughties ambient music, and gives it a makeover, with a little help from funk and hip hop.
The title-track Uncut sees Olivia throw something of a curveball. When bursts of keyboards and synths combine, the name Brian Eno springs to mind. Only momentarily though. Pounding, galloping beats take charge, grabbing your attention. Percussion, snippets of vocals and samples combine with stabs of keyboards. There’s everything from early hip hop, jazz and ambient music thrown into the melting pot. Later, the track takes on a eerie, haunting sound before heading back in the direction of hip hop. Surprises, subtleties and suspense all play their part in this compelling, dramatic soundscape.
Gasoline Rainbow sees a change in style and sound. It’s a much slower track, the tempo dropping way down to eighty beats per minute. Dramatic bursts of crunchy drum are joined by brief washes of Acid House synths. They provide a contrast, while a pounding bass adds to the drama. By then, you can hear a slight drum and bass influence. Repeated stabs of warm, melodic keyboards add another layer, as delay and filters transform the sound. Later, there’s even a Sly and Robbie influence, before drama and subtlety combine. Soon, the track begins to sound like something from the soundtrack to seventies Cold War spy thriller. Drama and tension courtesy of Olivia De Lanzac’s unfolds.
Slow, spacious and moody are just some of the words that could describe We Got All Nit’. It’s a track that meanders along, springing subtleties and surprises aplenty. Haunting vocals drenched in delay join dubby drums and synths. They create a track that’s moody, spacey and dubby. Dub reggae meets ambient music. Olivia takes you on surreal, mystical musical journey, where you can loose yourself in the slow beats and mysterious music.
As Maani reveals its charms and delights, it’s as if you’ve been transported halfway round the world to India. Again the music conjurs pictures and scenarios in your mind. Here, as two continent’s music unite seamlessly and beautifully. Western and Indian music are fused. Crispy beats, synths and myriad of Indian drums percussion combine. The finishing touch is an ethereal vocal, that’s hauntingly beautiful. It drifts in and out, before rasping horns make a brief appearance. When all this is combined, the result is a hauntingly beautiful and quite wistful track, where two continent’s music unites.
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.
As Thaeneb begins, you’re reminded of crispy, crackly vinyl. It’s not unlike listening to an old album playing. To that, add a distant, industrial sound. It gradually creeps up on you. However, it’s also a combination of contrasts and layers of music. Warm, melodic keyboards meander along, as the track takes on a dreamy, ambient sound. This ambient sound never leaves. Resistance is impossible. Memories come flooding back. You’re attracted to this warm, melodic slice of ambient music, not just for the memories it provokes, but for its dreamy, melancholy sound.
Closing Uncut is Pyrexia, which sees quick, crispy beats and warm, melodic keyboards are joined by a sassy, feisty vocal. Again the sound of crackly vinyl is replicated, and used throughout the track. This gives the song a vintage sound, as do the effects used on Olivia’s vocal. They’re really effective, as are the old school beats. Just stabs of keyboards, drums and backing vocals accompany Olivia’s vocal, while effects are used, heightening the drama. During a breakdown, the track takes on minimalist sound, before Olivia rebuilds the arrangement. She ensures Uncut ends on a dramatic, memorable musical high.
Earlier, I mentioned that Olivia De Lanzac’s sophomore album Uncut is an eclectic album. Indeed, describing Uncut as an eclectic album is almost an understatement. There’s everything from funk, hip hop, ambient, jazz, Latin, dub, drum and bass and Indian music. Apart from 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. Then there’s nineties and noughties ambient music, which is given a makeover and transformation. In many ways Uncut is dreamy, sometimes dramatic soundscape which is moody, broody and often, beautiful and mesmeric. The best way of describing Uncut, is an intricate musical tapestry, where layer upon layer of music is weaved together by Olivia. These became nine mini soundscapes or ambient symphonies form Uncut, which has been released by BBE Music, as a digital only release. This is quite fitting, because Olivia De Lanzac’s sophomore album Uncut is as eclectic as the music BBE Music have prided themselves on releasing for over fifteen years. Standout Tracks: Sketches of Blue, Get Free, Maani and The Spanish Monk.
OLIVIA DE LANZAC-UNCUT.
JOE MCALINDEN-BLEACHED HIGHLIGHTS.
JOE MCALINDEN-BLEACHED HIGHLIGHTS.
In the past few years, the way people buy music has changed beyond all recognition. Long gone are the days when buying new music involved a trip to your local record store. Now record stores are disappearing on an almost daily basis, with even the large chains vanishing from high streets. Replacing them online retailers who sell everything from white goods to DVDs and CDs. With music, they’re able to carry a much wider range of releases than the independent record shops that have survived. Not only that, but they’re then able to sell them at seemingly rock-bottom prices. However, much of the music these retailers sell are by established artists. What of the artists struggling to make a commercial breakthrough?
That’s where independent record labels come in. Many of these smaller labels specialise in releasing music by new artists. These labels sell their music through online stores, releasing CDs and even vinyl. Given the way music contracts have changed, with labels of all sizes wanting larger of an artists “pie,” many artists don’t want to sign to a label. Instead, they’ll release music independently,
Nowadays, for independent artists, there are even more ways of distributing their music. Sites like Beatport release music from independent artists from all corners of the globe. So CD Baby and iTunes. All of these sites give artists the opportunity to have their music heard my a wider audience. With these sites, you can hear the music before you buy it. The only downside is that you’re buying downloads. For music lovers of a certain age, this leaves them cold. This means no physical product, no sleeve-notes to read or artwork to enjoy. Instead, it’s just a file on a computer hard-drive, often a pretty poor quality one. Some artists realize that not everyone wants to download an album, and instead, want to own and cherish a CD or vinyl album. One of these artists is Joe McAlinden, who recently released his debut solo album Bleached Highlights.
Joe McAlinden is something of a veteran of the Scottish music scene. He was a member of Superstar, who signed to Alan McGhee’s Creation Records in 1992. After releasing their debut album Greatest Hits Volume One in 1992, Superstar released six further albums. Their final album was Phat Dat, released in 2000 on the Camp Fabulous label. During his time with Superstar, and post-Superstar, Joe has been played and collaborating with everyone from the BMX Bandits, Teenage Fanclub, Big Star and Edwyn Collins. Indeed, Edwyn Collins would play an important role in Joe’s debut solo album Bleached Highlights.
Most of the time Joe McAlinden is writing and recording, it’s at his home studio in Argyll. This is where work began on his debut solo album Bleached Highlights. Given its beautiful, rural location, Argyll is the perfect place to write and record. Although Argyll, might not seem very rock and roll, it allows Joe to concentrate on the things that matter to him, his family and music. It’s not just music that keeps Joe busy in Argyll, as he also runs Inver Cottage Restaurant with his wife Jasmine. It was in Argyll that Joe wrote the ten tracks that became Bleached Highlights. Joe then had to leave behind the beauty of Argyll, heading to London to work with another veteran of Scottish music Edwyn Collins.
Recording of Bleached Highlights took place at West Heath Yard studios in London. Producing Bleached Highlights were Edwyn Collins and Sebastian Lewsley. A small tight and talented band that included Paul Cook and Bart Mosh on drums, were joined by James Walbourne on guitar and mandolin. Joe a multi-instrumentalist, played bass, keyboards, saxophones and violins. Once the ten tracks that became Bleached Highlights were recorded, it was released on AED Records in July 2012.
When it came to the release of Bleached Highlights, Joe decided to as well as selling the album via iTunes and record stores, he’d also sell it via his website. So when I heard Bleached Highlights had been released, I placed my order via Joe’s website and received back a signed copy, complete with a little cartoon drawn on the cover. This makes your copy of Bleached Highlights seem special and unique, as if somehow, Joe cares about people buying his album. It seems Joe McAlinden seems determined to make a good impression even before you’ve played Bleached Highlights. Will Joe have made an even better impression by the time Bleached Highlights is over? That’s what I’ll now tell you.
Opening Bleached Highlights is Brown Bird Singing, a track that sees The Byrds meet Teenage Fanclub and the BMX Bandits. In some ways the track has a quintessentially Scottish sound. Joe’s heartfelt vocal is accompanied by a James Walbourne’s guitar, a rhythm section of drummer Paul Cook and Joe on bass. Joe also plays keyboards and contributes Byrdsian harmonies. It’s a bit like a track you’d expect the Teenage Fanclub or BMX Bandits to have recorded in their heyday. Having said that it’s very beautiful, heartfelt and grabs your attention. You settle back and anticipate the rest of Bleached Highlights many highlights.
There’s a rockier sound to I Just Wanna Be Here (When I’m Somewhere Else). Waves of crystalline guitars and a driving rhythm section give way to Joe’s powerful vocal. His tight, talented band lock into a tight groove, with searing guitars licks and Byrdsian harmonies accompanying his impassioned vocal. The harmonies are dropped in just at the right time. Soon, poppy hooks, rocky guitar riffs and tight soaring harmonies unite. They create an infectiously catchy track that once you’ve heard it, will never forget.
As Bleached Highlights begins, you realize something special is about to unfold. You’re not disappointed. The rhythm section, rasping saxophones and keyboards grab your attention, before Joe delivers a tender, beautiful vocal. His vocal has a vulnerability, and when harmonies sweep in, the track’s beauty grows. James Walbourne’s crystalline guitar punctuates the arrangement and Joe unleashes a braying saxophone solo. Each play their part in accentuating and highlighting the beauty and vulnerability of Joe’s tender vocal. Of all the tracks on Bleached Highlights, this without a doubt is the most beautiful.
Thank You has a hesitant, spacious introduction. Just Joe’s vocal and guitars combine before the rhythm section enter. Soon, the track takes on a rockier sound. Harmonies accompany Joe’s vocal as the arrangement drives along. Layers and waves of music unfold, with sizzling, riffing guitars and harmonies accompanying Joe’s emotive vocal. Not only are there similarities with Glasgow bands like Teenage Fanclub, BMX Bandits and the Trashcan Sinatras, but a group who influenced these bands, Big Star. To this Big Star influence, Joe adds a plentiful supply of poppy hooks, as California and Glasgow unite.
Round and Round sees another change in sound and style. Joe’s pounding bass and keyboards at the heart of the action, before he reveals a vulnerable, needy vocal. The arrangement takes on an understated sound, never overpowering a pensive vocal. Drums provide the track’s emotive heartbeat, as keyboards give the track a melodic sound. Guitars also play an important role. They replace Joe’s vocal, adding a dramatic sound that reinforces the emotion and vulnerability in his vocal.
Although If I Had Wings lasts less than three minutes, it’s one of the best and most satisfying musical minutes you’ll spend. Listen carefully and you’ll hear The Byrds, Beach Boys and Teenage Fanclub. Just waves of Joe’s guitar accompany his impassioned vocal. It’s one of his best vocals, filled with hope and happiness. Just the rhythm section and Byrdsian harmonies accompany him, creating a track that’s not just heartfelt and very beautiful, but a slice of pop perfection.
Written has a moody sound from the get-go. Guitars shriek, before keyboards and the rhythm section create a broody backdrop. Joe’s vocal is full of hurt and heartache. He breathes life into the lyrics, getting across the sense of loss and longing. In doing so, he and his band sound not unlike Squeeze at their very best. Like Glen Tilbrook and Chris Difford, Joe is a hugely talented songwriter and singer, who brings to life the backstory behind the lyrics. Proof of this if any were needed is Written.
Hear My Name is another track where Joe demonstrates his talent as both a singer and songwriter. His wistful, melancholy vocal is accompanied by just keyboards and guitar. Then his vocal and the arrangement grows in power. So too, does the song’s quite beautiful, melancholy sound. Tight harmonies sweep in, accompanying his vocal. They’re just the finishing touch, the clincher, as the track heads to its dramatic, melancholy and beautiful crescendo.
Something Wonderful is a quite apt title for this track. Just a guitar and the rhythm section accompany Joe’s vocal as it unfolds in breathy, waves. It’s as if Joe’s giving something of himself as he delivers the lyrics with feeling and emotion. The arrangement with its chiming, crystalline guitars and tender harmonies proves the perfect accompaniment and helps create Something Wonderful.
Closing Bleached Highlights is Hideaway, which sees the album come to a dramatic conclusion. It’s another track where Joe’s talents as a lyricist and singer come to the fore. He delivers the lyrics in dramatic waves, mixing passion and emotion in equal amounts. Accompanying his vocal are melodramatic, multi-tracked vocals that sound as if they belong on a seventies Queen album. They proves effective. Soon, Joe and his band kick loose. With the rhythm section, keyboards and guitar join the harmonies in accompanying Joe, he bring Bleached Highlights to a dramatic, melodic conclusion.
Although Bleached Highlights is Joe McAlinden’s debut solo album, it doesn’t sound like it. Bleached Highlights is crammed full of perfect three-minute pop songs, which benefit from a plentiful supply of poppy hooks. They’re delivered by Joe with emotion, passion, hope, joy and vulnerability. He breathes life and meaning into the ten tracks, as he demonstrates his twin talents of songwriter and singer. While Bleached Highlights is a debut album, it’s obvious that it’s one that’s been released by an experienced and multi-talented musician. That’s what Joe McAlinden is. He’s been a musician for over twenty years, releasing seven albums with Superstar, and has played and collaborated with everyone from Big Star, Teenage Fanclub and BMX Bandits. During his time playing and collaborating with these artists, he’s taken a little of their sound and style, making it his own. Listen carefully, you’ll hear little bits of each of these artists, plus more than a little of the Beach Boys and Brian Wilson, whose influenced a generation of Scottish musicians. Another Scottish musician whose played his part in the sound and success of Bleached Highlights is Edwyn Collins. Along with his production partner Sebastian Lewsley, plus a tight, talented band, they played their part in making Bleached Highlights such a compelling, melodic and beautiful album.
I just hope that Bleached Highlights finds the wider audience the music deserves. It deserves to become a commercial success, given the sheer quality of music. I’m sure in years to come, Bleached Highlights will be recognized for what it is, a Scottish pop classic. It’s an introduction to one of Scotland’s best kept musical secrets, Joe McAlinden as he embarks on his solo career. Hopefully, Bleached Highlights will be the first of many albums Joe McAlinden will release, and the first of many journeys Joe will take from Argyll to London, in the pursuit of pop perfection. Standout Tracks: Brown Bird Singing, Bleached Highlights, Hear My Name and Something Wonderful.
JOE MCALINDEN-BLEACHED HIGHLIGHTS.
FANGA AND MAALEM ABDALLAH GUINEA-FANGNAWA EXPERIENCE.
FANGA AND MAALEM ABDALLAH GUINEA-FANGNAWA EXPERIENCE.
As someone whose been a champion of African music for twenty-five years, I’ve recently been really enjoying Andy Kershaw’s autobiography No Off Switch. I’ve enjoyed his stories of traveling through Africa discovering new music. Having discovered artists that previously were unheard of outside of their own country, he gave their music the exposure it deserved. He played their music on his radio shows, and on many occasions, become their unpaid agent. Soon, listeners to his show hungrily awaited his latest discoveries. Not only did Andy Kershaw become an ambassador not just for African music, but music from every continent of the world. This was very different to anything else on radio. Indeed this was cutting-edge. Unlike other DJs Andy loved and was passionate about the music he played. Before this, cutting-edge radio equalled smug, lazy and contrarian DJs playing what they perceived as innovative, or failing that, another track from The Fall. For many people, this lead to a lifelong love affair with African music. Now, nearly twenty years later, African music is even more popular than ever. Record labels including BBE Music, Offering Recordings and Strut Records have become champions of African music. Indeed, Strut Records’ forthcoming release Fanga and Maalem Abdallah Guinea’s Fangnawa Experience which will be released on 19th November 2012 is an exciting and innovative collaboration between two giants of the African music scene. Before I tell you about the music on Fangnawa Experience, I’ll tell you about this collaboration.
For anyone with even a passing interest in African music, Fanga’s collaboration with Maalem Abdallah Guinea is a mouthwatering prospect. On one hand you’ve the French-Afro eight-piece collective Fanga, who’ve been fusing Afrobeat, Moroccan Gnawa music and funk for fifteen-years and on the other hand Abdallah Guinea, a Gnawan maalem. It’s a coming together of musical styles and cultures. Although neither Fange nor Abdallah Guinea speak the same music, they’re united by something that transcends cultures, classes, boundaries and languages..music.
Fanga were founded in France 1998, and feature Burkina Fasso born vocalist Korbo. Since their formation in 1998, Fanga have released a series of E.P.s and albums. Their last two albums are 2008s Sira Ba on Underdog Records and 2009s Natural Juice on Cosmic Groove. Recently, Fanga’s hypnotic sound and its percussive and rhythmic delights has recently found a wider audience. It’s been discovered by DJs like Giles Peterson and Wax Poetics. There’s even been collaborations between members of Fange and other artists, including Tony Allen, on his album Black Voices, released in 2000. Recently, Fange have supported artists of the stature of Seun Kuti, Suen and Antibalas. For Fanga’s latest project, they’re joined by Abdallah Guinea and his band Nasse Ejabada on Fangnawa Experience.
Fanga’s musical collaborator on Fangnawa Experience is Abdallah Guinea, one of Morocco’s master musicians. He’s a leading Moroccan maalem, a gnawa master. Gnawan music is a sacred, ritualistic musical style and ceremony, which is performed by the maalem, the master. The music features the qraqab, which are heavy iron castanets and a three-string lute called the gimbri. Gnawa music is primarily heard in Morocco and North Africa.
Abdallah Guinea is one of the greatest living practitioners of Gnawa music. It’s no wonder. He’s from a family of respected artists and musicians. Indeed, Abdallah’s father is regarded as the greatest Moroccan maalem. His talents rubbed off on Abdallah, who began playing the gimbri aged just twelve. Soon, Abdallah had also mastered the banjo, guitar and mandolin. Four years later, aged just sixteen, Abdallah became a master maalem. Since then, Abdallah and his band Nasse Ejabada have developed their own unique sound and style, seamlessly fusing African and European music. On Fangnawa Experience, Fange and Abdallah Guinea combine Afrobeat, funk and Gnawan music, with what Abdallah refers to as Fusion Trance. The six tracks on Fangnawa Experience are tracks previously recorded by Fange, but given a new twist with their collaboration with Abdallah Guinea.
Opening Fangnawa Experience is Noble Tree, a fourteen-minute epic. As the track reveals its charms and delights, percussion, rasping horns that sound as they belong on a free jazz album, combine with drums and keyboards. A gimbri joins the funkiest of rhythm section, while chiming guitars punctuate the arrangement. Soon, funk, jazz and Afrobeat unite with Gnawa music. There’s even a hint of James Brown. When the emotive vocal enters, the music is dramatic, uplifting and melodic. It draws you in. Quickly, you’re spellbound by its rhythmic and percussive delights. Harmonies reply to a chanted vocal, as the Trance Fusion sound reveals its hypnotic sound. Accompanying it, is an equally hypnotic groove, where western and African music unite. It’s a glorious, compelling combination, one that’s irresistible, hypnotic and impossible not to succumb to.
Just an unaccompanied gimbri opens Gnawi. It grabs your attention, a Hammond organ, drums and growling horns make their presence felt. They may produce contrasting sounds, but they unite seamlessly as elements of gnawan music, funk and soul combine. When Abdallah’s vocal enters, it’s impassioned and spiritual, with a hint of vulnerability. Harmonies accompany him, in a call and response style.
Space is left within the understated arrangement, allowing you to focus on the vocal, which is laden with emotion and blessed with a spiritual quality. As the arrangement meanders along, guitars, gimbri and percussion punctuating the arrangement. Later, horns growl and rasp, as the arrangement grows in power and drama. It’s as if they’re demanding you’re attention, forcing you to listen to the beauty, passion and spirituality of this fusion of musical genres and influences. They of course are right, music as good as this deserves your undivided attention.
Kelen sees pounding drums combine with a gimbri before a powerful, chanted vocal enters. Harmonies and rasping horns accompany the vocal, that’s delivered with equal amounts of emotion and passion, as the track unfolds at breakneck speed. Soon, the track takes on a hypnotic and infectiously catchy sound. Bursts of keyboards are joined by a pounding, funky rhythm section and chiming guitars. They drive the arrangement along, producing some glorious rhythms. These are impossible to resist. You’re swept along by them. Keyboards replace the vocal, picking up where it left off. When it returns, it’s even more impassioned. It locks into a groove with the harmonies, revisiting the Trance Fusion sound. Horns bray and rasp, and do the seemingly impossible, by adding to track’s drama, emotion and hypnotic sound.
From the opening notes of Dounya Fanga and Maalem Abdallah Guinea have your attention. Drums and a myriad of percussive delights create a bold, dramatic backdrop for the vocal. It’s delivered powerfully, in a call and response style. Joyous harmonies reply to the call, as the drums and percussion power the arrangement along. When all this is combined, the result is a track that’s uplifting and joyous.
Kononi has similarities with Gnawi, given its understated sound. Gradually, the track builds and grows. Drums and percussion join, providing the backdrop for the vocal. Like other tracks on Fangnawa Experience, the vocal is a mixture of emotion, passion and power, with joyful harmonies replying to the call. This is a powerful combination, one that’s uplifting and spiritual. You can’t help focus on the vocal, given the impassioned, heartfelt delivery. As the vocal grows in power, so does the arrangement. Stabs of Hammond organ add to the drama, while a combination of the rhythm section, percussion and grizzled horns unite. They fuse influences and musical genres. Seamlessly, elements of funk, Afrobeat, jazz, soul and gnawa music become one. To that, add the unique and compelling Trance Fusion sound. Not for the first time, Its hypnotic sound has you spellbound
Closing Fangnawa Experience is Wouarri, where the drama grows and builds. Just drums then the rest of the rhythm section combine, creating a hypnotic, repetitive groove. Growling horns signal the entrance of a gnarled vocal. It matches the drama of the arrangement. Soon, a Hammond organ, percussion and stabs of rasping horns enter. Later, the vocal grows in power and drama as Fanga and Maalem Abdallah Guinea decide to kick loose. It’s as if they’re deciding to close Fangnawa Experience on a high. This they do, locking into a tight, hypnotic and gloriously repetitive groove, where joyous, uplifting harmonies reply to the powerful vocal. The vocal comes from the heart, delivered with a mixture of power and passion. Searing, psychedelic guitars, hissing hi-hats and a myriad of percussion combine as the drama grows and grows. Afrobeat, psychedelia, jazz and funk. It’s all thrown into the mix as Fanga and Maalem Abdallah Guinea bring Fangnawa Experience to tumultuous, dramatic climax.
Fangnawa Experience was more than a collaboration between musicians, it was a collaboration between two continents. Fanga are based in France and among the best practitioners of Afrobeat, while Maalem Abdallah Guinea is a Moroccan gnawa master. They were united through music. The result wasn’t just a reworking of six of Fanga’s classic tracks, but a reinvention of them. These six tracks are transformed, with even more emotion, energy, drama and passion injected into them. From the opening bars of Noble Tree, right through to the closing notes of Wouarri, you’re taken on compelling, uplifting and joyous musical journey. Musical influences and genres melt into one. Everything from Afrobeat, gnawa music, funk, soul, jazz and psychedelic influences merge into one. It’s a glorious and totally irresistible fusion of styles and influences. With its unique hypnotic sound, resistance to Fangnawa Experience, which will be which will be released on 19th November 2012 by Strut Records is impossible. Best just to succumb to Fangnawa Experience’s rhythmic and percussive delights and enjoy this majestic musical journey through musical genres. Standout Tracks: Noble Tree, Gnawi, Kelen and Wouarri.
FANGA AND MAALEM ABDALLAH GUINEA-FANGNAWA EXPERIENCE.
NANCY WILSON-KEEP YOU SATISFIED AND FORBIDDEN LOVER.
NANCY WILSON-KEEP YOU SATISFIED AND FORBIDDEN LOVER.
Some artists almost become synonymous with one label. That was the case for Nancy Wilson. Having released her debut album Something Wonderful in 1960, she spent twenty-four years at Capitol Records, releasing close to forty albums. It almost seemed unthinkable that Nancy Wilson would leave Capitol Records. However, she did, in 1979. Part of the problem was the change in production techniques. When Nancy started out, she enjoyed recording her vocal live, with an orchestra or band accompanying her. Recording this way resulted in some of the best, most successful and memorable music of her career. As her career progressed, producers started recording the musicians first, then adding the vocals later. Any mistakes were sorted later on, with the singer rerecording part of the song. While this new way of working didn’t bother other artists, it wasn’t for Nancy Wilson. She became disheartened, no longer satisfied by the changes in the way albums were recorded and produced. So Nancy and Capitol parted company in 1979. Seven years later, Nancy would return to a major label, Columbia, by which time she was reinvigorated and reenergized, releasing 1986s Keep You Satisfied and 1987s Forbidden Lover, which will be rereleased by SoulMusic Records on 12th November 2012 as a double-album. Before I tell you about Keep You Satisfied and Forbidden Lover, I’ll tell you about Nancy’s journey in search of a producer who like her, worked in an old school way.
Having left Capitol, Nancy went looking for a record company who recorded music old school style. This search took three years. She was in Japan touring, when she met producer Kiyoshi Itoh. He would become ying to Nancy’s yang. Kiyoshi was producer who liked to work old school style. Nancy’s vocals were recorded live with a band accompanying her. This seemed to reinvigorate and reenergize Nancy, who recorded four albums with Kiyoshi Itoh, The albums were What’s New, Your Eyes, I’ll Be A Song and Godsend, which were released on Toshiba-EMI and Nippon Columbia in Japan. Having been reinvigorated, Nancy headed back to America. Back home, Nancy hooked with a legendary musician and this would result in Nancy signing to another major label.
Once she’d returned to America, Nancy would collaborate with legendary jazz musician Ramsey Lewis. Producing The Two of Us would be another jazz legend, bassist Stanley Clarke. On the release of The Two of Us in 1984, the album was a commercial success. It reached number 146 in the US Billboard 200, number forty-two in the US R&B Charts and number five in the US Jazz Charts. After the success of The Two of Us, Nancy was offered a contract by Columbia Records. So after seven years, Nancy Wilson was back where she belonged, on a major label. Her first album for Columbia would be 1986s Keep You Satisfied.
For Nancy Wilson’s return Keep You Satisfied, she decided to hookup with the producer who reinvigorated her career, Kiyoshi Itoh. Together, they chose an eclectic collection of ten tracks. This saw Nancy revisit tracks penned by artists that ranged from Marvin Gaye, Eugene McDaniels and even Wham. Eugene McDaniels wrote American Wedding Song and cowrote If We Were Lovers. There was a cover of Just To Keep You Satisfied penned by Marvin and Anna Gaye with Elgie Stover. One of the leftfield choices was Careless Whisper, written by George Michael and Andrew Ridgely. Given the song had provided George Michael with a recent hit, this made commercial sense to Columbia. These four tracks, plus six others, were recorded in Japan old style. Nancy’s vocals were recorded live, with a live orchestra and rhythm section accompanying her. On Keep You Satisfied, Nancy fused jazz, soul, pop and Latin music. Would Nancy’s old school album Keep You Satisfied prove commercially successful?
On the release of Keep You Satisfied in 1986, it reached number sixteen in the US Billboard Jazz Charts. Soon, American radio stations were playing tracks from Keep You Satisfied. Two tracks radio stations played were We’ve Got Love and the cover of Careless Whisper, which Nancy transformed from a bland, schmaltzy track into one full of hurt, pain and heartache. So heartfelt is her reading that it sounds as if Nancy had lived and survived the heartache in the song. However, there’s much more to Keep You Satisfied than just two tracks.
Indeed, the ten tracks on Keep You Satisfied show different sides to Nancy Wilson and her music. Synth strings open Just To Keep You In My Life before Nancy and her band kick loose. Soon, you realize Nancy Wilson is back. Her vocal has matured, grown in strength and stature. Her delivery is thoughtful and heartfelt, and like her band, grows in power and drama. Another of the more uptempo tracks is We’ve Got Love. It features a punchy delivery from Nancy, before she cuts loose, making the song swing. This gives the track a contemporary sound, that twenty-six years, has aged well. For me it’s on the slower tracks on Keep You Satisfied that Nancy really shines.
American Wedding Song sees Nancy drop the tempo, delivering her tender vocal against an understated, subtle arrangement. Early Morning is another slower song, with Nancy and her backing vocalists key to the song’s sound and success. They breath meaning and beauty into the song. Later in Keep You Satisfied, Just To Keep You Satisfied is another of the slower cuts. Nancy’s breathy, sensuous vocal delivered against a quite beautiful, understated backdrop. It’s Too Late has similarities with the preceding track, given its slower tempo and an emotive, impassioned vocal from Nancy. Producer Kiyoshi Itoh has chosen the perfect track to close Keep You Satisfied, If We Were Lovers. While it’s a very beautiful song, one where Nancy’s vocal is tender and melancholy, this emotive song doesn’t have a happy ending. Instead, it’s a case of what if? Given the quality of music and the commercial success of Keep You Satisfied, Columbia were keen to start recording the followup. However, there would be a few changes in store.
For the recording of Forbidden Lover, recording would take place on America’s West Coast, in Los Angeles. Dr. George Butler was brought in to act as executive producer and a crack group of session musicians would play on Forbidden Lover. One thing stayed the same, the producer. Kiyoshi Itoh and his arranger Masahiko Satoh were flown in from Japan to Los Angeles. In LA they met a band that included a rhythm section of drummer Ed Greene, bassist Jimmy Johnson and guitarist Paul Williams Jr. They were joined by percussionist Paulinho Da Costa, saxophonist Branford Marsalis, trumpeter Jerry Hey and Ernie Watts on reeds. They would record ten tracks, including Don George and Morris Charlap’s I Was Telling Him About You, Leon Russell’s A Song For You plus two tracks from the Andrew Sarnoff and Pat Maiorino songwriting team. This were Deeper and I Never Held Your Heart. When the recording sessions for Forbidden Lover took place, there would be another change.
Unlike Keep You Satisfied, the vocals weren’t recorded with a live band. Instead, Nancy recorded rough takes of the vocal with the rhythm section. Then the strings, horns and backing vocals were added. After that, Nancy recorded her final vocal. This wasn’t the old school style Nancy preferred. Somewhat ironically, Forbidden Love would prove more popular than Keep You Satisfied.
When Forbidden Lover was released, it reached number eight on the US Billboard Jazz Charts. This meant Forbidden Lover had proved more popular than Keep You Satisfied. The only disappointment was that Forbidden Lover didn’t prove more popular in the mainstream. However, it seemed Nancy’s return to a major label was continuing apace. Was Forbidden Lover as good as Keep You Satisfied?
Like her previous album Keep you Satisfied, Forbidden Lover is a mixture of uptempo tracks and ballads, Similarly, Forbidden Lover sees Nancy mix styles, as she reveals a more contemporary sound. Opening Forbidden Lover is I Never Held Your Heart, one of two tracks that feature Carl Anderson. Their voice sit well together, uniting to create a quite beautiful, wistful sounding track. As the track progresses, Nancy’s vocal grows in power, passion and emotion, getting Forbidden Lover off to an impressive start.
If You Only Knew has a quite different, much more contemporary, uptempo sound. Nancy’s vocal is delivered with a swing, as rasping horns reply to her call. Backing vocalists accompany her, her vocal takes on a sassy, feisty style. Puttin’ My Trust has a real contemporary, R&B sound, where Nancy’s band get the opportunity to showcase their prowess. Their performance seems to spur Nancy on, delivering another powerful, feisty vocal. She kicks loose, delivering one of her best vocals on Forbidden Lovers. It’s like a vocal masterclass, with growling horns and backing vocalists key to the song’s sound and success. You Know sees the contemporary sound continue, complete with a funky rhythm section. Nancy’s delivery veers between soul and jazz, mixing power and passion. On the floaty, mid-tempo What Will It Take This Time, there’s a hint of Anita Baker. During the track, Nancy unleashes a powerful, dynamic vocal, where she puts her full vocal range to good use, mixing drama and emotion. It’s not just the more uptempo tracks where Nancy shines. Quite the opposite.
Similar to Keep You Satisfied, Nancy is at her best on Forbidden Lover on the slow songs. I Was Telling Him About You is one of the best, with Nancy transformed into a storyteller par excellence. Her delivery is slow, spacious and impassioned, growing in power and passion as the song reaches its dramatic crescendo. Deeper is another ballad, where rasping horns and backing vocalists accompany Nancy, as she showcases her heartfelt, soulful delivery. I Never Held Your Heart features one of Nancy’s most emotive deliveries, against a meandering, understated arrangement. Strings reflect the emotion, sadness and regret in Nancy’s vocal as she rolls back the years, drawing on over twenty years experience. The quality keeps on coming on A Song For You, which closes Forbidden Love. It has a wistful, melancholy sound, with just the piano accompanying Nancy. Soon, her vocal grows in power and emotion, as she closes Forbidden Lover with one of its real highlights.
Although Keep You Satisfied and Forbidden Lover may not have replicated the success of Nancy Wilson’s early albums, they had one thing in common..quality. Indeed, the Nancy Wilson you hear on these albums has a much more mature voice, one that’s grown in strength and stature. Not only that, but Nancy can breath life and meaning into a variety of songs. She delivers them in a style that can range from jazzy or soulful, to with a swing or even with an R&B sound. This is something not many other artists can do. They lack the versatility to seamlessly change styles. In doing so, she can deliver a song with a range of emotion. Whether it’s sadness, regret, joy or sass, Nancy Wilson can do all this and more. Maybe leaving Capitol Records was the best thing Nancy Wilson did? By doing this, she met producer Kiyoshi Itoh who helped reinvigorate and reenergize Nancy’s career, resulting in her making a return to a major label. At Columbia, Nancy’s career enjoyed something an Indian Summer, resulting in her releasing Keep You Satisfied and Forbidden Lover, which will be rereleased by SoulMusic Records on 12th November 2012 as a double-album. Both Keep You Satisfied and Forbidden Lover, feature a return to form from one of the most talented female vocalists of a generation, Nancy Wilson. Standout Tracks: Early Morning, Just To Keep You Satisfied, I Was Telling Him About You and A Song For You.
NANCY WILSON-KEEP YOU SATISFIED AND FORBIDDEN LOVER.
BILLY PAUL-WAR OF THE GODS.
BILLY PAUL-WAR OF THE GODS.
A year after the release of Billy Paul’s most commercially successful album 360 Degrees of Billy Paul in 1972, an album that featured the Grammy Award winning number one single Me and Mrs Jones, Billy released his follow-up album War of the Gods. By this time, Philadelphia International Records had undergone something of a transformation. Their legendary house band M.F.S.B. had become the slick, sophisticated and polished band that would appear on so many great albums. Driven along by the rhythm section of Baker, Harris, Young, guitarist Bobby Eli, while Vince Montana Jr. would add vibes, and Don Ronaldo’s strings and horns would provide their trademark sound. Together with the talents of producers Gamble and Huff and Thom Bell, arrangers Jack Faith, Bobby Martin and Lenny Pakula, Philadelphia International Records would transform seventies soul music, when the Philly Sound was born. Variously described as sophisticated, polished and slick, the music was ultimately beautiful, becoming critically acclaimed and a huge commercial success. An album that perfectly demonstrated the new direction Philadelphia International Records was heading, was Billy Paul’s third studio for Philadelphia International, War of the Gods which was recently rereleased by BBR Records.
Recording of War of the Gods took place at studios where the Philly Sound was born, the Sigma Sound Studios, in Philadelphia. With M.F.S.B. accompanying Billy, six songs were recorded, four written by Gamble and Huff, who produced the album. Recording got underway in 1973, with Bobby Martin and Lenny Pakula arranging the six tracks. These included The Whole Town’s Talking and the ten minute Magnus Opus that’s the title track War of the Gods. Among the other four tracks, were Thanks For Saving My Life, which would be released as a single from the album. With the six tracks that made up War of the Gods recorded, the album would be released in 1974.
On the release of War of the Gods in 1974, the album reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. Thanks For Saving My Life reached number thirty-seven in the US Billboard 100 and number nine in the US R&B Charts. Another track that was released as a single, The Whole Town’s Talking, which three years later in 1977, featured on Teddy Pendergrass’ debut album Teddy Pendergrass. When it was released as a single it gave Teddy a US R&B hit single. However, The Whole Town’s Talking was originally on Billy Paul’s third album for Philadelphia International Records, War of the Gods, which I’ll now tell you about.
Opening War of the Gods is I See the Light, written by Bunny Sigler. Arranged by Lenny Pakula and produced by Gamble and Huff. The track opens slowly and dramatically with just melodic keyboards and percussion, that give way to Billy’s thoughtful vocal. His vocal starts off gently, before quickly growing in power. Meanwhile drums punctuate the track, with the arrangement growing to include the Sigma Sweethearts, rasping horns and lush strings. At the heart of this dramatic track is Billy’s vocal, as the arrangement and vocal veer between a gentle to powerful style. This works really well, holding your attention. It gets that you’re hanging on Billy’s every word and wondering what direction the track is heading next. For six minutes Billy’s vocal is powerful, laden with emotion and passion, while the arrangement fuses drama and power seamlessly.
War of the Gods Magnus Opus is the title track War of the Gods, one of four Gamble and Huff penned tracks, arranged by Bobby Martin, one of Philadelphia International’s legendary arrangers. This is a track that’s like many similar big, ambitious productions that were popular during the early seventies, and something Gamble and Huff did so well. It’s a mid-tempo track, where frenzied sirens open the track, before slowly, slightly dark keyboards enter joined by piano, vibes and bass. Subtle backing vocalists join adding light to the darkness of the arrangement, as slowly and dramatically the track unfolds. It’s over two minutes before Billy’s considered, thoughtful vocal enters. Accompanying him are piano and organ, as Billy sings of the evil and darkness in the world, before the arrangement heads takes on a jaunty style. Billy’s accompanied by backing vocalists as his voice grows in power, when he calls for “bad things to end.” Later, the arrangement becomes jazz tinged, especially when the tempo slows. By then, you realize that truly, this ambitious track is deserving of the description Magnus Opus. Not only is it Billy Paul at his best, but M.F.S.B., arranger Bobby Martin and Gamble too. It’s a sign of what was still to come from Philadelphia International.
Although many people will think of The Whole Town’s Talking as a Teddy Pendergrass song, it was Billy Paul that sung the track originally. The two versions are quite different, but both have one thing in common, a fantastic deliver by soul superstars. While Teddy sings the track as a ballad, bathed in sadness and emotion, Billy’s version has a slightly jaunty, faster arrangement. Opening with just the rhythm section, keyboards and rasping horns, Billy’s delivery is quicker, maybe not as emotive as Teddy’s version, but laden with drama and passion. He’s accompanied by punchy horns, Philadelphia International’s legendary female backing singers the Sweethearts of Sigma. Add to this, dramatic flourishes of piano, lush cascading strings and Billy’s dramatic, emotive, punchy delivery of the lyrics. The result is a powerful, impassioned and dramatic version of The Whole Town’s Talking that’s quite different from Teddy’s later version, but like that version, features a stunning vocal.
I Was Married is the first in a trio of slower songs, co-written by Cary Gilbert and Joannie Arc. Bobby Martin’s arrangement is stunning, and demonstrates just how talented an arranger he is. Opening with a sultry saxophone, Eddie Green on piano and lush strings, while Earl Young’s drums provide the track’s heartbeat. Then, when Billy’s vocal is full of sadness and regret. Behind him, slow, sweeping strings, rasping horns, stabs of Hammond organ and flourishes of piano provide a gorgeous jazz tinged backdrop. This is perfect for the emotion and sadness in Billy’s vocal, resulting in one of the true highlights of War of the Gods.
Thanks For Saving My Life was a single released from War of the Gods and is similar to the jazz tinged, emotion of the previous track. Here, Billy decides to kick loose, while the Sweethearts of Sigma accompany him, as this jazzy track swings along. With M.F.S.B. seamlessly transformed into a jazz band, a myriad of blazing horns, rhythm section, flourishes of piano and swirling strings accompany Billy. While M.F.S.B. play a huge part in ensuring the track goes with a swing, credit must be given to the Sweethearts of Sigma, who like Billy revel in their role on another swinging slice of sumptuous jazz.
Closing War of the Gods is one of the most emotive and beautiful tracks, Peace Holy Peace. Written and produced by Gamble and Huff, while Lenny Pakula is the arranger, this is the slowest song on the album. It’s also the most emotive and in a way, uplifting and hopeful. Just the meandering Hammond organ played by Lenny Pakula, slow strings and rhythm section accompany what sounds like a celestial choir of backing vocalists that accompany Billy’s slow, emotive and almost spiritual vocal. The arrangement has an understated sound, allowing Billy and his choir of backing vocalists to take centre-stage on one of the most moving, beautiful and hopeful songs Billy Paul ever recorded. What a beautiful way to end War of the Gods.
While War of the Gods was Billy Paul’s follow up to 1972s hugely successful and critically acclaimed 360 Degrees of Billy Paul, there wasn’t a hit single like Me and Mrs Jones. That’s the only difference between the two albums, with War of the Gods featuring more in the way of new music. This included four songs from Gamble and Huff plus one from Bunny Sigler and I Was Married co-written by Cary Gilbert who cowrote Me and Mrs Jones. The six songs on War of the Gods featured the Magnus Opus that’s the title track, the emotion and sadness that are The Whole Town’s Talking and I Was Married plus the jazz tinged, swinging Thanks For Saving My Life. That’s not forgetting the moving, beautiful and hopeful Peace Holy Peace. Overall, War of the Gods’ success is due to everyone connected with the album. Obviously, crucial to this was Billy Paul’s powerful, emotive and impassioned vocals, plus arrangers Lenny Pakula and Bobby Martin, along with Gamble and Huff. However, War of the Gods which was recently rereleased by BBR Records, wouldn’t have been the same album without the versatility of M.F.S.B. Whether it was soul or jazz, they could deliver it with aplomb on the album’s six tracks. Adding backing vocals were the Sweethearts of Sigma, who contributed some beautiful backing vocals throughout the album. All of these musicians, backing vocalists, arrangers and producers all played their part in helping Billy Paul make War of the Worlds a fitting follow-up to the peerless classic that is 360 Degrees of Billy Paul. Standout Tracks: The Whole Town’s Talking, I Was Married, Thanks For Saving My Life and Peace Holy Peace.
BILLY PAUL-WAR OF THE GODS.
BODDHI SATVA-NANKOUMANDJAN.
BODDHI SATVA-NANKOUMANDJAN.
For Boddhi Satva, 2012 has been a huge successful and important year. 2012 started with the release of Invocation on BBE Music in March. Not only was Invocation one of the most beautiful albums of 2012, but one of the best. When the lists of 2012’s best albums are released, surely Invocations will be on it. Then hot on the heels of Invocations, came Invocation Instrumentals, a digital only release on BBE Music. Invocations Instrumentals, saw Boddhi breath new life, meaning and beauty into the tracks, reinterpreting them peerlessly. Boddhi’s latest project for BBE Music is another digital release, Nankoumandjan, a six-track remix E.P. Like Invocation Instrumentals, Boddhi reinterprets and breathes new life into Nankoumandjan, one of the best tracks on Invocation. It’s a compelling project, allowing you to compare and contrast the original version of Nankoumandjan, with the five remixes. Each remix brings something new, different and unique to Nankoumandjan, which is Boddhi’s third release for BBE Music. However, Boddhi’s three releases for BBE Music only tells part of the story behind Boddhi Satva’s year so far.
Boddhi Satva is a multi-talented man with many other strings to his bow. He’s also a successful DJ, producer and runs his own record label, Offering Recordings. During the last few months, Offering Recordings have released albums and E.P.s by artists Boddhi discovered and collaborated with. This includes Sage Monk’s Heartache Allegory, Idrissa Sissoko’s Lopilopilo and Ade Alafia Adio’s O.R.G.A.S.M. Their latest release was Offering Recordings Ade Sampler 2012, a nine-track taster of Offering’s recent releases. So as you’ll realize, Boddhi Satva is one of the hardest working men in music, as well as being the Godfather of Ancestral Soul. Somehow, Boddhi has managed to find the time for his latest project Nankoumandjan.
Forever the innovator Boddhi Satva’s latest release for BBE Music is Nankoumandjan, a six-track track remix E.P. On Nankoumandjan, Boddhi collaborates with one of the artists that featured on Invocations, Mangala Camara. Mangala’s vocal features on another slice of spiritual soul, which is then given the remix treatment. In total, there are five separate remixes of Nankoumandjan, including remixes from Boddhi and Rancido. Each of these five remixes bring something new to the original track. Whether it’s the Instrumental mix, Rancido’s Deep Deep Journey Dubstrumental, the Dékalstrumental Mix or the Ancestral Dékalé Remix, they breath new life, energy and meaning into Nankoumandjan. You’ll realize that when I tell you about the six tracks.
Opening Nankoumandjan, is the original version of the track, which featured on Boddhi’s album Invocation. Nankoumandjan features Mangala Camara, from Kaye in Mali a former protege of Salif Keita. This is a track that features some glorious rhythms, that reveal themselves during the track. Powerful drumming, percussion, bursts of squelchy synths and of course the impassioned and emotive vocal of Mangala Camara. His voice has a compelling and spiritual quality, on a track that has a real African roots sound, augmented by synths. There’s a joyous and uplifting quality to what is an epic track one that lasting seven fantastic minutes.
What makes the Nankoumandjan E.P. such a compelling listen, is the different way one track is interpreted. The Ancestral Dékalé Remix demonstrates this. As the track begins, filters are added to the drums, softening their sound. For company they’ve percussion, before Mangala’s heartfelt vocal and crispy drums combine. Mangala scats, his vocal growing in power and passion. Whistles, synths and a myriad of percussion create a hypnotic backdrop to this breathtaking musical journey. Then things change, when the track is deconstructed. All that remains are the synths. They’re joined by drums and percussion and Mangala’s vocal. From there, this breathtaking music journey continues, revealing its secrets, subtleties and surprises.
There’s an understated sound to the Dékalstrumental Mix. This grabs your attention. Maybe it’s the Deep House influence that’s apparent from the get-go. The track meanders along, just drums and percussion combining. Again, there’s a hypnotic sound to the track as it reveals its secrets. You’re teased and tantalized, wondering what’s about to happen next. Banks of synths build and build before a curveball is thrown. Midway through the track it almost comes to a halt. It’s a bit like a train stopping at a station. Soon, the journey resumes. Stabs of synths, pounding drums and percussion combine and gradually Nankoumandjan resumes its journey. All that’s left for you is to sit back, relax and the journey, as you travel first class all the way.
Thunderous, pounding drums power Rancido’s Deep Deep Journey Dub mix of Nankoumandjan along. This is a very different take on the track. There’s a real Deep House sound. A sprinkling of percussion, snippets of distant vocals and then Mangala’s vocal joins the mix. It drifts in and out, as hypnotic drums take centre-stage. They’re joined by occasional handclaps, washes of moody synths and Mangala’s impassioned, spiritual vocal. By now the track has grown in stature. Referring to the track as dramatic is almost an understatement. It’s becomes an unstoppable force, growing in power, energy and emotion. Rancido’s remix has transformed the track into a dance-floor epic, a Deep House Magnus Opus, that’s guaranteed to enliven and reenergize any dance-floor.
Having produced one of the best remixes of Nankoumandjan, Rancido tries to go one better with the Deep Deep Journey Dubstrumental. Straight away, the track has a much deeper sound, if that’s possible. Again, the track takes on a life of its own, growing in stature, thanks to the drums that dominate the mix. They’re bold, dramatic and thunderous, sitting centre-stage. The bursts of percussion, handclaps and washes of synths are added at just the right time. They add to the tension and drama. It’s a compelling combination that has you spellbound. Soon, the track takes on a sound that’s bold, dramatic and dynamic. Layers of music unfold before you as Rancido, does the seemingly impossible, as he takes you on the deepest of journeys.
The instrumental of Nankoumandjan is a totally irresistible track. From its opening bars, you’re totally spellbound. There’s a joyous, uplifting sound to the track, with African and Western instruments combining. Guitars open the track, before percussion and crispy drums play their part in some glorious rhythms that soon reveal themselves. Powerful drumming, percussion and stringed instruments provide an African Roots sound, while bursts of squelchy synths and keyboards provide a contrast. Together, they create a hypnotic, joyous and uplifting Magnus Opus lasting seven sensational minutes. So good is the track, that you want to become part of the music, submit to it and revel in its glories and beauty.
Nankoumandjan is a compelling project from Boddhi Satva, one of music’s innovators and visionaries. The basic premise is simplicity itself. Take one track, then remix and in doing so, transform it. It’s like a musical makeovers, where one track is transformed into five new tracks. Each one is unique, bringing something new and innovative to the track. It’s comparable to a musical journey, that soon, becomes an adventure, an adventure where anything’s possible and can happen. Not only is it compelling, but captivating. Sometimes, you wonder where a track is heading, then just at the right moment, a curveball is thrown. This curveball not only sees the track take on new life and energy, but new direction. Comparing the five remixes of Nankoumandjan to the original version is fascinating. You hear something new in each remix. Subtleties, secrets and surprises are sprung by remixers that include Rancido and Boddhi Satva. These five remixes breath new life, meaning and energy into Nankoumandjan, one of the real highlights of Invocation. Of all the tracks on Invocation, Boddhi Satva couldn’t have picked a better track to remix. Having chosen carefully and well, Nankoumandjan, which is available now from BBE Music is the perfect introduction to music of Boddhi Satva.
After you’ve sampled the delights, secrets and subtleties of Nankoumandjan, you’ll want to hear much more of Boddhi Satva’s music. The perfect introduction to Boddhi’s music is his beautiful, spiritual debut album Invocation, which was released in March 2012, by BBE Music. Then I’d recommend Invocation Instrumentals, the digital-only release from BBE Music. If you add to that Nankoumandjan, then you’ll have the complete back-catalogue of the Godfather of Ancestral Soul, Boddhi Satva, a true musical innovator and visionary.
BODDHI SATVA-NANKOUMANDJAN.
JOHN CAREY-FAMILY.
JOHN CAREY-FAMILY.
It seems hardly a month goes by without John or Gina Carey releasing a new single or album. So far this year, Gina has released three albums, Love Letters, Love Letters 2 and Live, Love and Laugh. John seems to be determined to keep up with the pace set by Gina, by releasing his second album of 2012. This is Family, which will be released on Gico Music. Family is the followup to Smooth, Soulful and Funky, which was released on St. Valentine’s Day. Now just nine months later, the self-styled Urban Soul Guitarist releases Family. On Family, John a multi-instrumentalist, plays bass, keyboards, drums, percussion and of course the instrument he made his name playing, guitar. He’s joined by the hardest working woman in music Gina Carey. She accompanies John on Family, adding her unique vocal sound on several of the tracks. Will Family see John Carey pick up where he left off on Smooth, Soulful and Funky? That’s what I’ll now tell you.
Family opens with the title-track Family, which has a sound that’s best described as smooth jazz, with a twist of soul from Gina. John’s chiming guitar weaves its way across the arrangement, with Gina’s vocal keeping it company. Her vocal is tender, vocal drifts in out of the arrangement, leaving just John’s crystalline guitar to take centre-stage. Soon, he’s into a jazzy groove, his fingers nimbly moving up and down the fretboard. It’s just John and his guitar, locked into a groove. They’re as one, the result of forty years of playing and practice. Before long, you realize just how talented and accomplished a guitarist is John Carey.
Mother’s Eyes sees John drop the tempo. His vocal is heartfelt, with a hint of vulnerability. It’s just John playing an acoustic guitar, with percussion and keyboards for company. They provide a subtle backdrop to what’s a quite beautiful song, with some of the best lyrics on the album. At the bridge, John ups the tempo, unleashing some peerless guitar playing. It adds to the emotion and beauty of a track that’s gotten single written all over it.
A moody melodramatic guitar solo opens What’s the Price of Fame before John’s deliberate, emotive vocal enters. His vocal is laden with drama and sadness, as tells the story of a cast of characters who’ve rubbed shoulders with, or sought fame. A searing, riffing guitar replies to his vocal. It’s dramatic sound adds to the emotion in his vocal. A combination of his vocal and sizzling, rocky guitar are accompanied by a backdrop of slow, hypnotic drums. They sit firmly in the background as John and his guitar take centre-stage. Together, they fuse drama, emotion and sadness over nine minutes where blues and rock unite.
After the blues-rock of What’s the Price of Fame, Daytime Nighttime there’s yet another change in style. Here, the Careys return to the Nu-Soul sound favored by Gina. John’s jazzy guitar, crunchy drums and keyboards combine with a vocal drenched in effects soars above the arrangement. From there, John and Gina’s vocals feed off each other, Their punchy vocals are accompanied by a backdrop of warm keyboards, drums, guitars and harmonies. This soulful track sees the Carey Family demonstrate their versatility as they return to a sound that’s served them well in the past.
One Wish sees John Carey return to the sound of Mother’s Eyes. It’s a track that benefits from an understated arrangement, allowing his vocal to shine. Just a picked guitar and keyboards combine to produce an emotive backdrop for John’s heartfelt vocal. Percussion punctuates the understated arrangement, as backdrop of keyboards, guitars and drums combine. John’s vocal takes centre-stage, as the emotion and passion combine. By allowing John’s tender vocal to take centre-stage, this allows us to hear just how talented a vocalist and songwriter he really is.
Closing Family is Wine and Cheese, another slice of smooth jazz, albeit one that’s set against a jaunty beat. Percussion, rhythm section and John’s chiming guitar combine with keyboards as the track meanders along. Bursts of percussion enliven the track, as a pounding bass adds variety. John’s playing is quick and accurate, flitting up and down the fretboard. While this is very different from previous tracks, given its much more mellow sound, it shows another side to John Carey and his music.
One thing you could never accuse John Carey of is being predictable. The six new songs on Family, see John flitting between smooth jazz, nu-soul, blues-rock and the soulful, troubadour of Mother’s Eyes and One Wish. To me, John is at his very best on the blues-rock of What’s the Price of Fame, plus the heartfelt, soulfulness of Mother’s Eyes and One Wish. On Family and Wine and Cheese, the two tracks that bookend Family, John reverts to smooth jazz. While smooth jazz is much-maligned musical genre, sometimes deservedly, it does allow John to showcase his guitar playing. It’s when he plays the guitar that John comes to life, locking into a groove, and loosing himself as he unleashes some jazzy licks. On Daytime Nighttime, there’s another change of style, with the Carey Family taking the album in the direction of Nu Soul. This demonstrates their versatility and how they’re never content to stand still. Something of a curveball is the bonus track, which is remix of I’m Into You, a track from John’s previous album Smooth, Soulful and Funky. This sees John Carey’s music moving in the direction of the dance-floor. Given the diversity and eclecticism of Family, the only problem this throws up, is how do we categorize John Carey’s music? Is his music jazz, soul, smooth jazz or a fusion of styles? Personally, I think Family is a fusion of musical genres, ranging from soul, blues-rock, jazz and smooth jazz from the multi-talented Carey Family. This seem quite fitting, given how versatile a musical Family John and Gina Carey are. They’re capable of straddling the musical genres seamlessly. Family, like John’s previous album Smooth, Soulful and Funky, is proof of this. Standout Tracks: Mother’s Eyes, What’s the Price of Fame and One Wish.
JOHN CAREY-FAMILY.
THE BRECKER BROTHERS-BACK TO BACK.
THE BRECKER BROTHERS-BACK TO BACK.
During the seventies, The Brecker Brothers were the go-to guys for anyone looking for a horn section. This wasn’t any horn section though. Quite the opposite. The Brecker Brothers were one of the hottest horn sections of the seventies. Their services and sound was constantly in demand. No wonder. Michael played saxophone, flute and EWI and Randy trumpet and flugelhorn. They featured on everything from jazz, funk and soul albums right through to albums by Todd Rundgren, Frank Zappa and P-Funk giants Parliament. Despite The Brecker Brothers’ services being so in demand as top session musicians, they still found time to forge their own career, releasing a string of successful jazz fusion albums. Between 1975 and 1994, The Brecker Brothers released eight albums. The album that launched their recording career was their eponymous album The Brecker Brothers. It was released to critical acclaim and commercial success in 1975. This set the bar high for The Brecker Brothers. This meant they had a lot to live up to when they released the followup, their sophomore album, Back To Back in 1976. For the recording of Back To Back, The Brecker Brothers put together a crack band of musicians and vocalists to record nine new songs. Would Back To Back, which will be rereleased by SoulMusic Records on 12th November 2012, prove to be as commercially successful and critically acclaimed as their debut album?
When The Brecker Brothers came to record their sophomore album Back To Back, they proved that as well as being top musicians, they were also talented songwriters. They penned six of the nine tracks, collaborating with a variety of songwriting partners. Michael wrote Night Flight and Randy Slick Stuff. The only track Michael and Randy cowrote was Grease Piece, which they cowrote with Steve Khan and David Sanborn. Another of Randy Brecker’s songwriting partners was a young Luther Vandross, who cowrote Keep It Steady (Brecker Bump) wIth Steve Khan, David Sanborn. Luther’s other contribution was What Can A Miracle Do, which he cowrote with Don Grolnick. If The Brecker Brothers’ list of songwriting partners was impressive, then their band was equally impressive.
Joining The Brecker Brothers at Electric Lady Studios were a band that included some of the best session musicians of the seventies. The core band included a rhythm section of drummer Christopher Parker, guitarist Steve Khan and bassist and vocalist Will Lee. David Sanborn played alto saxophone and keyboardist Don Grolnick. Guest musicians included drummer Steve Gadd, percussionists Sammy Figueroa, Ralph McDonald and Rafael Cruz and Lew Del Gatto on baritone saxophone. Dave Whitman played synths, Dave Friedman marimba and Luther Vadross added backing vocals. Patti Austin sang the lead vocal on Wastin’ Time. Given this was a band crammed full of talented musicians, singers and songwriters, surely Back To Back must be a commercial success?
On the release of Back To Back in 1976, it proved more successful than The Brecker Brothers’ debut album. It had reached number 102 in the US Billboard 200, number twenty-five in the US R&B Charts and number four in the US Jazz Charts. Back To Back proved more successful in the US Billboard 200, reaching number eighty-two. However, it only reached number thirty-two in the US R&B Charts and number nine in the US Jazz Charts, which wasn’t as successful as their debut album. At least Back To Back had crossed into the mainstream. The only single released was If You Wanna Boogie…Forget It, which only reached number ninety-five in the US R&B Charts. Although Back To Back proved slightly more successful than their debut album The Brecker Brothers, was the music as good? After all, The Brecker Brothers was a critically acclaimed album. That’s what I’ll now tell you.
Opening Back To Back is Keep It Steady (Brecker Bump), which ensures The Brecker Brothers have your attention. From the get-go, the arrangement has a driving, smouldering and funky beat. The rhythm section create a pulsating, back beat while stabs of keyboards and The Brecker Brothers’ blazing horns help drive the arrangement along. They’re helped along by David Sanborn’s alto saxophone. The horns feed off each other, driving the other to greater heights. Then Steve Khan’s guitar takes centre-stage. It’s a show stealing solo. Steve’s rocky guitar sears and sizzles, riffing until you think there’s nowhere else to go. Adding to the drama that builds and builds, are the backing vocals, lead by Luther Vandross. Like the horns and Steve Khan’s guitar solo, they play their part in the track’s drama and success.
If You Wanna Boogie…Forget It is very different from the opening track. There’s everything from boogie woogie through Frank Zappa and Little Feat. Boogie, funk and rock are combined peerlessly as the track unfolds at breakneck speed. The vocal is delivered powerfully and urgently, while piano, a funky rhythm section and stabs of growling horns provide an accompaniment. Backing vocalists respond to the lead vocals call, reflecting a similar sense of urgency. During the track there’s some peerless boogie woogie piano playing. When the punchy harmonies and stabs of grizzled horns are added to the equation, the result is a glorious genre-straddling track.
Lovely Lady has a very beautiful, almost understated sound. Just tender horns, percussion and a subtle rhythm section create a meandering backdrop for a heartfelt vocal. It drifts in and out as wistful woodwind and keyboards join the mix. Later, horns rasp before a flugelhorn takes centre-stage, providing a dreamy, melancholy sound. You’re swept away by its beauty, as the vocal returns. Horns accompany it rasping and sometimes, growling, but nether overplaying nor overpowering the rest of the arrangement. The result is a track that’s beautiful and dreamy, where you can lose yourself and float along in its wake.
Night Flight was Michael Brecker’s first ever composition. You wouldn’t realize this listening to the track. A myriad of percussion, shakers and bongos give the track a Latin sound and feel. Before long it’s all change. Rock and jazz-fusion and even shades of prog rock keyboards combine. Guitars provide a rocky flavor, as the rhythm section drive the track along in the direction of jazz-fusion with growling horns for company. Mostly it’s jazz-fusion all the way. Think Weather Report and John McLaughlin. Steve Khan’s guitar and keyboards add a dynamic, dramatic sound. Then the track heads back in the direction of jazz-fusion, something The Brecker Brothers do so well.
Slick Stuff was the sequel to a track on The Brecker Brothers debut album Some Skunk Funk. It’s one of the real highlights of Back To Back, from the opening bars. The track sounds not unlike a track from the soundtrack to a seventies Clint Eastwood film. It bursts into life, braying horns and the rhythm section driving the arrangement along. Space is certainly at a premium. The band play as if their lives depend on it. Soon, you’re thinking of Dirty Harry chasing the bad guys across San Francisco. This track paints pictures in your mind. You close your eyes and the scenes unfold, with The Brecker Brothers providing the soundtrack. If only someone could write a movie as good as this track, then it would well worth seeing.
Dig A Little Deeper is a parody of the pseudo-hippie philosophy of the sixties. By 1976, when Back To Back was recorded, people had seen through much of the sixties’ culture. This track proves this and parodies it. There’s even a hint of David Bowie and Frank Zappa during the track. A slow, spacious and funky beat accompanies a vocal that’s deliberate, even melodramatic. It reminds me of David Bowie. Backing vocalists respond to the call, as horns growl and blaze. Percussion, marimba and keyboards join the fray, but it’s the vocal, backing vocals and horns that steal the show, on a track where truth and humor play their part in the song’s success.
Punchy, blazing horns open Grease Piece, driving the track along. They’re joined by keyboards, handclaps, percussion and the rhythm section. It doesn’t take long to realise that although this is a slice of good-time, funky music. You only need to listen to the peerless horn playing, scintillating rhythms and its percussive delights. Sometimes, you wonder is this an attempt to crossover into disco? Why not though? This track isn’t just dance-floor friendly, but infectiously catchy and uber funky. Alas, for some reason, it wasn’t released as a single. This was certainl a missed opportunity, and a case of what might have been?
What Can A Miracle Do sees The Brecker Brothers showcase their versatility. Luther Vandross delivers his vocal accompanied by just piano, percussion and understated rhythm section. There’s a hint of vulnerability in Luther’s vocal, while guitars, percussion and keyboards provide the backdrop. Randy Brecker adds the finishing touch, adding an open-belled trumpet in between each verse. This is something of masterstroke, and works beautifully. Despite this, Luther steals the show. By now, you realize that Luther Vandross was destined for greatness, given his emotive, heartfelt delivery of what’s quite simply one of the most beautiful songs on Back To Back.
Closing Back To Back is I Love Wastin’ Time With You, which features a duet between bassist Will Lee and Patti Austin. She’d just released her debut album End of A Rainbow and was on something of a roll, as this track shows. A sultry saxophone joins a slow, deliberate rhythm section and keyboards before Patti and Will deliver their duet. This they do against rasping horns, stabs of Hammond organ and the rhythm section which create a dramatic, jazzy backdrop. Patti and Lee vamp their way through the track, feeding off each other. When the tempo drops, it’s as if to give them the time to get their breath back. After a wistful, jazz-tinged piano solo, the drama grows and grows. When their vocals return, they seem determined to close the track on a dramatic high, but not before teasing and toying with you. This they do, for the remainder of this blistering track, which proves the perfect way to end Back To Back.
Having released such a successful debut album, The Brecker Brothers were under pressure to replicate the success of The Brecker Brothers. This they did with Back To Back. Not only did it showcase their skills as the hottest horn section of the seventies, but also as talented songwriters and producers. It seems that they’d absorbed and learnt from working with such an eclectic selection of musicians. On Back To Back they combined their unique fusion jazz, funk and soul with elements of rock and Latin music. With a band that included some of the best session musicians and backing vocalists of the time, the result was an album that matched, if not bettered their debut album. From the opening bars of Keep It Steady (Brecker Bump) right through until the closing notes of I Love Wastin’ Time With You, The Brecker Brothers never miss a beat. Indeed, for anyone still wondering why The Brecker Brothers were the go-to-guys for musicians looking for a horn section for hire, then Back To Back, which will be rereleased by SoulMusic Records on 12th November 2012 will show you why. Standout Tracks: If You Wanna Boogie…Forget It, Lovely Lady, Slick Stuff and What Can A Miracle Do.
THE BRECKER BROTHERS-BACK TO BACK.
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GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
By 1979, when George Duke released A Brazilian Love Affair, he was one of the hardest working men in music. Not only had he released fifteen solo albums, but had moved into production. Then there was George’s work as a sideman. The list of musicians George has played with reads like a who’s who of music. What’s even more remarkable is their diversity. Their music crosses the musical genres. This includes everyone from Frank Zappa, through Jean Luc-Ponty, Cannonball Adderley, Billy Cobham to Anita Baker, George Clinton and Flora Purim. Having worked with such a diverse selection of musicians, this must have influenced George’s music. Certainly working with Flora Purim, the Brazilian-born singer must have influence George, when he headed into the studio to record what would become one of his most commercially successful and critically acclaimed albums, A Brazilian Love Affair which will be released on 12th November 2012 by SoulMusic Records.
When George Duke came to record A Brazilian Love Affair, Brazilian music had become much more popular, and moved into the mainstream. Artists like Flora Purim, who George had worked with, plus Gilberto Gil, Ivan Lins and of course Sergio Mendes had been trailblazers. These artists had influenced European and American artists, including George Duke. On A Brazilian Love Affair, George showcased the talents of Flora Purim, Airto, Raul De Souza, Simone and Milton Mascimento. This resulted in one of George’s most successful albums.
For A Brazilian Love Affair, George wrote eight of the ten tracks. Of the other two tracks, the Brazilian influence shawn through, Ronaldo Bastos and Milton Mascimento wrote Cravo E Canela. Milton Mascimento also cowrote Ao Que Vai Nascer with Fernando Brant. These ten tracks saw George Duke fuse Brazilian music with jazz, funk and soul. Helping him to do this, was a band that included a tight and talented back of top musicians.
Recording of A Brazilian Love Affair took place in Rio De Janeiro and Los Angeles. Part of the album was recorded at Level e Hawai Recording Studio, Rio De Janeiro, and Westlake Recording Studios in Los Angeles. Additional sessions took place at Le Gonks West Studio in Los Angeles. Accompanying George Duke were musicians from America and Brazil. This included a rhythm section that variously included bassists Byron Miller and Jamii Joanes, drummers Ricky Lawson and Roberta Silva and guitarists Roland Bautista and Toninho Horto. Jerry Hey and Raul De Souza played trombone, Larry Williams’ saxophone and percussionists Airto and Chico Batera. George a true multi-instrumentalist played guitar, keyboards, synths, piano and sang vocals. With a combination of Brazilian and American musicians collaborating on A Brazilian Love Affair, the completed album was a meeting of cultures and musical genres. Would this prove successful?
A Brazilian Love Affair was released in 1979 to critical acclaim. Critics decided that this fusion of cultures and musical genres was one of George Duke’s finest albums. It was also one of George’s most successful albums, reaching number 119 in the US Billboard 200, number forty in the US R&B Charts and number four in the US Jazz Charts. The only disappointment was when the single Brazilian Love Affair failed to chart. Apart from that, A Brazilian Love Affair fusion of Brasilia, jazz, funk and soul proved popular. I’ll now tell you why.
Opening A Brazilian Love Affair is the only single released from the album, Brazilian Love Affair. Percussion, synths, keyboards and the funkiest of bass lines from Byron Miller combine before George’s light, joyous vocal soars above the arrangement. It’s like a slice of sunshine, unfolding in waves. Dramatic pauses give way to waves of uplifting music. Roland Bautista’s chiming guitar helps drive the arrangement along, while Byron’s bass provides the funk. A healthy sprinkling of percussion is added, before a flourish of electric piano sees the track head in the direction of freeform jazz. From there, jazz, funk and Brazilian music are combined by George and his multitalented band over seven scintillating minutes of dramatic and bold music.
Summer Breezin’ has a real authentic Brazilian sound from its opening bars. It has a lovely understated sound. Just acoustic guitars, percussion, bells and piano combine, before a burst of drums signals the entrance of George’s scatted vocal. Rasping horns join a funky rhythm section as drums punctuate the arrangement confidently. From there George’s band fuse jazz, funk and Brasilia. Later, the arrangement grows in power and drama. George scats while adding the unmistakable sound of the Rhodes. Horns and harmonies accompany him, as the arrangement meanders along. It combines beauty, drama and subtlety in equal measures.
Cravo E Canela sees George accompanied by a cast of Brazilian musicians. They’re key to the track’s joyful, sunshine sound that unravels at breakneck speed. You’re swept along in its wake, almost unable to keep still. Like so much Latin music, it has a feel-good sound, albeit with a twist from George. Massed vocals are joined a myriad of percussion, congas, agogos and caixas. They’re joined by the rhythm section, guitar, synths and keyboards as Latin and jazz music unite. By now the track has taken on a bold, dramatic sound, one that’s almost impossible to resist. Indeed, resistance is impossible, best to succumb to the song’s charms and delight.
Alone 6AM is just a one-minute interlude where George plays electric piano and Roland Bautista guitar. They create that veers between wistful and melancholy to a much bolder, jazzy sound. Too soon, it’s over, leaving but a memory.
Brazilian Sugar features Flora Purim’s vocal on a track where to cultures unite. Here, Brazil and America seamlessly unite through music, Flora’s joyous scatted vocal is accompanied by a jaunty arrangement where the rhythm section join vibes, percussion and keyboards. When Flora’s vocal drops out, a blazing trombone solo from Raul De Souza takes centre-stage. It’s a show-stopper, and one of the best solos on A Brazilian Love Affair. Not to be outdone, guitar and keyboards join the mix. They’re equally impressive. Then when Flora’s vocal returns, she seemingly spurs the band on to even greater heights. Her vocal is impassioned, soulful and even sultry. It proves to be just the finishing touch to George Duke and his band in full flight, on what’s one of the album’s highlights.
Chiming, jazzy guitars join a driving rhythm section and blazing horns as Sugar Loaf Mountain unfolds. It’s a sumptuous slice of driving jazz-funk. Horns growl and rasp while the rhythm section and keyboards create dramatic waves of music. George unleashes an unrivaled piano solo, playing quickly, accurately and with passion. So do the rest of the band. They take their lead from George. Bassist Byron Miller slaps his bass, producing some funky licks, while horns rasp and the rhythm section fuse jazz with funk. By now you realize this is a crack band of musicians at the height of their game. It doesn’t get much better than this, as bold, dramatic waves of music unfold. So good is this track, that you wonder whether it’s possible to better it?
Just chimes and bells open Love Reborn, one of the slowest and most beautiful tracks on A Brazilian Love Affair. From there, just keyboards accompany one of Roland Bautista’s best guitar solos. His playing is slow, spacious and very beautiful. Deservedly, he takes centre-stage. The rest of the band seem to defer to him. Keyboards, rhythm section and heartfelt harmonies accompany Roland, but it’s his searing, riffing guitar that makes this one of the best tracks on A Brazilian Love Affair.
Up from the Sea it Arose and Ate Rio in One Swift Bite opens with a frantic, frenzied combination of percussion, bongos, congas and punchy, lilting harmonies. There’s a real authentic Brazilian sound. It’s like carnival time. Soon, keyboards and the rhythm section join the fun. Byron Miller’s bass helps drive the track along, as the track heads in a jazzy direction. George’s piano give the arrangement a sense of urgency. Later, rocky guitars add another dimension to the track. With keyboards for company, they drive the track along to its dramatic crescendo, where jazz, funk, rock and Brazilian music merge.
After the drama of the previous track, I Need You Now gives the listener a welcome respite. It has a much more understated and elegant sound. Just guitars and a subtle rhythm section combine with the heartfelt vocal. Harmonies accompany it as the arrangement meanders along, gradually revealing its secrets, subtleties and not inconsiderable beauty.
Closing A Brazilian Love Affair is Ao Que Vai Nascer. Just an acoustic guitar accompanies Milton Mascimento’s melancholy vocal. His vocal is full of feeling and emotion, as it takes centre-stage. Distant harmonies accompany him, before the arrangement builds. Guitars, rhythm section, keyboards and synths create a backdrop that’s melodramatic and sometimes broody. It’s also effective, bringing out the emotion and passion in Milton’s vocal. Later, the band kick loose. Castanets join the piano, synths and rhythm section and with a dramatic flourish and sense of urgency, the track comes to an impassioned and emotive conclusion.
Although George Duke was something of a musical veteran by the time he released A Brazilian Love Affair, it became one of his most successful and critically acclaimed albums. It’s no wonder. Quite simply, A Brazilian Love Affair is a delicious fusion of jazz, funk, soul and Brazilian music. Two countries’ music unites seamlessly. George and his band of American and Brazilian musicians fuse genres, which sometimes, melts into one. Over ten tracks, drama, emotion and beauty are combined. Much of this music has an irresistibly catchy, joyous sound. Sometimes, it’s almost impossible to keep still, given the combination of irresistible rhythms and percussive delights. However, this isn’t an album of straight ahead Brazilian music. Instead, it’s Brazilian music with a twist. Funk, jazz, soul and even rocky guitars are added to the equation. The result is one of George Duke’s classic albums, where George and his band showcase their not inconsiderable skills. While A Brazilian Love Affair found commercial success and critical acclaim, it also found favor with a new generation of producers and musicians.
Sample hungry producers and musicians have looked to A Brazilian Love Affair for inspiration. Louie Vega, Jump Cutz and DJ Jorj have all sampled tracks from the album. Indirectly, this has introduced a new generations to George Duke’s music. So too will SoulMusic Records’ rerelease of A Brazilian Love Affair on 12th November 2012. This will allow another generation of music lovers discover its delights and enjoy A Brazilian Love Affair of their own. Standout Tracks: Brazilian Affair, Summer Breezin,’ Love Reborn and I Need You Now.
GEORGE DUKE-A BRAZILIAN LOVE AFFAIR.
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INNER LIFE-INNER LIFE 2.
INNER LIFE-INNER LIFE 2.
By 1982, when Inner Life released their their second album for Salsoul Records, Inner Life 2 not only was the changing of the guard complete, but Salsoul as a record label had been transformed. Nearly all of Salsoul’s founding father’s were gone and the legendary Salsoul Orchestra was a shadow of its former self. Gone were the Baker, Harris, Young rhythm section, gone was The Salsoul Orchesra’s founder and former leader Vince Montana Jr and gone were many of its most talented personnel, including Bobby “Electronic” Eli, T.J. Tindall, Larry Washington and Don Renaldo. Similarly, many of artists that had transformed Salsoul into disco’s premier label had moved on. No longer were groups like First Choice, Double Exposure and Instant Funk. Many producers, arrangers and songwriters had left Salsoul for a variety of reasons. One group of people who hadn’t left the building, were the Cayres beloved DJs who would remix singles and sometimes, whole albums. These DJs needed music to remix, and it with so many changed at Salsoul, it was up to a new wave of artists to provide this music, including Inner Life.
With most the old guard who’d established Salsoul as disco’s greatest label having moved on, it was up the new breed of musicians, songwriters and producers to secure Salsoul’s future. Inner Life were one of the new groups tasked with securing Salsoul’s future in the post-disco musical landscape. Their career at Salsoul had got off to a promising start, when they released their debut album Inner Life I. On Inner Life I, two songs gave Inner Life hit singles. These were Ain’t No Mountain High Enough and Make It Last Forever. Both singles would go on to become timeless Salsoul classics, from the post-disco period. Key to the success of Inner Life I’s success, were two musical visionaries and a disco diva.
Patrick Adams and Greg Carmichael had formed Inner Life as a studio project and before signing to Salsoul, had released one album for another of disco’s biggest label’s Prelude Records. This was I’m Caught Up (In A One Night Love Affair), whose title-track gave Inner Life their first hit single. I’m Caught Up (In A One Night Love Affair) featured the vocal talents of Jocelyn Brown, who’d go onto become a disco diva. After leaving Prelude, Inner Life signed to Salsoul and were joined by another musical innovator Leroy Burgess. For Inner Life II, Patrick Adams, Greg Carmichael and Jocelyn Brown would be joined by Leroy Burgess and a cast of creative and innovative musicians, arrangers and producers in whose hands, Salsoul’s future lay.
For Inner Life II Stan Lucas wrote, arranged and produced two tracks and co-produced another three tracks with Greg Carmichael. The two tracks Stan Lucas produced were I Picked A Winner and I Like It Like That. With Greg Carmichael, Stan produced Feel What I’m Feeling, If You’re Gonna Love Me and Find Somebody. The other track was Moment of My Life which James Calloway, Sonny T. Davenport and Leroy Burgess cowrote. It was arranged and produced by Leroy Burgess and Greg Carmichael. As was the fashion at Salsoul, several of the tracks on Inner Life II were remixed by DJs, to give them a dance-floor friendly sound. Shep Pettibone mixed Moment of My Life, Tom Moulton mixed I Like It Like That and John Morales mixed If You’re Gonna Love Me and Find Somebody. Recording of Inner Life II tok place at Blank Tape Recording Studios, New York.
At Blank Tape Recording Studios, Inner Life were accompanied by a rhythm section of bassist James Calloway, drummer James Cooksey and guitarist Stan Lucas. Leroy Burgess played keyboards, while Connie Harvey, Dennis Collins, LaRita Gaskin, Margo Williams and Wendell Morrison added backing vocals. So did Jocelyn Brown, who is one of the lead vocalists on Inner Life II. Once Inner Life II was recorded, it was released in 1982.
Two singles were released from Inner Life II. It was something of a no-brainer that Moment of My Life was chosen as the lead single, reaching number fifteen in the US Dance Music/Club Play Charts. I Like It Like That then reached number forty in the US Dance Music/Club Play Charts and number ninety-three in the US R&B Charts in 1983. Like many other disco or dance music albums, the singles fared better than the album. Inner Life II failed to chart on its release in October 1982. However, like Inner Life I, Inner Life II featured a Salsoul classic..Moment of My Life. However, there’s more to Inner Life II than one track, as you’ll realize when I tell you about the music on Inner Life II.
Opening Side One of Inner Life II is the Stan Lucas penned and produced I Picked A Winner, which features Jocelyn Brown’s vocal. A pounding rhythm section complete with slapped bass from James Calloway joins Leroy Burgess keyboards. They create the backdrop for a powerful, feisty vocal from Jocelyn, complete with dramatic backing vocals. While the rhythm section and Leroy’s keyboards create the track’s hypnotic backdrop, Jocelyn picks up where she left off on Inner Life I. She doesn’t disappoint, delivering a divaesque performance, combining controlled power, sass and passion to get Inner Life II of to an irresistible opening.
Of the six tracks on Inner Life II, Moment Of My Life quite simply is the highlight. Nothing else comes close and no other track even comes close. Jocelyn’s vocal soars powerfully and dramatically above the arrangement. She delivers a punchy, powerful and soulful vocal against a backdrop of the rhythm section, percussion and Leroy’s keyboards. Equally punchy backing vocalists accompany her, as she delivers one of the best vocals of her time with Inner Life. The sprinkling of percussion adds to the effectiveness of an arrangement where boogie, funk and soulfulness unite. With the combined talents of Leroy Burgess, Greg Carmichael and Jocelyn Brown at the top of their game, it’s no wonder that thirty years later, this track is regarded as a Salsoul classic.
I Like It Like That is a track that you can almost date to 1982. It’s the combination of instruments that are deployed to accompany Jocelyn’s vocal. The synths have an unmistakable early eighties sound, as do the drums. They’re joined by Jocelyn’s joyous vamp, while the rhythm section and eighties keyboards drive the track along. Having said that, the track still has an infectiously catchy eighties sound, made all the better by Jocelyn Brown at the height of her powers. While this track doesn’t match the quality of Ain’t No Mountain High Enough, Make It Last Forever or Moment Of My Life, it’s still infectiously catchy and benefits from a joyous vocal from Jocelyn.
Following three dance tracks, when you flip over Inner Life II, Feel What I’m Feeling sees a welcome drop in tempo. It allows you to catch your breath and hear another side to Inner Life. A piano combines with thoughtful drums and a jazzy guitar. Then with a flourish of piano, Jocelyn’s vocal displays a tender, soulful side. Her vocal grows in power, with tender, understated backing vocals accompanying her. Jocelyn’s vocal veers between tender and heartfelt, to a more powerful, impassioned style. Throughout the song, her vocal is deeply soulful. Only one thing lets the track down slightly, and that’s the dated sound of the keyboards midway through the track. Later, the pounding bass that accompanies Jocelyn’s vocal matches reinforces the impact of her vocal. In doing so, it almost makes up for the dated keyboards. Apart from that, this is a quite beautiful, deeply soulful song, where you hear a very different side to Inner Life, proving that there was more to their music than boogie.
Percussion, crashing drums and a pounding bass combines before Jocelyn delivers the familiar lyrics to If You’re Gonna Love Me. Straight away, you’re hooked. It’s impossible not to succumb to the track’s charms. Jocelyn’s vocal is a mixture of sass and power. It’s as if this song was written with her in mind. For company, she has that unmistakable combination of the rhythm section, keyboards and percussion accompanying her. As Jocelyn’s vocal drops out, the guitar takes charge. It almost tees up Jocelyn’s vocal when it returns. She takes charge, delivering what is, a Magnus Opus of a vocal.
Closing Side Two of Inner Life II is Find Somebody, which has a very different sound to previous tracks. It’s a track ahead of its time. Thunderous, pounding drums combine with synths that reverberate. They’re joined by bongos and the rhythm section. Gradually the track is revealing its secrets. Funk is supplied by the rhythm section and percussion, while the synths provide a dated sound that almost grates. Thankfully, when Jocelyn’s vocal enters, it takes your mind of the recurring synth sound. Her vocal is delivered with power and passion, accompanied by equally dramatic backing vocals. The rest of the arrangement has a joyous, catchy sound, except of course that synth sound. It’s a akin a giant wart on a supermodel’s face, spoiling an otherwise irresistibly catchy sound. It’s a case of so near, but so far.
Inner Life II was the final album from Inner Life. Their career had only lasted just three albums, but left behind a quartet of classics. Starting with I’m Caught Up (In A One Night Love Affair), Ain’t No Mountain High Enough, Make It Last Forever and from Inner Life II, Moment Of My Life. Good as some of the other tracks on Inner Life were, Moment Of My Life was the absolute standout track. If You’re Gonna Love Me comes close, but not close enough. So too does Feel What I’m Feeling, which is a delicious slice of sheer soulfulness, that shows another side to Inner Life’s music. Indeed, most of the six tracks on Inner Life II have stood the test of time, apart from a couple of times the music sounds dated.
On a couple of tracks, you hear a real eighties sound shine through. Thirty years haven’t helped this sound to mature. Quite the opposite. I Like It Like That has an eighties sound, but this isn’t as prevalent as on Find Somebody. Its eighties sound has aged like an aging film star after one too many facelift. Having said that, other people might enjoy revisiting this eighties sound. Not me. For much of the eighties, this was the decade music lost its way and its taste buds. Not on Inner Life II though.
Indeed, most of the music on Inner Life II has stood the test of time and aged gracefully. After Inner Life II, Inner Life didn’t release any further albums for Salsoul. Given Inner Life were part of the new wave of artists at Salsoul, it seemed that things were in a constant state of flux. Artists were coming and going and Salsoul wasn’t able to recapture its glory years between 1975 and 1978. Two years after Inner Life II was released, Salsoul closed its doors. Disco’s premier label was no more. All that was left was the memories and the music, which includes Inner Life II, which proved to be Inner Life’s Salsoul swan-song. At least Inner Life left Salsoul on a high, with Inner Life II, which was one of the highlights of post-disco Salsoul. Standout Tracks: I Picked A Winner, Moment of My Life, Feel What I’m Feeling and If You’re Gonna Love Me.
INNER LIFE-INNER LIFE 2.
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