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.
LOLEATTA HOLLOWAY-LOVE SENSATION.
LOLEATTA HOLLOWAY-LOVE SENSATION.
There’s a certain symmetry that in return for Loleatta Holloway adding a vocal on what became one of Dan Hartman’s biggest hit singless, Relight My Fire, that Dan returned this favor by writing one of Loleatta’s most successful singles, Love Sensation. This story starts back in 1979, when Dan Hartman was about to record his third album Relight My Fire. He’d written a track and wanted one of his favorite vocalists to add a vocal. The track was Relight My Fire and the vocalist he wanted to sing it, was Loleatta Holloway. Having spoked to Loleatta’s husband Floyd Smith, and then Ken Cayre, one of the co-owners of Salsoul Records, an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce a track for Loleatta’s next album. Dan Hartman kept his word and wrote a track that wasn’t just a stonewall disco classic, but became synonymous with Loleatta Holloway and gave her one of the biggest hit singles of her career. Love Sensation was penned and produced by Dan Hartman and was also the title-track of what was Loleatta Holloway’s fourth and final album for Gold Mind Records. Once I’ve told you about the background to Love Sensation, I’ll tell you if Love Sensation was a fitting finale to the undisputed Queen of Disco’s career at Gold Mind Records.
Although Dan Hartman penned and produced Love Sensation, the other seven tracks on Love Sensation followed a similar pattern to Loleatta’s previous album Loleatta Hollaway. This meant the songs were split between Salsoul personnel and outside songwriters and producers. In total, four separate producers or production teams played their part in the making of Love Sensation at four separate studios.
Three of the tracks were produced by Norman Harris, who by 1980, was almost a Salsoul veteran. Despite the many changes at Salsoul, Norman was still there. Norman Harris arranged Love Sensation for Dan Hartman, and arranged and produced three other tracks. This included I’ll Be Standing There, which he cowrote with ex-Temptation Ron Tyson. The other two tracks Norman produced were Long Hard Climb To Love written by Michael and Richard Berardi and Two Became A Crowd, penned by Gary Knight and Gene Allan. While Norman produced three of the tracks,
Of the other four tracks, Floyd Smith, Loleatta’s husband produced the cover of I’ve Been Loving You Too Long, which was written by Otis Redding and Jerry Butler. The other three tracks were arranged and produced by Patrick Molten and Bobby Womack. Two of these tracks, Short End of the Stick and Dance What ‘Cha Wanna were written by Bobby and Cecil Womack. Bobby Womack also cowrote My Way with Noel Resnick.
Recording of Love Sensation took place at four different studios. Three tracks were recorded at Sigma Sound in Philly. At The Schoolhouse, Dan Hartman recorded the title-track Love Sensation. Other sessions took place at Muscle Shoals Sound Studios and Universal Recording Studio in Chicago. With sessions taking place in four different studios, different musicians and backing singers were used. This includes drummers Keith Benson and Roger Hawkins, bassists Jimmy Williams and Gordon Edwards and guitarists Norman Harris, T.J. Tindall, Bobby Womack and Kim Miller. They were joined by conga players Larry Washington and keyboard player Cotton Kent. Adding strings were Don Renaldo and His Strings and Horns and at the other session, Patrick Moten and His Strings and Horns. Legendary Philly backing vocalists the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, feature on the three Norman Harris’ produced tracks. Eventually, Love Sensation was ready for release on Gold Mind Records in 1980.
When Love Sensation was released in 1980, the Dan Hartman penned title-track gave Loleatta one of the biggest hits of her career. It reached number one in the US Dance Music/Club Play Singles charts. Sadly, Love Sensation the album didn’t repeat the success of its namesake. Love Sensation failed to chart in the post-disco musical landscape. However, why did Love Sensation fail to make an impression on the US Charts when the single Love Sensation fared so well? That’s what I’ll tell after I’ve told you about the music on Love Sensation.
Opening Love Sensation is the number one club hit Love Sensation, penned and produced by Hartman and arranged by Norman Harris. Nine years after its release, Love Sensation was “sampled” by both Black Box on Ride On Time and Good Vibrations by Marky Mark and The Funky Bunch. in 1989 While both tracks were huge commercial successes, neither can match the original. Here, Loleatta Holloway demonstrates why she as the true Queen of Disco. Opening with a combination of rhythm section, percussion, piano and cascading strings, so familiar is the track you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta delivers one of her trademark vocals. Her voice becomes an impassioned roar, while backing vocalists accompany her. The remix is a myriad of the lushest strings combined with dramatic drums and blazing horns, with Loleatta’s powerful, sassy vocal key to the track’s timeless, dramatic sound and huge commercial success.
Long Hard Climb to Love is the first of the trio of tracks Norman Harris arranged and produced. He had an enviable track record of success with Loleatta, and could bring out the best in her. This track demonstrates this. Just a piano, wistful woodwind and bursts of growling horns combine with strings to provide an emotive backdrop for Loleatta’s vocal. Her heartfelt vocal is laden with emotion, with the Sweethearts of Sigma adding tender harmonies. Loleatta’s vocal grows in power as she breathes life and meaning into the lyrics. Drums add to the drama and horns to the emotion. So do the woodwind, harmonies and piano as Loleatta rediscovers her Southern Soul roots, mixing power, passion, drama and emotion peerlessly.
There’s a change of producer on Short End of the Stick. Bobby Womack and Patrick Molten take over production duties on a track that’s funky, full of hooks and dance-floor friendly. A slapped bass is joined by Loleatta’s soaring, sassy vocal. She’s accompanied by lush, cascading strings, a tough, funky rhythm section and testifying backing vocalists. Elegant strings dance with delight, while Loleatta vamps her way through the track with backing vocalists for company. Disco and funk are fused as Loleatta delivers a vocal tour de force that results in a timeless dance track.
I’ve Been Loving You Too Long sees the Bobby Womack and Patrick Molten production team take charge of this cover of a track made famous by Otis Redding. The song’s slowed way down, and given a dramatic makeover. Just a guitar drums combine dramatically before rasping horns and shivering strings enter. They accompany Loleatta’s impassioned, powerful vocal. Her delivery is full of feeling, as if realizing that given how good the original was, she must deliver something special. This she does. Not only is her delivery brimming over with emotion, power and drama, but it’s soulfulness personified. Quite simply, Loleatta pays a fitting and moving homage to Otis Redding, who recorded and cowrote this track.
Side Two of Love Sensation sees Norman Harris return to the producer’s chair on Two Became a Crowd. Just a pounding bass is joined by bursts of drums and growling horns and Norman’s chiming guitar. Then shimmering, strings sweep in, as if announcing the arrival of Loleatta’s vocal. Her vocal is tinged with sadness and regret. Reflecting this are the Sweethearts of Sigma, who add emotive, soulful harmonies. Wistful horns, quivering strings and keyboards punctuate the arrangement. Later, they accompany Loleatta as she adds a heartfelt, half-spoken vocal, her voice full of hurt and heartbreak. As her vocal grows in power and passion, the Sweethearts of Sigma accompany Loleatta as this epic track reaches a dramatic and emotive crescendo.
Cecil and Bobby Womack cowrote two tracks on Love Sensation, and Dance What ‘Cha Wanna is the second of these tracks. A driving, uber funky rhythm section is joined by sweeping, swirling strings before the undisputed Queen of Disco makes her grand entrance. Loleatta’s vocal is a powerful, sassy and feisty vamp with punchy backing vocals accompanying her. The pounding rhythm section, powered along by the funky bass, join piano and cascading strings. They’re key to the track’s sound and success. Later, Loleatta demands horns. Growling horns she gets. They briefly punctuate the arrangement as the piano, dancing strings and rhythm section provide the backdrop to Loleatta’s vocal masterclass.
My Way is another track Bobby Womack cowrote, this time with Noel Resnick. A slow, spacious rhythm section combine with synths, blazing horns and searing guitars. They buildup the drama before Loleatta’s vocal enters. Her vocal is laden with a mixture of emotions. Sadness and regret gives way to hope and confidence. As Loleatta’s vocal soars powerfully, backing vocalists match her every step of the way. They reflect the emotion and drama in her voice. Later, a blazing saxophone adds what’s the finishing touch, as Loleatta sings call and response with her backing vocalists. This is quite fitting given Loleatta’s gospel roots, that shine through.
Closing Love Sensation is I’ll Be Standing There, which Norman Harris and Ron Tyson cowrote. Norman arranged and produced the track, which quite simply, is one of the highlights of Love Sensation. From the get-go, you realize something special is unfolding. The rhythm section, piano and rasping horns combine before Loleatta’s vocal enters. Her vocal grows in power and passion, while the Sweethearts of Sigma adding cooing, sweeping harmonies and handclaps. Their harmonies then soar, matching Loleatta for drama, power and soulfulness. Layers of the lushest strings dance with joy, horns growl and rasp as the rhythm section provide the track’s pulsating heartbeat. Along with the Sweethearts of Sigma’s glorious harmonies they provide the perfect backdrop for Loleatta’s powerhouse of a vocal. The result is an irresistible and hook-laden track, which quite simply, is the highlight of Love Sensation.
When Loleatta’s fourth and final album Love Sensation was released in 1980, it didn’t replicate the success of previous albums. Neither did it match the success of the lead single and title-track Love Sensation. The Dan Hartman penned and produced single reached number one in US Dance Music/Club Play Singles charts. There was nothing whatsoever wrong with the other seven tracks on Love Sensation. Indeed, each of the eight tracks on Love Sensation features Loleatta Holloway at her very best. From the opening bars of Love Sensation, right through to I’ll Be Standing There Loleatta veers between disco and soul. Whether it’s Loleatta Holloway disco diva, or Loleatta revisiting her Southern Soul roots, she’s just as comfortable. This was the same combination as Loleatta’s three previous albums, Queen of the Night, Loleatta and Loleatta Holloway. So it wasn’t as if Loleatta had changed direction musically. What had changed was music.
Disco was no longer as popular. Indeed since the Disco Sucks’ backlash, neither record companies, nor record buyers, were as interested in disco. Indeed, some record companies dropped disco artists and disco records. Salsoul and Gold Mind Records, which released Love Sensation, had established a reputation as a disco labels. Following the commercial failure of Love Sensation, worse was to come for Loleatta.
Salsoul ceased trading in the mid-eighties, leaving her without a record label. Then tragedy struck. Floyd Smith, Loleatta’s husband died in 1984. After this, Loleatta Holloway signed to Streetwise Records, owned by producer Arthur Baker. Loleatta released Crash Goes Love later in 1984, which gave her a minor US R&B hit single. For the rest of the eighties and nineties, released tracks for various dance labels. By then, her vocals had become a favorite of producers. They relentlessly “sampled” her vocals. Loleatta’s vocal can be heard on both Black Box’s on Ride On Time and Marky Mark and The Funky Bunch’s Good Vibrations. Ironically, Good Vibrations indirectly gave Loleatta Holloway the number one, million-selling single that eluded her. Sadly, last year, on 21st March 2011, Loleatta Holloway passed away, aged just sixty-four. Loleatta Holloway leaves behind a back-catalogue that demonstrates just why, she was the true and undisputed Queen of Disco. Others may tried to steal her crown, but for evermore, Loleatta Holloway will remain the Queen of Disco. Her fourth and final album, Love Sensation, is proof of this, if any was needed. Standout Tracks: Love Sensation, Long Hard Climb to Love, Two Became a Crowd and I’ll Be Standing There.
LOLEATTA HOLLOWAY-LOVE SENSATION.
INTERNATIONAL FEEL-A COMPILATION.
INTERNATIONAL FEEL-A COMPILATION.
During my whistle-stop, worldwide search for new, exciting and innovative compilations, I’ve reviewed compilations from all over the world. Recently, this has included compilations from record labels based not only in the UK and US, but Belgium, Netherlands, Germany and Japan. Next stop is Uruguay, home to International Feel Recordings. International Feel was founded and run by Mark Barrott. Since 2009, International Feel Recordings have been releasing electronica and Balearica, including twelve-inch singles, compilations and artists albums. This includes singles from DJ Harvey, Gatta Fritto, Efeel, Rocha, Coyote, Hungry Ghost and Bubble Club. That’s not forgetting albums from DJ Harvey and Gatta Fritto, plus compilations that include International Feel and Locussolus Remixes. Now International Feel Recordings have released another compilation, International Feel-A Compilation. This is a double-album, showcasing some of the label’s roster, including some of their previous releases. Included on International Feel-A Compilation are previously unreleased tracks, plus track that previously, were only available on vinyl. So, International Feel-A Compilation looks like the perfect introduction to International Feel Recordings? Is that the case? That’s what I’ll now tell you.
DISC ONE.
On Disc One of International Feel-A Compilation, there are eleven tracks, including tracks from some of International Feel regulars. This includes Gatto Fritto, Rocha, Bubble Club, Flights of Fancy, Gonno and IFeel Studio. Many of these tracks have been released since 2009. Of these tracks, some are making their CD debut for the first time. Other tracks fall into the category of rarities. Indeed, so rare are some of the tracks, they’re describes as as rare as rocking horse droppings. So, Disc One of International Feel-A Compilation won’t just appeal to newcomers to International Feel’s music, bit completists too. With rarities sitting side-by-side with some of International Feel’s previous releases, choosing just some of the highlights of Disc One of International Feel-A Compilation my prove problematic. Here goes, though with what are my highlights of International Feel-A Compilation.
My first choice from International Feel-A Compilation, is Gatto Fritto’s The Curse. This is a track from his 2011 album Gatto Fritto. There’s something of an old school sound when crispy drums and shakers give way to Acid House synths. Suddenly, it’s the second Summer of Love again. Keyboards, buzzing synths and sound effects are joined by a crystalline vocal. Rolls and fills of drums add variety as this multilayered track unfolds. By now Gatto Fritto is fusing electronica with elements of Acid House, techno and house. Sometimes, there are even references to disco. Indeed, so many influences are fused to create this innovative track, it could’ve been made anytime in the past twenty-five years.
Second is a track from International Peoples Gang’s 2010 album Up, originally released by the Detroit duo in 2010, on Hi-Phi Music. It’s remixed by Coyote and is a track that sits comfortably between the dance-floor and Balearica. For DJs playing a long set and just upping the tempo this is perfect. A lone female vocal drenched in echo opens the track. Crunchy beats, guitar and percussion join keyboards and a deliberate vocal. Straight away, the track takes on a hypnotic sound. Echo and filters are added to the vocal, as the vocal drifts in and out. Subtle layers of music sit in the background, as keyboards drive the track along, building the track’s drama and dance-floor friendly sound. So impressed was I by the International Peoples Gang’s music, I’ll definitely be checking their music out.
Flights of Fancy’s Spacebird is a track that showcases something International Feel does so well, releasing Balearic music. It’s best described as an ambient soundscape, one that’s both elegant and dramatic. A picked acoustic guitar and washes of synths combine, creating a backdrop that gently and subtly reveals its charms. A dramatic, spacey guitar reverberates and that’s the signal for things to change. Crunchy drums, synths and the guitar combine, with washes of synths for company. Together, they create a sound that’s a fusion of rock, ambient, Balearic and electronica. Elegant, dramatic and mysterious. This track is all these things and much more, including quite beautiful.
Parada 88’s You’re Gonna Miss Me is the final choice from Disc One of International Feel-A Compilation. Released as a twelve-inch single in 2011, it’s a track that references several musical genres. House, techno and Acid House are all rolled into one dramatic, driving track. Stabs of buzzing synths, a mesmerizingly repetitive vocal, crunchy drums and keyboards are all that’s needed to create the track. Some of the keyboards and synths are straight out of an old Acid House track. Sometimes, the music unfolds in soaring, dramatic waves. Key to the hypnotic sound is the punchy, repetitive vocal that punctuate the arrangement. Glacial backing vocals have an ambient feel, while sometimes, there’s even a hint of house and techno thrown into the mix. All this makes a track that’s guaranteed to fill any dance-floor.
The eleven tracks on Disc One of International Feel-A Compilation feature a mixture of electronica and Balearic beats. So consistently high is the quality of music, that choosing just a few of the many highlights wasn’t easy. Unlike so many compilations, there’s neither any padding nor filler. Instead, there’s just some great music, from some hugely talented, creative and innovative artists. Fittingly given the compilation’s title, these artists are from different parts of the globe, giving the compilation its International Feel. Given how good Disc One of International Feel-A Compilation is, will Disc Two be just as good?
DISC TWO
Disc Two, like Disc One of International Feel-A Compilation is an eclectic selection of electronica and Balearic music. Some familiar faces from Disc One feature, including Rocha, Gatto Fritto, Flights of Fancy and Gonna. There are also tracks from Bepu N’Gali, The Globe, Adventure Party and Hungry Ghost. In total, there are ten tracks, which I’ll now choose the highlights of.
Of the ten tracks on Disc Two of International Feel-A Compilation, Bepu N’Gali’s I Travel To You is my first choice. It was released earlier in 2012. It’s described as a track where deep and tribal house combine. To that I’d add a healthy sprinkling of Latin music. It’s that Latin feel that’s guaranteed to get you on your feet. Chiming guitars join pounding drums, percussion and handclaps. A flute joins the mix as the rhythm section drive the track along. A myriad of joyous vocals join the party and so do, rasping horns. By now, you’ve realized that this a gloriously, irresistible track. There’s a real funky side to the track and when combined with the Latin influence, keeping still quite simply isn’t an option.
Rocha’s Night Music is very different from other tracks. It has a much more experimental, leftfield sound. There’s an ambient influence to the track, as it meanders into being. It’s almost as if the track is awakening. Keyboards, a sprinkling of percussion and sound effects create an intriguing soundscape. A distant vocal joins the fray, as do pounding drums that gradually, get nearer and nearer. By now, you’re wondering where the track is heading. Synths reverberate, while samples, sound effects and keyboards tantalize and tempt you with its secrets. An epic is unfolding, one over ten minutes long. With Rocha as your tour-guide, you’re taken on a compelling, intriguing, mesmerizing and sometimes, haunting journey. Quite simply, this is one of the highlights of International Feel-A Compilation.
You can’t fail to be intrigued by a track with the title (I Am A) Series Of Strange Loops. This is a track from Hungry Ghost and when it opens, it has an eerie, space-age sound. Key to the space-age sound is a vocoder, which the vocal is spoken through. With the help of synths, sound-effects and drums, these space-age sounds are created. As the vocal drops out, the space-age sound continues, but keyboards take charge, before crystalline guitar licks are added. It’s a bit like crossing a choppy lake and suddenly calm is restored. However, you never know when things will change. You’re always on edge, wondering what’s about to happen. Unexpectedly, harmonies join the mix, but so does that edgy vocal. Then the track takes on a much more rocky, dramatic sound. Truly, it’s compelling and intriguing. For nearly ten minutes subtleties and surprises aplenty are in-store. In some ways, it’s not unlike walking onto the set of a yet unmade sci-fi film, which you feel you’re part of.
The last track from Disc Two of International Feel-A Compilation is Gonno’s Turn To Light, a track from the Acdise Number Two twelve-inch single. As the track begins, there’s a real understated, pensive sound, one that’s almost experimental. Synths beep and squeak. Subtle as they are, they’re contrasted by a broody string sound, while occasional guitar licks punctuate the track. Nearly three minutes into the six minute track and it’s teasing you relentlessly. Waves of music unfold, with just the moody sound of strings contrasted by guitars and synths. Sometimes, it’s not an easy listen, and is challenging, but sticking with it is worth it. Soon, the sound grows into a powerful, impressive soundscape, which although moody, broody and experimental, is also innovative, cutting-edge and challenging.
Just choosing eight tracks from the twenty-one on International Feel-A Compilation wasn’t easy. There were so many great tracks, tracks that ranged from all types of electronica right through to International Feel’s trademark Balearic sound. Many of these artists won’t be familiar to most people, so International Feel-A Compilation is very much a voyage of discovery. These are just a taster of their first thirty-six releases, since Mark Barrott formed International Feel Recordings in 2009. He couldn’t have named his label better, because the artists on International Feel are from all parts of the world, brought together through one thing, music. Like so often is the case, music brings people together. Music breaks down barriers, allowing people to come together in a positive way through a shared interest. With artists from all over the world, International Feel-A Compilation, truly has an International Feel, as well as featuring a totally eclectic selection of music.
While International Feel Recordings is only three years old, it looks like the label has a great future ahead. Mark Barrott has that rare talent, the ability to spot talented and creative people. His label gives them an outlet for their creativity and allows their music to find the wider audience it deserves. For that he deserves credit and kudos. Although International Feel-A Compilation is only a tantalizing taste of their releases so far, there’s much more to International Feel Recordings. I’m sure in the future, we’ll be hearing much more eclectic music like that on International Feel-A Compilation, music which will have an International Feel. Standout Tracks: Gatto Fritto The Curse, International Peoples Gang Second, Bepu N’Gali I Travel To You and Rocha Night Music.
INTERNATIONAL FEEL-A COMPILATION.
TERRY CALLIER-FAREWELL, BUT YOUR MUSIC LIVES ON.
TERRY CALLIER-FAREWELL, BUT YOUR MUSIC LIVES ON.
It was late Sunday night when the news came through that Terry Callier had passed away. He was aged just sixty-seven and had lost an eighteen month battle with throat cancer. Straight away, memories came flooding back for me. It was the late-nineties, and I’d headed to Glasgow to one of Terry’s comeback concerts. The small venue was packed, with a buzz of anticipation spreading through the hall. People were only half-listening to the DJ spinning an eclectic selection of tracks. Then the lights were dimmed, and Terry walked almost shyly to the microphone. The audience were on their feet, believers to a man or woman in Terry’s music. As he almost humbly welcomed and thanked the audience, the lights dimmed and Terry launched into a set of his classic tracks interspersed with track from his two comeback albums Timepeace and Lifetime. Quite simply describing the music as beautiful, spiritual mystical and deeply moving. At last, and belatedly Terry Caliier’s music was finding the audience it deserved. Part two of Terry Caliier’s career was unfolding and in Glasgow, like much of Britain, a new generation of music fans were ready to enjoy the journey. Sadly, Terry Caliier’s music wasn’t always as appreciated.
Terry Callier was born in Chicago, in 1945, growing up in the North Side of Chicago. Among his friends, were other giants of soul music, including Jerry Butler, Curtis Mayfield and Major Lance. Soon, Terry was singing in neighborhood doo wop group. Then, aged just seventeen, Terry auditioned for Chess Records, recording his debut single Look At Me Now. After that, Terry started playing folk clubs and coffee houses, before falling under the spell of legendary jazz musician John Coltrane’s music.
By 1964, Samuel Charters of Prestige Records met Terry. Samuel was so impressed by Terry’s music and talent, that he encouraged Terry to record an album. Terry headed into the recording studio and recorded what became The New Folk Sound of Terry Callier. Aged nineteen Terry had recorded his debut album and it was ready for release. Then disaster struck. For some inexplicable reason Samuel Charters, decided to take the tapes of the album to the Mexican desert. This delayed the release of the album until 1968. When The New Folk Sound of Terry Callier was belatedly released, music had changed. Sadly, it failed to give Terry the commercial breakthrough his talent deserved. The next time Terry released his second album, it be a new decade.
It was at Cadet Records, a subsidiary of Chess Records that Terry Callier released a trio of minor classics. For fans of Terry Callier, these three albums are quite simply, amongst Terry Callier’s finest work. The first of these albums were Occasional Rain was released in 1972, which featured the classic tracks Ordinary Joe and the elegant, beautiful and moving title-track Occasional Rain. Sadly, commercial success eluded Terry. What Color Is Love followed in 1973 and saw Terry at his very best. Dancing Girl, Just As Long As We’re In Love and the seminal title-track What Color Is Love. Still the commercial success and critical acclaim the Terry’s music deserved, eluded him. When the last of this trio of albums, I Just Can’t Help Myself, released in 1974 and failed to catch the public’s attention, Terry’s career at Cadet was over. These three albums remained hidden gems, cherished by a small band of dedicated followers of Terry’s music. It would be over twenty-five years later, that they were rediscovered by a new generation of music lovers.
After being dropped by Cadet Records, Terry Callier signed for Elektra. He recorded two critically acclaimed albums for Elektra. Fire On Ice, released in 1977, was the first of these albums. Again, it failed commercially and so did the followup 1978s Turn You To Love. While both albums were critically acclaimed, they weren’t a commercial success released as they were at the height of the disco era. Little did Terry realize, but it would be another twenty-years before he released another studio album.
Although Terry Callier continued to tour until 1983, he didn’t release any further studio albums. It was that year that he was given custody of his daughter. Determined to bring his daughter up properly, Terry retired from music. He took classes in computer programming and got a job at the University of Chicago. In his spare time, he studied for a degree in sociology. During this period, only one album was released, TC In DC, a live album recorded in Washington in 1982, before his retirement. It was released in 1996.
In the late 1980s’ UK DJs started playing Terry Callier’s music in clubs. This led to Acid Jazz Records releasing I Don’t Want To See Myself (Without You), a track Callier recorded in 1983. From then on, Terry made trips to the UK to play concerts during his holidays from work.
After a prolonged absence for music, Terry Callier began to make a comeback in the late 1990s. He recorded a track with Beth Orton on her Best Bit EP, which was later on her Trailer Park album. Then in 1998, he recorded Timepeace, which was the album that marked the second coming of Terry Callier. It seemed Terry hadn’t lost any of his talent as a songwriter or singer. Soon, a new generation of music lovers discovered Terry’s music. His Cadet and Elektra albums became prized possessions of this new generation of music lovers. Rounding off Terry Caliier’s comeback, Timepeace received an award from the United Nations for outstanding artistic achievement and his contribution towards world peace.
Following 1998s Timepeace, Terry released Lifetime in 1999. Lifefime was vintage Terry Callier. It was as if after all these years away from music, he was on a creative roll. Somehow, Terry managed to surpass thee quality of Timepeace. Lifetime seemed to feature one great track after another. This included When My Lady Danced, Sunset Boulevard, When The Music Is Gone, Nobody But Yourself and the title-track Lifetime. Terry it seemed, was back for good. Sadly, Terry Callier would only release three further studio albums.
At the dawn of the new millennia, Terry Callier signed to a new label Mr. Bongo. For Mr. Bongo, Terry would release three further studio albums, plus two live albums, 2001s Alive and 2008s Welcome Home. The three studio albums started with 2002s Speak Your Peace, followed by 2004s Lookin’ Out and what proved to be Terry Callier’s swan-song, Hidden Conversations, released in 2009. Following the release of Hidden Conversations, nothing further was heard from Terry Callier. What many people didn’t realize, that Terry was bravely battling cancer.
Now three years after the release of what was Terry Callier’s final studio album Hidden Conversations, Terry Callier lost his brave battle with throat cancer. Music has lost one of the most talented singer and songwriter of his generation. Sadly, music is a much poorer place for Terry’s passing. Not only was Terry Callier a hugely talented singer and songwriter, but a man who was truly humble and unassuming. He leaves behind a back-catalogue of some stunning music. For anyone whose yet to discover Terry’s music, his three Cadet albums Occasional Rain, What Color Is Love and Just As Long As We’re In Love are a good place to start. Add to this, his two Elektra albums Fire On Ice and Turn You To Love and then finally, the best albums from Terry Caliier’s second coming, Timepeace and Lifetime. These seven albums will allow you to hear what is, quite simply, the best music of Terry Callier’s near fifty-year career.
As someone whose championed Terry Caliier’s career relentlessly, writing about his work and becoming something of an evangelist when it comes to Terry’s music, his passing left me hugely saddened. Seeing Terry Callier live in concert was one of the best concerts in my long concert going career. It was a deeply moving, beautiful, spiritual and almost mystical experience. I count myself hugely fortunate to have witnessed Terry Callier live and to have discovered his music. Hopefully, further generations of music fans will continue to discover and cherish Terry Callier’s music and that it’ll continue to move and affect them, in the same way that it has affected me and many other people. Quite simply, Terry Callier’s music will forever live on.
TERRY CALLIER-FAREWELL, BUT YOUR MUSIC LIVES ON.
RY COODER-ELECTION TIME.
RY COODER-ELECTION TIME.
For roughly a hundred years, American music has a history of producing some of greatest protest singers in the history of music. Woody Guthrie, Joe Hill, Josh White, Pete Seeger, Burl Ives and Billie Holliday. A later generation protest singers included Bob Dylan, Phil Ochs and Joan Baez. Unlike America, British singers don’t do protest songs as well. Even John Lennon and Paul McCartney failed miserably when it came to releasing protest music. While Lennon and McCartney weren’t exactly successful when it came to releasing protest songs, neither were the next generation of musicians. Indeed, protest songs are no longer fashionable, except when a musician whose career is failing and wants to jump on a fashionable bandwagon. One artist whose bucking this trend is Ry Cooder, who recently and just in time for the closest American election in some time, released Election Time. Election Time is the nearest thing to an album of latter day protest songs, filled with biting social comment. So, Ry Cooder dares to tread where other musicians fear to go. Will Election Time become a modern day successor to the great protest songs of yesteryear?
Rather than put together a band of crack session players like many musicians do, Election Time is a low-key, family affair. Ry’s joined by his son Joachim on drums and Arnold McCuller adding harmonies on Take Your Hands Off It. Eight of the nine tracks that makeup Election Time were penned by Ry, except Take Your Hands Off It, which Joachim cowrote. Election Time was recorded at Wireland Studios, Chatsworth, California and Drive-By Studios in Hollywood, California, with Ry taking charge of production. Fittingly for an album of songs that are politically charged, and to some extent protest songs, Election Time is in memory of Ken Price, Mike Seeger and Earl Scruggs. Will Election Time be a fitting tribute to the memory?
Election Time opens with Mutt Romney Blues, where just Ry’s trademark slide-guitar accompanies is angry, frustrated vocal. Backing vocalists and his son Joachim on drums accompany his vocal, as the arrangement has fuses Americana with blues. There’s a slightly lo-fi sound to the arrangement and Ry’s lyrics aren’t his best effort, to put it kindly. They lack wit and subtlety, something many great protest and political song benefit from. As for Ry’s vocal, I get the feeling Ry’s trying to deliver his vocal in what he thinks is an authentic style. It’s not though. Quite simply, apart from Ry’s guitar playing, it’s a disappointing start to Election Time.
Brother Is Gone sees Ry switch to mandolin, which creates a melancholy, wistful sound. Joachim adds slow, subtle and pensive drums. When Ry’s vocal enters, his vocal is much more natural, and has a wistful sound. The lyrics are slightly derivative, reminding me of many an old blues track. Having said that, Ry’s delivery is powerful. Strings add to the melancholy sound of what’s quite a beautiful track.
Ry now turns his sights on another of the modern day bogey men, Wall Street financiers. The Wall Street Part Of Town sees Ry’s lyrics improve. He gives voice to a nation’s thoughts and anger. With an arrangement where rocky guitars and a driving rhythm section produce something you’d expect on a Neil Young album. Whatever Neil can do, Ry can do it just as good. His vocal full of anger and emotion, as he lays down some searing guitar licks. Later, he changes to the mandolin, which proves really effective. It seems at last, Ry has found his own voice and created a track full of biting, social comment that speaks for an angry and sadly, much poorer nation.
Guantanamo sees Ry continue where he left off on the previous track. His tight, talented band fuse a driving rhythm section with some glorious guitar licks. They accompany Ry’s powerful, angry vocal. He almost barks out the lyrics, which are much better. It seems Ry has found his own voice and style. He’s no longer trying to create a faux blues track. Despite that, there’s still a bluesy twist to the track, but it’s mostly, straight ahead rock. Like the previous track, anger and frustration are combined with a rocky sound and social comment.
Having said that Ry had left behind his faux blues sound, it returns on Cold Cold Feeling. The problem is Ry overplays the bluesy sound, coming across as overblown and melodramatic. This results in what’s almost a parody of an authentic blues track. Granted Ry lays down some bluesy guitar licks against some slow, moody drums. When sings, he tries too hard to come across as a modern day blues man. Sadly, this means you tend not to focus on what are some intelligent lyrics.
Going To Tampa sees Election Time get back on track. The song has a real country-tinged sound that has your attention from the start. It’s the jaunty arrangement that’s responsible for this. Ry plays mandolin, delivering his vocal in a style that’s much more natural, with country a twist. He’s accompanied by an understated arrangement, one that could’ve been recorded sixty years ago. What makes the track are the lyrics. They’re full of social comment, but with the wit and subtlety that was lacking on Mutt Romney Blues. That’s what makes this such an effective and successful song, one that’ll make you stop, think and listen.
Kool-Aid sees a real change style. A broody bass, drums and waves of echoey guitars combine to create a moody backdrop. Ry’s powerful vocal sounds desperate and defeated. His weary vocal is joined by backing vocals while the guitars reverberate as drums and bass provide the track’s pensive heartbeat. This works, as Ry isn’t trying to be something he’s not. Instead, the real Ry Cooder shines through, creating a track that’s dramatic, moody and emotive.
The 90 And The 9 sees Ry return to a sound where Americana and country unite. Again, his vocal has a worldweary sound. He’s accompanied by an understated backdrop, where just guitar, drums played by brushes and percussion combine. Backing vocals join Ry, reflecting his worldweary vocal. This is another track where the Election Time’s sheer eclecticism shines through, with Americana, roots and country music all combined seamlessly by Ry and his tight band.
Closing Election Time is Take Your Hands Off It. Here Ry and his band decide to kick loose. He delivers an angry vocal about the erosion in the American constitution. His vocal is anger and frustration personified, delivered against an arrangement that’s a mixture of rock and blues. Ry’s trademark guitar licks are joined by the rhythm section, percussion and piano that drive the arrangement along. As the song progresses, Ry’s anger and frustration gets the better of him, with his vocal becoming righteous anger at the erosion of America’s foundation. What a way to close Election Time, with Ry Cooder telling it like it is.
After a faltering and quite disappointing start, Election Time got on track. While Mutt Romney Blues disappoints, Brother Is Gone sees things improve. Although the lyrics are somewhat derivative, its still a quite beautiful track. Ry ups the ante on The Wall Street Part Of Town, where he becomes America’s voice and conscience, railing against the greed and corruption of Wall Street. On Guantanamo Ry continues to find his own voice, delivering lyrics laden with social comment and anger. Sadly, Ry forgets that this is 2012 and he’s not a twenties bluesman on Cold Cold Feeling. Rather than giving us his take on the blues, he tries to recreate what he thinks is an authentic bluesy sound. It’s not big, it’s not clever and it certainly doesn’t work. From there, Ry’s hitting home runs all the way. There’s no drop in quality on Going To Tampa, Kool-Aid, The 90 And The 9 and Take Your Hands Off It where his frustration almost boils over, becoming righteous anger. These four songs see Ry Cooder reborn, reborn as a modern day protest singer, whose songs are full of social comment and righteous indignation. In becoming the voice and conscience of America, he brings to their attention the wrongs and injustices that need righted. Ry Cooder also warns of the greed, self interest and corruption that brought a once proud nation to its knees. In many ways Ry Cooder’s Election time is a wakeup call for America as Election Time nears. Standout Tracks: Brother Is Gone, The Wall Street Part Of Town, Going To Tampa and Take Your Hands Off It.
RY COODER-ELECTION TIME.
DR. JOHN-LOCKED DOWN.
DR. JOHN-LOCKED DOWN.
One of the great survivors of music is Dr. John. It seems be’s been around since the dawn of rock ‘n’ roll. He was at the peak of his creativity between 1969 and 1974. During that time, Dr. John was on a roll that people thought would never end. Critically acclaimed albums included his 1968 debut album Gris-Gris, through 1969s Babylon, 1970s Remedies, 1971s The Sun, The Moon and The Herbs, 1972s Gumbo, 1973s In the Right Place and Desitively Bonnaroo released in 1974. Then this run of critically acclaimed albums came to a grinding halt. After that, Dr. John seemed to lose his mojo and indeed his way musically. Albums became hit and miss affairs. Since then, his music been in and out of music several times. There were the occasional promising album, including 1989s In A Sentimental Mood, an album of old jazz standards. After that, it was another decade before Dr. John was reborn.
With the help of a new generation of musicians, including Paul Weller and producer John Leckie, Dr. John released Anutha Zone in 1998. Anutha Zone brought Dr. John back into the public’s consciousness. A year later, he released Duke Elegant, an album of covers of Duke Ellington classics. It seemed that Dr. John was back and on another roll. Sadly, that wasn’t to be.
Again, albums became hit and miss affairs. The next eleven years saw the odd glimpse of greatness, including 2006s Mercenary, an album of Johnny Mercer covers and 2008s The City That Time Forgot. Other albums were patchy affairs. Now into his sixth decade releasing albums, Dr. John recently released Locked Down, which was produced by Dan Auberbach of The Black Keys. Could Locked Down see the second coming of Dr. John, albeit with the help of another generation of musicians Dan Auberbach? That’s what I’ll now tell you.
Before Dr. John recently released Locked Down, his previous album was 2010s Tribal. Like Tribal, Locked Down sees Dr. John joined by his regular backing band The Lower 911. McCrary Sisters, Regina Ann and Alfreda add backing vocals and Black Keys’ guitarist and producer Dan Auberbach adds guitar, percussion and backing vocals. Dan Auberbach also cowrote the ten tracks with drummer, percussionist and backing vocalist Max Weissenfeldt and Dr. John. It’s this combination of creative talents that are attempting to recapture the critical acclaim and commercial success Dr. John enjoyed between 1969 and 1974. Will that be the case and will Locked Down be a return to form from one of music’s great survivors Dr. John?
Locked Down opens with the title-track Locked Down, where Dr. John throws his first curveball. There’s an eerie sound with Dr. John whispering mysteriously, before his band launch into the track. The Lower 911’s rhythm section, Hammond organ, percussion and waves of backing vocal join Dr. John’s gnarled vocal. Straight away, you’re left feeling slightly disappointed. Something is lacking. This just isn’t the Dr. John of old. Even the addition of dramatic, riffing rocky guitars, washes of wailing Hammond and some impressive, soaring harmonies don’t lift the track. Sadly, the track fails to live up the overblown hype in the sleeve-note of a return to greatness. Instead, it’s a return to mediocracy and disappointment.
Driving rasping horns join the rhythm section in driving Revolution along. When Dr. John’s vocal enters, the grittiness and growl of previous albums is lacking. Part of the problem is the sheer volume of the rest of the arrangement. It overpowers his vocal. As the harmonies enter, it’s as if they’re picking up where they left off in the opening track. There are several problems with the song. The lyrics are akin to something a sixth-form musician would write. Other problems are the sound quality and that the arrangement lacks direction. It seems Dr. John has been taken outside his comfort zone and is struggling to contend with this and lacking the direction. As for the arrangement, it’s a fusion of styles that sits uncomfortably together.
Big Shot has a much more promising sound as the track opens. There’s more of a New Orleans’ sound and The Lower 911 seem to perform better. Bursts of growling horns and guitars accompany Dr. John as he deliver a grizzled vocal. Harmonies sweep in, adding their celestial sound. Space is left in the arrangement with the horns and harmonies key to sound. Dr. John sounds more at home, fusing jazz and R&B with a sound that’s got New Orleans written all over it. While hardly vintage Dr. John, it’s a vast improvement on the previous tracks. Maybe, Locked Down has been unlocked.
Guitars and dramatic bursts of drums open Ice Age as Dr. John and his band seek to unlock his own unique brand New Orleans music. Deploying a pounding bass, riffing guitars and braying horns and cascading harmonies to accompany Dr. John’s whispered, sometimes sinister vocal, you get a glimpse of the track’s potential. Sadly, there’s a muddy sound to the track. Percussion and keyboards are added and sit comfortably in the mix. Later, Dr. John has found his voice, his delivery atmospheric and moody, helped by the harmonies that accompany him. Ice Age is a good track, but one that could’ve been much better. If the sound was less muddy, then this track would really thaw out.
Getaway opens with keyboards panned way left, before The Lower 911 launch into the track. When they do, it’s almost without purpose. Producer and supposed bandleader Dan Auberbach needs to rein them back or shout cut. The band gallop away. A standup bass, guitar and piano making a run for it. Despite the lack of direction, Dr. John and his band somehow, by the skin of their teeth and through a wealth of experience, pull things together. Dr. John’s vocal is feisty and gnarled with waves of harmonies accompanying him. Sometimes, the track becomes frenzied and dramatic, as jazz is fused with a twist of blues, rock and R&B. After a worrying start, Dr. John and his band almost manage to turn the track around. Sadly, in doing so, they only reach the height of mediocracy.
Kingdom Of Izzness has a promising start, with buzzing keyboards, rhythm section and occasional guitars combining with Dr. John’s best vocal so far. As if spurred on, angelic harmonies join the mix. Handclaps are added as if sensing things have taken a turn for the better. Dr. John seems to sense this, testifying, asking “can I have a witness?” Meanwhile, the keyboards which seem out of place, join the rhythm section and guitars take care of business, as the best song so far, on Locked Down unfolds. Then just as Dr. John and his band hit a groove, far too soon, the track’s over, almost as if the tape ran out. Despite this, this is much more like Dr. John at his best.
A crystalline bluesy guitar opens You Lie with a sound straight out of a Black Keys album. Then blazing horns join a driving rhythm section and Dr. John grizzled vocal. It’s not unlike Dr. John meets The Black Keys as blues, rock, jazz and R&B combine. As the arrangement drives along, much of Dr. John’s trademark sound has been dispensed with. Replacing it, is something more suited to a Black Keys album. There’s a slightly experimental, jazzy sound to the track, but one that works. This is helped along by the McCrary Sisters’ backing vocals which sit amidst the track, as Dr. John and The Black Keys music merges into one.
As Eleggua unfolds, the drama build and builds. Drums and a wave of Hammond organ combine with backing vocals that are straight off a seventies funk album. Dr. John’s rasping, throaty vocal is accompanied by thunderous drums, keyboards and harmonies. The drums almost overpower everything else, including Dr. John’s ad libbed vocal. Searing guitars join the mix, while woodwind is added as the track combines elements of classic funk, jazz and rock. While not the best track Dr. John has ever recorded, it’s still better than much of Locked Down.
Melancholy keyboards give a hint that My Children, My Angels might be something special. They meander along before the bass and the rest of the rhythm section join Dr. John’s worldweary vocal. By now it’s almost a eureka moment, when you realize this could be the old Dr. John’s belated arrival. Backing vocalists join him, and by now you’re hoping against hope that nothing goes wrong. Even Dan Auberbach rocky guitar doesn’t disappoint and as Dr. John sings “don’t take the easy road,” you realize he’s on the right road, the road to creating the best track on Locked Down.
There’s a real rocky introduction to God’s Sure Good, which closes Locked Down. Waves of searing guitars and the rhythm section combine before Dr. John’s heartfelt vocal enters. He’s accompanied by a Hammond organ, punchy backing vocalists and the rocky combination of the rhythm section and guitar licks. Later, the McCrary Sisters add their angelic vocals, helping Dr. John and The Lower 911 close Locked Down with another of its highlights.
It’s somewhat ironic that Locked Down is such a disappointing album from Dr. John given the bluster, hyperbole and hype in the sleeve-notes. Talk of a return to form for Dr. John like his music between 1969 and 1974, is to put it kindly, wishful thinking or to be blunt, delusional. Part of the problem is the collaboration with producer and supposed bandleader Dan Auberbach. Rather than come to the sessions for Locked Down with a musical palette filled with colors, his palette is restricted to the faux blues rock of The Black Keys. So, instead of Locked Down sounding anywhere near a Dr. John album, in places, it sounds more like a Black Keys album, with Dr. John adding guest vocals. Maybe the next time Dr. John decides to collaborate with another artist, he should make sure that they’ll remember that they’re recording a Dr. John album.
Talking of Dr. John’s vocals, they don’t have the presence of his earlier albums. Sometimes he’s a shadow of his former self. In many ways, this saddens me. So too does having to write such a critical review. However, there’s no other way of describing Locked Down as an album that doesn’t rise much above mediocre. It really is a disappointing album and a real disappointment. Indeed so disappointing is Locked Down, it’ll be a long time before I revisit it. Of all the albums Dr. John has recorded since his 1998 comeback Anutha Zone, this is quite simply his most disappointing. For anyone whose yet to hear Locked Down, and thinking of buying it, don’t. Instead, do yourself a favor, and buy a couple of Dr. John’s classic albums from 1969-1974. That will allow you to hear Dr. John in his prime, when critical acclaim and commercial success were constant companions. Standout Tracks: Big Shot, Kingdom Of Izzness, Eleggua and My Children, My Angels.
DR. JOHN-LOCKED DOWN.
PSYCHEMAGIK PRESENTS MAGIK CYRKLES.
PSYCHEMAGIK PRESENTS MAGIK CYRKLES.
Sometimes, when you buy a compilation, the first time you play it, you’re blown away by its sheer eclecticism and totally smitten by the music. That was me, when I came across Leng Records’ latest compilation, Psychemagik Presents Magik Cyrkles. This is a double-album, compiled by the prolific UK production team of Psychemagik. Disc One is a twelve-track compilation of what’s describes as a mixture of cosmic disco, psychedelic funk, Balearica, Middle Eastern beats and much more.On Disc Two, these twelve tracks are seamlessly mixed by Psychemagik. These twelve tracks showcase Psychemagik’s passion for crate-digging. Of the twelve tracks, four are new edits by Psychemagik. With such an eclectic collection of music, finding the tracks must prove problematic? Not for Psychemagik.
Psychemagik are passionate and persistent crate-diggers, when it comes to unearthing hidden gems. Their quest in unearthing those elusive hidden gems, sees Psychemagik go where other crate diggers fear to tread. Whether it’s dusty basements, thrift stores, warehouses or record shops, nowhere is off limits. As a result, and unlike many other crate diggers, Psychemagik’s choice of music is truly eclectic. Rather than focus on one genre of music, no genre of music, it seems, is overlooked. Given that Psychemagik have such eclectic and discerning taste in music, it’s no surprise that they’re the go-to guys for DJs looking for those elusive hidden gems.
For DJs looking for those hard-to-find tracks, they head to Psychemagik’s doors. Some of the most eclectic and discerning DJs are supplied by Psychemagik Soulwax, Q-Tip, The Chemical Brothers, Fake Blood, Tom Middleton and Lord Finesse are all supplied by rare vinyl by Psychemagik. No wonder these DJs head to Psychemagik’s doors, if Psychemagik Presents Magik Cyrkles is anything to go to by. Truly, Psychemagik Presents Magik Cyrkles is an eclectic collection of tracks, which I’ll pick the highlights of.
My first choice from Psychemagik Presents Magik Cyrkles is the track that opens the compilation Intrinsic Trance’s Hey Policeman! This is a French track, which was released in 1976, on Phillips. Although just three minutes long, it’s a fusion of funk and disco. A moody lone bass is joined by chiming guitar licks, slow spacious drums and keyboards, while the deliberate vocal is accompanied by sirens. They provide a funky backdrop before later, punchy growling, rasping horns and harmonies join the fray. While there’s a dark, moody side to the track, it’s full of subtle poppy hooks. It worms its way into your psyche. As a result, you find yourself singing the track for the rest of the day.
The first of the four Love Is Psychemagik edits is The Bear Brothers’ Love Is, which was released on the Monopole label. Here a variety of styles are fused. Funk, rock and soul are combined, as a pulsating beat is accompanied by a whispery, sensual vocal. Accompanying the vocal is a driving, funky rhythm section that create the track’s pounding, heartbeat. Keyboards, percussion and wah-wah guitars join the rhythm section in creating a tough, uber funky backdrop for the vocal. It’s a mixture of power and sass, delivered in a style that fuses rock and soul. Truly this is an absolute hidden funky gem. So good is this track, that it’s almost worth buying the compilation for this track alone.
One of the most maligned and most misunderstood genres of music is Krautrock. Epsilon were a group whose music was a mixture of Krautrock, psychedelia, soul and cosmic funk. Ayayaya was released in 1975 on Ariola and is a truly innovative, mind-blowing track. It was way ahead of its time. From the first bars, you realize something special is unfolding. Synths and keyboards help create cosmic, psychedelic and space-age sound. The rhythm section add the funkiest of backdrops. Another ingredient are the harmonies. They range from elegant and sweeping, to deep and punchy. Mixed together in Epsilon’s musical melting pot and Krautrock, psychedelia, soul and cosmic funk unite to create a truly majestic, multi-layered, mind-blowing track.
Proving there’s no length Psychemagik will go to unearth a hidden gem, is Miro’s Safari of Love. Released in 1977 on the Italy’s Vedette Records, this was the B-side to Carly. It’s best described as a soundscape where influences and genres melt into one. There’s everything here, from classical music, electronica, ambient, prog rock, disco, funk and rock. When the track opens, electronica meets rock and funk. Synths beep and squeak while the rhythm section create a rocky backdrop. Riffing guitars duel with synths and keyboards, before glacial strings sweep and swirl. These strings see disco and classical music merge as one. Then there’s a broody, menacing vocal adds a cinematic twist to the track. Surprises, subtleties and curveballs wait to ambush you or catch you off guard in this compelling, complex fusion of genres and influences.
Elias Rahbani and His Orchestra’s From The Moon is another of the four Psychemagik edits on Psychemagik Presents Magik Cyrkles. This is a track from the 1978 E.P. Liza..Liza released on EMI Music Greece. Psychedelia, sixties pop, prog rock and funk are fused for just over three mind-blowing minutes. An eerie sound opens the track ,before a driving rhythm section, keyboards, riffing guitars and a theremin combine with a vocal drenched in layers of delay. The rhythm section supply a driving slice of funk, as keyboards add a prog rock influence while the theremin and vocal sixties psychedelic sound. Add to the this the ever-present riffing guitar and you’ve a track that although the recorded in Greece in 1978, has a “groovy” swing sixties London sound.
The last track I’ve chosen from Psychemagik Presents Magik Cyrkles is Raja Zahr’s Drum Sequence. It’s a track from Zahr’s Lebanon album. Again, this is another of Psychemagik’s edits. As the track bursts into life it’s akin to being caught inside a vintage space invaders game. Lasers are relentlessly fired. They come at you from all angles, as if you’re surrounded. They’re joined by percussion, bongos, Khalid’s crispy drums and a pounding, funky bass played by Tracy “Jungle” Dragoo. Soon, there into the tightest of grooves, fusing elements of jazz, electronica, Latin and funk. They create a hypnotically catchy track that’s one of the real highlights of Psychemagik Presents Magik Cyrkles.
As you’ll have realised by now, I was hugely impressed by Psychemagik Presents Magik Cyrkles. I’d go as far as to say it’s one of the best compilations I’ve heard this year. There are several reasons for this. Of course one of these is the sheer eclecticism of the compilation. There’s everything from cosmic disco, psychedelic funk, Balearica and Middle Eastern beats right through to rock, Latin, jazz and even prog rock. Describing the compilation as eclectic, is almost an understatement. It seems Psychemagik no crates have been left unexplored by Psychemagik, in their quest for not just quality music, but outstanding music. Most of the tracks on Psychemagik Presents Magik Cyrkles will be new to most people, even the most devoted and persistent crate-digger. Unlike other inferior compilations, neither is there any filler or poor tracks. Indeed, so good are the twelve tracks on Psychemagik Presents Magik Circles, I could’ve easily picked Sirarcusa’s Streap-Tease In The Stars (The Way I Do), Mandy B Jones’ 1-2-3-4 (We Ain’t Got Much Time) or Ramasandiran’s Somusundaram. Really, I could’ve picked any track, that shows you the consistency of the music on Psychemagik Presents Magik Cyrkles to tell you about. That’s a tribute to Psychemagik’s crate-digging skills and their discerning taste in music. As an added bonus, Disc Two features each of the twelve tracks seamlessly mixed by Psychemagik. So for anyone who likes their music eclectic and thrives on discovering new music then Psychemagik Presents Magik Cyrkles is an essential addition to your collection. It’s not often that a compilation as good as Psychemagik Presents Magik Cyrkles comes along, and I hope that Leng Records will release another instalment very soon. Once you’ve heard Psychemagik Presents Magik Cyrkles, I’m sure you’ll agree. Standout Tracks: The Bear Brothers Love Is, Miro Safari of Love, Elias Rahbani and His Orchestra From The Moon and Raja Zahr Drum Sequence.
PSYCHEMAGIK PRESENTS MAGIK CYRKLES.
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THE THREE DEGREES-MAYBE.
THE THREE DEGREES-MAYBE.
Way before Gamble and Huff sprinkled their magic over The Three Degrees, they were signed to Roulette Records, where they a series of singles and their 1970 album Maybe. Then, five years later, when The Three Degrees were at the height of their popularity, Roulette released So Much Love, a collection of tracks which had been recorded between 1971 and 1973. With covers of Bill Withers’ Who Is She (and What Is She To You), Jimmy Webb’s If You Must Leave My Life and the Stephen Stills’ classic Love the One You’re With, this showcased The Three Degrees vocal talents. Since the release of Maybe and So Much Love, neither album has been rereleased. Now BBR Records have rectified this, recently rereleasing both albums plus a massive twenty-two bonus tracks as a double-album, entitled Maybe. Maybe covers The Three Degrees entire output at Roulette Records and the story starts in 1970, when The Three Degrees signed to Roulette Records.
By the time that The Three Degrees signed to Roulette Records in 1970, they were already an established and accomplished group, who’d already honed their vocal style.They’d previously been signed to Swan Records, where Richard Barrett started guiding their career. He was a veteran of the music business, who’d produced and managed artists and groups. A years after forming in 1963, The Three Degrees released singles Gee Baby (I’m Sorry) in 1964, which gave them a minor pop hit, reaching number eighty in the US Billboard 100. Look In My Eyes was then released in 1965. Again, it gave The Three Degrees a minor pop hit, reaching number ninety-seven in the US Billboard 100. Just a year later, Swan folded and was dissolved in 1966. This left The Three Degrees without a label. With Richard Barrett guiding them, The Three Degrees went in search of a new label.
Over the next few years, The Three Degrees released singles for various labels. One of these was Kenny Gamble’s Neptune Records. It released What I See in 1969. Other labels released singles by The Three Degrees, including Bellaphon Records. They released You’re the Fool in 1970, but like What I See, failed to chart. Then in 1970, The Three Degrees landed a contract with Roulette Records.
Now signed to Roulette Records in 1970, there was a minor problem for The Three Degrees. Janet Harmon left just the group. Her replacement was Valerie Holiday. Unfortunately for Janet, it would be her replacement Valerie Holiday who’d enjoy their commercial success three years down the line. Guiding them to success would be Richard Barrett, who would prove a demanding taskmaster. Anything less than perfection wouldn’t do.
With The Three Degrees signed to Roulette Records, Sheila Ferguson, Fayette Pinkney and new member Valerie Holiday began recording material for their new label. The result of these sessions would be their 1970 album Maybe, which features on Disc One of BBR Records’ Maybe. On the album were covers of familiar tracks including Jimmy Webb’s MacArthur Park, Lynn Anderson’s Rose Garden, and Collage which Joe Walsh cowrote. There was also the Hoagy Carmichael classic Stardust. Another cover was a song made famous by The Chantels, Maybe. The Three Degrees version would give them their biggest hit so far.
When a new version of Maybe was released as a single, it reached number twenty-four in the US Billboard 100 and number four in the US R&B Charts. Then when their debut album was released, also entitled Maybe, it reached number 136 in the US R&B Charts and number sixteen in the US R&B Charts. It seemed The Three Degrees’ career after seven years of trying, was at last, going places. This was the case, with You’re the One reaching number seventy-seven in the US R&B Charts and number nineteen in the US R&B Charts. The only blip was that Melting Pot failed to chart when released as a single. However, listening to Maybe forty-two years later, it’s no surprise it fared so well. Why was that?
MAYBE
Maybe allows listeners to hear a glimpse of what was still to come from The Three Degrees. The album is a mixture of beautiful ballads and more uptempo numbers. Of the ballads, The Three Degrees version of Stardust is quite simply, breathtakingly beautiful. Their reading of MacArthur Park complete with birdsong and an understated arrangement showcases their considerable vocal talents, with the tightest of heartfelt harmonies. So too does Sugar On Sunday, which The Three Degrees breathe life, meaning and beauty into. Other tracks on Maybe are quite different.
Collage which opens Maybe, has an almost psychedeiic sound. It’s quite unlike what you’d expect from The Three Degrees. You’re the One is a much more uptempo track with blazing horns accompanying punchy harmonies and later, an almost rapped vocal. Following a similar pattern, but with more drama is You’re the Fool. Growling horns combine with the tight, dramatic harmonies that soar powerfully and effectively. Then there’s The Three Degrees’ reinvention of Lynn Anderson’s Rose Garden. They reinvent the track, resulting in it losing its twee, MOR sound. This is much more like it. Urgent three-part harmonies, rasping horns, wah-wah guitar and even a touch of sass from The Three Degrees. Truly, Maybe features an eclectic selection of quality music, that shows different sides to The Three Degrees. Given the quality of music, it’s neither a surprise that Maybe proved so successful, nor that The Three Degrees reached the heights of critical acclaim and commercial success that they did. However, after the success of Maybe the hits kept coming for The Three Degrees.
The following year, 1971, The Three Degrees were back with a new single Do I Take You. It have The Three Degrees another hit single, reaching number forty-eight in the US Billboard 100 and number seven in the US R&B Charts. There’s So Much Love All Around Me was The Three Degrees next single, but it didn’t fare so well, stalling at number ninety-eight in the US Billboard 100 and number thirty-three in the US R&B Charts. Ebb Tide, which had been covered by The Righteous Brothers. was The Three Degrees only single of 1971 that failed to chart. Despite that, they were making progress. This progress included making a guest appearance in the movie The French Connection, where they appeared as themselves. Indeed, things were looking up for The Three Degrees. Little did they know, that they’d only spend one more year on a smaller label. After that, their fortunes would be transformed.
1972 would be The Three Degrees final full year with Roulette. Two of the singles they released in 1972 included I Wanna Be Your Baby and I Won’t Let You Go. Neither of these singles charted, nor did Roulette get The Three Degrees to record their second album. The reason for this was that Roulette were very much a label who released singles. Given that it’s less expensive and not as time consuming, this makes sense. This must have frustrated The Three Degrees. So when The Three Degrees contract with Roulette ended a year later in 1973, they signed to a label in their home town of Philly, Philadelphia International Records.
Having signed to Philadelphia International Records in 1973, The Three Degrees had a number one single later that year with M.F.S.B. They were Philadelphia International Records’ legendary house band and a successful group in their own right. The number one single was T.S.O.P. (The Sound of Philadelphia). M.F.S.B. would accompany The Three Degrees on classics like Dirty Ole Man, Year of Decision and When Will I See You Again. During their spell with Philadelphia International Records, The Three Degrees released two successful albums. These were 1973s The Three Degrees, which reached number twenty-eight in the US Billboard 200 and number thirty-three in the US R&B Charts. Two years later, in 1975, came International, which reached number ninety-nine in the US Billboard 200 and number thirty-one in the US R&B Charts. It was when The Three Degrees released International, that Roulette Records sprung a surprise.
As if attempting to cash-in on the success of The Three Degrees, Roulette released So Much Love. This was an album of The Three Degrees’ music from their time Roulette. It was never meant to be an album. Rather it was a collection of singles, B-sides and unissued tracks. It wasn’t a commercial success and failed to chart in the US. In the UK, So Much Love was released as With Love. Elsewhere, Roulette released So Much Love in an attempt to piggyback on the success of International. Having two albums out at the same time, might have confused record buyers and affected sales of International, which didn’t sell as well as The Three Degrees. People who bought So Much Love, were in for another album like Maybe, where ballads and uptempo tracks sat side by side.
SO MUCH LOVE.
People who bought So Much Love, were in for a treat. It features a mixture of ballads and uptempo tracks. Magic Mirror which opens So Much Love, gives a clue as to the direction The Three Degrees music was heading. From from small acorns, something special unfolds. Tight, impassioned harmonies grow in power and drama. They’re accompanied by blazing horns and the rhythm section which add to the drama and emotion of the track. Punchy, growling horns introduce a cover of the Stephen Stills’ penned Love the One You’re With. It has a much more uptempo sound, with The Three Degrees making the song swing. So too does their version of Who Is She (And What Is She To You), Here, the track has a tougher, funkier sound, that’s not unlike The Staple Singers. There’s no drop in the tempo on There’s So Much Love All Around Me. It showcases their vocal talents, especially when they unleash some of their trademark harmonies.
The other side of So Much Love is The Three Degrees delivering ballads, something they do so well. Proof in point is Trade Winds, which Roberta Flack and then Randy Crawford later covered. The Three Degrees transform the track. Their reading is beauty and emotion personified. Quite simply it’s a gorgeous track. Ebb Tide is another beautiful ballad. As it reveals its secrets and subtleties, it benefits from an understated arrangement. It allows The Three Degrees to take centre-stage, where they rightly belong. As the track progresses, the arrangement and vocal grow in power and passion, reaching an impressive crescendo. Of the ballads, If You Must Leave My Life is something of a hidden gem, one that hints heavily at what’s to come from them just a few years later. One track that everyone must hear is a version of Maybe, which was the title-track from their 1970 album. This version comes complete with that sassy, feisty rap. It’s the same thing Millie Jackson would later use to good effect on Caught Up. Play this to your friends and they won’t believe this is really The Three Degrees. It is though.
While So Much Love was never recorded as an album, it’s a collection of tracks that sit together well. Like Maybe, they heavily hint at what was to come from The Three Degrees. Whether it was delivering ballads or more uptempo tracks, they were equally at home. So Much Love, like their other album for Roulette Records, Maybe, shows a group that have matured, honed their style and found what was the classic lineup. By the time So Much Love was released, The Three Degrees had released two successful albums The Three Degrees and International. Gamble and Huff, like they’d done with so many acts that struggled to make a commercial breakthrough, transformed The Three Degrees’ career. Critical acclaim and commercial success worldwide had come their way and they were now enjoying the fruits of their labor, struggle and effort. Maybe which was recently rereleased by BBR Records, features both Maybe and So Much Love, plus twenty-two bonus tracks. These two albums which makeup Maybe, show a group on the verge of greatness, commercial success and critical acclaim. Standout Tracks: Maybe, Stardust, MacArthur Park and Trade Winds.
THE THREE DEGREES-MAYBE.
THE MIRACLES-MIRACLES.
THE MIRACLES-MIRACLES.
Having done the unthinkable and left Motown after fifteen years, twenty albums and several changes of lineup, The Miracles signed to Columbia and released Love Crazy in 1977. When Love Crazy was released in 1978, it reached number 117 in the US Billboard 200 and number nine in the US R&B Charts. While Love Crazy didn’t recapture the success of The Miracles earlier albums, it was an improvement in their final Motown album The Power of Love. However, by 1977 music was very different to when The Miracles were at the height of the commercial success. By 1977, disco was at the height of its popularity. Soul singers and soul groups were no longer as popular as they been earlier in the decade. Indeed, many soul singers had jumped on disco’s bandwagon, for fear of being left behind. This changing musical landscape possibly explained why Love Crazy didn’t see The Miracles recapturing their earlier success. Another change was The Miracles’ lineup. SInce they’d been founded, members had come and gone. Brothers Billy and Donald Griffin were the latest members to join The Miracles. Both had been members for several years, with Billy replacing Smokey Robinson. Donald had joined in 1977, with Love Crazy his Miracles debut. For the followup to Love Crazy, 1978s The Miracles, which was recently rereleased by SoulMusic Records this was crunch time for The Miracles. It was literally twist or bust. The Miracles had signed a two-album deal with Columbia and The Miracles was album number two. If the album wasn’t a commercial success, it could mean that The Miracles were without a record company. However, things took an unexpected twist for The Miracles when they released Miracles. What happened is a remarkable story and is a case of a lost opportunity.
After the Love Crazy’s disappointing sales, Columbia started to have second thoughts about The Miracles. Another problem was The Miracles had changed their legal advisers from the ones who’d made the deal with Columbia. This caused bad feeling. On top of all this, there was still the fallout from a track on Love Crazy, Spy For the Brotherhood. Some people seemed to perceive The Miracles as subversives or radicals, rather than just some guys trying to create some soulful sounds.It was against this backdrop that work began on Miracles. Pete Moore joined Billy and Donald Griffin in writing the eight tracks that became Miracles. Once they’d written the eight tracks, recording could place.
For the recording of Miracles, The Miracles were joined by a band that included a rhythm section of drummer Nathan Pounds, bassist Raymond Pounds and Donald Griffin on guitar. Billy Griffin also played guitar, while David Foster, Larry Nash, Michael Boddicker and Stevie Wonder played keyboards. Dorothy Ashby was another guest artist. She was drafted in to play harp on Sad Rain. Like Love Crazy, Pete Moore produced Miracles. Now Miracles was complete, it would only end up being released in one country…The Netherlands.
By the time Miracles was ready to release, the world was a much, much smaller world for The Miracles. Their dispute with Columbia had escalated to such an extent that Columbia blackballed The Miracles. They were unable to release Miracles in any territory apart from one… The Netherlands. Only Mean Machine was released as a single in 1978, reaching just number fifty-five in the US R&B Charts. For Pete Moore, not releasing Miracles was a missed opportunity. He believed Miracles was a strong collection of songs, which with the right promotion, might have given The Miracles a hit album. Was he right? That’s what I’ll tell you, once I’ve told you about the music on Miracles.
Opening Miracles is I Can’t Stand It, the perfect track to open the album. It’s an uptempo dancer with a funky side. A bass and percussion combine before Billy’s joins and the track bursts into life. The rhythm section provide the funk, while lush strings dance joyously and join Billy’s emotive, soaring vocal. Tender harmonies augment Billy’s vocal which later, grows in power, becoming a sassy vamp. With the strings and funky rhythm section for company, The Miracles create an infectiously catchy track that has a real Philly influence. If the rest of Miracles is as good as this track, then this is a real hidden gem of an album.
Love Doctor sees The Miracles pick up where they left off on the previous track. Cascading strings, growling horns, chiming guitars and the rhythm section combine with Billy’s punchy, feisty vocal. Tight, punchy harmonies drift in and out, while lush strings are ever-present and the rhythm section create the track’s dance-floor friendly heartbeat. Guitars licks punctuate the arrangement as Billy’s mixes power and passion as Billy vamps his way through the track. The rest of The Miracles don’t let the side down, unleashing some of their tightest and most soulful harmonies on a track that’s dance-floor friendly and has hooks aplenty.
There’s a drop in tempo when The Magic of Your Eyes (Laura’s Eyes) begins. Just heartfelt harmonies join a subtle combination of keyboards and percussion. When the rhythm section join, they play with a similar subtlety. It’s as if they’re ensuring they don’t overpower the beautiful harmonies. When the arrangement grows in power and meanders gently, the harmonies soar elegantly, unfolding in dramatic waves. This is very effective and quite beautiful and shows another side to The Miracles’ music.
Freeway has a tougher, funkier edge and sound from the opening bars. The rhythm section are joined by synths and guitars in providing this tougher, funkier sound. Raymond Pounds’ slapped bass is at the heart of action as are synths which are used in a way that helps the arrangement. Too often, synths produce a sound that doesn’t age well and sounds artificial, sterile and cold. Not here. Billy’s vocal is all whoops and hollers, before delivering a feisty, punchy vocal. Harmonies are delivered in an equally punchy style, against an arrangement where there’s neither a shortness of drama nor funk.
Hot Dance sees The Miracles unleash another slice of good-time, funky music. It sounds like a party in the studio when the rhythm section and percussion combine. Then Raymond Pounds’ slapped bass helps drive the track along. He has keyboards, percussion, pounding drums and Billy’s sassy, feisty vocal for company. The rest of The Miracles add subtle harmonies as Billy vamps his way through the track. This he does against an arrangement where funk, disco and Latin music unite as one to create a driving slice of good-time, funky music.
Mean Machine was the only single released from Miracles and is another of the funky tracks. Straight away, there’s shades of James Brown, The Temptations psychedelic era and The Jacksons. After a quick curveball, Billy’s whoops and hollers as horns blaze and the rhythm section create the track’s pounding, dramatic and funky heartbeat. Billy’s vocal is a mixture of subtlety, power and plenty of drama when he unleashes a vamp. He’s accompanied by tight, tender harmonies remind me of The Jacksons. Blazing horns are like something from a James Brown track. Later a growling saxophone solo adds to the finishing touch to an uber funky track with The Miracles as you’ve never heard them before.
Sad Rain sees The Miracles return to a much more mellow, soulful sound. Just keyboards, a subtle rhythm section and flourishes of Dorothy Ashby’s horn accompany Billy’s tender, heartfelt vocal. Harmonies are equally tender and slow, lush strings add to the beauty and emotion of this gorgeous track. Quite simply, it’s the most beautiful track on Miracles.
Reach For the Sky sees The Miracles close Miracles on a high. This track bookends the album perfectly, given it has similar qualities to the opening track, in that its an uptempo dancer where funk, soul and disco unite. A whoop from Billy gives way to a driving rhythm section, piano and percussion. Billy’s vocal is a fusion of power and joy, with urgent harmonies accompanying him. Synths and keyboards combine as the tempo and drama builds. The only thing missing is strings which would make the track. Indeed replacing the synths with strings would be a masterstroke. Even without the strings The Miracles bring Miracles to a memorable close.
Columbia’s dispute with The Miracles could’ve been costly. By blackballing The Miracles and stopping them releasing Miracles, Columbia could’ve missed out on a successful album. The reason for this is quite simple and that’s the music. On Miracles, The Miracles fused soul, funk and disco, producing an album that was current and relevant. Miracles was relevant to the music of 1978 and the sound was what was popular back then. Unlike other soul singers or groups, who chose neither to adapt nor evolve their music, The Miracles had recorded an album that was laden with hooks and dance-floor friendly. Not only that, but Miracles featured some great tracks. Of the eight tracks, Can’t Stand It and Love Doctor are the two best dance tracks, while Mean Machine is quite simply The Miracles at their funky best. Two very beautiful tracks are The Magic of Your Eyes (Laura’s Eyes) and Sad Rain, the most beautiful song on Miracles. So, given how good the music on Miracles is, Columbia’s decision to blackball The Miracles and stop them releasing Miracles may have cost themselves and The Miracles a hit album. Who knows, maybe Miracles which was recently released by SoulMusic Records, would’ve revitalised The Miracles career. Instead, frustrated, disappointed and who would’ve blamed them, embittered by the intransigence of their label The Miracles called time on the group.
After nearly two decades, The Miracles were no more. That marked the end of an era. While The Miracles would reform with new members joining former members, this marked the end of an era. If only things had been different and Miracles had been rereleased, then maybe, this would’ve revitalized The Miracles’ career. At least they went out on a high, with what’s quite simply, a hidden gem of an album Miracles. Standout Tracks: Can’t Stand It, Love Doctor, The Magic of Your Eyes (Laura’s Eyes) and Sad Rain.
THE MIRACLES-MIRACLES.
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