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.
GINA CAREY-LOVE ME TOO.
GINA CAREY-LOVE ME TOO.
It seems Gina Carey is continuing her quest to be crowned the hardest working singer in music, by releasing her new single Love Me Too, on 1st November. This year, Gina has released three albums, with the second of the Live, Love and Laugh trilogy due for release on 1st January 2013. For anyone whose unfamiliar with Gina Carey, 2012 started for her with Love Letters, released on St. Valentine’s Day. Then just three months later, came Love Letters 2. Four months later and Live, Love and Love Volume 1 (Live) was released. This four track mini album was s the first part of Gina’s trilogy of four-track mini albums. Now comes Love Me Too, the lead single from Live, Love and Love Volume 2. Unlike previous music from Gina Carey, this features a quite different sound. A change of sound is a brave decision for any artist. Will Love Me Too pay off for Gina Carey?
A lone wistful flute gives way to drums and Gina’s half-spoken vocal. Multi-tracked harmonies accompany Gina, before the rhythm section and wistful flute provide the backdrop for Gina’s urgent, heartfelt vocal. Her vocal veers between urgency and tenderness, while the ever-present flute, multi-tracked backing vocals and drums provide a dramatic backdrop. Her whispered, half-spoken vocal returns as Gina’s unleashes a soaring, powerful vocal. This she does scatting against a backdrop of riffing guitars and deliberate drums. They add drama almost improvise in a jazzy style that matches Gina’s vocal. By now R&B, Nu Soul, rock and jazz have all been fused, as Gina shows a very different side to her and her music. It’s definitely a departure from her usual Nu Soul sound. Indeed, it’s a fusion of influences and genres that allow Gina Carey to showcase her vocal talents, versatility and creativity.
For one of the hardest working singers of 2012, Gina Carey hasn’t been content to stand still. She could just as easily released another single of her usual Nu Soul music, and it would’ve probably sold well. Instead, she’s decided to change things about and challenge herself. Love Me Too is proof of this. Gina Carey should be congratulated for her bravery in changing her sound. In doing so, it’s a showcase for her vocal talents versatility, creativity and bravery. Changing sound like this is not unlike changing horse mid-race, but Gina has managed to so. Hopefully, her bravery will be rewarded when Love Me Too Is released on 1st November 2012 by Gico Music.
GINA CAREY-LOVE ME TOO.
SWITCH-AM I STILL YOUR BOYFRIEND.
SWITCH-AM I STILL YOUR BOYFRIEND.
When Switch moved from Motown imprint Gordy, to Total Experience Records in 1982, great things were forecast for them. Total Experience had beaten other labels to the signing of Switch and announced their signing of Switch in a December 1982 issue of Jet magazine. There was talk of Switch contributing a track to the Flashdance and Stayin’ Alive soundtracks. Alas, that wasn’t the case. Indeed nineteen months would pass before Switch released their only album for Total Experience Records, Am I Still Your Boyfriend, which was recently released by BBR Records. Not only would Am I Still Your Boyfriend prove to be their only album for Total Experience Records, but would prove to the be their sixth and final album. However, why did Am I Still Your Boyfriend prove to be their only album for Total Experience Records and their final album?
Before becoming Switch in 1976, and releasing five albums for the Motown and Gordy labels, Switch were originally called White Heat and Hot Ice. The original lineup included brothers Tommy and Bobby DeBarge and Greg Williams from Grand Rapids, Michigan plus Akron, Ohio natives Jody Sims, Eddie Fluellen and Phillip Ingrams, brother of James. Greg, Bobby and Jody had been members of Barry White’s band and through Barry, White Heat released their eponymous-titled debut album White Heat. It was produced by Barry White and released in 1975. When White Heat wasn’t a commercial success, Barry dropped White Heat. After this, White Heat changed their name, and this wouldn’t be the last time they did this
After the disappointment with White Heat being dropped, they changed their name to Hot Ice. Soon, Hot Ice met Bernd Lichters of Burndsman Records and Hot Ice headed back to the studio in Ohio. They recorded eight songs which became Pall Mall Groove. Initially, Pall Mall Groove was only released in Germany in 1977 and two years later in the America as Smash. By the time Smash was released in America on the Source label, Hot Ice had changed their name again and Switch were born.
Needing a another new name, in a eureka moment the name Switch seemed fitting. After all, band members could seamlessly switch instruments. Having had two false-starts to their nascent career, the members of Switch hoped their new name would prove third time lucky for them. That proved to be the case. Jermaine Jackson, formerly of The Jackson 5, heard Switch and was impressed by their music and how they could switch between instruments. Luckily for Switch, Jermaine was married to Hazel Gordy, daughter of Berry Gordy Jr. Within a matter of days, Switch were signed to Motown imprint Gordy and recording of their debut album began.
Switch’s debut album Switch was released in 1978 and their luck had changed. Their debut album reached number thirty-seven in the US Billboard 200 and number six in the US R&B Charts. A year later in 1979, Switch II was released, reaching number thirty-seven in the US Billboard 200 and number eight in the US R&B Charts. It seemed that Switch could do no wrong with their fusion of soul, funk and disco. Then music changed.
By the time Switch released This Is My Dream in 1980, music had changed. Disco was no longer as popular after the Disco Sucks backlash. It was against this changing musical landscape that This Is My Dream was released and only reached number eighty-five in the US Billboard 200 and number twenty-one in the US R&B Charts. After the disappointment of This Is My Dream, 1981s Reaching For Tomorrow saw an improvement in Switch’s fortunes. Reaching For Tomorrow number fifty-seven in the US Billboard 200 and number twenty-three in the US R&B Charts. That improvement proved to be temporary.
When Switch released Switch V in 1981, it reached number 174 in the US Billboard 200 and number forty-eight in the US R&B Charts. Switch V would prove to be Switch’s swan-song for Gordy. The group felt Motown were no longer giving Switch the support they had been. This alerted other record labels who considering Switch’s track-record would prove keen to sign Switch. Then Switch didn’t look such an attractive proposition for labels when Bobby and Tommy DeBarge plus Phillip Ingram left the group. Total Experience Records weren’t deterred. They thought that Switch still had a future and signed them in 1982. Nineteen months later and with a new lineup, Switch would release their swan-song Am I Still Your Boyfriend?
Now signed to Total Experience Records, their new label forecasted great things for Switch. There was talk of Switch having songs on Flashdance and Stayin’ Alive soundtracks. That never transpired. Instead, Gregory Williams search continued for new members. Eventually, and through a friend of Jermaine Jackson, John McLain head of A&R at A&M suggested guitarist Gonzales Ozen. Soon he was signed as a member of Switch. So too Renardo Gallo, who was lead singer of Oakland group Radiance. He was recommended by Norman Connors. Better still, he sounded like ex-singer Bobby DeBarge. Phil Upchurch was the last piece in Switch’s jigsaw, standing in for the departed Tommy DeBarge. WIth the new lineup, work began on Am I Still Your Boyfriend?
Many of the tracks on Am I Still Your Boyfriend were penned by Total Experience personnel. Oliver Scott wrote I’m So Satisfied, Am I Still Your Boyfriend and I Won’t Give Up. He cowrote three other tracks, including It’s All Up To You with Gonzales Ozen. Another staffer Jonah Ellis penned Switch It Baby and I Just Can’t Pull Away. Of the few tracks written by members of Switch, Eddie Fluellen contributed Forever My Love. With the eleven tracks written, recording of Am I Still Your Boyfriend took place in five recording studios.
Recording took place at Total Experience Recording Studios, plus sessions at Sound Lab, Artisan, Golden Sound and Lion Share. Similarly, five separate producers or production teams worked on the eleven tracks that became Am I Still Your Boyfriend. Once the various sessions and production teams finished Am I Still Your Boyfriend, it was scheduled for release nineteen months after the signing of Switch was announced in Jet magazine.
Three months before Am I Still Your Boyfriend was released, Switch It Baby was released as a single in April 1984, reaching number fifty-five in the US R&B Charts. On the release of Am I Still Your Boyfriend in July 1984 it failed to chart in the US Billboard 200 and US R&B Charts. It only reached number fifty in US Cashbox charts. When I’m So Satisfied was released in July 1984 it failed to chart. This brought an end to Switch’s career. After six albums, Am I Still Your Boyfriend proved to be their swan-song. Did Switch bow out on a high with Am I Still Your Boyfriend?
Opening Am I Still Your Boyfriend is the second single I’m So Satisfied. It features the classic Switch soulful sound. It’s a slow track with a gentle, melodic sound. Synths, rhythm section and guitars combine, before Renardo Gallo makes his debut as Switch’s vocal. His vocal is tender and heartfelt, accompanied by equally tender, heartfelt harmonies. Wit the rhythm section, synths and guitars provide a backdrop for Renardo’s vocal, it grows in strength and emotion. Rasping horns provide the finishing touch to a track that’s deeply soulful and demonstrates that even after losing three members, Switch were still a musical force to be reckoned with.
Switch It Baby has a very eighties sound, with synths and crispy drums combining before the track takes on a funky sound. Key to this is a slapped bass solo, before a soaring, near falsetto joins washes of synth. When Renardo’s vocal enters, it’s sassy and feisty, with punchy, cascading harmonies for company. Later, a chiming guitar punctuates an arrangement that’s a fusion of eighties electronics and funk. Add in the vocal and harmonies and the result is a catchy and memorable track.
There’s a harder, funkier edge to It’s All Up To You. Rocky guitars join the rhythm section in creating an arrangement that’s influenced by P-funk. Keyboards, piano and rasping horns add to the drama. Renardo’s vocal is slow and deliberate and the harmonies reflect the drama of the arrangement. Later, searing, sizzling rock-tinged guitars add the finishing dramatic touch as Switch mix, P-funk, soul and rock.
Lovers Don’t Hold Back sees Switch return to what they do so well, deliver soulful music. The arrangement has an understated sound, with just slow, deliberate drums, percussion and keyboards accompanying a beautiful vocal from Renardo. Harmonies cascade above the arrangement, as Switch unite to create one of the most beautiful songs they’d ever record.
Keeping Secrets sees the tempo increase and the style change. In comes a more electronic sound and one of Switch’s trademark soulful deliveries. Pounding drums, percussion and synths combine with keyboards and distant riffing guitars. They’re joined by impassioned harmonies, before a burst of keyboards announces the arrival of Renardo’s vocal. It’s tinged with sadness and emotion. He brings meaning to the lyrics and getting across their subtleties and nuances as soul and eighties electronica are combined.
Although Treason has a real electro-funk sound, this is electro-funk with a difference. The rhythm section and synths combine to create a pounding, funky beat before Renardo’s edgy vocal enters. Then comes something quite different. Lush strings join. They sweep and swirl, providing a contrast to the synths and rhythm section. Bursts of harmonies punctuate the arrangement, as Renardo’s vocal grows in power. While quite different from Switch’s earlier music, it demonstrates Switch’s versatility and their determination not to stand still.
The title-track Am I Still Your Boyfriend sees combine their tight, soulful harmonies against an electro-funk backdrop. Blazing horns, synths and Switch’s rhythm section are joined by keyboards and harmonies. They give way to Renardo’s impassioned vocal. Close harmonies sweep in, while stabs of keyboards drift in and out. Supplying the funk are pounding drums and bass that help drive the eighties arrangement along. What makes the track is the interplay between the vocal and harmonies, which are among the best on Am I Still Your Boyfriend?
Just Can’t Pull Away was penned by Total Experience staffer Jonah Ellis, who wrote songs for many of the label’s artists. Sharp, jaggy synths combine with crispy drums and chiming guitars to create a dance-floor friendly track. It’s one of these tracks that could only have been recorded in the early eighties. It has that unmistakable sound where eighties electronic music and funk collide. Renardo’s delivery is urgent and edgy, while the arrangement is filled with beeps, squeaks, crisp drums and drama.
Oliver Scott another Total Experience staffer was a talented songwriter. Proof of this if any was needed is I Won’t Give Up which be wrote. It’s by far one of the highlights of Am I Still Your Boyfriend. The tempo is slow, with the interplay between Renardo’s tender, heartfelt vocal and the tight, soaring vocals peerless. Just synths, rhythm section, stabs of keyboard and guitar accompany Switch as they roll back the years, delivering a song that’s reminiscent of their early years at Gordy. For me, the soulful side of Switch is their best side.
Spend My Life With You sees the soulful side of Switch continue. Renardo’s half-spoken vocal is accompanied by piano, hi-hats, guitars and drums that create a subtle backdrop. Tight harmonies replace the vocal, before it makes a welcome return. It’s tenderness and subtlety personified. Lush strings prove another welcome addition. As his vocal drops out, harmonies replace them. They too have a tender, understated sound. Both the harmonies and Renardo’s vocal seem to drive the other to greater heights of soulfulness. In doing so, they play their part in another of Am I Still Your Boyfriend’s highlights.
Closing Am I Still Your Boyfriend is Forever My Love. It’s a two-minute demonstration of Switch’s ability to deliver tight, tender and beautiful harmonies. Synths, keyboards and the rhythm section create an arrangement that grows in beauty and drama. All too soon, the track is over and so is Switch’s brief spell at Total Experience Records and indeed Switch’s recording career.
After releasing six albums Am I Still Your Boyfriend proved to be Switch’s swan-song. They’d come through changing labels, losing three members and a three year spell without releasing an album. Another change was music itself. Music had changed in the six years since Switch released their debut album Switch. Disco was no longer flavor of the month and synths and drum machines were playing a bigger part in music. With music changing, Switch had to change. Their music had to adapt and evolve. In many ways, Total Experience Records was the perfect label for Switch. They were enjoying a reputation as one of hottest labels of the early to mid-eighties.
Signing to Total Experience Records meant access to some talented producers and songwriters, including Lonnie Simmons, Oliver Scott and Jonah Ellis. This trio hooked up with the new lineup of Switch and the eleven tracks that became Am I Still Your Boyfriend. Although Switch lost their original vocalist, Renardo Gallo delivered some deeply soulful vocals on Am I Still Your Boyfriend. Indeed, Switch are at their best when revealing their soulful side of music on Am I Still Your Boyfriend. On the other tracks, Switch mix eighties electronica and funk. This fusion of styles and genres is something Total Experience Records had previously proved successful. Unfortunately, this didn’t prove commercially success for Switch. Am I Still Your Boyfriend which was recently rereleased by BBR Records neither matched the success of Total Experience’s previous releases nor Switch’s earlier albums. Following Am I Still Your Boyfriend, Switch continued as a band until 1987, but didn’t release any further albums. So Am I Still Your Boyfriend was Switch’s swan-song, a swan-song that showed the many sides of Switch and their music. Standout Tracks: Lovers Don’t Hold Back, Am I Still Your Boyfriend, I Won’t Give Up and Spend My Life.
SWITCH-AM I STILL YOUR BOYFRIEND.
PRIME TIME-FLYING HIGH.
PRIME TIME-FLYING HIGH.
During the early to mid eighties, the production team of Jimmy “Jam” Harris and Terry Lewis seemed to have the Midas touch. Every group or artist they seemed to work with, enjoyed commercial success. Whether it was the Change, The S.O.S. Band, Cheryl Lynn or Thelma Houston, it seemed Jimmy and Terry could do no wrong. Their productions featured in the US R&B and Dance Charts and were a staple of America’s radio playlists. Other producers watching their success looked on enviously, wishing they too, could enjoy some of their success. One producer who’d studied their template for commercial success in the fast-changing world of R&B was Lonnie Simmons, whose track record was almost as enviable. Lonnie had signed The Gap Band to Total Experience Records and worked with Yarborough and Peoples. By 1983, Total Experience Records split from parent company Mercury Records. After the split from Mercury, Lonnie continued to oversee his old signings, while adding new names to Total Experience’s roster. This included Pennye Ford, Goodie and Prime Time, whose 1984 album Flying High was recently released by BBR Records.
Prime Time weren’t a new group, having been together since 1972, when Texas born keyboardist and singer Jimmy Hamilton and drummer Frankie “Babe” Moore decided to form a band. At Los Angeles’ nightclub Mr. Woodley’s, Frankie a drummer and writer was drafted into Jimmy’s band, The Jimmy Hamilton Trio, which needed a drummer. Later, and now calling themselves The Sai Whatt Band, Frankie became the group’s singer. Two years later, the trio became a quartet. Bassist and singer Maurice Hayes and percussionist Dale Hightower joined the band. Another change of name to Prime Time took place when they signed to Total Experience Records in 1983. How they came to sign to Total Experience was just the case of being in the right place at the right time.
When The Sai Whatt Band were playing in Long Beach, California it just so happened that John Swanson was in the audience. His wife just happened to be Lonnie Simmons’ cousin. John had come to hear Barbara Morrison who was singing with The Sai Whatt Band. Having liked what he heard, John introduced himself to the band, and then contacted Lonnie Simmons at Total Experience.
When Lonnie met The Sai Whatt Band, he initially signed Jimmy Hamilton and Maurice Hayes as songwriters. Soon, not only a recording contract followed for The Sai Whatt Band, but a change of name to Prime Time. Another thing that followed were hits, albeit not for Prime Time. Jimmy and Maurice cowrote Yarborough and Peoples’ Guilty and The Gap Band’s Jammin.’ However, could Jimmy and Maurice pen hits for their own band Prime Time?
For their debut album Flying High, Jimmy and Maurice played their part in nine of the ten tracks on Flying High. They cowrote I Want Somebody Tonight (Shoo Be Do Bop) and Talk It Over, while Jimmy wrote Spinning and Anytime Is Prime Time(Theme Song). With backing vocalist Rick Adams Jimmy and Maurice cowrote Make Up Your Mind (Indecisions), Flying High and I Can’t Get You Off My Mind. Rick and Victor Hill also cowrote Give It To the Beat with Maurice. Once the ten tracks that became Prime Time were penned, they were recorded at two studios.
Recording of Prime Time’s debut album Flying High took place at Total Experience Recording Studios and Sound Lab Recording Studios. Joining Prime Time were guest artists that included Victor Hill on synths, keyboards and drums, guitarists Johah Eliis and Glenn Nightingale and drummers Raymond Calhoun and Charles Morris. Adding backing vocals were Victor Hill, Rick Adams and Robert “Goodie” Whitfield. Once the recording of Flying High was completed, the album was set for release in summer 1984.
Before the release of Flying High, Love Talk was released as a single in May 1984. It gave Prime Time a minor US R&B hit, reaching number eighty-eight. On the release of Flying High in July 1984, it failed to chart. I Owe It To Myself proved the most successful single, reaching number twenty-one in the US R&B Charts in August 1984. Give It To the Beat was released as a single in October 1984, but failed to chart. After waiting twelve years to record and release their debut album Flying High, Prime Time hadn’t enjoyed the success they’d hoped for. Why was that? That’s what i’ll now tell, after I’ve told you about the music on Flying High.
Opening Flying High is I Owe It To Myself, a track where eighties electronic music, R&B, jazz and soul combine. Synths, keyboards and the crispy drums produce an arrangement where the new eighties technology plays its part in creating the new R&B sound. They give way to Jimmy’s scatted vocal, before his vocal becomes tender, heartfelt and soulful. The beats are spacious, keyboards produce a jazz-tinged sound and occasional bursts of cascading backing vocals accompany Jimmy’s vocal. Later, tight and tender harmonies add the finishing touch to this mellow and quite beautiful track.
It’s all change Make Up Your Mind (Indecision). Gone is the soulful side of Prime Time, with a choppy fusion of electronica and funk fused. Synths reverberate before a vocoder and crispy drums accompany Jimmy’s urgent vocal. Soon, there’s a Euro Pop sound developing. There’s even a nod to Kraftwerk and eighties synth pop pioneers. Later, stabs of keyboards join crispy beats, while the vocoder adds a space-age vocal that groups like Daft Punk would later copy. For 1984, this is quite an innovative track, with musical genres and influences melting into one.
Flying High has much more in common with I Owe It To Myself than the previous track. Slow deliberate beats and buzzing synths join keyboards as Jimmy gently and tenderly scats. Against this slow backdrop his vocal grows. Soon, it’s full of emotion. Keyboards and heartfelt harmonies accompany him, as he delivers another vocal where drama and emotion are combined, bringing life and meaning into the lyrics.
The tempo quickens as I Want Somebody Tonight (Shoo Be Do Bop) unfolds. Percussion, guitars and keyboards combine with the crispy drums and Jimmy revisits his jazzy roots. He scats, before his vocal grows in power, as he makes the song swing. Punchy harmonies accompany him as the rhythm section, keyboards and percussion combine to create a tracks that’s not just infectiously catchy, but dance-floor friendly.
As Spinning unfolds you’ve no idea of the direction the track is heading. Bursts of short, sharp bursts of harmonies open the track. Then Prime Time throw a curveball. Synths join the rhythm section to drive the track along. They’re joined by while Jimmy’s joyous vocal. It’s delivered quickly and with feeling. Urgent harmonies augmenting his vocal, while synths, keyboards and the rhythm section create a dance-floor friendly backdrop. The track’s success and charm is down to its simplicity and of course, its plentiful supply of poppy hooks.
Give It To the Beat was the third and final single from Flying High. It has a dramatic, space-age sound. This builds and builds before washes of synths, punchy harmonies and crispy drum beats combine. There are slight similarities with Make Up Your Mind (Indecision), especially the combination of instruments used and the inclusion of the vocoder. With a vocoder, it should be used sparingly or not at all. Thankfully, Prime Time don’t overuse it..just. Influences are combined, with hip hop, eighties electronica, funk and synth pop fused. Synths beep and buzz, drums crack and later, Jimmy’s chanted vocal is drenched in echo, as Prime Time mix drama and melodrama.
Love Talk is a track where you wonder what’s about to unfold. Washes of synths subtly sweep in, before crunchy, galloping drums and stabs of keyboards combine with a chanted vocoder. It’s a compelling combination. As Jimmy’s vocal enters, it has a sense of urgency. Buzzing synths and stabs of keyboards join the rhythm section and vocoder. They accompany Jimmy as Prime Time’s create their unique and cutting-edge brand of sci-fi sounds, funk and eighties electronica.
I Can’t Get You Off My Mind sees Prime Time’s soulful side return. This is a track penned by Jimmy, Maurice and Rick Adams. The rhythm section, keyboards and guitars combine with heartfelt harmonies before Jimmy’s vocal enters. It’s full of sadness and regret, while tight, soulful and soaring harmonies prove the perfect accompaniment. They match Jimmy’s vocal every step of the way for emotion and drama. Together, the harmonies and Jimmy’s vocal make this one of the highlights of Flying High.
Talk It Over sees Prime Time turn back the clock and add some doo wop harmonies to Jimmy’s vocal. From the opening bars, when the choppy keyboards and rhythm section combine with the tight doo wop harmonies you realize this something special is unfolding. You’re certainly not disappointed. Jimmy’s vocal is mixture of sadness and hope, as harmonies soar soulfully above the arrangement. Keyboards, rhythm section and synths provide the arrangement, but it’s the harmonies and vocals that hold your attention, as Prime Time show another side to their music.
There aren’t many time with their own them song, but Prime Time close Flying High with theirs. Anytime Is Prime Time (Theme Song) sees a swaggering burst of vocal delivered hip hop style before Prime Time get down to business. With crunchy beats, meandering synths and chiming guitars for company Jimmy delivers his vocal. He does this with emotion and power. The harmonies that augment Jimmy’s vocal, add vocal hooks, and with percussion, synths and drums for company, remind you that Anytime Is Prime Time.
On the release of Prime Time’s debut album Flying High, it wasn’t a commercial success. This must have been a huge disappointment for the five members of Prime Time, especially Jimmy Hamilton who’d founded the band. Along with Frankie “Babe” Moore Moore, another founding member of Prime Time, they’d waited twelve long years before recording and releasing Flying High. In many ways, Flying High was a cumulation of all their ideas, plus the influences that had shaped their music during that time. The ten tracks saw Prime Time fuse everything from eighties electronica through soul, funk, R&B, doo wop and jazz. Maybe why Flying High wasn’t a commercial success, was the sheer variety of music on the album. Unlike many bands who release a focused album of songs, Prime Time were talented musicians capable of producing a genre hopping album like Flying High seamlessly. This meant that when Total Experience Records came to market Flying High, how did they market the album? Was it an R&B album or was it an eighties electronics album. Regardless of what genre the music Prime Time’s music is labelled as, it’s undeniable that Prime Time set about to record and release an innovative debut album, Flying High. While Flying High, which was recently released by BBR Records, wasn’t a commercial success, it was a statement of intent, from Prime Time. It showed they lacked neither talent nor determination. After all, Prime Time had waited twelve years before releasing their debut album Flying High. Many bands would’ve have given up long ago. Not Prime Time though. While Flying High failed commercially, it did feature two minor US R&B singles. This proved that Prime Time were traveling down the right road, and unless they made a wrong turning, then success might not be so far away. Standout Tracks: I Owe It To Myself, Flying High, I Can’t Get You Off My Mind and Talk It Over.
PRIME TIME-FLYING HIGH.
BREAKWATER-SPLASHDOWN.
BREAKWATER-SPLASHDOWN.
Imagine being one of the hottest unsigned bands in Philadelphia during the seventies and not even trying to get a deal with Gamble and Huff’s Philadelphia International Records. Not even knocking on Gamble and Huff’s door might seem strange or even, somewhat remiss. After all, Gamble and Huff were at the helm of the most successful record label during this period. They enjoyed success with The O’Jays, Billy Paul, Harold Melvin and The Blue Notes, M.F.S.B. and The Three Degrees during this period. So for any unsigned band not just in Philly, but further afield, you’d have thought they would be beating a path to their hallowed doors. Not Breakwater though, whose sophomore album Splashdown, which will be released on 29th October 2012 by BBR Records.
Having formed in 1971, Breakwater established a reputation as one of Philly’s hottest unsigned bands. Lead by multi-instrumentalist Kae Williams Jr. Breakwater’s were a seven-piece band whose fusion of soul, funk and jazz quickly won over Philly’s music fans. Despite establishing a loyal following and garnering a reputation as a band with a big future ahead of them, it wasn’t until 1978 that Breakwater signed to Clive Davis’ Arista Records. How the record contract came about was not unlike a game of Chinese Whispers.
Breakwater had recorded a demo, and understandably, were keen to get it heard by record company A&R scouts. Then their road manager happened to mentioned he’d been at school with Ray Charles son. So, a demo was passed to Ray Charles’ son, he passed it to Ray Charles, who passed it to Quincy Jones. Quincy liked what he heard and became interested in Breakwater. He’d just enjoyed success with The Brothers Johnson and had produced The Wiz soundtrack so was on a roll. When Quincy Jones got interested, so did Arista, who invited Breakwater to audition. Now two parties were interested in Breakwater, and it all came down to cold hard cash.
Quincy Jones offered Breakwater $10,000 to sign with him. The only problem was they’d have to relocate to Los Angeles. Arista offered a $75,000 advance and their choice of producer. This left them having to choose between having Quincy Jones produce their debut album and struggling financially, or signing to Arista and recording in New York and Philly. Money and reality won out, and Breakwater signed to Arista.
When discussions took place about a producer with Arista, none of Breakwater’s choices were available. Clive Davis decided to use in-house producer Rick Chertoff. Recording of what became Breakwater took place in New York and Philly. On the release of Breakwater in 1978, it reached number 173 in the US Billboard 200 and number thirty-six in the US R&B Charts. Two years later, Breakdown released their sophomore album Splashdown. Would Splashdown see Breakwater build on the success of Breakwater?
For recording of Breakwater’s second album Splashdown, Kae Williams wrote five tracks and cowrote three others. Recording would take place in Santa Barbara, California rather than Philly and New York. Joining Breakwater would be guest musicians and vocalists. This included trumpeter Jerry Hey, Larry G. Hall and Gary Grant, trombonist Bill Reichenbach and Leonard “Dr” Gibbs Jr. on timbales. Mark Burnett added background vocals on Release the Beast, while Barbara Jean Wood’s vocal features on Let Love In. Producing Splashdown were Kae Williams Jr. and Rick Chertoff. Once Splashdown was recorded, the album was set for release in the spring of 1980.
On the release of Splashdown in April 1980, it fared slightly better than Breakwater, reaching number 141 in the US Billboard 200, number thirty-three in the US R&B Charts and number sixty-two in the Disco Charts. Splashdown Time was released in May 1980, reaching number fifty-nine in the US R&B Charts. Say You Love Me Girl was then released in July 1980, but only reached number seventy-nine in the US R&B Charts. Then when Release the Beast was released in September 1980, it failed to chart. Although Breakwater had improved on their debut album Breakwater by selling about 130,000 copies, this wasn’t enough for Arista. They dropped Breakwater and so Splashdown proved to be their finale. DId Breakwater bow out on a high with Splashdown?
Opening Splashdown is Splashdown Time, which Kae Williams Jr. cowrote with drummer and vibes player James “Gee” Jones, Vince Garnell woodwind player and producer Rick Chertoff. Sci-fi sounds open the track, grabbing your attention. Lasers blast, Dalek voices and space-age sounds collide before Breakwater blast-off. Blazing horns join the rhythm section and chiming in driving the track along as funk and jazz combine. Harmonies take charge, before Gene Robison’s vocal enters. It’s a mixture of power, sass and drama, as Breakwater fuse their unique brand of fusion. Jazz, funk and Latin music merge, creating a catchy, uplifting sound, with space used as their inspiration. Having gotten your attention, Breakwater have successfully launched Splashdown.
Love of My Life is one of five tracks penned by Kae Williams Jr, and features a much more soulful, laid-back sound. This shows a very different side of Breakwater. The track meanders elegantly into being, with the rhythm section, guitars and synths combining. They give way to tender harmonies, before Gene’s heartfelt, impassioned vocal takes charge. With the rhythm section adding a subtle, funky backdrop, Kae unleashes synths that replace the harmonies. When they return, they provide a contrast to the power and passion of Gene’s vocal. Together, they play their part in what is one of the most beautiful and soulful songs on Splashdown.
For many years, sample hunters have used Release the Beast for “inspiration.” Both Daft Punk’s Robot Punk and MURS’ Intro have sampled this track. Driving, rocky guitars, rhythm section and synths combine to create a much rockier, harder sound. Gene’s vocal takes on a harder edge, with some stunning guitars licks from Linc “Love” Gillmore at the heart of the track. As if not to be outdone, Kae unleashes an equally impressive keyboard solo. Later, the harmonies become tougher and louder, very much in keeping with the rest of the track. Although very different from the two previous tracks, this song demonstrates just how versatile and technically proficient a band Breakwater were.
The One In My Dreams shows how varied an album Splashdown is. It’s another of the Kae Williams Jr, compositions and its soulful sound has more in common with Love of My Life. Gene delivers a vocal that’s starts off heartfelt and tenderness, but grows in power and in emotion. This he does against another understated arrangement. Kae’s synths and keyboards at the heart of the arrangement, while Steve Green’s bass anchors the rhythm section. Breakwater add some of their tight, soulful harmonies and in doing so play their part in another of Splashdown’s soulful delights. However, after four songs so varied in style, you wonder who Breakwater really were?
Proving my last point is You, a track where Breakwater move from their soulful side to their uber funky side. Growling horns, percussion and a funky rhythm section join chiming guitars and Gene’s powerful vocal in driving a glorious slice of funk along. Key to the track’s success are the bursts of horns that punctuate the arrangement and some of the best guitar playing on Splashdown Linc “Love” Gillmore. When Gene’s punchy, powerful vocal is added to the mix this is just the finishing touch to a hidden, funky gem.
Lead vocalist Gene Robinson and Kae cowrote Say You Love Me Girl, which briefly, has a slight K.C. and The Sunshine Band influence at the beginning. This disappears quickly as Breakwater merge soulful harmonies and vocal with an arrangement that’s a fusion of jazz and funk. The rhythm section, percussion and keyboards provide the backdrop for the tender harmonies and impassioned vocal from Gene. Later, Kae adds a synth solo while a healthy sprinkling of percussion punctuates the arrangement. When the vocal and harmonies return, the interplay between them plays its part in making this one of the most beautiful tracks Breakwater recorded. Why it wasn’t a bigger success when released as a single seems strange, given its quality and sheer soulfulness.
Let Love In sees Barbara Jean Wood add vocals on a funky track written by Kae. Blazing horns join percussion and a dramatic rhythm section as the arrangement unfolds in waves. Harmonies are delivered with a swagger, while Linc’s guitar is at the heart of the arrangement. Gene takes charge of the vocal, adding a powerful, confident vocal, with not a little soulful assistance from Barbara. Their message is good things come to patient people. By now, the most hook-laden track on Splashdown unfolds in joyous waves, with brassy stabs and percussion aplenty. Why it wasn’t released as a single defies belief.
It’s somewhat ironic that Time is the last track on Splashdown, considering time was about to run out for them at Arista. This track bookends Splashdown nicely, with the sound of a clock chiming preceding the track revealing its secrets. Here, soul and funk unite. Gene’s emotive vocal accompanied by harmonies which provide the track’s soulful side. The rhythm section and guitars provide a funky backdrop, while warm keyboards add a jazzy feel. Rasping horns subtly punctuate the arrangement at just the right point, as Breakwater close Splashdown on a wistful high.
That Splashdown Breakwater’s sophomore album was also their final album seems very much, a case of what if? What if Breakwater had had enough material for a third album and had given them a new deal, would their third album have been the album that saw them make their commercial breakthrough? That’s mere speculation, but what I do know, is that Breakwater were a hugely talented group. Maybe part of the problem for Arista was marketing them. After all were they a soul or funk band, or were they a fusion band. During Splashdown, they veer between soul and funk, with a diversion into heavy rock on Unleash the Beast. There’s even jazz and Latin music throughout the eight tracks on Splashdown. Possibly, marketing them as a fusion band wouldn’t have worked, given how people railed against fusion in the seventies. Breakwater’s versatility was also part of their problem, as it meant categorising or pigeonholing their music wasn’t easy. Having sold 130,000 albums but not having enough material for a third album, Arista didn’t offer Breakwater another recording contract. After this, the band split up and went their separate ways. This brought to an end another case of a hugely talented band not making the commercial breakthrough their talent and music deserved. Splashdown, which will be released on 29th October 2012 by BBR Records is not only proof of this, but also proof of why, during the seventies, Breakwater were Philly’s hottest unsigned band. Standout Tracks: Love of My Life, The One In My Dreams, Say You Love Me Girl and Time.
BREAKWATER-SPLASHDOWN.
THELMA HOUSTON-THE MOWEST ALBUM.
THELMA HOUSTON-THE MOWEST ALBUM.
It’s somewhat ironic that Thelma Houston’s most successful single was a disco version of Harold Melvin and The Blue Notes’ Don’t Leave Me This Way. It reached number one in the US Billboard 100, US R&B Charts and US Dance Charts. After all, Thelma Houston started her career as soul singer, releasing two albums before her transformation into a disco diva. Thelma released her debut album Sunshower for Dunhill Records in 1969, and three years later, signed to Motown’s new subsidiary MoWest. Her sophomore album was 1973s Thelma Houston, which will be rereleased by SoulMusic Records on 23rd October 2012 as The MoWest Album. With Thelma Houston one of MoWest’s first signings, Motown executives felt great things would come the way of their newest signing to their new label. Would that be the case, when Thelma released Thelma Houston for her new label MoWest? That’s what I’ll tell you, after I’ve told you the background to Thelma Houston, what’s become known as The MoWest Album.
Thelma Houston grew up in Long Beach, California and after joining the Art Reynolds Singers gospel group, signed to Dunhill Records. Her time at Dunhill wasn’t particularly successful, releasing Baby Mine in 1966 and then Don’t Cry My Soldier in 1967 Boy and Everybody Gets To Go To the Moon in 1968. A year later, in 1969, Thelma released her debut album Sunshower, produced by Jimmy Webb. Three singles were released in 1970 from Sunshower, Save the Country, I Just Gotta Be Me and The Good Earth. After the disappointment of Sunshower’s commercial failure, Thelma’s got the chance to sign to a new label, launched by one of soul music’s giant labels.
In 1972, Motown shocked not only the people of Detroit, but the music industry, when they decided to move from Detroit to Los Angeles. Now that Motown was settled in the West Coast sunshine, they decided to launch a new label, MoWest. This was an abbreviation of Motown, West Coast. This new label would showcase their new West Coast sound, rather than the usual and by now, familiar “Motown sound.” For many people, Motown’s Detroit sound was somewhat predictable, so the launch of a new label would celebrate their new location with new sounds for a new decade.
By 1972, Motown would have a rival for the title of America’s premier soul label, Philadelphia International Records. Their sound was much more sophisticated and in 1972, released a trio of seminal albums in Billy Paul’s 360 Degrees of Billy Paul, The O’Jays’ Backstabbers and Harold Melvin and The Blue Notes’ I Miss You. Down South in Memphis, Hi Records with Willie Mitchell at the helm, were another of Motown’s rivals. Al Green, their most successful artist, had started releasing a string of commercially successful and critically acclaimed albums. 1972 saw Al release of two stonewall classics Let’s Stay Together and I’m Still In Love WIth You. So it was against this backdrop that Motown were launching their new label MoWest. Granted Motown were still releasing cutting-edge music, during the last few years. The Temptations’ genre fusing Psychedelic Shack was released in 1970, with Marvin Gaye releasing his sociopolitical classic, What’s Going On in 1971 and then the vastly underrated Blaxploitation soundtrack Trouble Man in 1972. To get back to being the biggest player in soul music wouldn’t be easy for Motown or MoWest.
One of MoWest’s first singings was Thelma Houston, who signed to MoWest in 1971 MoWest before the label was launched. MoWest had been cofounded by Hal Davis, who’d produced Thelma’s debut album Sunshower. However, Hal Davis wouldn’t be producing Thelma’s sophomore album Thelma Houston, which became known as The MoWest Album. Instead, five tracks were produced by Joe Porter, who co-produced three tracks with Michael O’Martian. Mel Larson and Jerry Marcellino produced one track as did Al Cleveland and Eddie Langford. These ten tracks became the US version of Thelma Houston The UK version of Thelma Houston contained fourteen tracks, which all feature on the forthcoming rerelease by SoulMusic Records. Once Thelma Houston had recorded Thelma Houston one of her singles would launch MoWest in the UK.
Motown launched their MoWest imprint in America in January 1972, with The Devastating Affair’s I Want To Be Humble. In Britain, MoWest’s first release was ten months later, in October 1972 when Thelma Houston’s No One’s Gonna Be A Fool Forever was released as a single. When Thelma Houston’s debut album for MoWest was released Thelma was opening for another Motown star Smokey Robinson. While this was something that excited Thelma, she was disappointed by the album sales. On its release, it had failed to chart. This wasn’t helped by a perceived lack of promotion. Two singles were released from Thelma Houston. I Want To Back There Again had been released in 1971, failed to chart. Nor did 1972s Me and Bobby McGee. For Thelma this must have been bitterly disappointing and for Hal Davis the cofounder of MoWest who’d been instrumental in signing Thelma. Despite the commercial failure of Thelma Houston, it has become a something of a prized album among Motown fans. Why is that? That’s what I’ll now tell you, when I tell you about the ten tracks on the original American release of Thelma Houston.
Opening Thelma Houston is What If, one of five tracks produced by Joe Porter and arranged by Artie Butler. Just an acoustic guitar and woodwind combine to create a subtle sounding arrangement. Then when Thelma’s vocal enters, you’re immediately stopped in your tracks by her delivery. It’s tender, heartfelt and incredibly soulful. Soon, it’s all change. Thelma and her band kick loose. Her vocal is a mixture of power and passion, with blazing horns, lush strings and cooing, gospel-tinged backing vocalists accompanying her. The rhythm section create the track’s pulsating heartbeat, joining the rhythm section in creating a dramatic backdrop for Thelma’s vocal tour de force.
Keyboards give way to Thelma’s wistful vocal, as There’s No Such Thing As Love reveals its secrets. Thelma’s vocal take centre-stage, while tender backing vocalists sweep in, joining the understated arrangement. Strings and rasping horns add to the emotion, before later, the arrangement grows. At the bridge, the rhythm section unite with horns, matching the power, in Thelma’s vocal, which is full of sadness and hurt. Like the previous track, Thelma breathes life and meaning into the lyrics, in a way few vocalists are capable of.
Me And Bobby McGee is a track that’s been covered many times by many artists. The difficulty in covering such a familiar track is bringing something new to it. For many people, Janis Joplin recorded the definitive version. Thelma’s version is quite different. Her country-tinged vocals is accompanied by guitars and bongos. Soon, her band fuse elements of soul, country and rock. Thelma’s switch from soul to country is seamless. This is one of the band’s best performances. Searing guitars and the rhythm section are joined by punchy, blazing horns and a piano. Later, handclaps punctuate the arrangement as Thelma scats her way through the lyrics fusing power and soulfulness. Although this is an oft-covered track, Thelma’s impassioned cover brings something new to the song.
For sheer soulfulness, I’m Letting Go is one of the highlights of Thelma Houston. An understated arrangement allows Thelma’s vocal to take centre-stage, where it belongs. Just a wistful horn and lush strings give way to Thelma’s vocal. Her vocal soars, with its melancholy, wistful sound tinged with regret, but also hope. Cooing backing vocalists accompany Thelma, before the arrangement grows in power and drama. Thelma’s vocal grows not only in power, but in confidence and hope. Growling horns, sweeping harmonies and lush strings are key to the arrangement. Later, as the arrangement takes on a subtle sound, a lone Thom Bell influenced horn signals Thelma’s vocal to explode in power, passion and emotion. It’s a hugely impressive sound and results in one of the album’s real highlights.
Do Something About It is very different sounding track. Rock and soul are combined from the get-go. Riffing rocky guitars, a driving rhythm section and piano combine with Thelma’s vocal. Her vocal is powerful, but has has a tougher sound and style, which is not unlike Janis Joplin.This suits the arrangement. It’s much bolder with a rocky sound. Gospel-tinged backing vocalists join sweeping, swirling string and blazing horns unite with the rocky guitars as the arrangement unfolds at breakneck speed. Thelma seems to revel in this change of style. She combines a rockier style with her usual soulfulness. Flourishes of piano add to what’s a dramatic, dynamic fusion of styles and sounds.
There Is A God sees Thelma return to her gospel roots, complete with gospel backing vocalists. Just a piano accompanied the backing vocalists, as Thelma delivers one of her finest vocals on Thelma Houston. It’s a spine-tingling performance, made all the better by the backing vocalists. The addition of bursts of blazing horns which punctuate the arrangement seem the coupe de grace. That’s not the case. They’re joined by the rhythm section and lush strings as the impossible happens and things get even better and a glorious and totally irresistible slice of gospel music proves to the best track on Thelma Houston. Truly, it’s unrivaled for quality and is a totally spine-tingling performance.
The prolific and award-winning songwriting team of Barry Mann and Cynthia Weli cowrote Black California. With searing guitars, rhythm section and piano accompanying Thelma’s feisty vocal, she tells the story of an American dream gone sour. Having moved from the South in the search of a better, life California proves to be a disappointment. Things are just as tough, with poverty and unemployment rife. Thelma’s delivery is full of emotion and frustration, while the arrangement is powerful and dramatic. Horns growl, drums pound and harmonies sweep in, as Thelma tells this bittersweet story with feeling, frustration and anger.
Like several other tracks on Thelma Houston, And I Never Did starts with an understated arrangement, but quickly grows in power, drama and emotion. A lone piano is joined by melancholy strings, while Thelma’s vocal is tinged with sadness. Cooing harmonies and the rhythm section join and the arrangement grows in drama and power. Thelma’s delivery is heartfelt and impassioned, laden with emotion and sadness as the track reaches its wistful, dramatic ending.
Blackberries is another track where Thelma’s gospel roots shine through. With lyrics have a spiritual meaning and Thelma’s delivery is full of sincerity and emotion. The arrangement is very much a case of from little acorns. An understated arrangement grows to one of almost biblical proportions. A piano, rhythm section, guitars and strings combine to create this thunderous arrangement. Meanwhile Thelma delivers a powerful vocal where she articulates the songs subtleties and nuances with feeling and meaning.
Closing Thelma Houston is And I Thought You Loved Me. Given how important it is to bookend an album, this is the perfect song to close the album. I always feel that it’s vital to close an album on a high, meaning the listener wants to hear more. This is the case here, as the track almost bursts into life from its opening bars. Growling horns join pounding drums and sizzling guitars while Thelma’s vocal has a country influence. Her delivery is deliberate and dramatic, matched every step of the way by the horns, rhythm section and riffing guitars. Backing vocalists add to the finishing touches to this dramatic track. Their vocals soar high is display of soulfulness as they help Thelma bring her sophomore album and close her MoWest debut Thelma Houston leaving you wanting more, much more.
After listen to Thelma Houston’s sophomore album and MoWest debut Thelma Houston, you’ll find yourself wondering why it wasn’t a commercial success. Maybe it wasn’t promoted well enough, but considering MoWest was a new label launched by Motown this would be surprising and indeed disappointing. Surely, any label launching a new label would want to give their releases every chance of success? However, as regular readers of this blog will realize, this often happens. An artist releases an album, to very little, if any commercial success, yet years, even decades later, it becomes a minor classic.
Now forty years after its initial release, Thelma Houston has become something a prized album among record collectors and soul connoisseurs alike. That’s not surprising, given the quality of music on Thelma Houston. Truly, there’s not a bad track on the album, with Thelma flitting seamlessly between styles. Whether it’s soul, country or rock, she’s just as comfortable. Accompanied by a tight, talented band that breeze their way through the ten tracks, Thelma delivers some blistering vocals, that range from emotive, heartfelt and impassioned right through to feisty and fiery. Whichever emotion the song requires, Thelma delivers it with style and panache. So good are the vocals on Thelma Houston, that it’s even more of a mystery why the album failed commercially? Having failed commercially, Thelma Houston has never been rereleased..until now.
After being unavailable since its release in 1972, forty long years, ago Thelma Houston gets a welcome rerelease by SoulMusic Records. They will rerelease Thelma Houston as The MoWest Album on 23rd October 2012. Not only does The MoWest Album feature the ten tracks on the original American release of Thelma Houston, but the four additional tracks that featured on the fourteen track UK version, plus five other bonus tracks. For anyone who loves their music soulful, or just appreciates great music, then the rerelease of The MoWest Album is essential listening and will be a very welcome reissue. The MoWest Album will also show another side to Thelma Houston’s music, especially for anyone who only knows her as a disco diva. Standout Tracks: Me And Bobby McGee, I’m Letting Go, There Is A God and Black California.
THELMA HOUSTON-THE MOWEST ALBUM.
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THE GAP BAND-THE GAP BAND VI.
THE GAP BAND-THE GAP BAND VI.
One of the most successful funk bands of the late-seventies and early eighties were The Gap Band. They enjoyed released fifteen studio albums during a twenty-five year period. Their career started with their 1974 debut Magician’s Holiday, while 1999s Y2k: Funkin’ Till 2000 Comz was their finale. The most successful period of The Gap Band’s career was between 1979 and 1984. During that period, two of The Gap Band’s albums were certified gold and two platinum. As if that’s not impressive enough, three of The Gap Band’s albums reached number one in the US R&B Charts. The last of The Gap Band’s number one US R&B albums was The Gap Band VI, released in 1984. This brought to an end a hugely successful five year period, where it seemed The Gap Band could do no wrong. They’d been riding the crest of the funkiest waves and The Gap Band VI, which was recently rereleased by BBR Records is seen as the end of an era for The Gap Band. Before I tell you about the music on The Gap Band VI, I’ll tell you about the most successful period of The Gap Band’s career.
When The Gap Band released their debut album Magician’s Holiday on Shelter Records in 1974, the success they’d go on to enjoy must have seemed light years away. It failed to chart and it would be a further three years before The Gap Band released their sophomore album. By the time The Gap Band released their sophomore album The Gap Band, it was on a new label, Tattoo Records. Like their debut album, it failed to chart on its released in 1977. Two years later, when The Gap Band released their third album, not only were they signed to a major label, but their fortunes had changed.
By the time The Gap Band released their third album in 1979, they were now signed to the Mercury label. The first of four albums The Gap Band released for The Gap Band was The Gap Band. It reached number seventy-seven in the US Billboard 200 and number ten in the US R&B Charts. This was just the start of a five-year period where The Gap Band could do no wrong. During this period, critical acclaim and commercial success were ever-present.
Later in 1979, The Gap Band released their second album of the year, The Gap Band II. Not only did it reach number forty-two in the US Billboard 200 and number three in the US R&B Charts, but gave it gave The Gap Band their first gold album. A year later, in 1980 The Gap Band III was released, and reached number sixteen in the US Billboard 200 and number one in the US R&B Charts. This gave The Gap Band their first platinum album and was the last album they released for Mercury. Next stop for The Gap Band was a label that specialized in funk music, Total Experience.
After a two-year gap, The Gap Band released their first album for Total Experience in 1982. The Gap Band IV reached fourteen in the US Billboard 200 and number one in the US R&B Charts. This meant platinum album number two for The Gap Band. 1983 saw The Gap Band V: Jammin,’ which didn’t quite match the success of its predecessor. Having said that, it still reached number twenty-eight in the US Billboard 200 and number two in the US R&B Charts and was certified gold. There would be just one more Gap Band album before this run of commercially successful and critically acclaimed albums came to a halt. This was The Gap Band VI.
For what would become The Gap Band VI the three Wilson brothers Charlie, Ronnie and Robert set about writing the ten tracks along with the group of musicians they collaborated with. Charlie wrote Disrespect and cowrote two other tracks, Video Junkie and Beep-A-Freak. He cowrote Video Junkie with Demetrius Johnson, Rudy Taylor and executive producer Lonnie Simmons, while Lonnie, Rudy and Charlie cowrote Beep A Freak. Of the other seven tracks, Oliver Scott penned Weak Spot and Don’t You Leave Me. Lonnie Simmons and Rudy Taylor cowrote The Sun Don’t Shine Everyday trilogy plus I Believe. These ten tracks that became The Gap Band VI.
On The Gap Band VI, Charlie Wilson sang lead vocal, and like his brother Ronnie, played keyboards and percussion. Robert Wilson played bass, guitar and percussion. Among the musicians joining The Gap Band, were Oliver Scott, Rudy Taylor, Lonnie Simmons and Jimmy Hamilton. They were also joined by backing vocalists, including Pennye Ford. Lonnie Simmons produced The Gap Band VI, with Charlie Wilson and Oliver Scott both co-producing tracks. Once The Gap Band VI was completed, it was ready for release in December 1984.
Before the release of The Gap Band VI, Beep A Freak was released in November 1984. Although it only reached number 103 in the US Billboard 100, it headed all the way to number two in the US R&B Charts. When The Gap Band VI was released in December 1984, it went one better than Beep A Freak. The Gap Band VI reached number fifty-eight in the US Billboard 200 and number one in the US R&B Charts. Even though The Gap Band VI reached number one in the US R&B Charts, it sold fewer copies than it’s predecessor. This meant no gold disc number three. On the release of I found My Baby in February 1985, it reached number eight in the US R&B Charts. Four months later, the Charlie Wilson penned Disrespect was released in June 1985, but only reached number eighteen in the US R&B Charts. So The Gap Band VI didn’t match the success of The Gap Band’s four previous albums. However, does the music match the quality of music on The Gap Band VI match the quality of their four previous albums?
Opening The Gap Band VI is The Sun Don’t Shine Everyday Instrument Interlude where thunderous drums give way to Eastern sounds, cinematic strings and this broody, uber-dramatic one-minute track ensures The Gap Band have your undivided attention.
Video Junkie mixes sounds that are reminiscent of eighties video games and collide with sci-fi sounds. A cascading vocal is accompanied by synths as drums crack and an eighties sounding arrangement unfolds. This is funk, but with an eighties twist. Drums drive the arrangement along, while synths and searing guitars join Charlie’s melodramatic vocal. As space-age sounds reverberate from the arrangement, you’re back in the eighties, reminded of lo-fi video games like Pacman and Tetris. Later, keyboards add warmth, before brittle keyboards and crisp drums add layers of contrast. For six minutes, The Gap Band transport you back to eighties, evoking memories of the music and the games that helped defined part of a decade.
Weak Spot sees the tempo drop, with The Gap Band revealing another side to their music. This brassy ballad with a real soulful side would’ve been a really radio-friendly single. Drums pound, stabs of growling horns and synths combine with Charlie’s heartfelt vocal. The track has an innovative sound, mixing funk, soul and eighties electronica. Throughout the track, the arrangement is busy, with space at a premium. Constant stabs of blazing horns add funk, while the drums and synths give the track its electronic sound. Charlie’s vocal is soulfulness personified and showed, that although best known as a funk band, by 1984, The Gap Band could release some killer slices of soul.
The Sun Don’t Shine Everyday Instrument Interlude is the second part of what’s a trilogy of tracks. It’s a tantalizing taste of what might have been, with forty beautiful seconds of tender, beautiful music. Just harpsichord, piano and bass are responsible for this. If only this track had been developed, it could’ve been something really special, rather just than a mere tantalizing taste of what might have been.
I Believe is another of the Lonnie Simmons and Rudy Taylor compositions. It sees another change of style, with rocky guitars, bluesy horns and piano combining with Eastern sounds. They give way to Charlie’s vocal. It’s heartfelt, impassioned and one of his best on The Gap Band VI. Gone are the synths and eighties drums, replaced by a group that seamlessly fuses blues, rock and soul. To do this, it’s the rhythm section, guitars, punchy horns and piano that combine with Charlie. Again, this is a missed opportunity, as this would’ve been a real radio-friendly song and maybe a hit single. One thing I can say for certain, is it’s one of the real highlights of The Gap Band VI.
I Found My Baby was written by Raymond Calhoun and sees slow, spacey drums joined by piano and synths, before The Gap Band’s massed vocals enter. Charlie’s vocal is accompanied by an arrangement that’s got a slight hip hop sound, with the drums and synths responsible for this. A piano is key to the track, while the backing vocalists accompany Charlie’s tender vocal. Stabs of keyboards replace his vocal, before the backing vocalists return and then, when Charlie’s vocal becomes a powerful, joyous vamp. When combined with the backing vocalists, piano and hip hop influenced beat, the result is an irresistibly, catchy track that worms its way into your psyche.
Beep A Freak gave The Gap Band a number two single in the US R&B Charts. It has more in common with Video Junkie and sees synths, crunchy drums and flourishes of keyboards combine with backing vocals. Chiming guitars drift in and out, as Charlie raps his way through the track, before his usual style returns. Here, hip hop, eighties electronica and funk unite as one, on a track that could’ve only been made in one decade…the eighties. Having said that, it’s stood the test of time and is a compelling demonstration of how The Gap Band’s music was evolving.
Oliver Scott who wrote Weak Spot also wrote Don’t You Leave Me. To a backdrop of synths, sound effects, percussion and rhythm section Charlie shrieks and yelps his way through the introduction. Then his vocal changes, becoming much more tender. Briefly, there are similarities with Paul Simon. Soon his vocal grows in power and passion, while melodic synths and keyboards create a jazzy backdrop for the crisp drums and percussion that accompany him. It doesn’t take long to realize that this is another highlight of The Gap Band VI, where they fuse genres as Charlie unleashes an impassioned vocal tour de force.
Disrespect is another track where genres melt into one. Hip hop, R&B, eighties electronica, Latin and funk unite. Hip hop is the first influence, after a quick nod to Woody Woodpecker. Whistles, percussion and synths see Latin and eighties electronica while, the rhythm section, synths and Charlie’s cheerleader style vocal fuses funk and R&B. Soon, a real melting pot of music unfolds and with Charlie and Lonnie Simmons producing the track, they bring everything together, resulting in a funky fusion of music, that’s impossible not succumb to soon. Quickly, your hips are swaying and your hands are in the air.
Closing The Gap Band VI is The Sun Don’t Shine Everyday. This is the third part in this trilogy, with this version the vocal version. There’s a real understated sound to the track, just percussion, guitars and percussion, before backing vocalists, who sound like a choir of angels sweeping in. Charlie’s vocal is tender and thoughtful, full of sadness and emotion. Just a piano, percussion, rhythm section and backing vocalists accompany him. They create a very beautiful, moving and understated sound that quite simply is one of the most beautiful songs The Gap Band would ever record.
The Gap Band VI was the last of The Gap Band’s run of commercially successful and critically acclaimed albums. This brought to an end, a run of success that was almost unrivaled for a funk band. While other funk band’s popularity started to wane, The Gap Band’s music evolved and drew inspiration from other popular musical genres. During The Gap Band VI, they fuse hip hop, R&B, eighties electronica and Latin music with funk and soul. With such a melting pot of music, people who might not necessary be fans of funk music per se, became fans of The Gap Band. However, after two gold and platinum albums The Gap Band VI wasn’t as commercially successful. Back then, this might have been seen as a blip, but it was something more worrying. After The Gap Band VI, the run of commercially successful and critically acclaimed albums dried up. Their next album The Gap Band VII reached just number 159 in the US Billboard 200 and number six in the US R&B Charts. That was as good as it got for The Gap Band. They never ever recaptured the success they enjoyed between The Gap Band II and The Gap Band VI. For this reason, The Gap Band VI which was recently rereleased by BBR Records marked the end of an era for The Gap Band, when they were one of the most successful funk bands of all time. Standout Tracks: Weak Spot, I Believe, Don’t You Leave Me and The Sun Don’t Shine Everyday (Vocal).
THE GAP BAND-THE GAP BAND VI.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
Back in the spring of 1974, Philadelphia International Records had a busy schedule of releases. They’d three albums scheduled for release. The first of this trio was M.F.S.B’s seminal Love Is The Message and the third was The O’Jays’ classic Ship Ahoy. In between these two prestigious releases was the Philadelphia International Records’ debut of a man who’d not only play an important part in Philadelphia International Records’ success but later, the success of Salsoul Records. This was singer, songwriter, musician and producer Bunny Sigler. Bunny had just completed what was his second solo album That’s How Long I’ll Be Loving You, which will be rereleased on 29th October 2012 by BBR Records. It had been seven long years since Bunny had released his debut album Let the Good Times Roll (and Feel So Good) for Parkway Records. It had been co-produced by one of the founders of the label he was now signed to, Leon Huff.
Previously, Gamble and Huff were content for Bunny to write songs for other people, and play keyboards on other artists albums as part of M.F.S.B. Soon, Bunny was one of Philadelphia International’s top songwriters, up there with McFadden and Whitehead, Thom Bell and Alan Felder. His credits included writing Joe Simon’s Drowning In A Sea of Love, plus tracks for The O’Jays, The Three Degrees and Billy Paul. While Bunny was on roll as a songwriter, all he wanted to do was sing. Granted he enjoyed writing songs, but singing was his real love. Over the past two years, Bunny released singles like Tossin’ and Turnin,’ Heaven Knows I’ve Changed, Theme For “Five Fingers of Death” and Shake Your Booty, to little commercial success. Would his Philadelphia International Records’ debut That’s How Long I’ll Be Loving You see Bunny Sigler make a commercial breakthrough, and see him enjoy the success the artists he wrote songs for enjoyed?
With Philadelphia International Records at the height of their commercial success, the label was a hive of creativity. It seemed that the greatest songwriters, arrangers, producers and musicians of the seventies were based in Philly and working at Philadelphia International Records. It also seemed that they would play a part in Bunny Sigler’s Philadelphia International Records’ debut album That’s How Long I’ll Be Loving You. This included the songwriters who cowrote songs with Bunny.
Bunny wrote the title-tracks That’s How Long I’ll Be Loving You, and cowrote seven other tracks. This included Marianne and Somebody Freee with Joseph B. Jefferson. Things Are Gonna Get Better saw Bunny collaborate with Alan Felder and Ron Kersey and the trio cowrote I Lied with Norman Harris. The two tracks Bunny Sigler didn’t write or cowrite were cover versions of Gamble and Huff’s Love Train and Ray Charles’ What’d I Say. These ten tracks would be recorded at Sigma Sound Studio in Philadelphia, with the classic lineup of M.F.S.B. accompanying Bunny on the ten tracks that comprise That’s How Long I’ll Be Loving You.
At Sigma Sound Studios, the classic lineup of M.F.S.B. included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli and T.J. Tindall, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and keyboardist Ron “Have Mercy” Kersey. Adding backing vocals were , Carla Benson, Barbara Ingram and Evette Benton. On one track, My Other Love, Bunny showed that he was a true multi-instrumentalist, playing guitar, piano, bass, organ, sitar and added backing vocals. Bunny produced seven tracks himself, and three with Norman Harris. Arrangers included Bunny, Ron Baker, Norman Harris and Richard Rome. With such multitalented personnel involved in the making of That’s How Long I’ll Be Loving You, surely the album must be a huge hit?
On the release of That’s How Long I’ll Be Loving You in April 1974, the album reached number twenty-seven in the US R&B Charts. The Gamble and Huff penned Love Train, previously a huge hit for The O’Jays was chosen as the lead single, reaching number twenty-eight in the US R&B Charts in May 1974. That’s How Long I’ll Be Loving You was then released as a single in July 1974, but failed to chart. While That’s How Long I’ll Be Loving You fared better than Bunny’s debut album Let the Good Times Roll (and Feel So Good), which failed to chart, Bunny must have been left feeling disappointed. He felt his previous singles for Philadelphia International had been promoted well enough. Whether the same thing happened with That’s How Long I’ll Be Loving You is mere speculation? After all, Philadelphia International were currently promoting albums by two of their biggest groups, M.F.S.B’s Love Is The Message and The O’Jays’ Ship Ahoy? Since it’s release, Bunny Sigler’s That’s How Long I’ll Be Loving You had remained a hidden gem in the Philadelphia International Records’ back-catalogue, as you’ll realize when I tell you about it.
Things Are Gonna Get Better written by Bunny with Ron “Have Mercy” Kersey and Alan Felder opens That’s How Long I’ll Be Loving You. Arranged by Norman Harris who co-produced the track with Bunny, the track bursts into life. The unmistakable sound of the Baker, Harris, Young rhythm section combine with M.F.S.B.’s blazing horns and lush, swirling strings. They’re joined by Bunny’s heartfelt, impassioned vocals, as tight, soaring harmonies from the Sweethearts of Sigma accompany him. Bursts of Earl Young’s drums add drama, while the strings, horns and harmonies create an uplifting, joyous sound filled with hope and positivity. Given it’s plentiful supply of hooks, this is the perfect track to open any album.
That’s How Long I’ll Be Loving You was the only song Bunny wrote himself. Growling horns add a moody backdrop as they combine with strings. They give way to Bunny’s slow, emotive vocal, with Norman Harris’ sparse, thoughtful, jazzy guitar accompanying him. Earl Young provides the track’s heartbeat, while strings and horns add to the arrangement’s emotive, wistful and beautiful sound. During the track, Bunny lays bare his soul, delivering a vocal that’s not just heartfelt and full of sincerity, but incredibly soulful too.
I Lied is the second Norman Harris and Bunny Sigler production, with Ron Baker arranging the track. Earl’s pounding drums drive the arrangement along, while Bunny vamps alongside the sound of a motorcycle taking off. After that, Ron’s arrangement takes off. Strings dance, horns rasp and Baker, Harris, Young produce a pounding, sometimes funky beat. Bunny’s vocal is power personified, with Earl’s drums competing with it. Testifying harmonies from the Sweethearts of Sigma add the finishing touch to the track, as horns rasp, strings cascade and drums pound. On top of that Bunny unleashes literally, a breathtaking vamp, to a track that could only have been made in one place, Philly.
Picture Us has a real doo wop influence as it opens. Bunny’s accompanied by backing vocalists including the Sweethearts of Sigma, while the arrangement veers between understated and bursts of drama. Soon, he unleashed a vocal that’s a fusion of power, passion and emotion. Stabs of organ, a sprinkling of Vince Montana Jr’s vibes, piano and an understated Baker, Harris, Young rhythm section all play their part in creating a vintage-sounding arrangement, that’s perfect for the fifties doo wop harmonies that accompany Bunny’s heartfelt vocal.
Gamble and Huff were somewhat protective of Bunny covering Love Train, when he approached them about doing so. They felt The O’Jays had released the definitive version, but eventually agreed to let Bunny cover Love Train. His version is very different, much slower, dramatic and giving it a real gospel feel. Earl Young’s drums add bursts of drama, while tight, soulful harmonies answer Bunny’s impassioned call. Just the rhythm section, piano, Hammond organ and Norman Harris’ jazzy guitar accompany Bunny during what’s a gorgeous, seven minute gospel-tinged take an old classic.
Marianne was one of two tracks Bunny penned with Jospeh B. Jefferson. A Spanish sounding guitar, flourish of strings, percussion and vibes accompany Bunny’s vocal. Soon you realize this is a very different track, in sound and style, Gone is the soul, replaced by pop fused with Latin music and Spanish guitars. Rasping horns, sweeping strings and the rhythm section create a Latin flavored backdrop as the track takes on a sing-a-long sound. Although very different from other tracks, it’s still catchy, with a poppy quality.
My Other Love sees Bunny almost become a one-man-band, playing many of the instruments himself. A dramatic, moody backdrop sees growling horns, searing guitars and thunderous drums accompany Bunny’s vocal. It’s full of hurt and sadness, with backing vocals he contributes accompanying him. His vocal matches the drama created by the arrangement, as strings add to the sadness and regret in Bunny’s vocal. So convincing and moving is Bunny’s vocal, that you feel he’s lived the lyrics and felt the pain he’s singing about.
Your Love Is Good was penned by Bunny with Norman Harris and Alan Felder, with Ron Baker arranging the track. It doesn’t take long to realize that this is one of the highlights of That’s How Long I’ll Be Loving You. It’s typical of the songs Norman and Alan cowrote. Blazing horns, cascading strings, the Baker, Harris, Young rhythm section and Vince Montana’s vibes combine before Bunny’s joyous, heartfelt vocal enters. Cooing harmonies from the Sweethearts of Sigma, are the perfect accompaniment to Bunny’s vocal. With horns and strings serenading Bunny and the Sweethearts of Sigmas, the track takes on an irresistibly catchy and joyous sound. Not only that, but hooks are in plentiful supply thanks to the songwriting talents of Norman Harris and Alan Felder, two truly great songwriters.
Having covered The O’Jays’ Love Train, Bunny Sigler decides to give himself another challenge by covering Ray Charles’ What’d I Say. This isn’t an easy task, given Ray Charles recorded the definitive version. Maybe Bunny will reinterpret the song? That’s what he does, building up the drama with a frantic combination of percussion, wailing Hammond organ and Earl Young’s thunderous drums. Then, it’s all change and Bunny slows things down, mixing blues, soul, jazz and heaps of drama. Remembering Miles Davis’ maxim about “the space between the notes being just as important as the notes,” Bunny leaves numerous dramatic pauses as he powers and vamps his way through the track, mixing the original with his take on the song. The result is a compelling fusion of genres that result in new life being breathed into an old classic.
Closing That’s How Long I’ll Be Loving You is Somebody Free, the second of Bunny’s collaborations with Joseph B. Jefferson. A burst of Earl Young’s drums gives way to Norman Harris guitar, a wailing Hammond organ and the Baker, Harris, Young rhythm section. They usher in Bunny’s tender, heartfelt vocal, that’s full of regret and emotion. Harmonies accompany Bunny’s vocal, while the guitar and Hammond weave their way across the arrangement, as Bunny lays bare his soul and hurt. Earl’s dramatic bursts of drums reinforce the sadness and drama of a track that features one of Bunny’s best vocals on That’s How Long I’ll Be Loving You.
Earlier I referred to Bunny Sigler’s That’s How Long I’ll Be Loving You as a hidden gem in Philadelphia International Records’ back-catalogue. After listening to it several times, I haven’t changed my mind about that. It’s one of these albums that despite the quality of music, wasn’t the commercial success it deserved to be. Whether this was a case of lack of promotion? After all Philadelphia International Records were busy promoting albums by M.F.S.B. and The O’Jays. Another possibility is the wrong singles were chosen, we’ll never know. Maybe Love Train wasn’t a good choice for the lead single. Things Are Gonna Get Better seemed a more obvious choice, while Your Love Is Good seems a much better sophomore single than the title-track. What I can say, is that That’s How Long I’ll Be Loving You deserved to reach higher than just number twenty-seven in the US R&B Charts. After the disappointing performance of That’s How Long I’ll Be Loving You, Bunny Sigler only released two more albums for Philadelphia International, Keep Smilin’ and My Music. He never did find the commercial success and critical acclaim other artists enjoyed with his songs or production. Sadly, Bunny Sigler joins the likes of Dee Dee Sharp, The Futures, Jean Carn and Jerry Butler, who all released some great music for Philadelphia International, but sadly neither received the kudos nor commercial success their music deserved. Of the three albums he released for Philadelphia International, That’s How Long I’ll Be Loving You which will be rereleased on 29th October 2012 by BBR Records is easily the best. One small crumb of comfort for Bunny Sigler was that he was able to enjoy other artists enjoy critical acclaim, commercial success and kudos with songs he penned. Despite that, and just like Bunny’s 1979 album says “I’ve Always Wanted To Sing..Not Just Write Songs. Standout Tracks: Things Are Gonna Get Better, I Lied, Picture Us and Your Love Is Good.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
THE MIRACLES-LOVE CRAZY.
THE MIRACLES-LOVE CRAZY.
Not many groups have enjoyed the longevity that The Miracles enjoyed. Having released their debut album Hi..We’re The Miracles in 1961, they recorded seven studio albums for Motown between 1961 and 1964s I Like It Like That, which was never released. By the time The Miracles released Going To A Go-Go in 1965, the group were now billed as Smokey Robinson and The Miracles. As Smokey Robinson and The Miracles, they released a further eleven studio albums between 1965 and 1972s Flying High Together. Then in 1972, Motown decided to move from Detroit and head to Los Angeles. One man who’d begin to play a bigger part in the running of Motown and the newly formed Tamla label was Smokey Robinson. This meant Smokey leaving The Miracles, the group he’d formed in the mid-fifties.
In 1972, Billy Griffin replaced Smokey and they released six albums between 1973s Renaissance and 1976s The Power of music. After 1976s The Power of Music, the unthinkable happened, and The Miracles left Motown after a fifteen year association with the Detroit label. The Miracles contract with Motown was almost up, but The Miracles felt Motown weren’t as committed to them as they’d should be. Although their previous album The Power of Music, hadn’t been successful, The Miracles consistently released successful albums and singles. They’d just had a number one US R&B single in 1976 with Love Machine, which was certified platinum. So it’s no wonder The Miracles felt let down, especially in former Miracle Smokey Robinson. On the advice of Stevie Wonder, The Miracles waited before resigning to Motown. They waited on a phone call from Berry Gordy or Smokey Robinson, which never came. Then when Columbia expressed an interest in signing The Miracles, that settled things. They signed to Columbia and set about recording their debut album for Columbia. This would be Love Crazy, which will be rereleased on 22nd October 2012 by SoulMusic Records. Would Love Crazy see a return to form for The Miracles and prove to Motown that they’d made a mistake in not resigning them sooner?
When The Miracles signed to Columbia, they arrived with the material for their Columbia debut Love Crazy. The eight tracks that became Love Crazy were written at the same time as their Motown finale The Power of Music. Six of the eight tracks were penned by Billy Griffin and Pete Moore, while Donald Griffin cowrote the two other tracks with Billy and Pete. With the material for Love Crazy already written, The Miracles headed straight to Crystal Sound, where the album would be recorded.
At Crystal Sound, Pete Moore was producing The Miracles Columbia debut Love Crazy. They were accompanied by a rhythm section of drummer James Gadson, bassist Willie Weeks and guitarists Billy and Donald Griffin. John Barnes who arranged the eight tracks, played keyboards, while Eddie “Bongo” Brown and Jack Ashford added percussion. Adding backing vocals were Julia Timan, Maxime Wilard and Myrna Matthews. Once Love Crazy was recorded, it was ready for release in 1978.
Before Love Crazy was released, Spy For The Brotherhood was released as single. It only reached number thirty-seven in the US R&B Charts and number thirty-five in the US Dance Charts. Women (Make the World Go Round) was the second single, but failed to chart. Then when Love Crazy was released, it reached number 117 in the US Billboard 100 and number nine in the US R&B Charts. This was an improvement on The Miracles Motown finale The Power of Love, which reached number 178 in the US Billboard 200 and number thirty-five in the US R&B Charts. Maybe as well as a new start at Columbia, The Miracles were enjoying a new lease of life. Was that the case? That’s what I’ll tell you, after I’ve told you about the music on Love Crazy.
Opening Love Crazy is Love Crazy (Introduction), an eighty-second amuse bouche, that sets the rest of the album up. Just a wistful, melancholy piano solo and tender heartfelt harmonies combine. Then all too soon it’s over.
Strings sweep and swirl, horns rasp and a pounding rhythm section drive the arrangement of Love Crazy along. Soaring harmonies give way to Billy’s impassioned, powerful vocal. Billy sings one verse, Pete Moore the next. They seem to drive each other to greater heights, as if trying to outdo each other. The rest of The Miracles add tight, dramatic harmonies, while flourishes of piano, dramatic drums, cascading strings and growling horns combine. It’s quick, hugely dramatic and soulful, as The Miracles fuse their trademark soulful sound with elements of funk and disco. Rather than The Miracles, this should be The New Miracles, given how dramatic, catchy and soulful a track this is.
Too Young is the third of six Billy Griffin and Pete Moore compositions. Just stabs of spacious piano dramatically open the track. Keyboards meander in the background while a sprinkling of percussion and subtle drums accompany Pete’s vocal. His vocal is full of sadness and emotion, with Jackie Kelso’s saxophone answering his call and adding to the sadness and emotion. Through the arrangement, it has understated, vintage sound. Key to the vintage sound is the standup bass, piano and saxophone. Pete’s vocal is perfect for the arrangement, laden with heartache and hurt. It breathes life, meaning and emotion to the lyrics.
Spy For The Brotherhood was one of the singles released from Love Crazy. On its release, The Miracles feared the F.B.I. would take an interest in their activities. It has a very different sound, with synths opening the track adding a dramatic, moody sound. They give way to bongos, guitars and the rhythm section that drive the arrangement along. Blazing horns usher in Billy’s vocal, which is full of frustration and anger. The is reflected by growling horns. The other four Miracles add harmonies, while Billy voices his fears of informers and feds. While very different from other tracks, it’s a song message and social conscience, and some of the best lyrics on Love Crazy.
A Better Way To Live sees the synths open the track, again adding an atmospheric to Billy’s vocal and the heartfelt harmonies that accompany him. Flourishes of harp, percussion and bongos combine before it’s all change. The track almost bursts into life. Backing vocalists join the Miracles, accompanying their punchy harmonies. Billy’s vocal is joyous, as he delivers his message. With feeling he sings: “we must find A Better Way To Live.” A dramatic arrangement and sweeping harmonies provide the perfect accompaniment, before the vocal changes hands. Strings dance with joy, flourishes of piano and a driving rhythm section accompany The Miracles as they deliver their message with joy, feeling and more than a little flamboyance.
Women (Make The World Go ‘Round) was the second single released from Love Crazy, but if failed to chart. Penned by Donald and Billy Griffin with Pete Moore, it’s another track with a message. Stabs of brassy horns and keyboards join the pounding rhythm section, as Billy delivers a powerful, impassioned vocal. He mixes drama with emotion, while sweeping harmonies grow in power. Sometimes, Billy’s vampish, vocal takes on similar sound to Stevie Wonder’s, as it grows in power. It’s a quite different track, one where funk and soul unite with the passion and power of Billy’s vocal and the dramatic arrangement.
As The Bird Must Fly Away opens, it reminds me of briefly of Jon Lucien or Andy Bey. It’s the combination rhythm section, keyboards and percussion that draws that comparison. Lush strings accompany tender, heartfelt harmonies, as The Miracles reveal their most soulful side. This is very much a group effort, the harmonies swept along amidst the strings. Augmenting this combination are backing vocalists whose subtle, soulful contribution prove to be just the finishing touch to a very beautiful string-drenched ballad.
Closing Love Crazy, The Miracles debut for their new label Columbia, is I Can Touch The Sky. Just searing guitars are joined by a pounding rhythm section, percussion and keyboards. Before the vocal enters, a vocoder briefly makes an appearance. It gives way to Billy’s vocal, but answers his call. Blazing horns accompany his vocal as it grows in power. Soon the arrangement grows in power and drama, while The Miracles mix soul and funk, with the vocoder making brief appearances. Thankfully, it’s not overused, with producer Pete Moore deciding less is more, as The Miracles close Love Crazy fusing their usual soulful sound with a more experimental funky sound. This shows that after twenty-years in the music business, The Miracles were still willing to try something new.
Listening to Love Crazy, maybe leaving Motown was what The Miracles needed. Maybe after fifteen years at the same label, working with the same musicians, songwriters and producers, maybe they had to explore different styles of music. Moving to Columbia seemed to give The Miracles more freedom, freedom to write and produce their own music. There was no more having to use in-house songwriters whose music could be somewhat formulaic. Instead, Billy Griffin and Pete Moore cowrote six tracks and two with Donald Griffin. Pete also produced Love Crazy and with the help of arranger John Barnes, combined The Miracles’ trademark soulful sound with funk and disco. Another difference was the socially conscious lyrics. Would The Miracles have been able to record songs like this at Motown? The other problem The Miracles had at Motown was they felt undervalued. So having Columbia show an interest must have flattered The Miracles. The Miracles rewarded Columbia with Love Crazy, which reached number nine in the US R&B Charts and number 178 in the US Billboard 200. Love Crazy was something on an awakening from The Miracles, proof that they still had something to offer and that they still could write and record some cutting-edge music, some of which had a message and social conscience. So, sixteen years after releasing their debut album Hi..We’re The Miracles, The Miracles were still going strong and still, producing some quality, soulful music. Proof of this can be found on Love Crazy, which will be rereleased on 22nd October 2012 by SoulMusic Records where The Miracles found a new lease of live and found A Better Way To Live in the Los Angeles sunshine. Standout Tracks: Love Crazy, Spy For The Brotherhood, A Better Way To Live and The Bird Must Fly Away.
THE MIRACLES-LOVE CRAZY.
K.C AND THE SUNSHINE BAND-DO IT GOOD.
K.C AND THE SUNSHINE BAND-DO IT GOOD.
Sometimes, people forget just how popular an artist or group were. One group people forget just how successful they were are K.C. and The Sunshine Band. With their unique fusion of disco, funk, soul and poppy hooks, K.C. and The Sunshine Band became one of the biggest bands of the disco era. Between 1974 and 1979, K.C. and The Sunshine Band released six albums, two of which were certified platinum and two which were certified triple-platinum. That’s not forgetting four number one singles in the US Billboard 100 with Get Down Tonight, That’s the Way (I Like It), (Shake, Shake, Shake), Shake Your Booty and I’m Your Boogie Man, plus four US R&B number one singles. The other success Harry Wayne Casey and Richard Finch of K.C. and The Sunshine Band enjoyed was with George McCrae. The wrote and produced Rock Your Baby, George’s 1974 worldwide number-one single and his debut album Rock Your Baby. It gave George the most successful album of his career. So, it seemed the two men behind K.C. and The Sunshine Band had the midas touch. Sadly, that proved not to be the case. When K.C. and The Sunshine Band released their debut album Do It Good in 1974 the album failed to chart. The success that they’d go on to enjoy and had enjoyed with George McCrae must have seemed a long, long way away. Before I tell you about the music on Do It Good, which will be released on October 29th 2012 by BBR Records, I’ll tell you the background to album.
By 1973, the Godfather of Funk James Brown and funk were both at the height of their popularity. Through America, and further afield, record companies were jumping on the funk bandwagon. In Miami, funk provided the musical soundtrack to people’s lives. For two young Miami-based musicians, Harry Wayne Casey and Richard Finch funk would provide the basis for their new “sunshine sound.” Harry and Richard had grown up together in Miami’s suburbs, since Richard moved from Indianapolis, Indiana. The pair shared a love of music and Richard’s love of R&B music grew while working in a television and radio repair shop. Motown and Stax were two of the hottest labels of the time, but it was a local label that fascinated Richard Finch and Harry Wayne Casey…T.K Records.
Miami had its own record labels, with Criteria one of the more established labels. It boasted cutting-edge equipment with Brook Benton, Eric Clapton and Aretha Franklin recording at Criteria. T.K. Records was seen as one of Miami’s up-and-labels, Henry Stone had single-handedly built up T.K during the sixties, and as the seventies dawned, Henry had invested in a new studio with new equipment. This paid off with two releases, Betty Wright’s Clean Up Woman and Timmy Thomas‘ Why Can’t We Live Together. For aspiring local musicians, T.K. was the label they wanted to sign to. Two people working in the background at T.K. were Harry Wayne Casey and Richard Finch, both aspiring musicians. At T.K., Harry and Richard started working unpaid, helping behind the scenes. What really interest Wayne and Harry was making music. They were talented musicians and songwriters, who played in local bands. Gradually, their persistence paid off. They worked as engineers and session musicians. Eventually, they were asked to work George McCrae.
Harry and Richard’s work with George McCrae changed the lives of not only George McCrae, but Harry and Richard. Having written, produced and played on George’s worldwide number one hit Rock Your Baby, they wrote, produced and played on George’s debut album Rock Your Baby. It reached number thirty-eight in the US Billboard 200 and number seven in the US R&B Charts. This would prove to be George’s most successful album. While working with George McCrae, Harry and Richard were also releasing music as K.C. and The Sunshine Band.
T.K. Records were focusing on their most successful artists, so the music Harry and Richard were recording was done after-hours, when the studio wasn’t busy. K.C. and The Sunshine Band had released their debut single Blow Your Whistle in August 1973. It had reached number twenty-seven in the US R&B Charts. Sound Your Funky Horn was K.C. and The Sunshine Band’s sophomore single, released in January 1974. This gave them their second hit single, reaching number twenty-one in the US R&B Charts and number seventeen in the UK. Maybe, T.K. Records had another successful act on their hands? However, when Harry and Richard penned Rock Your Baby and K.C. and The Sunshine Band was put on hold. After the success of Rock Your Baby, people started talking about the two men behind the song, and their group K.C. and The Sunshine Band. So, Henry Stone commissioned their debut album, which would become Do It Good.
Do It Good features nine tracks, all of which Harry Wayne Casey wrote or cowrote. Richard Finch cowrote three tracks, while Willie Clarke cowrote two tracks and Betty Wright and Clarence Reid one apiece. These tracks were recorded in T.K.’s Miami studios, with a nine-piece band, which included many of a a former local band the Ocean Liners. Once Do It Good was completed, it was ready for release later in 1974.
On the release of K.C. and The Sunshine Band’s debut album Do It Good, it failed to chart. Queen of Clubs was released as a single in June 1974, reaching number sixty-six in the US Billboard 100 and number twenty-five in the US R&B Charts. Over in the UK, the single reached number seven. When I’m A Pushover in December 1974, it reached number fifty-seven. While Do It Good hadn’t charted, K.C. and The Sunshine Band had enjoyed four hits in the US R&B Charts, one in the pop charts and two hits in the UK. Henry Stone and T.K. Records had another successful act in the making. However, what does the music on Do It Good sound like? That’s what I’ll now tell you.
Opening K.C. and The Sunshine Band’s debut album Do It Good is the title-track Do It Good. It was written by Harry and Richard with Betty Wright. Straight away, you realize a prime slice of funk is unfolding. A combination of a driving rhythm section, blazing horns and handclaps accompany Harry’s powerful, vampish vocal. He roars and hollers his way through the track, as this slice of good-time party music unfolds. Occasionally, echo is added to his vocal as it trails away in the distance. Always, though, the music is funky with a capital F.
There’s a real James Brown influence to Sound Your Funky Horn as it opens. This is another joyful, uptempo track and the second of four singles released from Do It Good. Percussion, growling horns, keyboards and the rhythm section combine with Harry’s vocal. He almost drives the track along, encouraging the band to greater heights. They mix plenty of funk, with disco, soul and Latin percussion. Soon, some of K.C. and The Sunshine Band’s poppy hooks to shine through. You can hear the sound that became more prominent in later albums. With more than its fair share of poppy hooks, it’s no wonder this was such a successful single.
Baby I Want Your Lovin’ has a much more understated sound as it begins. That’s K.C. and The Sunshine Band just teasing you though. Just the rhythm section, percussion and guitars accompany Harry’s sassy, dramatic vocal. The horns answer Harry’s call, reflecting his needy, dramatic vocal. Gradually, the vocal grows in power and drama. Harry vocal becomes a powerful vamp, with braying horns and Santana-like percussion accompanying him. By now the song has shown its secrets, subtleties and surprises and K.C. and The Sunshine Band have shown themselves to be a tight, accomplished band in the making.
Queen of Clubs was third single released from Do It Good. Here, K.C. and The Sunshine Band showcase two sides of their music. Driving horns and a pounding rhythm section add the funk, while Richard’s vocal is soulful. It veers between tender and a powerful, confident style. He takes charge of the track, delivering one of his most confident vocals against a glorious combination of growling horns, handclaps and a driving rhythm section. This results in another slice of good-time party music from K.C. and The Sunshine Band.
It doesn’t take long before you realize why Blow Your Whistle was such a successful song in clubs with its joyful, uplifting and catchy sound. It’s best describes as a fusion of influences, including Sly and The Family Stone, James Brown, Marvin Gaye and even Northern Soul. This track also influenced Sound Your Funky Horn. Both tracks have a similar party sound as the track begins, before K.C. and The Sunshine Band unleash a combination of percussion, whistles, searing guitars and funky rhythm section. The drums and guitars sound like a sixties Northern Soul track, while the vampish vocal, percussion mix funk and Latin music. It’s an infectiously catchy melting pot of a track, that gave K.C. and The Sunshine Band their first hit single.
I’m A Pushover is one of two tracks Harry Wayne Casey wrote himself. The other seven tracks were collaborations. Just guitars accompany Harry’s dramatic, soaring vocal before the growling horns, percussion and rhythm section create a driving, funky arrangement. Harry delivers the vocal as if his life depends upon it. Backing vocalists accompany him, while the rest of the band match his passion. In doing so, they play their part in making this the highlight of Do It Good with their blend of brassy stabs, funky licks and poppy hooks.
From the get-go, You Don’t Know sees the drama build. Flourishes of piano, stabs of rasping horns and pounding bass accompany Harry’s vocal. It’s full of hurt and heartbreak. As the band drive the arrangement along, horns, bass and piano reflect his hurt and the drama in his voice. Although still funky, there’s a real soulful side to K.C. and The Sunshine Band, especially Harry’s vocal, which is his best on Do It Good.
As I Need A Little Lovin’ begins, it’s like discovering an old Northern Soul track. This is very different to the rest of Do It Good. Stabs of blazing horns and a driving rhythm section combine with Harry’s needy, desperate vocal. Dramatic, soulful backing vocalists accompany Harry’s vocal, adding to the drama and sheer soulfulness of the track. While this is very different to other tracks, it’s one of the most impassioned, soulful tracks on Do It Good and will be totally irresistible for anyone who likes Northern Soul.
Closing Do It Good is All My Love, which sees another change in sound. There’s a jazzy influence, especially with the lone distant horn. It accompanies Harry’s tender, heartfelt vocal. Gradually, the arrangement builds and builds, growing in power, drama and funkiness. The rhythm section and blazing horns add funk and drama, while Harry’s vocal is a mixture of passion and power, with backing vocalists answering his call. Horns are central to the arrangement, while flourishes of piano and the funky rhythm section ensure that K.C. and The Sunshine Band end their debut album on a dramatic and funk-laden high.
While Do It Good was only K.C. and The Sunshine Band’s debut album, they showed themselves to be tight, talented and accomplished band. Key to the success of K.C. and The Sunshine Band was Harry Wayne Casey and Richard Finch, two hugely talented songwriters, producers and musicians, capable of fusing musical genres. During the nine tracks on Do It Good, K.C. and The Sunshine Band fused their own unique brand of funk, soul, Latin and disco. To this fusion, Harry and Richard added a plentiful supply of poppy hooks. These poppy hooks come to the fore on several tracks on Do It Good, and would play their part in the rise and rise of K.C. and The Sunshine Band during the next five years. On Do It Good, funk was to the fore, with horns a blazing all the way. In some ways, Do It Good saw K.C. and The Sunshine Band discovering their sound, exploring musical genres and honing their sound and style. Later albums would see K.C. and The Sunshine Band’s music move more in the direction of disco. Ironically, the disco’s popularity waned, so too did K.C. and The Sunshine Band’s commerciality. By then, they’d become one of the biggest commercial successes of the seventies.
Back in 1974, when K.C. and The Sunshine Band released their debut album Do It Good, which will be released on October 29th 2012 by BBR Records, that success looked a long way away. Little did they know that their next album K.C. and The Sunshine Band would be certified triple-platinum. Do It Good deserved to have been a much bigger success. Indeed, Do It Good has more than a few glimpses of K.C. and The Sunshine Band’s sunshine sound. Do It Good is compelling collection of tracks from K.C. and The Sunshine Band, the inventors of Miami’s sunshine sound, who when spreading a plentiful supply of poppy hooks during the seventies Do It Good. Standout Tracks: Sound Your Funky Horn, Queen of Clubs, I’m A Pushover and You Don’t Know.
K.C AND THE SUNSHINE BAND-DO IT GOOD.
COUNTRY SOUL SISTERS.
COUNTRY SOUL SISTERS.
Not everything that glitters is gold. Nor is every compilation what it may appear. With its title Country Soul Sisters, some people have bought Soul Jazz Records’ most recent release thinking this is an album of country-tined soul music. That’s not the case. For anyone looking for that type of compilation, then Kent’s rather predicable compilation Behind Closed Door might suit their tastes. What Country Soul Sisters is, is a twenty-five track compilation of music from some of country music’s female pioneers. Artists ranging from Patsy Cline, Bobby Gentry, Tammy Wynette, Tanya Tucker, Barbara Fairchild, Nancy Sinatra, Kitty Wells and Norma Jean tackle a wide range of social subjects, some of which are radical and hard-hitting. This ranges from death, sexual exploitation, bigotry, poverty and domestic violence. However, some of the music is celebratory and about women taking charge of their lives. After all, why shouldn’t they do and enjoy the things men do. In some ways, the music is about female empowerment, about women taking charge and control of their own lives. Unlike much of traditional country music, with its ultra-conservative, idealistic and almost twee attitude to life, Country Soul Sisters shows that there’s another side to country music. You could say that the music on Country Soul Sisters is almost country music for people who don’t like traditional country music. Now as someone whose not a huge fan of country music, this could well describe me, and I dare say many other people. So will Country Soul Sisters change my mind about country music and make a fan of me. That’s what I’ll tell you after I’ve told you about some of the music on Country Soul Sisters.
My first choice from Country Soul Sisters is Lynn Anderson’s Fancy, written by Bobbie Gentry. Released in 1970 on Columbia Records, just four years after Lynn released her first single it’s a track with a strong narrative. It tells the story of a dying mother’s misguided attempt to help her daughter escape the poverty she’d experienced. Lynn’s vocal is mixture of sadness and bravado. Her vocal grows in power as the drama and emotion grows. Harmonies sweep in, while the rhythm section, searing guitars and piano accompany her. They play their part in creating a dramatic backdrop for Lynn’s vocal, which is full of bravado as the song reveals its bittersweet ending.
Jeannie C. Riley is one of several artists to have two tracks feature on Country Soul Sisters. While Harper Valley PTA is certainly one of the most acerbic and indeed sarcastic song ever written about the narrow-mindedness and hypocrisy of small town life, I’ve Done A Lot of Living Since Then is one of the most celebratory on Country Soul Sisters. Here, accompanied by a pounding, driving beat and steel guitars, Jeannie sings about being “white trash” and proud of it. She delivers the song confidently with defiance and a sassy, swagger. Considering this track was released in 1968, just as sexual attitudes were changing, Jeannie’s swagger was almost an act of defiance for some people. However, it’s that swagger, and her confident, sassy drawl that makes this such a celebratory track and one of highlights of the compilation.
Bobbie Gentry is another artist who has two tracks on Country Soul Sisters. They’re two very different tracks. Reunion is quite simply the worst song on the compilation. It has no redeeming features and is almost a parody of country music. The arrangement is cluttered, the lyrics dark and like a parody of what you’d expect a really awful country song to sound like. Thankfully Bobbie’s other contribution is better. Ode To Billie Jo gave Bobbie Gentry a huge hit in 1967, reaching number one in the US Billboard 100. Again, the lyrics are dark, lyrics, dealing with the subject of suicide. Bobbie’s vocal gets across the almost matter of fact or nonchalant way people approach the subject matter. Just a guitar and occasional bursts of strings accompany Bobbie’s vocal as one of the most thoughtful, pensive and heartfelt tracks on Country Soul Sisters.
Of all the tracks on Country Soul Sisters, Tammy Wynette’s Tonight My Baby’s Coming Home has one of the most authentic country sounds. Tammy’s vocal is needy, full of joy and expectation at the thought of her man coming home tonight. Her vocal is accompanied by an arrangement that could only have been made in Nashville. With fiddles, steel guitars and rhythm section accompanying her the arrangement almost gallops along. Sometimes, there’s even a touch of Patsy Cline in Tammy’s voice as she delivers one of the best vocals on Country Soul Sisters. The reason for this is it’s celebratory, joyful and full of happiness.
Jean Shepard is another artist with two tracks on Country Soul SIsters. A Satisfied Mind is a much more subdued affair, with a really heartfelt vocal full of emotion, while Two Whoops and A Holler sees Jean kick loose. Released in 1959, Jean rails against sexual inequality and double standards. How come men can get away with “cussing..smoking…and…fighting” Jean sings? Her voice is tinged with anger and frustration, as Jean proves to be a musical pioneer, but a pioneer for female empowerment and sexual equality.
No compilation entitled Country Soul Sisters would be complete without a track from Patsy Cline. Compiler Stuart Baker has chosen well, with Ain’t No Wheels On This Ship. Patsy delivers one of her trademark vocals, mixing with power, passion and a real swagger. Just a standup bass, guitars and drums accompany Patsy’s vocal, while punchy backing vocals drift in and out. However, it’s Patsy’s vocal that has your attention, as she breathes life, energy and passion into the lyrics.
One of the best tracks on the compilation is Diane Trask’s Show Me. A driving rhythm section, searing guitars and piano accompany Diane’s feisty, fiery vocal. Her vocal is powerful, filled of emotion, as tight, soaring harmonies and harmonica accompany her. Together they build and build the drama, until the song reaches a dramatic and emotive crescendo.
Norma Jean’s He’s All I Got is my last choice from Country Soul Sisters. Released in 1972, it’s a track penned by Jerry Williams Jr. and Gary US Bond. Norma’s vocal is heartfelt and impassioned, accompanied by steel guitars, rhythm section and sweeping harmonies that are the perfect accompaniment. When they unite with Norma’s vocal they play their part in a track that’s a celebration of love and togetherness.
The twenty-five tracks that comprise Country Soul Sisters feature some of the biggest female singers in country music. Many of these women were innovators and pioneers, for daring to broach subjects that previously, had been off-limits in country music. However, why shouldn’t women sing about things that matter and mean something to them? In many ways these songs are a welcome change from the good ole boys of country singing about drinking, gambling, fighting and romancing. For many people, myself included, that leaves me cold. Having said that, much of the music on Country Soul Sisters is quite dark and even, depressing. Much of the music isn’t exactly joyous or celebratory. While the songs may neither be joyous nor celebratory, some have a strong narrative and tell a compelling story. That’s the best of the music on Country Soul Sisters. Then there’s the rest.
Sometimes, the songs are almost a parody of country music itself. A good example of this is Reunion, the worst song on Country Soul Sisters. It’s songs like those that put people off country music. While Reunion is easily the worst track on Country Soul SIsters, most of the tracks work. There are the occasional faux pax, while a number of the songs haven’t stood the test of time particularly well. Even some of the songs recorded in the seventies sound dated and sometimes twee. Having said that, there is much to commend Country Soul SIsters…if you like country music. Personally, Country Soul Sisters didn’t win me over. Earlier, I wondered whether Country Soul Sisters would turn me into a fan of country music. Well I can say quite categorically it didn’t. While I enjoyed some of the music on Country Soul Sisters, like many compilations, it’s very much a mixed bag. While Country Soul Sisters might not be the Soul Jazz Records’ finest hour, they deserve credit for producing a compilation that shows another side to country music. They also deserve credit of he in-depth and informative sixty-eight page booklet that accompanies the album. Reading it, it strikes me that Country Soul Sisters was something of a labor of love for compiler Stuart Baker and he deserves credit for trying to widen the appeal of country music. Maybe however, he should’ve tried a little harder. Standout Tracks: Jeannie C. Riley I’ve Done A Lot of Living Since Then, Tammy Wynette Tonight My Baby’s Coming Home, Patsy Cline Ain’t No Wheels On This Ship and Diane Trask Show Me.
COUNTRY SOUL SISTERS.
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UNDER THE INFLUENCE VOLUME 2-COMPILED BY PAUL PHILLIPS.
UNDER THE INFLUENCE VOLUME 2-COMPILED BY PAUL PHILLIPS.
It doesn’t seem like a year since Red Greg compiled the first installment in the Under The Influence series. Time it seems, does go far too quickly. During that time, I’ve reviewed many compilations, but Red Greg’s was one of my favorites of 2011. Given how good Red Greg’s choices were, I’d hoped that Red Greg would be compiling the second volume of Under The Influence. Sadly, that isn’t the case. Instead, another prodigious crate-digger is given that honor, Paul Phillips. There is another difference with Under The Influence Volume 2-Compiled By Paul Phillips which was recently released by ZR Records. Whereas Under The Influence Volume 1-Compiled By Red Greg featured Red Greg’s reedits, Under The Influence Volume 2-Compiled By Paul Phillips features just the original tracks. That’s a good and bad thing. Why I hear you ask?
Since reviewing Under The Influence Volume 1-Compiled By Red Greg I’ve come across and reviewed numerous compilations of reedits. Some of these compilations have featured some innovative reedits, that bring something new to the original track. Two of the best by far were Al Kent’s The Best Of Disco Demands and Johnny D’s Johnny D Presents Disco Jamms Volume 1. They were like rays of sunshine and are among my favourite compilations of reedits. However, not all reedits are as good as the ones I’ve mentioned.
All too often, I come across reedits that absolutely destroy the original song. These aren’t just reedits made by bedroom wannabes. Not at all. Many of these reedits are made by supposedly respected DJs, who make money out of this. Regular readers of this blog will realize that this is something of a bugbear of mine. I make no bones about it though. Sometimes, someone within a record company needs to grow a pair and stop such inferior reedits being released. Now every time I come across a compilation of reedits, I approach it with a sense of trepidation. Especially if it contains some of my favorite songs. Then it almost gets personal. I’m not the only person fed up of inferior reedits. Many record buyers are just as dissatisfied. So, that’s why I say maybe it’s no bad thing that rather than Under The Influence Volume 2-Compiled By Paul Phillips featuring reedits, it just contains the original versions of the twenty-four tracks. However, Red Greg set the bar high with Under The Influence Volume 1-Compiled By Red Greg. Will Under The Influence Volume 2-Compiled By Paul Phillips match the quality of Under The Influence Volume 1-Compiled By Red Greg.That’s what I’ll now tell you, when I pick the highlights of Under The Influence Volume 2-Compiled By Paul Phillips.
DISC ONE.
My first choice from Disc One of Under The Influence Volume 2-Compiled By Paul Phillips is Phylliss Bailey’s Focus, which is a track from her 1978 album Phylliss, released on Americon Records. Produced by Marlo Henderson and featuring string and horns produced by McKinley Jackson it’s a track that straightaway, grabs your attention. With an uber funky rhythm section combining with chiming guitars and piano, blazing horns and sweeping, swirling strings accompany Phylliss’s vocal. It’s powerful and heartfelt, delivered with emotion. Her vocal cascades, always in control, as the arrangement grows in power and drama. When combined with Marlo’s polished, dramatic production, this results in a real hidden gem of a track, one where funk, soul and disco are fused. Why is slipped through the net is something of a mystery? If it had been released on a bigger label, it might have been a huge hit.
Another mystery is State Department’s Slow Love was only ever released as a promo back in 1977. Written, arranged and produced by Van McCoy, it never saw light of day…until now. It’s a track with a contemporary sound, pounding drums, bursts of rasping horns and percussion combining before the vocal enters. The vocal is soulful, accompanied by tight, equally soulful harmonies. Lush strings dance while the rhythm section add drama and the vocal is impassioned. WIth a glorious combination of swirling strings, punchy horns and a powerhouse of a rhythm section driving the arrangement along, it’s a track that’s full of hooks and impossible not to love. One play and you’re smitten.
24 Karat Gold’s New Love is best described as an explosive slice of joyous and uplifting music. Released in 1981, on Desert Bone Records, it’s a post-disco track, where disco and boogie are combined. As the track opens, a tender vocal is accompanied by a lone piano. Then a curve ball is thrown. Synths, braying horns and a pounding, driving rhythm section accompany a feisty, sassy vocal. Brief bursts of harmonies drift in and out, adding a contrast to the vocal and arrangement. By then, you’ve realised it’s almost impossible to keep still. With the bass helping drive the track along, a mass of blazing horns, harmonies and synths play their part in this joyous, uplifting track.
My last choice from Disc One of Under The Influence Volume 2-Compiled By Paul Phillips, is The New York Disco Orchestra’s It’s True, a track from their 1978 album Reverie. This was the age of the disco orchestra, with The Salsoul Orchestra the finest. Having said that, The New York Disco Orchestra are pretty good. Percussion and hissing hi-hats build up the tension, before punchy harmonies give way to growling horns and lush, swirling strings. Harmonies sweep in, introducing a tender vocal. It grows in power and passion, as harmonies cascade as soul, funk and disco unite as one. Beautiful, dramatic, soulful and dance-floor friendly, this track is all this and more. if only a record company would rerelease The New York Disco Orchestra’s 1978 album Reverie, that would be something to celebrate.
Overall, most of the tracks on Under The Influence Volume 2-Compiled By Paul Phillips by work. After all, I could just as easily have mentioned Jesse Gomez’s Baby I’m Coming At You, Brenda Cuffari’s My Music Says It All, Pike’s Good Feelings or Hearts Of Fire’s slow-burner Let’s Party All Night. However, a couple of tracks don’t quite work, especially Midnight Energy’s Saving All My Love. Released in 1984, it hasn’t aged well. With its combination of drum machines and synths, it’s a track that makes you realise that the eighties weren’t music’s finest hour. The other track that didn’t work for me, was by a group who have two tracks on Under The Influence Volume 2-Compiled By Paul Phillips. This is Freeway and their first contribution Get The Feelin’ has a somewhat derivative sound. Putting it plainly, they sound as if they were huge fans of Pleasure, given the slap bass at the front of the arrangement. Although it isn’t a bad track, it just isn’t new or original. Tony Gregory’s soulful and emotive I ‘m Gonna Break You Down is a good enough track, but seems almost out of place on this compilation. While many of the tracks are much more dance-floor friendly or funky, this seems as if it belongs on another compilation. Apart from these three tracks, there’s some quality soul, funk and disco in-store for listeners on Disc One of Under The Influence Volume 2-Compiled By Paul Phillips. Will the quality continue on Disc Two though?
DISC TWO.
Special Touch’s This Party Is Just For You is a driving slice of funk that was released on Brackett Records. Of the funky cuts on Disc Two of Under The Influence Volume 2-Compiled By Paul Phillips this is one of the best. Stabs of brass, chiming guitars and pounding, funky rhythm section combine with a vocal that’s equal parts soulful, funky and hip hop. Later sizzling, rocky guitars join the pounding bass and keyboards join the rapped vocal. Together, they play their part in making something new and innovative, by fusing elements of soul, funk, rock and hip hop. In doing so, they create a hugely catchy track, that unlike other tracks on Disc Two is innovative.
Wardell Piper’s The Power of Love was the B-side of her 1980 single Gimme Something Real, penned by Ashford and Simpson. This is easily the best track on Disc Two and is three minutes of soulful, funky and dance-floor friendly music. The funky rhythm section and guitars drive the arrangement along, while washes of synths and stabs of keyboards accompany Wardell’s powerful, passionate vocal. Backing vocalists and lush strings accompany her as she delivers one of the best vocals on the compilation. Not only that, but it’s a truly irresistible, hook-laden track. Mind you, it’s arranged and produced by John Davis, so that’s no surprise.
Michelle Lamb’s Natural High was produced by Tommy Stewart. It features a breathy, sensual cascading vocal from Michelle set against an arrangement that’s fast, funky and uplifting. Chiming guitars, keyboards and the rhythm section accompany Michelle’s vocal, while stabs of horns punctuate the arrangement. A pounding, funky rhythm section create the track’s heartbeat, while Michelle’s vocal soars above the arrangement, mixing power and passion.
My final choice from Disc Two of Under The Influence Volume 2-Compiled By Paul Phillips is The Underground Band’s Time Is Running Out. Straight away, I notice a real similarity to The Blackbyrds’ music. Although slightly derivative, this is good-time funky music. After the shakers and rhythm section drive the tracks along, percussion signals the arrival of what sounds like a party in a studio. Quickly, they get down to business and creating a driving slice of funk. The vocal drops in and out, as keyboards, rhythm section and percussion combine to create a track that although has a rawness, is uber funky and full of energy. However, given the similarities to The Blackbyrds, the track is somewhat derivative.
Having wondered whether Disc Two of Under The Influence Volume 2-Compiled By Paul Phillips would match the quality of Disc One, that isn’t the case. The music on Disc Two just isn’t as good. Disc Two is very much a mixed bag of tracks. There are some quality cuts on Disc Two, but some tracks just don’t work. This is the case with four tracks in particular. Like their contribution to Disc One, Freeway’s Help Yourself is a track that left me cold, given its derivative sound, Ron Richardson’s Ooh Wee Babe is a track that hasn’t aged well. Released in 1983 on T.C.I. Productions, it’s the musical equivalent of an aging film star after one too many facelifts. Again, it’s an example of eighties music not aging well. C.B And Just Us’ Won’t You sounds promising, but doesn’t live up to its early promise. You thing that something special is in store, but sadly, it misses the mark. It seems to loses focus and the plot and after two-minutes. While things improve, it’s a track that could’ve been something special with the right producer. This isn’t helped by the poor sound quality, which really doesn’t do the track any favors. Probably the worst track is The Thompsons’ Message. Much of this is down to the production. Its primitive quality lets the track down with shrill strings and instruments almost dropped in at random. Making things even worse was the sound quality, which was poor to say the least. These four tracks particularly disappointed, while a couple of other tracks have a slightly derivative sound.
Paul Phillips had a lot to live up to after the quality of music on Under The Influence Volume 1-Compiled By Red Greg. Sadly, his choices didn’t rival Red Greg’s. Maybe Under The Influence Volume 2-Compiled By Paul Phillips shouldn’t have been a double-album. Instead, there was more than enough quality music for a single disc chock full of great tracks. Having stretched it out to a double album, the quality suffered. Of the twenty-four tracks, fourteen or fifteen worked. The rest were a pretty mixed bag. What was especially disappointing was the sound quality on several tracks. While these were rare tracks, either white labels or promos, the quality of sound let things down. Having looked forward to reviewing Under The Influence Volume 1-Compiled By Red Greg, I’ve found it a somewhat disappointing compilation. If there’s a third volume in the Under The Influence series, then I for one would think very carefully before buying it, unless of course it sees a return of Red Greg rides to the rescue. Standout Tracks: Phylliss Bailey Focus, State Department Slow Love, The New York Disco Orchestra It’s True and Wardell Piper The Power of Love.
UNDER THE INFLUENCE VOLUME 2-COMPILED BY PAUL PHILLIPS.
ONLY 4 U: THE SOUND OF CAJMERE AND CAJUAL RECORDS.
ONLY 4 U: THE SOUND OF CAJMERE AND CAJUAL RECORDS.
For the last twenty years, Cajmere has been one of the most influential and innovative producers of the Chicago house music scene, releasing music on his Cajual Records imprint. Now twenty years after Cajmere founded Cajual Records in 1992, Strut Records will be releasing a twenty-two retrospective entitled Only 4 U: The Sound of Cajmere and Cajual Records on 29th October 2012. For anyone who remembers Cajmere’s early releases and followed the progress of Cajual Records this will come as a welcome reminder of the man who helped breath life into a Chicago house scene that was at a crossroads. Pioneers of Chicago house like Marshall Jefferson and Frankie Knuckles had moved on, while innovative labels like Trax and DJ International had peaked. What was needed was someone who’d kick start a stagnating scene. Enter a man with just a sixty Dollar keyboard, drum machine and basic four-track recorder. Single-handedly, and with patience and determination Curtis A. Jones created some of the music that breathed life and energy into Chicago’s somewhat stagnant music scene. Cajmere’s first production was the Underground Goodies E.P. released on Clubhouse Records. Not long after that, Cajmere founded Cajual Records and released Coffee Pot, which after being renamed as Percolator, gave Cajemere a worldwide hit. After that, neither Cajmere nor Cajual Records looked back. However, who is Cajmere and what does the music on Only 4 U: The Sound of Cajmere and Cajual Records? That’s what I’ll now tell you.
Before being transformed into the savior of Chicago’s house scene in 1992, Curtis A. Jones was a chemical engineering student, lover of eighties video-games and devotee of all things Chicago house. He decided that the scene he loved and cared passionately about was stagnating, and decided to do something about it. The only problem was money. All Curtis had to create music was a sixty Dollar keyboard, drum machine and basic four-track recorder. Using just that, he set about recording some of his own music. His production style was raw, but full of energy and hooks, and guaranteed to resuscitate Chicago’s dance-floors. His first productions can be found not on Cajual Records, but Clubhouse Records. This was the Underground Goodies E.P. which he released as Cajmere. After the success of the Underground Goodies E.P. Curtis made two life-changing decisions.
After the success of the Underground Goodies E.P., Curtis decided that the masters’ course he was studying at Berkeley wasn’t for him. He dropped out, to concentrate on music full-time. This was when he founded his own label, Cajuan Records, using his initials CAJ as part of the name. He never looked back. With his trusty sixty Dollar keyboard, drum machine and four track recorder, he hit paydirt with label’s debut release.
Cajmere’s first release for the newly founded Cajuan Records was Coffee Pot, which was retitled Percolator. It gave Cajmere a worldwide hit. This vindicated his decision to dropout and concentrate on music full-time. Then came the irresistible catchy Chit Chat and the Dreaming E.P. which featured Derrick Carter. Later in 1992 came Cajmere’s first collaborations with Kajae.
The first collaboration between Cajmere and Kajae was Brighter Days. This would be the first of many collaborations, but was their most successful. It was remixed by Todd Terry, Little Louie Vega and Cajmere, reaching number two in the Billboard Hot Dance Music/Club Play Charts. Further collaborations included 1993s U Got Me Up, 1994s Is It All Over My Face, 1995s Day By Day and 1996s Fakes and Phonies. Kajae also released one album produced by Cajmere, Higher Power in 1994. By then, Cajmere’s alter-ego had Green Velvet entered the fray.
Green Velvet allowed Cajmere to take his music in a different direction. This was electro-punk. 1993 was the first time Cajmere’s alter-ego entered the musical fray. Curtis decided to setup another imprint for this side of his music, Relief. However, this didn’t mean Cajuan was no more. Quite the opposite. Cajmere was working with Derrick Carter and Dajae and was bringing through the next generation of Chicago’s producers.
By 1993, Cajmere was one of the elder statesmen of the second wave of Chicago house producers. With that, Cajmere felt the responsibility to help give new producers their first break. Two of these new signings were Gemini and Glenn Underground and Gemini. Gemini released Le Fusion in 1995, while Glenn Underground released tracks like I Need GU and Don’t Stop That Feelin’ in 1996. These became Chicago deep house classics. However, by 1995, Cajmere’s releases became fewer and fewer. Instead, Green Velvet was taking up more of Cajmere’s time. That’s not to say Cajuan wasn’t releasing music though.
While Cajmere may not have been releasing much music on Cajuan, other producers were. Scottish producers Deep Sensation released Talkin’ and Get Together in 1996. Andre Harris was another artist releasing music on Cajuan. He released I Can’t Take It and Lifted in 1997. Among the other artists releasing music on Cajuan were Johnny Fiasco, Gene Harris, Terrence FM, Mark Grant, Luke Solomon and Green Velvet. By 2001, Cajmere started rereleasing some of their classic tracks and in 2010, a compilation of Cajmere’s music It’s Time was released. Now two years later, Strut Records are releasing a double-album entitled Only 4 U: The Sound of Cajmere and Cajual Records, which I’ll now pick the highlights of.
DISC ONE.
My first choice from Disc One of Only 4 U: The Sound of Cajmere and Cajual Records is the track that gave Cajmere a worldwide hit Percolator. Released in 1992, It’s hugely catchy, and could only have been made in Chicago. Think Virgo’s Washing Machind and this has a similar sound. With Cajmere constantly repeating the line: “it’s time for the Percolator,” drums drive the track along, while washes of Acid House synths and scratches combine to create the track’s hypnotic, catchy sound. Just before the end, the synths dropout, drums pound and then too soon, the Percolator has boiled, bringing five hypnotically catchy minutes to a close.
Chit Chat is another of Cajmere’s classic tracks, also released in 1992. It’s a one-sided flirtatious conversation where Cajmere has his tongue place firmly in his cheek. He’s accompanied by pounding drums, percussion and handclaps, while the flirtatious lothario unleashes some cheesy chat-ups. Here, Cajmere parodies the supposed smooth-talkers he’s overheard in Chi-Town’s clubs. Stabs of synths and keyboards join whispered backing vocals as Cajmere creates another track that’s not only infectiously catchy but is guaranteed to make you smile.
Johnny Fiasco was one of a new generation of artists who released tracks on Cajuan. Taurus was a track from his 1993 E.P. Movin.’ This is an innovative slice of deep house, which is quite different to much of the music Cajuan was releasing during this time. It hasn’t the same raw sound. Instead, it has a much more polished sound. Thunderous drums and hissing hi-hats combine before percussion and then warm, melodic keyboards enter. As you listen to the track, it’s hard to believe it’s almost twenty years old. Quite simply, it has a timeless sound. Filters are used, but not overused as the drums pound, and Johnny teases the listener with a combo of synths, keyboards and a healthy sprinkling of percussion. Like much of the music Cajuan released during the nineties and noughties, this is an innovative track, with a timeless sound, that nearly twenty years later, sounds just as good as the day it was released.
Dajae’s Day By Day is my last choice from Disc One of Only 4 U: The Sound of Cajmere and Cajual Records. The version chosen is the Chez ‘n’ Trent Vocal Mix. Released in 1995, this was a track from Dajae’s 1994 album Higher Power. It also showcases the considerable vocal talents of Dajae. Again, this is another example of just how innovative Cajmere was as a producer and Cajuan as a label. It’s a track that was ahead of its time, combining house, US Garage and soulful house. Thunderous beats, percussion and stabs of melodic keyboards accompany Dajae’s heartfelt vocal. Washes of synths and tight, joyous harmonies join the mix while a bass pounds and Dajae unleashes a vocal tour de force. Not only does the track have a joyous, uplifting sound, but features an outstanding vocal from Dajae.
Disc One of Only 4 U: The Sound of Cajmere and Cajual Records really is so crammed full of great house music that choosing just a few tracks isn’t easy. However, some tracks like Cajmere’s Percolator and Chit Chat almost pick themselves. The same can be said of Dajae’s Day By Day, given how good Dajae’s vocal is. She really is a hugely talented vocalist who deserved far more success than she enjoyed. Tracks like Johhny Fiasco’s Taurus was quite different to other tracks. It didn’t have the same raw production style to Cajmere’s early music. Having said Cajmere’s early production style had a raw sound, that was part of its success, energy and charm. Of the other eight tracks, I could just as easily have chosen If You Got To Believe In Something or Le Fusion by Gemini or Dajae’s U Got Me Up. Really, there’s neither a poor track nor any filler on Disc One of Only 4 U: The Sound of Cajmere and Cajual Records. That’s might seem pretty remarkable, but it’s not so surprising, after all this is Cajual Records we’re talking about. Will Disc Two of Only 4 U: The Sound of Cajmere and Cajual Records be as good? Let’s hope so.
DISC TWO.
The first track from Disc Two of nly 4 U: The Sound of Cajmere and Cajual Records I’ve chosen is People Everyday by Braxton Holmes Presents John Redman. This version is the 12″ Mix Basement Boys Style, released in 1995. It’s a ten minute anthem that combines elements of vocal house, deep house and gospel house. Drums pound, while percussion and hissing hi-hats augment their sound. When John’s vocal enters, it’s enveloped in delay, with stabs of synths and gospel-tinged harmonies adding to the anthemic sound. John becomes a preacher, singing “people,” harmonies reply we just wanna be free.” The interplay between the vocal and harmonies is crucial to the sound and success of a track, which is a hook-laden, anthemic and totally irresistible. Quite simply, this is the best track on Disc Two.
Collectively, Paul Hunter and Colin Gate were Deep Sensation a Scottish production team. They released Get Together in 1996 on Cajual Records. It was written, recorded and mixed at Filterbank Studios in Glasgow. This is another glorious slice of deep house. A powerhouse of an arrangement is accompanied by a hugely soulful female vocal. It drifts in and out of the track, teasing you with its sheer soulfulness. Thunderous drums drenched in filter are joined stabs of warm, harmonic keyboards and a bass line courtesy of Bob “Octopus” Jones. Sitting atop the arrangement is the vocal, which soars powerfully and diva-like. Cleverly, the constant repetition of the vocal, adds to the track’s hypnotic sound while the arrangement has surprises aplenty in-store. Deep Sensation did the seemingly impossible, by exporting house to its spiritual home from Glasgow.
Andre Harris released I Can’t Take It In 1997. He was one of the next generation of Chicago producers, and this was debut release for Cajual Records. From the opening bars, Andre has you hooked. It’s a much fuller arrangement than some tracks. He combines crunchy drums, stabs of keyboards and then hissing hi-hats and percussion. Bursts of vocal soars above the arrangement as the drums drive the track along. With a pounding bass, guitars and percussion combine, washes of buzzing synths are added. This results in a multilayered arrangement, where surprises and subtleties are sprung during this eleven-minute epic dance track.
Given how successful a collaboration Cajmere featuring Dajae were, it seems only fitting that Say U Will is my final choice. Released in 2005, it’s quite unlike Day By Day, with Cajmere paying homage to the pioneers of Chicago house. He combines squelchy Acid House synths and crunchy drums combining with Dajae’s impassioned and powerful vocal. Dajae’s vocal is shrouded in echo, while synths squeak and squelch and drums reverberate. This is a compelling, homage to the founding father’s of Chicago house, from one of the second wave of Chicago producers, Cajmere. Here was Cajmere, doing what he’d been doing for over a decade, releasing innovative and timeless house music.
Having been so impressed by the consistently high standard of music on Disc One of Only 4 U: The Sound of Cajmere and Cajual Records, Disc Two didn’t disappoint. Disc Two saw another generation of producers releasing music on Cajual. This included G.U., Adam, Braxton Holmes and Glasgow’s Deep Sensation. Cajmere featured in his two guises. Green Velvet Presents Jamie Principle’s Lalalalala (Inside My Head), plus a trio of tracks from Cajmere. Of this trio of tracks from Cajmere, Say U Will was my favorite, with Cajmere & Russoul’s Let’s Dance. Like Disc One, the ten tracks on Disc Two, it was house music all the way. There was deep house, with vocal house, gospel house and soulful house influences sprinkled throughout the ten tracks. Each of these tracks were innovative in their own way. They helped breath new life, meaning and energy into Chicago house, which by 1992, had grown stale and was lacking in direction.
What was needed was someone who was innovative, creative and determined to breath new life into the old scene. It needed a man with just a sixty Dollar keyboard, drum machine and basic four-track recorder. That was Cajmere whose 1992 hit Percolator launched Cajual Records. Having founded Cajual Records and released a string of cutting-edge releases, Curtis decided to take his music in a new direction, via his Green Velvet alter-ego. This saw the next wave of Chicago house producers picking up Cajmere’s baton, and although Cajmere made some welcome returns during the next decade or so, this new breed of producers were responsible for releasing some cutting-edge, creative and timeless dance-music. They followed in the footsteps of Cajmere the man who founded Cajual Records. Now twenty years later, Cajual Records is heading into its third decade. What better way to celebrate Cajual Records’ twentieth birthday than with Strut Records retrospective Only 4 U: The Sound of Cajmere and Cajual Records, which pays homage to the man with the sixty Dollar keyboard, drum machine and basic four-track recorder, Curtis A. Jones, or Cajmere has his friends and fans call him. Standout Tracks: Cajmere Percolator, Dajae’s Day By Day, Deep Sensation Get Together and Cajmere featuring Dajae Say U Will.
ONLY 4 U: THE SOUND OF CAJMERE AND CAJUAL RECORDS.
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