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.
DISCO RECHARGE-CHANGE-GLOW OF LOVE AND MIRACLES-SPECIAL EDITION.
DISCO RECHARGE-CHANGE-GLOW OF LOVE AND MIRACLES-SPECIAL EDITION.
It’s quite a feat for any artist to release one critically acclaimed and commercially successful album, never mind two. What makes this even more remarkable is that both albums were released in the disco era. Not many artists managed this, but Change did. Change released their debut album the Glow of Love in 1980, to critical acclaim and commercial success. A year later in 1981, came Change’s sophomore album Miracles. It matched the critical acclaim and commercial of Glow of Love, and both albums have become seminal albums in the history of dance music. Now just over thirty-years later, the Disco Recharge label will rerelease Disco Recharge-Change-Glow of Love and Miracles-Special Edition on 22nd October 2012. This is a double-album featuring both Change and Glow of Love, plus another disco of remixes. For anyone who is interested in dance music, then this is an opportunity to rediscover or discover for the first time the music of Change, masterminded by the Italian dream-team of Mauro Malavsi and David Romani plus executive producer Jacques Fred Petrus. Featuring legendary vocalists Luther Vandross and Jocelyn Brown, it really is no surprise that Change and Glow of Love were so critically acclaimed and commercially successful albums. Before I tell you about the many highlights of Disco Recharge-Change-Glow of Love and Miracles-Special Edition, I’ll tell you about the background to both albums.
By the time Change set about recording their debut album in 1979, the personnel behind the band were on something of a hot streak. Guadeloupe-born businessman and executive producer Jacques Fred Petrus and Italian producer Mauro Malavsi, had been producing music since 1978, for their production company Goody Goody Productions. They were on something of a roll, having had hits with Mahco’s I’m A Man, The Peter Jacques Band’s Fire Night Band and Revanche’s Music Man. The third member of the team who masterminded Change’s commercial success was David Romani. He was a self-taught bass player, who’d first come across Goody Music Productions in 1977. These three men would play their part in Change releasing two critically acclaimed and commercially successful albums.
Change were formed in 1979 and were one of many studio bands formed in the disco and post-disco era. Rather than have a fixed lineup, different musicians and vocalists would play their part in Change’s Italo-American sound. All the songs were written and recorded in Italy, at the Fontopront Studios in Bologna. Once the backing tracks were finished, they were delivered to Goody Music Productions’ New York offices. Then vocalists including Luther Vandross and Jocelyn Brown recorded their vocals at New York’s Media Sound studios. The tracks were then mixed at Power Station by Michael Brauer. For two albums and two years, Glow of Love and Miracles, Change could do no wrong. The start of this success came in 1980, when Change released their debut album Glow of Love.
Glow of Love was released by Change in 1980 and featured Luther Vandross and Jocelyn Brown, under her married name Shaw. Their vocals and the production team of Jacques Fred Petrus, Mauro Malavsi and David Romani had just released one of the first classic dance albums of the post-disco era. On the release of Glow of Love, it reached number twenty-nine in the US Billboard 200 and number ten in the US R&B Charts. Three singles were released from Glow of Love. A Lover’s Holiday reached number forty in the US Billboard 100 and number five in the US R&B Charts. Searching then reached number twenty-three in the US R&B Charts, before The Glow of Love reached number forty-nine in the US R&B Charts. Each of these three singles reached number one in the US Dance Music/Club Play Charts. Having released a critically acclaimed and commercially successful album in Glow of Love, few people believed Change could repeat the feat a year later.
When Change released Miracles in 1981, they achieved what many people believed was impossible, releasing two critically acclaimed and commercially successful albums in a row. The only difference was that Luther Vandross didn’t feature on Miracles. On Miracles’ release, it reached number forty-six in the US Billboard 200 and number nine in the US R&B Charts. Hold Tight reached number eighty-nine in the US Billboard 100 and number forty in the US R&B Charts. Paradise then reached number eighty in the US Billboard 100 and number seven in the US R&B Charts. Again, both singles reached number one in the US Dance Music/Club Play Charts. Change had achieved what seemed impossible during the height of the disco era, releasing back-to-back critically acclaimed and commercially successful albums. I’ll now pick the highlights of Glow of Love and Miracles, before I tell you why both albums were so successful.
GLOW OF LOVE.
My first choice from Glow of Love is A Lover’s Holiday which opens the album. It’s a track where funk and Italo Disco combine as keyboards, handclaps and a pounding, funky rhythm section combine. They build the drama before Jocelyn Brown’s powerful, diva-esque vocal enters. Sweeping, swirling strings usher in Luther’s vocal tour de force. Soon, the track takes on an uplifting, joyous sound. Sometimes, space is left in the arrangement, as if allowing you to savor the track’s irresistibly, catchy sound. Later, bursts of blazing horns replace the vocal, before the funky rhythm section, keyboards and percussion take charge. After that, the rest of this Italo Disco track takes shape, with Jocelyn’s vocal crucial to its joyous, multilayered, innovative post-disco sound.
As Angel In My Pocket opens, synths, percussion and the rhythm section create a real Italo Disco sound. It’s quite different from the mid-seventies disco sound, relying more on synths. Having said that, Patrick Adams, Greg Carmichael and Leroy Burgess had been moving disco in this direction. Here, Change take it further. There’s even a Chic sound to the bass and chiming guitars. Dancing strings, a funky rhythm section and synths combine before Jocelyn’s tender vocal enters. Quickly, her vocal grows in power and confidence. Backing vocalists add to the emotion and drama. Soon, Jocelyn mixes power, passion and emotion, as a pulsating beat, percussion, synths and swirling strings accompany her. When Jocelyn’s vocal and the arrangement are combined, the result is a dramatic, emotive and infectiously catchy dance track. Maybe this should’ve been single number four released from Glow of Love?
The Glow Of Love is a track that reminds me of Chic at their very best. It’s the combination of the rhythm section and guitars providing a funky backdrop for the lush strings. They’re joined by an impassioned, heartfelt vocal from Luther. The strings seems to envelop his vocal. Later, heartfelt harmonies accompany and compliment his tender vocal. Unlike other tracks, synths play less of a role, although flourishes of keyboards feature in the arrangement. Mostly, it’s just the lush strings, harmonies and rhythm section that accompany Luther, on this very beautiful dance track that’s the best track on Glow of Love.
The last track from Glow of Love I’ve chosen is Searching, another of the three singles released from the album. As the track opens, Change tease you with subtle bursts of synths, keyboards and percussion. Then washes of keyboards, a pounding beat, chiming guitars and bursts of blazing horns are joined by Luther’s vocal. His vocal is impassioned and powerful, with punchy harmonies and flourishes of strings accompanying him. Quickly, you realize just why this was such a successful track. Not only is it hugely catchy and dance-floor friendly, but it features a vocal from Luther Vandross that’s full of passion and emotion.
Choosing just four tracks from Change’s debut album Glow of Love isn’t easy, given how consistently high the quality of music is. Glow of Love isn’t just a timeless, classic in the history of dance music, but an important album in the post-disco landscape. Change took up the baton from the disco stars of the seventies and set about reinventing dance music. What they came up with was a fusion of European and American dance music. They combined elements of disco with Euro Disco, soul, funk and the electronic sound of synths and drum machines. This became known as Italo Disco, and Change were at the vanguard of this new musical genre. They helped create this sound, allowing later producers to refine this sound. So, Glow of Love is an innovative album, that showcased the vocal prowess of Jocelyn Brown and Luther Vandross. It also showcased the production talents of Mauro Malavsi and David Romani and Jacques Fred Petrus. Having created one classic album in Glow of Love, Change did the seemingly impossible, by releasing their second critically acclaimed and commercially successful album in Miracles.
MIRACLES.
Paradise is the track that opens Miracles, and sees Change pick up where they left off on Glow of Love. The track has a heavy funky sound thanks to the rhythm section, guitars and keyboards. This is combined with vocals that sounds as if they belong on a Chic album. Indeed, the longer the track goes on, the more the similarities with Chic’s vocal style is noticeable. Like Chic, Change are capable of creating some of the best dance music you’ll hear. Their vocals cascade beautifully, sweeping in and out of the arrangement, combining elegance and beauty. They’re contrasted by the heavy funk sound when the vocal drops out. When they combine, the result is exquisite and results in a classic, timeless dance track.
Hold Tight was the other single released from Miracles. Unlike Paradise, this track doesn’t have such a heavy funk sound. It’s still funky, but much more subtle, with stabs of keyboards and percussion accompanying the chiming guitars and rhythm section. What really makes this such a great song is the vocal. Jocelyn’s vocal veers between tender and heartfelt to powerful and sassy, while punchy, dramatic harmonies and handclaps accompany her. Although very different from Paradise, this is just as good a track, one that’s very beautiful and irresistible catchy.
Stop For Love sees the tempo drop and allows Change to show that there’s much more to their music than the dance-floor. The drama builds as keyboards and the rhythm section combine. Then when the vocal enters, it’s tender and full of emotion. Harmonies delivered in a dramatic, urgent style reply to it and the interplay between the two is full of power, passion and emotion. Just as quickly, a sultry horn replaces the vocal and the rhythm section build up the drama. WIth quivering, shivering strings, the vocal and harmonies combine, with one driving the other to greater hearts of emotion and passion.
Miracles closes with the-title track Miracles. It’s almost as if they’ve kept one of the best tracks for last. Percussion, a pounding, funky rhythm section and chiming guitars are joined by synths before a heartfelt, soulful vocal enters. Tight, tender harmonies accompany the vocal, while chiming guitars, percussion, synths and a pounding beat add contrasts. Another contrast is the lushest of strings that sweep above the vocal. Not only do they ad to the beauty of the arrangement, but compliment the heartfelt, soulful vocal as soul, funk and dance music are combined seamlessly by Change.
Just a year after releasing Glow of Love, Change released Miracles, an album that picked up where they’d left off. Again, Miracles was another critically acclaimed and commercially successful classic album. This was something that had seemed impossible for previous disco producers and artists. Many had released one outstanding album, but few had released two back-to-back. Change managed that, and since then, both Glow of Love and Miracles have been perceived as classic albums. Change had set the bar high with Glow of Love, but on Miracles combined a compelling combination of disco with Euro Disco, soul and funk. Since then, this has become known as Italo Disco. One of the founding fathers of Italo Disco were Change. They were one of the most innovative, creative and imaginative groups of the post-disco era. The seven tracks on Miracles weren’t just dance-floor friendly, but soulful, funky, laden with hooks and irresistibly catchy. Both albums are just as good over thirty years after their release. Truly, they’re timeless albums, that have gone down in the history of dance music as hugely important and indeed, classic albums. Now, both albums will be released by the Disco Recharge label as a double-album on 22nd October 2012 as Disco Recharge-Change-Glow of Love and Miracles-Special Edition. On this double album were Glow of Love and Miracles, plus a second disc of remixed versions of singles. After being unavailable for far too long, these two albums will soon be available for everyone to either rediscover or discover. So, believe me, a Change is gonna come, and that will be on 22nd October 2012 when Disco Recharge-Change-Glow of Love and Miracles-Special Edition will be released. Standout Tracks: The Glow Of Love, Searching, Paradise and Hold Tight.
DISCO RECHARGE-CHANGE-GLOW OF LOVE AND MIRACLES-SPECIAL EDITION.
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OFFERING RECORDINGS ADE SAMPLER 2012.
OFFERING RECORDINGS ADE SAMPLER 2012.
In an a constantly changing musical landscape, it’s becoming difficult for smaller record companies to discover new talent. All too often, artists with even a modicum of potential are signed by major labels, usually on a 360 deal. They hope they’ve just unearthed the next million-selling artist and Christmas has indeed come early. At the other end of the spectrum, many artists are using and exploiting the infinite possibilities thrown up by the internet to release their own music. After all, they can record, produce and release their own music via the internet. Not only that, but they can even build a following via the internet, using social networking sites like Facebook and Twitter to create a buzz about their music. It seems the only time they need leave their house is to tour or cash their royalty checks. However, what alternatives are there for an artist not wanting to sign for a major or release their own music? That’s where smaller, independent labels come in. One smaller, independent label is Offering Recordings, who’ve recently released an eight-track sampler Offering Recordings Ade Sampler 2012. For anyone new to Offering Recordings, then this is the perfect introduction to an innovative label who searches the world for new talent.
For smaller, independent record labels, finding new and talented artists isn’t easy. Spotting artists with potential isn’t easy. Indeed, you got to kiss a few musical frogs before finding your musical Prince. One record company that spent more time and effort searching for new artists is Offering Recordings. Since Boddhi Satva founded Offering Recordings in 2008, the label has constantly sought out the best in future soul, and has given new and talented artists a platform to have their music heard. Offering Recordings’ search for new artists has taken them far and wide. Indeed, this search has seen Offering Recordings head to the four corners of the globe.
During 2012, it seemed Offering Recordings were determined to search further and wider than ever before. One of the places they headed to was Mail. In Mali, they met Idrissa Sissoko, who after playing Boddhi Satva just a few songs, was signed on the spot. Then there’s Ade Alafia Adio, who was born in America to Nigerian parents, but moved to Nigeria when he was studying architecture and civil engineering. In Nigeria, Ade decided to follow his heart and become a singer, poet and musician. When Boddhi Satva heard of Ade, he tracked him down to the Netherlands, where he now lived. Like Idrissa, Ade was signed to Offering Recordings, and released his three-track E.P. O.R.G.A.S.M. recently. There are other stories where Offering Recordings have searched far and wide, but these two stories demonstrate Offering’s determination when seeking, signing and releasing music. This year has been particularly busy for Offering Recordings.
Apart from Idrissa Sissoko and Ade Alafia Adio, Offering Recordings have released albums like Sage Monk’s beautiful and spiritual Heartache Allegory, plus music by Mammy Wata, Punk, Delany Duval, Sons of Arhat and Paul Randolph. Tracks by each of these artists feature on Offering Recordings Ade Sampler 2012. Truly, 2012 has been something of a vintage year for Offering Recordings. While other labels talk the talk, Offering Recordings really have walked the walk. For newcomers to Offering Recordings’ music, Offering Recordings Ade Sampler 2012 will give you a flavor of their music. So for newcomers to Offering Recordings’ music, I’ll tell you about the music on Offering Recordings Ade Sampler 2012.
Opening Offering Recordings Ade Sampler 2012 is Paul Randolph’s Soldier. Just a lone acoustic guitar opens the track, before drums and percussion enter, giving the track an African Roots sound. Then Paul throws a curveball. His tender vocal is accompanied by pounding drums. Now the track head in the direction of the dance-floor. Synths, keyboards and backing vocalists join the percussion and acoustic guitar as African Roots meets deep house. Paul teases and tantalizes the listener, dropping the tempo before building the track back up. This results in a track that’s compelling, catchy and beautiful oh and very dance-floor friendly.
Sons of Arhat’s Situation is a track that instantly, grabs your attention. It’s a fusion of styles and sounds, where drama and passion omnipresent. Synths join percussion and drums giving the track an African Roots feel. Soon, thunderous drums drive the track along, while moody synths, percussion and a vocal that’s impassioned and heartfelt combine. This is another dance track, but one where African and Western music unite as one. Synths create a broody, dramatic backdrop, while drums create the track’s pulsating heartbeat. Percussion and a vocal that’s full of emotion give the track an authentic African sound. For nearly eight minutes, two continents unite through music, resulting in a track that’s dramatic, spiritual and thanks to the vocal, totally heartfelt.
Thunderous drums test the tolerance of your speakers as Delany Duval’s Mukulie begins. Drums drive the track along, while synths, keyboards and drum machines join percussion in teasing you. You’re wondering where the track is heading. Still Delany teases and toys with you. Keyboards repeat the same part, as if building up the drama. Then, against a pounding beat, punchy, joyous vocals sweep in and out. As they drop out, the keyboards take charge, as drums crack and pound. When the vocals return, they’re breathy, celebratory and joyful. They set the tone for the track, and with a myriad of drums and keyboards, for company, create a track that’s not only full of drama and contrasts, but celebratory.
I Can’t Wait is a track from Punk, which features Magic Soul’s vocal talents. It’s a track with a real contemporary sound. If you think house with a healthy sprinkling of percussion, a twist of African Roots and plenty of drama you’re getting close. Here, drums equal drama, while the stabs of keyboards give the track a warmth. When the drums, percussion and keyboards unite with the joyous and heartfelt vocals, the track heads in the direction of house. Percussion gives the track a jazzy or Latin house feel. What makes this one of the highlights of Offering Recordings Ade Sampler 2012 are they vocals. They’re joyous and heartfelt cascading above the percussive heavy arrangement and are crucial to the track’s sound and success.
Pounding drums reverberate dramatically as Sage Monk’s Would You Walk Away begins. Keyboards and percussion are added, providing a contrast. Then comes the moody, broody vocal. It’s full of anguish and hurt, as it asks “Would You Walk Away?” When the vocal drops out, the keyboards take over, but you await the anguished, probing vocal. You feel and share the pain, you worry about the answer and the effects of that answer. You’re caught up in the drama, anguish and hurt. That’s how powerful the music is, that it can move and change your emotions.
When Mamy Wata’s Regardez Moi begins, you realize that this is a vocal that’s sung with feeling and sincerity. Saying it’s sung with passion and emotion is almost an understatement. This isn’t just soul music, it’s music for your heart and mind. Just an acoustic guitar that accompanies Mamy, as she delivers a vocal that’s heartfelt and full of emotion. Although percussion and drums accompany Mamy, it’s her vocal that you focus on. You can’t help it. You’re drawn to it. That mixture of power and passion, comes from the heart and is deeply moving, beautiful and uplifting.
Earlier this year, Idrissa Sissoko released his debut album Lopilopilo. It’s a deeply moving, beautiful and spiritual album. Yiri is a track from Lopilopilo, and as the track unfolds, Idrissa Sissoko, plays with a power and intensity. It’s as if he has so much to say and share, and so little time to do so. He’s so keen to get his message across that this comes out in his playing. His vocal is wholehearted and fervid, with the lyrics delivered, quickly with an urgency and intensity. This is what makes this track such a compelling and powerful one, one that’s heartfelt and soulful.
Closing Offering Recordings Ade Sampler 2012 is Fulfillment, one of the three tracks on Ade Alafia Adio’s E.P. O.R.G.A.S.M. It was arranged and produced by Thane Wright, who cowrote the track with Bob Mabaje. Drums, percussion and keyboards combine with Ade’s impassioned vocal. His vocal is heartfelt, full of emotion, as if every word he sings means something. It’s as if he’s undergone a voyage of discovery and enlightenment. Percussion and drums accompany him, creating a dramatic backdrop for his vocal. Adding to the drama and emotion is a spoken vocal, which weaves its way through the arrangement. The focus of you’re attention is firmly on Ade’s emotive, heartfelt and his intelligent, meaningful lyrics.
The eight tracks on Offering Recordings Ade Sampler 2012 are the perfect introduction to the music of Offering Recordings. This is just a flavor of the music released by Offering Recordings during 2012. Over the past ten months, they’ve surpassed themselves, releasing so much great music. From Sage Monk’s Heartache Allegory, to Idrissa Sissoko’s Lopilopilo and more recently Ade Alafia Adio’s E.P. O.R.G.A.S.M. Offering Recordings it seems they can do know wrong. Much of their success is down to hard work and determination. It’s Offering Recordings’ A&R Department, who are responsible for discovering all this new talent. It seems Boddhi Satva and everyone at Offering Recordings will travel further afield than most labels, on the of chance that they’ll discover another talented artist. These artists are nurtured and given the opportunity to have their music heard by a much wider audience.
Much of the music Offering Recordings releases might not be commercial enough for major labels. Nowadays, major labels only want to release really commercial music. They don’t want to take any chances or nurture artists for the long-term. So instead of innovative, imaginative music, major labels release throwaway, populist music, which quite fittingly, is sold in supermarkets next to other equally throwaway, disposable items. Instead, releasing innovative, imaginative music is left to smaller, independent labels, labels like Offering Recordings. Indeed, the eight tracks that feature on Offering Recordings Ade Sampler 2012 aren’t just innovative and imaginative, but uplifting, joyous, emotive, heartfelt and deeply soulful. It seems, where the majors fear to tread, Offering Recordings walk bravely, in pursuit of soul music and everyone who loves music should be grateful for that. Standout Tracks: Paul Randolph Soldier, I Can’t Wait Punk featuring Magic Soul, Sage Monk Would You Walk Away and Ade Alafia Adio Fulfillment.
OFFERING RECORDINGS ADE SAMPLER 2012.
BOBBY WOMACK-PIECES.
BOBBY WOMACK-PIECES.
By 1977, when Bobby Womack entered the recording studio to record his twelfth studio album Pieces, his career had hit the buffers. Bobby’s music was no longer as successful as it had been in late-sixties and early-seventies. His two previous albums, BW Goes C&W and Home Is Where the Heart Is showed that Bobby was lacking in musical direction. Like many soul singers, his music wasn’t as popular in the disco era. With disco flavor of the month, soul singers like Bobby were even struggling to get a record contract. As if that wasn’t bad enough Bobby’s personal life wasn’t in a good place. He felt that his life was falling to pieces, and that he was struggling to keep his life together. So it was almost ironic that Bobby’s twelfth studio album was called Pieces. In many ways, Pieces was a good description of the album, as different songs were recorded at different times, with different personnel and guest artists. Eventually, and just like a jigsaw, all the pieces fell into place and Pieces was ready for release in 1977. Would Pieces which was recently rereleased and remastered by Purpose Music Vaults, and featured guest appearances from David Ruffin and Candi Staton see a return to form from Bobby Womack? That’s what I’ll tell you, after I’ve told you the background to Pieces.
With Bobby ready to record what became Pieces in 1977, he headed to Detroit, and Don Davis’ studio. In Detroit eight songs would be recorded. This included three tracks that Bobby cowrote. Bobby and Leon Ware, who’d produced Marvin Gaye’s seminal album Here My Dear, cowrote two tracks. They were Trust Your Heart with producer Don Davis and Wind It Up With Bobby’s brother Cecil. Cecil also cowrote Never Let Nothing Get the Best of You. Don Davis would cowrite two other track. These were the album opener It’s Party Time with Willie Schofield, and Caught Up In the Middle with Jerry Stephens and Ronnie McNeir. Other tracks included the Jimmy George and John Hammond composition Is This the Thanks I Get and the Allee Willis’ penned When Love Begins Friendship Ends. Stop Before We Start, which Arenita Walker and Cynthia Girty cowrote, was one of two tracks that featured longtime friends of Bobby.
When Bobby headed to Don Davis’ Detroit studio, he hooked up with two of his longtime friends, Candi Staton and David Ruffin. The three of them had grownup together and stayed close since then. By 1977, Candi had just enjoyed one of her most successful songs, the disco classic Young Hearts Run Free in 1976. Candi would duet with Bobby on Stop Before We Start. Given Candi’s success, this would surely help sales of Pieces. David Ruffin was still a successful artist, having released Everything’s Coming Up Love in 1976 and would release In My Stride in June 1977. Bobby had long respected David Ruffin as a singer, and wanted to have him feature on one of his albums. So for Pieces, David added backing vocals on Trust Your Heart. Accompanying David, Candi and Bobby Womack would be some of the best session musicians of the time.
Among the musicians joining Bobby Womack and his guest artists were a rhythm section of drummer Roger Hawkins, bassist Anthony Willis and rhythm guitarist Jimmy Johnson. Charles Fullove played lead guitar, Barry Beckett keyboards and percussion was played by Laurence Fratangelo and Barbara Huby. Horns were provided by The Detroit Horns and The Horny Horns. Adding backing vocals were Friendly, Curtis, Cecil and Bobby Womack, along with Peggy Young, Cassetta George and Josephine Howard. Once the eight songs that comprise Pieces were recorded, the album was set for release later in 1977.
On the release of Pieces in 1977, it wasn’t a huge commercial success, reaching a lowly 205 in the US Billboard 200. This wasn’t surprising. Many other soul singers were releasing quality albums but they weren’t selling. Disco it seemed, had overtaken soul in terms of popularity. One singer who’d crossed over from soul to disco was Candi Staton, who duetted with Bobby on Stop Before We Start. Trust Your Heart was chosen as the lead single from Pieces, but only managed to reach number forty-seven in the US R&B Charts. Maybe the problem was that Pieces was the wrong album at the wrong time?After all, disco was King, whereas soul was no longer as popular. Was that the case? That’s what I’ll tell you, after I’ve told you about the music on Pieces.
Opening Pieces is It’s Party Time, a track that more than tips its hat to disco. Bobby vamps his way through the introduction with the rhythm section, testifying backing vocalists and blazing horns creating an uptempo, dance-floor friendly arrangement. From the opening bars, Bobby grabs the song by the scruff of its neck, delivering his vocal with a powerful, sassy, swagger. Although not quite Bobby does disco, it’s quite different to previous Bobby Womack albums. One thing doesn’t change, the quality of Bobby’s vocal. It’s just as good. Especially with the cooing, soaring backing vocals, rasping horns and pounding rhythm section that accompany Bobby. They play their part in the track’s irresistibly catchy, dance-floor friendly, good-time sound.
Trust Your Heart was the lead single from Pieces, but it only gave Bobby a minor US R&B hit. Bobby’s vocal is a sassy rasp, before he delivers a heartfelt, impassioned vocal. He’s accompanied by a slow, moody backdrop, where the rhythm section and piano add to the drama. His vocal is soulful, soaring and cascading above the arrangement, as swathes of strings sweep and swirl. The drama builds and builds, and Bobby’s vocal matures as the song progresses. Soon, he unleashes a vocal tour de force, where power, passion and drama unite as one.
Stop Before We Start is a much slower song, and features Bobby duetting with Candi Staton. Keyboards and synths show the changing sound of soul and R&B in 1977, while lushest of strings add to the song’s emotion and beauty. They might seem strange bedfellows, but they work, giving the track an innovative sound for 1977. With wistful horns and Bobby’s heartfelt, emotive vocal added, this a potent partnership. Proving the perfect accompaniment to Bobby’s vocal is Candi’s impassioned pleas. Her vocal is needy and full of feeling, matching Bobby each step of the way.Their vocals are a perfect match, the soulful equivalent of ying and yang, playing their part in making this one of the highlights of Pieces.
Allee Willis wrote the philosophical When Love Begins Friendship Ends. It’s a track that quickly grows in drama and emotion, as if designed to grab your attention. Soon, you’re glad you are. Just searing guitars, wistful strings and bursts of a dramatic rhythm section give way to Bobby’s impassioned vocal. He unleashes a vocal that’s full of sadness and regret, accompanied by bursts of growling horns and drums. Quickly, the drama grows. Bobby’s vocal grows in power, as he breathes life and meaning into the track. So good is is vocal, you can sense his hurt and heartache. Sometimes, the arrangement takes on an understated sound, but then, just as quickly changes, matching Bobby’s vocal for power, drama and emotion.
As Wind It Up begins, you realize that something is about to unfold. You’re certainly not disappointed. Bobby powerfully vamps his way through the track fusing funk, soul and jazz. The arrangement is full of blazing horns, driving rhythm section, percussion and a jazzy piano, that’s key to the track’s sound and success. It’s a real stomping track, that allows Bobby to kick loose. His vocal is fiery and feisty as he vamps his way through a track he cowrote with his brother Cecil and Leon Ware. Truly, this is vintage Bobby Womack. He he rolls back the years, delivering one of his best vocals on Pieces accompanied by one of the best arrangements.
Jimmy George and Johnny Hammond were a successful songwriting partnership, writing songs for George Benson and O.C. Smith. Is This The Thanks I Get is another of their compositions. It has a much more understated, laid-back sound, which grows in power and drama. It veers between the two styles throughout the track. Just rasping horns, backing vocalists and a meandering bass combine with Bobby’s vocal. His vocal is a mixture of sadness and hope, his voice growing in power like the arrangement. Crucal to this are blazing horns, guitars and bass. Then as the hope leaves Bobby’s voice, the arrangement is stripped bare, taking on an understated sound. This is perfect for Bobby’s melancholy, wistful vocal and is hugely effective.
Caught Up In The Middle is one of two songs producer Don Davis cowrote. Don cowrote the track with Ronnie McNeir and Jerry Stephens. Bobby scats, before he sings about being caught up in a love-triangle. Just woodwind, piano and a wandering bass combine with Bobby. He seems to have reserved one of his best vocals, throwing himself into the track, singing it with feeling and sass. It’s almost as if the lyrics are personal for Bobby. Rasping jazz-tinged horns, piano and harmonies, are joined by a wandering bass and lush strings. Together, they add to the drama and emotion of this jazz-tinged track.
Bookending Pieces is Never Let Nothing Get The Best Of You, written by Bobby and Cecil Womack. It’s another uptempo, dance-floor friendly track, where Bobby vamps and testifies his way through the track. Backing vocalists accompany Bobby, responding to his call, while growling horns, piano, percussion and the rhythm section drive the arrangement along at breakneck speed. For nearly five-minutes, Bobby unleashes a powerful vamp, as his band and backing vocalists fuse funk, soul and a touch of disco. Like the opening track, it’s an irresistibly catchy, dance track, where Bobby unleashes one of his trademark vamps with the power, passion and panache you’d expect of him.
Like so many other soul albums released during the disco era, Bobby Womack’s twelfth album Pieces, was one of these albums that passed almost unnoticed. This was because of disco’s popularity. Disco had surpassed soul as the most popular genre of the second half of the seventies. That meant music fans missed out on what was one of Bobby Womack’s best album of the late-seventies. Pieces followed BW Goes C&W and Home Is Where the Heart Is, which weren’t Bobby’s finest hours. Thankfully, Pieces was a welcome return to form from the veteran soul man. He combined soul, funk and even elements of disco during the eight tracks on Pieces.
Helping Bobby on Pieces were some of the best session musicians of the seventies, plus guest artists Candi Staton and David Ruffin. They all played their part in Pieces’ sound and success. After Pieces, Bobby Womack didn’t release another great album until 1981s The Poet. During this four year period, Bobby only released one album, Roads of Life, which like Pieces, wasn’t a commercial success.
Sadly, after Roads of Life, Bobby like so many other soul singers, found himself without a recording contract. This was a long way from the height of Bobby’s success during the late-sixties and early-seventies. However, Bobby Womack’s last great album of the seventies was Pieces, which was recently rereleased and remastered by Purpose Music Vaults, complete with four bonus tracks. This allows anyone who back in 1977, when Pieces was released, was caught in disco’s spell and as a result missed out on each of soulful secrets and delights of Pieces, to discover what they missed out on first time round. Standout Tracks: It’s Party Time, Stop Before We Start, Wind It Up and Never Let Nothing Get The Best Of You.
BOBBY WOMACK-PIECES.
DISCO RECHARGE-ULTIMATE-ULTIMATE AND ULTIMATE II.
DISCO RECHARGE-ULTIMATE-ULTIMATE AND ULTIMATE II.
All too often, history repeats itself in music. This is as true in music as life. There are many examples of this, but a good example of this is the story of Bruce Weedon. Bruce who was one of the most innovative and creative disco producers of the late-seventies. No wonder. He’d learnt from one of the founding father’s of Euro Disco, Boris Midney. Before Boris taught him everything there was to know about producing and engineering, Bruce was a session guitarist. Indeed, his guitar playing graces USA-European Connection’s Come Into My Heart. To repay Boris, Bruce helped build him build Alpha International Studios in Philly. Then after deciding to become a producer in his own right, Bruce headed to the City of Brotherly Love, Philadelphia. Back in 1979, Philly had been producing some of the best music of the seventies. This was the perfect place for a new, hungry producer to launch his nascent career. One of Bruce’s collaborations was Ultimate. They released two albums, Ultimate and Ultimate II in 1979, which will be released as Disco Recharge-Ultimate-Ultimate and Ultimate II on 15th October 2012, by the Disco Recharge label. The story behind Ultimate has similarities with two other Bruce Weedon collaborations, Tangerué and Strange Affair. However, before I tell you about the music on Ultimate and Ultimate II, I’ll tell you how the story of Ultimate is similar to other Bruce Weedon’s collaborations.
Back in 1979, Bruce Weedon and Ed Strauman, two proteges of Boris Midney headed out on their own as producers. Their first collaboration was in Philadelphia, where they put together a studio band, Tangerué. They released just one album, Tangerué, on Unidisc in 1979. It was released to critical acclaim and commercial success. Instantly, it became a disco classic. By the time Bruce Weedon returned to the studio, this time with a new collaborator, disco’s bubble had burst.
Bruce and his new collaborator Giuliani Salerni decided to create another studio band Strange Affair. Again, they only released one album, their eponymous album Strange Affair. It was released on South Philly Productions in 1979, but sadly, Strange Affair wasn’t a commercial success. It suffered from a lack of promotion in the post-disco landscape. Obviously, disco’s waning popularity was a factor, but the lack of promotion made success even harder. As a result, Strange Affair remains a hidden gem in disco’s back-catalogue. Tangerué wasn’t Bruce Weedon’s only collaboration and sadly, it would be a case of history repeating itself.
The story of Ultimate has parallels with the story of Tangerué and Strange Affair. Before Tangerué came Ultimate, a collaboration between Bruce and Philly-based producer Giuliani Salerni, who’d founded Ultimate. For Ultimate’s debut album Ultimate, Giuliani wrote the six tracks on Ultimate. It was then recorded at Boris Midney’s Philly studios Alpha International Studios. With Bruce playing guitar, Giuliani added keyboards and synths. Strings came courtesy of The Ultimate Players, keyboards Ed Strauman and percussion by Miguel Fuentes. With Ultimate’s debut album Ultimate set for release in 1979 and Bruce’s career was about to get of to a great start.
On the release of Ultimate, it reached number 157 in the US Billboard 200 and number six in the US Dance Music/Club Play Charts. Touch Me Baby was released as a single in the US Billboard 100 and reached number eighty-two. So popular was Ultimate, that each of the four tracks were regular features of the US Dance Music/Club Play Charts for over four months. It seemed Bruce Weedon was set to follow in the footsteps of his mentor Boris Midney given the success of Ultimate. However, history would repeat itself by the time Ultimate released their sophomore album Ultimate II.
On the release of Ultimate II by Casablanca Records in March 1980, there are further parallels with Strange Affair’s album. Casablanca didn’t promote Ultimate II sufficiently, and with disco no longer as popular, Ultimate II failed commercially. Bruce Weedon was musical proof that lightning could really strike twice in the same place. Two albums, Strange Affair and Ultimate II are proof of this. Since then, Ultimate II has remained a hidden secret among disco fans….until now. Now like Disco Recharge did with Tangerué/Strange Affair, they’ll be releasing Ultimate and Ultimate II as part of the Disco Recharge series. They’ll be released as Disco Recharge-Ultimate-Ultimate and Ultimate II and I’ll now tell you about each album.
ULTIMATE.
Opening Ultimate’s debut album Ultimate is Love Is The Ultimate Medley. This is a medley of Love Is The Ultimate, Dancing In The Night and Touch Me Baby which lasts an epic fifteen minutes. It’s a musical journey with surprises and subtleties aplenty in-store. Thunderous drums grab your attention, while stabs and flourishes of synths and keyboards add a space-age sound. Quickly, the drama builds. Suddenly, it’s all change. The arrangement takes on a different sound, when the funky rhythm section, keyboards and guitars unite. Think a Euro Disco beat. elements of funk and classic US disco. When strings float in accompanied by growling horns and heartfelt harmonies that all have Philly Sound written all over them. There’s even a nod to the Sweethearts of Sigma and Salsoul, albeit the beat is stronger. By now the harmonies take charge, teasing and tantalising, helped no end by the strings and horns. Then the medley changes, with the second part when the arrangement is stripped bare. Just percussion and pounding beat remain. Gradually, cinematic strings and horns add to the drama as funk and disco combine. As the harmonies return, their sassy, tender sound and the interplay between the strings, horns and harmonies is key to the track’s sound and success. This continues during the final part of the medley. Dramatic, swirling strings, growling horns and Ultimate’s harmonies play their part in making this a true fifteen-minute feast of the finest disco.
Ritmo De Brazil is quite a different track, one with a Latin influence as percussion and a samba beat combine to build up the drama. Still the pounding beat is present. Keyboards and strings give the arrangement a wistful sound before punchy harmonies enter. The harmonies become heartfelt, accompanied by rasping horns, a myriad of percussion and wah-wah guitars. Meanwhile, strings wistfully float in and out. As pounding drums create the arrangement’s heartbeat, strings, horns and percussion create a genre-sprawling track. This sees Ultimate fuse Latin, funk, Euro Disco and soul flawlessly.
Music In My Heart is a track where influences are everywhere. Pounding Euro Disco beats are combined with Chic styled guitar licks and funky bass. Growling horns, cascading strings and choppy harmonies enter, while keyboards and synths add to the Euro Disco influence. Suddenly, the arrangement loses its drama and takes on an elegant sound. From there, Ultimate tease and tantalize. They veer between flourishes of drama from blazing horns, keyboards and frantically swirling strings to bursts of elegance. This elegance is provided by sweeping harmonies and swathes of strings. Whether delivering dramatic or elegance, Ultimate do it their way, which means with style and panache.
Closing Ultimate is Take Me To Chinatown another musical journey with Ultimate as your tour-guide. Using a myriad of percussion, keyboards and emotive strings they add an authentic oriental sound. Meanwhile, thunderous drums, guitars and soaring harmonies provide the track’s disco sound. It’s a compelling, dramatic combination. As the track progresses, the drama builds and builds. Growling horns, keyboards and thunderous beats are key to this, while strings and percussion are responsible for the track’s Eastern influence. This track reminds me of Voyage’s album Let’s Fly Away, where Voyage sampled each continent of the world’s music. Like the music on Let’s Fly Away, this has a similar innovative and imaginative sound. This seems a satisfying way to close Ultimate, an album produced by two innovators of disco Bruce Weedon and Giuliani Salerni .
Although there are only four tracks on Ultimate, they’re four of the finest disco tracks you’ll find. They were produced by two innovative, creative and imaginative producers, Bruce Weedon and Giuliani Salerni. What makes this even more remarkable is that Ultimate was Bruce Weedon’s first outing as a producer, since heading out on his own. Bruce had found the ying to his yang in Giuliani. They were both innovators, looking to get onboard the disco bandwagon. Not only did the climb onboard, but brought a new twist to disco. Together, they fused elements of numerous musical genres, including disco, Euro Disco, funk, Latin and Philly Soul. When this was combined, the result was one of last critically acclaimed commercially successful disco albums before disco’s bubble burst. Ultimate spent four months in the US Dance Charts, and got Bruce’s nascent career of to a successful and critically acclaimed start. By the time Ultimate released their second album Ultimate II, things had changed, both in terms of music and personnel.
Feel So Fine has a much more understated sound. Gone is the rocky sound, with a much more soulful vocal accompanied by an arrangement where the rhythm section, lush strings and keyboards combine to give the track a quite beautiful sound. Three part harmonies are accompanied by a disco beat, which doesn’t overpower the vocal. Instead, this results in something First Choice might have recorded. Not is it soulful and dance-floor friendly, but it’s a very beautiful song and one of the highlights of Ultimate II.
Get To The Top is a much quicker track, featuring a much louder, stronger disco beat. It accompanies the harmonies while strings cascade as the rhythm section drives the arrangement along in the direction of Euro Disco. Percussion and rasping horns punctuate the arrangement, and with a funky bass and dancing strings replace the vocal and then accompany it. Later, rocky guitars are added as Ultimate fuse musical genres aplenty in creating an irresistible catchy dance track.
Secret Agent Man is another fusion of genres, with R&B, soul, funk and disco combining. Here, the rhythm section combine funk and elements of Chic before a sassy vocal enters. Blazing horns add drama, while cinematic strings are like something out of the soundtrack to a spy thriller. All the time, harmonies weave in and out the track, adding to the drama and energy. Chiming guitars, percussion and rasping horns add a funky sound, and sometimes, jazz-funk influence. The vocals are soulful, and sometimes have an R&B influence. Other times they sweep elegantly in and out, with string, horns, percussion and rhythm section for company. Regardless of which style they are, they play a huge part in the success of this dramatic, catchy and soulful song.
Back Together sees the tempo increase and the Euro Disco influence return. A pounding Euro Disco beat accompanies keyboards before flourishes of dramatic strings enter. They give way to tight, punchy, impassioned harmonies. Joining them are some of the best guitar licks on Ultimate. Soon, some of the harmonies that played such a vital part in previous songs take centre-stage. They prove the perfect accompaniment for the vocal. Later, the arrangement takes on a Latin twist, thanks to the percussion. A vibes solo is unleashed before the tight, deliberate harmonies return, and the rhythm section drives this hugely catchy slice of Euro Disco to its close.
Now And Forever closes Ultimate II and is very different sounding track. Parts of this track could only be made in one place…Philly. Keyboards, woodwind and strings create a wistful sounding arrangement. This is perfect for the heartfelt vocal and the soaring harmonies that accompany it. By now the thunderous Euro Disco beat is augmented by growling horns, lush strings and chiming guitars as Philly meets Euro Disco. The Philly Soul sound comes courtesy of the vocal, which is the best on Ultimate II. There’s even a slight Three Degrees’ style to the vocal and harmonies. Later, the wistful woodwind returns, adding to the emotion and beauty of an arrangement which is one of the best on Ultimate II, and indeed, a perfect way to close this post-disco album.
When you compare Ultimate II to Ultimate, it’s a very different album. That’s no surprise, given the musical landscape was very different. By the time Ultimate II was released, it was the post-disco era. So, rather than release an album that was similar to Ultimate, what Bruce Weedon and Michael Forte created was a real fusion of genres, sounds and influences. There was everything from disco, Euro Disco, funk, Latin, Philly Soul and rock on Ultimate II. Having said that, there’s still a Euro Disco sound. On Ultimate II it’s combined with many other styles. They’re mixed together in one musical melting pot. Of these influences, one stands out on several tracks… and that’s the Philly Soul influence. Key to this was the harmonies of Barbara Hernandez, Deborah McGriff and Riti Saunders. Their vocals and harmonies bring Ultimate II To life, adding drama, beauty and emotion. Along with the lush strings and rasping horns, they give the track a real Philly Sound. Some tracks have a First Choice influence and sound, while Now And Forever sounds similar to The Three Degrees. When these vocals are added to the Bruce and Michael’s arrangements, the result is just the finishing touch to this post-disco hidden gem. While Ultimate II wasn’t released to critical acclaim and commercial success, it has two things in common with Ultimate, its quality and innovative sound. Sadly, the Ultimate story has many similarities with other Bruce Weedon projects, Tangerué and Strange Affair.
Like Tangerué, Ultimate was released to critical acclaim and commercial success. A year later, Ultimate II and Strange Affair both failed commercially in the post-disco era. Both weren’t helped by a lack of promotion. Yet another similarity is that Tangerué and Strange Affair were rereleased by the Disco Recharge label as Disco Recharge-Tangerué/Strange Affair. Now just a few months later, Ultimate and Ultimate II will be rereleased by Disco Recharge on 15th October 2012 as Disco Recharge-Ultimate-Ultimate and Ultimate II. This gives everyone the perfect opportunity to either rediscover, or discover for the first time some more of Bruce Weedon’s innovative and imaginative music, this time from Ultimate who like Tangerué and Strange Affair, released some of best music of the disco and post-disco era. Standout Tracks: Love Is The Ultimate Medley, Music of My Heart, Feel So Fine and Now and Forever.
DISCO RECHARGE-ULTIMATE-ULTIMATE AND ULTIMATE II.
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RONNIE DYSON-ONE MAN BAND.
RONNIE DYSON-ONE MAN BAND.
Three years after the release of his debut album (If You Let Me Make Love To You Then) Why Can’t I Touch You in 1970, Ronnie Dyson released his sophomore album One Man Band on Columbia Records. This would be the second of five albums Ronnie would release for Columbia between 1970 and 1979. Sadly, Ronnie Dyson’s career was cut tragically short, when he died in 1990, aged just aged just forty. Ronnie had first come to the public’s attention when he appeared in Hair, along with future stars like Diane Keaton, Melba Moore and Paul Jabara who wrote Last Dance and It’s Raining Men. It was with the single (If You Let Me Make Love To You Then) Why Can’t I Touch You that launched Ronnie Dyson’s career. Four of the tracks on Ronnie’s debut album had been produced by legendary Philadelphia producer Thom Bell, while Billy Jackson and Stan Vincent produced the other tracks. Three years later, the same production team would join Ronnie for the recording of One Man Band, which has been rereleased and remastered by Purpose Music Vaults, along with five bonus tracks. Would One Man Band replicate the success of Ronnie’s debut album? That’s what I’ll tell you, after I’ve told you about Ronnie Dyson.
Ronnie Dyson was born in 1950, in Washington D.C, but was brought up in Brooklyn, New York. Like so many soul singers, Ronnie’s singing career started in church. Indeed, it was as a teenager in Washington Temple Church where Ronnie’s voice was first heard. However, it was the result of Ronnie’s mother overhearing a telephone conversation that he got his first break.
While Ronnie was a teenager, his mother worked for a telephone answering service. One day, she was fortunate enough to hear a customer saying how young people were being cast for a production a musical. Quickly, Ronnie’s mother decided to put his name forward. Ronnie auditioned and joined the cast of Hair, where he joined future stars like Melba Moore, Paul Jarbara and Diane Keaton. This was just the break Ronnie needed. So good was Ronnie, that Jerome Ragni and John McDermott wrote Aquarius especially for Ronnie. Soon Ronnie’s performance, that he came to the attention of record companies and one in particular, Columbia.
Billy Jackson at Columbia spotted Ronnie’s potential and signed him in 1969. His debut single was God Bless the Children, which was released as Ron Dyson. Although it wasn’t a commercial success, his second single (If You Let Me Make Love To You Then) Why Can’t I Touch You was. This gave Ronnie a hit in the US Billboard 100 and US R&B Charts and so did his debut album (If You Let Me Make Love To You Then) Why Can’t I Touch You. While the album was a moderate success, the third single I Don’t Want To Cry made the US R&B top ten. After recording three more songs, Ronnie’s nascent career was over, temporarily, when he was dropped by Columbia.
By 1971, Ronnie was on his way back to Columbia. Clive Davis had asked Stan Vincent to work with Ronnie as his producer. Their first collaboration was a cover of The Delfonics’ When You Get Right Down To It. It reached the top forty in the US R&B Charts. Chosen as the followup was A Wednesday In Your Garden, which was followed by a cover of The Stylistics’ A Point Of No Return. That was the track that set Columbia’s executives thinking. Even though the sessions went well, still, something was lacking. So using a some lateral thinking, they came up with the name of Thom Bell. After all, he’d produced The Delfonics and The Stylistics, whose songs Ronnie had covered.
It just so happened Thom Bell was at CBS on business, so the subject of Thom producing Ronnie was broached. Ronnie was all for it. To him, Thom Bell was a star-maker. Everything Thom touched turned to gold or even, platinum. So with Thom onboard and set to produced what would become One Man Band. In Philly, work began on what would eventually become Ronnie Dyson’s sophomore album One Man Band.
Thom Bell and his songwriting partner Linda Creed composed three songs, One Man Band (Plays All Alone), I Think I’ll Tell Her and Give In To Love. Through Thom, Ronnie had access to the Bobby “Electronic” Eli, Vinnie Barrett and Joe Freeman songwriting team. They penned Just Don’t Want To Be Lonely, eventually. Every time Vinnie thought the song was complete, Thom Bell turned it down. Many rewrites later, the song was ready. At last, Thom loved the song, and he told Ronnie this was his hit single. These four tracks would become part of One Man Band. They were combined with the three cuts from the sessions with Stan Vincent, plus the three tracks Ronnie recorded during his first time at Columbia. One Man Band was set for release in 1973.
On the release of One Man Band in 1973, it reached number 142 in the US Billboard 200 and number thirty-four in the US R&B Charts. Just Don’t Want To Be Lonely did indeed give Ronnie the hit single Thom Bell promised, reaching number sixty in the US Billboard 100 and number twenty-nine in the US R&B Charts. The Thom Bell and Linda Creed penned One Man Band (Plays All Alone) was the most successful single from One Man Band. It reached number twenty-eight in the US Billboard 100 and number fifteen in the US R&B Charts. While One Man Band hadn’t been a huge commercial success, it had charted and produced two hit singles. What must be considered is that three producers worked on One Man Band. How did that affect One Man Band? That’s what I’ll tell you, when I tell you about the music on One Man Band.
Opening One Man Band is One Man Band (Plays All Alone) penned by Thom Bell and Linda Creed. Searing guitars, stabs of keyboards and the rhythm section combine before the lushest of strings sweep in. They usher in Ronnie’s wistful vocal, which has an air of vulnerability. Tight, heartfelt harmonies accompany Ronnie as the arrangement builds the drama, interspersing hope and beauty throughout. Bursts of rasping horns and swathes of cascading strings add to the drama, while Ronnie produces a vocal that’s full of emotion and passion. Thom Bell produces one of his trademark tight, arrangements with its drama, hope and beauty complimenting Ronnie’s vocal and proving the perfect accompaniment.
I Think I’ll Tell Her is the second of four Thom Ball produced tracks. Like the previous track, Thom and Linda Creed cowrote it. There’s a slow, sultry sound to the arrangement. Just percussion, rhythm section and bursts of melancholy horns give way to Ronnie’s vocal. He’s about to break his partner’s heart, by telling her, there’s someone else. Strings sweep in, their lush sound proving a contrast to the growling horns and complimenting the percussion. They also add to the emotion and sadness of the track. It has a real Thom Bell “sound,” especially the horns and strings. Ronnie brings the lyrics to life, his delivery full of pain and hurt, while the arrangement’s jazz-tinged sound has a melancholy, wistful sound that works so well. Not only is this one of the best vocals from Ronnie, but one of the best arrangements, and demonstrates why Thom Bell was such a successful producer.
Just Don’t Want To Be Lonely was the track Thom Bell told Ronnie was his next hit single. He was right. Written by Bobby “Electronic” Eli, Vinnie Barrett and Joe Freeman songwriting team, you realize something special from the song’s opening bars. Horns blaze dramatically, before become more subtle, and combining with the rhythm section and percussion. Another burst of growling horns is almost a signal to pay attention. When you do it’s worth it. Ronnie’s tender, heartfelt vocal is perfect for the song, bringing out its subtleties and nuances. Equally heartfelt harmonies accompany him, while strings add to the beauty and emotion. Horns rasp gently, while the arrangement meanders along beautifully, it’s somewhat understated sound allowing Ronnie’s vocal to take centre-stage. Considering this is one of his best vocals on One Man Band that’s where it deserves to be, helped no end by Thom Bell’s considerable skills.
Give In To Love is the last Thom Bell produced track. Again, it has an understated and emotive sound. Just piano, wistful horns and percussion combining. Ronnie’s vocal is emotive and needy, almost pleading. Strings and keyboards are joined by tender harmonies as Ronnie’s vocal grows in emotion and passion. Still the arrangement is understated, allowing Ronnie’s vocal to grow in power, emotion and sincerity. Adding to the emotion and beauty are the harmonies, while the slow drums add to the drama and beauty of this very beautiful, moving track.
Barry Mann wrote When You Get Right Down To It , which was produced Stan Vincent. Straight away, you can hear the difference in production style. Strings sweep in, joining keyboards, a pounding bass and the dramatic bursts of drums that accompany Ronnie’s vocal. His vocal is a combination of power and passion, while the arrangement is bolder and much more dramatic. Horns blaze, flourishes of strings and keyboards and drums all play their part in the arrangement as Ronnie delivers a powerful vocal tour de force. While it’s different from Thom Bell’s style, the drama and power suits the song and Ronnie delivery. It also brings out another side of Ronnie Dyson.
A Wednesday In Your Garden is another of the songs recorded by Stan Vincent. Written by Randy Bachman, it sees another change in style. Think along the lines of Rex Harrison’s Windmills of Your Mind and you’re getting there. Harpsichord, woodwind and subtle rasping horns combine to take the song away from its soulful sound. This is much more of a seventies singer-songwriter style of track. Ronnie’s delivery is melodramatic, which suits the song. He accentuates words and notes, highlighting subtleties and nuances, while flourishes of strings and woodwind add a tender, understated sound. Then when Ronnie’s vocal grows, the rhythm and horn sections combine powerfully, adding to the drama. Although very different from previous tracks, Ronnie rises to the challenge, demonstrating his versatility as he combines raw emotion and power.
Ronnie recorded his cover of George Harrison’s Something just before he left Columbia the first time. From the get-go Ronnie decides not to try to reinvent the song. The arrangement has a sixties sound, with bursts of braying horns and string drifting in and out the track, while the piano and rhythm section combine. Later, the track speeds up, taking on a punchy, choppy style. This adds drama to Ronnie’s powerful, impassioned delivery. After hearing so many versions of Something, this one worked because it didn’t stray far from the original and wasn’t transformed into an overblown ballad.
Girl Don’t Come was another of the songs from Ronnie’s first time at Columbia. Produced by Billy Jackson, the production is different again. It has a much more late-sixties, early-seventies style. Think Bacharach and David with Dusty Springfield. It has a similar style, with bursts of drama throughout the track. Flourishes of strings, rhythm section, Thom Bell style rasping horns and piano combine before Ronnie’s heartfelt, punchy vocal enters. The arrangement veers between a punchy and flowing style. Impassioned harmonies enter, while the strings are harsher than on the Thom Bell produced tracks. This works though, as sixties pop and soul are combined, giving us a snapshot of Ronnie’s early work.
Point Of No Return was a track written by Thom Bell and Linda Creed that was recorded by The Stylistics. A wah-wah guitar is joined by the rhythm section and guitars as Ronnie delivers a vocal that’s full of raw emotion. The punchy, choppy arrangement would make this popular with Northern Soul fans. Especially, when the rasping horns and strings join the rhythm section. While quite different from The Stylistics’ version Ronnie’s version breathes new life into a familiar song.
Closing One Man Band is The Love Of A Woman which Neil Sedaka cowrote with Howard Greenfield. It’s the best of the three tracks produced by Billy Jackson. Braying horns, the rhythm section and woodwind combine as Ronnie unleashes a powerful, passionate vocal. Lush strings and blazing horns combine as the rhythm section drive the track along. Ronnie seems to have reserved an outstanding vocal for last, as if determined to close One Man Band on a high. This he does, with a dramatic, powerful and joyous flourish.
Of the seven albums Ronnie Dyson recorded during his tragically short career, One Man Band is without doubt, his finest. It gets off to an outstanding start, with the four Thom Bell produced tracks. Thom seems to be able to bring the very best out of Ronnie. He seems able to wring every last ounce of effort and talent out of him. His production seems to compliment Ronnie’s vocal prowess. Sometimes this means using an understated arrangement, other times he uses drama to compliment Ronnie’s deliver. These four sings feature some of the best arrangements on One Man Band and it would’ve been fascinating to see what difference Thom producing the whole album would’ve made? Having said that, Stan Vincent and Billy Jackson’s production styles both have their merits and result in some compelling, emotive and impassioned performances from Ronnie.
When You Get Right Down To It and Point Of No Return are the best of the Stan Vincent produced tracks, where drama and power of the arrangement matches Ronnie’s delivery. A Wednesday In Your Garden sees Stan bring out another side of Ronnie Dyson, allowing Ronnie to show just how versatile a singer he really was. Of the Billy Jackson produced tracks, The Love of A Woman is the standout track, with Ronnie saving one of his best performances for it.
The ten tracks on One Man Band feature Ronnie Dyson at his best. One Man Band was Ronnie Dyson’s best album. What makes it and it’s compelling and indeed, fascinating album is the differences in production styles. These three styles are very different. So too are the production styles of the five bonus tracks that feature on Purpose Music Vaults’ recent release of One Man Band. It contains tracks two tracks produced by Henry Cosby and two by John Florez. The best of the bonus tracks is the Norman Harris and Alan Felder produced Lady In Red. It’s a stunning track, and the perfect way to close this lovingly remastered rerelease of One Man Band, which was the finest hour of Ronnie Dyson’s tragically short career. Standout Tracks: One Man Band (Plays All Alone), I Think I’ll Tell Her, Just Don’t Want To Be Lonely and Give In To Love.
RONNIE DYSON-ONE MAN BAND.
DISCO RECHARGE-COME INTO MY HEART AND USA-EUROPEAN CONNECTION-SPECIAL EDITION.
DISCO RECHARGE-COME INTO MY HEART AND USA-EUROPEAN CONNECTION-SPECIAL EDITION.
For far too long, Boris Midney’s role in the development of Euro Disco has been overlooked. That is until now. Recently, the Disco Recharge label released a double-album of two of of Boris’ albums. This was Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress. However, two of the albums that launched Boris Midney’s career as one of the founding fathers of Euro Disco were his two USA-European Connection albums Come Into My Heart and USA-European Connection. After being unavailable for far too long, Disco Recharge are rereleasing both albums, complete with bonus tracks on 15th October 2012 as Disco Recharge Come Into My Heart and USA-European Connection-Special Edition. This is another of Mr. Pinks lovingly compiled retrospectives that takes us back in time to 1978 and 1979, when disco provided the soundtrack to our lives. Before I tell you about the music on Disco Recharge Come Into My Heart and USA-European Connection-Special Edition, I’ll tell you the background to both Come Into My Heart and USA-European Conection.
Having defected to America and become part of the Russian Jazz Quartet. Gradually, each of the members of the Russian Jazz Quartet started working within the music industry. Boris Midney was a talented musician, a true multi-instrumentalist who could read and write music. By had 1976, Boris decided that the time was right for him to strike out on his own. Rather than work for anyone else, Boris decided to work for himself.
When Boris Midney decided to start a career in music, disco was at the peak of its popularity. Boris decided to fuse genres and influences to create a disco sound. He’d built a studio in Princeton, New Jersey, and using session musicians, started combining funk with lush string and a disco sound. Although his unique sound was conceived in New York, it would be less than one-hundred miles away where it was born.
It was at Philadelphia’s Alpha International Studios that Boris Midney’s trademark sound was born. With session musicians accompanying Boris, he married Euro Disco with classic US disco, R&B and funk. What he came up with was one long track. People said that it was too long, it needed to be separated or else people would lose interest. Luckily, Boris had the conviction of his beliefs. Sticking with his initial idea, he created his debut album. When, his debut album was born, it contained just two tracks, nearly fifteen and thirteen minutes. When the album was finished, Boris needed a title for it. Then fate intervened. On his journey’s between his New York home and the studio in Philly, he noticed a sign with the words “ Connection to 95.” It was a eureka moment and USA-European Connection was born.
With USA-European Connection’s debut album Come Into My Heart completed, Boris started playing people the album. People didn’t understand the music. What they didn’t understand was that a new sound had been born. Then when one of New York’s most influential DJs played USA-European Connection, it was a game changer.
Boris took Come Into My Heart to David Mancuo at The Loft. When David played the album gradually, it cleared the dance-floor. People just wanted to listen to Come Into My Heart. When Boris didn’t get the reaction he wanted, he drove back to Philly and remixed Come Into My Heart. Then the next day, Boris received a phone call saying David played Come Into My Heart several times. Quickly, things moved fast. Promoters started calling Boris and then he was introduced to Henry Stone at T.K. Records. Henry decided to release USA-European Connection’s Come Into My Heart on his Marlin label. Soon, Boris had the first hit of his career.
Success came Boris’ way almost immediately. His debut album USA-European Connection’s Come Into My Heart, launched Boris career in 1978. It seemed a disco legend had been born when Come Into My Heart reached number one in the US Dance Charts. DJs everywhere loved USA-European Connection’s Come Into My Heart. For twenty-one weeks, it was a stalwart of DJ playlists. After the success of Come Into My Heart Henry Stone started asking Boris for a followup album. That would become USA-European Connection.
A year after the release of USA-European Connection’s debut album Come Into My Heart, USA-European Connection was released in 1979. It had been recorded at Boris new studio, which he’d christened Eras, as this was the dawn of a new era of music. By the time USA-European Connection was released, disco’s popularity was waning. Still the singles I’d Like To Get Closer and There’s A Way To My Heart proved popular. Sadly, USA-European Connection wasn’t as big a commercial success, but showed just innovative and creative a producer Boris Midney was. You’ll realize that when I tell you about Come Into My Heart and USA-European Connection.
USA-EUROPEAN CONNECTION-COME INTO MY HEART.
Opening USA-European Connection’s debut album Come Into My Heart are the song sthat took up Side One of the album Come Into My Heart and Good Loving. Thunderous drums drive the arrangement while strings, flourishes of piano and guitar before tight, soulful cascading harmonies from Leza Holmes, Renna Johnson and Sharon Williams combine. They provide a contrast to the thunderous drums and dramatic bursts of cinematic strings. Joining them are Celtic fiddles, slapped bass and chiming guitars. Soon there’s a real Euro Disco sound. It’s disco, but with drama. Everything is thrown into the mix, stirred by Boris and the incredibly it works. There’s everything you could think of, from space-age synths, percussion aplenty and sultry saxophones. Jazz, funk, Latin, disco and soulful harmonies are combined as a near fifteen journey unfolds. Throughout the track, Boris mixes a compelling combination of drama with a dance-floor friendly beat. It’s a glorious combination, with Boris relentlessly teasing and toying with the listener. Rather than let the track flow, he takes it on dramatic twists and turns. Then he unleashes dancing strings, soulful, soaring harmonies, rocky guitars and the ever-present pulsating beat as this epic journey closes, but what a glorious journey it’s been.
Side Two of Come Into My Heart featured a medley of Love’s Coming and Baby Love. From the get-go, Boris creates a dramatic, cinematic soundscape. Pounding beats, sassy harmonies, washes of synths and swirling strings. Gradually, with stabs of piano and percussion joining the strings the arrangement reveals its secrets and beauty. Impassioned harmonies are key to the track’s irresistible Euro Disco sound. There’s a funky side to the track, with a wah-wah guitar weaving its way across the arrangement. Strings dance joyously as the harmonies and warm, melodic combine. Then Boris adds a breakdown, he gradually strips the track down to just percussion and drums. He then rebuilds the track. From there on, it’s Euro Disco all the way, albeit with funk, Euro Pop and even classic music drifting in and out of the track. Again Boris teases and toys with the listener, creating a musical melting pop where innovations, idea and influences are fused. This results in a hook-laden, genre-sprawling and timeless dance track.
Although Come Into My Heart features only two two-track medleys, it’s an innovative, creative and imaginative take on Euro Disco, with Boris Midney rewriting the rules. He takes Euro Disco, adds elements of jazz, funk, Latin, rock, classic American disco and adds some of the most soulful harmonies you’ll hear in a long time. Thinks the Birds of Paradise meets the Sweethearts of Sigma and you’re getting the idea. This was accompanied by a pounding, pulsating beat. Alas, the musical journey is over in less than twenty-nine minutes, but Mr. Pinks has dug out four remixes, including the original single and twelve-inch versions. They allow you to hear Boris two medleys in different ways, that breath new life and meaning into the tracks. By the next time Boris Midney entered a recording studio, it was with a different sound, one that’s variously elegant, graceful, beautiful, soulful and still dance-floor friendly.
USA-EUROPEAN CONNECTION-USA-EUROPEAN CONNECTION.
USA-European Connection was the followup to Come Into My Heart, which was released a year later in 1979. It opens with I’d Like To Get Closer, where rolls of drums are combined with dramatic, flourishes of strings, jazzy piano and a pulsating beat. This is typical Boris Midney, fusing genres and influences. A slapped bass, percussion and quivering strings drive the arrangement along. Straight away, funk, US disco and Euro Disco are fused. The Euro Disco influence is added to by the breathy harmonies. There’s an elegance to the music, with bursts of cascading strings key to the sound. Rocky guitar licks add a new dimension, while a healthy sprinkling of percussion is also key to this gorgeous, elegant track. Adding the finishing touch is a rasping horn that makes a brief and welcome appearance. Although quite different from the music on Come Into My Heart, it seems that in the post-disco landscape, Boris was reinventing disco and taking it in a new, innovative direction like only he could.
Latin percussion joins a funky rhythm section and quivering strings as Boris continues to take his music in a different direction with Do Me Good. Granted there’s still elements of Come Into My Heart present, but this is different. The drums aren’t as prominent, with the lush strings and funk-drenched rhythm section continuing to give the arrangement an elegant, almost classical influence. Strings float along, while chiming guitars, keyboards, percussion and the funky rhythm section provide the mainstay of the arrangement. Then at just the right moment Boris drops in understated, tender harmonies. By now you realize just how different this is from Come Into My Heart. Gone is the drama and twists and turns. Here, the music flows, although genres are fused. Wistful horns give the track a jazzy sound as one of the most beautiful tracks Boris ever produced reveals its secrets and subtleties as rock, funk, Latin, classical music and soulful harmonies are combined.
Like the previous track, Join the Dance sees Boris fuse a combination of rock, funk, Latin, classical music and soulful harmonies. Percussion and a funky rhythm section are joined by dramatic flourishes of keyboards and rock guitar rifts. It’s as if Boris grabbing your attention. Having done so, he combines tender harmonies with graceful strings. The beat is more prominent, but not as much as on Come Into My Heart. This is a much more subtle beat. Bursts of rocky guitars reverberate, producing a contrast to the elegance of the strings, harmonies and thoughtful piano. You’re swept along atop the lushest of strings with harmonies whispering seductively in your ear. Truly, it’s another inventive, imaginative soundscape, sculpted by the Godfather of Euro Disco. By combining genres and influences he manages to produce his own unique brand of Euro Disco, one that’s both elegant and dramatic, and bold and beautiful.
Closing USA-European Connection is There’s A Way Into My Heart, a twelve-minute musical adventure. A combination of funky rhythm section, sweeping, swirling strings and tender, heartfelt harmonies sweep you along. It’s a really beautiful combination, with jazz-tinged piano and chiming guitars joining the mix. Again, it’s a much more subtle, elegant sound than many Euro Disco albums. Really, Boris has taken the best of US disco and Euro Disco, sprinkled some funk and jazz. That jazz influence manifests itself throughout the track. Rasping horns and piano are key to this jazzy sound. This is one of these tracks that you just loose yourself in. Much of that is down to the elegant, beautiful sound. Floaty shimmering, shivering strings, tender harmonies and the funk supplied by the rhythm section take you on a twelve-minutes graceful, elegant journey where Boris Midney ever the innovator, rewrites the ground rules to Euro Disco in the post-disco musical landscape.
USA-European Connection was a very different album to Come Into My Heart. It has a much more understated, subtle sound. The sound is elegant, graceful and beautiful, and you’re swept away atop the lushest of shimmering, shivering strings and the most soulful of harmonies. Giving USA-European Connection it’s much more understated sound is a much understated beat. Gone is the pounding, pulsating beat of Come Into My Heart, replaced by a beat that compliments the rest of the arrangement. This is unlike many other Euro Disco albums, where the beat constantly pulsates. Ironically, when USA-European Connection was released, disco was on its last legs. Its popularity was waning and USA-European Connection became another casualty of the Disco Sucks backlash. Thankfully, Harmless Records have rereleased USA-European Connection, complete with two bonus tracks and it’ll be released as Disco Recharge Come Into My Heart and USA-European Connection-Special Edition on 15th October 2012. This gives everyone the opportunity to reevaluate and rediscover the innovative, imaginative and creative side of Boris Midney who rewrote the rules of Euro Disco on Come Into My Heart and USA-European Connection. Standout Tracks: Come Into My Heart and Good Loving, Join the Dance, Do Me Good and There’s A Way Into My Heart.
DISCO RECHARGE-COME INTO MY HEART AND USA-EUROPEAN CONNECTION-SPECIAL EDITION.
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DAN HARTMAN-RELIGHT MY FIRE.
DAN HARTMAN-RELIGHT MY FIRE.
During his career, Dan Hartman wrote almost 250 songs and appeared on over one-hundred albums and worked with everyone from Loleatta Holloway, Dusty Springfield, Little Richard, Diana Ross, James Brown, Tina Turner and the Average White Band. Dan also released eight solo albums between his 1976 debut album Images and his final album Keep the Fire Burning in 1994. Despite such a prolific career, many people will forever remember Dan Hartman for one song, Relight My Fire. Ironically, when Relight My Fire was released back in 1979, it wasn’t a huge commercial success. Many people think that because the song was so popular and became a timeless, dance classic that it was one of Dan’s biggest hits. Sadly, that wasn’t the case, not by a long chalk. Indeed, it wasn’t even one of Dan Hartman’s top ten biggest hits. Featuring the unmistakable voice of the Queen of Disco Loleatta Holloway and with strings and horns arranged by the legendary Norman Harris formerly of M.F.S.B. and in 1979, a member of The Salsoul Orchestra, Relight My Fire should’ve been a huge hit. The only small crumb of comfort for Dan and everyone involved was it reached number one in the US Dance Charts and lighting up dance floors worldwide and continues to do so. Relight My Fire was also the title of Dan’s 1979 album, which for far too long, has been unavailable on CD. Now it’s been lovingly remastered and rereleased by Purpose Music Vaults, complete with six bonus tracks. Before I tell you about the music on Relight My Fire, I’ll tell you about Dan Hartman and his career.
Dan Hartman was born in 1950 in Harrisburg, Pennsylvania and before long, it became obvious that he was something of a musical prodigy. By aged thirteen, Dan was a classically trained pianist and managed to persuade his brother to let him join his band The Legends. Soon, Dan was writing most of the songs, which ranged from soul to rock and everything in-between. The Legends couldn’t attract the interest of record labels until Blue Sky Records, a subsidiary of Epic Records heard their demos. Steve Paul at Blue Sky Records’ previous group White Trash had recently split. He was in the process of putting together a new group, The Edgar Winter Group. Success was just round the corner for Dan.
Soon, Dan was auditioned and joined the group, playing bass, guitar and keyboards as well as co-writing half of the songs on The Edgar Winter Group’s 1972 debut album They Only Come Out At Night. It was a huge commercial success, resulting in it being certified double-platinum. Two further albums followed, 1974s Shock Treatment and 1975s The Edgar Winter Group With Rick Derringer. Three years later, The Edgar Winter Group spilt and Dan was offered a solo deal by Blue Sky Records.
A year after The Edgar Winter Group split, Dan Hartman released his 1976 debut album Images. Images was quite different from Dan’s music with The Edgar Winter Group, given its much more poppy sound. By the time he released his sophomore album Instant Replay in 1978, Dan Hartman had dived headfirst into disco, which resulted in top twenty singles in the UK with Instant Replay and This Is It. In the US, both Instant Replay the single and album were both commercial success. The album reached number eighty in the US Billboard 200, while the single reached number twenty-nine in the US Billboard 100 and gave Dan his first number one in the US Dance Charts. Having established what was his sound and style, Dan Hartman decided that his third album Relight My Fire would feature more of the same.
For Relight My Fire , Dan wrote six tracks, with poppy hooks aplenty and a dance-floor friendly sound. He enlisted a few special guests for the recording of Relight My Fire, with one track reserved for one of his favorite vocalists Loleatta Holloway. This was the title-track, Relight My Fire. Having spoked to Loleatta’s husband Floyd Smith and Ken Cayre one of the co-owners of Salsoul Records an agreement was reached. Loleatta would sing Relight My Fire and Dan would produce Love Sensation in 1980. To arrange the song Norman Harris of the legendary Baker, Harris, Young rhythm section and a member of M.F.S.B. and in 1979, a member of The Salsoul Orchestra would arrange the track. Norman would bring in many members of M.F.S.B. for the recording of Relight My Fire. With M.F.S.B. accompanying Loleatta, including the percussive skills of Larry Washington an eight-minute Magnus Opus took shape. However, Loleatta Holloway wasn’t the only big-name to feature on Relight My Fire.
Among the other big-names to feature on Relight My Fire. Stevie Wonder, who plays harmonica on Hands Down, which opens Relight My Fire. Edgar Winter an old colleague of Dan’s from The Edgar Winter Band plays alto saxophone. The other personnel that appear on Relight My Fire include drummer Brian Blake, Craig Peyton on electric vibes, conga player Jimmy Maelens and guitarists G.E. Smith and Phil Houghton. Dan a true multi-instrumentalist plays keyboards, bass, guitar, drums and sings lead and backing vocals. Once Relight My Fire was recorded the whole album was remixed was remixed by John Luongo and Michael Barbiero. Their Progressive Mix of Relight My Fire, which features on this rerelease is perceived as the classic mix. This was after all, the era of the DJ-remixer and they were now remixing not just single tracks, but whole albums. Now that Relight My Fire was recorded and remixed, it was ready for release. Before that, this hugely innovative single Relight My Fire had to be promoted.
With Relight My Fire recorded and the title-track remixed, the single was heavily promoted in clubs. DJs like Larry Levan and Frankie Crocker instantly, saw that this was an innovative track and one that could be huge. Suddenly, DJs wanted to remix the track. So did John Luongo who’d mixed Relight My Fire with Michael Barbiero. He decided he’d like to remix Relight My Fire and came up with another classic mix that features on the rerelease the Historical 1979 remix. Like the original version of Relight My Fire it would prove to be huge, but sadly, not the huge commercial success that people thought. Lady Luck decided to intervene and suddenly disco sucked.
By the time Relight My Fire was ready for release, disco’s popularity was waning. The backlash of the Disco Sucks’ movement was being felt. Disco was no longer flavor of the month, with many record companies not even releasing disco music, and disco artists’ releases selling badly. It seemed Relight My Fire was the wrong album at the wrong time. What didn’t help was that many radio DJs had loved Dan’s work with The Edgar Winter Group and felt he’d sold out by releasing disco music. Relight My Fire didn’t get the airplay it deserved. On the release of Relight My Fire as a single, it failed to chart in both the UK and US. Its only success was in the US Dance Charts, where the original and John Luongo’s Historical 1979 remix both reached number one on the US Dance Charts. The only single from Relight My Fire to chart was Hands Down, which reached number twenty-six in the US Dance Charts. On the release of the album in 1979, Relight My Fire only reached number 189 in the US Billboard 200 and number sixty-seven in the US R&B Charts. For everyone concerned, this must have been a crushing blow. After all, here was Dan Hartman’s disco epic, derailed by the Disco Sucks backlash. Despite that, Relight My Fire has since become a true, timeless disco classic. Similarly, Dan Hartman has quite rightly become a legend of disco, as you’ll realize when I tell you about the music on Relight My Fire.
Opening Relight My Fire is Hands Down, which features none other than Stevie Wonder on harmonica and Edgar Winter on alto saxophone. From the opening bars, this is joyous, good-time party music, with poppy hooks in plentiful supply. Pounding drums, percussion and a blazing saxophone usher in Dan’s joyful vocal as this hook-laden track gets underway. Dan’s accompanied by joyous harmonies and handclaps accompanying him. This punchy arrangement is musical perection. Chiming guitars help the pounding rhythm section drive the arrangement along, as they provide the track’s heartbeat. They’re helped by dramatic bursts of keyboards, percussion, harmonies and handclaps that help create the track’s good-time party sound. It’s just an irresistible explosion of happiness. Stevie’s harmonica and Edgar’s saxophone trade musical blows towards the end of this track. They help add the icing to this delicious musical cake, which has poppy hooks aplenty.
As Love Strong opens, it’s to applause, as if Dan’s still basking in the acclaim of the opening track. The track is made to sound as if it’s recorded live. Dan becomes a preacher, the audience his believers. His voice is higher, sounding not unlike Michael Jackson. Indeed, the whole song sounds like something Michael Jackson should’ve recorded. With a thunderous beat, rock tinged guitars, soaring harmonies and banks of keyboards accompanying him, Dan fuses rock, disco and drama. It’s one of these tracks where you’re swept along by the arrangement. Gradually, it reveals its charms and subtleties, the drama growing and the song getting better over the four minutes. That pounding beat is omnipresent, while harmonies sweep in, rocky guitars, keyboards and Dan’s vocal add to the theatre and spectacle of this musical soundscape, where genres and influences are seamlessly fused.
Quite simply, Relight My Fire is Dan’s Magnus Opus. This is a near ten-minute innovative masterpiece arranged by Norman Harris and featuring Loleatta Holloway’s vocal prowess. From the opening bars, the tension builds. Philly’s finest musicians do what they’re so good at, making great music. With a meandering piano opening the track, you’ve no idea what’s about to unfold. The pulsating beat joins the mix. Soon, an explosion of synths, percussion, vibes, dancing strings and rasping horns unite. They build and build the drama for over three minutes, becoming like an unstoppable, melodic, musical juggernaut. Guitars and a pounding rhythm signal the arrival of Dan’s powerful vocal. As it reaches a crescendo, he’s joined by lush, shivering strings, harmonies and growling horns. Soon, it’s like riding a joyous, dramatic, musical roller-coaster. All you can do is sit back and enjoy the ride. The only problem is keeping still. It’s impossible. You can’t. You’re swept away amidst the shivering strings, pounding beat, cascading harmonies and rasping horns. Then there’s Loleattta’s sassy, vampish vocal that accompanies Dan. Does disco get any better or more dramatic? That’s just the finishing touch to this timeless, multi-layered disco classic, that’s been lighting up dance-floors since 1979 and will continue to do so.
After a true epic track like Relight My Fire, it’s almost as if anything else will be an anticlimax. Dan doesn’t disappoint though. He unleashes Just For You, another slice of good-time, party music and becomes like a one-man band, playing every instrument except the congas. Like other tracks, a pounding rhythm section and piano are at the heart of the action, while congas, harmonies and Dan’s powerful, uplifting vocal drives the arrangement along at breakneck. Backing vocalists answer his call, while flourishes of piano add to the track’s uplifting, good-time party sound. This is definitely the album you want as the soundtrack for your next party. Making a good thing even better, is Dan’s virtuoso, jazzy performance on the piano, with punchy harmonies accompanying him. Again, poppy hooks are in plentiful supply, while Dan’s joyous, good-time, party music is guaranteed to make put a smile on your face and make your party swing.
I Love Makin’ Music could be Dan Hartman’s theme tune, given how prolific an artist he was. The tempo drops slightly, but Phil Houghton’s wah-wah guitar, Larry Washington’s congas and Craig Peyton’s electric vibes ensure this is another slice of joyful, good-time music. Dan’s vocal is sultry and sassy, with the constant pounding beat and growling horns accompanying him. Phil adds the unmistakable sound of his wah-wah guitar, while soulful harmonies interject. Later, Larry Washington’s congas and Craig’s vibes punctuate the arrangement as disco, funk and soulful harmonies are fused. This results in another hook-laden slice irresistibly catchy music from Dan Hartman.
Closing Relight My Fire is Free Ride a track that instantly grabs your attention. Guitars licks that sound as if they belong on a Chic album are joined by dramatic bursts of drums and with that, the track bursts into life. Dan’s lead vocal is accompanied by backing vocals while a driving, dance-floor arrangement unfolds. Searing, sizzling guitar, percussion and congas accompany his vocal, while electric vibes add to the drama. Rocky guitars and piano both play their part in the dramatic, pounding arrangement as soaring harmonies join the fray. It’s another breathtaking musical roller-coaster ride, one that lasts seven-minutes, with twists and turns aplenty in-store. During that journey, Dan fuses rock, funk, soul and of course disco, adding in plenty of poppy hooks and powerful, joyous vocals.
Although Dan Hartman’s third album Relight My Fire only lasts six songs, they’re six slices of pop perfection set to a pulsating disco beat. It’s uptempo, uplifting and joyous music, designed to put a smile on your face and get you up on your feet dancing. Sadly, Dan was just a year too late in releasing Relight My Fire. If he’d released Relight My Fire in 1978, not 1979, then we’d be talking about Relight My Fire as one of disco’s Magnus Opus’. Unfortunately, disco’s bubble had burst by the time Relight My Fire was released. By then, disco had lost its popularity and disco was something of a musical pariah. So, when Relight My Fire was released, it wasn’t to critical acclaim and commercial success, it was into a very different musical landscape. Now thirty-three years later, we’ve the opportunity to reassess Relight My Fire and give it the critical acclaim it quite rightly deserves.
Each of the six tracks are packed full of poppy hooks and designed to stick in your memory. Opening with Hands Down, Relight My Fire continues on its journey through good-time, party music. Love Strong sees Dan the preacher basking in deserved applause, before the album’s centerpiece and masterpiece Relight My Fire. It’s a complex, multilayered track which is like a musical roller-coaster featuring Loleatta Holloway and Dan vamping their way through the ten-minute track. After that comes three more hook-laden slices of good-time, party music, Just For You, I Love Makin’ Music and Free Ride. That closes Relight My Fire, but not Purpose Music Vaults’s recent rerelease, which features six bonus tracks. This includes the Historical 1979 remix and the Progressive Remix of Relight My Fire. These six tracks and Relight My Fire have been remastered and the sound quality is absolutely stunning. It brings to life Dan Hartman’s disco Magnus Opus, and its timeless, joyous good-time music, which is full of poppy hooks aplenty. Thirty-three years after its original release in 1979, Dan Hartman’s Relight My Fire is back and sounds better than ever and is perfect music for your next party. Just remember to clear your floor beforehand, as Dan Hartman’s Relight My Fire will get your party started and make sure it goes with a swing. Standout Tracks: Hands Down, Relight My Fire, Just For You and Free Ride.
DAN HARTMAN-RELIGHT MY FIRE.
INFERNAL DEVICES-LIFE IN STEREO.
INFERNAL DEVICES-LIFE IN STEREO.
Having recently reviewed the debut release from New York’s newest label SpinSpinNYC, Nutritious Presents Duke Williams and The Extremes, they’ve since released their second release. This is Infernal Devices’ Life In Stereo, the debut E.P. from the Brooklyn based dance duo. Infernal Devices are Mark Allen and Andy Miccolis, and having spent the last few days immersed in the six tracks on Life In Stereo, it sounds as if they’ve a big future ahead of them. Mark and Andy describe their music as “retro futurism for the post disco landscape.” Their music is a fusion of pulsating beats, melodic hooks with a twist of eighties synth pop and a sprinkling of sci-fi. Not only do they set about creating a sound that will light up any dance-floor from New York to North Carolina, and everywhere in between, but they like to put on a breathtaking spectacle of a live show. Although Infernal Devices create music, this is taking dance music to the next level, both sonically and as a spectacle. Truly, this is the complete package, something befitting of the 21st Century. So, for anyone whose yet to hear Infernal Devices music, I’ll tell you about their six-track E.P. Life In Stereo.
Opening Life In Stereo is the title-track Life in Stereo, a track where Kraftwerk, eighties synth pop, dance-floor beats and poppy hooks combine. It’s a track that takes you across five decades, from the seventies onwards. As the track opens, the synths immediately make you think of Kraftwerk. So does the wistful vocal, which has a Euro Pop flavor that’s combined with Bowie’s Berlin period. Meanwhile the pulsating dance-floor friendly beat and synths fuse synth pop with deep house. There’s even a New Wave sound to the vocal and synths. The track is a combination of influences and genres. This is all put into Infernal Devices musical melting pot and give a stir by Mark and Andy. What comes out is contemporary, innovative sounding track, where old becomes new, with a little help from Infernal Devices.
Passengers combines pounding beats with subtle, distant keyboards before confident flourish of synths enter. The beats sound as if they belong on a house track, while the synths range from synth pop, new wave and techno.They’re joined by a vocal delivered in an impassioned style. Stabs of marauding synths, thunderous beats and bursts of rocky guitars combine. By then the vocal is delivered in an earnest, whispery style. As the track progresses, the arrangement grows. Now the track references everything from techno, synth pop, New Wave, house and sometimes, thanks to the keyboards, prog rock. Still Infernal Devices continue to drive the arrangement along. In doing so, they create a genre-straddling, dance-floor friendly track.
We Are Alone is a track that sounds like a lost gem of a New Order track from the nineties. When the synths and thunderous beats combine with a vocal that sounds like Barney from New Order. You’re almost checking that this isn’t Manchester’s finest you’re listening to. The similarities are uncanny. That’s how good the track is. This must be released as a single and given a promotional push. As the track moves on, it’s like New Order given a makeover. Filters and delay are added, as the bouncy arrangement reveals its poppy brilliance. Quite simply this is Infernal Devices at their best. It’s melodic, full of poppy hooks, pounding beats and given a futuristic makeover. Truly you’ve got to hear this track, it’s unmissable.
Move On is the last of the four original tracks on Life In Stereo. The other two tracks are remixes of Life In Stereo. Edgy, buzzing synths and pounding beats combine before Infernal Devices pick up where they left off on We Are Alone. Again, there’s a New Order influence, but not as obvious. Mostly, it’s the vocal that makes me draw this comparison. There’s a vulnerability to the tender vocal, while the synths and drums envelop it. It’s indie-rock meets the dance-floor with a 21st Century twist. Like the previous track, it has the same melodic quality, where retro meets a futuristic sci-fi sound. With a vocal that’s both filled with hope and vulnerability, this is just the finishing touch to a track where old meets new and results in something fresh and really exciting.
So, Infernal Devices are just the latest dance-floor duo from Brooklyn, New York. They pick up the baton from JohNick and are left to carry the torch as Brooklyn’s finest purveyors of dance music. Like JohNick before them, Infernal Devices are innovators. They take a melting of influences and genres and transforming them into something fresh, new and exciting. Listen carefully, and you’ll hear everything from Kraftwerk, techno, synth pop, New Wave, house and even briefly, prog rock. Then there’s the New Order influence on both We Are Alone and Move On. Of the two tracks, We Are Alone is like a lost gem of a New Order track, one that sounds like something New Order would’ve recorded in their prime. Since I first heard the track I’ve been smitten. So good is the track, it must be released as a single. It’s a glorious track, one which is the best track on Life In Stereo.
Apart from the four tracks I’ve mentioned on Life In Stereo, there are also two remixes of the title-track. These remixes of Life In Stereo are by Savoir Adore and the Nutritious Remix featuring Chuck Love. Both bring something new and different to the original version and transform it. Indeed, it’s interesting comparing the original with remixes. All too often remixes don’t bring anything new to the party, but these two remixes do.
Overall, Infernal Devices E.P. Life In Stereo is an innovative, exciting and genre-crossing collection of tracks from the Brooklyn dance duo, who I believe, have a great future ahead of them. I’m sure that after you’ve heard Life In Stereo, that you too, will be as excited by Infernal Devices’ E.P. Life In Stereo as I am. It’ll only take one listen, and you too will be smitten, by Infernal Devices’ genre-sprawling six track debut E.P. Life In Stereo, which is out now, on SpinSpinNYC.
INFERNAL DEVICES-LIFE IN STEREO.
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