NUTRITIOUS PRESENTS DUKE WILLIAMS AND THE EXTREMES.
NUTRITIOUS PRESENTS DUKE WILLIAMS AND THE EXTREMES.
All too often, good music for whatever reason, passes unnoticed. It can be for any number of reasons, from a record company not promoting an album properly, that particular genre of music becoming unpopular, the band splitting up or even the record company becoming insolvent. I’ve come across each of reasons several times. Then years later, someone somewhere in a record company rediscovers that music and falls in love with the music, decides to share it with the world. That’s what happened with a new record company SpinSpinNYC and seventies soul band Duke Williams and The Extremes. Back in the seventies, Duke Williams and The Extremes released two albums, 1973s brilliantly titled Monkey In A Silk Suit Is Still A Monkey and 1974s Fantastic Fedora. Sadly, neither album was the commercial success its music deserved. Then fast forward thirty-eight years to August 2012, when SpinspinNYC rereleased a six track compilation entitled Nutritious Presents Duke Williams and The Extremes. This allows everyone another opportunity to hear this fusion of Philly Soul, Southern Soul and funk. Before I tell you about the music on Nutritious Presents Duke Williams and The Extremes, I’ll tell you about Duke Williams and The Extremes.
Back in the early seventies, Duke Williams and The Extremes signed to Capricorn Records, which was also home to a number of Southern rock bands, including the Allman Brothers Band, Elvin Bishop and The Marshall Tucker Band. Duke Williams and The Extremes, included legendary Philadelphia guitarist T.J. Tindall, who later, played on many of Gamble and Huff’s Philadelphia International Records’ productions as part of M.F.S.B. Then in 1975, after many of M.F.S.B. were involved in a dispute with Gamble and Huff over money, T.J. and many members of M.F.S.B.would head to New York, where he became part off The Salsoul Orchestra. During his spell with The Salsoul Orchestra, T.J. played his part in helping Salsoul become disco’s greatest label. That was still to come, with Duke Williams and The Extremes releasing their debut album in 1973.
In 1973, Duke Williams and The Extremes released their debut album, the brilliantly titled Monkey In A Silk Suit Is Still A Monkey. Although it received favorable reviews, it wasn’t a commercial success. A year later, in 1974, Duke Williams and The Extremes released their sophomore album Brilliant Fedora. Like its predecessor, Fantastic Fedora was released to favorable reviews, but little commercial success. After the failure of their first two albums, Duke Williams and The Extremes continued making music, but didn’t release any further albums for Capricorn Records.
Without a label, Duke Williams and The Extremes continued to tour and then in 1980, lost guitarist Paul Plumeri. Taking over guitar duties was a familiar name..Richie Sambora. Three years down the line, Richie would go on to cofound another group many people might just have heard of…Bon Jovi. Still, Duke Williams and The Extremes continued making music and into the digital age, followed the example of many other groups by releasing their music on Bandcamp. Then a new, ambitious and innovative label decided it was time to reintroduce the world to Duke Williams and The Extremes’ early work. This was SpinSpinNYC.
SpinSpin NYC decided that the perfect artist to launch their new label was Duke Williams and The Extremes. So New York DJ Nutritious decided to give Duke Williams and The Extremes a 21st Century makeover. Three tracks were chosen, Theme From the Bermuda Triangle, I Can’t Wait Until Tomorrow and God Bless All The Girls In The World and they were given the “Nutritious Treatment,” that is remixed and given a “contemporary spin.” This was done in a way that Nutritious hoped that the original tracks wouldn’t lose their “raw energy.” The other three tracks on Nutritious Presents Duke Williams and The Extremes are the original tracks. Their inclusion allows you to compare and contrast, by hearing what Nutritious started from, and what he ended up with. These six tracks were then released on August 14th 2012 as SpinSpinNYC first release Nutritious Presents Duke Williams and The Extremes. However, has Nutritious managed to do so? That’s what I’ll tell you, once I’ve told you about the six tracks on Nutritious Presents Duke Williams and The Extremes.
Opening Nutritious Presents Duke Williams and The Extremes is the Theme From the Bermuda Triangle. From the get-go the track is funky with a capital F, as The Extremes rhythm section create a pounding, funky beat. Meanwhile searing lead guitar licks and chiming rhythm guitar combine. Soon, Duke Williams and The Extremes kick loose, with a quite mellow arrangement, where jazz and funk unite. Briefly the drama grows, before the jazz-tinged sound returning. Then from nowhere, synths are unleashed, adding an almost sci-fi sound, before It’s all change again. Keyboards, stabs of horns and lush strings added as Nutritious gives Duke Williams and The Extremes a makeover; one that combines a 21st Century dance-floor friendly sound with Duke Williams and The Extremes’ fusion of funk, jazz and soul. The result is a glorious track, where Duke Williams and The Extremes “raw energy” certainly isn’t sacrificed. Instead, it’s brought up to date, and given a further injection of energy and ideas.
I Can’t Wait Until Tomorrow is another of the tracks given a makeover by Nutritious. The sound is brought right up to date, with the marauding drums, loping bass and percussion creating a much more moderne, innovative and dance-floor oriented sound. This is a track guaranteed to fill any dance-floor from New York to New Orleans. When the vocal enters, it’s a throaty, almost sinister drawl. Bursts of rasping horns, keyboards, percussion and those marauding drums all play their part in this atmospheric soundscape. It only takes one play to reveal its brilliance. After that you’re won over by this majestic Magnus Opus that reveals not just the many talents of Duke Williams and The Extremes, but Nutritious, who is responsible for the cutting-edge, innovative sound that quite simply rocks.
God Bless All The Girls In The World sees Duke Williams and The Extremes’ rhythm section drive the arrangement along at breakneck speed. It’s like a journey on a Japanese bullet train, you sit back, hold on and enjoy the ride. Bursts of dramatic guitar riffs sound as if they belong in the next James Bond soundtrack. Then soon, Nutritious gets to work adding delay as harmonies reverberate. You wonder what the next surprise Nutritious has in store. The unmistakable sound of a Hammond organ joins the fray, as the joyous vocal enters. It adds to the track hooky sound, while thunderous drums are perfect for any dance-floor. Seventies soul meets New York house with plenty of pop hooks during this seven minute joyous journey. Does dance music get any better?
The original version of Theme From the Bermuda Triangle opens with that familiar fusion of funk and jazz, before the lushest of strings and piano enter. It’s The Extremes rhythm section that create the pulsating, funky beat while chiming guitars add the jazzy sound. This is a glorious and irresistible combination, that’s full of hooks and surprises. With strings sweeping and swirling, the piano confidently takes charge before a burst of drama from the rhythm section signals all change. They signal the arrival of searing, riffing guitars and just as you’re enjoying their delights they disappear. Later, synths surround you, sounding as if you’ve wandered onto a lost sci-fi soundtrack. Things change again, as this genre-hopping journey continues down a road marked funky. After six majestic minutes the journey is over, having visited the three corners of a triangle where funk, jazz and soul meet.
I Can’t Wait Until Tomorrow sees the tempo drop with Duke Williams and The Extremes changing things around. The rhythm section, stabs of keyboards and bursts of horns combine with a throaty, otherworldly vocal. This results in a real fusion of styles. Think Southern Soul combined with funk, a sprinkling of blues and even some Southern rock and you’re getting there. It’s a a really evocative, atmospheric soundscape, one that’s moody and thoughtful. Soon, bursts of growling horns, keyboards, percussion and The Extremes thunderous rhythm section all play their part in creating what is an atmospheric, moody soundscape, that every time you listen to it, reveals further subtleties and nuances.
God Bless All The Girls In The World has a real Southern Soul sound when the unmistakable wailing sound of a Hammond organ combines is augmented by a thoughtful rhythm section. Then when Duke Williams and The Extremes kick loose, it’s like listening to the Rolling Stones if they’d been born in the Southern states rather than London. Indeed, Duke’s vocal is reminiscent of Mick Jagger, albeit Duke’s southern drawl is natural. As they kick loose, Duke Williams and The Extremes prove to be a hugely talented and tight band. Quite simply, they should’ve been a huge success. They combine a delicious fusion of Southern Soul, blues and rock. Duke struts his way through the track, unleashing a gravelly vocal, as searing, riffing guitars, piano, the tightest of rhythm sections and backing vocalists accompany him. Of the three original tracks from Duke Williams and The Extremes, God Bless All The Girls In The World is the best and is a glittering hidden gem of a track.
Nutritious Presents Duke Williams and The Extremes is a fascinating and compelling concept, and as a result, is the perfect album to launch a new label SpinSpinNYC. It allows you to compare the three tracks recorded by Duke Williams and The Extremes four decades ago, with the new tracks created from these tracks by Nutritious. As you compare and contrast each of the three tracks, you realize that Nutritious is a hugely innovative, imaginative remixer who creates something new and cutting-edge from something old. Unlike other remixers, Nutritious brings something new to the track. By remixing the tracks, he gives them a contemporary sound, but not at the expense of the energy. Whereas all too often reedits and increasingly remixers are sterile affairs that offer nothing new, this isn’t the case here. Indeed quite the opposite. Three words describe the track. Innovative, imaginative, energetic. These three tracks are dance-floor friendly, capable of lighting up any dance-floor. Whether it’s New York, New Orleans or Nebraska, Nutritious Presents Duke Williams and The Extremes will light up the dance-floor. Of course these remixes wouldn’t be possible without Duke Williams and The Extremes’ original versions. Listening to the three tracks, I found myself wondering just why Duke Williams and The Extremes were a hugely successful group? They’re a tight, talented and versatile group, capable of fusing musical genres and switching seamlessly between genres, often in the one song. Hopefully, after people have discovered SpinSpinNYC’s recent release of Nutritious Presents and The Extremes people will then rediscover Duke Williams and The Extremes music and journey through their back-catalogue. The best way to start that journey, is by buying Nutritious Presents Duke Williams and The Extremes.
NUTRITIOUS PRESENTS DUKE WILLIAMS AND THE EXTREMES.
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BAKER, HARRIS, YOUNG-B-H-Y.
BAKER, HARRIS, YOUNG-B-H-Y.
By 1979 Ron Baker, Norman Harris and Earl Young were still the hardest working and most in-demand rhythm section in music. They were currently part of The Salsoul Orchestra and accompanying artists like the undisputed Queen of Disco Loleatta Holloway, First Choice and Double Exposure. They’d done everything, from writing, arranging and producing artists. Norman Harris was even running his own record company Gold Mind Records, a subsidiary of Salsoul Records. Sadly, Gold Mind Records was in trouble, and soon, would become part of Salsoul. However, although the greatest rhythm section in music had done pretty much everything in music, the only thing they still had to do was release an album. This was soon to change, when Baker, Harris, Young released their debut album B-H-Y in 1979.
Change was also on the agenda at Salsoul, with the label changing since 1978. The changes at Salsoul were in many people’s opinion, not necessary for the best. Whereas previously, musicians like Norman Harris had produced albums, the Cayres had decided to allow DJs to not just to remix individual tracks, but whole albums. Remixers were even producing albums, some of whom were non-musicians.This divided opinion even within Salsoul. Norman Harris and Vince Montana Jr, who in 1978 had split from Salsoul wasn’t convinced by the merits of the remixer. Even Baker, Harris, Young’s debut album B-H-Y would feature four tracks that had been remixed by DJ Bobby Guttadaro. Would these remixed tracks help make B-H-Y a commercial success?
When Ron Baker, Norman Harris and Earl Young set about recording B-H-Y, they been making music together since the sixties. They’d worked with some of the biggest artists and producers. From playing on Thom Bell’s productions of The Delfonics, The Stylistics and Detroit Spinners, Baker, Harris, Young then went to work with two other legendary Philadelphia producers Gamble and Huff. As part of M.F.S.B., Baker, Harris, Young played on some of Philadelphia International Records’ most critically acclaimed and commercially successful albums. This included Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Ship Ahoy and Family Reunion, Harold Melvin and The Blue Notes’ I Miss You, Black and Blue and Wake Up Everybody and The Three Degrees’ The Three Degrees and International. Then in 1975, after a dispute with Gamble and Huff over money, many of M.F.S.B. left Philadelphia International, heading less than one-hundred miles away to New York, where they became part of The Salsoul Orchestra.
At Salsoul, Baker, Harris, Young flourished and were just as busy, if not busier. By 1979, they’d played on just about everything Salsoul released. Indeed, Baker, Harris, Young played on Salsoul’s greatest albums, including albums by The Salsoul Orchestra, Loleatta Holloway, First Choice, Double Exposure Carol Williams and Chora. On many of these albums, many of the personnel that appear on B-H-Y. These were some of Baker, Harris, Young’s Philly based friends, that among their number included singers, songwriters, arrangers and producers. They would all play their part in B-H-Y.
For B-H-Y Ron Baker wrote one track, Come As You Are, while Norman Harris cowrote two tracks with Eugene Curry. They were Handle Me With Love and Care and Take My Body Now. Earl Young cowrote three tracks with Bruce Gray, We Funk the Best, Marathon Dance and I Just Wanna Funk (With You). Together with Bruce Grey and Doug Getschal’s Touch Me While I Touch You and Brian Evans, these eight tracks comprised B-H-Y. Recording would take place in the familiar surroundings of Sigma Sound Studios.
Accompanying Baker, Harris, Young at Sigma Sound Studios were bassist Jimmy Williams and guitarists Ronnie “the Hawk” James, Bobby “electronic” Eli, Harold Wade, Brian Evans and T.J. Tindall. Adding The Salsoul Orchestra’s percussive sound were Larry Washington and Bobby Conga on congas, while Carlton “Cotton” Kent played keyboards and Eugene “Lambchop” Curry synths. Don Renaldo and His Strings and Horns were key to the “Salsoul” sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, plus Ron Tyson. Taking charge of lead vocals would be Ron Tyson and Bruce Grey. The eight tracks on B-H-Y were produced by Baker, Harris, Young, with George Bussey, Bruce Grey and Leon Mitchell helping out with arranging duties. Once the eight tracks were recorded, B-H-Y was set for release in 1979.
B-H-Y was released in 1979 and sadly, wasn’t the commercial success it had been hoped for. The album failed to chart. Neither Come As You Are nor We Funk the Best gave Baker, Harris, Young a chart hit. It seemed like B-H-Y had been released a year too late, with disco’s popularity on the wane. However, is Baker, Harris, Young’s debut album B-H-Y another of Salsoul’s hidden gems? That’s what I’ll tell you, after I’ve told you about the music on B-H-Y.
Opening Baker, Harris, Young’s debut album B-H-Y is the lead single Come As You Are. Written by Ron Baker and arranged by Ron Baker, Earl’s thunderous drums power the arrangement along while Norman adds some jazz-tinged guitar licks. Then, with a flourish of keyboards the track reveals its secrets. A piano, tender harmonies from the Sweethearts of Sigma enter and Baker, Harris, Young unleash a funky juggernaut. Don Renaldo’s strings and horns sweep and blaze, while Earl’s drums are matched by Ron’s bass. The Sweethearts of Sigma add their joyous, tight harmonies as a jazzy piano combine with Baker, Harris, Young’s funky rhythm section. Although they’re the star of the album, Baker, Harris, Young don’t mind letting the rest of the band take their turn centre-stage as they produce an uplifting, joyful track where funk, soul and jazz are fused brilliantly.
Norman Harris cowrote Handle Me With Love And Care with Eugene Curry and it’s a track that explodes into life. Earl’s drums are at the heart of the arrangement, powering it along. Norman’s familiar guitar combines with the lushest of strings, punchy growling horns and cascading, gentle harmonies from the Sweethearts of Sigma. They drift in and out the track, as it reveals its secrets. A synth plays an important role, but it’s the Baker, Harris, Young section who are at the heart of the track’s sound and success, with Earl and Ron providing the track’s pulsating disco heartbeat and Norman’s inimitable jazzy guitar playing sprinkled across the arrangement. Together with Don Renaldo’s luscious strings and growling horns and the contrasting beauty of the Sweethearts of Sigma, this is quite simply a glittering hidden gem from Salsoul’s vaults.
Earl Young and Bruce Gray cowrote three tracks and We Funk The Best is the first. The sound of an FM radio station that sounds as if it’s from the planet funk can be heard as an uber-funky track unfolds. With the funkiest of arrangements so far from Baker, Harris, Young, they combine synths that add a sci-fi sound, with Don Renaldo’s horns that blaze and growl. Meanwhile, the Sweethearts of Sigma add punchy, funky harmonies as Ron Tyson adds a foxy vocal. You’re taken on a journey into planet funk, with Earl’s drums and Ron’s pounding, slap bass for company. It’s a thoroughly enjoyable journey, one you must take at least once.
Marathon Dancer the second Earl Young and Bruce Grey penned track unravels at breakneck speed. The Baker, Harris, Young rhythm section combine with chiming guitars, percussion and soulful and sweeping harmonies from the Sweethearts of Sigma. They accompany Ron Tyson’s lead vocal as one of the quickest, dance-floor friendly tracks on B-H-Y unfolds. Then during a breakdown, Earl’s drums are joined by Larry Washington’s congas as the track rebuilds. Soon, the guitars, dancing strings and rasping horns have returned, with Ron’s bass matching Earl’s drums every step of the way. Hearing Baker, Harris, Young in full flight, with some of Philly’s finest musicians is a hugely impressive sound. Especially on a track as good as this.
Touch Me While I’m Touching You sees the tempo drop, just slightly though. Guitars riff, while Earl’s pounding drums provide the track’s pulse. Gradually, the track builds with stabs keyboards, handclaps and sassy harmonies from the Sweethearts of Sigma before Bruce Grey’s punchy lead vocal enters. Soon, his vocal becomes heartfelt and powerful and he’s accompanied by the Sweethearts of Sigma who add soaring harmonies. Don Renaldo’s strings sweep and swirl, while horns growl and rasp. Bruce’s vocal becomes a powerful vamp, as stabs of synths and flourishes of strings accompany him. Everything falls into place and a hugely catchy, dance-floor friendly track that’s soulful and certainly not short of hooks.
Take My Body Now was the other Norman Harris and Eugene Curry penned track. It’s a track with “Made In Philadelphia” stamped all over it. This is the case from the opening bars. Ron Baker’s pounding, funky bass and Don Renaldo’s growling horns and lush strings are accompanied by impassioned harmonies from the the Sweethearts of Sigma. Their tender harmonies are contrasted by Ron Tyson’s powerful, confident vocal. All the time, Baker, Harris, Young show why they were the greatest rhythm section of the seventies laying down the track’s heartbeat. Ron’s bass playing is some of the best on B-H-Y and unites with Earl’s drums. Later, not to by outdone, Norman’s jazz-tinged guitar toys with the strings that cascade, dancing, as if in appreciation at the beauty of the Sweethearts of Sigma’s heartfelt harmonies. Together, Baker, Harris, Young and some of Philly’s finest musicians and Sweethearts of Sigma produce a track that’s dramatic, soulful and beautiful in equal measures.
I Just Want To Funk (With You) is the third of the Earl Young and Bruce Gray penned track, which they also arranged. There’s almost a P-Funk sound to the arrangement, with the Baker, Harris, Young rhythm section responsible for the funky laden beat. Earl’s thunderous drums, Ron’s slapped uber-funky bass and chiming guitar combine with blazing, braying horns as percussion and searing, riffing guitars combine. Meanwhile George Bussey’s vocal is a tough, sassy, growl, while the Sweethearts of Sigma add breathy, sassy harmonies as the toughest, funkiest track on B-H-Y reveals its glorious secrets.
Closing B-H-Y is Opus BHY where Baker, Harris, Young combine as the track begins. Norman’s chiming guitar, sweeping, swirling strings, rasping, growling horns combine and are joined by joyous harmonies from the Sweethearts of Sigma. As the track progresses, the arrangement grows in boldness and drama. Searing, sizzling guitars, bursts of braying horns, dancing strings and percussion all join the mix. In fact, everything that made Salsoul great is combined as soul, funk, jazz and disco are fused seamlessly. Sometimes, the track heads in the direction of jazz, before soulful harmonies and then a funky rhythm and horn section change things around. Then, all too soon, the after less than five majestic minutes, the track and B-H-Y is over, leaving just magical memories of some great music from three legends of music, Baker, Harris, Young.
Although B-H-Y wasn’t the commercial success it deserved to be, it’s one of these hidden gems in Salsoul Records’ back-catalogue that’s waiting to be unearthed. It joins albums like Carol Williams’ ‘Lectric Lady and Charo and The Salsoul Orchestra’s Cuchi Cuchi, two other glistening gems. B-H-Y allowed three legendary musicians, Ron Baker, Norman Harris and Earl Young the chance to showcase their combined talents at Salsoul. For too long, Baker, Harris, Young had been either playing on other people’s albums or writing, arranging and producing them. Granted they were able to showcase their talents on these albums, and on The Salsoul Orchestra albums. However, given how innovative, imaginative and talented Baker, Harris, Young were, this album was long overdue. Yes, they’d played together on albums by The Trammps, but nothing at Salsoul.
Unfortunately for Baker, Harris, Young, by the time B-H-Y was released, disco’s popularity was waning and indeed after August 12th 1979, disco had almost died at Comiskey Park in Chicago, at Disco Derby night. Maybe if B-H-Y had been released a year earlier, it might have been a bigger success. WIth its combination of disco, funk, Philly Soul and jazz, it showed how versatile Baker, Harris, Young were. Indeed in some songs, they seamless flit between genres, incorporating three genres within a song. If B-H-Y had been released earlier, then it could’ve been released on Norman Harris’ ailing Gold Mind Records and given the label a boost. Sadly, by 1979, Gold Mind was almost insolvent and had to be incorporated into Salsoul. All Norman’s work and effort was in vein, and he was left with nothing to show for it. So, with his two longtime friends Ron Baker and Earl Young, Norman Harris headed to the familiar surroundings of Sigma, with some of his Philly-based musical friends and the result was B-H-Y.
Sadly, there was no followup to B-H-Y and it’s the only album Baker, Harris, Young ever recorded for Salsoul or any other label. It’s a fitting memory to soul, funk and disco’s greatest rhythm section. Tragically, Norman Harris died in 1987, aged just forty and Ron Baker died in 1990, aged just forty-three. Both of hugely talented men died way too young, but left an everlasting legacy that is their music, including some of the best music of the Philly Sound and also the disco era. Of Baker, Harris, Young, only Earl Young is left, a true musical giant and the man who single-handedly invented the disco beat and with Ron Baker and Norman Harris created some of the greatest music of the disco era on disco’s greatest label Salsoul. Standout Tracks: Come As You Are, Handle Me With Love and Care, Marathon Dancer and Take My Body Now.
BAKER, HARRIS, YOUNG-B-H-Y.
YARBROUGH AND PEOPLES-GUILTY.
YARBROUGH AND PEOPLES-GUILTY.
For Yarbrough and Peoples, the saying about keeping the best until last is certainly true. Their fourth and final album Guilty, which was released in 1985, may not have been their most successful album, but Guilty, which will be released by BBR Records in September 2012 is perceived as their finest. Guilty was the end of a four album, four year journey that started with their 1981 debut album The Two of Us. It featured their US R&B number one single Don’t Stop the Music. The Two of Us reached number sixteen in the US Billboard 200 and number one in the US R&B Charts. Their 1983 followup Heartbeats didn’t fare as well. Heartbeats reached just number twenty-five in the US R&B Charts. Be A Winner, released in 1984, saw Yarbrough and Peoples’ fortunes improve, with Be A Winner, which number ninety in the US Billboard 200 and number six in the US R&B Charts. With their fortunes improving, Yarbrough and Peoples headed to the recording studios for what would prove to be the last time. However, at least they would be closing their career on a high with Guilty.
Childhood friends Cavin Yarbrough and Ailsa Peoples had known each other most of their lives. They went to the same school, church and music teacher in Dalls and both sang in church. After college, Ailsa Peoples settled down to a regular life, working a nine-to-five job, while Cavin Yarbrough sang in a band called Grand Theft. One night, three brothers Charlie, Robert and Ronnie Wilson, who together, were known as The Gap Band, were in the audience at one of Grand Theft’s shows. After the show, the Wilson’s offered Cavin a job playing keyboards and singing backing vocals on a tour they were doing with Leon Russel. Once the tour was over, Cavin returned home to Dallas and picked up with Grand Theft. Then in 1977 Ailsa Peoples sang with the band. Little did they know that Yarbrough and Peoples had just been born.
Three years later, The Gap Band swung through Dallas and Cavin caught up with them and asked them to listen to a tape he and Ailsa had made. Charlie Wilson was so impressed he took it up to Total Experience Records’ President Lonnie Simmons. He was sleeping, but soon came to life once he heard the tape. Pleasantries and phone numbers were exchanged and nothing became of it. That was until Yarbrough and Peoples arrived at Total Experience Records offices in Los Angeles. Soon, a seven track demo was recorded, with a track called When the Music Stops just recorded to fill the tape. When it was retitled and renamed Don’t Stop the Music,
Yarbrough and Peoples’ number one single was born. Three albums later, and Yarbrough and Peoples were back in the studio to record what would become their fourth and final album for Total Experience Records, Guilty. Only they didn’t realize that Guilty would be their last hurrah.
For their fourth album Guilty, the Total Experience Records’ team got work. Jonah Ellis wrote three tracks, while Jimmy Hamilton and Maurice Hayes of Prime Time, another Total Experience group cowrote Guilty together, and cowrote two tracks with Lonnie Simmons and Rick Adams cowrote two other tracks, including Let the Music Play On. Yarbrough and Peoples cowrote I’ll Give You Anything To Have You Back with Victor Hill and Everything with Oliver Scott. Ted Rabb of seventies group Hell Storm and Lonnie Simmons Total Experience Records’ President cowrote Who Is She. The nine tracks that would become Guilty would be recorded at Total Experience Recording Studios in Los Angeles.
At Total Experience Recording Studios, Yarbrough and Peoples were joined by many of Total Experience’s personnel. Both Yarbrough and Peoples sang lead and backing vocals, and played keyboards and synths. Ailsa also programmed drums and played piano. Among Total Experience’s personnel were Johan Ellis on lead and rhythm guitar, Jimmy Hamilton and Maurice Hayes on keyboards and synths, with Maurice also playing lead guitar. Joining the Total Experience staffers were bassist Victor “Widetrack” Hill, drummer James Gadson and percussionists Bernard Spears and Paulinho DaCosta. Julia and Maxine Waters would add their inimitable backing vocals on Guilty. When the nine tracks were completed, Guilty was released in December 1985. Little did anyone know, but Guilty would be Yarbrough and Peoples swansong.
Before Guilty was released in December 1985, the title-track Guilty was released in November 1985. It gave Yarbrough and Peoples another top ten US R&B single, reaching number two and number fifty-three in the UK. On the release of Guilty a month later, it reached number thirteen in the US R&B Charts. I Wouldn’t Lie, released in April 1986, added to Yarbrough and Peoples’ tally of top ten hit, reaching number six in the US R&B Charts, number ninety-three in the US Billboard 100 and number thirty-four in the US Dance Charts. Over in the UK, it was a minor hit, reaching number sixty-one. The final single was Wrapped Around Your Finger, which reached number forty-six in the US R&B Charts in July 1986. Three hit singles, two of which reached the US R&B top ten and a hit album in Guilty was the perfect way to end Yarbrough and Peoples’ career. By 1986, they didn’t know Guilty was their last album. That proved to be the case and Guilty is their finest album, as you’ll realize, when I tell you about it.
Opening Guilty is the title-track and hit single Guilty, produced by Jimmy Hamilton. Synths, drums and the rest of the rhythm section combine with Ailsa’s impassioned, heartfelt vocal. She brings the lyrics to life, singing them as if she means them. Harmonies cascade, the perfect reply to Ailsa’s vocal. They’re accompanied by stabs of squelchy synths, drum rolls and a sprinkling of percussion. Together they help Yarbrough and Peoples provide the perfect response to Alexander O’Neal’s hit Innocent. This is a much sweeter, very beautiful and just as heartfelt.
I Wouldn’t Lie was the second single released from Guilty. From the get-go, the arrangement has a bold, dramatic sound, one that’s not unlike other Total Experience albums. Stabs and flourishes of synths usher in the drums, with the drummer using his whole kit before Ailsa delivers an emotive vocal, filled with sincerity. Cavin responds to her call, his vocal gentler, and not as confident. This suits the song. Meanwhile, the rhythm section drive the track along, with the drums quicker and the synths sometimes playing a less prominent role. Still they play their part in the track’s sound and success, fusing pop hooks with R&B and eighties electronic music.
Jonah Ellis wrote and produced three tracks on Guilty and Wrapped Around Your Finger is by far the best. The arrangement has a much more understated sound, with the space left between the beats and synths filled by a guitar that create a melancholy sound. This is perfect for Ailsa’s vocal. It’s delivered in bursts, growing in power and passion, while swathes of harmonies elegantly cascade, revealing their soulful beauty. They’re not only the perfect accompaniment for Ailsa’s vocal, but provide a contrast to her vocal that’s a mixture of power, soulfulness and beauty. What makes this track one of the highlights of Guilty is the change in style and tempo, and something Miles Davis always said was important, the space between the notes.
Let The Music Play On sees a return to the earlier style and sees Cavin Yarbrough take charge of the lead vocal. His vocal hasn’t the same presence as Ailsa’s and soon, she takes charge of the vocal. They proceed to share the lead vocal, with Ailsa sometimes adjusting her vocal, so not to overpower Cavin’s. Synths swirl while the rhythm section provide the arrangement’s funky heartbeat and together with a sprinkling of percussion create a uptempo backdrop where pop and funk unite. As, guitars riff and chime, stabs of keyboards add drama and Ailsa and Cavin feed off each other, one driving the other to greater heights. By the end of the track you wonder why a track this good, wasn’t released as a single. With it’s fusion of funk and pop, it has hit written all over it.
Anytime picks up where Let The Music Play On left off. Washes of synths, flourishes of keyboards and chiming, wah-wah guitars are combined creating another fusion of pop and funk. Ailsa takes charge of the lead vocal, delivering it in a feisty, sassy style. Cavin gets in on the act, his vocal matching Ailsa’s sass every step of the way. Meanwhile, the synths, keyboards and rhythm section provide a relentlessly pounding, funky backdrop. They’re helped along by percussion, wah-wah guitars and then a Hammond organ, as one of the funkiest track on Guilty unfolds. When Yarbrough and Peoples’ sassy vocals are added, this is one delicious slice of funky music that swings and then some.
I’ll Give Anything To Have You Back sees the tempo drop, but the drama and emotion increase. Big bold spacious drums, a slapped funky bass and flourishes of keyboards give way to Ailsa’s tender, heartfelt vocal. Soon, Cavin’s vocal enters. His vocal has power and presence, as backing vocalists offer a contrast, and in doing so, add to the beauty and emotion of the track. Again, the success of the song is down to a change in style and space being left within the arrangement. Combine this with some intelligent use of keyboards, drums and harmonies by producer Cavin Yarbrough and you’ve the recipe for a gorgeous, soulful song, where both their vocals play equally important parts.
Everything sees synths and crisp, punchy drums combining to create a real eighties’ sounding backdrop. It’s impossible for this to have been recorded any other decade. Having said that, the arrangement works with the vocal. Both Cavin and Ailsa’s vocals are impassioned and sung with feeling, feeling that brings meaning to the lyrics. Combine that with the relentless marching beat that’s omnipresent and while this is very different from the previous track, it still has the power to move you and evoke emotions within you. Any music that can do that works.
It’s all change with Who Is She which has a real Pointer Sisters’ sound and influence to it. This is obvious from the opening bars. Flourishes of keyboards, Nashville guitars and a driving beat accompanies Ailsa’s enthusiastic, energetic vocal. She grabs the track and in Southern drawl delivers her vocal to the choppy arrangement. Her vocal is feisty and confident, with a harmonica, guitars and harmonies giving the track a country feel, although sometimes, the track heads of in the direction of gospel. With all these influences thrown in the melting pot, the result is a storming track, with Ailsa playing the role of a woman scorned to a tee.
Closing Guilty and Yarbrough and Peoples’ recording career is A Closer Love Affair, written and produced by Jonah Ellis. Gentle, tender keyboards and guitars combine as Cavin’s vocal enters. By then, you’re wondering where you’ve heard the track before. Then it hits you, that this is Peaches and Herb’s Reunited rewritten. Compare the two tracks side by side, I have and you’ll hear the glaring similarities. Regardless of the rights and wrongs of this, it’s another gorgeous track, with a really understated arrangement. Chiming guitars, a pounding funky bass, bursts of dramatic drums and and lush strings combine as the arrangement grows. Yarbrough and Peoples combine to create one of their best vocals on Guilty. In doing so, they bring their recording career to a quite beautiful ending, albeit with a little help from Peaches and Herb.
Guilty was a perfect ending to Yarbrough and Peoples’ recording career. Not only was it a commercial success, but spawned two top ten US R&B hits and featured an eclectic, and consistently selection of music. There’s everything from dance tracks, to soulful ballads and more than a few funky selections. During the nine tracks that comprise Guilty, there’s everything from soul, funk, eighties electronic music, plus gospel and country. For me, Yarbrough and Peoples were at their best on two of the tracks that had the least Total Experience “sound.” These were the slow balladry of Wrapped Around Your Finger and I’ll Give Anything To Have You Back. Having said that, the fusion of funk and pop that is Let the Music Play On, quite simply have been released as a single. Not doing so, cost Yarbrough and Peoples a hit single in my opinion. However, Guilty gave Yarbrough and Peoples one of their biggest singles and quite rightly so. It gets Guilty off to a glorious start, while A Closer Love Affair beautifully bookends the Guilty. It’s a gorgeous ballad, that sounds as if it was inspired by Peaches and Herb’s Reunited. In between these two tracks, there’s something for everyone, whether it’s soul, funk or dance you’re after Yarbrough and Peoples have something for you on Guilty, which will be rereleased in September 2012, by BBR Records.
After Guilty was released, Yarbrough and Peoples began work on a fifth album. By then they’d emerged from the shadow of The Gap Band, becoming Total Experience Records’ biggest band. Then Total Experience finished their distribution deal with RCA. WIth no distributor and Yarbrough and Peoples under contract and working on what’s thought to be some of the best songs of their career, Lonnie Simmons allowed Yarbrough and Peoples to leave the label. After struggling to find another label in a rapidly changing recording industry, Yarbrough and Peoples’ wisely, quit while they were ahead. Unlike other artists, they didn’t wait for their career to peter out. Instead, and many other artists could learn from Yarbrough and Peoples, they quit at the top, leaving Guilty to be the album that drew time on their four year, four album career. Standout Tracks: Guilty, Wrapped Around Your Finger, Let the Music Play On and I’ll Give Anything To Have You Back.
YARBROUGH AND PEOPLES-GUILTY.
PENNYE FORD-PENNYE.
PENNYE FORD-PENNYE.
While most fifteen year olds might spend their summer holidays at summer camp or working a part-time job, Pennye Ford spent time touring with Ohio funk band Zapp, who were opening for Parliament-Funadelic. A year later, Pennye spent time touring Japan as lead singer of funk band Reach. For some people, Pennye spending time touring the world with a funk band might seem an unorthodox childhood. However, not everyone was born into a family steeped in music and had been playing music since they were five. Her mother was singer Carolyn Ford and her father Gene Redd Sr, an executive at King Records, whose roster included James Brown. Pennye’s sister was the late Sharon Redd, released three albums during the early eighties and is best known for the dance classic Beat the Streets, while Pennye’s brother Gene Redd Jr, managed and produced Kool and The Gang. So, given Pennye Ford’s musical pedigree, she was almost predestined to become a singer. Indeed, Pennye Ford was only nineteen when she released her debut album Pennye, which will be rereleased by BBR Records in September 2012. This was thought to be first step in a glittering career, with Pennye Ford perceived as the next great soul singer. Would Pennye Ford’s debut album Pennye prove to be the first step to greatness?
Having spent three months tourning Japan with Reach, Pennye decided it was time to head home. Waiting until Reach were changing flights in Japan, Pennye made the excuse that she had to head home to visit a cousin, she hopped on flight to Los Angeles. In Los Angeles, Pennye caught a break. She started working for Motown’s music publishing business. Her job entailed singing demos for the publishing company. Soon, Pennye’s vocal talents were in demand, with people booking her for session work. So it was no surprise when Pennye signed a recording contract, one with a label perfectly suited for a new artist, Total Experience Records.
By the early eighties, Total Experience were one of the hottest labels, with groups like The Gap Band on their roster. They were known for nurturing new talent. Rather than rush a new artist into recording their debut album. Pennye had come across the label purely by chance, and after meeting some of the staff, had taken to visiting the label each day. Then one day, a disgruntled receptionist said that you’re here so often that we’d better hear you sing. Little did the receptionist know that not only could Pennye sing, but could play seven instruments. Even Total Experience Records’ President Lonnie Simmons was skeptical.
Having convinced Lonnie to give her the use of a studio for the day, Pennye was set to record a demo with The Gap Band backing her. Despite The Gap Band failing to show, Pennye had a productive day. She wrote five songs from scratch, recorded them and played each instrument. The only help Pennye had was from an engineer. Now Pennye had won over Lonnie Simmons, he gave her a contract, but as a songwriter. That would soon change. Pennye cowrote a song with Oliver Scott and sang the demo. Once Total Experience President heard the demo, Pennye Ford had her recording contract. Now she could begin work on her debut album, which would become Pennye.
For Pennye Ford’s debut album Pennye, nine songs were chosen. Of these nine tracks, Penny wrote Serious Love and cowrote two with Oliver Scott, Change Your Wicked Ways and Ready For Love. Pennye also cowrote Spend My Time With You with Jimmy Maurice Hayes and Rick Adams of Prime Time, another Total Experience group. Johah Ellis a Total Experience staff-writer, who wrote Don’t Stop the Music for Yarbrough and Peoples, penned and produced three tracks, while Cavin Yarbrough and Ailsa Peoples, now signed to Total Experience cowrote Never Let You Go. These nine tracks, which comprised Pennye, were recorded at two studios in Los Angeles.
Recording took place at Total Experience Recording Studios and Hollywood Sound Labs Recording Studios in Los Angeles. Accompanying Pennye Ford were many of Total Experience’s staffers and artists. Pennye played piano, keyboards and drums, while Johan Ellis and Maurice Hayes both played bass and lead guitar, with Johan also playing drums. Ailsa Peoples played keyboards, Jimmy Hamilton percussion and Cavin Yarbrough sang backing vocals. Paulinho DaCosta was drafted in to play percussion, with Julia and Maxine Waters adding backing vocals. Mostly though, Total Experience kept things in-house. Once Pennye was completed, the album was scheduled for release in October 1984.
Sadly, tragedy was about to enter Pennye’s life. On hearing Pennye was about to be released, Pennye phoned her father, now a detective with the NYPD at his precinct, only to discover he’d been tragically murdered. Now the release of her debut album must have paled into significance. However, Pennye now decided to dedicate Pennye to her late father.
On the release of Pennye Ford’s debut album Pennye in October 1984, it reached number thirty-nine in the US R&B Charts. Change Your Wicked Ways was released as a single in October 1984, reaching number twenty-five in the US R&B Charts, number forty-nine in the US Dance Charts and number seventy-six in the UK. Six months later, Dangerous was released as a single in April 1985. It reached number forty-two in the US R&B Charts, number twenty-five in the US Dance Charts and number forty-three in the UK. The final single Uh Oh, I Made A Mistake, released in July 1985 failed to chart. Then after the low of losing her father, and the high of Pennye’s success, joy and tragedy would enter Pennye’s life again.
After the release of Pennye, Pennye hit the road promoting her album with Charlie Wilson of The Gap Band. Then when doing a radio phone-in, Pennye discovered she’d a brother and sister she never knew about. Gene Redd Jr, phoned the radio station asking to speak privately with Pennye. He’d been cleaning out his father’s locker when he discovered letters and photos from Pennye. Tragically, a month after getting in touch with Pennye, Gene Redd Jr, died. On the night of a concert to celebrate Gene’s life, Pennye met the sister she never knew she had, Sharon Redd, who by 1984, had released three albums. The last few months of Pennye’s life had been a serious of highs and lows, and in between them, she’d managed to release and promote an album, Pennye, which I’ll now tell you about.
Opening Pennye is Feel the Music, penned and produced by Jonah Ellis. This is an eighties electronic dance track, complete with drum machines, synths and percussion. Unlike many eighties electronic dance tracks, this has aged well. Mind you, with Pennye feisty vocal, that’s no surprise. She grabs the song, and makes it her own. Meanwhile stabs and washes of synths, crispy drums and percussion create a catchy backdrop, while Pennye’s vocal grows in power. By the end of the track, she’s unleashed a powerful, lung-bursting vocal tour de force, that’s a fiiting way to open any album, never mind a debut album.
There’s a real change in sound on Uh Oh, I Made A Mistake, which is a much more soulful sounding ballad. It’s a style that really suits Pennye’s vocal style, as she’s singing within herself. The arrangement, like Pennye’s vocal builds and builds, on this real slow burner of a track. From just small acorns, with keyboards and drums punctuating the arrangement, the rhythm section, keyboards and strings combine. They create an uptempo, joyous backdrop for Pennye’s vocal, which has a real sixties Motown influence. Flourishes of keyboards, chiming guitars and elegant strings combine as the drama and power of arrangement and vocal build. Later, when Pennye delivers a half-spoken vocal, there’s touch of Diana Ross, before searing rocky guitars drive the track along. Although this is quite unlike the opening track, this is the side of Pennye I’d like to hear more of and what makes it a highlight of Pennye.
Change Your Wicked Ways is one of two tracks Pennye cowrote with Oliver Scott. It’s another uptempo track, where dance and R&B are fused. Pennye’s band tease you for a few bars before getting down to business. When they do, drums crack, guitars riff and keyboards accompany Pennye’s tender vocal. Straight away, there’s a slight early Madonna sound, before Pennye’s vocal grows in power and sassiness. Meanwhile, her band create a backdrop that’s typical of the early to mid eighties. Having said that, it’s stood the test of time and features a quite irresistible dance-floor friendly groove. Key to that is Pennye’s vocal. She makes the song swing, while her band fuse rocky guitars, eighties synths and drums with R&B. The result is a hook-laden, irresistible sounding track, that was the perfect choice for the lead single.
Serious Love is the only track Pennye wrote herself. It features a bold dramatic arrangement, where crispy drums, driving keyboards and percussion are combined before Pennye’s vocal enters. She delivers a deliberate, confident vocal as banks of marauding synths and keyboards, augmented by drum machines and percussion produce a quick, dramatic arrangement. Bursts of gentle backing vocalists provide a contrast to Pennye’s power and confidence, as she proves she’s also a talented songwriter as well as singer.
Don’t You Know That I Love You is another example of the innovative, cutting-edge music coming out of Total Experience Records. While this track was recorded between 1983 and 1984, it’s something that you’d expect to hear later that decade. If an artist like Madonna had recorded it, it would’ve been hailed as masterstroke. It’s a combination of electronic music, funk, soul and dramatic, gospel-tinged harmonies. Pennye’s vocal is a fusion of funk and soul, allowing her to unleash her vocal range. She’s accompanied by gospel-tinged harmonies, while eighties synths and drums provide a mid-tempo backdrop that accentuates the drama and soulfulness in Pennye’s voice.
Ready For Love was the second Oliver Scott and Pennye Ford composition. This allows Pennye to return to her more soulful side, albeit on a mid-tempo track. Stabs of keyboards and synths combine with crispy drums as Pennye scats her way through the introduction before delivering a joyous vocal. Tight, soaring harmonies accompany her, while rolls of drums, keyboards and synths combine. As the song progresses, Pennye recovers her earlier sassiness, as she feeds off her backing vocalists. In doing so, she creates one of the catchiest, most uplifting tracks on Pennye.
Drums crack, while a sprinkling of percussion and stabs of synths combine as Dangerous reveals its secrets. Pennye whispers her vocal, before allowing the synths to takeover. When her vocal returns, it’s powerful and confident, soaring high as backing vocalists accompany her. Meanwhile, the percussive and synth heavy arrangement seems created with the dance-floor in mind. When Pennye’s feisty vocal is added, the dance-floor loved the track, with the single reaching number twenty-four in the US Dance Charts.
Never Let You Go was written by Cavin Yarbrough and Ailsa Peoples and produced by Cavin who were at the height of their career. It features a tender, heartfelt vocal from Pennye, set against synths, percussion and the rhythm section. With backing vocalists adding harmonies, it’s quite simply the most beautiful song on Pennye. There’s a real needy, vulnerable sound to Pennye’s vocal, as she delivers the song with a real maturity. Later, a searing guitar solo adds to the drama and power of the track. By the end of the track, you’re smitten by this gorgeous track, that’s a real hidden gem and the highlight of Pennye.
Closing Pennye is Spend My Time With You another slice of funky music. From the get-go, you’re struck by the track’s catchy sound. The beats are crisp, with synths and percussion accompanying Pennye’s tender vocal. Flourishes of guitars, washes of synths and crunchy beats provide the backdrop, before Pennye and her backing vocalists indulge in some glorious vocal interplay. Her backing vocalists are the perfect foil for her heartfelt, tender lead vocal and play a huge part in the track’s success. When this is combined with some quality lyrics and Jimmy Hamilton and Maurice Hamilton’s production, the result is an irresistible sounding track. So good, you wonder why a track as hooky as this wasn’t released as a single?
Although Pennye Ford’s debut album Pennye wasn’t the huge success that had been hoped for, with everything that was going on in her life I’m sure the relative success of album paled into insignificance. After all, she’d lost her father in tragic circumstances, discovered a family she never knew existed and then lost one of them in equally tragic circumstances within months of Pennye’s release. Having said that, Pennye is a debut album that showcases Pennye Ford’s considerable skills. Not only does she come across as a talented vocalist, but an equally talented musician and songwriter. Having released such a promising debut album Pennye, you’d imagine that Pennye Ford would go on to release a string of albums. Sadly, that wasn’t to be. Once she started work on her followup album, she discovered that neither man nor woman can live on bread alone. Pennye wasn’t being paid much byTotal Experience, who felt a hungry artist was a creative artist. So, Pennye left Total Experience and wouldn’t release another solo album for nine years, until she released Pennye Ford in 1993. In the interim period, Pennye worked in the music industry, but not as a solo artist. For me, this meant an up and coming singer-songwriter with bags of potential was lost to music. Maybe if Pennye had chosen to sign for a different label, her career would’ve taken a very different route. Sadly, Pennye, which will be rereleased by BBR Records in September 2012, is a tantalizing glimpse of what might have been and for the hugely talented Pennye Ford. Standout Tracks: I Feel the Music, Uh Oh, I Made A Mistake, Change Your Wicked Way and Don’t You Know That I Love You.
PENNYE FORD-PENNYE.
THE SALSOUL ORCHESTRA-UP THE YELLOW BRICK ROAD.
THE SALSOUL ORCHESTRA-UP THE YELLOW BRICK ROAD.
For Salsoul Records and The Salsoul Orchestra, Up The Yellow Brick Road would prove to be the end of an era. Up The Yellow Brick Road proved to be last Salsoul Orchestra arranged, produced and featuring the sound of vibes virtuoso Vince Montana Jr. It also proved to the first Salsoul Orchestra mixed by the new breed of remixers who seemed to be de rigueur at Salsoul. The Cayre decided to bring in Tom Moulton to remix Up The Yellow Brick Road. Like some sort of disco superhero, remixers were brought in to remix entire albums. While remixers had a role, remixing individual tracks, opinion was divided over whether they should be remixing whole albums. Then there was the question of whether non-musicians, which many remixers were, should be remixing an album? Given that The Salsoul Orchestra were producing some of the best music of their career, why did the Cayres want to change things? Had they not heard of the maxim if it “isn’t broke don’t fix it.” Behind the scenes, things were changing at Salsoul, with several musicians unsure about the role of the remixer. Vince Montana Jr, and Norman Harris were just two of them. So, for Vince, Up The Yellow Brick Road was his Salsoul finale, with him leaving Salsoul and signing to Atlantic Records. Vince leaving was just the start of changes at Salsoul. Even the classic lineup of The Salsoul Orchestra was changing. Whereas the Baker, Harris, Young rhythm section had been ever-present on The Salsoul Orchestra albums, only Earl Young featured on Up The Yellow Brick Road. Indeed, the times they were a changing, but would this affect the quality of music on Up The Yellow Brick Road?
Up The Yellow Brick Road was The Salsoul Orchestra’s fifth album, but proved to be different from their previous album. Five tracks featured on Up The Yellow Brick Road were all from Broadway musicals and films. This included a cover of Move On Up the Road from the Wiz, plus medleys from West Side Story and Fiddler On the Roof. The Beatles Sgt. Pepper’s Lonely Hearts Club Band, which in 1978, had been adapted into a film by Robert Stigwood and producer Michael Schulz was given a makeover by The Salsoul Orchestra. Closing Up The Yellow Brick Road was a cover of Evergreen, from the film A Star Is Born. These five tracks would be recorded at Philly’s Sigma Sound Studios, where The Salsoul Orchestra recorded all their previous albums.
The lineup of The Salsoul Orchestra that features on Up The Yellow Brick Road, was quite different from previous albums. Whereas previous albums featured Baker, Harris, Young rhythm section, only Earl Young played on Up The Yellow Brick Road. Joining Earl in the rhythm section were drummer Keith Benson, bassist Gordon Edwards and guitarists Ronnie “the Hawk” James, Bobby “electronic” Eli and T.J. Tindall. Adding The Salsoul Orchestra’s percussive sound were Vince Montana Jr, on tympany, bells, chimes and vibes, plus Larry Washington and James Walker on congas, bongos and timbales. Carlton “Cotton” Kent played keyboards and Bill O’Brien synths and Jack Faith flute and piccolo. Violinist Don Renaldo was part of the string section and horn section that was key to the Salsoul sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, who feature heavily on Up The Yellow Brick Road. Once Up The Yellow Brick Road was completed, it was scheduled for release on March 1978. By then, The Salsoul Orchestra had lost its arranger, conductor and producer.
When The Salsoul Orchestra released Up The Yellow Brick Road in March 1978, it eached number 117 in the US R&B Charts and number fifty-two in the US R&B Charts. By the time Up The Yellow Brick Road was released, Vince Montana Jr had left Salsoul Records. After a disagreement with the Cayres over royalties, Vince signed as a solo artist for Atlantic Records. So, Up The Yellow Brick Road was Vince Montana Jr’s final album as arranger, conductor and producer of the orchestra he created…The Salsoul Orchestra. However, did Vince Montana Jr’s career with The Salsoul Orchestra end on a high with Up The Yellow Brick Road?
Opening The Salsoul Orchestra’s Up The Yellow Brick Road is Move On Up the Road from The Wiz a1978 adaptation of The Wizard of Oz. Earl Young’s pounding drums provide the track’s disco heartbeat before strings dance with delight, horns rasp and growl and the Sweethearts of Sigma prove the perfect foil for The Salsoul Orchestra, adding joyous, sweeping harmonies. A jazzy piano is everpresent while the growling horns punctuate the arrangement and the strings sweep and swirl. Later, Vince adds one of his trademark vibes solos, before the a horn solo takes charge. All the time the Sweethearts of Sigma add the their tight, sweet and glorious harmonies. Woodwind, flourishes of strings and the rhythm section combine, although Ron Baker’s bass playing is sadly missed. Having said that, this is an uplifting, joyous opening journey Up The Yellow Brick Road.
The West Side Story medley opens dramatically with the rhythm section, rasping horns, guitars and percussion driving the track along. Strings shiver and quiver, as the Sweethearts of Sigma’s vocals enter. They add to the drama and theatre of the track, able to change the mood and feel of each part of the medley. When their vocals drop out the horns gently rasp, while strings cascade and a myriad of percussion combines with the constant disco beat. Soon, the Sweethearts of Sigma return, their vocals heartfelt, tender and the perfect contrast to the impressive sound of The Salsoul Orchestra in full flight. Gordon Edwards bass plays an important part, helping anchor the track, before Bill O’Brien lays down a synths solo par excellence. He’s joined by the funky rhythm section, percussion and stabs of horns and Bobby “Electronic” Eli’s unmistakable guitar playing. By now Latin and funk are fused seamlessly, before the Sweethearts of Sigma add their soulful contribution. Their punchy, harmonies add to the drama as this thirteen-minute reaches its impressive crescendo, albeit with a little help from vibes virtuoso Vince Montana Jr, who unleashes a show stealing solo, helped along by blazing horns and dancing strings.
After unleashing an impressive wall of sound Sgt. Pepper’s Lonely Hearts Club Band is reinvented by The Salsoul Orchestra and arranger and producer Vince Montana Jr. To do this the entire orchestra’s talents are utilised to recreate what is a complex piece of music. This means fusing the woodwind section, while punchy rasping horns, swirling strings and sassy, feisty and sometimes melodramatic harmonies from the Sweethearts of Sigma are combined with the rhythm section. Unlike the original, the horns, harmonies and piano add a glorious jazzy and disco twist to a familiar track, turning this slice of psychedlia into something it was never meant to be.
Fiddler On the Roof is the another show given the medley treatment by The Salsoul Orchestra. It’s given a pulsating disco beat by the rhythm section as elegant strings dance joyously, and are joined by a myriad of percussion and rasping, braying horns. Playing an important part in the track’s success are the Sweethearts of Sigma soulful harmonies. They vary from one part of the medley to another, ranging from heartfelt, impassioned, to dramatic, sweet and joyous. Sometimes, they drop out completely, to be replaced by the hugely impressive combination of the woodwind, horn, string and rhythm sections in full flight. Truly, it’s an impressive and dramatic sound, demonstrating why by 1978, The Salsoul Orchestra were disco’s greatest orchestra. During some parts of the medley, The Salsoul Orchestra’s woodwind section get their chance to shine, before later the lush strings take centre-stage. While, each part of the orchestra changes the mood and drama, one thing never changes, that pulsating, disco beat. As a breakdown occurs, just the percussion and shakers take-centre stage, allowing the percussive delights of The Salsoul Orchestra to shine through. Later, bursts of kettle drums, horns accompany the heartfelt harmonies of the Sweethearts of Sigma while rest of The Salsoul Orchestra reinvent Leonard Bernstein’s finest hour and in doing so, show just how talented they were and at the same time, demonstrate just how innovative an arranger and producer Vince Montana Jr truly was.
Closing Up The Yellow Brick Road is Evergreen (Love Theme From “A Star Is Born”) and sees The Salsoul Orchestra breath new life and meaning to the track. There’s a real understated Latin sound to the track. Just congas and bongos subtly combine, before Vince Montana Jr lays down a slow, spacious vibes solo. Then the Sweethearts of Sigma lay some of the most heartfelt, beautiful harmonies on How Deep Is Your Love. When Vince adds the lushest of slow strings this is a masterstroke. He then combines his vibes with percussion and congas and the Sweethearts of Sigma tender harmonies. This innovative and imaginative combination sees elements of jazz, Latin and soul resulting is an understated and subtle reworking of a familiar song that’s a mixture of beauty and elegance personified. What a way gorgeous way to close Up The Yellow Brick Road and what a way for Vince Montana Jr to close the book on his time at Salsoul Records.
Up The Yellow Brick Road proved not just to be a landmark album for The Salsoul Orchestra, but for Salsoul Records. By the time Up The Yellow Brick Road was released, The Salsoul Orchestra had lost its creator, conductor, arranger and producer Vince Montana Jr. He’d left Salsoul, after a dispute with the Cayres over royalties, and signed a contract with Atlantic Records. Ironically, neither Vince Montana Jr, nor The Salsoul Orchestra would be the same. Now Salsoul had entered the era of the “superstar remixer. However, they weren’t just remixing singles, but whole albums and soon, would be writing and producing songs. For some people, this was a step too far. While remixers had their place, many were non-musicians, who didn’t know a chromatic chord from shopping cart. Soon, many of The Salsoul Orchestra’s legendary members would either leave the label or play less important roles. Mind you, given how talented they were, they were soon gainfully employed, joining John Davis’ Monster Orchestra or writing, arranging and producing on their own. Ironically, Vince Montana Jr, never enjoyed the same success at Atlantic and his days at Philadelphia International Records and then Salsoul proved his most productive and successful.
One of Vince’s replacement was Tom Moulton, who by 1978, was at the height of his success and was one the most in-demand remixers. He’s responsible for the track’s pounding, pulsating disco beat. However, this wasn’t created by the legendary Baker, Harris, Young rhythm section, like previous Salsoul Orchestra albums. Only Earl Young played on Up The Yellow Brick Road, and only on three tracks. Keith Benson played on the two medley’s but his drumming doesn’t have the same presence, nor does bassist Gordon Edwards whose playing isn’t lacks the presence of Ron Baker’s. Similarly, Norman Harris’ jazz-tinged flourishes were absent on Up The Yellow Brick Road. Although their replacements were really talented musicians, Baker, Harris, Young were peerless and irreplaceable. Having said that, even without Baker, Harris, Young, Up The Yellow Brick Road demonstrates The Salsoul Orchestra at the creative, innovative, where they were without doubt, disco’s greatest orchestra. That’s why the period between 1975 and 1978 is the classic Salsoul era, when The Salsoul Orchestra started a journey with The Salsoul Orchestra in 1975 and which came to an end Up The Yellow Brick Road. Standout Tracks: Move On Up the Road, West Side Story, Fiddler On the Roof and Evergreen.
THE SALSOUL ORCHESTRA-UP THE YELLOW BRICK ROAD.
JUNIOR-JI.
JUNIOR-JI.
After being a backing vocalist with UK soul group Linx between 1980 and 1982, it was somewhat ironic that Junior Giscombe’s career as a soul singer was launched after he sang on two tracks for reggae label Pressure Sounds. Soon, Get Up and Dance was getting played on radio in the UK, while the other track Hot Up and Heat, was released as a single by Fireside Records in America. When Phonograph Records A&R executive Roger Ames heard Get Up and Dance, he started trying to track down Junior Giscombe. When Roger did find Junior, Junior was staying at his cousin’s house in…America. Junior was performing in America, after the popularity of Hot Up and Heat. Luckily for Junior, Roger Ames was also in the America, so a meeting was arranged at Mercury Records’ New York office. A deal was agreed and soon, Junior recorded two tracks for Phonograph. Of these two tracks, Roger chose to release Mama Used To Say. It reached number seven in the UK, but surpassed this in the US, reaching number two in the US R&B Charts, number thirty in the US Billboard 100 and number four in the US Dance Charts. This lead to Junior becoming only the second UK artist to appear on Don Cornelius’ legendary TV program Soul Train. Following the success of Mama Used To Say in the US and UK, Junior finished recording his debut album Ji which will be rereleased by SoulMusic Records on 24th September 2012. Would Ji build on the success of Mama Used To Say and would Junior become one of a small number of British R&B artists to breakthrough in America?
Following the success of Mama Used To Say, Junior returned to the recording studios to finish recording what would become his debut album Ji. Joining Junior were his former bandmates from Lynx David Grant and Vera Haine. Having released such a successful single, it was important to build on the momentum created by the single. So, Junior and his producer Bob Carter, who’d penned Mama Used To Say penned six tracks. These new tracks had been written while Junior was tourning. They would be recorded in two studios in London.
Recording of Ji would take place at Good Earth Studios in Soho and Scorpion Studios in Marylebone. For the recording of Ji, Junior was joined by a rhythm section of Andy Duncan on drums and percussion, bassist Keith Wilkinson and guitarist A.T. Winthurst. Producer Bob Carter played keyboards and added backing vocals, Guy Barker played trumpet and flugelhorn and Chris Hunter alto and tenor saxophone. Adding backing vocals were David Grant and Vera Haine from Junior’s days with Lynx. Tee Scott was brought in to remix Mama Used To Say and Too Late. Once the new tracks were recorded, Ji was ready for release in 1982.
When Ji was released in the UK in 1982, it reached number twenty-eight in the UK, but fared better in the US, reaching number seventy-one in the US Billboard 200 and number fifteen in the US R&B Charts. Too Late the only single released from Ji would also fare better in the US While Too Late reached number twenty in the UK, it reached number eight in the US R&B Charts and number sixty-seven in the US Dance Charts. However, why was Junior’s debut album Ji a bigger commercial success in the US than the UK? That’s what I’ll tell you, once I’ve told you about the music on Ji.
Opening Ji is the song that launched Junior’s career Mama Used To Say. As percussion combines with stabs of synths Junior has your attention. He’s almost toying with you, teasing you, until a flourish of synths gives way to his feisty, sassy vocal. Behind him keyboards, synths and percussion are at the heart of the arrangement, with the rhythm section creating the arrangement heartbeat. For the next seven minutes, it’s Junior’s vocal that makes the song. He takes charge, delivering an impassioned, powerhouse of a vocal. Not only does it leave a lasting impression, but it proves that sometimes, Britain could produce R&B that could rival America’s.
As Love Dies begins to reveal its secrets, you begin to hear a quite different side of Junior. The tempo drops, keyboards and slow, spacious drums creating an emotive backdrop before synths and guitars build the drama. Then as Junior’s heartfelt vocal enters, the tempo builds and so too does the emotion and frustration in his voice. Reflecting this drama and hurt is an arrangement driven along by the rhythm section while stabs of keyboards add to the drama. Soon, the emotion and frustration turns to anger, with Junior’s vocal growing in power as he reflects and remembers the feeling of love lost for the first time. Of the eight tracks on Ji, this is one of the most emotive and moving, and features one of Junior’s best vocals and some of the best lyrics on Ji.
Bouncy, stabs of synths and drums open Too Late, as the track heads in the direction of the dance-floor. A guitar riff gives way to keyboards and synths before Junior’s near falsetto vocal enters. His vocal is tinged with sadness and regret as he sings the lyric “too late, goodbye.” The guitar responds to his vocal, while backing vocals augment his vocal as this hooky track starts to swing. You realize just why this track was chosen as the single, with its radio and dance-floor friendly sound, as this seven minute epic unfolds. Given its hook-laden sound, Too Late is one of Ji’s real highlights.
When Is This Love slowly dramatically unfolds, you’re anticipating something special after the opening bars. There’s a dramatic, thoughtful, sometimes moody sound, with the keyboards, eighties synths and rhythm section combine with Junior’s questioning, dramatic vocal. It’s another song about relationships breaking out, and both Junior’s vocal and moody, broody arrangement sit well together. This resulting in a song that many people will be able to relate to, especially Junior’s questioning vocal full of confusion and sadness.
The meandering synths and cracking drums that open Let Me Know have a real early eighties sound. That’s just a teasing curveball though. Things change as the song almost bursts into life. With the rhythm section driving the track along, with bursts of pounding drums and keyboards punctuating the arrangement dramatically. Junior’s vocal is a mixture of power and passion, with a harmonica accompanying him, as he delivers some personal lyrics with feeling. As the song progresses, the arrangement becomes a musical juggernaut, where power and drama are ever-present. It’s a combination of synths, keyboards, guitars and the pounding rhythm section that are responsible for this. Add in Junior’s powerful and impassioned vocal, and the result is a song that legendary producer Arif Mardin loved.
Down Down is another autobiographical song from Junior, about being in love for the first time. He confesses to be feeling down when he wrote the track. This is caused by his relationships heading for the rocks. As a result, his voice is filled with sadness, longing and confusion. Reflecting such a tumultuous time in his life, the arrangement big, bold and steeped in drama. Bursts of blazing horns, buzzing synths, percussion and the rhythm section help create the soundtrack to this tale of adolescent angst. They play their part in a track that fuses eighties electronic music with funk and R&B. Again, Junior delivers a vocal that brings life to the lyrics and makes them sound like a mini-soap opera, albeit one filled with teenage angst.
I Can’t Help It is another uptempo track, where Junior delivers a joyous vocal at being in love. He’s in love and wants to spend his life with her. With rasping horns, synths, the rhythm section and Vera Haine’s soaring, soulful backing vocals accompanying Junior, the catchiest track on the album unfolds. Just when you’re enjoying this joyful slice of pop-tinged R&B, the track heads to a breakdown. Never fear, the song rebuilds and Junior goes on to deliver a heartfelt, joyous vocal on what is a hook-laden slice of pop-tinged R&B.
Closing Ji is Darling You (Don’t You Know), where the tempo drops and soon, a very beautiful track unfolds. This is something I’d have liked to have heard more of from Junior. Just a lone piano played deliberately opens the song, before drums and keyboards play equally deliberately and thoughtfully. Keyboards play an important part in the track, while Junior’s vocal is impassioned and full of sadness and regret. The song reveals a very different side to Junior, it’s almost a more grownup, mature sounding song. Later, the clincher is a riffing guitar solo which is added at just the right time. It’s addition is almost a masterstroke and makes the track. However, Bob Carter’s production and some of the finest lyrics on Ji, play their part in making this the best track on Ji.
Having released such a commercially successful and accomplished debut album in Ji, Junior went on to release a further eight albums. His most recent album 2011s Prisoner of Hope. Of the nine albums Junior released, his most successful album, was the album that launched his career Ji. On Ji was Junior’s most successful solo single Mama Used To Say, which gave Junior a huge hit in America and resulted in Junior becoming only the second British artist to perform on Don Cornelius’ Soul Train. He also received Billboard magazines best newcomer award. By 1982, it looked as if Junior was about to embark upon a hugely successful career and become the next soul superstar. Sadly that wasn’t to be. While Junior’s career continued throughout the next thirty years, he never enjoyed the same success in Britain or America as he enjoyed with Ji. However, Ji which will be rereleased by SoulMusic Records on 24th September 2012, is an important album. Ji was one of the albums that launched a new wave of UK R&B acts, including later Loose Ends and Soul II Soul. So in the history of British soul and R&B, Junior was something of a pioneer and innovator. For lovers of eighties music and UK R&B, then SoulMusic Records’ rerelease of Ji will be a welcome reminder of the early eighties, when Britain was producing some quality soul and R&B music, when it looked like Junior was going to give Britain something it had never had before, its own soul superstar. Standout Tracks: Mama Used To Say, Love Dies, Too Late and Darling You (Don’t You Know).
JUNIOR-JI.
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SUN-WANNA MAKE LOVE/SUN-POWER.
SUN-WANNA MAKE LOVE/SUN-POWER.
In a recent article, I mentioned how during the seventies, Dayton, Ohio was funk central, with the region producing some of the greatest funk bands of the era. From The Ohio Players, Lakeside, Zapp, Slave, Bootsy Collins, Platypus and Sun, who released eight albums between 1976 and 1984. Of these eight albums, Sun’s most successful albums were their first two albums, Wanna Make Love and Sun Power, which were rereleased by SoulMusic Records on 17th September 2012. However, the story behind Wanna Make Love’s success is the result of a quite unorthodox promotional campaign that resulted in the album’s title being changed. As if that’s not enough, before Sun even changed their name before they’d even recorded one song. Before I tell you about the music on Wanna Make Love and Sun Power, I’ll tell you about the road Sun travelled before joining Ohio’s funk elite.
Byron Byrd who would go on to found Sun, was always destined to make a living making music. Whilst still at Roosevelt High School in Dayton, Byron started playing alto saxophone and by the mid-sixties, had founded his first group The Ohio Majestics. Soon The Ohio Majestics became the Overnight Low Band.
Quickly, the Overnight Low Band gained the reputation as one of Ohio’s top live bands. This lead to the Overnight Low Band recording singles for James Brown’s King label and Chicago’s Chess Records. Having been encouraged to record a session for King by label vice-president Henry Glover, The Witch Doctor was released on the Deluxe label in 1972, but didn’t chart. The following year 1973, Chess released Get To Your Soul, but like The Witch Doctor, failed to chart. Having learned from the experience, the following year Byron Byrd and the rest of the Overnight Low Band’s luck changed.
1974 saw the Overnight Low Band embark on a national tour, playing mostly colleges and universities. This was the Overnight Low Band’s chance to join Ohio’s funk elite. However, even then, there was a disappointment in store, when three members decided to jump ship and join an early lineup of The Ohio Players. Then enter producer Beau Ray Fleming, who discovered the Overnight Low Band opening for Mandrill.
Beau Ray Fleming was by then, an experienced songwriter and producer. His career started in the sixties and since then, he’d produced Mandrill and Jon Lucien’s debut albums. When he saw the Overnight Low Band he was hooked and instantly, saw that they were a talented band. As the Overnight Low Band started their set, Beau rushed from Mandrill’s dressing room into theatre and watched their show. At a party after the show, Beau introduced himself and the following year 1975, signed the Overnight Low Band to a production deal. Before that, Beau and the Overnight Low Band began looking at an alternative name for the group.
By late 1975, the Overnight Low Band’s search for a new name was still ongoing. Then, totally out of the blue, someone suggested Celestial Sun. Beau liked part of the name, so when trumpeter and trombone player John Wagner suggested dropping the Celestial part, Sun was born, and the Overnight Low Band became a footnote in Ohio funk history. With a new name, Beau started looking for a record deal for the newly named Sun. Then Beau met one of his music industry contacts Larkin Arnold, who had a new job at Capitol Records.
Larkin Arnold was something of a music industry veteran, who had just been installed as head of Capitol Records newly formed music department. Together, Beau, Larkin and Sun concluded a deal which saw Sun at last, signed to a major label. With their luck changing, another DJ and Drayton native Shad O’Shea entered their lives, offering Sun a deal which meant they could record their debut album on a budget.
Shad O’Shea, or to use his real name Howard Lovdal had formed his Counterpart record label in 1963 and since then, Ohio bands had recorded there. So, rather than record at a bigger studio, the decision was made to record their debut album at Counterpart Creative Studios in Cincinnati, Ohio. The seven piece Sun, comprising Byron Byrd, John Wagner, bassist Hollis Melson, drummer Kym Yancey, guitarist Shawn Sandridge, percussionist Chris Jones, and Dean Hummons on keyboards set about recording their debut album in early 1976. Nine songs were recorded and they would become their debut album Live On, Dream On. However, there would be further changes to the album after its release.
For their debut single, the title-track Live On, Dream On was chosen as Sun’s debut single from Live On, Dream On. When the single was released it failed to chart and the album, their debut album Live On, Dream On wasn’t making much of an impact. Things changed, and so would the album title, after the release of the second single.
Wanna Make Love (Come Flick My Bic) was chosen as the second single from Live On, Dream On. The single started climbing the US charts, reaching number seventy-six in the US Billboard 100, number thirty-one in the US R&B Charts and number fifteen in the US Dance Charts. This successful run was helped along by a promotional campaign by the makers of Bic pens. With Live On, Dream On also climbing the US charts, Capitol decided to reissue the album as Wanna Make Love. This and the unorthodox promotional campaign gave the album the boost it needed. After this, Wanna Make Love climbed all the way to number fifty-four in the US R&B Charts. For anyone whose familiar with Sun’s music and Wanna Make Love, this is no surprise. However, for anyone yet to discover Sun’s debut album Wanna Make Love, I’ll tell you about the album
WANNA MAKE LOVE.
For a debut album, Wanna Make Love was an accomplished debut from Sun, It shows a tight, talented and experienced band, with two sides to their music, one funky and the other soulful. Sun demonstrate their funky side as Wanna Make Love opens. The album almost explodes into life with the funk drenched Live On, Dream On. Given its title, this is apt. It could just as easily by Sun’s theme song. The tempo might drop on Tell the People, but it’s another course in this nine course veritable funky feast. They’re Calling For Me sees Sun’s rhythm and horn sections driving the track along while Byron pleas for fans to “buy your ticket, get your seat.” Not only should they buy a ticket, but they should buy Wanna Make Love.
My Women is one of several tracks show another side to Sun’s music, one that’s very soulful. This includes two of my favorite tracks. One is the slow, soulful and very beautiful ballad My Woman. It shows another side to Sun, and is a paean to the many roles women fill in life. For me, it’s one of the best tracks Byron Byrd wrote on Wanna Make Love. Another of the slower tracks is Love Is Never Sure, which has a gloriously dramatic introduction and one of the most heartfelt vocals on Wanna Make Love, that’s accompanied by horns that rasp gently add to the emotive, beautiful sound. The Show Is Over has a similar sound and feel to Love Is Never Sure. Byron’s weary, vocal is accompanied by tender harmonies, keyboards and subtly, braying horns. They provide a gorgeous accompaniment to Byron’s vocal and play their part in what is one of the most emotive, soulful songs on Sun’s debut album.
The track that changed Sun’s fortunes was Wanna Make Love (Come Flick My Bic), one of the funkiest tracks on Wanna Make Love. It features an instrument made famous by Stevie Wonder the clavinet, which is central to the track’s sound and success. Given how good the song is, I’ve always wondered whether the track would’ve been the same success without the unorthodox promotional campaign?
Give Your Love To Me closes Wanna Make Love and is and is a slower, but still funky track. A piano and Sun’s horn section play important parts in the arrangement. Byron’s vocal is punchy, with tight sweeping harmonies accompanying him as Sun close their debut album Wanna Make Love on an uber-funky high.
It’s somewhat ironic that it took what was almost a guerilla marketing campaign changed Sun’s fortunes. If it hadn’t been for Wanna Make Love (Come Flick My Bic), maybe Sun would’ve been one of those bands who only ever record one album. Having said that, Wanna Make Love was an accomplished debut from Sun, where a tight, talented and experienced band, show the two sides to their music. One side was the good time funk sound, the other deeply soulful. By changing the album title to Wanna Make Love, this changed funk history. Capitol Records believing that their Sun would shine bright, got Sun to begin work on their second album Sun-Power.
SUN-POWER.
Sun-Power, Sun’s sophomore album saw an expanded lineup of Sun enter the recording studio. Ernie Kinsley and Gary King percussionist and trombonists and guitarist Bruce Hastell joined Sun in time for the group to enter Counterpart Recording Studios with producer Beau Ray Fleming. For their second album Sun-Power, Sun recorded eight songs. When Sun-Power was completed, Capitol Records gave the album priority, believing Sun were a group who had a big future. Would that be the case when Sun Power was released?
On the release of Sun-Power in 1977, the album fared better than Wanna Make Love, reaching number thirty-nine in the US R&B Charts. The lead single Boogie Bopper was the only single to chart, reaching number fifty in the US R&B Charts. We’re So Hot and Just A Minute of Your Time both failed to chart. At least, Sun were making progress, in their journey to joining Ohio’s funk elite. However, is Sun-Power a similar combination of funk and soul as Sun’s debut album Wanna Make Love?
Opening Sun-Power is the playful Light Me Up, with Sun’s expanded horn section punctuating this new mid-tempo funky track. There’s a different sound to Wanna Make Love, with Sun sounding even tighter and more polished. The horns are punchier, the rhythm section funkier and the harmonies that accompany Byron’s vocal sweeter. Boogie Bopper sees Sun at their funkiest best, with the rhythm and blazing horns driving this slice of good time funk along. If you were to cross elements of Kool and The Gang with Earth, Wind and Fire this is what you’d get. There’s a change on We’re So Hot, with Sun delivering their very first instrumental. With the guitars and rhythm section driving the arrangement along, ferocious stabs of growling horns join the mix, and a driving, slab of funk unfolds at breakneck speed. Sometimes, the track heads in the direction of jazz-funk, but mostly, this track has made in Ohio stamped all over it. Conscience sees the funk of the previous tracks continue, but some delicious harmonies added to the equation. This is reminiscent of several tracks from Wanna Make Love and is an opportunity for Sun to showcase their harmonic skills. After four funky tracks, Sun decide to change things around, returning to their more soulful side on the next two tracks.
Time Is Passing is a slower dramatic track where Sun revisit their soulful side. The track features some of the best lyrics on Sun-Power. It offers another, alternative perspective on the subject of time and absence in relationships. Rather than absence making the heart grow fonder, Byron Byrd wonders whether absence can make the heart restless? Here, Sun get another opportunity to deliver some stunning harmonies, while Byron delivers a vocal full of confusion, guilt and regret. Strings add to the emotion, while the harmonies add to the song’s beauty. The result is one of the highlights of Sun-Power. Just A Minute of Your Time has a Philly Soul sound from the initial bursts of growling, rasping horns. Byron’s vocal and the sweeping harmonies add the Philly Sound. Add in the Hammond organ and the rhythm section, complete with its dramatic, crashing cymbals and you begin to wonder if this is a hidden Philly Soul gem?
After two soulful tracks, Sun return to the funky side of their music, with Organ Grinder is a mid-tempo funk-laden track that’s also laden with double entendres, and introduces a tougher, edgier side to Sun’s music Closing Sun-Power is another “relationship song,” sung from the point of view of a man whose partner took his love for granted. Byron’s vocal is full of anger, bitterness and resentment, as his relationship lies in tatters. Reinforcing his emotions are growling, angry horns, stabs of Hammond organ and soaring harmonies that accompany Byron’s embittered vocal. Given that this track fuses the two sides of Sun’s music and is one of the best tracks on Sun-Power, it’s the perfect way to close Sun-Power.
For anyone yet to discover Sun’s music, then not only are Wanna Make Love and Sun-Power are their two best and most successful albums and are perfect places to start. Wanna Make Love and Sun-Power feature a tight, accomplished and experienced group in Sun. Unlike many groups, they’d paid their dues and spent many years honing their sound. This resulted in Wanna Make Love featuring a delicious mixture of funk and soul. Wanna Make Love featured the seven-piece lineup of Sun, while Sun-Power featured the newly expanded ten-piece lineup. Sun-Power also saw Sun’s funky side feature much more than their soulful side. However, the quality and standard of music that featured on Wanna Make Love, was also present on Sun-Power where, Sun were evolving as a group. Although Sun-Power was just the second album in Sun’s eight album musical adventure, Sun had already joined Ohio’s funk elite. They would be in good company when the history of Ohio funk music was eventually written. Sun would join The Ohio Players, Lakeside, Slave, Bootsy Collins and Platypus. Of the eight albums Sun would go on to record, Wanna Make Love and Sun-Power are in my opinion, their two finest albums. They’re the perfect starting place for anyone new to Sun’s music, and luckily for newcomers to Sun’s music, both Wanna Make Love and Sun-Power were rereleased by SoulMusic Records on 17th September 2012 on the one album. However, lest we forget, if it hadn’t been for one single, Wanna Make Love (Come Flick My Bic) and an early guerilla marketing campaign, then Sun might not have had the opportunity to record a second album, never mind seven more. So anyone who loves Sun’s music, including Wanna Make Love and Sun-Power, should remember the part Bic played, in helping Sun join Ohio’s funk elite. Standout Tracks: My Woman, Love Is Never Sure, Time Is Passing and Just A Minute of Your Time.
SUN-WANNA MAKE LOVE/SUN-POWER.
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ARETHA FRANKLIN-LOVE HURT ALL THE WAY.
ARETHA FRANKLIN-LOVE HURT ALL THE WAY.
After signing to Atlantic Records in 1967, Aretha Franklin released a string of critically acclaimed and commercially successful albums. From 1967s I Never Loved A Man the Way I Loved You and Aretha Arrives, through 1968s Lady Soul and Aretha Now and 1969s Soul ’69 Aretha enjoyed five US R&B number one albums, with three albums certified gold. This run of successful albums continued into the early seventies, Young, Gifted and Black released in 1972 being certified gold and 1974s Let Me Into Your Life giving Aretha her first US R&B number one album in five years. The next few years weren’t as successful for Aretha, with 1976s Sparkle being one of the highlights, reaching number one in the US R&B Charts and being certified gold. Sadly, the rest of Aretha’s time at Atlantic saw the critical acclaim and commercial success that Aretha had grown used to, dry up. Then in 1979, Aretha made the brave decision to leave Atlantic. Her debut album for her new label Arista, run by Clive Davis, a friend of Aretha’s, got her career back on track. It was Aretha’s most successful album since 1976s Sparkle, reaching number forty-seven in the US Billboard 200 and number six in the US R&B Charts. Having started rebuilding her career at Arista, Aretha was ready to build on the success of Aretha. So, Aretha Franklin headed to the studio to record her second album for Arista, Love Hurt All the Way, which will be rereleased by BBR Records on 24th September 2012. Would Love Hurt All the Way build on the success of Aretha and see Aretha Franklin reclaim her crown as the Queen of Soul.
For Aretha Franklin’s sophomore album for Arista, Love Hurt All the Way, ten tracks were chosen, with Aretha writing two tracks, Whole Lot of Me and Kind of Man. The other eight tracks were cover versions, including a cover of Hold On I’m Comin,’ made famous by Sam and Dave and written by David Porter and Isaac Hayes. Sam Dees contributed the title-track and album opener Love Hurt All the Way, which sees Aretha duet with George Benson. Among the other cover versions were a cover of It’s My Turn, written by Carol Bager Sayer and originally recorded by Diana Ross. Intriguingly, Aretha chose to cover The Rolling Stones’ You Can’t Always Get What You Want. Rod Temperton who was enjoying huge success as a songwriter, having written tracks for George Benson, Rufus, Donna Summer and The Brothers Johnson’s hit single Stomp, wrote Living In the Streets. These ten tracks would be recorded in Los Angeles and New York, with Arif Mardin producing Love Hurt All the Way.
For the recording of Love Hurt All the Way, a hugely talented group of musicians would accompany Aretha. This includes bassists Marcus Miller and Louis Johnson of The Brothers Johnson who played on the title-track Love Hurt All the Way and Living On the Streets, while Jeff Pocaro, a former member of Toto played drums. Completing the rhythm section was guitarists David Williams and Steve Lukather. Greg Phillinganes who wrote Behind the Mask, which was covered by Eric Clapton and Michael Jackson, played keyboards and sythns and Paulinho Da Costa added percussion. Cissy Houston, Estelle Brown, Darlene Love and Margaret Branch added backing vocals on what was like an all-star lineup of singers and musicians. Would the combined talents of these singers and musicians help Aretha Franklin in her quest to rebuild her career when Love Hurt All the Way was released?
Love Hurt All the Way was released in August 1981, reaching number thirty-six in the US Billboard 200 and number four in the US R&B Charts. While this was an improvement on Aretha’s chart placing, Love Hurt All the Way only sold 250,000 copies. The lead single was the title-track and duet with George Benson, Love Hurt All the Way. It reached number forty-six in the US Billboard 100, number six in the US R&B Charts and number forty-nine in the UK. When It’s My Turn was released as a single, it proved popular on the dance-floor, but reached just number twenty-nine in the US R&B Charts in October 1981. Over in the UK, another track was chosen as the second single, Hold On I’m Comin’ which failed to chart, but resulted in Aretha winning her eleventh Grammy Award for the Best R&B Vocal Performance. Then when Living In the Streets was released as a single in December 1981 in the US, it failed to chart. Overall, Love Hurt All the Way had resulted in Aretha’s most successful album since 1976s Sparkle and resulted in another Grammy Award. However, should Love Hurt All the Way have been a bigger commercial success? That’s what I’ll tell you, once I’ve told you about the music on Love Hurt All the Way.
Opening Love Hurt All the Way, is the title-track Love Hurt All the Way, which was written by Sam Dees, a hugely underrated songwriter and sees Aretha duet with George Benson. By 1981, George was at the height of his popularity, having become more mainstream. The tempo is slow with just keyboards, an understated rhythm section and guitars combining before Aretha’s vocal elegantly soars above the arrangement. Her vocal is restrained, tender and full of emotion, before George’s vocal enters. It’s the perfect accompaniment, with each vocal complimenting the other. Flourishes of tender, backing vocals and a sultry saxophone punctuate the arrangement, while the keyboards and Louis Johnson’s slapped bass is key to the arrangement. However, it’s a vocal tour de force, full of emotion and passion from Aretha and George that steals the show and makes this a beautiful ballad to open Love Hurt All the Way.
There’s a real change in style on the cover version of Sam and Dave’s Hold On I’m Comin.’ It’s given an eighties makeover where Aretha fuses eighties electronic music, hip hop and gospel backing vocals. She struts her sassy way through the track, with a combination of Mini Moog, funky rhythm section, blazing horns piano and testifying gospel backing vocalists accompanying her. Later, Aretha delivers part of the track in what’s almost a hip hop style, while some delicious harmonies accompany her. When this is combined with the piano and stabs of horns, the result is an incredible transformation of a familiar classic, that’s very definitely worthy of a Grammy Award.
Rod Temperton who was enjoying one of the hottest periods of his songwriting career, wrote Living In the Streets and arranged the rhythm and backing vocals. Greg Phillinganes synths and growling horns combine with a driving rhythm section before Aretha’s vocal enters. Soon, her vocal grows in power and passion, as punchy, soaring harmonies accompany her. Strings sweep and swirl, constant stabs of horns and bursts of pounding drums add to the drama that’s built up. Later, Greg adds a spellbinding synth solo, accompanied by bursts of percussion before dancing strings, punchy horns join the mix and Aretha takes charge of the vocal.
There’s A Star For Everyone is another of the ballads on Love Hurt All the Way. With just keyboards and piano combine allowing Aretha’s vocal to take centre-stage. Like a fine wine, her voice seems to grow with age. She breathes life and meaning into the lyrics, combining hope and joy, with sadness and a weariness. Behind her, the rhythm section, lush strings and keyboards combine, but It’s the piano and dramatic, soaring harmonies that are crucial to the arrangement. When they’re combined with Aretha’s vocal, the result in quite simply a beautiful, emotive roller-coaster journey of emotions, that’s one of the highlights of Love Hurt All the Way.
Probably when Mick Jagger and Keith Richards cowrote You Can’t Always Get What You Want, they never imagined the Queen of Soul Aretha Franklin would cover it, but cover it she did. Staying true to the original the almost classical sound harmonies combine before things change. While the harmonies are still present, drums crack and synths help drive the track along in the direction of funk. Aretha’s vocal is feisty, as she makes the song swing. This sees the track head in the direction of the dance-floor, with an eighties sounding arrangement. A searing, riffing guitar solo adds contrast and to the drama provided by Aretha’s testifying backing vocalists who are crucial to the track’s sound and success.
It’s My Turn was written by Carol Bayer Sager and originally recorded by Diana Ross in 1980. By covering it a year later, Aretha was almost laying down a challenge, anything you can do, I can do better. It’s like a shootout between two dueling divas, with microphones at dawn. Just a piano accompany’s Aretha’s fragile, impassioned vocal. Her call is answered by tender backing vocalists. Soon, Aretha throws herself into the track, with the rhythm section and the lushest of strings accompanying the piano as the drama builds. While the drama builds, so too does the drama, emotion and power in Aretha’s vocal. The longer the song goes, the better Aretha’s vocal gets, especially with the dramatic, soaring, gospel infused backing vocals accompanying her. Aretha’s voice is full of determination as if she means every word of the song. By the end of the track you realize that although Diana Ross recorded the original, Aretha’s version is better. After all, they don’t call Aretha the Queen of Soul for nothing.
Carol Bayer Sayer who wrote It’s My Turn also cowrote Truth and Honesty with Burt Bacharach and Peter Allen. As strings dramatically sweep in, they don’t prepare you for the track exploding joyously into life. Chiming guitars are joined by a pounding, funky rhythm section and swathes of strings before Aretha’s punchy vocal enters. Quickly, her vocal grows in power, with tight, soaring harmonies accompanying her and a piano helping drive the track along. By now Aretha has made the song her own, turning back the clock and delivering a vintage slice of impassioned soul. With songs as good as this, Love Hurt All the Way deserved to have been a much bigger commercial success.
Chuck Jackson wasn’t just a successful soul singer, but also a talented songwriter who wrote Search On. This is a much slower track, with tender, soulful harmonies accompanying the rhythm section and pianos giving way to Aretha’s vocal. It’s full of emotions, a mixture of hurt and sadness, but also hope and belief. Strings sweep in, while pianos and the rhythm section build up the drama. Impassioned, pleading and hugely soulful harmonies sweep in, adding the beauty and drama of this powerful, moving and uplifting song full of hope.
Whole Lot of Me is the first of two tracks penned by Aretha. Here, searing guitars, a punchy rhythm section and keyboards accompany Aretha, as she delivers another swinging, sassy vocal. There’s a jazzy sound to the piano, while the rhythm section add a funky rhythm. Jo Anna Harris adds some powerful, dramatic harmonies while woodwind float in and out. Later, Aretha delivers a powerful, passionate vampish vocal, accompanied by an arrangement that matches her vocal for drama and power.
Closing Love Hurt All the Way is Kind of Man, written by Aretha. Horns, piano and the rhythm section combine before Aretha’s impassioned, dramatic vocal enters. Strings add to the emotion, while the rhythm section and piano play important parts in the slow, deliberate arrangement. Then the arrangement and Aretha’s vocal grows in drama. Strings sweep in, and with the piano, woodwind and rhythm section, each play their part in what is a moving and dramatic ballad to close Love Hurt All the Way.
Although Love Hurt All the Way wasn’t a huge commercial success, like Aretha’s Atlantic albums and three of her later Arista albums, it wasn’t because of the music. On Love Hurt All the Way Aretha’s vocal are just as good as on future Arista albums like Jump To It and Get It Right. Similarly, there was neither anything wrong with her multi-talented band nor the songs on Love Hurt All the Way. From the Sam Dees penned title-track Love Hurt All the Way, through There’s A Star For Everyone, It’s My Turn, Search On and Whole Lot of Me, the standard of songs is consistently high. The covers of Hold On I’m Comin’ and You Can’t Always Get What You want were intriguing, compelling interpretations of familiar songs that breathed new life and meaning into them. Maybe the reason Love Hurt All the Way wasn’t a much bigger commercial success was that Aretha’s music needed to appeal to a wider audience. That’s why Luther Vandross was brought in to produce her next two albums Jump To It and Get It Right. So in some ways, Love Hurt All the Way marked the end of a chapter in Aretha Franklin’s career. After this, she changed her music and style, appealing to a younger, wider audience. Of course, the danger with this, was that she risked alienating her older fans. Given, seen they were buying her music in smaller numbers, something had to give and change. So, for fans of Aretha Franklin, Love Hurt All the Way was the end of another chapter in Aretha’s career. At least Love Hurt All the Way, which will be rereleased by BBR Records on 24th September 2012 closed this chapter of Aretha Franklin’s career on a memorable high, with a Grammy Award, and some magical, memorable musical reminders of her early years at Atlantic Records. Standout Tracks: Love Hurt All the Way, There’s A Star For Everyone, It’s My Turn and Search On.
ARETHA FRANKLIN-LOVE HURT ALL THE WAY.
THE BROTHERS JOHNSON-BLAM!
THE BROTHERS JOHNSON-BLAM!
Before Quincy Jones spotted The Brothers Johnson at a Stevie Wonder rehearsal, they’d been part of Billy Preston’s band. After Quincy Jones discovered guitarist George and bassist Louis, The Brothers Johnson embarked on a twelve year, seven album adventure for Herb Albert’s A&M Records. The first four albums The Brothers Johnson released for A&M were produced by Quincy Jones were their most successful albums. Each of The Brothers Johnson’s Quincy Jones produced albums were certified platinum, with three of them reaching number one in the US R&B Charts. This remarkable run of platinum certified albums started with 1976s Look Out For Number One, which reached number nine in the US Billboard 200 and number one in the US R&B Charts. Right On Time was released in 1977, reaching number thirteen in the US Billboard 200 and number two in the US R&B Charts. Then came Blam, released in 1978 which would become The Johnson Brothers’ most successful album so far. Blam which was released by SoulMusic Records on 17th September 2012, reached number seven in the US Billboard 200 and number one in the US R&B Charts. That cemented The Johnson Brothers as one of the most successful funk and souk bands of the seventies. So by the time The Brothers Johnson entered the studio to record Blam, little did they realize that they were currently enjoying the hottest period of their career. After I’ve told you about the background to Blam, and the music on Blam, I’ll tell you why this successful run came to a sudden halt.
With both of The Brothers Johnson’s previous albums featuring a US R&B number one single, the pressure was on to repeat that feat. Their debut album, 1976s Look Out For Number One, featured I’ll Be Good To You, The Brothers Johnson’s biggest single. It reached number three in the US Billboard 100 and number one in the US R&B Charts. Strawberry Letter Number 23, written by Shuggie Otis, a track from their second album Right On Time reached number seven in the US Billboard 100 and number one in the US R&B Charts. So, The Brothers Johnson were keen to repeat this feat. That’s why it was so important to choose the correct material for what would become Blam.
For their third album Blam, eight tracks were chosen, with Louis Johnson co-writing five of the eight tracks. Louis cowrote three tracks with Quincy Jones and various songwriting partners. This included Ain’t We Funkin’ Now which the pair cowrote with Tom Bahler, Valerie Johnson and Alex Weir. Quincy, Louis, Tom Bahler, Alex Weir also cowrote the title-track Blam with George Johnson and David W. Foster. David Foster also cowrote So You Won’t Stay with drummer Harvey Mason, who played on Blam. Ashford and Simpson cowrote Ride-O-Rocket, which would one of the singles released from Blam. These eight tracks would be recorded at three separate studios, with Quincy Jones producing Blam.
The recording sessions took place in New York and Los Angeles. Two studios in Los Angeles were used, Cherokee Recording Studios and Westlake Audio. In New York session took place at A&R Recording Studios. At these sessions, The Brothers Johnson were accompanied by what was an all-star band of some of the best jazz, soul and funk musicians. This included drummer Harvey Mason, guitarists Larry Carlton and Alex Weir, tenor saxophonist Michael Brecker, percussionist Eddie “Bongo” Brown, David Foster on synths and piano and Steve Porcaro on synths. George Johnson played lead guitar and sang lead and backing vocals, while brother Louis played bass, guitar and added vocals. Adding backing vocals were The New York Super Singers, a cast of talented singers, including Patti Austin, Gwen Guthrie, Yollanda McCullough and Raymond Simpson. Once the eight tracks that became Blam were recorded, Blam was released in 1978.
On the release of Blam in 1978, not only did it replicate the success of The Brothers Johnson’s two previous albums, but surpassed them, reaching number seven in the US Billboard 200 and number one in the US R&B Charts. Two singles were released from Blam, but neither gave The Brothers Johnson their third number one US R&B single. Ride-O-Rocket reached just number 104 in the US Billboard 100 and number forty-five in the US R&B Charts. Ain’t We Funkin’ Now fared slightly better, reaching number 102 in the US Billboard 100 and number forty-five in the US R&B Charts. Although the failure of the two singles must have been disappointing, The Brothers Johnson’s third album Blam had given them their third platinum disc and became their first album to chart in the UK, reaching number forty-eight. However, what does Blam sound like and why didn’t the singles fare better? That’s what I’ll tell you, once I’ve told you about the music on Blam.
Opening Blam is the second single, Ain’t We Funkin’ Now and from the opening bars we’re funking..big time. The Brothers Johnson’s powerhouse of a rhythm section, complete with Louis’ loping, slapped bass that drives this prime slice of funk along. Stabs of blazing horns, cascading backing vocals and George’s sassy, vampish vocal combine. Punchy harmonies assail you, seemingly surrounding you, while riffing guitars and crashing cymbals punctuate the arrangement. All the time, the rhythm section and braying horns are combining as George unleashes a powerful vamp. It’s a five-minute, furiously funky track to open Blam, one that grabs your attention and forces you to listen. When you do, it’s well worth the time and effort and has you anticipating the rest of Blam slavishly.
There’s a real change in style on So You Won’t Stay. The tempo drops, and the funk of the previous track is replaced by a beautiful and soulful song. George’s vocal is tender, emotive and heartfelt. He’s accompanied by subtle harmonies, while an understated arrangement sees synths and keyboards, combine with a thoughtful rhythm section and chiming guitars. Beautiful harmonies sweep in, as George’s voice reveals a fragility and tenderness. As his vocal drops out a sultry saxophone solo replaces it. This is perfect. Not only does it add to the beauty of the arrangement, but is the perfect accompaniment to George’s heartfelt, tender vocal. The result is one of the highlights of Blam.
The title-track Blam marks a return to the funky sound of the opening track Ain’t We Funkin’ Now. There are a few surprises in store, as The Brothers Johnson tease the listener, during two sides of the same song. Synths, a pounding, funky rhythm section, growling horns and guitars accompany George’s punchy vocal. He’s accompanied by dramatic bursts of blazing horns, meandering keyboards, dramatic half-whispered backing vocals and a tight, funky rhythm section. Then just as quickly, things change. Tight, soulful and needy harmonies enter and the horns loose their dramatic, almost aggressive sound and the arrangement reveals a different side. It’s a captivating, compelling track, one full of contrasts, where The Brothers Johnson with producer Quincy Jones’ help, have surprises aplenty in store, as they push the musical boundaries, fusing funk and soul.
Rocket Countdown/Blastoff is not unlike something you’d expect to hear during the soundtrack to some seventies sci-fi blockbuster. It’s just fifty-three seconds of drama, that are like something from Close Encounters or Star Wars. Synths add a sci-fi sound, before blazing, growling horns and strings build the drama. Sadly, al too soon the track is over. While it was a delicious taster of what might have been, it sets up the next track perfectly.
Ride-O-Rocket was penned by the prolific songwriting team of Ashford and Simpson. It was chosen as the lead single from Blam and builds on the drama of the previous track. Kettle drums, stabs of keyboards, growling horns and the combined vocals of The Johnson Brothers combine as the track blasts off. George delivers a sassy vocal, accompanied by joyous, cascading harmonies, jazzy piano and growling horns. Later the horns change, adding to the uplifting, joyful sound. As harmonies sweep in and George’s vocal drifts in and out, the rhythm section create the track’s gloriously funky heartbeat. Still the punchy, horns rasp, playing an important part, by adding a contrast to the sweeping, joyous sound of the rest of the arrangement. Before long, the journey on The Brothers Johnson’s Ride-O-Rocket has landed and this joyful, funky journey is complete. Believe me, so good is the journey, you’ll climb back aboard and enjoy the journey.
Mista Cool was written by Louis Johnson with Ed Eckstine and Larry Williams. Gentle, subtle keyboards are something of a curveball, giving little indication of the song’s direction. It’s an instrumental, with synths, keyboards, driving horns and The Brothers Johnson’s pounding, funky rhythm section combining. Louis slaps his bass, creating one of his best bass lines on the album, while synths and the rest of the rhythm section combine. All the time, the horns help drive this innovative slice of funk along, helping create a track that would prove popular among the UK’s jazz fusion fraternity.
It’s You Girl is the only track on Blam George Johnson cowrote. Mind you, if you’re only going to cowrite one track, make it one as good as this. George’s voice has the same tenderness as on So You Won’t Stay. Again the tempo drops, with the rhythm section, keyboards and chiming guitars creating an understated arrangement, as the track gets underway. Some of the best and most harmonies on Blam accompany George’s vocal. Later, when they gloriously unite, they bring a gospel sound to the arrangement. They replace George’s impassioned, heartfelt pleas and their power and gospel-tinged sound are just the finishing touch to another of the highlights of Blam.
Closing Blam is Streetwave another jazz fusion track. It came about after The Brothers Johnson jammed, with Quincy Jones added a full arrangement. Louis pounds his bass, before mellow keyboards, then percussion and saxophone enter. Soon, the band kick loose, with the horns blazing and growling and the rhythm section driving the track along and providing its jazzy heartbeat. Hearing The Brothers Johnson and the rest of the band kicking loose is a joy to behold and isn’t a fusion of jazz and funk, but what both The Brothers Johnson and producer Quincy Jones do best and seems a fitting finish to Blam.
Blam saw The Brothers Johnson continue the success of Look Out For Number and Right On Time. Indeed Blam became The Johnson Brother’s most successful album. The only thing it lacked was the number one single that featured on Look Out For Number and Right On Time. Their debut album, 1976s Look Out For Number One featured I’ll Be Good To You, and Right On Time featured Strawberry Letter Number 23. Unfortunately, neither of the singles, Ride-O-Rocket nor Ain’t We Funkin’ Now replicated the commercial success of these two tracks. Good as both singles were, they maybe lacked the radio friendly, hook-laden sound of I’ll Be Good To You and Strawberry Letter Number 23. Having said that, both singles are good examples of what The Brothers Johnson did so well and what made their music so successful. Both tracks demonstrate The Brothers Johnson at their funky best, while tracks like So You Won’t Stay and It’s You Girl reveal a quite beautiful soulful side to their music. Of the two sides to The Brothers Johnson, I adore their soulful side. Having said that, two tracks on Blam give us a brief glimpse of another side of The Brothers Johnsons music and their versatility and talent. Mista Cool and Streetwave which closes Blam, shows another side of the The Brothers Johnson’s music. It’s a fusion of the talents of The Brothers Johnson and Quincy Jones talents and together, they created a glorious slice of jazz fusion. So, for lovers of jazz fusion, funk and soul, Blam has something for everyone and it’s no wonder that it became their most successful album. Little did The Brothers Johnson know that their run of successful albums was nearly at an end.
After Blam, 1980s Light Up the Night became The Brothers Johnson’s most successful album, reaching number five in the US Billboard 200 and number one in the US R&B Charts, becoming their fourth consecutive platinum album. It featured another number one US R&B single Stomp, a classic from The Brothers Johnson. Following Light Up the Night, The Brothers Johnson split from producer Quincy Jones. This wasn’t their best decision, with The Brothers Johnson never enjoying the same success. Ironically, if it wasn’t for Quincy Jones then maybe The Brothers Johnson would’ve remained forever session players, rather than becoming the huge stars. However, Quincy Jones’ role in The Brothers success can’t be underestimated. For anyone yet to discover The Brothers Johnson’s music, then their first four albums, including Blam, which was rereleased by SoulMusic Records on 17th September 2012. Blam is the perfect introduction to one of the most successful and talented soul and funk groups of the seventies… The Brothers Johnson. Standout Tracks: Ain’t We Funkin’ Now, So You Won’t Stay, Ride-O-Rocket and It’s You Girl.
THE BROTHERS JOHNSON-BLAM!
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PLATYPUS-PLATYPUS.
PLATYPUS-PLATYPUS.
In the seventies, Dayton, Ohio was funk central. Among the funk bands emerging from Dayton were The Ohio Players, Lakeside, Heatwave, Slave and Platypus. Of these groups, Platypus stood out. They were the only group to incorporate elements of progressive rock into their music and would record two albums for Casablanca Records in 1979 and 1980. The first of Platypus’ two albums was 1979s Platypus, which will be rereleased by BBR Music on 24th September 2012. Before I tell you about the music on Platypus, I’ll tell you the story behind Platypus journey from Drayton, Ohio to the release of their debut album Platypus. That journey saw them change their name, lose several members and begin recording their debut album Platypus without a record deal in place.
After making a unanimous decision, The Four Korners headed to Los Angeles to further their career. Now based in Los Angeles, The Four Korners became a popular band. Their popularity too them much further afield to Australia and Japan. After a visit to Australia, The Four Korners became Platypus, after being introduced as The Black Platypus. The name stuck and on returning to Los Angeles, The Four Korners became Platypus. On another visit overseas, Platypus would meet someone who’d help further their career…Roberta Flack
Throughout their career, Platypus were a popular band. Indeed, it was in Japan that someone finally defined what their music was “between rock and soul.” It was during a trip to Japan that Platypus would meet Roberta Flack. After hearing Platypus headline the Bottom Line in Osaka, she would become Platypus’ mentor. By the time Roberta Flack met Platypus, they were a tight, accomplished and practiced group, who when not playing together, sang harmonies on sessions for The 5th Dimension, Thelma Houston and Diana Ross, including Diana’s Love Hangover album. Arthur Stokes one of Platypus songwriters, had also written What Goes Around for Michael Jackson’s Ben album and I’m Glad It Rained for the Jackson 5. So, it’s no surprise that when Roberta Flack first heard Platypus she was immediately struck by how much talent and potential they had. After exchanging phone numbers and returning home, Roberta Flack made good on her promise to keep in contact with Platypus.
With both Roberta Flack and Platypus back home, Platypus in Los Angeles and Roberta in New York, Roberta invited Platypus to New York. Platypus joined Roberta and her band in one of New York’s most prestigious recording studios, The Hit Factory. During their time together, Platypus played with Roberta and her band and recorded Dance If You Can. Apart from that one song, nothing more came of the sessions. Despite Roberta’s best efforts, Platypus were still without a record contract. Eventually, with a heavy heart, Platypus decided to head back home to Drayton. Sadly, it was without one of the band, Dana Meyers who decided to stay in Los Angeles. Unfortunately, it would fifteen months before Platypus would set foot in a recording studio again.
Back in Drayton, Platypus spent time finding the right studio. Eventually, they discovered Fifth Floor Studios, managed by Rich Goldman and where Lakeside, now signed to Solar Records recorded. By now Platypus were desperate for a record deal, so decided that they’d record something record companies would want to sign. Starting with Dancing In the Moonlight, Platypus almost invented a new genre, which fused funk, soul and disco. Figuring disco was now a four billion dollar industry, they recorded a track labels would want to sign. Soon, further songs were written, refined and then recorded. Often recordings were refined further and eventually, seven songs had been recorded. Just then, studio manager Rich Goldman was heading to Los Angeles on a business trip. Realizing that Platypus’ music was what labels were looking for, volunteered to take their music to labels. Sadly, the triumph that was around the corner for Platypus, was tempered by tragedy.
On Rich Goldman return from Los Angeles, the news was good. Labels loved Platypus and wanted to sign them. Solar Records and She Records were both interested and so were Casablanca. By 1979, Casablanca were one of disco’s biggest labels and they were interested in signing Platypus for their Chocolate City imprint. They’re was a but though…Casablanca’s Bruce Bird wanted to bring in a producer. However, when he heard of the other label’s interest, Bruce agreed that Casablanca would pay for Platypus to polish up the production and if he liked it, then they could produce their own album. Adding strings sealed the deal and Platypus were signed as artists and producers. Then tragedy struck. Larry Hines was bravely battling leukemia, and traveling to Los Angeles for treatment and to visit his son. Larry decided that after recording more song, he would leave Platypus. He sang his heart out, putting everything he had and much more into Running From Love. With that Platypus’ debut album was finished and ready for release in 1979.
Sadly, when Platypus released Dancing In the Moonlight, it failed to chart. Worse was to come when neither the album Platypus, nor the second single Love the You Funk charted. It seemed triumph and tragedy were haunting Platypus again. Platypus had at long last released their debut album Platypus, but it failed commercially. However, as regular readers of this blog will know, commercial failure doesn’t necessarily mean there’s anything wrong with the music. Often the music is ahead of its time or just the result of circumstances, or the fickle finger of fate. Is that the case with Platypus debut album Platypus?
Platypus’ debut album is Dancing In the Moonlight which Larry Hines and Anthony Stokes cowrote. Straight away, you can hear elements of disco, funk and soul. The strings add to a disco influence while the funky rhythm section, percussion and flourishes of keyboards and tight, soulful harmonies see funk and soul unite. Larry Hines’ vocal is perfect for the track, and made all the better by soulful harmonies. Strings quiver and shiver, while chiming guitars, and a loping, funky bass play important parts in the track. So do the bells that ring out joyously, punctuating the arrangement. They’re in keeping with the track’s uplifting, feel-good sound, that should’ve been a huge commercial success.
Street Babies has a tougher, edgier sound. There’s a Drayton funk sound, that can be heard in many groups of this era. Gone is the disco of the previous track. Larry’s gnarled vocal is accompanied by a pounding, funk-laden rhythm section and guitars, with percussion, keyboards and soaring harmonies accompanying him. The searing bass line on this track is one of the best on Platypus. It’s accompanied by dramatic stabs of keyboards, bursts of percussion and those falsetto harmonies that are a perfect foil for Larry’s edgy vocal. Although very different from the opening track, it has one thing in common…quality.
Love the Way You Funk gives a clue to the direction of the song. It’s funky with a capital F, and sometimes, just as soulful. Flourishes of keyboards give way Platypus’ rhythm section. They’re at the heart of the track’s sound and success and are joined by washes of synths and keyboards. Meanwhile percussion and guitars accompany Larry’s sweet and sometimes, punchy multi-tracked vocal that’s seemingly designed to sooth your soul. It’s panned from right and left effect, seemingly surrounding you. The harmonies that accompany Larry’s lead vocal range from soulful, to funky, as does the arrangement. Not only that, but the track finds a happy medium between sounding commercial, without alienating their loyal following. Sadly, when it was released as a single, if failed to chart, and like the lead single Dancing In the Moonlight, remains a hidden gem of a track.
Don’t Go Away sees Platypus incorporate some of their prog rock influences during the track. This shines through when the keyboard bass, moody tipmani and spacey guitar sound come to the fore. That spacey, dramatic sound is apparent from the opening bars. Larry’s vocal is full of hurt and regret, while the arrangement is dark, moody and dramatic. Contrasts can be heard throughout the track. There’s the drama of the searing, rocky guitars and rumbling keyboards bass, while there’s beauty in the tight, heartfelt harmonies. When they’re combined with one of the most emotive, impassioned vocals on Platypus, the result is a track where drama and beauty are ever-present in equal measures.
Arthur Stokes takes charge of the lead vocal on Dance If You Can, which sees another change in mood and style. It’s an uptempo dance track that almost bursts joyously into life. A pounding rhythm section, melodic keyboards and chiming guitars combine with Arthur’s sassy vocal. He grabs the track by the scruff of its neck and breathes life and joy into it. Accompanying him are some of Platypus quality, trademark, soulful harmonies. Given the quality of the harmonies, it’s no surprise they were so in demand for session work. Keyboards also play an important track in the track’s melodic sound. Soon, one of the catchiest, hook-laden tracks on Platypus unfolds. Even thirty-four years later, this track would still light up any dance-floor.
Running From Love is a track written by Lloyd Jones and Curtis Stafford and is the last track Larry Hines sang on. It’s one of his best vocals on Platypus and sees the spacey, prog rock sound of Don’t Go Away returning. The tempo slows with a marauding bass line testing the tolerance of your speakers. Soon, synths, keyboards, harmonies and the rest of Platypus’ rhythm section join the mix. As harmonies soar above the arrangement, while the prog rock sound is revisited. Spacey keyboards and that rumbling bass play important parts in the arrangement. Later, sizzling, dueling rocky guitar add to the prog rock influence grows and grows to its dramatic musical crescendo.
Closing Platypus is Body and Soul which is another of the dance tracks. It’s very different from the previous track, and is much more Platypus in sound. Chiming guitars, a driving, pounding rhythm section and flourishes of keyboards give way to the emotive, impassioned vocal. Harmonies augment the vocal, while the rhythm section and guitar combine disco and funk as a jazzy piano solo drifts in and out. During a breakdown, the jazzy piano, percussion and loping, funky bass combine. They give to strings that dance with delight, as the track reveals the rest of its secrets and surprises. Punchy harmonies, cascading, disco strings, percussion and a vampish vocal all play their part in this delicious fusion disco, funk, soul and Latin music.
Having spent some time listening to Platypus’ debut album Platypus, there was nothing whatsoever wrong with the music on the album. It’s a fusion of disco, funk and soul, with diversions into prog rock and Latin Music. Maybe the problem was that Platypus was released at the wrong time. By 1979, disco was no longer flavor of the month. Quite the opposite. Instead, after the events of Demolition Derby Night on 12th July at Comiskey Park in Chicago, when the Disco Sucks movement came to its ugly head. After that, disco became deeply unpopular. Disco groups, disco albums and disco labels were no longer popular. Indeed, record companies and record buyers avoided disco music, while disco went underground and reinvented itself. Disco became boogie, and even giants of disco, whether groups like Chic, or labels like Casablanca and Salsoul suffered. So if Platypus had released Platypus a year earlier, history might have been very different. Thankfully, disco is now back in fashion and albums like Platypus are now being rediscovered and appreciated. Now thirty-three years after Platypus released their debut album Platypus, it will be rereleased by BBR Music on 24th September 2012. This gives everyone who missed out on this underrated hidden gem of an album first time around to rediscover, Platypus, an album which in 1979, was way ahead of its time. Standout Tracks: Dancing In the Moonlight, Don’t Go Away, Dance If You Can and Body and Soul.
PLATYPUS-PLATYPUS.
DJ VADIM-DON’T BE SCARED.
DJ VADIM-DON’T BE SCARED.
Sometimes, the word innovator is used too often, but in the case of Saint Petersburg born DJ Vadim, innovator is a fitting description of this veteran DJ and producer. Over the past twenty years, DJ Vadim has DJ-ed in sixty-nine countries, played over 2,500 times and still found time to found his own record label and record nine solo albums. Soon that number will rise to ten, when DJ Vadim releases Don’t Be Scared on BBE Music, on 1st October 2012. This is DJ Vadim’s fourth release for BBE Music, following U Can’t Lurn Imaginashun, which was released in 2009. Like U Can’t Lurn Imaginashun, Don’t Be Scared is a fusion of styles, influences and ideas, with DJ Vadim constantly pushing the musical boundaries and reinventing his music. One thing DJ Vadim will never be accused of, is being predictable. While other artists have a “sound” and “style,” not DJ Vadim. His only rule is there are no rules. Everything and anything is possible. Although he describes his music as hip hop, DJ Vadim adds to his musical melting pot elements of electronica, funk, reggae, soul, trip hop, Afro Beat and boogie. So when you drop the needle on a DJ Vadim album, you’re about to embark on a roller-coaster journey where he reveals the contents of his musical melting pot. That’s why DJ Vadim is an innovator and why he was nominated for a Grammy Award in 2002, and is known as the John Coltrane of hip hop. With this unrivaled music pedigree, DJ Vadim’s forthcoming album Don’t Be Scared promises to be a roller coaster journey across genres. Before I tell you about Don’t Be Scared, I’ll tell you about DJ Vadim’s career.
It’s almost two decades since DJ Vadim first spun the wheels of steel in public, and since then, he’s played across the globe at some of the most prestigious venues and events. From playing at Glastonbury, to playing in front of forty-thousand people at the Moscow Street Ball, and appearances at the prestigious festivals like Sonar, Big Chill, Fuji Rock and the Notting Hill Carnival, these are just a few of the 2,500 events DJ Vadim has played at during his twenty year journey entertaining and educating dancers worldwide. However, DJ-ing is just one string to DJ Vadim’s bow.
After founding his own record company Jazz Fudge in 1994, DJ Vadim released his debut album Headz Ain’t Ready in 1995. That was the year DJ Vadim signed to Ninja Tunes, who he released four albums for between 1996. This was the U.S.S.R. quartet, which began with 1996s U.S.S.R. Repertoire (The Theory of Verticality) followed by U.S.S.R. Reconstruction (Theories Explained) following in 1998 and then 1999s U.S.S.R. Life From the Other Side and 2002s U.S.S.R. The Art of Listening. Having released four albums for Ninja Tunes, it would be another five years before DJ Vadim released another album. During that period, DJ Vadim was busier than ever, producing and DJ-ings. He collaborated with numberous artists, including The Herbaliser, Fat Freddy’s Drop and The Super Furry Artists. After working with other artists, the time came for DJ Vadim to release his next solo album. So DJ Vadim signed to BBE Music and would release his next album in 2007, when sadly, tragedy entered his life.
In 2007 DJ Vadim released his first album for his new label BBE Music. This was The Soundcatcher, with The Soundcatcher Extras following later in 2007. Then tragedy struck for DJ Vadim in 2007. He was diagnosed with a rare form of eye cancer, Ocular Melanoma. Thankfully, DJ Vadim recovered and two years later in 2009, released U Can’t Lurn Imaginashun on BBE Music. Two years later after further collaborations, plenty of globe-trotting DJ-ing trips, came DJ Vadim next albums. This was 2011s DJ Vadim Presents The Electric’s Life Is Moving.
Now a year later, and DJ Vadim is back, with his tenth studio album Don’t Be Scared. The genesis of Don’t Be Scared has its roots in New Zealand, when DJ Vadim collaborated with of the country’s best musicians, including Fat Freddy’s Drops. Back in London, DJ Vadim was joined by a cast of guest artists that collaborated on Don’t Be Scared. This includes his long-term collaborator Yarah Bravo, The Electric’s Sabira Jade, funkster Greg Blackman, Hawaiian soul singer Karen Be and Jazz Bailey. They play their part in the twelve tracks that comprise Don’t Be Scared which DJ Vadim describes as “more pensive than previous albums” and “melancholy meets topical vibes.” Sounds compelling? It certainly does and I’ll now tell you about some of the highlights of Don’t Be Scared.
Hide ‘N’ Seek starts the compelling, roller-coaster musical journey that is Don’t Be Scared. Straight away, DJ Vadim grabs your attention, combining a captivating combination of spoken word samples, crunchy beats and a scratchy Bollywood recording. Add in washes of broody synths, scratches and a myriad of percussion and the result is a trippy, laid-back, cinematic soundscape. Think hip hop meets trip hop, with a twist of Bollywood. During the track, it seems anything is possible, and you learn to expect the unexpected. That’s what makes this such a compelling, captivating way to start Don’t Be Scared.
Lemon Haze opens with a jangly piano before another of DJ Vadim’s starts throwing some more of his curveballs. He throws in a spoken world sample, adds stabs of urgent synths and pounding beats. Although ostensibly hip hop, percussion gives the track a Latin influence, while the dark moody synths remind me of Acid House and techno, giving the track a hypnotic old school sound. Add in bursts of vocals, a couple of scratches and spoken word samples to DJ Vadim’s melting pot, mix together for nearly seven minutes and you’ve the recipe for one of the most innovative tracks on Don’t Be Scared.
Of the twelve tracks on Don’t Be Scared, Lost My Love is one of the real highlights. It features Jazz Bailey, whose vocal is not unlike D’Angelo. His vocal is set against a quite minimalist, understated arrangement. Just washes of synths and spacey, dubby drums accompany his heartfelt vocal. In dub style, effects like delay and echo are used on Jazz’s vocal. After four minutes thing change. The tempo speeds up and DJ Vadim adds percussion, to the thunderous drums and squelchy synths. He then unleashes effects on the occasional bursts of vocal. Here, DJ Vadim’s love of reggae, shines through as he fuses dub and hip seamlessly, creating one of the best tracks on Don’t Be Scared.
Set Them Free features another of DJ Vadim’s guest artists, The Electric’s Sabira Jade. Here, three genres unite, Nu-Soul hip hop and reggae. The reggae influence sees a Jamaican toaster open the track, before giving way to Sabira’s vocal. She delivers some of the best lyrics on Don’t Be Scared. Sabira delivers an impassioned, frustrated, but hugely soulful vocal about the plight of South Africa’s miners. Throughout the track, dark synths, punchy beats and the Jamaican toaster accompany Sabira, adding to the song’s effectiveness. Two things make this a really powerful, track and one of Don’t Be Scared’s highlights, the lyrics and Sabira’s heartfelt, impassioned vocal.
When Akura Uprock begins, there’s a real African sound and feel to it, thanks to some glorious rhythms. You begin to wonder if you’re still listening to DJ Vadim, or whether someone’s slipped on an Afro Beat album. A dramatic whispered vocal from Gregory Blackman is joined by hypnotic rhythms, stabs of synths and pounding drums. Straight away, you realize that something special is unfolding. You’re drawn in, captivated and compelled. You’re taken on a journey, where the buzzing synths, chiming guitars and percussion create the soundtrack to your adventure. Handclaps, sweeping synths, chanted vocals and rasping saxophones all play their part in this glorious fusion of Afro Beat and hip hop, as DJ Vadim reinvents himself and proves that he’s still an imaginative and innovative artist.
Take My Time is the second track on Don’t Be Scared to feature Jazz Bailey’s vocals. Crunchy, spacey drums and washes of synths combine to create an atmospheric backbeat for Jazz’s lilting, heartfelt vocal. The arrangement has an understated sound, that allows Jazz’s vocal to take centre-stage. Just stabs and washes of synths are joined by percussion and those crisp drums. There’s even a crackly sound that’s like listening to the warm, comforting sound of old vinyl. A series of beeps and squeaks give the track an Acid House sound, while there’s a trip hop influence present. When all this is combined, the result is a spacey, cinematic soundscape that coincidentally, sounds like something you’d expect to hear on an old Ninja Tunes album.
Closed Eyes, which closes Don’t Be Scared features a trio of DJ Vadim’s guest artists, Yarah Bravo, Pugz Atomz and Jazz Bailey. Here, elements of reggae and drum and bass are fused with a generous serving of hip hop. The contrast between Jazz’s laid-back reggae tinged vocal and Pugz and Yarah’s more aggressive, hip hop style of delivery is a compelling contrast. All the time, crispy drums resonate, echoing into the distance, while bassy synths are a constant companion. Later, drum and bass styled drums are all added to the mix, as the tempo quickens and buzzing synths add to the track’s drama. Throughout the track that warm, crackly comforting sound of worn vinyl is present as DJ Vadim’s twelve track, genre crossing album Don’t Be Scared draws to a bold, impressive close.
While I’ve only mentioned seven of the twelve tracks on Don’t Be Scared, I could’ve just as easily have mentioned any of these tracks. That’s how consistently high the standard and quality of music on Don’t Be Scared is. It’s a roller-coaster musical adventure, where DJ Vadim, forever the innovator, and forever reinventing his music, constantly crosses and combines musical genres. There’s everything from Acid House, Afro Beat, ambient, drum and bass, dub, hip hop, Latin, reggae, techno and trip hop within the twelve tracks on Don’t Be Scared, which is the proverbial musical melting pot. DJ Vadim takes all these influences and mixes them up, with a little help from his musical collaborators. Each artist plays their part in the sound and success of Don’t Be Scared, adding their own inimitable vocals. Of these vocalists, Jazz Bailey and Sabira Jade play their part in three of the best tracks on Don’t Be Scared. Jazz’s vocals on Don’t Be Scared and Take My Time are two of the best vocals, while Sabira’s vocal on Set Them Free is the most powerful, moving and soulful. When these vocals are combined with DJ Vadim’s innovative, imaginative fusion of musical genres and influences, the result is a hip-hop album for the 21st century. Although DJ Vadim is almost a veteran of modern dance music, yet again, he’s once again, managed to reinvent his music. In the process, DJ Vadim has created another album of cutting-edge, captivating and compelling music, Don’t Be Scared, which will be released on BBE Music, on 1st October 2012. Standout Tracks: Lost My Love, Set Them Free, Akura Uprock and Take My Time.
DJ VADIM-DON’T BE SCARED.
GQ-DISCO NIGHTS.
GQ-DISCO NIGHTS.
After a chance meeting with a man walking his dog and a change of name to GQ in 1978, the lives of four musical veterans were forever changed. Later that year, when GQ released their debut single Disco Nights (Rock Freak) in December 1978. and it would reach number one in the US R&B Charts and sell over-one million copies. However, GQ were no overnight sensation. Instead, the success GQ were now enjoying was the result of a ten year musical journey which started back in 1968. Back then, GQ were known as Sabu and The Soul Survivors and since then, the road that GQ had travelled had been long and not without a few unexpected twists and turns. While other bands would’ve quit after struggling for ten years, GQ persevered. This perseverance was rewarded when, three months after releasing Disco Nights (Rock Freak), GQ released their debut album Disco Nights, which will be rereleased on 17th September 2012 by BBR Records. Disco Nights would become GQ’s most successful album, reaching number thirteen in the US Billboard 200 and number two in the US R&B Charts. After I’ve told GQ’s musical journey, I’ll tell you about the music on Disco Nights.
Ten years before GQ released their debut single, three of the members of GQ formed the band that gave birth to GQ. This was Sabu and The Soul Survivors, who were formed in 1968. By the early seventies, Sabu and The Soul Survivors changed their name, becoming The Rhythm Makers, who primarily played funk. The Rhythm Makers released one album had one Hole In Your Side, which contained the jazz-funk hit Zone, which reached number ninety-two in the US R&B Charts and number four in the US Disco Charts in 1976. Then when drummer Kenny Banks left The Rhythm Makers, he was replaced by Paul Service. Now the lineup which would become GQ was complete. The lineup was now composed of bassist Keith “Sabu” Crier, who’d founded the group in 1968, plus lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane. With the lineup complete, The Rhythm Makers would meet a man who would play a huge part in finding them a record contract.
Tony Lopez first heard GQ playing at a club in New York. Although he was impressed by how talented The Rhythm Makers were, he’d no intention of becoming their manager. That changed when Tony came across the group practicing one night. He was walking his dog, heard music coming from a basement and knocked on the door. When he went into the basement, he realised this was the group he’d heard in the club. This would prove a fortuitous meeting for both parties. Although Tony was a teacher during the day, by night he promoted concerts. He began attending rehearsals and concerts. Then two things changed the fortunes of The Rhythm Makers.
It was Tony Lopez who suggested that The Rhythm Makers change their name to GQ. This was an acronym of Good Quality and an act of homage to the magazine and style bible GQ. A Chance of name resulted in a change of fortune for the four members of GQ. The second thing that changed GQ’s fortunes was when one night, Tony brought a musical contact along to a concert. His contact was Roberta Flack and straight away, Roberta Flack saw just how talented GQ were and started trying to get GQ a record deal. Roberta took GQ to Atlantic, but they were busy with their latest signing Chuck Berry. Eventually, Roberta contacted Larkin Arnold who played a huge part in Tavares, The Sylvers, Peabo Bryson and Natalie Cole’s success. Larkin Arnold was now Vice-President of R&B at Arista and auditioned GQ. Impressed with GQ, Larrkin signed GQ to Arista Records. Now GQ could begin work on recording their debut single..Disco Nights (Rock Freak).
On the release of Disco Nights (Rock Freak) in December 1978, it reached number one in the US R&B Charts, number three in the US Disco Charts and number twelve in the US Billboard 100. In the US, Disco Nights (Rock Freak) sold over one-million copies. With a million selling single, an album was needed and needed quickly. To produce GQ’s debut album Disco Nights, Jimmy Simpson, brother of Valerie Simpson of Ashford and Simpson and Beau Ray Fleming were hired. Jimmy and Beau took GQ to one of America’s legendary studios to record Disco Nights, Philadelphia’s Sigma Sound Studios, where many albums released by Philadelphia International Records and Salsoul were recorded. At Sigma Sound, eight tracks were hurriedly recorded and ironically, would GQ’s most successful album.
Disco Nights featured eight tracks and was released in March 1979. It reached number thirteen in the US Billboard 200 and number two in the US R&B Charts. The second single released from Disco Nights was Make My Dream A Reality was released in June 1979, reaching number eight in the US R&B Charts. I Do Love You, a cover of a Billy Stewart track, reached number five in the US R&B Charts and number forty-six in the US Billboard 100 on its release in July 1979. With three top ten US R&B singles, and top ten US R&B album in Disco Nights, GQ’s perseverance was rewarded. However, why was Disco Nights such a successful album?
Disco Nights (Rock Freak) was GQ’s debut single, reaching number one on the US R&B Charts, number three on the US Disco Charts and number twelve in the US Billboard 100. From the opening funky bars your hooked. A pounding, loping bass line, percussion combine before the rest of the rhythm section enter. Keyboards and shimmering synths give way to Emanuel Rahiem LeBlanc’s vocal as jazz, funk and disco are fused creating a timeless dance track. Tight harmonies sweep in, while the pounding, slap bass anchors the tracks and along with stabs of synths and keyboards a sonic tour de force unfolds. Later the tight harmonies become punchier, as Emanuel’s vocal drips with emotion. Still the sound is truly irresistible, while the production is innovative, ahead of its time for 1978. When this is combined with the track’s timeless hook-laden sound, it’s no surprise this track was such a huge commercial success.
GQ’s rhythm section combine with jazzy keyboards as Make My Dreams A Reality sees the direction of Disco Nights change course. A Philly Soul influence makes an welcome entrance. Emanuel delivers a heartfelt vocal accompanied by the type of harmonies you’d expect to hear on album recorded in Philly. While the harmonies are Philly-influenced, the arrangement is a fusion of funk, soul and jazz. Emanuel unleashes a vocal where power and passion are combine, against sweeping synths, a punchy, dramatic and funky rhythm section. While the funk and jazz of the previous track are present, the Philly Soul influence, especially those delicious harmonies is a welcome diversion and crucial to making this one of the Disco Nights’ highlights.
It’s Your Love is a slow ballad, where Emanuel, Keith, Paul and Herb all share and take turns of the lead vocal. WIth keyboards and the rhythm section keeping the tempo slow the four members of GQ demonstrate their vocal talents. They deliver some of the most beautiful harmonies on Disco Nights, while the arrangement is quite understated, with just chiming guitars, the rhythm section and keyboards combining. When the vocal drops out, a synth solo takes over, before GQ deliver some impassioned harmonies. Then when the vocal is traded, you get the opportunity to hear the contrasting vocals. Each vocal brings something to the track, while the arrangement grows, reflecting the drama and power of the heartfelt vocals. The result is a quite beautiful track, one that demonstrates just how versatile and talented GQ were. Considering this was their debut album, makes this even more remarkable.
Spirit was co-written by the four members of GQ and for many people, this is one of the best tracks on Disco Nights. GQ up the tempo and kick loose, after two slower tracks. Bursts of blazing horns, a dramatic, pounding rhythm section and keyboards give way to Emanuel’s vocal, which is a mixture of tenderness and power, while harmonies sweep in. All the time, stabs of horns and the thunderous rhythm section combine to create a pounding arrangement. Good as Emanuel’s vocal is, the harmonies are just as good, tight and heartfelt. A searing guitar solo, bursts of braying horns and keyboards see the arrangement combine elements of jazz and funk. Meanwhile Emanuel pleads for unity and understanding during this four-minute roller coaster comes to a dramatic ending and is indeed one of the best tracks on Disco Nights.
This Happy Feeling is another uptempo track that benefits from percussionist Sammy Figuroa’s considerable talents. To say this funky track bursts into life is almost a disservice. It’s a joyous explosion of music with the funkiest of bass lines and a myriad of percussion permanent fixtures. GQ’s rhythm section drive the track along, while Emanuel delivers a vocal that’s a mixture of power, passion and joy. All the time sweeping harmonies augment his vocal, while keyboards add to the drama. Later, Sammy adds percussive break, before the arrangement rebuilds and GQ it’s a case of hold tight as GQ take you on the rest of this joyous journey where they fuse funk, jazz and soul.
As Wonderful reveals its secrets, there’s a brief Earth, Wind and Fire influence. After that, GQ make the track their own. Bursts of rasping horns, chiming guitars, washes of synths and the funky rhythm section combine before Emanuel’s impassioned vocal enters. He’s in love and wants to tell the world. The harmonies that accompany him are perfect, ranging from tight and soaring to doo wop-esque. Keith’s bass and Emanuel’s guitar both play important roles as another irresistible track unfolds. Like so many other tracks, this good time slice of funk has so much going for it. Not only is hook laden, but has a funky rhythm section, the tightest of harmonies and of course, Emanuel’s joyous, impassioned vocal.
A Taste of Honey enjoyed a huge worldwide hit with Boogie Oogie Oogie in 1978. GQ’s version doesn’t slavishly copy the original. Instead, it’s more like GQ paying homage to the track. The tempo is quicker as the track unfolds. A pounding rhythm section, washes of synths, chiming guitars are joined by bursts of vocal. They’re panned hard left and right, which is quite unusual, as mostly, the vocal sits in the centre. This works, adding to the drama. Unlike the original version, GG up the funky quotient. With GQ’s pounding rhythm section, tight harmonies, chiming guitars and keyboard, Emanuel vocal is a sassy, powerful vamp. Why the track was only released as a B-Side seems a missed opportunity, as this is irresistible good time funky music?
Do I Love You closes Disco Nights and sees GQ drop the tempo on a track written by Billy Stewart. When QG released Do I Love You as a single, it sold over one-million copies and became their most successful single. All I can say is no wonder. GQ deliver a deliciously soulful version of the track, with Emanuel’s vocal breathing new life and meaning into the song, while some of the best harmonies on Disco Nights accompany him. Just the rhythm section, keyboards and GQ’s trademark chiming guitars are combined. Later, a guitar solo gives way to tight, punchy and hugely soulful harmonies which are just the finishing and satisfyingly soulful touch to Disco Nights.
Although it took GQ two changes of name, a chance meeting with Tony Lopez walking his dog and a ten year musical journey, the four members of GQ’s perseverance were rewarded. While many other groups would’ve called time on their career, GQ kept believing that one day, they’d make their commercial breakthrough. When they did, it was with a million selling single Disco Nights (Rock Freak) and then their most successful album Disco Nights. On Disco Nights, GQ fused soul, funk, jazz and disco over eight tracks, demonstrating just how talented, tight and versatile musicians GQ were. From the opening bars of Disco Nights (Rock Freak) to the closing notes of GQ’s deliciously, soulful cover of Billy Stewart’s Do I Love You, you’re spellbound by the quality of music. In Emanuel Rahiem LeBlanc GQ had a hugely talented vocalist, who could plea and preach, or inject passion, joy or soulfulness into a song. He does all this and more on Disco Nights. There was much more to GQ’s success than Emanuel’s vocals though. GQ’s rhythm section of bassist Keith “Sabu” Crier, Emanuel on rhythm guitar and Paul Service on drums were responsible for Disco Nights’ good-time funky sound. Then seamlessly, they switch things around and are just as comfortable playing jazz, disco or the Philly soul of Make My Dreams A Reality. After Disco Nights, which will be rereleased on 17th September 2012 by BBR Records, GQ released two more albums for Arista. Good as Two and Face To Face were, GQ’s debut album Disco Nights was their Magnus Opus, their most successful and critically acclaimed album, an album which is worthy of being described as a classic that’s the perfect soundtrack to every one of your Disco Nights. Standout Tracks: Disco Nights (Rock Freak), Make My Dreams A Reality, This Happy Feeling and Do I Love You.
GQ-DISCO NIGHTS.
DIONNE WARWICK-HEARTBREAKER.
DIONNE WARWICK-HEARTBREAKER.
Dionne Warwick found her career at a crossroads in 1978. She was without a recording contract and even contemplating retiring. Her final album for Warner Bros, 1977s Love At First Sight had failed to chart and Dionne hadn’t had an album certified gold since 1968s Dionne Warwick In the Valley of the Dolls. That was until Dionne met Arista Records founder Clive Davis. He knew Dionne well, and felt she’d be a good signing for Arista, so approached her about signing to Arista. After thinking about it, Dionne signed for Arista. Her first album for Arista, Dionne became her most successful album, and was certified platinum. The next two albums Dionne released for Arista, 1980s No Light So Long and 1982s Friends In Love failed to match the success of Dionne. What was needed for Dionne’s fourth album for Arista, was a new songwriting and production team, one who could rejuvenate Dionne Warwick’s career. As sometimes happens, fate intervened.
Andy Gibb asked to meet Clive Davis for lunch in Miami. After lunch, Andy broached the subject of working with one of Arista’s roster. Clive hadn’t anyone in mind, but when Andy Gibb looked down the list of artists, he picked out Dionne Warwick. Andy wanted to work with Dionne, and Clive mindful of The Bee Gees’ work with Barbara Streisand on Guilty was both shocked and intrigued. A week later, Clive Davis received a demo of the album The Bee Gees had in mind for Dionne…Heartbreaker. With songs from The Bee Gees and the production team of Andy Gibb, Albhy Galuten and Karl Richardson work became on an album that would become one of the biggest commercial successes of Dionne Warwick’s career Heartbreaker. Before I tell you about the music in Heartbreaker, which will be rereleased on 17th September 2012, by BBR Records, I’ll tell you about the background to the album.
For Heartbreaker, Barry, Robin and Maurice Gibb cowrote five tracks, including the two singles Heartbreaker and All the Love In the World. Co-producer Albhy Galuten collaborated with the Gibbs on four tracks, including co-writing three tracks with Barry Gibb. Albhy also cowrote I Can’t See Anything (But You) with Barry and Marice Gibb. Bob Hilliard and Mort Carson cowrote the other track, Our Day Will Come, which closes Heartbreaker. The ten tracks on Heartbreaker would be recorded by the Gibb, Galuten Richardson production team at Criteria Studios, Miami.
The Gibb, Galuten, Richardson partnership was established in 1977 and were one of the hottest production teams of the time. They’d worked on albums by The Bee Gees’ Spirits Having Flown and Barbara Streisand’s Guilty. With a track-record like that, Gibb, Galuten, Richardson were perfect for rejuvenating Dionne’s career. They recorded Heartbreaker in Miami, at Criteria Studios. Accompanying Dionne were a band that included a rhythm section of drummer Steve Gadd, bassist George Perry and guitarists Tim Renwick and George Terry. George Bitzer played synths, Gary Brown saxophone and percussionist Joe Lala. A string section was recorded at Mediasound Studios in New York and the Boneroo Horns were recorded at the Middle Ear Studios in Miami. Once the recording was completed in early 1982, Heartbreaker would be released in October 1982, giving Dionne her first gold album since 1968.
On the release of Heartbreaker in October 1982, it reached number twenty-five in the US Billboard 200 and number thirteen in the US R&B Charts, resulting in the second gold disc of Dionne’s career. Heartbreaker was the first single released in October 1982, reaching number ten in the US Billboard 100 and number fourteen in the US R&B Charts. Take the Short Way Home was released as a single in January 1983, but only reached number forty-one in the US Billboard 100 and number forty-three in the US R&B Charts. The final single released in the US was All the Love In the World, in May 1983, which reached just number 101 in the US Billboard 100. Over the Atlantic in the UK, Heartbreaker proved just as successful.
When Heartbreaker was released in October 1982, It reached number three, and was certified platinum. Heartbreaker was the first single released in the UK in October 1982, reaching number two. All the Love In the World was released in December 1982, reaching number ten in December 1982. Yours was the final single released in March 1983, but reached just number sixty-six. With the Gibbs’ songwriting skills and the production skills of Gibb, Galuten, Richardson Heartbreaker rejuvenated Dionne Warwick’s career. However, what made Heartbreaker such a huge success?
Heartbreaker opens with the lead single Heartbreaker, penned by Barry, Robin and Maurice Gibb. With its slick, polished production it’s the perfect way to open Heartbreaker and sets the tone for the album. It’s got the Gibb, Galuten, Richardson sound, with a bold combination of keyboards, rhythm section, chiming guitars and lush strings combining with Dionne’s heartfelt vocal. Straight away, you can hear a much different sound to that on Dionne. This is best described as bolder, sleeker and with a plentiful supply of hooks. As a piano drifts in and out of the track, lush strings cascade, while the Gibbs add tight harmonies to Dionne’s powerful, emotive, vocal. Later, the piano and guitar combine, as Dionne rolls back the years, unleashing a soaring vocal full of emotion and hurt. Truly, it’s a classic track from Dionne Warwick, and signals that she was back.
It Makes No Difference was the second single released from Heartbreaker in the US. It was written by Barry Gibb and Andy Galuten, and has a slightly tougher sound and lacks the polished sheen of Heartbreaker. This is no bad thing, and suits the song. Keyboards and the rhythm section combine as Dionne delivers a vocal full of sadness, resignation and frustration. The Gibbs add their trademark harmonies, while stabs of horns and searing guitars add to the arrangement’s drama. Strings glide in, adding to the emotion, while the drama and heartache grow, as this mini-soap opera reveals its hidden secrets.
Yours is the second of the five tracks written by the Gibbs and was released as single in the UK. It sees the tempo drop and drama grow. The arrangement has an understated sound, that takes time to develop as Dionne sings about the fleeting nature of love. With just the piano accompanying Dionne’s emotive vocal, the rhythm section and acoustic guitar add drama to the understated arrangement. Dionne delivers a vocal that’s tinged with loneliness and disbelief, that so soon, love is gone. Gradually, the arrangement builds, matching the emotion and power in Dionne’s vocal. Strings reflect the sadness in Dionne’s vocal, while later, the rhythm section reflect the drama, turmoil and power in her voice. A combination of Dionne’s heartfelt, emotive vocal and Gibb, Galuten, Richardson’s inspired production make this one of the most moving tracks on Heartbreaker.
Take The Short Way Home is very different from the previous track, with the style and tempo changing. Crucial to the track’s success is a swaggering rhythm that’s truly irresistible. Add in punchy blazing horns from the Boneroo Horns and a sassy vocal from Dionne and we’re hearing a quite different side to Dionne Warwick. That sashaying rhythm is combined with warm, melodic keyboards and breathy harmonies from the Gibbs. Dionne seems to relish the change of style, delivering a sassy vocal. Later, the horns that punctuate the arrangement and lush, dancing strings prove to be just the finishing touch to the funky arrangement. Thirty years later, not only has this track aged well, but is quite irresistible and one of the highlights of Heartbreaker.
Misunderstood is another track written by the Gibb brothers, and from the opening bars, you can tell they penned this track. Sometimes, there’s even brief similarities with Heartbreaker during some of the chord changes. Searing guitars, keyboards and the rhythm section combine with Dionne’s vocal, as she delivers her vocal quickly, with the Gibbs adding cascading harmonies. Soon, Dionne’s vocal grows in power, displaying a mixture of sadness and regret. As the arrangement flows along, strings add to the sadness, while the piano and harmonies play important roles. The harmonies are the perfect accompaniment to Dionne’s vocal and the interplay between them, plays in an important part in the song’s effectiveness.
Of the three singles released from Heartbreaker, I always though All The Love In The World should’ve been a bigger commercial success. With just the rhythm section, keyboards and guitar accompanying her, Dionne delivers one of her best vocals on Heartbreaker. She uses her full vocal range, starting way down, quickly combining power and passion. The arrangement is one of the best on Heartbreaker, with the Gibb, Galuten, Richardson production team adding crucial parts at the optimum time. Strings sweep in elegantly, add to the emotion in Dionne’s vocal, the rhythm section and guitar solos add to the drama, as the arrangement builds and the Gibb’s harmonies add to the payoff. It’s a masterful arrangement, one that stirs the emotions and tugs at your heartstrings with its beautiful sound.
I Can’t See Anything (But You) is a track that Barry and Maurice Gibb cowrote with Albhy Galuten. Straight away, the rhythm and horn section combine to create a bold, dramatic sound. When Dionne’s vocal enters, it’s tender, but quickly grows in power as the arrangement unfolds around her. At the bridge, strings sweep and swirl furiously, while a piano and the rhythm section create a hugely, dramatic, thunderous backdrop. Things calm down, but all the time, Dionne’s vocal weaves its way through the arrangement, seamlessly mixing power and passion with emotion and feeling.
With just a keyboards accompanying Dionne, Just One More Night allows her vocal to take centre-stage. What follows is something of a vocal tour de force, with Dionne’s using her full vocal range and displaying her gospel roots. Her vocal is filled with longing and loneliness, matched by sadness and sanguiness. Strings sweep in, their lush sound being joined by a dramatic burst from the rhythm section as Dionne breathes meaning and life into the lyrics. A rasping saxophone solo from Gary Brown is added at just the right time, adding to the emotion and effectiveness of the arrangement. What makes the track is a vocal masterclass from Dionne, where she fuses R&B with her gospel roots and injects energy, emotion and meaning into the song, making it her very own.
You Are My Love is the last song penned by the Gibbs and sees the tempo increase. Like other tracks on Heartbreaker, the introduction is bold, dramatic and sets the scene for the track. The rhythm section, piano and sizzling guitars combine with Dionne’s desperate vocal. Her vocal is tinged with worry and fear, fear at losing the man she loves and believes in. Dionne delivers her vocal quickly, while the arrangement quickly grows. Flourishes of strings, punchy harmonies, bursts of drama from the rhythm section all play their part in bold, melodramatic arrangement, while Dionne’s vocal is tinged with pathos and poignancy.
Closing Heartbreaker is a cover version of Ruby and The Romantics 1963 single Our Day Will Come. It has a lovely floaty arrangement, where percussion, keyboards, chiming guitars and a piano combining with Dionne’s tender vocal. She transforms the track, with her vocal. Similarly, the arrangement transforms the track. Lush strings are added and later, Gary Brown lays down a blazing saxophone solo and so do the brief bursts of punchy harmonies. They play their part in the arrangements beautiful, melodic and elegant sound. Although very different from the preceding tracks, it’s the perfect way to end Heartbreaker.
Although Heartbreaker never matched the commercial success of 1979s Dionne, I actually prefer Heartbreaker. Both Dionne and Heartbreaker feature Dionne Warwick at her very best, during what was an Indian Summer in her career. Of the two albums, Heartbreaker features a stronger set of songs. Mind you, with the Barry, Maurice and Robbin Gibb writing five of the tracks and co-writing four other tracks, that’s no surprise. They were at the height of their success when they wrote these songs, having just scored success with Barbara Streisand’s Guilty album. While the Gibb brothers played their part in making Dionne’s fourth Arista album Heartbreaker a success, so did the Gibb, Galuten, Richardson production team. They were responsible for slick, polished production where soul, funk R&B and gospel are fused by Dionne. The Gibb, Galuten, Richardson production team were also at the height of their success. They seemed to have the uncanny knack of adding each part of the arrangement at the perfect time. Just when you sense a track could do with strings to add emotion or a burst of the rhythm section or horns to add drama, it’s magically added. However, regardless of how good the songs were, or how polished and professional the production was, what made Heartbreaker such a huge success was Dionne Warwick’s voice. Her career had been revived with 1979s Dionne, but her next two albums weren’t as successful Heartbreaker was her fourth album for Arista and the best of the quartet. Not only is Dionne Warwick at her very best on Heartbreaker, which will be rereleased on 17th September 2012, by BBR Records, where she give more than a fleeting glimpse of the vocal prowess that made her one of the biggest soul singers of the sixties seventies. By 1982, she was Now into her third decade as a recording artist and Dionne Warwick was proof of the maxim that form was temporary, while class is permanent. Standout Tracks: Heartbreaker, Yours, All The Love In The World and Just One More Night.
DIONNE WARWICK-HEARTBREAKER.
M.F.S.B.-LOVE IS THE MESSAGE.
M.F.S.B.-LOVE IS THE MESSAGE.
Having founded Philadelphia International Records in 1972, Gamble and Huff were about to embark on a musical journey that would see them change the musical landscape forevermore. While much of Philadelphia International Records’ success was down to Gamble and Huff’s undoubtable skills as songwriters and producers, all to often the role of M.F.S.B. in the label’s success is underestimated, and sometimes underplayed. Between 1972 and 1975, the original and classic lineup of M.F.S.B. played on every one of the label’s successful albums. Whether it was Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Ship Ahoy and Family Reunion, Harold Melvin and The Blue Notes’ I Miss You, Black and Blue and Wake Up Everybody or The Three Degrees’ The Three Degrees and International M.F.S.B. played on each of these classic albums.
Then in 1975, after a dispute with Gamble and Huff over money, many of the classic lineup of M.F.S.B. left Philadelphia International Records and headed to New York, where they become The Salsoul Orchestra and played a huge part in Salsoul’s success. However, M.F.S.B. were much more than just Philadelphia International Records’ house-band, but a hugely successful group in their own right. Between their 1972 and 1980 M.F.S.B. released eight albums for Philadelphia International Records. M.F.S.B.’s recording career started with their eponymous debut album M.F.S.B., released in early 1973, which reached number 121 in the US Billboard 200 and number twenty in the US R&B Charts. Then in December 1973, M.F.S.B. released their seminal album Love Is The Message, which featured the classic, number one single TSOP (The Sound of Philadelphia). Before I tell you about M.F.S.B.’s sophomore album Love Is The Message, which will be released by BBR Records on 17th September 2012, I’ll tell you the background to the album.
Although M.F.S.B’s debut album M.F.S.B, released early in 1973, had proved to be a commercial success, reaching number 121 in the US Billboard 200 and number twenty in the US R&B Charts, it hadn’t featured a successful single. This disappointed Gamble and Huff, who realized that a successful single would translate into album sales. For M.F.S.B’s sophomore album, which would become Love Is The Message, they had no rethink their strategy for M.F.S.B. Then they heard that Don Cornelius television TV dance program Soul Train was changing.
After securing sponsorship from Sears Roebuck, Don Cornelius premiered Soul Train in 1970. It was filmed and broadcast from Chicago, with Jerry Butler featuring on the first show. Soon, Soul Train become a successful TV show, attracting new sponsors, The Johnson Products Company whose sponsorship allowed the program to be syndicated across America. This meant Soul Train would now be filmed in Los Angeles and for this new beginning, a new theme song was needed. This was where Gamble and Huff came in.
Gamble and Huff wrote the new theme tune, Soul Train. With people across America hearing the song every week, it worked its way into the nation’s consciousness. So, Gamble and Huff negotiated with Don Cornelius to license the song for Philadelphia International Records to release. A deal was struck, with the caveat that the name Soul Train couldn’t be used. So, Soul Train became TSOP (The Sound of Philadelphia). With Gamble and Huff looking for a hit single for M.F.S.B., TSOP (The Sound of Philadelphia) was just what they needed. M.F.S.B. had their next single sorted out, so work began on recording of their sophomore album Love Is The Message.
For Love Is The Message the album was a mixture of new tracks and cover versions. Gamble and Huff only cowrote two tracks, but they turned out to be classics, Love Is The Message and TSOP (The Sound of Philadelphia). Bruce Hawkes and Jack Faith cowrote Bitter Sweet. The cover versions included Cheaper To Keep Her, My One and Only Love and Touch Me In the Morning. These six tracks, plus the two short tracks, Zach’s Fanfare completed M.F.S.B’s second album Love Is The Message. It would be recorded at Philly’s Sigma Sound Studios, where all of Gamble and Huff’s Philadelphia International Records’ albums were recorded.
At Philly’s Sigma Sound Studios Gamble and Huff produced four tracks which were arranged by Bobby Martin, one of Philadelphia International Records’ best arrangers and producers. Vince Montana Jr. arranged and produced My One and Only Love, while Jack Faith arranged and produced Bitter Sweet. The lineup of M.F.S.B. which would play on Love Is The Message was the classic lineup. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli and T.J. Tindall,, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo. The Three Degrees added vocals on TSOP (The Sound of Philadelphia) and Love Is the Message, the two hit singles from Love Is The Message. Together The Three Degrees and M.F.S.B. recorded the eight tracks on Love Is The Message, which was released in December 1973.
On the release of M.F.S.B’s sophomore album Love Is The Message in December 1973, it reached number four in the US Billboard 200 and number one in the US R&B Charts. When TSOP (The Sound of Philadelphia) was released in February 1974, Gamble and Huff had their hit single for M.F.S.B. It reached number one in the US Billboard 100 and US R&B Charts, selling over one-million copies. In the UK, TSOP (The Sound of Philadelphia) reached just number twenty-two. When Love Is The Message was released as a single in June 1974, remarkably, it only reached number eighty-five in the US Billboard 100 and number forty-two in the US R&B Charts. However, Love Is The Message gave M.F.S.B. their most successful album and featured a dual number one single TSOP (The Sound of Philadelphia). What made Love Is The Message such a successful album?
Opening M.F.S.B’s most successful album Love Is The Message is the twenty-three second Zach’s Fanfare, where a roll of Earl Young’s drums, bursts of blazing horns and dramatically and enthusiastically, a musical equivalent of a fairground barker announces “ladies and gentlemen Gamble and Huff proudly present M.F.S.B.” With that tympani, joining the horn and rhythm section, the drama builds and builds, leaving you anticipating the seven tracks still to come.
Why the title-track Love Is The Message never fared better on its release has always been something of a mystery to me. With Gamble and Huff producing and writing the track, Bobby Martin arranging it and M.F.S.B. in all their glory, kicking loose and letting the world hear their considerable talents Philly Soul doesn’t get much better. When the track opens it’s a mass of the lushest strings, blazing horns, percussion and the pounding Baker, Harris, Young rhythm section. From its soulful beginnings, the track quickly decides to reveal its drama and delights. On the signal of Earl Young’s drums, a sizzling saxophone solo from Zach Zachary enters, while Lenny Pakula’s Hammond adds atmosphere. After that, the track briefly heads in a direction marked funk, before returning to its soulful sound. Strings sweep and swirl, horns blaze and growl, while Vince Montana Jr, adds the unmistakable sound of his vibes. Providing the track’s pulsating heartbeat is Baker, Harris, Young rhythm section. Later, the Three Degrees add their soulful strains, as M.F.S.B. combine soul, funk and jazz seamlessly. You can’t help but be hugely impressed by the combined talents of M.F.S.B, as they create track that’s blessed with a contemporary, timeless sound, that sounds as good today as in 1973.
Cheaper To Keep Her is a cover of a track made famous by Johnny Taylor on Stax Records. Originally written in 1953, M.F.S.B. with Gamble and Huff producing and Bobby Martin arranging, take the track back to its jazz roots. Stabs of Lenny Pakula’s Hammond organ, Ronnie Baker’s wandering bass, percussion and Vince Montana Jr’s vibes combine as M.F.S.B. are transformed into a big band. Horns blaze, while a jazzy piano solo drifts in and out. All the time, the Baker, Harris, Young create the track’s jazzy backbeat, while the Hammond organ, stabs of big kicking horns and percussion are ever-present. It’s very much a “team effort,” with each of M.F.S.B. playing their part in the track’s sound and success. Later, Vince Montana Jr. steps up, laying down one of his trademark solos, playing his part in this glorious sounding track that’s sounds as if it’s from another era.
Vibes virtuoso Vince Montana Jr, takes charge of arranging and production duties on My One and Only Love. The tempo drops a beautiful saxophone solo combining with the Baker, Harris, Young rhythm section, Vince Montana Jr,’s vibes and the lushest of strings. Saxophonist Zach lays down one of the best solos he’d play on an M.F.S.B. album. Later, a stab of Lenny Pakula’s Hammond organ signal’s Vince Montana Jr’s vibes solo to begin. Not to be outdone, Vince plays down an equally spellbinding solo, while strings sweep slowly and Ron Baker’s bass helps give the track its vintage sound. Norman Harris then plays one of his jazzy guitar solos, before Zach rejoins. Together they demonstrate just how fortunate Gamble and Huff were to have such talented personnel and in the process, create an absolutely gorgeous track.
TSOP (The Sound of Philadelphia) gave M.F.S.B. the hit single Gamble and Huff wanted for them, reaching number one in the US Billboard 100 and US R&B Charts, selling one-million copies. Written and produced by Gamble and Huff, Bobby Martin arranged it and The Three Degrees added vocals. With strings, swirling and sweeping, dancing with delight, horns rasp and growl, while the Baker, Harris, Young rhythm section’s pounding rhythm section drive the track along. Stabs of Lenny Pakula’s Hammond organ, a sprinkling of Larry Washington’s percussion join the punchy horns and cascading strings, as M.F.S.B. are like a musical Soul Train charging down the tracks. Norman Harris adds his jazz-tinged guitar, Vince Montana Jr, adds vibes, while Ron Baker’s bass and Earl Young’s bass unite. Later, the Three Degrees add sweet, soulful, soaring harmonies. Their elegant sound is just the finishing touch, drifting in and out and a quite beautiful contrast. It seems everyone brought their A-Game to the session, where M.F.S.B. create a fusion of soul and funk that would become a classic track. Indeed, this isn’t just Love Is The Message’s Magnus Opus, but one of Philadelphia International Records’ greatest recordings.
It’s almost impossible to followup the previous track, so Zach’s Fanfare is the perfect curveball. For just under a minute, Interlude sees M.F.S.B. enter a time-machine and are transported back in time, becoming an old style big band. Horns bray and rasp, while Baker, Harris, Young provide the track’s jazz-drenched heartbeat as the track unfolds at breakneck speed. All too soon, the track is over and you’re left wondering what this song could’ve become and what an album like this would’ve sounded like?
Touch Me In the Morning is another standard that’s been covered by many artists, but here, with Gamble and Huff producing and Bobby Martin arranging M.F.S.B. deliver a dramatic and then joyous track where jazz, soul and funk unite. Emotive strings, Zach’s impassioned alto saxophone solo and stabs of Lenny Pakula’s Hammond organ combine, before Earl Young’s thunderous drums signal all change. Earl’s drums and blazing horns combine before Vince Montana Jr,’s vibes, Ronnie Baker’s deliberate bass and the saxophone take charge. Now, M.F.S.B. kick loose and the sound is truly glorious. Flourishes of piano, sweeping, swirling strings, percussion and Norman Harris’ searing, jazzy guitar solo are all crucial to Bobby Martin’s arrangement. All the time Earl’s drums and Ronnie’s bass anchor the track, while Zach’s searing, blazing saxophone solo is breathtaking in its power, drama and the emotion it stirs. For over six minutes you’re taken on musical roller-coaster journey where drama, emotion and joy are your constant companions, while M.F.S.B. provide the stirring, stunning soundtrack.
Closing Love Is The Message is Bitter Sweet, written and produced by Bruce Hawkes and Jack Faith, who arranged the track. Jack Faith’s role in the Philadelphia International Records’ success story is too often overlooked, but he was a hugely talented songwriter, arranger, producer and musician. Again the tempo is dropped, with the arrangement having a dramatic, jazz-tinged sound. Another change is the tempo, which starts in 3/4 time, which for non-musicians is like a waltz. Midway through the track the tempo changes to 4/4 time. A rasping saxophone, the Baker, Harris, Young rhythm section, keyboards, woodwind and cascading strings combine to create a dramatic, jazzy arrangement in 3/4 time. All the time, Earl’s drums and Ron’s bass anchor the track. Floaty strings add beauty, contrasting the growling horns. Then with Ron and Earl combining, the tempo changes to 4/4 and things get funkier. Braying horns, a funky rhythm section, elegant strings, percussion and Vince’s vibes combine, before Zach blows another blazing saxophone solo. Vince then not to be outdone, lays down an equally impressive vibes solo, as M.F.S.B. bring Love Is The Message to a dramatic and memorable ending.
Of the eight albums M.F.S.B. released, Love Is The Message wasn’t just the most critically acclaimed and commercially successful, but their seminal album. Describing Love Is The Message as a classic doesn’t do the album justice. Instead, Love Is The Message is more like a Magnus Opus, and a demonstration of the combined talents and versatility of M.F.S.B. Whether it was Philly Soul, jazz, funk or even big band music, M.F.S.B. were just as comfortable playing it. M.F.S.B. could switch seamlessly between genres, and on Bitter Sweet, between time signatures. Nowadays, many musicians struggle with 4/4 tempo, while M.F.S.B. switched from 3/4 time to 4/4 time. For non-musicians that’s quite an achievement and something only truly gifted and talented musicians are capable of. Mind you with some of Philly’s finest musicians, including the Baker, Harris, Young rhythm section, Bobby “Electronic” Eli, T.J. Tindall, Vince Montana Jr, Larry Washington, Jack Faith and Don Renaldo playing on Love Is the Message, it’s no surprise the album sold over one-million copies. Playing their part in the success of Love Is the Message were The Three Degrees, who added vocals on Love Is the Message and TSOP (The Sound of Philadelphia). Of course Gamble and Huff’s contribution as songwriters and producers can’t be underestimated. By 1973, Gamble and Huff were going through the hottest, most successful period of their career. However, arrangers Bobby Martin and Jack Faith, who wrote and produced Bitter Sweet with Bruce Hakes, roles can’t be underestimated. Both Jack and Bobby would play an important part the Philadelphia International Records’ success story. That success story was based upon the combined talents of the arrangers, producers, songwriters and of course, the musicians, namely M.F.S.B. Look at any Philadelphia International Records’ album from this period and the same musicians played on each album.
Less than two years after the release of Love Is The Message, Gamble and Huff forgot that: “the workman is worthy of his hire.” They were locked in a dispute with many members of M.F.S.B. over money. When the dispute couldn’t be resolved, many of M.F.S.B. headed less than one-hundred miles away to New York, becoming The Sasoul Orchestra. Ironically for Gamble and Huff, The Salsoul Orchestra proved crucial in the rise and rise of Salsoul Records, replicating the success Gamble and Huff were enjoying when M.F.S.B. when Love Is The Message was released.
Although the original lineup of M.F.S.B. would released further albums, Love Is The Message which will be released by BBR Records on 17th September 2012 is their greatest album, their Magnus Opus. On Love Is The Message are two classic songs, TSOP (The Sound of Philadelphia) and Love Is the Message, which demonstrates the combined and many talents of the greatest house-bands in music M.F.S.B. Standout Tracks: Love Is The Message, Cheaper To Keep Her, My One and Only Love and TSOP (The Sound of Philadelphia).
M.F.S.B.-LOVE IS THE MESSAGE.
INSTANT FUNK-INSTANT FUNK.
INSTANT FUNK-INSTANT FUNK.
Often, Lady Luck has played her part in the success of artists and record labels. Back in 1978 Norman Harris’ Gold Mind Records was struggling financially. Without a major distributor the outlook was bleak for his beloved record label, even though it was a subsidiary of Saloul Records. What Norman Harris would give for a million selling single or album. Instantly this musical genius’ problems would be solved. Then ironically, Norman brought a group to Salsoul who’d record a million-selling album…Instant Funk. Sadly, he wouldn’t be involved in their success.
New Jersey band Instant Funk began their career as a backing band for artists like Bunny Sigler and The Manhattans, and later worked for Philly legends like The O’Jays, The Three Degrees, Dexter Wansell and Archie Bell and The Drells. It wasn’t until 1976 that Instant Funk’s recording career began, releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label. Three years later, when Instant Funk now signed to Salsoul, released their second album Instant Funk. On Instant Funk, which will be rereleased by BBR Records on 17th September 2012, was a song that would become a dance classic, selling one-million copies and totally transforming the career of Instant Funk. That song was I Got My Mind Made Up (You Can Get It Girl), which became one of Salsoul’s biggest selling singles. Before I tell you about Instant Funk’s second album Instant Funk, I’ll tell you about the background the album.
After releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label which failed commercially, Instant Funk found themselves without a record label. So Instant Funk returned to their role as backing band, accompanying the legendary Queen of Disco Loleatta Holloway on her Queen of The Night album for Gold Mind Records. Having played their part in Queen of The Night’s success, Norman Harris, Instant Funk played on another Gold Mind Records album, Double Exposure’s second album Fourplay. Soon they were playing on any album Bunny Sigler was involved in at Salsoul. While Bunny was playing a bigger role at Salsoul, one of the men responsible for Salsoul’s success was having problem with a Salsoul subsidiary Gold Mind Records.
By 1978, Norman Harris’ label Gold Mind Records was in financial trouble. Gold Mind didn’t have a major distributor, despite being a subsidiary of Salsoul. By 1979, Salsoul took over Gold Mind and Gold Mind was no longer an independent label. Ironically, if Norman Harris had managed to release Instant Funk’s second album Instant Funk, his troubles would’ve been over. Sadly, that wasn’t the case and the course of musical history and Norman Harris’ career changed.
With Instant Funk signed to Salsoul, they set about recording their Salsoul debut Instant Funk. On Instant Funk were eight tracks, with Bunny Sigler playing a huge role in the album and its success. He wrote two track and cowrote three other songs. Bunny wrote one of the singles Crying and I’ll Be Doggone, while cowroting Don’t You Wanna Party and Wide World of Sports, plus Dark Vader with his brother Jimmy Sigler. Instant Funk bassist Raymond Earl, drummer Scotty Miller and guitarist Scotty Miller cowrote the million-seller I Got My Mind Made Up (You Can Get It Girl) and You Say You Want Me To Stay, while co-writing Don’t You Wanna Party and Wide World of Sports with Bunny. These tracks and Never Let It Go made up Instant Funk, which was recorded at three studios in Philly.
For recording of their Salsoul debut, Instant Funk, the seven members of Instant Funk headed to Philadelphia. Once there, they recorded the eight tracks at three studios, Sigma Sound Studios, Alpha International and Philadelphia Music Works. The Sigler brothers Bunny and Jimmy played piano and organ on Instant Funk, with James Carmichael singing lead and backing vocals. Unlike other Salsoul artists, Instant Funk were a band, so didn’t need The Salsoul Orchestra. They laid the tracks down and soon, Instant Funk was ready for release.
I Got My Mind Made Up (You Can Get It Girl) was released in December 1978, reaching number twenty in the US Billboard 100 and number one in the US R&B Charts and US Disco Charts. When Instant Funk was released on January 1979 the success continued. It reached number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. Crying was released as a single in May 1979, reaching just number forty-one in the US R&B Charts. If only Instant Funk had been released earlier, Norman Harris’ Gold Mind Records would’ve been saved. That sadly wasn’t to be. However, Salsoul had a new superstar, but what made Instant Funk such a hugely successful album?
Opening Instant Funk is I Got My Mind Made Up (You Can Get It Girl), the single which launched their career selling over one-million copies. It was later sampled by many artists, including De La Soul on A Rollerskating Jam Named Saturdays. That familiar opening where punchy horns kick, before Instant Funk’s rhythm section combine with synths, tight harmonies, before a flourish of keyboards, ushers in James Carmichael’s punchy, sassy lead vocal. An equally sassy female vocal replies in disbelief to James’ vocal. Punchy harmonies add to the hook-laden sound, before James delivers a heartfelt vocal. Meanwhile, Instant Funk fuse percussion, a loping bass line, punchy drums and harmonies as the synths buzz. Breathy backing vocals accompany the really soulful lilting vocal, before midway through the track, a breakdown is like a musical curveball. When the track rebuilds, you’ve another two minutes to revel in this glorious funk classic, where Latin, funk, soul and disco combine seamlessly. No wonder this was Instant Funk’s biggest hit.
Hot on the heels of one Instant Funk classic comes another, Crying which is my favorite track from Instant Funk. A pounding rhythm section then drum rolls combine with tight, soulful harmonies as the piano drives the track along and James delivers his most impassioned vocal on Instant Funk. He’s accompanied by sweeping harmonies and synths, while horns growl and rasp, as the rhythm section drive the track along at breakneck speed. By now James and the rest of Instant Funk are delivering a soulful masterclass as he vamps his way through the track. The horns and harmonies add the finishing touch to Crying, which deserved to have been a much bigger commercial success than it was, given its outstanding quality and soulfulness.
Never Let It Go Away sees a real change in style, with Instant Funk dropping the tempo and a quite beautiful track unfolding. Warm, melodic keyboards, weeping electric guitar and the lushest of strings give way to a dramatic piano solo and a heartfelt, impassioned vocal from James. Horns blaze, while the rhythm section create the track’s sometimes, dramatic heartbeat. James’ vocal is at the forefront of the arrangement, while the horns, rhythm section, keyboards and meandering piano create a dramatic, emotive and hugely moving backdrop. Occasional harmonies join this myriad of dramatic and emotional music, while James Carmichael delivers one of his best vocals on Instant Funk. With music as soulful, moving and emotive as this, it’s no wonder Instant Funk was a huge success.
After the detour via heartbreakingly sad soul, Instant Funk get back to their good-time, party sound. They sound as if they’re having a ball on Don’t You Want To Party. The track explodes into life, with Instant Funk mixing the funkiest of pounding rhythm section, with stabs of punchy horns, piano, percussion and keyboards. James’ vocal is joyous, full of life and promises of good times, while the rest of Instant Funk add riotous, joyful backing vocals. Instant Funk show that while Salsoul was primarily a disco and soul label, they could funk it up with the best of bands, throwing down the gantlet to the new generation of funk bands. Anything funk giants like Funkadelic, Parliament and War could do, so could Instant Funk. It takes just one listen to this track to realize that.
Riotous applause opens Wide World of Sports as if the Philadelphia Eagles had just scored a touchdown in the Super Bowl. Instead, Instant Funk unleash a sizzling slice of jazz funk that unfolds at breathtaking speed. This is very different from previous tracks, with the rhythm section, stabs of blazing horns, percussion and piano combining seamlessly. There’s even a twist of Latin music thrown in for good measure, with the applause seemingly roaring for more of this dramatic, roller coaster journey through jazz, funk and Latin music. It shows the versatility of Instant Funk, that they can go fuse soul, funk and jazz funk and in the space of three songs, switch seamlessly from genre to genre, and be just as comfortable playing each genre.
Dark Vader was written by Jimmy and Bunny Sigler, with Jimmy Sigler and Sam Peaks arranging the track. There’s a space-age sound to the track, with synths and dark, moody spoken word vocal combining with stabs of horns, a thunderous rhythm section and percussion. Then Jimmy unleashes a fearsome, grizzled vocal in keeping with the track as this seven minute epic unfolds. Punchy harmonies are added, before normal service is resumed and Jimmy vamps his way through the track. Soon, a hugely catchy, dramatic track unfolds. With its bold, dramatic sound you’re drawn in and spellbound by Jimmy’s powerful, passionate vamp. The rest of Instant Funk add harmonies and create a hypnotic, funk-laden backdrop. They fuse buzzing synths, a pounding rhythm section, blazing horns and percussion, while later, pleading female harmonies augment Jimmy’s storming vamp. Truly, the word epic doesn’t begin to describe this track.
You Say You Want Me To Stay was written by Instant Funk bassist Raymond Earl, drummer Scotty Miller and guitarist Scotty Miller, with Kim Miller and Larry Davis arranging the track. While the pounding, funky rhythm section, growling horns and percussion combine with joyous harmonies creating a funky backdrop, James vocal is soulful. He unleashes another heartfelt, impassioned vocal, where power and passion are bedfellows. Meanwhile Instant Funk’s horn and rhythm section create an uber funky, dramatic backdrop. They add punchy, almost sensual harmonies that sound as if they belong on a Sly and The Family Stone album as Instant Funk combine a similar fusion of funk and soul.
Closing Instant Funk’s million-selling Salsoul debut Instant Funk is I’ll Be Doggone, where the funk and quality continue. Shrieks and yelps give way to Instant Funk’s rhythm section, waves and rolls of Hammond organ, growling horns and percussion. They combine to create a funky, dramatic and pounding arrangement before James’ delivers a vocal that owes much to James Brown. He delivers his vocal with power and desire, strutting his way through the track, while equally powerful, sassy harmonies accompany him. Stabs of horns and Hammond organ, thunderous drums and snarling harmonies are combined, as if realizing this was the track to close Instant Funk, Instant Funk kick loose. They raise their game, creating another slice their own unmistakable brand of funky music, that’s the perfect way to end Instant Funk.
Although when you think of labels that released funk music, you wouldn’t immediately think of Salsoul, Instant Funk proved that there was more to Salsoul than disco and Philly Soul. Instant Funk couldn’t have come at a better time for Salsoul, with disco having died at the hands of the Disco Sucks movement and Gold Mind Records’ financial problems. Ironically, if Instant Funk had been released earlier, Norman Harris’ financial problems at Gold Mind Records would’ve been over. Sadly, Norman was left high and dry, after doing so much for Salsoul. All his work, effort and genius went unrewarded. Now it was arrangers and producers like Bunny Sigler and Tom Moulton who were playing important parts in the next part of the Salsoul story. Bunny had already played an important part in Salsoul’s success, but now was playing a bigger role. While the artists he’d worked with had been successful, none had enjoyed the success that Instant Funk enjoyed. After spending years as a backing band and releasing just one previous album, Instant Funk hit the musical jackpot. Their fusion of soul, funk, disco, jazz and Latin was new, innovative and importantly, dance-floor friendly. It reinforced Salsoul as the premier dance label, but showed their music moving in a post-disco direction. With James Carmichael as Instant Funk’s frontman capable of delivering a song with the required passion, power, emotion and sass backed by some tight, talented and versatile musicians, it seemed strange that no label had spotted Instant Funk’s potential. One man did, Norman Harris and although Bunny Sigler produced Instant Funk, Norman deserves credit for recognizing their considerable talent. That talent which you can hear on Instant Funk’s Salsoul debut Instant Funk will be rereleased by BBR Records on 17th September 2012, would play an important part in the changing face of Salsoul Records in the post-disco musical landscape. Standout Tracks: I Got My Mind Made Up (You Can Get It Girl), Crying, Never Let It Go Away and Wide World of Sports.
INSTANT FUNK-INSTANT FUNK.
DOUBLE EXPOSURE-TEN PERCENT.
DOUBLE EXPOSURE-TEN PERCENT.
December 11th 1975 is a significant date in the history Salsoul Records. It was the date that Double Exposure started recording their debut album Ten Percent, which would become their most successful album, and one of Salsoul’s biggest selling albums. Ten Percent which will be released on 17th September 2012 by BBR Records would also feature three Double Exposure classics Everyman, Ten Percent and My Love Is Free. However, Double Exposure weren’t a new group, but were something of veterans of Philadelphia’s music scene. The quartet of James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis had formed United Image in 1966, whilst still at high school. Since then, their career hadn’t gone smoothly. Having released I’ll Keep Coming Back as single for Stax’s sister label Volt in 1971 they’d recorded enough material for an album. Unfortunately, the album was never recorded when the deal fell through. Having no record deal, United Image then released the single African Bump for the independent label Branding Iron Records. Things weren’t looking good until two things happened. United Image decided to change of name to Double Exposure and a chance meeting with an old friend Norman Harris transformed their career.
Norman Harris had been friendly with Double Exposure since their early days as United Image. Now the legendary Philadelphia guitarist, songwriter, arranger and producer Norman Harris was running his own label Gold Mind Records, a subsidiary of Salsoul. At Gold Mind, Baker, Harris, Young Productions, the production vehicle of the Baker, Harris, Young rhythm section would write, arrange, produce and provide the musicians for the label’s artists. Impressed with Double Exposure Norman recommended Double Exposure to the Cayre brothers, who owned Salsoul. The Cayres liked Double Exposure, so a contract was signed and work would begin on their debut album Ten Per Cent. Before I tell you about Ten Per Cent, I’ll tell you about the background to the album.
For Double Exposure’s debut album Ten Percent, Norman Harris put out a call to his best songwriting contacts. Given this was a newly signed group, Norman wanted the best material he could find. Two of Norman’s Philly based contacts were Alan Felder and T.G. Conway who wrote Ten Percent and My Love Is Free. Alan Felder also cowrote two other tracks, Pick Me with Bruce Gray and Lettie Holden and Everyman (Has To Carry His Own Weight) with Bunny Sigler. Of these four tracks, Ten Percent, My Love Is Free and Everyman (Has To Carry His Own Weight) would become Double Exposure classics. The other three tracks included Gotta Give My Love Away written by James Hendricks and Scott Hawkes while Vince Montana Jr. and Ronnie Walker cowrote Just Can’t Say Hello. Baby I Need Your Loving, penned by Holland, Dozier, Holland was the only cover version on Ten Percent. These seven tracks would be recorded at Philly’s Sigma Sound Studios.
At Philly’s Sigma Sound Studios, the seven tracks that became Double Exposure’s debut album were produced by Baker, Harris, Young Productions. Baker, Harris, Young Productions produced three tracks, with Norman Harris producing two other tracks. The other two tracks were produced by Vince Montana Jr. and Bruce Hawkes for Baker, Harris, Young Productions. For the recording of Ten Percent, the personnel is like a who’s who of Philadelphia music. This included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, T.J. Tindall, vibes virtuoso Vince Montana Jr, while Ron “Have Mercy” Kersey, Clark “Cotton” Kent, T.G. Conway and Bunny Sigler played keyboards. Violinist Don Renaldo was part of a full string and horn section, while Carla Benson, Evette Benton and Barbara Ingram, The Sweethearts of Sigma added backing vocals. WIth the seven tracks recorded, Double Exposure’s debut album Ten Percent ready for release.
The title-track Ten Percent was chosen as the first single to be released from Double Exposure’s debut album. Before its release, Walter Gibbons was given the title-track Ten Percent to remix. This was because the twelve inch single was favored by DJs, due to its better sound quality and its dance-floor friendly sound. This meant the single would be released on two formats, seven-inch and twelve-inch singles. Would this increase sales of Ten Percent?
With Double Exposure’s debut single Ten Percent released in May 1976, complete with Walter Gibbons remix, it reached number fifty-four in the US Billboard 100, sixty-three in the US R&B Charts and number two in the US Disco Charts. When the album Ten Percent was released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts. Everyman (Has To Carry His Own Weight) was released in October 1976, number eighty-four in the US R&B Charts and number eight in the US Disco Charts. My Love Is Free was the third and final single released from Ten Percent, released in January 1977. It reached number 104 in the US Billboard 100, forty-four in the US R&B Charts and number fifteen in the US Disco Charts. Overall, the Cayre’s decision to sign Double Exposure proved a successful one, resulting in a hugely successful album and three hit singles. However, what made Ten Percent so successful? That’s what I’ll now tell you.
Opening Double Exposure’s debut album Ten Percent is the lead single and title-track Ten Percent. It was arranged and produced by Norman Harris. Percussion, the Baker, Harris, Young rhythm section, rasping horns and Bobby “Electronic” Eli’s sizzling guitars combine before strings cascade and join the arrangement. Straight away, this is a track that could only have been released on one label Salsoul, with funk, Philly Soul and disco uniting. This is The Salsoul Orchestra at their finest, with the Baker, Harris, Young rhythm section providing the track’s funky heartbeat. Tight, punchy and hugely soulful harmonies soar above the arrangement, as Jimmy Williams’ impassioned lead vocal enters. Flourishes of piano join the frenzied guitars, pounding drums and percussion. Add in the lush strings, dramatic, punchy blazing horns and that impassioned, emotive vocal and you’ve the recipe for a classic disco track. This is just a stunning slice of delicious disco and truly is Disco Heaven.
Gotta Give My Love Away which was written by James Hendricks and Scott Hawkes, sees the tempo drop. Arranged and produced by Bruce Hawkes, there’s a real Philly Soul sound as Double Exposure deliver some heartfelt harmonies. As horns growl, strings sweep and swirl and the rhythm section add drama, punchy harmonies are added before Jimmy adds a heartfelt vocal full emotion. He’s accompanied by some beautiful sweeping, tender harmonies, while Earl Young’s drum, growling horns and cascading strings add to the drama and emotion. Meanwhile, Double Exposure get the opportunity to showcase their finely honed harmonies. For three dramatic and emotive minutes, Double Exposure deliver one of the most beautiful songs not just on Ten Per Cent, but any of their three albums.
Everyman was written by Allan Felder and Bunny Sigler and is arranged and produced by Norman Harris. The track literally bursts joyfully into life. A flourish of piano, the funky Baker, Harris, Young rhythm section, blazing horns, dancing disco strings and Vince Montana’s vibes give way to Jimmy’s lead vocal. He makes the song his own, delivering it with a mixture of power, passion and joy, bringing out the meaning in the lyrics. Meanwhile harmonies sweep in, with the Sweethearts of Sigma augmenting Double Exposure. By now Double Exposure and The Salsoul Orchestra kick loose. Jimmy’s vocal is inspirational and The Salsoul Orchestra’s breathtaking. Bobby Eli adds his trademark guitar sound, horns blaze, strings dance with delight, each playing their part in the track’s joyous, inspirational and feel-good sound. The song has Salsoul written all over it and Norman Harris’ production is absolutely peerless. That’s why this is the greatest song Double Exposure ever recorded. It’s anthemic, uplifting, inspirational and totally joyous.
Baby I Need Your Loving was written by Holland, Dozier and Holland, with Ron “Have Mercy” Kersey’s arrangement and Baker, Harris, Young’s production giving the song a makeover. Straight away, you realize the difference in the song. Rasping horns, a pounding Baker, Harris, Young, lush, sweeping and swirling strings and chiming guitars give way to the Sweethearts of Sigma’s punchy, testifying harmonies. Then Jimmy lays bare his soul, delivering a gut-wrenchingly heartbreaking vocal. All the time, the funky rhythm section, blazing horns and dancing strings combine with the Sweethearts of Sigma who deliver a harmonic masterclass. Their harmonies are soulfulness personified. Add in Bobby “Electronic” Eli’s guitar solo and Vince Montana Jr,’s vibes and the result is the track that this could I much prefer to the original. It’s punchier, more emotive, hugely soulful and sung with much more feeling.
I Just Can’t Say Hello was arranged and produced by Vince Montana Jr, one of the men who played such a huge part in the Salsoul success story. Flourishes of harp, give way to swathes of lush strings and guitars. Bobby “Electronic” Eli’s wah-wah guitar is contrasted by Norman Harris’ jazzy guitar. When Jimmy’s vocal enters, it’s heartfelt and sung with emotion and feeling. He’s accompanied by subtle harmonies, as layers of strings are at the heart of the arrangement, while the song reminds me of Gladys Knight and The Pips’ You’re the Best Thing That Happened To Me. With Jimmy’s voice growing in power and emotion, Vince’s arrangement compliments it, as the strings, harmonies and guitars melt together beautifully, to create a beautiful ballad that can’t fail to move you and tug at your heartstrings and emotions.
Produced by Baker, Harris, Young is Double Exposure’s My Love Is Free, sees the tempo increase and a Double Exposure classic unfold. Drums, shakers, swirling, sweeping strings, guitars and flourishes of keyboards, give way to Jimmy’s vocal. The rest of the group contribute punchy, backing harmonies, while the arrangement has made in Philadelphia stamped all over it. With rasping horns, cascading strings, percussion and the Baker, Harris, Young rhythm section providing the track’s pounding, funky heartbeat. Jimmy’s powerful, impassioned pleas are augmented by soulful harmonies and show just how polished and professional Double Exposure by the time they joined Salsoul. Combine the vocal with the dancing disco strings, chiming guitars, blazing horns and Baker, Harris, Young at their finest and this is a musical marriage made in heaven, one where drama and emotion unite, creating a timeless disco classic.
Closing Ten Percent is Pick Me arranged by T.G. Conway and produced by Baker, Harris, Young. It’s the perfect song to close the album, with its dramatic soulful introduction. Bursts of the pounding Baker, Harris, Young rhythm section, flourishes of strings, Vince Montana Jr’s vibes and growling horns give way to Jimmy Williams powerful, passionate pleas. He vamps his way though the arrangement, with tight, soulful harmonies, keyboards, swathes of strings and thunderous dramatic drums accompanying him. You can’t fault Jimmy Williams’ vocal and it’s as if he’s been waiting for this opportunity to showcase his considerable vocal talents. Given the chance to do so, he gives everything he has, while the rest of Double Exposure and The Salsoul Orchestra play their part in the track’s sound and success. Not only does this close Ten Percent on a high, but leaves you wanting more, so you press play again.
After nine years of struggling to make a commercial breakthrough, it took a change of name to Double Exposure and a chance meeting with Norman Harris to transform the career of James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis. Less than a year after signing to Gold Mind Records, Double Exposure found themselves with three hit singles in Ten Percent, My Love Is Free and Everyman (Has To Carry His Own Weight) and in Ten Percent, one of Salsoul’s biggest selling albums. Thirty-six years after its release, and it’s patently obvious why Ten Percent was such a successful album. Each of its seven tracks are of the highest quality, with Norman Harris’ songwriting contacts doing him proud. With three tracks that would become not just Double Exposure classics, but Salsoul classics My Love Is Free and Everyman (Has To Carry His Own Weight). Similarly, Baker, Harris, Young Production’s collection of arrangers, producers and The Salsoul Orchestra played a huge part in Ten Percent’s success. The Salsoul Orchestra included some of the best musicians of the time, including Baker, Harris, Young, Vince Montana, Bobby “Electronic” Eli, T.J. Tindall, Vince Montana Jr, Ron “Have Mercy” Kersey and the Sweethearts of Sigma adding backing vocals. Each of these musicians, arrangers, producers and songwriters played their part in making Double Exposure’s debut album such a critically acclaimed and commercially successful album. Of all the albums Salsoul Records would release, Double Exposure’s Ten Percent which will be released on 17th September 2012 by BBR Records is a true classic and is the best album Double Exposure released. Unfortunately, before Double Exposure could release the followup to Ten Percent, Double Exposure discovered a problem that would derail their career for two years.
Double Exposure found alleged discrepancies regarding their bookings and management expenses. Salsoul didn’t want to start recording another until album until the problems were resolved. So the momentum Double Exposure built up after the success of Tenpercent wasn’t built upon. Once the problems were resolved, Double Exposure were able to get back to doing what they were good at, making music. By then, Double Exposure were almost Salsoul’s forgotten men. So when Double Exposure released Fourplay in 1978, it failed to replicate the success of their debut album Ten Percent. After Fourplay, Double Exposure would only release one further album, 1979s Locker Room. While the quality of music was still there, commercial success eluded Double Exposure. Although they never again reached the heights of Ten Percent, Double Exposure will always be remembered for their classic debut album Ten Percent, one of Salsoul’s biggest selling albums. Standout Tracks: Ten Percent, My Love Is Free, Baby I Need Your Loving and Everyman (Has To Carry His Own Weight).
DOUBLE EXPOSURE-TEN PERCENT.
LIPPS INC-MOUTH TO MOUTH.
LIPPS INC-MOUTH TO MOUTH.
When Minneapolis based producer Steven Greenberg and the former Miss Black Minneapolis Cynthia Johnson entered the studio to record a single Rock It as Lipps Inc in 1979, little did they realize the commercial success that was about to come their way. Once Rock It was recorded, it was then released in September 1979, as a twelve inch single on Flight Records, and reached number twenty in the US Disco Charts. The success of Rock It was quite remarkable, given that it was released just two months after the Disco Sucks movement tried to destroy disco at Comiskey Park, Chicago on 12th July 1979. After that, disco became hugely unpopular, with labels who’d previously jumped on the disco bandwagon, jumping off. Not Casablanca Records though. They were one of the biggest disco labels, and were so impressed by Rock It and Lipps Inc that they signed them. Now signed to Casablanca Records, Lipps Inc set about recording their debut album Mouth To Mouth, which will be rereleased on BBR Records on 24th September 2012. Although Lipps Inc’s debut album Mouth To Mouth was released in the post-disco era, Lipps Inc it would prove a huge commercial success and contain a number one single Funkytown. Before I tell you about the music on Mouth To Mouth, I’ll tell you about the making of the album.
By the time Steven Greenberg wrote Rock It, he’d been immersed in music all his life. He’d learnt to play the drums whilst playing along with songs by The Beach Boys and The Searchers, while learning the art of songwriting listening to The Temptations and The Beatles. Steven formed his first band The Storm Center aged fourteen. Soon, he master other instruments, when his cousin taught him to play piano and his band-mates taught him guitar. The next step in his musical development was recording his band at home, which he did using reel-to-reel tape recorders. When The Storm Center split-up Steven formed The Quasi Kinship with his cousin Sandy Atlas, who’d been in The Storm Center. They had a number six single with Do You Know What I Mean in 1971. After the success of the single Do You Know What I Mean they wrote an album of songs and headed to Los Angeles to record an album. Then Steven discovered disco.
In Los Angeles Steven visited Studio One, which would change the course of his career. On his return home, he put together a mobile disco rig and sent out letters to clients telling them about disco. Steven was like an evangelist as far as disco was concerned. The next five years Steven and Sandy spent DJ-ing, until one night, Steven had a eureka moment. He wondered if he could write a disco song. When he returned home, he started work on a song, a song that would change his life and that of Cynthia Johnson’s…Rock It.
Having written Rock It, he needed a very special singer to carry the song of, given its structure. He also needed a studio with innovative facilities, so chose Minneapolis’ Sound 80, where Bob Dylan and Cat Stevens had recorded. Having chosen a studio, musicians were auditioned, but they struggled with the song. Eventually, Steven played the parts himself, using a string section after he’d recorded swirling strings that feature on the track. All that was needed was a vocalist. Five of the best female vocalists in Minneapolis auditioned, but couldn’t sing the song in the right key. Then one of singers mentioned another singer, Cynthia Johnson.
Cynthia was a talented vocalist, who had started singing in church. She was also a talented musician, who could also play the saxophone. Her career had taken a different route in 1976 when she was crowned Miss Black Minneapolis. Her previous group had been with Jimmy Jam and Terry Lewis in Flyte Tyme, who became The Time. After Cynthia recorded her vocal, the track was ready to release. Before that, the group needed a name and using the name of a voiceover talent agency for inspiration, the name Lipps Inc was born and their first single Rock It was released on Flight Records.
With Steven Greenberg going round clubs in Chicago and Los Angeles trying to get DJs to play Rock It. Play it they did, with the tempo of 136 beats per minute perfect for later in the DJs sets peak time sets. Soon, the track was a feature of regional charts. The next step was getting major label interested in Rock It. Through a friend, a demo to Rock It reached Casablanca Records. At the same time, Steven took a demo of Rock It to Casablanca’s head office on Sunset Strip in Los Angeles. Casablanca loved Rock It and offered Steven a record deal. After visiting Casablanca’s headquarters, a deal was signed and Rock It was released as a single. It reached number twenty in the US Disco Charts in September 1979. Now work would begin on Lipps Inc’s debut album Mouth To Mouth.
For Lipps’s Inc’s debut album Mouth To Mouth, Steven wrote three new songs All Night Dancing, Power and a track he’d come up with when singing into his tape recorder…Funkytown. Quickly, he’d the basis for Funkytown, which would transform Lipps Inc’s career. With the four songs written, they were recorded at Minneapolis’ Sound 80. These songs show just how creative and innovative Steven Greenberg was. He was ahead of his time, in the pre Logic, Pro-Tools or Ablteton Live days,
When Steven took Lipps Inc’s four song album Mouth To Mouth to Casablanca Records’ Los Angeles’ head office for the unveiling the gathered executives wondered why it only had four tracks? Steven explained that this made it perfect for playing in clubs with wide grooves on the vinyl which meant there was less chance of the record skipping and of course, the sound quality was much better. Having won over the label, Steven was also allowed the mix the songs how he saw fit. This would be a wise decision, considering the success that was about to come For Lipps Inc and Casablanca Records’ way when Mouth To Mouth was released.
On the release of Mouth To Mouth in November 1979, it reached number five in both the US Billboard 200 and US R&B Charts. Then when Funkytown was released as a single, Lipps Inc enjoyed worldwide success. Funkytown reached number one in the US Billboard 100 and US Disco Charts and number two in the US R&B Charts. In the UK, Funkytown reached number two, while reaching number one in Austria, Germany, the Netherlands, Norway, Sweden and Switzerland. Suddenly, everyone knew Lipps Inc and everyone knew Funkytown. Five months later, in July 1980, Rock It was rereleased, reaching number sixty-four in the US Billboard 100 and number eighty-five in the US R&B Charts. Casablanca’s decision to sign Lipps Inc had proved to be a masterstroke and proved to be the perfect partnership. It also proved that disco’s death had been exaggerated. However, what made Lipps Inc’s debut album Mouth To Mouth such a success? That’s what I’ll tell you, after I’ve told you about the music on Mouth To Mouth.
Opening Lipps Inc’s debut album Mouth To Mouth is the number one single Funkytown. Pounding drums then percussion enter, before a blast of horn signals the arrival of that familiar synth line. It’s joined by a vocal sung through a vocoder, before Cynthia Johnson’s punchy vocal enters. With bursts of electronic sounding drums, this post-disco track unfolds. Flourishes of string respond to Cynthia’s vocal, before a sultry saxophone is added. Steven Greenberg’s production is perfect, with each instrument added at just the right time. Everything works, whether its the driving, hooky guitar line that’s features throughout the track, the swirling strings or the percussion that Steven added in just three minutes, it’s like a musical jigsaw where all the pieces fit perfectly. Considering Steven played most of the instruments himself, that’s makes the track more remarkable. Although this track would provide a template for many other tracks, only Funktowntw as an innovative, timeless, post-disco classic.
All Night Dancing was the B-side to Funkytown and the first thing you notice is the innovative, progressive sound. Shivering percussion and thunderous drums combine before Cynthia’s emotive, heartfelt vocal. While keyboards combine with the pounding rhythm section, elegant strings swirl and sweep and a flugelhorn drifts in and out. Providing the arrangement’s constant funky heartbeat is Michael on drums and bassist Terry Grant. Cynthia gives one of her best vocals, one that’s soulful and heartfelt. Later, layered backing vocals accompany her, before a prolonged drum break ushers in jazzy piano solo. This is the clincher and is the icing on this glorious musical cake. So good is this track, that it deserved to be released as a single, rather than a B-side.
Rock It was the song that launched Lipps Inc’s career and resulted in them signing to Casablanca Records. The track opens at breakneck speed, 136 beats per minute. Crisp drums drive the track along, before Cynthia’s punchy, whispered vocal. Flourishes of strings, an uber funky bass line and synths combine. When Cynthia’s vocal enters, the track begins to reveal its funky secrets and subtleties. As her vocal drops out, the bass and synths combine, before Cynthia’s whispery vocal reenters. Then like a juggernaut, the synths, crispy drums and the funkiest of bass line drive the track along, fusing funk, synth pop, disco and hi-energy. Swathes of shivering strings and percussion are added just at the perfect time as this six minute dance-floor epic takes shape and helps launch Lipps Inc’s career.
Closing Lipps Inc’s debut album Mouth To Mouth is Power, a track where elements of synth pop, disco, hi-energy, jazz and funk are poured into the musical melting-pot by Steven. A curveball is thrown when percussion opens the track, before the track literally explodes into life, taking you on a roller-coaster journey. Synths, pounding drums and stabs of blazing horn combine as Cynthia delivers a powerful diva-eque vocal. With a jazz-tinged piano solo, giving way to multi-tracked backing vocals the synths and drums drive the track along. Stabs of horn respond to Cynthia’s vocal, and like the jazzy piano solo, plays its part in the track’s success. What really makes the track is Cynthia’s sassy, fiery vocal. When it’s combined with Michael’s imaginative, innovative arrangement the result is a track that is dynamic, dance-floor friendly and timeless.
Although Lipps Inc’s debut album Mouth To Mouth, only featured four tracks, they were four tracks of the highest order. From the opening bars of Funkytown, through All Night Dancing, Rock It and right up to the closing notes of Power, it’s a dance-floor oriented, tour de force. Released by Casablanca just four months after the zealots of the Disco Sucks movement tried to destroyed disco, Lipps Inc proved that disco hadn’t died, just reinvented itself and gone underground. For this post-disco landscape, Mouth To Mouth was perfect soundtrack and became a favorite of DJs, clubbers and record buyers. Granted Lipps Inc’s Mouth To Mouth wasn’t like disco of the mid-seventies, like the disco of Salsoul between 1976 and 1978. Instead, Steven Greenberg took a musical melting pot, added plenty of disco and funk, a sprinkling of synth pop, a twist of jazz and just a pinch hi-energy. This he mixed together for thirty minutes, resulting in Mouth To Mouth, Lipps Inc’s debut album. Not only did Steven Greenberg’s recipe prove hugely popular, with Mouth To Mouth a reaching number five in the US Billboard 200 and US R&B Charts, but featured the single Funkytown, which was a number one worldwide. While many albums released in 1980 haven’t aged well, Mouth To Mouth has. In the intervening thirty-three years Lipps Inc’s debut album Mouth To Mouth has stood the test of time and sounds as good in 2012, as it did in 2012. Mouth To Mouth, which will be rereleased by BBR Records on 24th September 2012, is an opportunity to head to Funkytown, for some All Night Dancing ,where you can Rock It and enjoy the Power of Lipps Inc’s music, which will provide the soundtrack to your evening.
LIPPS INC-MOUTH TO MOUTH.
FIRST CHOICE-DELUSIONS.
FIRST CHOICE-DELUSIONS.
Three men played a huge part in the success of two of the most important and successful record companies of the seventies, but despite doing so, don’t get the credit they so richly deserve. These three men are bassist Ron Baker, guitarist Norman Harris and drummer Earl Young. Together, were known as the Baker, Harris, Young rhythm section. Having being playing together since the sixties, playing on Thom Bell’s productions of The Detroit Spinners, The Delfonics and The Stylistics, Baker, Harris, Young went on to become members of Philadelphia International Records’ legendary house-band M.F.S.B. As members of M.F.S.B, Baker, Harris, Young featured on albums by Billy Paul, The O’Jays. Harold Melvin and The Blue Notes and of course M.F.S.B. Then in 1975, many members of M.F.S.B. left Philadelphia International Records after a dispute with Gamble and Huff over money. Baker, Harris, Young’s next destination was New York’s Salsoul Records, where they’d become part of The Salsoul Orchestra and write, arrange and produce several artists, including Loleatta Holloway, Double Exposure and First Choice, who Norman Harris had produced since their first single. Now that Baker, Harris, Young were at Salsoul, Ken Cayre gave Norman Harris a record label to run, Gold Mind Records. One of his first signings for Gold Mind in 1976 was First Choice, featuring Rochelle Fleming, Annette Guest and Joyce Jones. Now Baker, Harris, Young’s through their production vehicle Baker, Harris, Young Productions, would begin work on First Choice’s first album for Gold Mind, Delusions, which will be rereleased by BBR Records on 17th September 2012. Delusions would contain two songs that would become synonymous with First Choice and become disco classics, Dr. Love and Let No Man Put Asunder. Before I tell you about Delusions, I’ll tell you about First Choice’s pre-Salsoul career and the making of Delusions.
First Choice’s career had started back in Philadelphia, when Rochelle Fleming, Annette Guest and Joyce Jones were just fifteen and known as The Debronettes. They got their breakthrough after auditioning for Georgie Woods a DJ at Philadelphia’s WDAS radio station. He was so impressed with The Debronettes that he called Stan Watson, owner of Philly Groove Records. Stan liked the group, but not their name, so The Debronettes became First Choice. To produce First Choice’s debut single, Stan Watson brought in Philly-based guitarist, songwriter, arranger and producer Norman Harris.
For their first single, First Choice recorded This Is the House Where Love Died. It wasn’t initially a success, but when rereleased under license by Scepter/Wand gave First Choice a minor hit. First Choice’s second single Armed and Extremely Dangerous gave them a hit single, reaching number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. When their debut album Armed and Extremely Dangerous was released, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. With their debut album having given them a commercial success, Norman Harris started work on First Choice’s second album The Player.
1974 saw the release of The Player, First Choice’s second album. The Player featured another First Choice classic, The Player (Part 1), reaching number seventy in the US Billboard 100 and number seven in the US R&B Charts. When The Player was released, it reached number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. After the success of The Player, First Choice Stan Watson their manager signed a deal for Warner Bros to distribute their his Philly Groove releases, including First Choice.
Following the success of The Player, big things were expected of First Choice now they had a major label distributing their third album. Sadly,1976s So Let Us Entertain You failed to match the success of their two previous albums. It only reached number 204 in the US Billboard 200 and number fifty-three in the US R&B Charts. After the release of So Let Us Entertain You, First Choice then signed to Gold Mind Records, run by Norman Harris.
Now signed to Gold Mind Records, work began on First Choice’s fourth album Delusions in February 1977. Producing Delusions would be Baker, Harris, Young through their production vehicle Baker, Harris, Young Productions. Eight of the nine tracks on Delusions were written by Philly based songwriters or musicians. Norman Harris cowrote three songs with Ron Tyson and Alan Felder, Dr. Love, Indian Giver and Chances Go Around. Ron Baker cowrote Gamble On Love with Ron Tyson, while Ron “Have Mercy” Kersey cowrote I Love You More Than Before. Bruce Gray cowrote two tracks, Let No Man Put Asunder with Bruce Hawkes and Do Me Again with Mikki Farrow and T.G. Conway. Jimmy D was co-written by Bruce Hawkes and Mikki Farrow. The other track on Delusions was a cover of the Steve Wonder and Syreeta Wright penned Love Having You Around. These eight tracks would be recorded at Philadelphia’s Sigma Sound Studios with what amounted to The Salsoul Orchestra accompanying First Choice.
Accompanying First Choice were many of The Salsoul Orchestra’s personnel. This included the Baker, Harris, Young rhythm section, who providing the Delusion’s heartbeat. Augmenting Baker, Harris, Young were bassist Michael “Sugarbear” Foreman and Jim Williams plus drummer Keith Benson. They were joined by guitarists Bobby Eli, T.J. Tindall and Keith Dockins. Vibes virtuoso Vince Montana Jr. was joined by Larry Washington on congas and bongos, flautist Jack Faith, Carlton “Cotton” Kent on keyboards and Ron “Have Mercy” Kersey on keyboards and synths. Violinist Don Renaldo was part of the string and Leon Zachary part of the horn section. Among the arrangers and producers were Ron Baker, Norman Harris, Ron “Have Mercy” Kersey, Bruce Hakes and Baker, Harris, Young. Each of these arrangers, producers and musicians played their part in First Choice’s first album for Gold Mind Records Delusions. Would Delusions prove to be a commercial success for First Choice?
Before Delusions was released in August 1977, Dr. Love was released as a single and had been remixed by Tom Moulton. Given how successful Tom Mouton was a remixer, and how innovative his mixes were, this would prove crucial in Dr. Love’s success. Helped by having a Tom Moulton remix Dr. Love, it reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, becoming their most successful single since Armed and Extremely Dangerous. When Delusions was released in August 1977, it reached number 103 in the US Billboard 200 and number thirty-seven in the US R&B Charts. This meant Delusions was First Choice’s most successful album. Love Having You Around was then released as a single in November 1977, but only reached number sixty-eight in the US R&B Charts. Given that Delusions gave First Choice their most successful album and contained two disco classics, Delusions was the perfect way to mark their debut release for Gold Mind Records. Not only that, but it made up for the disappointment of their previous albums So Let Us Entertain. However, why was Delusions such a successful album and one that marked a change in First Choice’s fortunes? That’s what I’ll tell you, once I’ve told you about the music on Delusions.
Opening Delusions, is a classic track from First Choice and one that’s become synonymous with them Dr. Love, which was arranged and produced by Norman Harris. With a combination of a pounding Baker, Harris, Young rhythm section combining with blazing horns, cascading strings and a sizzling guitar the track bursts into life. A flourish of keyboards gives way to Rochelle’s vocal. It’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, soaring harmonies. All the time, Ron Baker’s bass and Earl Young’s drums anchor the track, each matching the other note for note. By now, Rochelle is overflowing with confidence. Her vocal is a powerful sassy, vamp with Annette and Joyce responding to her call. Strings quiver and shiver, horns growl, Norman Harris adds a jazzy guitar solo and The Salsoul Orchestra are in full flight. Together with First Choice and Rochelle’s vocal tour de force which is a mixture of power, passion and emotion. Add in Norman Harris’ stunning arrangement a disco classic has unfolded over the previous five-minutes.
Indian Giver, like Dr. Love, is a Norman Harris, Ron Tyson and Alan Felder composition, arranged and produced by Norman Harris. It’s a quite different sounding track, with the introduction slower, but dramatic. A good comparison of the production is Thom Bell’s work with The Stylistics, which Norman played on. With a roll of Earl Young’s drums, Rochelle’s heartfelt vocal enters, accompanied by sweeping, swirling strings, gently rasping horns, keyboards and Norman’s spacious, jazzy guitar. As Rochelle delivers a vocal filled with emotion and hurt, Annette and Joyce add dramatic harmonies, while strings cascade. Later, Rochelle’s vocal is softer and she ad-libs, as Vince Montana Jr’s vibes, keyboards and strings combine, while the arrangement takes on an understated sound. This really works and demonstrates another side of First Choice, one that’s very soulful, and full of emotion and heartache.
The only cover version on Delusions is Love Hanging You Around, written by Stevie Wonder and Syreeta Wright. Ron Kersey arranges and produces the track. Here, Ron uses a synth-vocoder during the arrangement which adds to the uber funky sound. Keyboards, rhythm section and vocoder combine, before the blazing horns and the sultry, sensual vocals enter. Rochelle switches from singing lead to joining Annette and Joyce singing harmonies. All the time the vocoder accompanies them, while the keyboards and horns sound similar to the original on Stevie’s Music of My Mind album. Ursula Herring’s fiery, sassy vocals are key to the track, and she’d later replace Joyce when she left First Choice. Together with testifying and cascading harmonies, warm, melodic keyboards and the vocoder, First Choice brings new life and meaning to a familiar track.
It wasn’t just Norman Harris who contributed tracks for Delusions, so did Ron Baker who cowrote Gamble On Love with Ron Tyson. Ron Baker arranged and produced the track, and the result is one of the slickest and most soulful tracks. He uses swathes of the lushest dancing strings, rasping horns, keyboards and the Baker, Harris, Young rhythm section to provide the track’s jaunty heartbeat. Rochelle’s vocal is much more tender, and very soulful with tight cascading harmonies augmenting her vocal. The arrangement just flows elegantly along, with occasional flourishes of keyboards and dramatic bursts of Earl’s drums punctuating the arrangement. Key to the arrangement are the lush strings, rasping horns and First Choice sumptuously soulful vocals.
Chances Go Round see Ron “Have Mercy” Kersey taking charge of arranging and production duties on a track where funk and disco are fused. The two genres immediately unite, with the Baker, Harris, Young rhythm section adding funk, as Ron Baker gives a funk masterclass, slapping his six-string bass. Sweeping, swirling strings, keyboards and braying horns are responsible for the disco influence. When Rochelle’s vocal enters, it’s fiery, full of frustration and anger, while tight, punchy harmonies accompany her. Flourishes of strings, the rhythm section and growling horns all add to the drama, in Rochelle’s vocal. It’s filled with emotion, regret and bravado as she brings the lyrics to life, sounding as if she’s lived and survived them. While funk and disco are fused, there’s a real Philly Soul sound in a track that’s laden with drama and hooks.
Ron “Have Mercy” Kersey cowrote I Love You More Than Before with Cheryl Dickinson, where the tempo drops way down and we hear First Choice at their soulful best. He arranged and produced this very beautiful track, which features a totally heartfelt vocal from Rochelle. She’s accompanied by the lushest of strings, the rhythm section and keyboards that are central to the arrangement’s sound and success. With Annette and Joyce adding tight, tender harmonies and occasional bursts of drama from The Salsoul Orchestra, this is a gorgeous, romantic track with Rochelle Fleming at her soulful best.
Let No Man Put Asunder is the second First Choice classic on Delusions and was written and arranged by Bruce Hawkes and Bruce Gray. Baker, Harris, Young produced the track and this is very definitely one of their very best productions and is a dance-floor classic, one that’s spanned several generations. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps, Rochelle’s sassy vocal enters. She’s full of bravado and confidence, while harmonies accompany her. Rochelle literally vamps and struts her way through the track with sizzling guitars, punchy harmonies, cascading strings and the pounding rhythm section, with Norman Harris’ jazz-tinged guitar accompanying her. Over the years, I’ve heard numerous reedits and remixes of this track, but the original is the best and a true classic, with Rochelle’s vocal full of fire and defiance.
Do Me Again was arranged by Bruce Hawkes and produced by Baker, Harris, Young and the tempo is dropped way down, with a dramatic, pulsating arrangement unfolding. The Baker, Harris, Young rhythm section, quivering, shimmering strings and keyboards accompany Rochelle’s heartfelt, emotive vocal. Harmonies reflect Rochelle’s powerful, impassioned pleas as the arrangement threatens to explode. Throughout the track, the drama and emotion is almost palpable, with the production perfect for the vocal. Drama and emotion go hand in hand, as Rochelle delivers a needy vocal that demonstrates her soulful roots. She demonstrates how she can make a song her own, and with Annette and Joyce adding harmonies, First Choice show just why they were Salsoul’s most successful female group.
Closing Delusions is Jimmy D which has a much more poppy sound than any other track. Mikki Farrow cowrote Jimmy D with Bruce Hawkes, who arranged and produced the track. Quivering, shivering strings, bursts of rasping horns, keyboards and a pounding rhythm section combine before Rochelle adds an uptempo vocal that swings. Her vocal is accompanied by soaring harmonies while the arrangement has a catchy, poppy and uptempo sound. A piano meanders throughout the arrangement, Jack Faith’s flute, cascading strings and the rhythm section combine to create the perfect track to close Delusions. It’s bright, breezy, hugely catchy and puts a smile on your face. What could be better than that?
After the disappointment of their previous album for Warner Bros. So Let Us Entertain You, First Choice’s career was rejuvenated by Baker, Harris, Young at Gold Mind Records. With Baker, Harris, Young’s guidance, First Choice’s first album for their new label Delusions, proved to be the most successful album of their career, containing two stonewall disco classics Dr. Love and Let No Man Put Asunder. Along with arrangers and producers like Ron “Have Mercy” Kersey, Bruce, Hawkes and Bruce Gray, Baker, Harris, Young fused disco, funk and Philly Soul over the nine tracks on Delusions. While Dr. Love and Let No Man Put Asunder are the two best-known tracks on Delusions, there’s much more to the album than just two tracks. Indian Giver, Gamble On Love, I Love You More Than Before and Do Me Again see First Choice revisit their soulful roots and feature some of their best vocals on Delusions. On Indian Giver and Gamble On Love Rochelle delivers some of her most emotive, heartfelt and soulful vocals. Truly, this is a quite irresistible side of First Choice. Just as these tracks show the soulful side of First Choice, Chances Go Round sees Ron “Have Mercy” Kersey fusing disco, funk and Philly Soul, where Ron Baker gives a funk masterclass on his six-stringed bass. The cover of Stevie Wonder’s Love Hanging You Around was a brave inclusion on Delusions, but one that payed off and is truly uber funky, bringing new life and meaning to the track. Jimmy D, which closes Delusions, shows a much more poppy side of First Choice and demonstrates their versatility. Whether it was disco, funk and Philly Soul or pop, First Choice were just as comfortable singing it, and on Delusions, which will be rereleased by BBR Records on 17th September 2012, they do this and much more. Of all the albums First Choice released, Delusions is their finest, their Magnus Opus, which features two classic tracks Dr. Love and Let No Man Put Asunder. Much of the success of Delusions is down to three men Ron Baker, Norman Harris and Earl Young who rejuvenated and relaunched First Choice’s career on Delusions and would do with many other artists at Salsoul Records. Standout Tracks: Dr. Love, Indian Giver, Gamble On Love and Let No Man Put Asunder.
FIRST CHOICE-DELUSIONS.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
Sometimes, fate plays an important part in the success of an artist, album or in the case of Saloul Records, a record label. This was the case when Ken Cayre met vibes virtuoso Vince Montana Jr. Ken Cayre wanted to import the Philly Sound to his nascent record label, Salsoul, while coincidentally, Vince Montana Jr, approached Salsoul with the idea of bringing a Latin vocal to Mericana, another of Salsoul’s labels. When Ken and Vince met, Ken explained that he was looking for an orchestra similar to Philadelphia International Records’ legendary house-band M.F.S.B. Having explained his vision to Vince, Ken wrote Vince a cheque and in return, Vince would deliver three songs where the Philly Sound was fused a Latin, salsa influence. Without even looking at the cheque, Vince headed back to Philadelphia to record the three songs with some of Philly’s finest musicians. On the bus back to Philly, Vince looked at the cheque, and found it was for $10,000. With some of Philly’s legendary musicians, three tracks were recorded, Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle. After these tracks were delivered to Ken Cayre, he took Salsoul Hustle to CBS who’d first refusal on Salsoul releases. Unluckily for CBS, they were busy releasing albums by Bob Dylan and Barbara Streisand. CBS passed on Salsoul Hustle, as did Atlantic and Polydor Records. So Salsoul released and distributed Salsoul Hustle and immediately, Salsoul had a hit single on their hands. This meant Salsoul needed more songs, enough for an album. That album would become The Salsoul Orchestra’s debut album The Salsoul Orchestra which will be released on 17th September 2012. Then fate would intervene again, and Ken Cayre had his orchestra.
Less than a hundred miles away from Salsoul’s New York headquarters in Philadelphia, problems were afoot at Philadelphia International Records. Gamble and Huff were locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. When this dispute couldn’t be resolved, members of M.F.S.B. remembering the proverb “the workman is worthy of his hire” quit Philadelphia International Records and headed to New York where they became The Salsoul Orchestra. In one fell swoop, Ken Cayre had his orchestra and the Philly Sound all in one. Little did Ken Cayre know it, he had just signed the musicians that would make Salsoul the greatest label in disco’s history. These musicians had played on all of Philadelphia International Records’ successful albums and had played on the three tracks Vince Montana Jr. had initially recorded for Ken Cayre. That was the best $10,000 Ken Cayre ever spend. With The Salsoul Orchestra established, they set about recording their debut album The Salsoul Orchestra.
When many of the members of M.F.S.B. left Philadelphia International Records, it was if their creativity was unleashed. Although many of the musicians were experienced arrangers, producers and songwriters, at Philadelphia International they hadn’t many opportunities write, arranger or produce. Suddenly at Salsoul, guitarist Norman Harris and bassist Ron Baker of the Baker, Harris, Young rhythm section were writing, arranging and producing tracks, and so were keyboard players Ron “Have Mercy” Kersey, Bunny Sigler. This outpouring of creativity started on The Salsoul Orchestra’s debut album The Salsoul Orchestra.
For The Salsoul Orchestra’s debut album The Salsoul Orchestra, Vince Montana Jr. wrote four of the eight tracks while arranging six tracks and producing the entire album. Get Happy and Tale of Three Cities were written and arranged by bassist Ron Baker, of the Baker, Harris, Young rhythm section. The other two tracks were cover versions. Tangerine was written by Johnny Mercer and Victor Schertzinger, while Victor Young and Edward Heyman cowrote Love Letters. These eight tracks would be recorded in the familiar surroundings of Philadelphia’s Sigma Sound Studios.
Previous recording sessions at Philly’s Sigma Sound Studios featuring the personnel that played on The Salsoul Orchestra were as M.F.S.B. and saw them playing on classic albums including Billy Paul’s 360 degrees of Billy Paul, The O’Jays Backstabbers, Harold Melvin and The Blue Notes’ Black And Blue and M.F.S.B’s Love Is the Message and many, many more. Now they’d left Philadelphia International Records and employ of Gamble and Huff, they were back as The Salsoul Orchestra and possibly, with a point to prove to their old employers that “the workman is worthy of his hire,”
Among The Salsoul Orchestra’s personnel were the Baker, Harris, Young rhythm section, providing the album’s heartbeat. They were joined by guitarists Bobby Eli and T.J. Tindall, bassist Gordon Edwards and drummer Charles Collins. Vince Montana Jr. added vibes and percussion, while Larry Washington played percussion and Ron “Have Mercy” Kersey Carlton “Cotton” Kent keyboards. Jack Faith played flute and piccolo, while violinist Don Renaldo was part of the string and horn section. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton who’d featured on so many Philadelphia International Records’ albums and would go on to feature on many Salsoul albums. With so many talented musicians and backing vocalists, plus Vince Montana Jr. producing The Salsoul Orchestra, the album was soon recorded and ready for release.
With The Salsoul Orchestra’s first release Salsoul Hustle having reached number seventy-six in the US Billboard 100 and number forty-four in the US R&B Charts in August 1975, Ken Cayre needed more songs recorded. So when The Salsoul Orchestra’s debut album The Salsoul Orchestra was released in November 1975, it proved a huge success, reaching number fourteen in the US Billboard 200, number twenty in the US R&B Charts and number four in the US Disco Charts. Tangerine was also released as a single in November 1975, reaching eighteen in the US Billboard 100, number thirty-six in the US R&B Charts and number six in the US Disco Charts. You’re Just the Right Size was then released as a single in April 1976, eighty-eight in the US Billboard 100 and number seventy-six in the US R&B Charts. Saying The Salsoul Orchestra’s debut album The Salsoul Orchestra was a commercial success is something of an understatement. Although it sold over one-million copies in the US, it wasn’t certified gold as Salsoul weren’t certified by the Record Industry Association of America. Even though The Salsoul Orchestra missed out on a gold disc, their debut album The Salsoul Orchestra would become a Salsoul classic, as you’ll realize, when I tell you about the music on The Salsoul Orchestra.
Opening The Salsoul Orchestra is the track that launched The Salsoul Orchestra and Salsoul Records, The Salsoul Hustle. Written, arranged and produced by Vince Montana Jr, which gave The Salsoul Orchestra their first hit single. With a pounding, funky Baker, Harris, Young key to the track’s hustle sound, percussion, searing and guitars join the arrangement, before the lushest of sweeping, swirling strings enter. They’re joined by Vince Montana Jr’s vibes and stabs of growling, blazing horns. By now, The Salsoul Orchestra have kicked loose and are in full flow. It’s a hugely impressive sound. Strings dance with joy, quivering and shivering, while stabs of horns and the pounding rhythm section create the track’s pulsating heartbeat. Later, Vince lays down a vibes solo, before Bobby “Electronic” Eli, not to be outdone, unleashed a searing guitar solo. All the time, they’re accompanied by the some of Philly’s greatest musicians. Together, they create a classic track, one where disco, funk and Philly Soul unite and a track that’s truly breathtaking and spellbinding.
Get Happy is one of two tracks written and arranged by Ron Baker of the Baker, Harris, Young rhythm section, who’d been playing together since the sixties. A jaunty, jazzy piano solo opens the track, before strings cascade, horns rasp and the rhythm section anchor the track. Ron Baker’s bass and Earl Young’s drum unite as one creating a powerful, pulsating heartbeat. Meanwhile, the strings are and horns are key to the arrangement. Strings dancing with joy, combine seamlessly with bursts of growling horns. Together they create a hypnotic sounding arrangement that’s joyous and uplifting. Sadly, the track’s only three minutes long and you can’t help but press play again, so good is the track.
Chicago Bus Stop (Ooh I Love It) continues in the same vein as the previous track, with an irresistibly, joyous and uplifting sound. This track features the Sweethearts of Sigma adding breathy, sassy vocals. The Baker, Harris, Young rhythm section lock into a funky groove, while keyboards, guitars and percussion are joined by sassy, sensual vocals from the Sweethearts of Sigma. A sultry alto saxophone enters, as strings, sweep and swirl as the breathy vocal drifts in and out. Dramatic stabs of growling horns accompany the saxophone, and the rhythm section never miss a beat. They’re responsible for the mesmeric, almost hypnotic backdrop, while flourishes of woodwind and a myriad of percussion give the arrangement a Latin flavor. Here, funk meets disco with a twist of Latin flavor and Philly Soul added for good measure, as only The Salsoul Orchestra could, that is with style, flair and a flourish.
You’re Just the Right Size was written, arranged and produced by Vince Montana Jr. and later was recorded by Charo. Here the Sweethearts of Sigma provide sultry, sensuous vocals. They’re’ accompanied the pounding, dramatic Baker, Harris, Young rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have hit their stride and are in full flight, showing why they were the best house-band of the seventies. As Ron Baker’s bass anchors the track, swathes of the lushest strings shiver and quiver, keyboards and blazing horns provide the backdrop to the sensual, sultry vamp. This results in one of the highlights of The Salsoul Orchestra. Good as Charo’s later version was, and it was one of the highlights of her album, this version is much, much better and demonstrates just how innovative Vince Montana Jr. Although this is similar in style and sound to Donna Summer’s Love To Love, this is a better track.
Tangerine is a cover of a track written by Johnny Mercer and Victor Schertzinger and demonstrates how The Salsoul Orchestra during Vince Montana Jr’s time could reinvent a track. It’s quite unlike the previous tracks and sees a new twist on an old standard. A combination of cascading strings, rasping horns and jazz-tinged Baker, Harris, Young rhythm section combine before the Sweethearts of Sigma add joyous whoops. They then add tight, soulful harmonies, as Ron Baker’s bass and Earl Young’s drums anchor the track. Later, Norman Harris add a peerless jazzy guitar solo, before Jack Faith takes centre-stage. He plays a flute solo accompanied by “bop-e-doo-wop” harmonies from the Sweethearts of Sigma, that are the perfect accompaniment. All these parts are like the pieces of a jazzy jigsaw, a jigsaw that’s enchanting, beguiling and a reminder of another age, when music was very different. Maybe if they’d been born in a different era, The Salsoul Orchestra would’ve played music like this?
Tale of Three Cities is the second track penned and arranged by Ron Baker. It’s a slower and funkier track, probably the funkiest on the album. The pounding Baker, Harris, Young rhythm section drive the track along creating the fattest, funkiest beat. Earl Young’s drums sit on top of Ron Baker’s bass as Bobby “Electronic” Eli and Norman Harris show different styles of guitar playing. Norman’s style is jazzy, sparse and spacious, while Bobby’s is harder, showier and more reliant on effects. Gradually, the arrangement shows its delights. Vince’s vibes, lush, cascading strings and growling horns combine, while Earl dramatically passionately pounds his drums. Later, a keyboard solo contrasts the tougher sound of the rhythm section, as do the strings. Then when The Salsoul Orchestra unite, and are in full flight, like they do here, that become a tight, dramatic and hugely funky band. Truly, they’re a band that’s peerless and capable of flitting seamless between musical style seamlessly.
Salsoul Rainbow is the fourth and final track Vince Montana Jr, wrote and sees the funk continue as the track opens. The Baker, Harris, Young rhythm section, percussion, wah-wah guitars and punchy harmonies from the Sweethearts of Sigma give way to the lushest of strings. Now disco and funk unite, with the strings adding to the disco influence. They’re joined by growling horns, a myriad of percussion, keyboards and wah-wah guitars, with occasional bursts of soaring backing vocals. Later, as the pulsating rhythm section provide the track’s heartbeat, a sultry saxophone solo and then keyboard solo are unleashed. They’re just the finishing touch to this pulsating fusion of disco, funk and Latin music.
Closing The Salsoul Orchestra’s debut album The Salsoul Orchestra is Love Letters, with Vince Montana Jr’s vibes at the heart of the arrangement from the get-go. He combines with the Baker, Harris, Young rhythm section to create a shuffling rhythm, while emotive strings, percussion, bongos and congas combine. Vince’s vibes are ever-present and crucial to the track tugging at your heartstrings and emotions. There’s a real Latin sound and influence to the track, elements of jazz and lounge music can be heard. Although very different from the previous track, this track has one thing on common with much of The Salsoul Orchestra, its beauty and emotive sound. That’s no surprise though, as The Salsoul Orchestra were always capable of making some really stunning music, like they do throughout their debut album he Salsoul Orchestra,
Although The Salsoul Orchestra almost came about by accident, Ken Cayre must have given thanks to the musical Gods that he met Vince Montana Jr. Vince brought about Ken’s vision of Philly Soul fused with a Latin salsa influence. Through Vince Montana Jr, Ken Cayre got his orchestra and the Philadelphia based musicians he so admired. With the Baker, Harris, Young rhythm section creating the The Salsoul Orchestra’s heartbeat on The Salsoul Orchestra and Philly legends like Bobby “Electronic” Eli, T.J. Tindall, Larry Washington Ron “Have Mercy,” Jack Faith, Don Renaldo and the Sweethearts of Sigma all featuring on The Salsoul Orchestra it’s no wonder the album was such a huge commercial success. During the eight tracks on The Salsoul Orchestra, disco, funk, jazz, Latin music and the Philly Sound were fused seamlessly creating a classic album. In the process, it launched Salsoul as a label, a label that would become the greatest of the disco era and one of the most important in musical history. The music on The Salsoul Orchestra is timeless, imaginative and innovative and gave birth to a new wave of disco orchestras. None of them could match The Salsoul Orchestra in full flight. After this, The Salsoul Orchestra would release ten more albums in the next seven years and accompany Salsoul’s roster of artists, including Loleatta Holloway, Double Exposure, Instant Funk and First Choice. These artists, with The Salsoul Orchestra’s help, would release some of the best albums not just of the disco era, but of the seventies. Like The Salsoul Orchestra’s debut album The Salsoul Orchestra, many of these albums are timeless, imaginative and innovative.
What must The Salsoul Orchestra’s former employers Gamble and Huff must have thought when The Salsoul Orchestra released their debut album to critical acclaim and huge commercial success? Surely they must have rued the day they never realized “the workman is worthy of his hire.” Having lost some many key members of M.F.S.B. that left a huge void to be filled at Philadelphia International Records. Although they continued to releases critically acclaimed and commercially successful records, Salsoul would replicate Philadelphia International’s early success and sometimes, surpass the success of their late-seventies albums. After the release of The Salsoul Orchestra’s classic debut album The Salsoul Orchestra, which will be released on 17th September 2012, Salsoul went from strength to strength. Critically acclaimed, commercially successful and timeless albums followed, but the album that started everything of was The Salsoul Orchestra’s classic debut album The Salsoul Orchestra, one of The Salsoul Orchestra’s greatest albums…ever. Standout Tracks: Salsoul Hustle, Get Happy, Chicago Bus Stop (Ooh I Love It) and Tangerine.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
Recently, I’ve been reviewing many of Salsoul Records’ releases, and during these reviews, explaining how Salsoul Records started to change around 1978. This change came about when several of Salsoul’s key personnel started to leave the label or play less of a role in the label’s releases. This started when Vince Montana Jr. left Salsoul in 1978, after a dispute with Salsoul’s owners the Cayres. By 1978, Norman Harris who ran Salsoul’s subsidiary Gold Mind Records, was playing less of a role at Salsoul. Instead, Tom Moulton and Thor Baldurrson were now apparently flavor of the month. Looking back with the benefit of hindsight, with Vince having left Salsoul, and Norman playing a lesser role, this wasn’t the Cayre’s wisest decision. These two men had been a crucial part of the Salsoul success story and in some ways, this was history repeating itself. Three years earlier, many of Philadelphia International Records’ legendary house-band M.F.S.B. left the label after a dispute with Gamble and Huff over payments. They then became The Salsoul Orchestra and would record twelve albums and accompany every Salsoul artist. One of the last albums to feature the classic lineup of The Salsoul Orchestra was The Salsoul Strings’ only album How Deep Is Your Love, released in 1978. It was one of the last albums to feature Vince Montana Jr, and the greatest rhythm section of the seventies, Baker, Harris, Young. Before I tell you about the music on How Deep Is Your Love, I’ll tell you about the background to the album.
For How Deep Is Your Love, eight cover-versions were chosen for what would be The Salsoul Strings only album. The first side of How Deep Is Your Love featured covers of The Bee Gees’ How Deep Is Your Love and More Than A Woman, Billy Joel’s Just the Way You Are and Joe Brooks You Light Up My Life. Side Two featured Evergreen (Love Theme From “A Star Is Born”) Yours, Love Letters and a two-song medley of standards We’ve One Just Begun and Feelings. These eight tracks that would become How Deep Is Your Love were recorded at Philadelphia’s Sigma Sound Studios, where so many Salsoul albums were recorded.
The lineup of The Salsoul Strings that played on How Deep Is Your Love at Philly’s Sigma Sound Studios featured the legendary Baker, Harris, Young rhythm section, with Vince Montana Jr, playing vibraharp, bells, chimes and tympani. They were accompanied by drummer Charles “77” Collins, bassists Michael “Sugarbear” Foreman and Gordon Edwards, with Bobby “Electronic” Eli, T.J. Tindall, Dennis Harris and Ronnie “The Hawk” James on guitar. Ron “Have Mercy” Kersey and Clark “Cotton” Kent played keyboards, Larry Washington congas, bongos and timbales while Jack Faith played flute and piccolo flute. Crusher Bennett and Ray Armando added percussion, while violinist Don Renaldo was part of a full string and horn section. The final piece of The Salsoul Strings’ jigsaw were the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram who added backing vocals. These musicians and backing vocalists featured on the eight tracks which made up How Deep Is Your Love which was arranged, conducted and produced by Vince Montana Jr. With How Deep Is Your Love completed, The Salsoul Strings debut album was set for release in 1978. Given it was quite different from The Salsoul Orchestra’s albums would The Salsoul Strings’ debut album How Deep Is Your Love be a commercial success?
On the release of The Salsoul Strings’ debut album How Deep Is Your Love it wasn’t a commercial success. Maybe the quite downtempo, laid-back and almost smooth jazz sound of the album was out of place in the disco market. Sadly, The Salsoul Strings’ How Deep Is Your Love is another example of quality music not equalling commercial success, as you’ll realise when I tell you about The Salsoul Strings’ How Deep Is Your Love.
The Salsoul Strings’ How Deep Is Your Love opens with with the first of two tracks written by Barry, Robin and Maurice Gibb, The Bee Gees and is a track from the Saturday Night Fever Soundtrack. This track sets the vibe for the album, with The Salsoul Strings slowing the track way down, with just the Baker, Harris, Young rhythm section, rasping horns, percussion and the lushest of strings combining before Vince Montana Jr, takes centre-stage. He plays a prolonged vibes solo that transforms the track, giving it a jazzy, Latin feel. While Vince vibes take centre-stage, everything else seamlessly fits into place. Ron Baker’s bass and a piano play important roles, while slow sweeping strings and gently rasping horns accompany Vince. With the vibes playing such an important part in the track, it’s almost a reinvention of a familiar song, one that’s innovative and benefits from a quite beautiful, wistful sound.
Billy Joel wrote Just The Way You Are and here, The Salsoul Strings breath new life and meaning into the track. Quivering, shivering strings and Ron Baker’s slow, thoughtful bass give way to Joseph Caltaldo’s heartfelt, beautiful flugelhorn solo as the track reveals its many secrets. Percussion, the Baker, Harris, Young rhythm section and the lushest of strings combine as the arrangement flows along. Then T.J. Tindall lays down a guitar solo that’s almost a challenge to Joseph Caltaldo. He returns with another flugelhorn solo, against a backdrop of emotive, dancing strings and braying horns. They combine with percussion and the rhythm section, before Vince Montana Jr, steals the show. When he adds a vibes solo, he trumps T.J. and Joseph. It’s as if anything they can do, Vince can do so much better. As he lays down that glorious vibes solo everyone else seems content to just to become Vince’s backing band, allowing him to take centre-stage. Mind you, Vince’s solo is just the finishing touch to what is a scrumptious, sumptuous musical cake.
A standard like You Light Up My Life written by Joe Brooks isn’t the most obvious choice for The Salsoul Strings to cover, but they’ve the talent and imagination to make it work. The Baker, Harris, Young rhythm section combine to create the track’s slow, deliberate and thoughtful heartbeat, while percussion, keyboards and strings create an almost dramatic, grand backdrop. As the track progresses the emotion and beauty grow, with percussion, Vince Montana Jr,’s vibes and the lushest of strings uniting with rasping horns. As the track heads to its dramatic close, Vince Montana Jr, adds a piano solo that’s a mixture of drama and emotion.
Side One of How Deep Is Your Love closes with a cover of The Bee Gees More Than A Woman and sees The Salsoul Strings kick loose. It’s a much more uptempo track and sees the introduction of the Sweethearts of Sigma, who add tender, impassioned harmonies. With the pounding Baker, Harris, Young rhythm section combining with Cotton Kent’s piano solo and strings dance with delight as the band kick loose. As the Sweethearts of Sigma add tight, soulful harmonies, bursts of growling horns and Bobby “Electronic” Eli’s sizzling guitar punctuate the arrangement. While they all play a vital role in the tracks sound and success, it’s omnipresent Cotton Kent’s piano playing that makes this one of the real highlights of How Deep Is Your Love.
Evergreen (Love Theme From “A Star Is Born”) opens Side Two of How Deep Is Your Love and sees The Salsoul Strings breath new life and meaning to the track. There’s a real understated Latin sound to the track. Just congas and bongos subtly combine, before Vince Montana Jr lays down a slow, spacious vibes solo. Then the Sweethearts of Sigma lay some of the most heartfelt, beautiful harmonies on How Deep Is Your Love. When Vince adds the lushest of slow strings this is a masterstroke. He then combines his vibes with percussion and congas and the Sweethearts of Sigma tender harmonies. This innovative and imaginative combination sees elements of jazz, Latin and soul resulting is an understated and subtle reworking of a familiar song that’s a mixture of beauty and elegance personified.
Strings sweep and swirl and horns growl and rasp as Yours sees The Salsoul Strings up the tempo. While the Baker, Harris, Young rhythm section create a funky backdrop, Joseph Cataldo unleashes a blazing trumpet solo. As his solo drops out, the strings dance with delight, as horns rasp and a piano plays a supporting role. By now the band are kicking loose, with Norman Harris adding a jazz-tinged solo, while Bobby “Electronic” Eli’s add funky guitar. It’s when The Salsoul Strings unite that they take your breath away. Truly, in full flight, they’re a joy to behold capable of seamless combining jazz, funk and Latin music seamlessly, like they do hear and do with style, flair and panache.
After upping the tempo on the previous track, The Salsoul Strings return to a much more laid-back sound on Love Letters. Vince Montana Jr’s vibes are at the heart of the arrangement from the get-go. He combines with the Baker, Harris, Young rhythm section that create a shuffling rhythm, while emotive strings, percussion, bongos and congas combine. Vince’s vibes are ever-present and crucial to the track tugging at your heartstrings and emotions. There’s a real Latin sound and influence to the track, elements of jazz and lounge music can be heard. Although very different from the previous track, this track has one thing on common with much of How Deep Is Your Love, its beauty and emotive sound.
Closing The Salsoul Strings’ debut album How Deep Is Your Love are two standards We’ve Only Just Begun and Feelings. Not every band could take two standards and cross lounge music, with soul, funk and Latin music and create something as beautiful as this. However, not every band is as talented as The Salsoul Strings. The tempo’s slow, with the rhythm section, percussion and keyboards providing an understated backdrop for The Sweethearts of Sigma tender backing vocals. Lush strings accompany them, as Vince Montana Jr.’s vibes and percussion plays an important role in the track. Rasping horns join Vince as Feelings unfolds. His vibes, percussion, lush strings and The Sweethearts of Sigma are at the heart of the track. By now, The Salsoul Strings are transformed into a lounge band, but the greatest lounge band you’ll ever hear, capable of making some really stunning music.
Although The Salsoul Strings’ debut album How Deep Is Your Love is quite different to the music recorded by The Salsoul Orchestra, it allowed Salsoul’s musicians to demonstrate their versatility. Musicians like Ron Baker, Norman Harris, Earl Young, Vince Montana Jr, Jack Faith, Ron “Have Mersey” Kersey and Bobby “Electronic” Eli were seasoned, experienced musicians who were versatile and capable of flitting between musical genres. If they were asked to play big band music, disco, funk, jazz, Latin, lounge music or Philly Soul they were capable of doing so. Each musician had earner their dues, playing on numerous sessions, including for Gamble and Huff and Thom Bell. At Salsoul, The Salsoul Orchestra and here as The Salsoul Strings used their experience to create some of the greatest music of the disco era, classic music that’s timeless. On How Deep Is Your Love, The Salsoul Strings reinvented themselves, fusing elements of funk, jazz, Latin, lounge music and Philly Soul. Sometimes, the music is almost smooth jazz in sound. Indeed, tracks like this helped give birth to that much maligned musical genre. Other tracks see The Salsoul Strings turned into a lounge band, especially on tracks like Love Letters, We’ve Only Just Begun and Feelings. Given that How Deep Is Your Love wasn’t a commercial success, The Salsoul Strings never recorded another album. To me this is a pity, as The Salsoul Strings shows a different side to Salsoul’s musicians, and How Deep Is Your Love is something of a golden nugget waiting to be unearthed by Salsoul lovers. Sadly, 1978 saw a changing in the guard at Salsoul. Vince Montana Jr, left Salsoul in 1978, Norman Harris was playing less of a role at Salsoul and gradually the Salsoul’s legends went their own ways. Replacing them weren’t musicians, but the new flavor of the month, remixers including Tom Moulton and Larry Levan. Much as I enjoy anything from Salsoul, I prefer Salsoul’s music pre-1978, when Vince Montana Jr, Norman Harris and the classic lineup of The Salsoul Orchestra were creating musical gold. At least everything they created that glittered was gold, not pinchbeck like some of the post-1978 music. One of the gold nuggets produced by the classic lineup of The Salsoul Orchestra with Vince Montana Jr producing was The Salsoul Strings one and only album How Deep Is Your Love, a glittering goldern nugget from Salsoul’s back-catalogue that’s just waiting to be unearthed. Standout Tracks: More Than A Woman, Yours, Love Letters and We’ve Only Just Begun and Feelings.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
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