LOVING ON THE FLIPSIDE.
LOVING ON THE FLIPSIDE.
In my never-ending quest to bring you new and exciting compilations, recently, I’ve recently been digging even deeper than usual. This has seen me reviewing from labels far and wide, including Japan, Europe and America, plus some of my favorite British labels. One of the reasons I’ve been digging so deep is that although many compilations are released on a weekly basis, they’re very much a mixed big. I’ve previously described them as the good, the bad and the ugly. That’s very definitely the case. It seems that the best compilations are released by smaller, independent labels, while the majors continue to churn out compilations of populist “product.” These are aimed firmly at the mass-market, with the target audience occasional record buyers, either DINKYs or families who buy their music in supermarkets. For both groups, music is just background noise to their everyday lives, whether that’s listening on iPods while commuting, soccer moms doing the school run or DINKY dinner parties. So given how dire the quality of music on many of these compilations are, you’ll realize just why I’m digging so deep. Indeed if I dig any deeper, I’ll be spending the winter in Sydney. In my quest to discover new and innovative compilations, I came across Loving On the Flipside, released by Los Angeles’ based Now Again Records, a subsidiary of Stones Throw Records. However, I referred to Loving On the Flipside as new and innovative, but why is that? That’s what I’ll now tell you.
One of two reasons I’ve described Loving On the Flipside as new and innovative concerns what are usually referred to as sleeve-notes. Loving On the Flipside doesn’t have sleeve-notes. Instead, it has a lovingly compiled eighty-page book. This is great news for crate-diggers and music reviewers everywhere. Often when I receive compilations, and I discover a track I want to tell you about, it’s impossible to find information about it. This can be really frustrating, especially when you’ve discovered a real hidden gem of a track. Even tracking down what label it was released on and when it was released can be the musical equivalent of climbing Everest. Never mind trying to find who produced, or arranged or cowrote the track. For someone like myself this is frustrating. My worst experience recently, were two CDs where the only details about the tracks were the artists and titles. Even then the, title of one of the tracks was wrong. That was it. No details of who wrote the tracks or what label the tracks were released on. They were quite simply two of the worst presented compilations I’ve come across in over thirty-five years. From a complete lack of information we go to the other extreme with Loving On the Flipside, which has an eighty-page book which tells you everything you could ever want to know and more about the twenty-one tracks.
In the eighty-page book that accompanies Loving On the Flipside, there’s everything you could ever want to know about the twenty-one tracks on the compilation. It’s almost doing the compiler a disservice to say that it’s a lovingly compiled book. You get the idea that great care and attention to every detail has gone into putting together this book. There’s everything from facsimile copies of the original vinyl singles, photos of the groups and artists plus the backstory to each of the twenty-one tracks. These backstories tell about the people behind each song, including how the Disciples of Soul covered Gamble and Huff’s Together three years after The Inruders. There’s so much detail about the artists lives away from music. For example it tells the tragic story of how Ed Nelson’s career was derailed by drugs and how a member of Blue Velvet’s Is It Me You Really Love was never released after one of the members was shot in the back breaking up a fight. Each of these stories show how but for a stroke of fate, musical history could’ve been very different. Truly, it seems no detail is too small to be overlooked. For crate-diggers everywhere, information like this is like gold-dust. Having told you why Loving On the Flipside is such an innovative and impressive release from the point of view of the eighty-page book, is the music as good?
Unlike previous releases from Now Again Records which focused on funk music, Loving On the Flipside features twenty-one soulful songs. They’re the polar opposite of the aggression and machismo of Now Again’s previous funk fueled releases and contain more than a few real hidden gems. The first of these is Eddie Finley and The Cincinatti Show Band 1972 release Treat Me Right Or Leave Me Alone, released on Rapturea Records. Describing this track as soulful, doesn’t come close to doing it justice. It features Eddie’s impassioned pleas. He’s accompanied by Complete with dramatic stabs of brassy horns and drums, it’s a track that can’t fail to move you, given the emotion and pain in Eddie’s voice.
I was really pleased to discover Hot Chocolate’s We Had True Love, which was released in 1970 and arranged and produced by lead singer Lou Ragland. Many years ago, I bought a copy of a CD reissue of Hot Chocolate’s album, but the sound quality really let it down. Here, the quality is much better, allowing you to hear the song’s beauty and the sadness and hurt in Lou’s voice. The arrangement is understated, with just subtle, chiming guitars accompanying Lou’s heartfelt vocal. It’s a very beautiful song, one tinged with sadness and a melancholy sound.
Black Conspirators’ Love, which was released back in 1971 and released on Get Down Records, features one of the best arrangements on Loving On the Flipside. Written by lead singer Joe Cooley, arranged by Lelon WIndham and produced by Black Conspirators, the arrangement features dramatic bursts of blazing horns and heartfelt harmonies accompanying Joe’s fervent vocal. It’s the harmonies and horns that make this such a great track and harmonies were what the Black Conspirators were famed for in the Indianapolis are. They were influenced by Al Green, plus groups like The Detroit Spinners and The Temptations. Sadly, they never enjoyed even a fraction of the success these giants of soul enjoyed.
Then there’s Rhythm Machine’s horn lead and hugely dramatic Whatcha Gonna Do, which features some of the most tender, beautiful harmonies. Released in 1972, on Rodan Records and featuring Kevin Ferrell’s impassioned lead vocals. It really is one of the best tracks on Loving On the Flipside. It’s such a good track that you wonder why this track wasn’t a commercial success. Not only that, but you want to hear more from Rhythm Machine and want to know more about the band. That’s where Loving On the Flipside’s eighty-page book comes in handy, telling you everything you want to know about Rhythm Machine but were afraid to ask.
Only one group Darling Dears have two tracks on Loving On the Flipside. Given the quality of I Don’t Think I’ll Ever Love Another and And I Love You, that’s understandable. Of the two tracks, my favorite is And I Love You, released in September 1972 on Flower City Records. Flourishes of keyboards accompany Kim McFadden’s emotive vocal, while soaring harmonies, piano and the rhythm section play their part in the track’s success. What follows is three minutes of raw emotion, heartache and pain. So good is this track that you wonder how you’ve lived without it. It’s one of these tracks that’s lain unloved for forty years and at last has seen the light of day. I for one am grateful for this.
The Black Exotics’ What Am I Waiting For was released in 1975 on United World of Music Records. It was written by Ron Tyson and Bunny Sigler, just before they became part of the Salsoul success story. With Sonny Thomas producing the track, you’d expect something special. You aren’t disappointed. With a Hammond organ, slow, moody rhythm section and stabs of horns accompanied by backing vocalists a vocal full of sadness and despair enters. Heartbroken, the vocal is accompanied by an arrangement that grows in drama, matching the despair and pain in the vocal. This results in three and a half minutes of really emotive, moving music that believe me, can’t help but move you.
Primitive’s You Are Everything To Me is another slow and soulful tracks, which is full of emotion. As you hear the opening bars, you find yourself reaching for Loving On the Flipside’s trusty eighty-page book. You’ll discover the single was released in 1977, on Love Records and written by lead singer James Sharp. The track was produced by Primitive and has a slow, horn lead introduction, with the rhythm section and chiming guitars creating a pensive backdrop. When James Sharp’s vocal enters, it’s deliberate as he gives thanks for the love he has. Harmonies dramatically accompany his vocal, as the track reveals its soulful secrets. With an understated, spacious arrangement, this combination results in one of the most beautiful tracks on Loving On the Flipside.
My final choice is Symphonic Four’s Who Do You Think You’re Fooling (Part II). It was released in 1970 on Zudan Records. Featuring Christopher “Classic” Williams lead vocal, the introduction is similar to Darling Dears’ And I Love You. The arrangement is dramatic, with a jangly piano playing an important role in the arrangement. It accompanies a vocal where delay is used to add to the track’s drama and emotion. What really makes the track are some tight, soulful and heartfelt harmonies. When they’re combined with Christopher’s vocal and the edgy arrangement the result is another glittering gem that deserved to be unearthed after too long hidden in the musical wilderness.
Having only mentioned nine of the tracks on Loving On the Flipside I feel as if I’ve only scratched the surface of the compilation. There are so many other tracks I could’ve mentioned. Indeed, I could just as easily have included tracks from Little Janice, Jazzie Cazzie And The Eight Sounds, Ed. Nelson, Conspiracy, Eunice Collins and Disciples Of Soul. That shows the quality of music on Loving On the Flipside. Many of these tracks will be new to most people and given how good they are, will be welcomed by anyone who loves their music soulful. Earlier, I wondered whether the quality of music matched the quality of the eighty-page book that accompanies it. Quite simply, the answer to that is yes. Loving On the Flipside comes across as a lovingly compiled collection of tracks, just like the book. There’s only one little thing that lets the whole package down, and thats the somewhat cheap and flimsy paper booklet that the CD is contained in. That might seem like a small thing, but surely, it would’ve easy to attach the CD to the inside of the book. Apart from that, Loving On the Flipside is an innovative approach to what is an overcrowded compilation market. I just hope that Loving On the Flipside isn’t the last compilation like this Now Again Records releases, as there are many people who want to know more about the music and the people that recorded it. Hopefully, Now Again Records will release further instalments of Loving On the Flipside, which is a loving-compiled collection of music that will appeal to everyone who loves their music soulful. Standout Tracks: Hot Chocolate We Had True Love, Black Conspirators Love, The Black Exotics What Am I Waiting For and Primitive You Are Everything To Me.
LOVING ON THE FLIPSIDE.
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ADE ALAFIA ADIO-O.R.G.A.S.M.
ADE ALAFIA ADIO-O.R.G.A.S.M.
One of the most important parts of any record company is the A&R Department, which discovers new talent. For smaller labels, this is even more important as sometime, they can pick up some really talented artists early in their career, and nurture them. Often, new talented artists can be found in the most unlikeliest places. An example is Idrissa Sissoko, who Boddhi Satva discovered in Mali. Once Boddhi had heard just a few songs from Idrissa Sissoko, he signed him to Offering Recordings. Idrissa Sissoko then released his debut album Lopilopilo earlier this summer. Sometimes, an artist’s life takes a few twists and turns before they get the opportunity to even release an album. For Ade Alafia Adio, whose three-track sampler O.R.G.A.S.M. was recently released by Offering Recordings, his journey to becoming a singer, songwriter, musician and poet took a few twists and turns along the way. It’s Ade’s journey from Salisbury, Maryland via Minna In Nigeria and ultimately to the Netherlands that I’ll now tell you about. After that, I’ll tell you about his three-track sampler O.R.G.A.S.M.
Ade Alafia Adio was born in Salisbury, Maryland in 1978 to Nigerian parents. When Ade was studying for a degree in architecture and civil engineering Ade returned to Minna In Nigeria. A couple of years later, Ade decided that architecture and civil engineering wasn’t for him. Instead, he decided to do what he loved and was passionate about, singing, writing songs and poetry and playing percussion. Having made this life-changing decision, he decided to use his music as a means of communicating.
For Ade music was essentially a way of expressing his individuality and his way of communicating to society. Communication he believes is a way for the misunderstood to make themselves understood. This he understands. He’d spent much of his life misunderstanding people. Through music, Ade could make himself understood. He could also get across not just his message, but that of a collective view. Music allows Ade to make sense of people’s actions, and to voice his thoughts and views about their actions. It’s a way of communicating and a way of voicing his fears, and common fears held and giving them a voice. These fears Ade has replaced them with a sense of faith and a vision, a vision which he shares with others.
Now living in the Netherlands, Ade has formed an alliance with Offering Recordings and has established his own lifestyle workshop the Tree of Alafia. This is Ade’s vision and creation. He’s a self-taught teacher, whose mission is to foster a sense of universal unity, a feeling of togetherness. His method of teaching is interactive, focusing on the individual’s experiences. The title of his three-track sampler O.R.G.A.S.M. is also an anachronism for Open Release Going Across Spiritual Movement. This is a taster of his visionary message of “Re-Claymation In Triumph,” where people who are “lost” are guided back into a “legacy of love, life and solidarity.” So there’s much more to Ade Alafia Adio than singer, songwriter, musician and poet, he’s teacher and thinker too. Having told you about Ade Alafia Adio journey to becoming Offering Recording’s latest signing, I’ll now tell you about the three tracks on O.R.G.A.S.M.
O.R.G.A.S.M. opens with Fulfillment, arranged and produced by Thane Wright, who cowrote the track with Bob Mabaje. Drums, percussion and keyboards combine with Ade’s impassioned vocal. His vocal is heartfelt, full of emotion, as if every word he sings means something. It’s as if he’s undergone a voyage of discovery and enlightenment. Percussion and drums accompany him, creating a dramatic backdrop for his vocal. Adding to the drama and emotion is a spoken vocal, which weaves its way through the arrangement. The focus of you’re attention is firmly on Ade’s emotive, heartfelt and his intelligent, meaningful lyrics.
At Most Here has a jazz-tinged introduction with just a chiming guitar and subtle keyboards accompany Ade’s scatted vocal. The track was arranged and produced by W. Ellington Felton, who cowrote the track Bob Mabaje. Soon, things change and the arrangement heads in the direction of Nu-Soul. Crispy drums accompany Ade’s powerful, passionate vocal, as washes of Hammond organ sweep in. Like the previous track, this has a similar heartfelt, emotive quality. It doesn’t take long to realize just how talented a vocalist Ade is. He’s almost pleading, his vocal needy, almost desperate, as he brings the lyrics to life, injecting meaning to them. As if that isn’t enough, there’s a real warmth and soulful quality to Ade’s vocal. Without doubt, Ade has a great future ahead of him.
It’s almost with a sense of sadness that I come to Kindred Spirit, as that’s the final track on O.R.G.A.S.M. It was arranged and produced by Boddhi Satva, who cowrote the track with Bob Mabaje. Synths, percussion and pounding drums accompany Ade’s vocal which can only be described as spiritual and impassioned. Slikk Tim plays lays down a pounding bass line that snakes its way across the arrangement. His bass joins the drums in creating some glorious rhythms. The heartfelt harmonies that accompany Ade’s vocal, add to the spiritual sound of a track that’s celebratory, joyous and quite beautiful. That seems the perfect way to close the three-track sampler O.R.G.A.S.M.
The three tracks on O.R.G.A.S.M. are a tantalizing taste of a hugely talented new artist, Ade Alafia Adio. Quite clearly, he has a big future ahead of him, given who talented a singer, songwriter and musician he is. Ade doesn’t sound like a new artist. Quite the opposite. His vocal has a maturity and a richness. It’s one of those voices that you’re drawn to. Even after just three songs you realize that Ade is someone to watch. It seems architecture and civil engineering’s loss is very much music’s gain. His decision to turn his back on his previous career has been vindicated. This you’ll realize once you’ve Ade Alafia Adio’s three-track sampler O.R.G.A.S.M. Once you’ve heard O.R.G.A.S.M. you, like me, will be hungrily awaiting the release of Ade Alafia Adio’s debut album. If it’s as good as O.R.G.A.S.M. then it’ll be a joy to behold. Until then, enjoy Ade Alafia Adio’s three-track sampler O.R.G.A.S.M., the latest release from Offering Recordings, who seem to have an uncanny knack of unearthing some hugely talented artists. This includes Sage Monk who released Heartache Allegory and Idrissa Sissoko who released Lopilopilo. Now a new name joins Offering Recordings roster, Ade Alafia Adio, and he’s one to watch in the future, as the three songs on O.R.G.A.S.M prove.
ADE ALAFIA ADIO-O.R.G.A.S.M.
DISCO RECHARGE-VOYAGE 3-SPECIAL EDITION.
DISCO RECHARGE-VOYAGE 3-SPECIAL EDITION.
Since Harmless Records launched their Disco Recharge label in June 2012, they’ve revisited the first two of Voyage’s four albums, Let’s Fly Away and Voyage. For anyone who loves disco, these two albums were a very welcome rerelease and became part of their collection. Now for the latest instalment of the Disco Recharge series, compiler Mr. Pinks has made another welcome return to Voyage’s back-catalogue to bring you Voyage 3, which was released in 1980 on Able Records. However, there’s much more to Disco Recharge-Voyage 3 Special Edition than just Voyage 3. Like the other releases in the Disco Recharge series, Disco Recharge-Voyage 3 Special Edition is a double-album, which was released on 1st October 2012. Disc One of Disco Recharge-Voyage 3 Special Edition also features Special Instrumentals Volume 3. On Disc Two, there are five different versions of the two singles from Voyage 3, I Love You Dancer and Discotch. As if that’s not enough, there’s Sylvia Mason’s 1980 eponymous album Sylvia Mason and a trio of Voyage bonus tracks. Considering you’re getting essentially getting three albums and eight bonus tracks and this will only cost you less the £8, $12 or €10, this sounds like a real bargain. Is that the case, that’s what I’ll now tell you, when I tell you all you need to know about Disco Recharge-Voyage 3 Special Edition.
By 1980, Voyage were on something of a roll. Both of Voyage’s 1978 albums Let’s Fly Away had topped the US Billboard Hot Dance Charts. It’s no exaggeration to say that Voyage for Kings of Euro Disco not just in America, but in Europe. By 1980, the musical landscape had changed, after disco’s popularity had waned. Indeed, disco was something of a dirty word in some quarters, with record labels avoiding disco artists and both disco artists and disco labels not exactly popular. This had been caused by the Disco Sucks backlash, which came to a head on 12th July 1979 at Comiskey Park in Chicago. After that, disco nearly died. While that didn’t quite happen, it meant disco had to reinvent itself. So, Voyage would’ve a challenge when they set about recording what would become Voyage 3.
For Voyage 3, the lineup of guitarist Slim Pezin, keyboardist Marc Chantereau, drummer Pierre-Alain Dahan, bassist Saveur Mallia and lead singer Sylvia Mason wanted a new challenge. Voyage’s personnel were some of the best and most accomplished musicians of that time and as a result, weren’t content to stand still. It wasn’t for them to continue releasing album after album of similar music. This new challenge saw subtle changes to Voyage’s music. The six songs on Voyage 3 took on a funkier sound, with the bass and drums playing a more prominent role in Voyage’s sound. Recording of Voyage 3 took place in London, at the Trident Studios. This was familiar territory, as the two previous Voyage albums had been recorded at Trident. Another constant was producer Roger Takarz, producer of Let’s Fly Away and Voyage. On the release of Voyage 3, it was critically acclaimed, with I Love You Dancer, Do It Again and Music, Music all entering the top twenty in the US Billboard Disco Charts. While Voyage were still the same successful group, one thing was about to change, with Voyage about to lose one of its most important members.
Lead singer Sylvia Mason was about to sign a recording contract with Stiff Records to front their eighties take on the Motown sound, Sylvia and The Sapphires. Given how important a part Sylvia played in Voyage, this must have worried the other members of Voyage. Sylvia had been discovered in 1977 by Roger Takarz, when she was just eighteen. Soon, Sylvia became a Euro Disco star. She was a member of the legendary Birds of Paradise backing singers, along with Madeline Bell, Kay Garner, Sue Glover, Stephanie De Sykes and Vicki Brown. Some of the Birds of Paradise had also sung on albums by Cerrone and Don Ray, so they were experienced and in-demand. However, before Sylvia would release even a single with Sylvia and The Sapphires, she’d have released her debut solo album.
Sylvia Mason’s debut solo album Sylvia Mason came about purely by chance. Voyage had written too many songs for the first two Voyage albums Let’s Fly Away and Voyage. Seven of these songs became Sylvia Mason and Sylvia believes was Voyage’s way of thanking her. They were recorded at Trident Studios in London, with the members of Voyage accompanying her. Slim Pezin, Marc Chantereau, Pierre-Alain Dahan and Roger Takarz produced Sylvia Mason. Sadly, Sylvia Mason wasn’t a huge commercial success in the post-disco era. Since then, Sylvia Mason has never been rereleased on CD and is a rare and sought-after album among record collectors. Now for the very first time, Sylvia Mason’s debut album Sylvia Mason finds its way onto CD, as part of Disco Recharge-Voyage 3 Special Edition. Before I tell you about some of the highlights of Sylvia Mason, I’ll tell you about the highlights of Voyage 3.
VOYAGE 3.
My first choice from Voyage 3 is I Love You Dancer one of the singles from Voyage 3. It’s an uptempo track, with a real joyous, good-time sound. Voyage’s funkier rhythm section are key to the track, with guitars, keyboards and percussion accompanying Pierre Alain Dahan’s lead vocal. Listening to the track, it’s hard to believe it’s over thirty years old. There’s a freshness to the track, and it’s quite different from the Euro Disco sound of 1980. Instead there’s more of a funk influence, courtesy of the rhythm section. Granted there’s still a Euro Disco sound, especially with the keyboards and and synths, but very different from the Beautiful Blend and Boris Midney albums I recently reviewed. Gone is the pounding Euro Disco beat, replaced by a fusion of funk, Euro Disco, Euro Pop and even rock-tinged guitars. This combination is deliciously catchy, funk and timeless.
I’m Only Human has much more of a Euro Disco sound from the get-go. Moody, broody synths open the track and soon, Voyage’s pounding rhythm section create the track’s heartbeat. A sprinkling of percussion, chiming guitars and futuristic keyboards join the fray as the arrangement heads firmly in the direction of Euro Disco, albeit with a rocky twist. Pierre’s deliberate vocal has a Euro Disco style, while the arrangement mixes elements of Euro Pop and rock. You can date the track just by listening to it and referencing its influences. This has 1980 written all over it. Sometimes, there are similarities with The Stranglers. Later, the Euro Disco beat becomes more prominent, and is augmented by space-age synths, an edgy vocal, percussion and driving rhythm section. Voyage’s determination to change their music has certainly worked here, with the track a melting pot of genres and influences that demonstrates Voyage’s innovative, creative and inventive side.
Do It Again is my favorite track on Voyage 3 and sometimes, makes me think of K.C. and The Sunshine Band’s Give It Up. Like K.C. and The Sunshine Band’ it’s certainly a slice of funky, good-time music with more than its fair share of poppy hooks. Straight away, you realize just how good a track this is. It has simply catchy lyrics delivered in a near falsetto style, while the arrangement features a funky rhythm section, flourishes of guitars, squelchy synths and punchy harmonies. Rolls of drums and chiming guitars seem to only highlight just how catchy and joyous a track this is. Again, it’s a track that’s stood the test of time really well and sounds incredibly fresh thirty-two years later.
The last track I’ve chosen from Voyage 3 is I Don’t Want To Fall In Love Again. As the song opens, you hear brief similarities with Foreigner’s Cold As Ice, as a rocky track unfolds. A punchy, rock-tinged driving rhythm section and stabs of keyboards accompany a vocal delivered in a choppy, dramatic style. Searing guitars accompany the punchy rhythm section as the arrangement fuses Euro Pop and rock with a pounding beat. Although there isn’t the same Euro Disco sound as the two previous Voyage albums, this shows a very different side to Voyage’s music, especially later, when the guitars are more like something from a rock album. Not only is this very different in style, but it shows how versatile and multi-talented Voyage really were.
These four tracks are just my favorite tracks from Voyage 3 and are also a good indication of how Voyage’s music was evolving. They weren’t content to stand still, continuing to release similar albums to Let’s Fly Away and Voyage. That wasn’t an option, given how music had changed. It was more a case of adapt or die. Voyage adapted and in doing so, showed that they weren’t one trick ponies. Far from it. Listening to Voyage 3, it seems that Voyage were able to flit seamlessly between musical genres and influences, and sometimes, incorporate them all into the one song. That’s what makes Voyage 3 such a compelling collection of tracks, where Voyage set about reinventing themselves and in the process, come up with their third successful album, that saw them retain their crown as Kings of Euro Disco.
SPECIAL INSTRUMENTALS VOLUME 3.
Special Instrumentals Volume 3 was released by Voyage in very limited quantities. Since then, it’s become a prized album for collectors and extremely rare and expensive. It’s a seven track album, which sees Voyage journey through musical genres and influences. Listening to Special Instrumentals Volume 3, I wonder why the album was released in such small quantities, given it’s such a good album. No wonder it’s so highly prized. Again, part of the charm and success of Special Instrumentals Volume 3 is how Voyage incorporate influences and genres. There’s everything from funk, jazz, Euro Disco, rock and classic disco. Sometimes, all these genres are thrown into the melting pot, like on Let’s Get Started. Follow the Brightest Star has a rock-tinged, dramatic Euro Disco sound, with a twist of funk added for good measure A trio of tracks from Voyage 3 feature on Special Instrumentals Volume 3, including the dramatic, space-age Music, Music, complete with synths and rocky guitars. So too do I Love You Dancer and Do It Again which are very welcome additions and two of Special Instrumentals Volume 3 highlights. After thirty-two years of being unavailable, at long last Special Instrumentals Volume 3, is available once again and I for one, am really pleased about that and so will you, when you hear it for the first time.
SYLVIA MASON-SYLVIA MASON.
Sylvia Mason released her debut album Sylvia Mason in 1980. Since then, it has never before been released on CD until now. It’s on Disc Two of Disco Recharge-Voyage 3 Special Edition. The seven tracks that makeup Sylvia Mason were actually tracks that had been written for Voyage’s first two albums Let’s Fly Away and Voyage. When these tracks weren’t used, Voyage gave them to Sylvia Mason as a thank you and they became Sylvia Mason, which I’ll now pick the highlights of.
We’ve Gotta Dance was the single released from Sylvia Mason, and it almost explodes into life. A funky rhythm section and chiming guitars drive the arrangement along, before a piano and the Sylvia’s vocal joins. Her vocal is delivered with a sense of urgency and is powerful and joyous. Stabs of blazing horns and backing vocalists sweep in and out, as old school synths join the mix. Dramatic thunderous drums and Latin percussion give way to Sylvia’s vocal and the pounding, jumpy arrangement as funk, Euro Pop and Euro Disco is combined. Together, they create a hugely catchy, hook-laden hidden gem that even thirty-two years later, will light up any dance-floor.
Shadow In the Sun is one of the best tracks on Sylvia Mason. It has a really understated sound when the track begins, with just keyboards, a subtle rhythm section and chiming guitars accompanying Sylvia’s heartfelt vocal. This is a very different track, more of a ballad, with a sultry saxophone adding a beautiful jazzy sound. The saxophone drifts in and out, providing a perfect foil and contrast to Sylvia’s vocal on this beautiful track, that demonstrates a very different side to Sylvia and her music.
You’re Like A Silent Movie sees Sylvia demonstrate her vocal versatility. Her vocal is much higher, and you wonder will Sylvia manage to deliver the vocal. She manages to do so and must have a wide vocal range. The higher scale suits the song, adding to its wistful, melancholy sound and is accompanied by an arrangement that veers between understated with just the rhythm section, percussion and keyboards providing the backdrop. When the arrangement grows slightly, backing vocals join Sylvia, with their vocals providing a contrast to Sylvia’s vocal. This is quite different from the other two tracks I’ve mentioned, but like Shadow In the Sun isn’t a dance-floor track. Instead, it’s a track with a poppy sound, where some melancholy, wistful lyrics allow Sylvia’s vocal versatility to shine.
I Love You Dancer is the last track from Sylvia Mason I’ve chosen. When the track opens, the arrangement almost gallops along. Synths, Voyage’s rhythm section and guitars drive the track along, with the tempo slowing when Sylvia’s vocal enters. Throughout the arrangement the tempo slows and quickens, allowing Sylvia’s vocal to shine. As the arrangement speeds up, you realize that this track isn’t short of poppy hooks. Given Voyage’s track record this is no surprise. They fuse Euro Disco, pop and synth pop with drama and hooks, as Sylvia delivers one of her best vocals on Sylvia Mason, combining power, drama and emotion.
Although Sylvia Mason featured seven tracks that didn’t make it onto Let’s Fly Away or Voyage, they’re far from second-rate tracks. Indeed, why Voyage didn’t include them on Voyage 3 or keep them for their fourth album seems strange. Voyage almost gave these seven tracks away. They must have thought a lot of Sylvia Mason to give her tracks as good as this. While Sylvia Mason was just twenty-one when she recorded Sylvia Mason, it’s an accomplished album, that showcases her not inconsiderable talents. She combines dance-floor friendly tracks with ballads and poppy tracks. After this Sylvia Mason would join Sylvia and The Sapphires, Stiff Records Motown revival band. Later, Sylvia would go on to sing backing vocals with artists like Roger Waters and Robbie Williams. During that period, Sylvia Mason has been unavailable on CD. Thankfully, it’s now available after thirty-two long years, with Sylvia Mason plus three bonus tracks as part of Disco Recharge-Voyage 3 Special Edition, which was released on 1st October 2012. Disco Recharge-Voyage 3 Special Edition is quite simply a double-album crammed full of quality music, including two albums from Voyage, Voyage 3 and Special Instrumentals Volume 3, plus Sylvia Mason’s debut album Sylvia Mason. That’s why at less than £8, $12 or €10 Disco Recharge-Voyage 3 Special Edition is one of the biggest bargains you’ll find this year, or indeed any year. Standout Tracks: I Love You Dancer, Do It Again, We’ve Gotta Dance and Shadow In the Sun.
DISCO RECHARGE-VOYAGE 3-SPECIAL EDITION.
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DISCO RECHARGE-BORIS MIDNEY VOLUME 1: BEAUTIFUL BLEND-MAKE THAT FEELING COME AGAIN AND BORIS MIDNEY-CARESS.
DISCO RECHARGE-BORIS MIDNEY VOLUME 1: BEAUTIFUL BLEND-MAKE THAT FEELING COME AGAIN AND BORIS MIDNEY-CARESS.
As usual, Mr. Pinks has been the hardest working man in disco, compiling not one, not two, but five instalments of Harmless Records’ Disco Recharge series. His hard work has certainly paid off, with him rediscovering some glittering disco gems. The first of these five release sees Mr. Pinks look at one of Euro Disco’s greatest producers, Boris Midney and two albums he released in 1978 and 1979. They are Beautiful Blend’s Make That Feeling Come Again and Boris Midney’s Caress. This is the first of two double-albums release looking at Boris Midney’s music with Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress released by Harmless Records’ subsidiary label Disco Recharge on 1st October 2012. For me, this is a very welcome release, not just because of how important Boris Midney’s music was during disco’s heyday, and how important a part he played in creating the Euro Disco sound, but because of Boris Midney’s life story. Truly, Boris Midney’s story is a fascinating one and one that deserves to be told. I’ll tell you that story and then tell you about Beautiful Blend’s Make That Feeling Come Again and Boris Midney’s Caress.
Boris Midney was born in Moscow, Russia, in the shadow of the Kremlin. Growing up, the Kremlin parks became Boris’ playground. Both his parents were musicians, his mother an opera singer, his father an orchestra conductor. So it’s no surprise that from an early age, Boris was fascinated with music, how it worked and how it moved you. It was rhythm that interested him, even obsessed him. How and why did it move you like it did? Soon, Boris was training at the respected Moscow Tchaikovsky Conservatory. This would stand Boris in good stead, as he’d become a multi-instrumentalist, who’d later, play keyboards, synths, drums, saxophone, clarinet and percussion on his albums. All this came from his classical training. At home, although jazz music was forbidden in the Soviet era, Boris immersed himself in jazz music. While it looked as if Boris was destined to become a musicians, his career took a twist, when he was invited to study the Moscow House of Photography. Even this helped his future career in disco, as it allowed him to design his own album covers. Then when Boris wrote an award-winning soundtrack, and wasn’t allowed to collect his award, his life changed forever.
Having written the soundtrack to the film Staircase, which won an award at the Monte Carlo Film Festival, Boris wasn’t allowed to collect his award. By then he was a teenager and growing restless. Unlike other teenagers, he’d learnt about the idea of being a “winner” and liked and believed in the idea. He was wasn’t content to stay put in Russia, accepting the status quo as handed down by the state. So, having joined an ensemble that was going to tour Japan, Boris decided to defect. In Tokyo, Boris headed for the American Embassy and a new life.
Now living in America, he settled in to his new life. He was met by Helen Keane, the manager of jazz pianist Bill Evans at the airport. Helen had heard about Boris and with her help, was signed to ABC/Impulse Records. The result of this was the Russian Quartet jazz group. Soon, people were looking Boris up, having heard his story. Quickly job offers came his way and the Russian Quartet’s Kellaway was nominated for the best adaptation at the Oscars in 1976. Gradually, the Russian Quartet started working within the music industry. Rather than working for other people, Boris would work for himself.
Success came Boris’ way almost immediately. His debut album was USA-European Connection’s Come Into My Heart, which launched Boris career. It seemed a disco legend had been born when Come Into My Heart reached number one in the US Dance Charts. Proving lightning can strike twice in the same place, Boris second album, Beautiful Blend’s Here Come That Feeling Again, released in 1978, reached number one in the US Dance Charts and number fourteen in the US Billboard R&B Charts. After the success of Beautiful Blend’s Here Come That Feeling Again, Boris decided to move studios to 226 East 54th Street in Manhattan. However, before he could record any music he’d have to build his new studio from scratch.
In Manhattan, Boris Midney started building his own studios from scratch. This was no ordinary studio though, this was America’s very first forty-eight track studio, which he christened Eras, after the new dawn of a new era in dance music. Eventually, Boris would have studios in New York and Philadelphia. The first album recorded in Eras was Boris Midney’s 1979 album Caress, which was released on a subsidiary of Warner Bros, RFC Records. Caress was every bit as innovative and inventive as Beautiful Blend’s Here Come That Feeling Again had been. Although by 1979 disco’s popularity was waning, this was disco taken to the next level as you’ll discover when I tell you about Beautiful Blend’s Here Come That Feeling Again and Boris Midney’s Caress.
BEAUTIFUL BLEND MAKE THAT FEELING COME AGAIN.
Opening Beautiful Blend’s Make That Feeling Come Again is That’s the Meaning. Boris teases the listener as the track opens, using his full musical palette. Distant hissing hi-hats, flourishes of harpsichord, rasping horns and stabs keyboards create a moody backdrop, before pulsating drums and swathes dancing strings and growling horns take you on a dramatic eight minute musical journey. Soon it’s all change, when strings cascade, horns rasp and joyous, soaring harmonies enter. These harmonies are swept above the strings while Boris creates an innovative, complex, multilayered arrangement. It’s impossible to second guess him, as fuses disco, drama, Latin percussion and soulful harmonies. In doing so, he becomes a one-man disco orchestra, playing most of the instruments. The only thing that you can say with any doubt is that pulsating beat will be omnipresent. Apart from that, the only other thing you can say with any certainty is if the rest of Make That Feeling Come Again is as good, this will definitely be a disco classic.
Boogie Motion sees the same pounding at the heart of the arrangement, while melodic keyboards and flourishes of strings joined by harmonies which give the track a real Euro Disco sound. This is no surprise, given Boris’ role as one of Euro Disco’s architects. Bursts of guitars and harp are joined by percussion from Larry Washington, as growling horns drift in and out, while the Euro Disco harmonies become breathy and sensual. Soon, they’re delivered in a punchy style. When they drop out the swirling strings and rasping horns take charge, as keyboards and pounding drums play a vital role in the arrangement’s sound and success. Although more Euro Disco than the opening track, Boogie Motion is a prime example of why Boris Midney played such an important part in the creation of Euro Disco. If anyone asks why, just play this track.
Larry Washington’s percussion joins the drums that provide Make That Feeling Come Again’s heartbeat. Keyboards provide a sense of urgency, as if the arrangement is desperate to reveal its secrets and subtleties. Boris continues to tease and tantalize, before revealing bold, impressive disco soundscape. With flourishes of strings and harp, braying horns, a thunderous rhythm section it sounds like the soundtrack to a yet unmade movie. Moody, broody, bold and dramatic are ways of describing this eleven-minute epic. Elegant harmonies provide a contrast before a sultry saxophone and lush strings signal that the track’s about to reveal its delights. Not quite yet, it’s as if Boris isn’t quite ready. Relentlessly, Boris toys with you, creating a dramatic disco soundscape. Gradually, Boris reveals the track’s drama, delights and not inconsiderable beauty, and in doing so, references everything from disco right through movie soundtracks, jazz and classical music. Describing a track this good as a Magnus Opus is almost a disservice, it’s even better than that.
Closing Make That Feeling Come Again is the sensual, dramatic Ah-Do It. From the opening bars Boris sets the mood, and again it’s dramatic. The pounding drums are augmented by keyboards, guitars and moody, needy harmonies. They create a Euro Disco backdrop that isn’t just dramatic but moody, and somewhat sensual. Strings sweep in, bursts of funky wah-way guitars and growling horns all provide the backdrop for the sensuous harmonies, before a short percussive break adds to what is an already uber moody, dramatic arrangement and one that you always expect will change and reveal another side. This doesn’t happen and shows you should never second guess Boris Midney, Euro Disco’s very own master of suspense and sensuality, as this track shows.
Make That Feeling Come Again might only be four tracks long, but is twice as good as albums with triple the amount of tracks. Back in 1978, Make That Feeling Come Again was spread over two sides of vinyl and was one of the most successful disco albums of 1978, giving Boris Midney another number one in the US Dance Charts. It also reached number fourteen in the US R&B Charts. This is no surprise, given how innovative and cutting-edge an album it was. Truly, Make That Feeling Come Again was an inventive four track soundscape from one of the founding father’s of Euro Disco, one that showcased his creativity, imagination and his many musical talents. Boris a true multi-instrumentalist, playing most of the instruments on Make That Feeling Come Again and wrote, arranged and produced the four tracks. Now thirty-five years after its original release, Make That Feeling Come Again is available again, along with two bonus tracks on Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress. By the time Boris Midney released his next album Caress, he’d have built a new studio from scratch in Manhattan.
BORIS MIDNEY CARESS.
Although Caress was the followup album to Make That Feeling Come Again, it was released as a Boris Midney album. It an even more innovative, inventive and creative side of Boris come to the fore. This is disco draped in Gucci and Armani, opening with Catch the Rhythm with its breathy vocal accompanied by Boris’ pounding disco beat, sinuous, funky rhythms, flourishes of the lushest strings and keyboards from Boris. It’s a glorious track, breathtaking in its elegance and beauty. With percussion and piano joining the breathy, sensual vocals elegantly glide in. A Euro Disco beat meets classic American Disco and jazz. Lush strings are classic American disco, while the jazz influence comes courtesy of the lone rasping saxophone and guitar. Later, the guitars become rockier, as Boris digs deeper into his musical palette as this compelling, beautiful and elegant seven-minute mixture of musical genres reveals its many secrets and influences.
Charmed By You features more of the jazz influence of the opening track. Like that track the arrangement has an understated sound, with instruments drifting in and out of the arrangement. The only thing that isn’t subtle is the pulsating disco beat. Everything else is understated and indeed elegant. Lush strings cascade, while a pounding, slap bass is joined by bursts of rasping horns and tender, heartfelt harmonies. Handclaps help provide the track’s heartbeat, while strings canter along as percussion, keyboards and guitars add a jazzy sound. Later, horns woodwind and guitar take the arrangement further in the direction of jazz, sometimes, referencing a real old school jazzy sound. Meanwhile, the bass provides the track’s funky side and drums are disco through and through. This fusion of influences and genres is quite simply the sophisticated side of disco, very different from much of what back in 1979, was being referred to as disco. If more disco music had been like this, then disco might not have nearly died.
When You Got It Too Uptight opens you realize straight away, how catchy the track is. Describing the track as hook-laden, is almost an understatement. The drums are punchier and louder joined and are joined by piano, flourishes of strings, keyboards and breathy harmonies. They play their part in creating a hugely catchy arrangement that sweeps you along in its midst. Strings cascade, with flourishes adding elegance and beauty, while the rhythm section are responsible for the Euro Disco heartbeat. Key to the arrangement are beautiful, tender and breathy harmonies plus a myriad of percussion and keyboards. Together, they’re responsible for not only the catchiest track on Caress, but the best. It certainly won’t leave you feeling uptight.
Love Spell closes Caress and is another track where Boris decides to tease you. Stabs of jazzy keyboards, percussion and a pulsating Latin-flavored beat combine as an eight minute jittery, jumpy journey unfolds. Soon the innovative side of Boris comes to the fore, with the track having a sound that would influence a whole new generation of producers. This is down to his arrangement and the way he uses the percussion, keyboards and synths in combination with the drums. Punchy Euro Disco harmonies are added, while synths that have an Acid House sound are joined by disco strings, funky bass, jazzy keyboards and Latin percussion. Although this is firmly a Euro Disco track, it’s one influenced by a whole melting pot of styles and influences. However, it takes someone with the vision and creativity of Boris Midney to stir the pot and create a dish as good and tasty as this.
Caress has been described as “designer disco” and this is a fitting description. If music wore clothes, then Caress would be draped in the finest clothes from Versace, Armani and Gucci. During the four tracks on Caress, Boris sets about reinventing Euro Disco, adding jazz, Latin music, funk and soulful harmonies. Boris uses every color in his musical palette, blending genres and influences in his musical melting pot. The result is the tastiest of musical treats, one that’s a compelling, timeless and hook-laden Euro Disco classic, like Make That Feeling Come Again. As if these four tracks aren’t enough, Mr. Pinks has added two bonus tracks, including the original promo only twelve inche of Catch the Rhythm. Together Make That Feeling Come Again and Caress feature on the first of Disco Recharge’s Boris Midney retrospectives, Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress, which will be released by Harmless Records’ subsidiary label Disco Recharge on 1st October 2012. This is a very welcome look back at Boris Midney’s career, given he was one of the founding father’s of Euro Disco, and one whose music was inventive, imaginative and took disco in a new direction. For anyone whose yet to discover the disco delights of Boris Midney, then Disco Recharge-Boris Midney Volume 1-Beautiful Blend and Caress is a good-starting point in discovering this musical visionary’s music. Standout Tracks: That’s the Meaning, Boogie Motion, You Got It Too Uptight and Catch the Rhythm.
DISCO RECHARGE-BORIS MIDNEY VOLUME 1: BEAUTIFUL BLEND-MAKE THAT FEELING COME AGAIN AND BORIS MIDNEY-CARESS.
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FIRST CHOICE-BREAKAWAY.
FIRST CHOICE-BREAKAWAY.
After becoming one of Norman Harris’ first signing to his new record label Gold Mind Records in 1976, First Choice released Delusions in 1978 and Hold Your Horses in 1979. Soon, Double Choice became one of Gold Mind Records and indeed, Salsoul’s biggest commercial successes. This lead to First Choice touring worldwide and by the end of the seventies, were at the height of their fame. For what would be First Choice’s sixth and final album, they returned to their Philly roots, after excursions into Euro Disco on Hold Your Horses. The Euro Disco influence had come courtesy of Munich-based Thor Baldurrson, who had become one of the Cayre’s favoured producers. Hold Your Horses was very much an album of two separate styles, four Euro Disco tracks and two Philly Soul tracks. Of the two styles, the Philly Soul won out and were the highlights of Hold Your Horses. So, when First Choice recorded their sixth album Breakaway, gone was the Euro Disco and in came Philly Soul. This welcome return to the Philly roots also saw the return of Norman Harris, First Choice’s longtime mentor. Norman produced four of the tracks on Breakaway, while T.G. Conway, Alan Felder and Cary “Hippy” Gilbert produced two other tracks. However, as had been the case at Salsoul, things were still changing, with new personnel, including songwriters and producers joining the post-disco Salsoul. How would this affect First Choice and their sixth album Breakaway?
Ever since Vince Montana Jr, had left Salsoul in 1978, things had been changing. Personnel came and went, with musicians, producers and remixers seemingly becoming flavor of the month. Now that disco was no longer as popular, after the events of Disco Demolition Night, organized by the Disco Sucks movement. It took place on 12th July 1979, at Comiskey Park, Chicago. After that, disco labels and artists were no longer popular, so Salsoul as a label had to change. So too did groups like First Choice, after the Euro Disco of Hold Your Horses. Among the changes at Salsoul were the introduction of new songwriters and producers. These changes didn’t please First Choice, but they changed their minds after meeting the new arrivals, who included included Melvin and Mervin Steals and McKinley Jackson. They’d write and produce songs for Breakaway. Another change concerned First Choice’s mentor Norman Harris.
Norman Harris was going through a difficult time by the time First Choice were about to record Breakaway. He was having contractual problems with Salsoul and Gold Mind Records was experiencing financial problems. Eventually, later in 1979 Gold Mind Records’ financial problems got so bad that the label became part of Salsoul. However, Norman assured First Choice that these problems wouldn’t affect the recording of Breakaway. He also told First Choice about the new personnel that would be joining Salsoul. A combination of this new personnel and some Salsoul legends would play their part in recording Breakaway.
For Breakaway the new songwriting teams got to work, Melvin and Mervin Steals cowrote Sittin’ Pretty and cowrote Can’t Talke It With You and House For Sale with McKinley Jackson and Bobby Ledbetter. The Rober Strothers, Frank Alstin Jr and Matt Farrow cowrote I’m the One and Pressure Point. The Philly songwriters played their part too, with T.G. Conway, Alan Felder and Cary “Hippy” Gilbert penning A Happy Love Affair and I Can Show You (Better Than I Can Tell You), while Norman Harris and Ron Tyson cowrote the title-track Breakaway. So, with First Choice returning to their Philly roots, recording got underway at three studios.
Recording took place at Philly’s Sigma Sound Studios, Alpha International and Eras Recording Studio, with a band that included many of The Salsoul Orchestra. This included a rhythm section of bassist Jimmy Williams, drummer Keith Benson and and guitarist Norman Harris. They were joined by guitarist Bobby Eli, T.J. Tindall, Dennis Harris Ron “Have Mercy” Kersey and Cotton Kent played keyboards, Larry Washington and Ron Tyson congas plus Don Renaldo’s Swinging Strings and Horns. Other musicians playing on the sessions recorded away from Sigma Sound in Philly. They included Richard Adderley on guitar, vibes and percussion, pianist Eric C. Butler, saxophonist George Bussey and Melvin and Mervin Steal on percussion. These musicians accompanied the three members of First Choice, Rochelle Fleming, Annette Guest and Debbie Martin for recording of Breakaway. Once Breakaway was recorded, First Choice would release their sixth album as a new decade dawned.
Breakaway was released in March 1980, but wasn’t a commercial success. It failed to chart and the only single to chart was the title-track Breakaway, which reached number eighty in the UK. Part of the problem was the lack of airplay on radio, but a bigger factor was that during this time First Choice were leaving Salsoul. So just as First Choice got back to their Philly roots, after an excursion into Euro Disco, their was indeed a Breakaway. First Choice broke away from Salsoul and sadly, Breakaway proved to be their final album. Was Breakaway a return to form from First Choice?
Opening Breakaway is I’m The One arranged and produced by Norman Harris. It’s the first of four Norman Harris productions. Strings sweep in dramatically, while wistful horns and harmonies combine. Then comes Rochelle’s heartfelt vocal, full of hurt and sorrow. Harmonies match the emotion in her vocal, while the rhythm section join the strings in building the drama. This is a much better track from many of the Euro Disco tracks on Hold Your Horses, and much more suitable to First Choice. Woodwind add to the flourishes of strings and powerful drums in providing a dramatic backdrop for First Choice’s impassioned, heartfelt vocals and harmonies. In doing so, they get Breakaway off to an emotive and quite beautiful start.
Breakaway was penned and produced by Norman Harris and Ron Tyson. It’s very different from the opening track, with a much more uptempo, dance-floor friendly sound. It could be described as a disco track released post-disco. Searing guitars riff before keyboards, a pounding rhythm section, dancing strings and growling horns combine. They’re joined by Rochelle’s powerful, emotive vocal. Her delivery and the quality vocal is almost reminiscent of tracks like Doctor Love and Let No Man Put Asunder. Similarly, the track has the same catchy, hook-laden, dance-floor friendly sound. Everything you’d expect on a Salsoul track is here. Swirling strings, growling horns and a rhythm section that produces the track’s pounding, dance-floor friendly heartbeat. Add to that Rochelle’s powerful, feisty vocal and those sweeping, soulful harmonies. Together, this results in a glorious track from the First Choice.
Melvin and Mervin Steals and McKinley Jackson’s first contribution to Breakaway is Sittin’ Pretty. Straight away, you realize that something special is about to unfold. Lush strings cascade, while the rhythm section and guitars help create a dance-floor friendly arrangement. Annette Guest takes charge of the lead vocal, unleashing a powerful, feisty vocal, as Rochelle and Debbie add cooing, sweeping harmonies. Bursts of rasping horns and flourishes of keyboards are added as your swept away amidst the lushest of dancing strings, pulsating beat and Annette’s vocal tour de force, where power and passion are combined. Ironically, if this track had been released a couple of years earlier, at the high of disco’s popularity, it would’ve fared much better. Sadly, by the time it and Breakaway were released music had changed. However, despite that, it’s still a great dance track, one that’s stood the test and one that showcases the skills of the new songwriting and production team.
Side One of Breakaway closed with A Happy Love Affair penned and produced by T.G. Conway, Alan Felder and Cary “Hippy” Gilbert. It was the first of their two tracks on Breakaway. The combination of rhythm section and blazing horns tease you before flourishes of strings usher in Rochelle’s powerful, impassioned vocal. She’s accompanied by tender harmonies, while vibes, dancing strings and rasping horns accompany her. Rochelle delivers one of her best vocals, sounding confident and happy. As her vocal drops out, the myriad of horns, strings and rhythm section takes charge, before tender, then punchy harmonies accompany Rochelle’s feisty, sassy vocal.
Pressure Point opens Side Two of Breakaway and is arranged by Leon Mitchell and produced by Norman Harris. Flourishes of grand, dramatic strings cascade before a powerful, dramatic rhythm section are joined by equally dramatic harmonies. The interplay between Rochelle and the harmonies sees the drama grow. Similarly, blazing horns, woodwind and the thunderous rhythm section play their part in this dramatic, but soulful track. Here First Choice make a welcome return to their Philly Soul roots, aided and abetted by The Salsoul Orchestra who, like First Choice, are responsible for one of their best and most dramatic performances on Breakaway.
I Can Show You (Better Than I Can Tell You) is the second track from the T.G. Conway, Alan Felder and Cary “Hippy” Gilbert songwriting and production team and is arranged by Jack Faith. Just pounding drums create the track’s pulse before guitars enter. Then a flourish of keyboards, the track reveals its secrets. Punchy harmonies are accompanied by bursts of blazing horns and drums, before Rochelle unleashes a feisty, sassy vocal, that’s part vamp. Don Renaldo’s Swinging Strings and Horns join the rhythm section in creating the track’s joyous, catchy arrangement. Norman Harris adds a brief, but effective bursts of jazzy guitar, before Rochelle, Annette and Debbie kick-loose. Together with The Salsoul Orchestra they go on to deliver one of their best, most joyous and catchy performances on Breakaway.
Can’t Take It With You was the second contribution from Melvin and Mervin Steals and McKinley Jackson. It has a more understated sound than other tracks when it opens. Just keyboards, guitar and rhythm section combine as First Choice add heartfelt harmonies. Bursts of rasping horns stabs of keyboards are joined by Rochelle’s powerful, impassioned vocal. Her power and passion is complimented by the tender harmonies. By now the arrangement has grown, with the rhythm section, bursts of rasping horns and elegant strings combining. It’s beautiful combination, especially given some poignant lyrics and a vocal that’s soulful and full of emotion from Rochelle.
Closing Breakaway is House For Sale arranged by Leon Mitchell and produced by Norman Harris. Rasping horns that sound as if the belong on an old jazz album are joined by pounding drums, woodwind and the lushest of strings. First Choice turn back the clock, adding tight, impassioned harmonies. They sound as if they belong on an old big band album. Rochelle’s vocal is heartfelt and soulful, while The Salsoul Orchestra are transformed into a jazz band. Norman Harris’ guitar playing is perfectly suited to this, and so are Don Renaldo’s Swinging Strings and Horns. Together they play their part in helping First Choice create very different, but very beautiful song that not only closes Breakaway, their career at Salsoul.
It seems almost ironic that Breakaway, First Choice’s final for Salsoul Records was a real return to form. Breakaway was a far better album that its predecessor Hold Your Horses and its Euro Disco sound. On Breakaway, First Choice sensibly returned to their Philly Soul roots, with the eight tracks a combination of soulful and dance-floor friendly tracks. With Norman Harris playing a bigger part than he had on Hold Your Horses, plus the Philly songwriting and production team of T.G. Conway, Alan Felder and Cary “Hippy” Gilbert penning and producing two tracks it’s no wonder Breakaway was a much better album. Such a multi-talented combination of songwriter, producers, arrangers and musicians were joined by some new faces. These were Melvin and Mervin Steals and McKinley Jackson. Their contributions played their part in making First Choice’s best album since Delusions. Sadly, by the time Breakaway was released, First Choice had left Salsoul. As a result, Breakaway was neither promoted like it deserved to be, nor did it receive the airplay it needed. Listening to Breakaway thirty-two years later, it’s a shame that it didn’t receive the promotion and airplay it needed and deserved. Given it was such a return to form from First Choice, it could’ve been a much bigger commercial success if it had received the promotion and airplay it needed and so richly deserved. That wasn’t to be and since then, First Choice’s Breakaway has remained a hidden gem, that’s awaiting discovery.
Worse was to come when First Choice had left Salsoul. Having made a clean break from Salsoul and manager Stan Watson, they became embroiled in a dispute with Stan Watson over who owned the name. Stan believed he owned the name, while First Choice believed they owned the name. Annette and Rochelle were ready to fight this all the way. Then after Salsoul released Let No Man Put Asunder as a single, Rochelle decided that was it. She decided that it was time for First Choice to call it a day. Their lives were changing, with Rochelle and Annette having recently married. So after releasing six albums, between 1973 and 1980, First Choice’s final album was Breakaway, an album which saw them return to their Philly roots, reunite with their mentor Norman Harris and release an album that’s a true hidden gem, awaiting discovery and one that’s I’d throughly recommend. Standout Tracks: I’m The One, Breakaway, Pressure Point and House For Sale.
FIRST CHOICE-BREAKAWAY.
SADAR BAHAR PRESENTS SOUL IN THE HOLE.
SADAR BAHAR PRESENTS SOUL IN THE HOLE.
Sometimes, record labels go through something of hot spells, where they release one great album after another. This has certainly been the case for BBE Music in 2012. It’s been one winner after another. BBE Music started 2012 with a bang, releasing Al Kent’s five disc disco Magnus Opus The Best of Disco Demands, with Johnny D Presents Disco Jamms following hard on its heels, then Boddhi Satva’s Invocation and Invocation Instrumentals, Mathias Stubo’s Mathias Stubo and more recently, Private Wax, You Know How We Dew and DJ Vadim’s Don’t Be Scared. Soon to join this list of illustrious releases will be Sadar Bahar Presents Soul In The Hole, which BBE Music will release on 12th November 2012. Sadar Bahar Presents Soul In The Hole was compiled by giants of DJ-ing and Sadar Bahar and Lee Collins. Both Sadar and Lee have what can only be described as having impeccable taste when it comes to music. The thirteen tracks on Sadar Bahar Presents Soul In The Hole are a lovingly compiled collection of soul, funk, disco and boogie, which I’ll tell you about, after I’ve told you about Sadar Bahar and Lee Collins.
Sadar Bahar was born in the late sixties, in Newark, New Jersey and as a child, his family moved to the Windy City of Chicago. His interest in DJ-ing started at an early age when his mother bought him a set of Technics turntables. Soon, he knew that he’d earn a living as a DJ. He knew that music was what he loved playing and making. Later, he started hanging around with an older group, who played what Sadar describes as old school house music. This sparked Sadar interest and would influence his style of music. Ironically, later, when Sadar started playing around Chicago’s clubs, the same people thought his music was “too deep.”
By the early eighties, Sadar was a stalwart of Chicago’s club scene, spinning house, deep house and disco. Back then, there were many other DJs playing similar music. However, Sadar decided to go down a different route and have what would now be described as a USP. Sadar started to play rare records, something that made him stand out from other DJs. Quickly, Sadar established a reputation as a someone who was a serious collector of deep house music. This seemed to inspire Sadar to become the King of Chicago’s crate diggers and he spent all his time seeking out rare deep house records.While Sadar sought out those elusive cuts of vinyl, the music changed. DJs spun only what Sadar describes as “beat tracks.” Still these tracks were described as house music. So Sadar’s search for original house music continued and with his friends he helped launch a new scene.
The new scene was called Soul In The Hole, and saw Sadar and his friends seek out the choicest, deepest cuts. Discovering there was this huge supply of rare music that lay undiscovered, this search for the vinyl holy grail continued and nearly took over their lives. It paid off, as soon, Sadar and his friends had an inenviable and totally unique collection of music. Avoiding techno and electronics, and staying true to their principles of only spinning vinyl on the wheels of steel paid off. It allowed Sadar to become a globe-trotting DJ, spinning his own unique sounds worldwide. Still, Sadar Badar is known as Chicago’s best kept secret, but hopefully not for much longer. One of Sadar’s closest friends helped him compile Sadar Bahar Presents Soul In The Hole, Lee Collins.
Like Sadar, Lee Collins is something of a veteran of Chicago’s music scene, learning his DJ-ing trade under the wings of legends like Frankie Knuckles, Farley Keith, Robert Owens, Andre Hatchett and Ron Hardy. Quickly, Lee developed his own unique style, which has been described as a progressive funky, soul sound. Lee started a college radio show Disco Madness on WHPK in Chicago in 1983. It was named after an album which featured his favorite song, First Choice’s Let No Man Put Asunder. After this, Lee Collins would go on to DJ at two some of Chicago’s biggest clubs.
In 1986, Lee was asked to play at Chicago’s legendary clubs the Music Box by owner Robert Williams. The night was called Disco Madness and Lee played a number of nights. Three years later in 1989, Lee became a guest DJ at Chicago club Bad Boys. Soon he was asked to be the resident DJ and played twelve hour sets from 10pm to 10am. This lasted for a year, until the club closed. A year later, Lee would collaborate on his first production.
1991 saw Lee and Anthony Nicholson, a long-time friend team up to produce their first single Thill Me, which they released as Rhythm Section. It was after that Lee and Sadar Bahar decided to form their own production company Soul In The Hole. SInce then, Lee and Sadar have worked on numerous reedits, remixes and their own original production. Like Sadar, Lee Collins has since then, DJ-ed worldwide, playing everywhere from Japan to Germany and everywhere in between. Somehow, two of the hardest working and most far-travelled DJs have found time to compile Sadar Bahar Presents Soul In The Hole and I’ll now pick some of its many highlights and hidden gems.
Opening Sadar Bahar Presents Soul In The Hole is Johnny Harris’ Odyssey, which was released in1980 on the Sunshine Sound Disco label. Guitars riff as the rhythm section produce a pulsating beat as the arrangement fuses elements of disco, boogie and funk. A pounding bass and guitars play crucial parts in the track, as handclaps and dramatic washes of synths drive this hidden gem along. Sometimes guitars and synths give the track a rocky sound, as this glorious fusion of music styles unfolds. This combination of driving, dance dance-floor friendly music gets Sadar Bahar Presents Soul In The Hole to a storming start and are the perfect opening track, leaving you hungrily wanting more.
Poetiquette’s Soul Melody (Yam Who Remix) is the track that drew me to Sadar Bahar Presents Soul In The Hole. This is a track from Poetiquette’s Lyrically Speaking Part 1 album, released on Artizan Music in 2008. It’s one of the newer tracks on the compilation. Pounding drums and washes of space-age synths combine before the track reveals its secrets. A sample enters lamenting the state of “modern day America.” Think Dennis Leary meets Timothy Leary with a touch of Hunter Thompson and that’s the sample. Soon stabs of pads and thunderous drums combine deep house with a twist Nu-Jazz keyboards. Then when the heartfelt female vocal things get even better as a hugely dance-floor friendly house track unfolds. Just synths, thunderous drums and a sprinkling of Latin percussion is all it takes. The result is a hugely melodic track, with hooks aplenty that’s quite simply one of the real highlights of Bahar Presents Soul In The Hole.
It doesn’t take more than a couple of bars to realize just how good Moses’ Striving For Tomorrow is. This is one of these tracks that you wonder has been all your life. Wah-wah guitars, a Hammond and the rhythm section combine to create the funkiest of introductions. Soon, the lushest of strings and then woodwind enter. They’re joined by an impassioned vocal, with tight, heartfelt harmonies accompanying it. The funky rhythm section is ever-present, while the strings sweep in and out and the Hammond organ helps adds to the funk factor. One minute the track sounds as if it belongs on a seventies Blaxploitation soundtrack, the next is hugely soulful and then later, a jazzy piano joins the fray. While funky and soulful are two words to describe this track, two others are outstanding and brilliant.
Sabar and Lee must have dug deep to discover a copy of Sparkles’ Trying To Get Over It and for that, we should be eternally grateful. Think a combination of a vocal and harmonies from an early seventies soul record, add some synths and lush strings and you’re getting the idea. Truly, it’s a five minute hidden gem. Stabs of keyboards and a dramatic, pulsating, funky beat are accompanied by eighties synths before an impassioned, soulful vocal enters. It’s accompanied by tight, elegant sweeping harmonies, while the dramatic rhythm section is omnipresent. It’s just one of those songs that’s irresistible. Believe me, you can’t help but succumb to its soulful, funky charms.
Saxophonist Carl Grubbs has a good pedigree, his brother is Earl Grubbs and he’s a cousin of Naima Coltrane, the first wife of jazz titan John Coltrane. He released a series of albums, starting with his debut album Neptune, released on Cobblestone. Scorcher is a fitting description of a track where Carl and his band fuse funk, jazz and Latin percussion, with synths adding a contemporary twist. Blazing horns, percussion and chiming guitars are joined by a bank of synths, while a driving rhythm section create a disco beat. Stabs of horns, a myriad of percussion and handclaps plus synths that add to the musical drama. It’s a compelling fusion, that results in a slice of dramatic dance music. Think jazz and funk with a pulsating disco beat and you’re halfway there. So good and so compelling is this track that must be heard and experienced at least once. After that, you’ll be glad Sadar and Lee introduced you to its delights.
One track I was really pleased to find on Bahar Presents Soul In The Hole was Sonny Still featuring Eddie Russ’ Tornado. Tornado was the title-track to Sonny’s album on Jazz Masters. It’s a real slow burner of a track, with a really understated sound that gradually, begins to reveal its hidden depths. Just drums take centre-stage before bursts of pounding bass are joined by drums and an uber funky combination of wah-wah guitar and Hammond organ. Adding a contrast is a flute as a near nine-minute fusion of funky and jazzy music unfolds. When Sonny’s saxophone enters, his playing is thoughtful and spacious, before unleashing a blazing solo. Soon, Sonny’s band kick loose. Not to be outdone, Eddie Russ lays down a peerless Hammond organ solo and each of the band somehow, seem to raise their game. Together with his band, Sonny fuses funk and jazz seamlessly, while showing just why he was one of the legends of US jazz.
Closing Bahar Presents Soul In The Hole is Frederic Mercier’s Spirit, that was released as a twelve-inch single in 2009, on Mellophonia. However, Frederic was been releasing albums since his 1978 debut Pacific. Since then, he’s gained a reputation as something of an innovator and pioneer. This is obvious here, where he uses his synths to create a dramatic musical soundscape. He combines banks of synths with pounding drums to create a track that unfolds in dramatic waves. Drums provide the track’s pulsating heartbeat, while unleashing stabs and washes of synths. They’re responsible for the mainstay of the arrangement which is best described as a dramatic, innovative dance-floor friendly soundscape.
The seven tracks from Sadar Bahar Presents Soul In The Hole that I’ve mentioned are just a taster of the treats in-store for the discerning listener who wisely decides to invest in this lovingly compiled compilation. However, there’s much, much more in-store, including tracks like Calender’s Comin’ On Strong, Seawind’s Free, Puzzle People’s French Fried Boogie and Chuck Higgins and The Wild Bunch’s Funkyfied. Many of the tracks on Sadar Bahar Presents Soul In The Hole will be new to many people. For me, that’s part of the enjoyment of compilations, especially compilations as good as this. They allow you discover hidden gems and meet old favorites. Some of the tracks I was really pleased to find on Sadar Bahar Presents Soul In The Hole were Johnny Harris’ Odyssey, Poetiquette’s Soul Melody (Yam Who Remix), Moses’ Striving For Tomorrow and Sparkles’ Trying To Get Over It. Truly, there isn’t a bad track on Sadar Bahar Presents Soul In The Hole, with the thirteen tracks featuring everything from funk to soul, and disco to bogie. Instead, each of the thirteen tracks are a winner. That’s to the credit of Sadar Bahar and Lee Collins, who compiled Sadar Bahar Presents Soul In The Hole. This means that BBE Music will continue their run unrivaled run of releasing some of the best compilations of 2012, when Sadar Bahar Presents Soul In The Hole is released on 12th November 2012. Standout Tracks: tracks I was really pleased to find on Sadar Bahar Presents Soul In The Hole were Johnny Harris’ Odyssey, Poetiquette’s Soul Melody (Yam Who Remix), Moses’ Striving For Tomorrow and Sparkles’ Trying To Get Over It.
SADAR BAHAR PRESENTS SOUL IN THE HOLE.
THE SALSOUL ORCHESTRA-STREET SENSE.
THE SALSOUL ORCHESTRA-STREET SENSE.
Recently, I’ve been documenting the Salsoul Records rise to becoming disco’s premier label and the changes the label went through after 1978. Indeed, 1978 was a landmark year for Salsoul.Vince Montana Jr, the man who created, conducted, arranged and produced many of The Salsoul Orchestra albums between their 1975 debut The Salsoul Orchestra and 1978s Up The Yellow Brick Road. When Vince left Salsoul, after a dispute with the Cayres over royalties, it left a huge gap to be filled. The Cayres then brought in DJs not just to remix individual tracks, but whole albums. This included Tom Moulton, who produced The Salsoul Orchestra’s 1979 album Street Sense. While 1978 proved to be a landmark year for Salsoul, 1979 proved a tumultuous year for Gold Mind Records, a subsidiary of Salsoul run by Norman Harris. Gold Mind was facing financial ruin, and would eventually become part of Salsoul. Another event would prove not only disastrous for Salsoul, but many other record labels and artists. That event was the Disco Demolition Night, organized by the zealots of the Disco Sucks movement. It took place on 12th July 1979, at Comiskey Park, Chicago, where thousands of disco records were blown up, nearly taking with it the stadium and the good ole boys who packed the stadium. Tragically, that night in Chicago disco almost died. Thankfully, that never happened. Instead disco evolved and went underground. Unlike other labels, Salsoul survived and lived through the turmoil. For The Salsoul Orchestra, they’d only release two more albums after Street Sense, Christmas Jollies II and Heat It Up. In many ways, Street Sense was The Salsoul Orchestra’s last great album, as you’ll realise when I tell you about it.
Like previous Salsoul Orchestra albums, Street Sense was a combination of cover versions and new tracks. Cover versions included Zambesi written by Donny Hathaway, Grace Slick’s Somebody To Love and the Richard Evans’ penned Burning Spear. Tom Moulton and Thor Baldursson cowrote the title-track Street Sense and 212 North Street. Bebu Silvetti and Miguel Tottis contributed Sun After the Rain. These six tracks would be recorded at Sigma Sound Studios with Tom Moulton producing and mixing Street Sense.
For the recording of Street Sense at Sigma Sound Studios, it was a much more slimmed down Salsoul Orchestra that gathered. Most of the original and classic lineup don’t appear on Street Sense. It’s a far cry from 1975, when The Salsoul Orchestra recorded their eponymous debut album. The legends were gone. Norman Harris, Ron Baker, Bobby “Electronic” Eli, The Sweethearts Of Sigma and Vince Montana Jr. The only legends left are Earl Young and Larry Washington.
At Sigma Sound Studios, only drummers Earl Young and Keith Benson, bassist Jimmy Williams conga players Larry Washington, James Walker and Don Renaldo’s strings on horns had been members of the original Salsoul Orchestra. They were joined by guitarist Craig Snyder, Thor Love and the Richard Evans’ penned Burning Spear. Tom Moulton and Thor Baldursson on keyboards and synths and Shanga on congas. Even the Sweethearts of Sigma were absent and were replaced by Soulful Nature, Jon Alton, Ernestine Billingsley and Selinda Watkins. Truly, the times they were a changing and The Salsoul Orchestra was very different from its early, glory days. Would this change in lineup of The Salsoul Orchestra affect Street Sense’s commercial success?
On the release of Street Sense in 1979, the album failed to chart. When the title-track Street Sense was released as a single, it only reached number forty in the US Dance Music/Club Play Singles Charts. This was a long way from The Salsoul Orchestra’s early days, when their debut album The Salsoul Orchestra had sold sufficient copies to be certified gold. Sadly, back in 1975, Salsoul weren’t members of the RIAA and didn’t receive their gold disc. By the time Street Sense was released in 1979, it was a very different Salsoul Records, Salsoul Orchestra and indeed, musical landscape. However, what did the music on Street Sense sound like? That’s what I’ll now tell you.
Opening Street Sense is the exotic sounding Zambesi written by Donny Hathaway. The rhythm section powered by Earl Young’s drums combine with guitars and keyboards to dramatically open the track. A sinister sounding vocal sings “Zambesi” and that seems the signal for The Salsoul Orchestra to kick loose. Soon, Don Renaldo’s strings sweep and swirl, while his horns blaze and growl. They combine with the rhythm section to create The Salsoul Orchestra’s famous disco sound. By now it’s business as usual, although sometimes, the keyboards and the rhythm section take the arrangement in the direction of jazz. Punchy horns give the track a funky influence, while the introduction of synths, keyboards and bursts of hollered vocals see the jazzy sound return, Still the Don’s dancing strings create the track’s irresistible disco sound as the rest of The Salsoul Orchestra fuse jazz, funk and their usual disco sound. Although Salsoul and The Salsoul Orchestra were changing, this slimmed down, leaner lineup of The Salsoul Orchestra still create a track that irresistibly catchy, as Salsoul’s music begins to evolve.
Burning Spear was penned by Richard Evans, who had was one of the main songwriters at Cadet Records, a subsidiary of Chess Records and home to Rotary Connection, Marlena Shaw and Terry Callier. When the track opens, a pounding funky rhythm section is responsible for the track’s funky, pulsating heartbeat. Jimmy Williams bass helps power the track along, while Thor’s synths add a new and different dimension to the arrangement. The synths mark a departure from the classic sound. At least the strings are present. Later, a sultry, blazing saxophone solo from Michael Pedicine takes centre stage. After that the rhythm section combine funk and disco, while the horns add a jazzy sound. Larry Washington adds the famous Salsoul percussive sound and Don Renaldo’s strings dance with joy. Although quite different from previous albums, with its introduction of a jazzy twist and synths, one thing doesn’t change, and that’s this a track that’s The Salsoul Orchestra’s dance-floor friendly sound.
By 1979, Grace Slick who wrote Somebody To Love, had been lead singer with three groups, The Great Society, Jefferson Airplane and Jefferson Starship. She was also a talented songwriter. WIth Earl Young’s thunderous drums powering the arrangement along, the track reveals a funky, pulsating Euro Disco beat. The rest of The Salsoul Orchestra fuse funk, jazz and this Euro disco sound. Strings cascade, horns rasp and Soulful Nature add their tight, soulful harmonies. Although they’re crucial to the track’s sound and success, they’re nowhere near as good as The Sweethearts Of Sigma. So too are Don Renaldo’s swirling strings and rasping, plus Earl Young’s drums that provide the track’s heartbeat. A myriad of Latin percussion, rasping horns and Thor’s synths combine during a dramatic breakdown. Then the track gradually rebuild and the track reveals the rest of its secrets. For the first time on Street Sense there’s a real Euro Disco influence and this is no bad thing. Quite the opposite. It plays a part on the track’s joyous, uplifting sound.
Tom Moulton and Thor Baldursson cowrote two tracks on Street Sense. The title-track Street Sense the first of these. Again there’s a real Euro Disco influence and it’s much more obvious than the previous track. This is no surprise, given Thor was a Munich based producers, whose music had obviously been influenced by Giorgio Moroder. As Street Sense opens, there’s a brief similarity with Resorts International. Another similarity is the way the introduction is arranged. It’s similar to other tracks and is somewhat formulaic. Earl Young’s drums and Jimmy Williams bass power the arrangement along, providing the track’s pounding, disco heartbeat, while strings dance joyously and horns rasp and growl. Soulful Nature’s heartfelt harmonies sweep in and out, replaced by dramatic bursts of blazing horns. Later, during a breakdown, the arrangement is stripped way back. Just percussion and synths take centre-stage, while flourishes of strings and brief bursts of horns sit in the background. When the track rebuilds, Soulful Nature’s sassy harmonies are accompanied by a dramatic arrangement as one of the highlights of Street Sense draws to a close. So good is this track, that it’s no wonder it was a classic at New York’s legendary Loft nightclub.
Tom Moulton and Thor Baldursson cowrote two tracks on Street Sense. The title-track Street Sense the first of these. Again there’s a real Euro Disco influence and it’s much more obvious than the previous track. This is no surprise, given Thor was a Munich based producers, whose music had obviously been influenced by Giorgio Moroder. As Street Sense opens, there’s a brief similarity with Resorts International. Another similarity is the way the introduction is arranged. It’s similar to other tracks and is somewhat formulaic. Earl Young’s drums and Jimmy Williams bass power the arrangement along, providing the track’s pounding, disco heartbeat, while strings dance joyously and horns rasp and growl. Soulful Nature’s heartfelt harmonies sweep in and out, replaced by dramatic bursts of blazing horns. Later, during a breakdown, the arrangement is stripped way back. Just percussion and synths take centre-stage, while flourishes of strings and brief bursts of horns sit in the background. When the track rebuilds, Soulful Nature’s sassy harmonies are accompanied by a dramatic arrangement. This track would become a favourite at New York’s legendary Loft nightclub.
212 North 12th is the second Tom Moulton and Thor Baldursson penned tracks. Keyboards give way the familiar combination of a pulsating disco beat created by Earl Young’s drums and Jimmy Williams bass. Stabs of keyboards join the mix, before Don Renaldo’s of strings and horns play important roles in the arrangement. Strings sweep and swirl, while horns blaze. Bursts of punchy horns and percussion add drama as the the funky rhythm section provide a relentless, pulsating disco beat. By now one of the most dance-floor friendly tracks unfolds. Again, a breakdown is used to good effect, before searing, guitars, percussion and blazing horns all play their in this multilayered fusion of disco, jazz and funk.
Bebu Silvetti who cowrote Sun After the Rain with Miguel Tottis is best known for his Salsoul classic Spring Rain. This is a quite different track, one that features a more understated arrangement. Percussion, sound effects, bursts of chiming guitars and keyboards are joined by lushest of strings as a very beautiful track unfolds. Elegant is a good description of it. Tender, impassioned harmonies from Soulful Nature are enveloped by the lush strings, as the rhythm section provide a much more subtle heartbeat. Later, the arrangement grows, with swathes of strings and bursts of rasping horns proving the perfect accompaniment to Soulful Nature’s beautiful, tender harmonies. Of the six tracks on Street Sense this is very different from the other tracks. Unlike the other tracks, the arrangement doesn’t have the almost formulaic arrangement. Good as these tracks are, this is much better. Not only does it offer variety, but is imaginative and innovative, as you’d expect from an album baring the Salsoul label.
By the time The Salsoul Orchestra released Street Sense in 1979, it was a very different lineup from their debut album The Salsoul Orchestra. Most of the legends were gone, with just Earl Young, Larry Washington and Don Renaldo left. Despite this, the slimmed down lineup managed to create the impressive sound as earlier albums. Street Sense doesn’t sound like a smaller band, but does find a very different band. Without Vince Montana Jr,The Salsoul Orchestra weren’t the same. They’d released their best music with Vince at the helm. He was The Salsoul Orchestra’s founder and driving force. Vince was a musical visionary, who wrote, arranged, produced and played on The Salsoul Orchestra’s albums. With some of Philly’s greatest musicians at his side, The Salsoul Orchestra were disco’s premier orchestra. Between heir 1975 eponymous album and 1978s Up The Yellow Brick Road they could no wrong. The albums released between 1975 and 1978 includes the best music The Salsoul Orchestra released. Street Sense falls short of the standard set by Vince Montana Jr.
After his departure Tom Moulton produced Street Sense. He took a very different approach. The drums played a bigger part, they were louder, faster and had a similar sound on five of the tracks. He seemed to be concentrating on creating a sound that was dance-floor and DJ friendly. Another change was the use of synths.
Unlike other albums released at this time, the synths, which I’m not a huge fan of, worked..just. The style of music straddled musical genres. with the usual disco sound joined by a jazz funk, Euro Disco and Philly Soul. At least Tom Moulton didn’t desert Salsoul Orchestra disco sound. However, by 1979 disco was no longer as popular and Salsoul would have to adapt or die.
Although Salsoul managed to do so, other labels weren’t as fortunate. While others struggled, Salsoul Records style and sound changed. The company was transformed. New personnel, producers and musicians joined Salsoul. After Street Sense, The Salsoul Orchestra’s sound evolved. Sadly, what was the end of an era wasn’t marked by the release of a classic album. It’s a decent album. Good, but not great describes Street Sense. It’s far from a classic and doesn’t match the quality of their debut album The Salsoul Orchestra, Nice ‘N ‘ Nasty, Up the Yellow Brick Road or indeed The Salsoul Strings’ How Deep Is Your Love. By the next time The Salsoul Orchestra would enter a recording studio, disco would’ve nearly died and music was evolving. Street Sense was the last disco album The Salsoul Orchestra released, before boogie replaced disco as the favourite of discerning DJs and dancers. Standout Tracks: Zambesi, Burning Spear, Street Sense and Sun After the Rain.
Standout Tracks: Zambesi, Burning Spear, Street Sense and Sun After the Rain.
THE SALSOUL ORCHESTRA-STREET SENSE.
NEWBAN-NEWBAN AND NEWBAN 2.
NEWBAN-NEWBAN AND NEWBAN 2.
After deciding to form a new band, sometimes one of the most difficult decisions its members make is choosing a name. After all, it has to be something original and catchy. For Albert “Duke” Jones Jr, and Peter Carroll Jr, they had what can only be best describes as one of those “eureka” moments. What better name for a new band was Newban, after all it described perfectly what they were, a “a new band.” Newban were founded by Albert “Duke” Jones Jr, and Peter Carroll Jr, while still high students in Greenburgh, New York and went on to release two albums, Newban and Newban 2. Sadly, by the time Newban and Newban 2 were released which were released by Guinness Records in 1977 Newban was no more. By then, most of Newban left the group and formed a new group Atlantic Starr, who released a string of commercially successful and critically acclaimed albums during the eighties. Since then, Newban and Newban 2 have been unavailable on CD. Thankfully, that will soon change, when on 19th October 2012, BBE Music will release Newban and Newban 2, plus previously unreleased tracks. This includes four remixes of Thunder The Sky by legendary DJ and remixer John Morales. Before I tell you about the music on Newban and Newban 2, I’ll tell you about Newban and how Albert “Duke” Jones Jr, found himself with two albums to release and no band.
Albert “Duke” Jones Jr, and Peter Carroll Jr were still high school students in Greenburgh, New York when they decided to form their own band Newban. They were joined by some of their high school classmates including Clifford Archer, Sharon Bryant, Keith Johnson, Jonathan Lewis, Mark Malksy, Mark Silfstein, Sheldon Tucker and Joey Phillips, flautist and percussionist. With Newban’s lineup established, they started writing their own songs as a group. Newban were influenced by groups who fused musical genres, including Sly and The Family Stone, The Chambers Brothers and Ballin’ Jack Santana Santana and The Flock. Quickly, Newban established a reputation as one of the hottest live acts, relentlessly touring the New York-Connecticut-New Jersey tristate area, playing a fusion of funk and R&B at venues that included Filmore East and Electric Circus.
The next logical step was recording an album, or in Newban’s case, two albums. Duke Jones was friendly with John Shearer, a photographer for Life magazine. John’s neighbor just happened to be the legendary sound-engineer Malcolm Addey. With Malcolm liking Newban’s music, Newban spent two months recording at the famous Bell Sound Recording Studios. These sessions yielded not one, but two albums, Newban and Newban 2. Sadly, before the two Newban albums were released by Guinness Records in 1977 Newban were no more, but a legendary band had been born and Duke wasn’t part of it.
Newban had been invited to perform at Atlantic Records’ twentieth anniversary party for The Spinners. So, Newban having just recorded two albums headed to Los Angeles, their destination the Beverley Hills Hotel. What should’ve been an opportunity for Newban to showcase their combined talents resulted in one of the cofounders ultimately left without a group. Peter Carroll Jr, and most of the band were offered a deal with A&M Records and Atlantic Starr were born. This meant not only was Albert “Duke” Jones not a member of the new band Atlantic Starr, but had two unreleased albums and no band.
With the newly formed Atlantic Starr staying in Los Angeles to work on the club circuit, Albert “Duke” Jones headed back to New York. He was heading back to manage Newban, a band that had lost most of its members. However what he had was two albums, Newban and Newban 2. Malcolm Addey started shopping the two Newban albums. Eventually, Malcolm discovered Guinness Records who agreed to release Newban and Newban 2 in 1977. Unfortunately for Malcolm Addey and Albert “Duke” Jones, Newban’s luck wasn’t about going to change.
Guinness Records released Newban and Newban 2 in 1977, but despite the quality of music and both albums becoming popular in clubs, the albums weren’t a commercial success. However, Albert “Duke” Jones believes that Newban got something of a raw deal. Back in the seventies, many record labels Albert says “intentionally undersold and under-promoted albums for tax write-offs to keep parent imprints in the black.” Essentially, this meant that the record companies established a paper loss, which could be set-against the profits made by other companies within a group of companies. It seemed that Newban’s luck wasn’t going to change. Newban was all but over, so Albert continued his musical career, but still, at the back of his mind, he still thought about Newban and what might have been.
After Newban, Albert continued to work as a musician. He regularly worked with Norman Connors, Pharoah Sanders, Kid Creole and The Coconuts and many others. Albert also continued to record and tour with Atlantic Starr. However, always at the back of his mind was Newban, the group he still believed in. So recently, Albert called Malcolm Addey, who thirty-five years later, still believed in Newban. The master-tapes for Newban and Newban were still stored in Malcolm’s house in Riverside Drive, Manhattan. They were just as good as the day they were recorded.
Like a true gentleman, Malcolm agreed to release the master-tapes for only a nominal charge. That’s where BBE Music come in. Thirty-five years after the original release of Newban and Newban 2, BBE Music have lovingly compiled this compilation of Newban’s two albums, plus previously unreleased bonus tracks. Hopefully, thirty-five years on, Newban and Newban 2 will find a much wider audience, an audience that will appreciate this innovative fusion of musical genres. For anyone yet to discover Newban’s music, I’ll tell you about some of the many highlights of Newban and Newban 2.
Opening Newban is Father Time which introduces Newban at their funkiest. Just the drums and Hammond organ give way to Newban’s rhythm and horn section in full flight. It’s a hugely impressive sound, with the rhythm section driving the arrangement along at breakneck speed while stabs of blazing horns, wah-wah guitars, percussion and keyboards combine funk and jazz seamlessly. Later, keyboards and percussion play a bigger part, but still the twin powerhouses of the rhythm and horn sections are at the heart of the action. Each play their part in this dramatic, funk-fueled track that gets Newban off to a glorious start. Considering Newban were a relatively new band, this makes this even more remarkable.
Central Park sees a quite different side of Newban’s music. It’s a piano lead track where dramatic bursts of horns give way to an impassioned vocal from Sharon Bryant. Her vocal is a mixture of power and raw emotion, as keyboards and growling horns provide a dramatic backdrop for her vocal. As her vocal drops out, an equally heartfelt male lead vocal takes over. Still, the backdrop is a combination of power and drama. Then it’s all change, when Newban embark on a jazzy romp as the horns, keyboards and rhythm section show their considerable talents and versatility.When the vocals rejoins, the emotion, drama and beauty increases as one of the most beautiful and emotive tracks on Newban reveals the rest of jazzy secrets.
Not only is Fatback Sally one of the funkiest tracks on Newban, but it’s also one of the most joyous and catchy. Truly, this is a slice of good time funk. With Newban’s rhythm section providing the arrangement’s funk-laden heartbeat, a punchy, joyful vocal is accompanied by handclaps, bursts of braying horn and chiming guitars. Later, as the tempo drops slightly, the track briefly reveals its soulful side. This gives you a brief glimpse of a very different side to Newban’s music. Mostly, it’s just an irresistibly catchy, slab of good-time funky music, that for far too long, thirty-five years to be precise has remained a well-kept secret.
Closing Newban is Home With You, which sees real change in direction. It’s a a mellow, wistful and very beautiful fusion of jazz and soul. Just an understated combination of guitars and rhythm section accompany a heartfelt vocal. Soon, one of the most beautiful songs Newban recorded unfolds. The subtle arrangement quite rightly allows the vocal to take centre-stage. This means you focus on some of the best lyrics on Newban. Later, when the vocal drops out, a stunning jazzy guitar solo takes over, before a rasping horn adds to the emotion and beauty of the track. As if things can’t get any better, the vocal returns, to bring this gorgeous track and indeed Newban to a close.
Whereas most bands record one album at a time, Newban recorded two at once. Interestingly, Newban 2 is quite different to Newban. Still Newban are the same tight, talented band, but the music heads more in the direction of jazz. Greenburgh, which opens Newban 2 is a fusion of funk, soul and jazz. It’s a flute lead track, with the rhythm section and percussion combining before the vocal enters. The vocal is delivered in a style that’s a mixture of soul and jazz, reminiscent of Gil Scott Heron, Andy Bey, Jon Lucien and Terry Callier. Bursts of blazing horns punctuate the arrangement, while the rhythm section, guitars and percussion provide the track’s funky heartbeat. Although very different from much of Newban, this delicious fusion of funk, soul and jazz, showed Newban’s music changing and even though it was recorded at the same time as Newban, maturing.
Rhythm and Rhyme is another track that shows how Newban’s music was changing. It has a real laid back, melancholy sound and is something of a slow-burner. Just a gentle backdrop of the rhythm section and guitars accompany the tender, heartfelt vocal. This is a beautiful combination, one that gets even better when the braying horns enter. As an impassioned trumpet solo is unleashed, you just melt into the song’s, jazz-tinged beauty. Soon the arrangement heads further in the direction of jazz as Newban’s horn and rhythm section take centre-stage. Together they play their part what’s quite simply, one of the most beautiful, jazzy tracks on Newban.
If I Could (Make You Mine) is another track on Newban 2 where there are similarities with Jon Lucien’s music. This is even more noticeable here. Sometimes, there are even similarities with Andy Bey. Stabs of punchy horns combine with a pulsating, funky beat supplied by the rhythm section as a warm, emotive and soulful vocal enters. That’s where the similarity with Jon Lucien is most noticeable. Thereafter, funk and jazz melt together, with Newban’s horn and rhythm section uniting. To that they add Latin percussion and later, searing, rocky guitars. When all this is combined with that impassioned, soulful vocal the result is an uplifting, joyous fusion of musical genres, as only Newban can.
Free Your Mind which closes Newban 2 is a spiritual jazz track that could only have been recorded in the seventies. It has that unmistakable sound. There are further similarities with the music of Jon Lucien, Andy Bey and even Gil Scott Heron. When the guitar accompanies the tender, impassioned vocal you realise that something very special is about unfold. Soon, percussion and the rhythm section join as the arrangement begins to reveal its secrets and beauty. Later, Newban’s horn section add blazing horns that could only belong on a seventies jazz album. They drift in and out, adding drama while percussion and guitars add subtle contrasts, and the rest of Newban chant “Free Your Mind.” By then the arrangement is laid-back and mellow, reminiscent of something from the late sixties. Then stabs of growling horns bring the Newban to a dramatic and compelling conclusion, with one of its many highlights.
Earlier, I said I’d tell you about some of the highlights of Newban and Newban 2. That was easier said than done. With two albums as good as this, choosing just eight tracks wasn’t easy. In truth I could just as easily have mentioned any of the tracks. That’s how good the music is and how consistently high the standard and quality of music on Newban and Newban are. Interestingly, even though Newban and Newban 2 were recorded at the same time, they’re very different albums. Newban features a funkier style of music, while Newban 2 sees Newban’s music mature, and gravitate towards jazz. Granted this jazz influence is apparent on Newban, but becomes more apparent on Newban 2. Whether its Newban playing funk or jazz the quality of music is always high. Several times I’ve compared the vocals on Newban 2 to Jon Lucien, Andy Bey and Gil Scott Heron. Ironically, much like Newban, they never enjoyed the success that their talent deserved. However, I’m sure that if like Newban, and Lady Luck or fate hadn’t transpired against them, each of these artists would’ve enjoyed the success their talent warranted. So it’s no wonder that during the past thirty-five years Albert “Duke” Jones Jr, has thought long and hard about what might have been with Newban. Having recorded two albums as good as Newban and Newban 2 he must wish he could turn back the clock. Maybe things would’ve been very different if another record company had signed Newban, especially one who believed in Newban and their music. With the necessary promotion behind Newban and Newban 2, maybe it wouldn’t have been Atlantic Starr releasing the gold and platinum albums. Indeed, if Newban had a recording contract before that night in Los Angeles when Albert lost most of his band, how different things could’ve been. After all, Newban had recorded two albums and with the right label and promotion behind them, could’ve gone on to be a huge success. Sadly that wasn’t to be. Lady Luck and fate transpired against Albert and Newban and Newban 2 had the misfortune to be released by the wrong label. However, now somewhat belatedly Newban have found the right label for their music.
Thankfully, thirty-five years later, Albert “Duke” Jones Jr and Newban have a label that believes in their music and desperately wants it to find a much wider audience. This is BBE Music, who on 29th October 2012, will release this lovingly compiled compilation which features both Newban and Newban 2 on the one disc, complete with bonus tracks. At long last, this will give everyone another chance to discover the twin delights of Newban and Newban 2. I for one hope that thirty-five years after their release, Newban and Newban 2 do reach a wider audience, and that at long last, Newban receive the credit and critical acclaim that their unique fusion of funk, R&B and soul so richly deserves. Standout Tracks: Central Park, Home With You, Rhythm and Rhyme and If I Could (Make You Mine).
NEWBAN-NEWBAN AND NEWBAN 2.
ATLANTIC SOUL LEGENDS: 20 ORIGINAL ALBUMS FROM THE ICONIC ATLANTIC LABEL.
ATLANTIC SOUL LEGENDS: 20 ORIGINAL ALBUMS FROM THE ICONIC ATLANTIC LABEL.
Imagine you were given the chance to compile a box set containing twenty albums from one of the biggest and in their own worlds “iconic” labels. What twenty albums would you choose and what criteria would you use when compiling this box set? Would you focus on choosing just twenty classic albums, or would you dig a little deeper, looking for a couple of hidden gems. For the compilers of Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set, this was a reality. This is the latest offering from Rhino, who will be releasing Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label on 1st October 2012. Now considering that Atlantic have been releasing music since 1947, the compilers were absolutely spoilt for choice. Not only did they have access to all the Atlantic albums, including the Atco subsidiary and Stax’s back-catalogue. These twenty albums cover the period between Ray Charles 1958 album What’d I Say to and Sam Dees’ 1975 album The Show Must Go On. Included in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label are albums by true legends like Ray Charles, Booker T and The MGs, Otis Redding, Percy Sledge, Wilson Pickett, Aretha Franklin and Donny Hathaway. There are also hidden gems from Clarence Wheeler and and The Enforcers, Howard Tate and Sam Dees. What makes Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label even better is the price. For just under £33, €40 or £50 then Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label is one of the bargains of 2012, as you’ll realize when I tell you about this box set.
Of the twenty discs in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label, they cover the seventeen-year period between 1958 and 1975, and include albums from four labels. These are Atlantic, their subsidiary Atco, plus the Stax and Volt labels. Ten of the albums are from the main Atlantic label, three from Atco, while five albums are from Stax and two from Stax’s Volt subsidiary. Interestingly, eleven of the albums that feature in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label are debut albums. This includes albums from Booker T and The MGs, Solomon Burke, Rufus Thomas, Percy Sledge, Sam and Dave, The Barkays, Eddie Floyd, Arthur Conley, William Bell, Donny Hathaway and Clarence Wheeler and The Enforcers. In many cases, these debut albums are among the best albums these artists went on to release.
Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label features ten albums released by the main Atlantic Records label. Only one album is from the fifties, Ray Charles 1958 album What’d I Say. With Ray Charles and The Drifters Atlantic’s two of their biggest acts, the sixties would see music and Atlantic changing, especially with Elvis Presley having entered the building. This would see Atlantic sign and release some of the biggest soul singers in history, and release a string of classic albums. Among them would be albums from Percy Sledge, Wilson Pickett and the Queen of Soul Aretha Franklin.
By the sixties, Atlantic would become one of the biggest soul, jazz and R&B labels. Six of the Atlantic albums in the Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set were released in the sixties, starting with Solomon Burke’s 1963 debut album If You Need Me. This is followed by The Drifters’ 1964 album Under the Boardwalk, and two albums from 1965, Wilson Pickett’s classic album In the Midnight Hour and Don Covay and The Goodtimers’ Mercy. Although there are only two other albums released during the sixties, what albums they are. A year later, in1966, saw the release of Percy Sledge’s debut album, When A Man Loves A Woman. Without a doubt is the finest album, featuring not only the title-track but Pouring Water On A Drowning Man. Probably the best of the sixties Atlantic albums included in Aretha Franklin’s 1968 Magnus Opus Lady Soul. Considering Aretha Franklin released a string of classic albums, choosing just one must have been difficult for the compilers, but they’ve chosen well. As the sixties drew to a close, Atlantic Records and music was changing. The seventies saw Atlantic move from primarily a soul, jazz and R&B label to one releasing albums from rock giants like Led Zepellin. However, Atlantic would still be releasing quality soul music.
With Atlantic no longer just focusing on soul, jazz and R&B only three albums from Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label were released during the seventies. The first of these is Clarence Wheelers and The Enforcers’ hugely underrated and innovative soul jazz debut album Doin’ What We Wanna in 1970. This was a real landmark album with an innovative, funk-laden sound. It was a benchmark album for the direction of seventies funk and is a welcome addition. For me, it’s always been something of a hidden gem. So too is an album released two years later in 1972, Howard Tate’s eponymous album Howard Tate. Many people will know Howard’s Get It While You Can, which was covered Janis Joplin. Sadly, for too long, Howard Tate’s bluesy, soulful music has been a hidden secret among music fans. Hopefully, Howard Tate’s inclusion in this box set will allow more people to discover the Philly born singer’s music. Sam Dees’ The Show Must Go On, released in 1975, is the final album from Atlantic Records. Like Clarence Wheelers and The Enforcers and Howard Tate, Sam Dees is a hugely underrated singer. He’s also a talented songwriter whose songs have been covered by everyone from Loleatta Holloway, Aretha Franklin, Gladys Knight and George Benson. While this trio of albums were the last of the albums from Atlantic Records, there are a quartet of albums from Atlantic subsidiary Atco in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label.
The four Atco in Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label albums were released between 1962 and 1970. This includes albums from four giants of soul music Ben E. King, Solomon Burke, Arthur Conley and Donny Hathaway. Ben E. King’s 1962 album Don’t Play That Song was the first of these albums. Five years later Arthur Conley released his classic debut album Sweet Soul Music. A year later in 1968, Solomon Burke released If You Need Me. For me the best of the four Atco albums is Donny Hathaway’s seminal debut 1970 album Everything Is Everything. These four albums show the changing face of soul music and how, by the dawn on a new era new artists were taking over the mantle from veteran soul stars. Similarly, Atco as a label was changing with Atco releasing rock albums in ever increasing numbers. By the mid-seventies, Stax was about to close its doors, after becoming insolvent. What didn’t help was the termination of Stax’s distribution deal with Atlantic. However, before that, Stax had many classic albums to release.
There are five albums in the Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set that were released on the Stax label. These albums are from the period Atlantic were distributing Stax’s music. Choosing just five Stax albums from what’s the classic period between 1962 and 1967 isn’t easy. Some albums pick themselves, including Booker T and The MGs classic 1962 debut album Green Onions, with its inimitable title-track. A year later in 1963, Rufus Thomas released his debut album Walking the Dog. Again, it’s probably the strongest of the five albums Rufus released for Stax. If Green Onions is a Stax classic and picks itself, so too does Sam and Dave’s 1966 debut album Hold On I’m Comin.’ It gave Sam and Dave a number one in the US R&B Charts, and along with Soul Men, are their two finest albums. Two debut albums from 1967 feature in the box set. These are William Bell’s The Soul of The Bell and Eddie Floyd’s Knock On Wood, whose title-track gave Eddie a US R&B number one single. Both albums are among the best albums William Bell and Eddie Floyd released. Like Atlantic, Stax had a subsidiary label, which featured one of soul’s greatest singers and one of Stax’s funkiest groups.
Otis Redding had released Pain In My Heart in 1964, before he signed to Volt a subsidiary of Stax. Having released The Great Otis Redding Sings Ballads in March 1965. Six months later, Otis released his first seminal album Otis Blue. Featuring Respect, A Change Gonna Come, I’ve Been Loving You Too Long and My Girl, Otis Blue reached number one in US the R&B Charts. Just two years later, in December 1967 Otis Redding died tragically in a plane crash. For many people, this made Stax a less attractive proposition for Atlantic, and a year later, Atlantic terminated its distribution agreement with Stax. After that, Stax struggled with problems with distributors and in 1975 folded, having become insolvent. That however was still to come and in 1967, Stax released The Bar-Kays’ debut album Soul Finger. Quite simply Soul Finger is a delicious stew of soul and funk and the perfect introduction to The Bar-Kays music. The title-track Soul Finger gave The Bar-Kays their biggest hit single, reaching number seventeen in the US Billboard 100 and number three in the US R&B Charts. While these two albums are the only albums from the Volt back-catalogue, they’re two of of Volt’s finest releases and welcome additions to the Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set, which contains music from four of soul music’s iconic labels Atlantic, Atco, Stax and Volt.
Having spent a considerable amount of time listening to Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set, one thing struck me not only how music had changed, but how Atlantic Records had changed. When Ray Charles released What’d I Say in 1958, Atlantic Records was only eleven years old and rock and roll was in its infancy. By the time The Drifters released their 1964 album Under the Boardwalk, music was changing and changing fast. The Beatles and Rolling Stones had changed the musical landscape and Atlantic Records was about to enters its heyday as musical behemoth. Soon, Atlantic would release albums by Percy Sledge, Arthur Conley, Wilson Pickett and Donny Hathway, while singers like Otis Redding and Aretha Franklin. As the sixties drew to a close and Atlantic became a very different label, releasing increasingly more albums by rock artists.
Indeed, by the time Sam Dees released The Show Must Go On, Atlantic Records and music in general had changed beyond recognition. While Atlantic Records were one of the oldest and biggest labels, other labels including Philadelphia International Records, Motown and Hi Records were releasing some of the best, most innovative music of the seventies. Atlantic Records was still releasing quality music, just not the same type of music as ten years earlier. That’s what makes the Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set such a fascinating and compelling collection of music. It demonstrates how soul music changed between 1958-1975. So for anyone with even a passing interest in soul music this is a must have, considering it features albums from some of soul’s biggest names. This includes Ray Charles, Booker T and The MGs, Otis Redding, Percy Sledge, Wilson Pickett, Aretha Franklin and Donny Hathaway. There are also hidden gems from Clarence Wheeler and and The Enforcers, Howard Tate and Sam Dees. Among these twenty albums are classic albums aplenty, including Aretha Franklin’s Lady Soul, Otis Redding’s Otis Blue, Donny Hathaway’s Everything Is Everything and Booker T and The MGs’ Green Onions.
Choosing just twenty albums from Atlantic Records back-catalogue must have presented the compiler with a multitude of challenges. I’m sure that they could’ve just as easily have compiled a box set of fifty albums. Their selection of albums is an interesting and compelling collection of music. While everyone would’ve chosen different albums and will have their favourites, the compilers have chosen wisely. There’s a selection of artists who played an important part in Atlantic’s long and illustrious history. Overall, the only glaring omission is The Detroit Spinners, who surely deserved an inclusion. My only other criticism is that some of the sixties’ albums do sound slightly dated. Apart from that, mostly the Atlantic Soul Legends: 20 Original Albums From the Iconic Atlantic Label box set is just crammed full of some of the best soul music Atlantic Records released during a seventeen year period between 1958-1975 and demonstrates just why Atlantic Records is indeed, such an iconic label.
ATLANTIC SOUL LEGENDS: 20 ORIGINAL ALBUMS FROM THE ICONIC ATLANTIC LABEL.
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MAJOR HARRIS-MY WAY.
MAJOR HARRIS-MY WAY.
For a member of a successful group, it’s always a risk to leave and embark upon a solo career. Often, the success they’ve enjoyed becomes a distant memory. Conversely, the success they’ve enjoyed is often surpassed upon embarking on a solo career. Everyone will have examples when an artists decision to embark upon a solo career either worked or didn’t. By 1974, Major Harris decided to leave The Delfonics and launch a solo career. Things hadn’t quite gone to plan with The Delfonics. Major Harris had joined a group at the peak of their career, having just released their most successful album. The next three years didn’t quite turn out as he’d hoped, so Major Harris left The Delfonics and signed a contract with Atlantic Records as a solo artist. His debut solo album was My Way, released in 1975, which would feature some of Philadelphia’s finest musicians. Would My Way see a change in fortune for Major Harris?
Major Harris had replaced Randy Cain in The Delfonics in 1971. He was joining a successful group, who’d just released their most successful album in 1970, The Delfonics. It had reached number sixty-one in the US Billboard 200 and number four in the US R&B Charts. Soon, changes were afoot in The Delfonics’ camp. Randy Cain left and there would be changes in the producer’s chair.
Thom Bell had been The Delfonics mentor, producing their first three albums and writing many of their songs. Sadly, The Delfonics was Thom’s final album as sole producer. For Major Harris’ Delfonics debut, 1972s Tell Me This Is A Dream, Stan Watson who owned Philly Groove Records, The Delfonics label, would co-produce the album with Thom Bell.On its release it reached just number 123 in the US Billboard 200 and number fifteen in the US R&B Charts. If that was disappointing, worse was to come.
Alive and Kicking was released in 1974, and not only proved to be The Delfonics final album, but their least successful album, reaching number 205 in the US Billboard 200 and number thirty-four in the US R&B Charts. So with The Delfonics’ career on the slide, it’s no wonder Major Harris had decided that the time was right to launch his solo career, with a little help from his Philly friends.
For Major Harris’ debut album, Bobby “Electronic” Eli would produce eight of the nine tracks on My Way, with Ron “Have Mercy” Kersey producing After Loving You. Bobby “Electronic” Eli would also cowrite five of the tracks, three with his songwriting partner Vinnie Barrett and two with Terry Collins. Two other tracks, Each Morning I Wake Up and After Loving You were written by Melvin Steals, under the pseudonym Mystro and Lyric. The other track was a cover of My Way, which closes My Way. These nine tracks were recorded at Philly’s famous Sigma Sound Studios, with a cast of legends accompanying Major Harris.
Accompanying Major Harris were some of Philly’s best musicians, including many of M.F.S.B. who’d go on to become The Salsoul Orchestra. My Way features some of the greatest musicians of the seventies. All the greats played on My Way. The Baker, Harris, Young rhythm section and were joined by bassists Bob Babbitt and Rusty Jackmon, drummer Charles Collins and guitarist Bobby “Electronic” Eli. Ron “Have Mercy” Kersey played keyboards, Vince Montana Jr, vibes, Larry Washington congas Don Renaldo and His Strings and Horns completed this cast of musical titans. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Once the nine tracks that comprise My Way were recorded, the album was set for release in 1975.
Before My Way was released in 1975, Each Morning I Wake Up was released as a single. Although it reached just number ninety-eight in the US Billboard 100, it proved popular in clubs, reaching number three in the US Disco Singles Charts and number fourteen in the US Club Play Charts. When My Way was released in 1975 it was to critical acclaim and huge commercial success. My Way reached number twenty-eight in the US Billboard 200 and number twelve in the US R&B Charts. Then after years and years of trying, Major Harris had the smash hit single he so wanted. Each Morning I Wake Up reached number five in the US Billboard 100 and number one in the US R&B Charts. Not only did this vindicate his decision to leave The Delfonics, but surpassed the success of any of their singles. With the help of his Philly friends, Major Harris had a critically acclaimed and commercially successful album and number one single. However, what made My Way both critically acclaimed and commercially successful?
Opening Major Harris’ debut solo album is the Melvin Steals penned Each Morning I Wake Up. It’s arranged by Norman Harris and produced by Bobby “Electronic” Eli and from the opening bars, there’s only one city this song could’ve been produced in..Philly. The song literally bursts into life with bursts of blazing horns and sweeping, swirling strings combining with the Baker, Harris, Young rhythm section. They power the arrangement along before Major Harris unleashes a powerful vocal full of sadness, regret and drama. Adding to the drama are the Sweethearts of Sigma add tight, soaring soulful harmonies. Meanwhile, the dual guitars of Bobby “Electronic” Eli and Norman Harris provide musical contrasts. Bobby relies more on effects, while Norman’s style is jazzier, but both play important roles. Earl’s thunderous drums provide the track’s emotive heartbeat, while Don Renaldo’s strings and horns add to the overall drama, emotion and beauty of the track and are matched all the way by Major Harris’ Magnus Opus of a vocal. It’s an outstanding track and what a way to open My Way. No wonder this track gave him his first US R&B number one.
Love Won’t Let Me Wait is the first of the Bobby “Electronic” Eli and Vinnie Barrett penned tracks. The tempo drops way down, with the rhythm section, chiming guitars and rasping horns augmented by the lushest of strings. Major Harris is transformed into balladeer, delivering a needy, sensuous vocal, accompanied by cooing harmonies from the Sweethearts of Sigma. Norman Harris’ jazz-tinged guitar, Vince Montana Jr’s vibes and haunting horns play their part in this spacious, beautiful arrangement. They each play a part in the seductive sounding backdrop as Major Harris produces one of the best vocals of his long career. So undeniably sultry and sensual is this bedroom ballad, it should carry a government health warning, that after listening to it, two can become three.
Sweet Tomorrow opens with the unmistakable sound of Norman Harris’ chiming, jazz-tinged guitar before lush strings sweep and swirl, horns growl and Earl Young’s drums signal the arrival of Major Harris’ vocal. His vocal is heartfelt, a mixture of power and passion, while the Sweethearts of Sigma add punchy, but soulful harmonies. Meanwhile Don Renaldo’s strings dance with delight as the Baker, Harris, Young rhythm section drive the arrangement along. Later, horns growl and rasp and harmonies cascade adding to the drama and beauty of this hook-laden track written by Bobby “Electronic” Eli and Vinnie Barrett.
Major Harris’ half-spoken vocal is accompanied by just tender harmonies, plucked strings and keyboards. With emotive strings accompanying his gravelly vocal, Major Harris lays bare his soul as Sideshow unfolds. This is a cover of Blue Magic’s track, which Bobby “Electronic” Eli cowrote with Vinnie Barrett, but given new life and meaning. The arrangement has an understated string-drenched sound, with the rhythm section adding a thoughtful heartbeat and the Sweethearts of Sigma contributing subtle harmonies. While it’s a very different version to Blue Magic’s original, it’s heartachingly beautiful and designed to tug at your heartstrings.
Closing Side One of My Way is Two Wrongs, the second Melvin Steals penned track. Here, Bobby “Electronic” Eli arranges the rhythm and Ron “Have Mercy” Kersey the strings and horns. It’s another uptempo track where horns blaze and strings dance as the rhythm section power the arrangement along. Major Harris vocal is a powerful, throaty vamp accompanied by dramatic harmonies from the Sweethearts of Sigma. Soon, you realize just how joyous, catchy and uplifting the track is. A mass of growling horns, cascading strings and sweeping harmonies are combined as Major Harris makes the song his own, delivering it with confidence and a real swagger. Together with some of Philly’s finest musicians, he plays his part in what’s an inspirational, uplifting and joyous song.
Side Two of My Way Opens with Loving You Is Mellow which teases you for a couple of bars before the track decides to reveal its secrets. Just plucked strings give way to Earl Young’s pounding drums before Major Harris’ swinging vocal enters. Along with his band, a glorious track unfolds. This means lush strings sweeping and swirling, horns rasping and growling, cooing harmonies from the Sweethearts of Sigma and a dramatic bursts from the Baker, Harris, Young rhythm section. Similarly, Major Harris has reserved a stellar performance, where he joyfully gives thanks for the love he’s found. Taken together and the result is a hook-laden, irresistible track.
Just A Thing That I Do is one of the two tracks Bobby “Electronic” Eli cowrote with Terry Collins. They also cowrote Loving You Is Mellow. This is a very different track, slower and featuring an arrangement and vocal laden with emotion. Keyboards, chiming guitars and the rhythm section combine with Major Harris’ heartfelt, impassioned vocal. Swathes of strings and heartfelt harmonies from the Sweethearts of Sigma add to the emotion and the beauty of the track. Here, Major Harris digs deep, bringing out the subtleties and nuances of the lyrics, bringing meaning to them and highlighting their beauty and sadness.
Ron “Have Mercy” Kersey takes charge of the producer’s chair on After Loving You, which he also arranged. It’s another irresistible slice of Philly Soul, with Major Harris unleashing a power vocal full or heartbreak and hurt. The arrangement is an emotive roller-coaster, with dancing strings, growling horn and the Sweethearts of Sigma tight, soulful harmonies. Meanwhile, the Baker, Harris, Young provide the track heartbeat as the arrangement unfolds to reveal a hugely catchy sound. This is perfect for Major Harris’ soul-baring vocal. It seems whatever the emotion, Major Harris can deliver a vocal that’s believable and capable of stirring your emotion. This is one of his best vocals, and one of the best arrangements and productions.
Closing My Way is the title-track, where Major Harris delivers a vocal that’s almost a homage to The Chairman of The Board. He turns the track into a six minute epic, that stays true to Frank Sinatra’s version. With a combination of dramatic drum rolls from Earl Young, blazing horns and lush strings courtesy of Don Renaldo, Major Harris delivers an impassioned vocal. Sweeping, tight and beautiful harmonies from the Sweethearts of Sigma are combined with Vince Montana Jr’s vibes, Ron “Have Mercy” Kersey’s piano and Norman Harris’ thoughtful, jazzy guitar. Throughout the track, the power, drama and emotion builds. All the time the strings, gospel-tinged harmonies, horns and Earl’s drums are crucial to the sound and success. By the end of the song, you’ll be won over by the this masterful reinterpretation of an old classic from Major Harris and his band of Philly legends.
Major Harris decision to leave The Delfonics and launch his solo career was vindicated with a top thirty album and number one US R&B single. After years of struggling in bands, like The Charmers, The Teenagers and The Jarmels, Major Harris thought his luck would change with The Delfonics .While his fortunes did improve slightly during his three years with The Delfonics, he was unfortunate to join them when they’d reached their peak and were on their way down. The hits had dried up and their albums weren’t as successful as their first three. So leaving The Delfonics was something of a no-brainer. By then Major Harris had become almost an honorary Philadelphian, even though he’d been born in Richmond, Virginia. His music was synonymous with the Philly Sound. It was no surprise that the arrangers, producers, musicians and backing singers that helped make My Way such a success were all from Philly. Each of them played their part in making My Way the success it became. From producers Bobby “Electronic” Eli and Ron “Have Mercy” Kersey and arranger Norman Harris, through to the all-star band that featured the Baker, Harris, Young rhythm section, Vince Montana Jr, Larry Washington, Don Renaldo and His Strings and Horns and the Sweethearts of Sigma. Together, they played their part in making Major Harris’ debut solo My Way a true Philly Sound classic. From the opening bars of Each Morning I Wake Up, until the closing notes of My Way, Major Harris produces a spellbinding performance on My Way. So good is each track, that just when you think you’ve heard the best track on My Way, another comes along and trumps it. Unlike most albums, there isn’t a weak track on My Way. Far from it. Each track is capable of provoking an emotion, from sadness to joy, and everything in between. One minute Major Harris tugs at your heartstrings, the next, comes up with a hook-laden and joyous track like Loving You Is Mellow. That’s why for anyone who loves the Philly Sound, then Major Harris’ My Way is an album the deserves to find its way into their collection. Standout Tracks: Each Morning I Wake Up, Love Won’t Let Me Wait, Sweet Tomorrow and Loving You Is Mellow.
MAJOR HARRIS-MY WAY.
LOLEATTA HOLLOWAY-LOLEATTA HOLLOWAY.
LOLEATTA HOLLOWAY-LOLEATTA HOLLOWAY.
When Loleatta Holloway came to record her fifth album, and third for Gold Mind Records Loleatta Holloway, she encountered a very different company. Gone was Norman Harris who’d previously run Gold Mind and who’d been at Loleatta’s side every step of the way, during her Gold Mind career. Norman Harris wasn’t the only change the undisputed Queen of Disco discovered. Indeed, the whole landscape at Salsoul had changed, with musicians, arrangers, songwriters and producers changing. These changes had started a year ago, when Loleatta recorded her previous album Queen of The Night. Vince Montana Jr, had left Salsoul, after a dispute with the Cayres over royalties. He was now a solo artist at Atlantic Records. Now for the recording of Loleatta Holloway, there was no Baker, Harris, Young rhythm section, no Bobby “Electronic” Eli and no Ron “Have Mercy” Kersey. Given how big a part each of these musicians had played in Loleatta’s career, it would only be natural if she was slightly concerned at their absence. After all, all these changes in personnel could affect the success of the album she was about to record, Loleatta Holloway. Would that be the case or would Loleatta Holloway continue to wear the crown of the undisputed Queen of Disco with pride?
For Loleatta’s third album for Gold Mind Records Loleatta Holloway, seven tracks were chosen. On Loleatta’s Gold Mind debut Loleatta, it featured tracks like Hit and Run, Dreamin’ and That’s How Heartaches, three of Loleatta’s classic tracks. Queen of The Night wasn’t as heavy on dance classics, but featured Catch Me On the Rebound. The other tracks were a mixture of Loleatta’s soulful and uptempo, dance-floor friendly sides. This was the case with Loleatta Holloway, which featured The Greatest Performance of My Life and All About the Paper, two tracks which showed why Loleatta was the Queen of Disco. With so many of the personnel who wrote and produced Loleatta’s previous album Queen of The Night, many non-Salsoul personnel were brought in to write and produce tracks.
The seven tracks that comprise Loleatta Holloway included The Greatest Performance of My Life written by Oscar Anderle, Robert Allen and Roberto Sanchez and All About the Paper which Clarence McDonald and Lowrell Simon cowrote. Bobby Womack cowrote There Must Be A Reason with Bob Incorvaia, while Helen Robinson wrote Sweet Mother of Mine. Burt Bacharach cowrote Baby It’s You with Barney Williams and Mack David and Floyd Smith and Eugene Record penned There’ll Come A Time. Bunny SIgler kept the Philly influence on That’s What You Said, which he cowrote with Rick Wigginton. For the recording of the seven tracks on Loleatta Holloway, sessions took place at several studios, including Sigma Sound.
Loleatta Holloway was recorded at Sigma Sound Studios, Muscle Shoals Sound Studios, PS Recording Studios and Universal Recording. This was because three different producers were producing the seven tracks. Floyd Smith produced four tracks, Bunny Sigler one and Bobby Womack and Patrick Moten two tracks. They were joined by musicians that included a few familiar faces. Among the other familiar faces were guitarist T.J. Tindall, Bobby Womack and Kim Miller, bassists Raymond Earl and Bernard Reed, and drummer Scotty Miller and Roger Hawkins. They were joined by percussionist and conga player Larry Washington and keyboard players Bunny and Jimmy Sigler. Adding backing vocals were the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson, while Don Renaldo and His Strings and Horns feature on several tracks. Eventually, Loleatta Holloway was ready for release on Gold Mind Records in 1979.
On the release of Loleatta Holloway in 1979, the album wasn’t a commercial success, failing to chart. Surprisingly, neither of the singles charted. Considering they were two of the best tracks on Loleatta Holloway, All About the Paper nor The Greatest Performance of My Life this is all the more surprising. However, why was Loleatta Holloway not a commercial success? Was it anything to do with having three producers or Salsoul’s changing personnel? That’s what I’ll tell you, after I’ve told you about the music on Loleatta Holloway.
Opening Loleatta Holloway is The Greatest Performance of My Life, produced by Floyd Smith, with the track remixed by Bobby “DJ” Guttadaro. Gentle keyboards open the track, before Loleatta’s vocal soars, full of power and passion. She unleashes her full vocal range, as Larry Washington’s congas accompany her. Soon, the pounding rhythm section join, and the track explodes into life. Strings sweep and swirl, horns rasp, while the rhythm section combine funk and drama. Meanwhile, Loleatta unleashes apowerful, emotive vamp. She struts her way through the track delivering vocal that’s a mixture of emotion, power, drama and soulfulness. In doing so, the draws upon her Southern Soul roots, her band fuse funk, soul, Latin and disco. While the track isn’t quite the greatest performance of her life, it’s quite simply up their with the best of them and one of her best vocals on Loleatta Holloway.
Running The Greatest Performance of My Life pretty close is All About the Paper. It’s arranged by James Mack, produced by Floyd Smith and remixed by Bobby “DJ” Guttadaro. Chiming guitars, punchy blazing horns and a pounding rhythm section combine to create the perfect backdrop for Loleatta’s vocal. Briefly, you can hear similarities with Chic’s Good Times. When Loleatta’s vocal enters, it’s a sassy, feisty, strutting vamp. She makes the song her own, demonstrating just why she was the Queen of Disco. Strings dance with delight, while the Sweethearts of Sigma add tender harmonies and bursts of horns punctuate the arrangement. They’re joined by the best performance by the rhythm section on Loleatta Holloway. While they’re no Baker, Harris, Young, they’re crucial to the song’s sound and success. What really makes the song is Loleatta’s vocal, one that feisty, fiery and sassy. Combined with a what’s simply a timeless, dance-floor friendly arrangement and the result is vintage Loleatta.
There Must Be a Reason written by Bobby Womack and Bob Incorvaia, sees the tempo drop and Loleatta return to her Southern Soul roots. With just piano, a slow rhythm section and a flourish of harp, Loleatta’s half-spoken vocal is a mixture of heartfelt emotion tinged with drama. After a minute strings sweep in and the rhythm section and piano add to the drama. Loleatta’s vocal grows in power, while the Sweethearts of Sigma respond to her vocal, reflecting the sadness and frustration in her vocal. The interplay between Loleatta and the Sweethearts of Sigma really helps the song, adding to this six-minute mini soap-opera. Soon, Loleatta unleashes her trademark powerful, gut-wrenching vocal, and in doing so, breathes life, meaning and emotion into the song.
That’s What You Said is is arranged by Jack Faith, one of Salsoul and Philadelphia International Records’ best arrangers. The track was penned by Bunny Sigler and Rick Wigginton and sees dancing strings, a pounding rhythm section and growling horns combine with Loleatta’s fiery vocal. Handclaps punctuate the arrangement, while a really catchy, dance-floor friendly arrangement unfolds. There’s a quite joyous sound to the arrangement, with hooks aplenty throughout the track. Playing a big part in the arrangement is the cascading strings, blazing horns and punchy rhythm section. Having said that, the rhythm section don’t have the same presence as Baker, Harris, Young. With them driving the song along, what is a great track, could’ve been even better. Mind you, it still has a joyous, hook-laden, uplifting sound.
Baby it’s You is the other Bobby Womack and Patrick Moten production. It’s very different from the previous tracks and was recorded when Bobby Womack was going through a real lean spell. He does his best, trying to fuse elements of funk, soul and disco. With an artist less talented than Loleatta he might not have pulled it off. However, he does….just. Loleatta’s vocal is a mixture of power, passion and emotion, while the rhythm section drive the track along mixing soul and funk. Soon, strings sweep and swirl, horns dance and cascade as backing vocalists combine with Loleatta as the arrangement heads in the direction of disco. Bobby adds one of trademark gravelly vocals, as if he realizing something is missing. By then it’s a bit late and the song works…but only just. The problem was that Bobby hadn’t worked on songs like this very often and as a result, of the seven tracks on Loleatta Holloway, this is probably the weakest. It’s not a bad track, just not as good as other tracks.
Floyd Smith takes charge of production duties for the next two songs, starting with There’ll Come a Time. Straight away, you realize that this a much better track, one that’s made for Loleatta. There’s a real Southern Soul sound from opening bars when blazing horns, searing guitars, piano and lush strings combine. Meanwhile the rhythm section anchors the track, producing the track’s dramatic heartbeat. Strings then sweep in before Loleatta delivers a vocal that’s full of hurt, sadness and emotion. The Sweethearts of Sigma add soaring, soulful harmonies as this big production unfolds. It reveals a glorious sound. Horns rasp and growl, as the piano and heartfelt harmonies adds the drama and emotion of the song. It’s impossible to resist Loleatta’s gut-wrenching, emotive, tour de force of a vocal. Especially when combined with an arrangement as good as this. That’s why it’s one of the highlights of Loleatta Holloway.
Closing Loleatta Holloway is Sweet Mother of Mine, written by Helen Robinson. The way Loleatta delivers the lyrics, you’d almost think the song was autobiographical. Her half-spoken vocal is heartfelt and impassioned, accompanied by just a slow, thoughtful piano and the lushest of strings. After her half-spoken vocal, the track moves in the direction of gospel. A Hammond organ and piano combines with Loleatta’s sincere vocal, as she sings every word as if she means it and as if the words mean something to her. The result is a powerful, moving song, where Loleatta revisits her gospel roots and in doing so, reveals just how versatile a vocalist she truly is.
While much had changed at Salsoul, one thing that hadn’t changed was Loleatta Holloway’s glorious vocal on Loleatta Holloway. Whether it was Southern Soul or disco, Loleatta grabbed the song and made it her own. She put power, passion, emotion and drama into each song, seamlessly flitting between gut-wrenching Southern Soul singer to strutting, sassy disco diva. This is a remarkable transformation and shows the two sides of Loleatta Holloway’s music. Although Loleatta Holloway stayed the same, her band and production team was very different. With Vince Montana Jr gone and Baker, Harris, Young absent from Loleatta Holloway, it wasn’t the Salsoul A-team that played on Loleatta Holloway. It documents just how much and quickly the times were changing at Salsoul. Vince’s vibes and the Baker, Harris, Young rhythm section would’ve really lifted Loleatta Holloway to the next level. Loleatta Holloway is a great album, but one that could’ve been outstanding with Vince and Norman Harris producing the album.
Having said that, producer Floyd Smith is responsible for some of the best tracks. He’s a talented producer, who seems to understand how to get the best out of Loleatta. Arguably, Bobby Womack and Patrick Moten who produce two tracks, are responsible for the weakest track Baby It’s You. Only the sheer force of her talent and personality rescues the track. Maybe Bobby Womack was the wrong man for the job, and an in-house writer and producer should’ve contributed the two tracks Bobby wrote and produced. Having three separate producers is all very well, if they’re each contributing something worthwhile. However, by the time Loleatta Holloway was released, things were changing at Salsoul and changing fast.
So, Loleatta Holloway, Loleatta’s third Salsoul album features a few familiar faces, but legends aplenty are absent. One thing didn’t change though, Loleatta Holloway. The seven vocals on Loleatta Holloway, her third Salsoul album, see Loleatta flit seamlessly between Southern Soul and disco, and like her two previous albums, feature some quality music from the undisputed Queen of Disco Loleatta Holloway. Standout Tracks: The Greatest Performance of My Life, All About the Paper, That’s What You Said and There’ll Come a Time.
LOLEATTA HOLLOWAY-LOLEATTA HOLLOWAY.
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.
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