THE BROTHERS JOHNSON-BLAM!
THE BROTHERS JOHNSON-BLAM!
Before Quincy Jones spotted The Brothers Johnson at a Stevie Wonder rehearsal, they’d been part of Billy Preston’s band. After Quincy Jones discovered guitarist George and bassist Louis, The Brothers Johnson embarked on a twelve year, seven album adventure for Herb Albert’s A&M Records. The first four albums The Brothers Johnson released for A&M were produced by Quincy Jones were their most successful albums. Each of The Brothers Johnson’s Quincy Jones produced albums were certified platinum, with three of them reaching number one in the US R&B Charts. This remarkable run of platinum certified albums started with 1976s Look Out For Number One, which reached number nine in the US Billboard 200 and number one in the US R&B Charts. Right On Time was released in 1977, reaching number thirteen in the US Billboard 200 and number two in the US R&B Charts. Then came Blam, released in 1978 which would become The Johnson Brothers’ most successful album so far. Blam which was released by SoulMusic Records on 17th September 2012, reached number seven in the US Billboard 200 and number one in the US R&B Charts. That cemented The Johnson Brothers as one of the most successful funk and souk bands of the seventies. So by the time The Brothers Johnson entered the studio to record Blam, little did they realize that they were currently enjoying the hottest period of their career. After I’ve told you about the background to Blam, and the music on Blam, I’ll tell you why this successful run came to a sudden halt.
With both of The Brothers Johnson’s previous albums featuring a US R&B number one single, the pressure was on to repeat that feat. Their debut album, 1976s Look Out For Number One, featured I’ll Be Good To You, The Brothers Johnson’s biggest single. It reached number three in the US Billboard 100 and number one in the US R&B Charts. Strawberry Letter Number 23, written by Shuggie Otis, a track from their second album Right On Time reached number seven in the US Billboard 100 and number one in the US R&B Charts. So, The Brothers Johnson were keen to repeat this feat. That’s why it was so important to choose the correct material for what would become Blam.
For their third album Blam, eight tracks were chosen, with Louis Johnson co-writing five of the eight tracks. Louis cowrote three tracks with Quincy Jones and various songwriting partners. This included Ain’t We Funkin’ Now which the pair cowrote with Tom Bahler, Valerie Johnson and Alex Weir. Quincy, Louis, Tom Bahler, Alex Weir also cowrote the title-track Blam with George Johnson and David W. Foster. David Foster also cowrote So You Won’t Stay with drummer Harvey Mason, who played on Blam. Ashford and Simpson cowrote Ride-O-Rocket, which would one of the singles released from Blam. These eight tracks would be recorded at three separate studios, with Quincy Jones producing Blam.
The recording sessions took place in New York and Los Angeles. Two studios in Los Angeles were used, Cherokee Recording Studios and Westlake Audio. In New York session took place at A&R Recording Studios. At these sessions, The Brothers Johnson were accompanied by what was an all-star band of some of the best jazz, soul and funk musicians. This included drummer Harvey Mason, guitarists Larry Carlton and Alex Weir, tenor saxophonist Michael Brecker, percussionist Eddie “Bongo” Brown, David Foster on synths and piano and Steve Porcaro on synths. George Johnson played lead guitar and sang lead and backing vocals, while brother Louis played bass, guitar and added vocals. Adding backing vocals were The New York Super Singers, a cast of talented singers, including Patti Austin, Gwen Guthrie, Yollanda McCullough and Raymond Simpson. Once the eight tracks that became Blam were recorded, Blam was released in 1978.
On the release of Blam in 1978, not only did it replicate the success of The Brothers Johnson’s two previous albums, but surpassed them, reaching number seven in the US Billboard 200 and number one in the US R&B Charts. Two singles were released from Blam, but neither gave The Brothers Johnson their third number one US R&B single. Ride-O-Rocket reached just number 104 in the US Billboard 100 and number forty-five in the US R&B Charts. Ain’t We Funkin’ Now fared slightly better, reaching number 102 in the US Billboard 100 and number forty-five in the US R&B Charts. Although the failure of the two singles must have been disappointing, The Brothers Johnson’s third album Blam had given them their third platinum disc and became their first album to chart in the UK, reaching number forty-eight. However, what does Blam sound like and why didn’t the singles fare better? That’s what I’ll tell you, once I’ve told you about the music on Blam.
Opening Blam is the second single, Ain’t We Funkin’ Now and from the opening bars we’re funking..big time. The Brothers Johnson’s powerhouse of a rhythm section, complete with Louis’ loping, slapped bass that drives this prime slice of funk along. Stabs of blazing horns, cascading backing vocals and George’s sassy, vampish vocal combine. Punchy harmonies assail you, seemingly surrounding you, while riffing guitars and crashing cymbals punctuate the arrangement. All the time, the rhythm section and braying horns are combining as George unleashes a powerful vamp. It’s a five-minute, furiously funky track to open Blam, one that grabs your attention and forces you to listen. When you do, it’s well worth the time and effort and has you anticipating the rest of Blam slavishly.
There’s a real change in style on So You Won’t Stay. The tempo drops, and the funk of the previous track is replaced by a beautiful and soulful song. George’s vocal is tender, emotive and heartfelt. He’s accompanied by subtle harmonies, while an understated arrangement sees synths and keyboards, combine with a thoughtful rhythm section and chiming guitars. Beautiful harmonies sweep in, as George’s voice reveals a fragility and tenderness. As his vocal drops out a sultry saxophone solo replaces it. This is perfect. Not only does it add to the beauty of the arrangement, but is the perfect accompaniment to George’s heartfelt, tender vocal. The result is one of the highlights of Blam.
The title-track Blam marks a return to the funky sound of the opening track Ain’t We Funkin’ Now. There are a few surprises in store, as The Brothers Johnson tease the listener, during two sides of the same song. Synths, a pounding, funky rhythm section, growling horns and guitars accompany George’s punchy vocal. He’s accompanied by dramatic bursts of blazing horns, meandering keyboards, dramatic half-whispered backing vocals and a tight, funky rhythm section. Then just as quickly, things change. Tight, soulful and needy harmonies enter and the horns loose their dramatic, almost aggressive sound and the arrangement reveals a different side. It’s a captivating, compelling track, one full of contrasts, where The Brothers Johnson with producer Quincy Jones’ help, have surprises aplenty in store, as they push the musical boundaries, fusing funk and soul.
Rocket Countdown/Blastoff is not unlike something you’d expect to hear during the soundtrack to some seventies sci-fi blockbuster. It’s just fifty-three seconds of drama, that are like something from Close Encounters or Star Wars. Synths add a sci-fi sound, before blazing, growling horns and strings build the drama. Sadly, al too soon the track is over. While it was a delicious taster of what might have been, it sets up the next track perfectly.
Ride-O-Rocket was penned by the prolific songwriting team of Ashford and Simpson. It was chosen as the lead single from Blam and builds on the drama of the previous track. Kettle drums, stabs of keyboards, growling horns and the combined vocals of The Johnson Brothers combine as the track blasts off. George delivers a sassy vocal, accompanied by joyous, cascading harmonies, jazzy piano and growling horns. Later the horns change, adding to the uplifting, joyful sound. As harmonies sweep in and George’s vocal drifts in and out, the rhythm section create the track’s gloriously funky heartbeat. Still the punchy, horns rasp, playing an important part, by adding a contrast to the sweeping, joyous sound of the rest of the arrangement. Before long, the journey on The Brothers Johnson’s Ride-O-Rocket has landed and this joyful, funky journey is complete. Believe me, so good is the journey, you’ll climb back aboard and enjoy the journey.
Mista Cool was written by Louis Johnson with Ed Eckstine and Larry Williams. Gentle, subtle keyboards are something of a curveball, giving little indication of the song’s direction. It’s an instrumental, with synths, keyboards, driving horns and The Brothers Johnson’s pounding, funky rhythm section combining. Louis slaps his bass, creating one of his best bass lines on the album, while synths and the rest of the rhythm section combine. All the time, the horns help drive this innovative slice of funk along, helping create a track that would prove popular among the UK’s jazz fusion fraternity.
It’s You Girl is the only track on Blam George Johnson cowrote. Mind you, if you’re only going to cowrite one track, make it one as good as this. George’s voice has the same tenderness as on So You Won’t Stay. Again the tempo drops, with the rhythm section, keyboards and chiming guitars creating an understated arrangement, as the track gets underway. Some of the best and most harmonies on Blam accompany George’s vocal. Later, when they gloriously unite, they bring a gospel sound to the arrangement. They replace George’s impassioned, heartfelt pleas and their power and gospel-tinged sound are just the finishing touch to another of the highlights of Blam.
Closing Blam is Streetwave another jazz fusion track. It came about after The Brothers Johnson jammed, with Quincy Jones added a full arrangement. Louis pounds his bass, before mellow keyboards, then percussion and saxophone enter. Soon, the band kick loose, with the horns blazing and growling and the rhythm section driving the track along and providing its jazzy heartbeat. Hearing The Brothers Johnson and the rest of the band kicking loose is a joy to behold and isn’t a fusion of jazz and funk, but what both The Brothers Johnson and producer Quincy Jones do best and seems a fitting finish to Blam.
Blam saw The Brothers Johnson continue the success of Look Out For Number and Right On Time. Indeed Blam became The Johnson Brother’s most successful album. The only thing it lacked was the number one single that featured on Look Out For Number and Right On Time. Their debut album, 1976s Look Out For Number One featured I’ll Be Good To You, and Right On Time featured Strawberry Letter Number 23. Unfortunately, neither of the singles, Ride-O-Rocket nor Ain’t We Funkin’ Now replicated the commercial success of these two tracks. Good as both singles were, they maybe lacked the radio friendly, hook-laden sound of I’ll Be Good To You and Strawberry Letter Number 23. Having said that, both singles are good examples of what The Brothers Johnson did so well and what made their music so successful. Both tracks demonstrate The Brothers Johnson at their funky best, while tracks like So You Won’t Stay and It’s You Girl reveal a quite beautiful soulful side to their music. Of the two sides to The Brothers Johnson, I adore their soulful side. Having said that, two tracks on Blam give us a brief glimpse of another side of The Brothers Johnsons music and their versatility and talent. Mista Cool and Streetwave which closes Blam, shows another side of the The Brothers Johnson’s music. It’s a fusion of the talents of The Brothers Johnson and Quincy Jones talents and together, they created a glorious slice of jazz fusion. So, for lovers of jazz fusion, funk and soul, Blam has something for everyone and it’s no wonder that it became their most successful album. Little did The Brothers Johnson know that their run of successful albums was nearly at an end.
After Blam, 1980s Light Up the Night became The Brothers Johnson’s most successful album, reaching number five in the US Billboard 200 and number one in the US R&B Charts, becoming their fourth consecutive platinum album. It featured another number one US R&B single Stomp, a classic from The Brothers Johnson. Following Light Up the Night, The Brothers Johnson split from producer Quincy Jones. This wasn’t their best decision, with The Brothers Johnson never enjoying the same success. Ironically, if it wasn’t for Quincy Jones then maybe The Brothers Johnson would’ve remained forever session players, rather than becoming the huge stars. However, Quincy Jones’ role in The Brothers success can’t be underestimated. For anyone yet to discover The Brothers Johnson’s music, then their first four albums, including Blam, which was rereleased by SoulMusic Records on 17th September 2012. Blam is the perfect introduction to one of the most successful and talented soul and funk groups of the seventies… The Brothers Johnson. Standout Tracks: Ain’t We Funkin’ Now, So You Won’t Stay, Ride-O-Rocket and It’s You Girl.
THE BROTHERS JOHNSON-BLAM!
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PLATYPUS-PLATYPUS.
PLATYPUS-PLATYPUS.
In the seventies, Dayton, Ohio was funk central. Among the funk bands emerging from Dayton were The Ohio Players, Lakeside, Heatwave, Slave and Platypus. Of these groups, Platypus stood out. They were the only group to incorporate elements of progressive rock into their music and would record two albums for Casablanca Records in 1979 and 1980. The first of Platypus’ two albums was 1979s Platypus, which will be rereleased by BBR Music on 24th September 2012. Before I tell you about the music on Platypus, I’ll tell you the story behind Platypus journey from Drayton, Ohio to the release of their debut album Platypus. That journey saw them change their name, lose several members and begin recording their debut album Platypus without a record deal in place.
After making a unanimous decision, The Four Korners headed to Los Angeles to further their career. Now based in Los Angeles, The Four Korners became a popular band. Their popularity too them much further afield to Australia and Japan. After a visit to Australia, The Four Korners became Platypus, after being introduced as The Black Platypus. The name stuck and on returning to Los Angeles, The Four Korners became Platypus. On another visit overseas, Platypus would meet someone who’d help further their career…Roberta Flack
Throughout their career, Platypus were a popular band. Indeed, it was in Japan that someone finally defined what their music was “between rock and soul.” It was during a trip to Japan that Platypus would meet Roberta Flack. After hearing Platypus headline the Bottom Line in Osaka, she would become Platypus’ mentor. By the time Roberta Flack met Platypus, they were a tight, accomplished and practiced group, who when not playing together, sang harmonies on sessions for The 5th Dimension, Thelma Houston and Diana Ross, including Diana’s Love Hangover album. Arthur Stokes one of Platypus songwriters, had also written What Goes Around for Michael Jackson’s Ben album and I’m Glad It Rained for the Jackson 5. So, it’s no surprise that when Roberta Flack first heard Platypus she was immediately struck by how much talent and potential they had. After exchanging phone numbers and returning home, Roberta Flack made good on her promise to keep in contact with Platypus.
With both Roberta Flack and Platypus back home, Platypus in Los Angeles and Roberta in New York, Roberta invited Platypus to New York. Platypus joined Roberta and her band in one of New York’s most prestigious recording studios, The Hit Factory. During their time together, Platypus played with Roberta and her band and recorded Dance If You Can. Apart from that one song, nothing more came of the sessions. Despite Roberta’s best efforts, Platypus were still without a record contract. Eventually, with a heavy heart, Platypus decided to head back home to Drayton. Sadly, it was without one of the band, Dana Meyers who decided to stay in Los Angeles. Unfortunately, it would fifteen months before Platypus would set foot in a recording studio again.
Back in Drayton, Platypus spent time finding the right studio. Eventually, they discovered Fifth Floor Studios, managed by Rich Goldman and where Lakeside, now signed to Solar Records recorded. By now Platypus were desperate for a record deal, so decided that they’d record something record companies would want to sign. Starting with Dancing In the Moonlight, Platypus almost invented a new genre, which fused funk, soul and disco. Figuring disco was now a four billion dollar industry, they recorded a track labels would want to sign. Soon, further songs were written, refined and then recorded. Often recordings were refined further and eventually, seven songs had been recorded. Just then, studio manager Rich Goldman was heading to Los Angeles on a business trip. Realizing that Platypus’ music was what labels were looking for, volunteered to take their music to labels. Sadly, the triumph that was around the corner for Platypus, was tempered by tragedy.
On Rich Goldman return from Los Angeles, the news was good. Labels loved Platypus and wanted to sign them. Solar Records and She Records were both interested and so were Casablanca. By 1979, Casablanca were one of disco’s biggest labels and they were interested in signing Platypus for their Chocolate City imprint. They’re was a but though…Casablanca’s Bruce Bird wanted to bring in a producer. However, when he heard of the other label’s interest, Bruce agreed that Casablanca would pay for Platypus to polish up the production and if he liked it, then they could produce their own album. Adding strings sealed the deal and Platypus were signed as artists and producers. Then tragedy struck. Larry Hines was bravely battling leukemia, and traveling to Los Angeles for treatment and to visit his son. Larry decided that after recording more song, he would leave Platypus. He sang his heart out, putting everything he had and much more into Running From Love. With that Platypus’ debut album was finished and ready for release in 1979.
Sadly, when Platypus released Dancing In the Moonlight, it failed to chart. Worse was to come when neither the album Platypus, nor the second single Love the You Funk charted. It seemed triumph and tragedy were haunting Platypus again. Platypus had at long last released their debut album Platypus, but it failed commercially. However, as regular readers of this blog will know, commercial failure doesn’t necessarily mean there’s anything wrong with the music. Often the music is ahead of its time or just the result of circumstances, or the fickle finger of fate. Is that the case with Platypus debut album Platypus?
Platypus’ debut album is Dancing In the Moonlight which Larry Hines and Anthony Stokes cowrote. Straight away, you can hear elements of disco, funk and soul. The strings add to a disco influence while the funky rhythm section, percussion and flourishes of keyboards and tight, soulful harmonies see funk and soul unite. Larry Hines’ vocal is perfect for the track, and made all the better by soulful harmonies. Strings quiver and shiver, while chiming guitars, and a loping, funky bass play important parts in the track. So do the bells that ring out joyously, punctuating the arrangement. They’re in keeping with the track’s uplifting, feel-good sound, that should’ve been a huge commercial success.
Street Babies has a tougher, edgier sound. There’s a Drayton funk sound, that can be heard in many groups of this era. Gone is the disco of the previous track. Larry’s gnarled vocal is accompanied by a pounding, funk-laden rhythm section and guitars, with percussion, keyboards and soaring harmonies accompanying him. The searing bass line on this track is one of the best on Platypus. It’s accompanied by dramatic stabs of keyboards, bursts of percussion and those falsetto harmonies that are a perfect foil for Larry’s edgy vocal. Although very different from the opening track, it has one thing in common…quality.
Love the Way You Funk gives a clue to the direction of the song. It’s funky with a capital F, and sometimes, just as soulful. Flourishes of keyboards give way Platypus’ rhythm section. They’re at the heart of the track’s sound and success and are joined by washes of synths and keyboards. Meanwhile percussion and guitars accompany Larry’s sweet and sometimes, punchy multi-tracked vocal that’s seemingly designed to sooth your soul. It’s panned from right and left effect, seemingly surrounding you. The harmonies that accompany Larry’s lead vocal range from soulful, to funky, as does the arrangement. Not only that, but the track finds a happy medium between sounding commercial, without alienating their loyal following. Sadly, when it was released as a single, if failed to chart, and like the lead single Dancing In the Moonlight, remains a hidden gem of a track.
Don’t Go Away sees Platypus incorporate some of their prog rock influences during the track. This shines through when the keyboard bass, moody tipmani and spacey guitar sound come to the fore. That spacey, dramatic sound is apparent from the opening bars. Larry’s vocal is full of hurt and regret, while the arrangement is dark, moody and dramatic. Contrasts can be heard throughout the track. There’s the drama of the searing, rocky guitars and rumbling keyboards bass, while there’s beauty in the tight, heartfelt harmonies. When they’re combined with one of the most emotive, impassioned vocals on Platypus, the result is a track where drama and beauty are ever-present in equal measures.
Arthur Stokes takes charge of the lead vocal on Dance If You Can, which sees another change in mood and style. It’s an uptempo dance track that almost bursts joyously into life. A pounding rhythm section, melodic keyboards and chiming guitars combine with Arthur’s sassy vocal. He grabs the track by the scruff of its neck and breathes life and joy into it. Accompanying him are some of Platypus quality, trademark, soulful harmonies. Given the quality of the harmonies, it’s no surprise they were so in demand for session work. Keyboards also play an important track in the track’s melodic sound. Soon, one of the catchiest, hook-laden tracks on Platypus unfolds. Even thirty-four years later, this track would still light up any dance-floor.
Running From Love is a track written by Lloyd Jones and Curtis Stafford and is the last track Larry Hines sang on. It’s one of his best vocals on Platypus and sees the spacey, prog rock sound of Don’t Go Away returning. The tempo slows with a marauding bass line testing the tolerance of your speakers. Soon, synths, keyboards, harmonies and the rest of Platypus’ rhythm section join the mix. As harmonies soar above the arrangement, while the prog rock sound is revisited. Spacey keyboards and that rumbling bass play important parts in the arrangement. Later, sizzling, dueling rocky guitar add to the prog rock influence grows and grows to its dramatic musical crescendo.
Closing Platypus is Body and Soul which is another of the dance tracks. It’s very different from the previous track, and is much more Platypus in sound. Chiming guitars, a driving, pounding rhythm section and flourishes of keyboards give way to the emotive, impassioned vocal. Harmonies augment the vocal, while the rhythm section and guitar combine disco and funk as a jazzy piano solo drifts in and out. During a breakdown, the jazzy piano, percussion and loping, funky bass combine. They give to strings that dance with delight, as the track reveals the rest of its secrets and surprises. Punchy harmonies, cascading, disco strings, percussion and a vampish vocal all play their part in this delicious fusion disco, funk, soul and Latin music.
Having spent some time listening to Platypus’ debut album Platypus, there was nothing whatsoever wrong with the music on the album. It’s a fusion of disco, funk and soul, with diversions into prog rock and Latin Music. Maybe the problem was that Platypus was released at the wrong time. By 1979, disco was no longer flavor of the month. Quite the opposite. Instead, after the events of Demolition Derby Night on 12th July at Comiskey Park in Chicago, when the Disco Sucks movement came to its ugly head. After that, disco became deeply unpopular. Disco groups, disco albums and disco labels were no longer popular. Indeed, record companies and record buyers avoided disco music, while disco went underground and reinvented itself. Disco became boogie, and even giants of disco, whether groups like Chic, or labels like Casablanca and Salsoul suffered. So if Platypus had released Platypus a year earlier, history might have been very different. Thankfully, disco is now back in fashion and albums like Platypus are now being rediscovered and appreciated. Now thirty-three years after Platypus released their debut album Platypus, it will be rereleased by BBR Music on 24th September 2012. This gives everyone who missed out on this underrated hidden gem of an album first time around to rediscover, Platypus, an album which in 1979, was way ahead of its time. Standout Tracks: Dancing In the Moonlight, Don’t Go Away, Dance If You Can and Body and Soul.
PLATYPUS-PLATYPUS.
DJ VADIM-DON’T BE SCARED.
DJ VADIM-DON’T BE SCARED.
Sometimes, the word innovator is used too often, but in the case of Saint Petersburg born DJ Vadim, innovator is a fitting description of this veteran DJ and producer. Over the past twenty years, DJ Vadim has DJ-ed in sixty-nine countries, played over 2,500 times and still found time to found his own record label and record nine solo albums. Soon that number will rise to ten, when DJ Vadim releases Don’t Be Scared on BBE Music, on 1st October 2012. This is DJ Vadim’s fourth release for BBE Music, following U Can’t Lurn Imaginashun, which was released in 2009. Like U Can’t Lurn Imaginashun, Don’t Be Scared is a fusion of styles, influences and ideas, with DJ Vadim constantly pushing the musical boundaries and reinventing his music. One thing DJ Vadim will never be accused of, is being predictable. While other artists have a “sound” and “style,” not DJ Vadim. His only rule is there are no rules. Everything and anything is possible. Although he describes his music as hip hop, DJ Vadim adds to his musical melting pot elements of electronica, funk, reggae, soul, trip hop, Afro Beat and boogie. So when you drop the needle on a DJ Vadim album, you’re about to embark on a roller-coaster journey where he reveals the contents of his musical melting pot. That’s why DJ Vadim is an innovator and why he was nominated for a Grammy Award in 2002, and is known as the John Coltrane of hip hop. With this unrivaled music pedigree, DJ Vadim’s forthcoming album Don’t Be Scared promises to be a roller coaster journey across genres. Before I tell you about Don’t Be Scared, I’ll tell you about DJ Vadim’s career.
It’s almost two decades since DJ Vadim first spun the wheels of steel in public, and since then, he’s played across the globe at some of the most prestigious venues and events. From playing at Glastonbury, to playing in front of forty-thousand people at the Moscow Street Ball, and appearances at the prestigious festivals like Sonar, Big Chill, Fuji Rock and the Notting Hill Carnival, these are just a few of the 2,500 events DJ Vadim has played at during his twenty year journey entertaining and educating dancers worldwide. However, DJ-ing is just one string to DJ Vadim’s bow.
After founding his own record company Jazz Fudge in 1994, DJ Vadim released his debut album Headz Ain’t Ready in 1995. That was the year DJ Vadim signed to Ninja Tunes, who he released four albums for between 1996. This was the U.S.S.R. quartet, which began with 1996s U.S.S.R. Repertoire (The Theory of Verticality) followed by U.S.S.R. Reconstruction (Theories Explained) following in 1998 and then 1999s U.S.S.R. Life From the Other Side and 2002s U.S.S.R. The Art of Listening. Having released four albums for Ninja Tunes, it would be another five years before DJ Vadim released another album. During that period, DJ Vadim was busier than ever, producing and DJ-ings. He collaborated with numberous artists, including The Herbaliser, Fat Freddy’s Drop and The Super Furry Artists. After working with other artists, the time came for DJ Vadim to release his next solo album. So DJ Vadim signed to BBE Music and would release his next album in 2007, when sadly, tragedy entered his life.
In 2007 DJ Vadim released his first album for his new label BBE Music. This was The Soundcatcher, with The Soundcatcher Extras following later in 2007. Then tragedy struck for DJ Vadim in 2007. He was diagnosed with a rare form of eye cancer, Ocular Melanoma. Thankfully, DJ Vadim recovered and two years later in 2009, released U Can’t Lurn Imaginashun on BBE Music. Two years later after further collaborations, plenty of globe-trotting DJ-ing trips, came DJ Vadim next albums. This was 2011s DJ Vadim Presents The Electric’s Life Is Moving.
Now a year later, and DJ Vadim is back, with his tenth studio album Don’t Be Scared. The genesis of Don’t Be Scared has its roots in New Zealand, when DJ Vadim collaborated with of the country’s best musicians, including Fat Freddy’s Drops. Back in London, DJ Vadim was joined by a cast of guest artists that collaborated on Don’t Be Scared. This includes his long-term collaborator Yarah Bravo, The Electric’s Sabira Jade, funkster Greg Blackman, Hawaiian soul singer Karen Be and Jazz Bailey. They play their part in the twelve tracks that comprise Don’t Be Scared which DJ Vadim describes as “more pensive than previous albums” and “melancholy meets topical vibes.” Sounds compelling? It certainly does and I’ll now tell you about some of the highlights of Don’t Be Scared.
Hide ‘N’ Seek starts the compelling, roller-coaster musical journey that is Don’t Be Scared. Straight away, DJ Vadim grabs your attention, combining a captivating combination of spoken word samples, crunchy beats and a scratchy Bollywood recording. Add in washes of broody synths, scratches and a myriad of percussion and the result is a trippy, laid-back, cinematic soundscape. Think hip hop meets trip hop, with a twist of Bollywood. During the track, it seems anything is possible, and you learn to expect the unexpected. That’s what makes this such a compelling, captivating way to start Don’t Be Scared.
Lemon Haze opens with a jangly piano before another of DJ Vadim’s starts throwing some more of his curveballs. He throws in a spoken world sample, adds stabs of urgent synths and pounding beats. Although ostensibly hip hop, percussion gives the track a Latin influence, while the dark moody synths remind me of Acid House and techno, giving the track a hypnotic old school sound. Add in bursts of vocals, a couple of scratches and spoken word samples to DJ Vadim’s melting pot, mix together for nearly seven minutes and you’ve the recipe for one of the most innovative tracks on Don’t Be Scared.
Of the twelve tracks on Don’t Be Scared, Lost My Love is one of the real highlights. It features Jazz Bailey, whose vocal is not unlike D’Angelo. His vocal is set against a quite minimalist, understated arrangement. Just washes of synths and spacey, dubby drums accompany his heartfelt vocal. In dub style, effects like delay and echo are used on Jazz’s vocal. After four minutes thing change. The tempo speeds up and DJ Vadim adds percussion, to the thunderous drums and squelchy synths. He then unleashes effects on the occasional bursts of vocal. Here, DJ Vadim’s love of reggae, shines through as he fuses dub and hip seamlessly, creating one of the best tracks on Don’t Be Scared.
Set Them Free features another of DJ Vadim’s guest artists, The Electric’s Sabira Jade. Here, three genres unite, Nu-Soul hip hop and reggae. The reggae influence sees a Jamaican toaster open the track, before giving way to Sabira’s vocal. She delivers some of the best lyrics on Don’t Be Scared. Sabira delivers an impassioned, frustrated, but hugely soulful vocal about the plight of South Africa’s miners. Throughout the track, dark synths, punchy beats and the Jamaican toaster accompany Sabira, adding to the song’s effectiveness. Two things make this a really powerful, track and one of Don’t Be Scared’s highlights, the lyrics and Sabira’s heartfelt, impassioned vocal.
When Akura Uprock begins, there’s a real African sound and feel to it, thanks to some glorious rhythms. You begin to wonder if you’re still listening to DJ Vadim, or whether someone’s slipped on an Afro Beat album. A dramatic whispered vocal from Gregory Blackman is joined by hypnotic rhythms, stabs of synths and pounding drums. Straight away, you realize that something special is unfolding. You’re drawn in, captivated and compelled. You’re taken on a journey, where the buzzing synths, chiming guitars and percussion create the soundtrack to your adventure. Handclaps, sweeping synths, chanted vocals and rasping saxophones all play their part in this glorious fusion of Afro Beat and hip hop, as DJ Vadim reinvents himself and proves that he’s still an imaginative and innovative artist.
Take My Time is the second track on Don’t Be Scared to feature Jazz Bailey’s vocals. Crunchy, spacey drums and washes of synths combine to create an atmospheric backbeat for Jazz’s lilting, heartfelt vocal. The arrangement has an understated sound, that allows Jazz’s vocal to take centre-stage. Just stabs and washes of synths are joined by percussion and those crisp drums. There’s even a crackly sound that’s like listening to the warm, comforting sound of old vinyl. A series of beeps and squeaks give the track an Acid House sound, while there’s a trip hop influence present. When all this is combined, the result is a spacey, cinematic soundscape that coincidentally, sounds like something you’d expect to hear on an old Ninja Tunes album.
Closed Eyes, which closes Don’t Be Scared features a trio of DJ Vadim’s guest artists, Yarah Bravo, Pugz Atomz and Jazz Bailey. Here, elements of reggae and drum and bass are fused with a generous serving of hip hop. The contrast between Jazz’s laid-back reggae tinged vocal and Pugz and Yarah’s more aggressive, hip hop style of delivery is a compelling contrast. All the time, crispy drums resonate, echoing into the distance, while bassy synths are a constant companion. Later, drum and bass styled drums are all added to the mix, as the tempo quickens and buzzing synths add to the track’s drama. Throughout the track that warm, crackly comforting sound of worn vinyl is present as DJ Vadim’s twelve track, genre crossing album Don’t Be Scared draws to a bold, impressive close.
While I’ve only mentioned seven of the twelve tracks on Don’t Be Scared, I could’ve just as easily have mentioned any of these tracks. That’s how consistently high the standard and quality of music on Don’t Be Scared is. It’s a roller-coaster musical adventure, where DJ Vadim, forever the innovator, and forever reinventing his music, constantly crosses and combines musical genres. There’s everything from Acid House, Afro Beat, ambient, drum and bass, dub, hip hop, Latin, reggae, techno and trip hop within the twelve tracks on Don’t Be Scared, which is the proverbial musical melting pot. DJ Vadim takes all these influences and mixes them up, with a little help from his musical collaborators. Each artist plays their part in the sound and success of Don’t Be Scared, adding their own inimitable vocals. Of these vocalists, Jazz Bailey and Sabira Jade play their part in three of the best tracks on Don’t Be Scared. Jazz’s vocals on Don’t Be Scared and Take My Time are two of the best vocals, while Sabira’s vocal on Set Them Free is the most powerful, moving and soulful. When these vocals are combined with DJ Vadim’s innovative, imaginative fusion of musical genres and influences, the result is a hip-hop album for the 21st century. Although DJ Vadim is almost a veteran of modern dance music, yet again, he’s once again, managed to reinvent his music. In the process, DJ Vadim has created another album of cutting-edge, captivating and compelling music, Don’t Be Scared, which will be released on BBE Music, on 1st October 2012. Standout Tracks: Lost My Love, Set Them Free, Akura Uprock and Take My Time.
DJ VADIM-DON’T BE SCARED.
GQ-DISCO NIGHTS.
GQ-DISCO NIGHTS.
After a chance meeting with a man walking his dog and a change of name to GQ in 1978, the lives of four musical veterans were forever changed. Later that year, when GQ released their debut single Disco Nights (Rock Freak) in December 1978. and it would reach number one in the US R&B Charts and sell over-one million copies. However, GQ were no overnight sensation. Instead, the success GQ were now enjoying was the result of a ten year musical journey which started back in 1968. Back then, GQ were known as Sabu and The Soul Survivors and since then, the road that GQ had travelled had been long and not without a few unexpected twists and turns. While other bands would’ve quit after struggling for ten years, GQ persevered. This perseverance was rewarded when, three months after releasing Disco Nights (Rock Freak), GQ released their debut album Disco Nights, which will be rereleased on 17th September 2012 by BBR Records. Disco Nights would become GQ’s most successful album, reaching number thirteen in the US Billboard 200 and number two in the US R&B Charts. After I’ve told GQ’s musical journey, I’ll tell you about the music on Disco Nights.
Ten years before GQ released their debut single, three of the members of GQ formed the band that gave birth to GQ. This was Sabu and The Soul Survivors, who were formed in 1968. By the early seventies, Sabu and The Soul Survivors changed their name, becoming The Rhythm Makers, who primarily played funk. The Rhythm Makers released one album had one Hole In Your Side, which contained the jazz-funk hit Zone, which reached number ninety-two in the US R&B Charts and number four in the US Disco Charts in 1976. Then when drummer Kenny Banks left The Rhythm Makers, he was replaced by Paul Service. Now the lineup which would become GQ was complete. The lineup was now composed of bassist Keith “Sabu” Crier, who’d founded the group in 1968, plus lead vocalist and rhythm guitarist Emanuel Rahiem LeBlanc, drummer Paul Service and keyboardist Herb Lane. With the lineup complete, The Rhythm Makers would meet a man who would play a huge part in finding them a record contract.
Tony Lopez first heard GQ playing at a club in New York. Although he was impressed by how talented The Rhythm Makers were, he’d no intention of becoming their manager. That changed when Tony came across the group practicing one night. He was walking his dog, heard music coming from a basement and knocked on the door. When he went into the basement, he realised this was the group he’d heard in the club. This would prove a fortuitous meeting for both parties. Although Tony was a teacher during the day, by night he promoted concerts. He began attending rehearsals and concerts. Then two things changed the fortunes of The Rhythm Makers.
It was Tony Lopez who suggested that The Rhythm Makers change their name to GQ. This was an acronym of Good Quality and an act of homage to the magazine and style bible GQ. A Chance of name resulted in a change of fortune for the four members of GQ. The second thing that changed GQ’s fortunes was when one night, Tony brought a musical contact along to a concert. His contact was Roberta Flack and straight away, Roberta Flack saw just how talented GQ were and started trying to get GQ a record deal. Roberta took GQ to Atlantic, but they were busy with their latest signing Chuck Berry. Eventually, Roberta contacted Larkin Arnold who played a huge part in Tavares, The Sylvers, Peabo Bryson and Natalie Cole’s success. Larkin Arnold was now Vice-President of R&B at Arista and auditioned GQ. Impressed with GQ, Larrkin signed GQ to Arista Records. Now GQ could begin work on recording their debut single..Disco Nights (Rock Freak).
On the release of Disco Nights (Rock Freak) in December 1978, it reached number one in the US R&B Charts, number three in the US Disco Charts and number twelve in the US Billboard 100. In the US, Disco Nights (Rock Freak) sold over one-million copies. With a million selling single, an album was needed and needed quickly. To produce GQ’s debut album Disco Nights, Jimmy Simpson, brother of Valerie Simpson of Ashford and Simpson and Beau Ray Fleming were hired. Jimmy and Beau took GQ to one of America’s legendary studios to record Disco Nights, Philadelphia’s Sigma Sound Studios, where many albums released by Philadelphia International Records and Salsoul were recorded. At Sigma Sound, eight tracks were hurriedly recorded and ironically, would GQ’s most successful album.
Disco Nights featured eight tracks and was released in March 1979. It reached number thirteen in the US Billboard 200 and number two in the US R&B Charts. The second single released from Disco Nights was Make My Dream A Reality was released in June 1979, reaching number eight in the US R&B Charts. I Do Love You, a cover of a Billy Stewart track, reached number five in the US R&B Charts and number forty-six in the US Billboard 100 on its release in July 1979. With three top ten US R&B singles, and top ten US R&B album in Disco Nights, GQ’s perseverance was rewarded. However, why was Disco Nights such a successful album?
Disco Nights (Rock Freak) was GQ’s debut single, reaching number one on the US R&B Charts, number three on the US Disco Charts and number twelve in the US Billboard 100. From the opening funky bars your hooked. A pounding, loping bass line, percussion combine before the rest of the rhythm section enter. Keyboards and shimmering synths give way to Emanuel Rahiem LeBlanc’s vocal as jazz, funk and disco are fused creating a timeless dance track. Tight harmonies sweep in, while the pounding, slap bass anchors the tracks and along with stabs of synths and keyboards a sonic tour de force unfolds. Later the tight harmonies become punchier, as Emanuel’s vocal drips with emotion. Still the sound is truly irresistible, while the production is innovative, ahead of its time for 1978. When this is combined with the track’s timeless hook-laden sound, it’s no surprise this track was such a huge commercial success.
GQ’s rhythm section combine with jazzy keyboards as Make My Dreams A Reality sees the direction of Disco Nights change course. A Philly Soul influence makes an welcome entrance. Emanuel delivers a heartfelt vocal accompanied by the type of harmonies you’d expect to hear on album recorded in Philly. While the harmonies are Philly-influenced, the arrangement is a fusion of funk, soul and jazz. Emanuel unleashes a vocal where power and passion are combine, against sweeping synths, a punchy, dramatic and funky rhythm section. While the funk and jazz of the previous track are present, the Philly Soul influence, especially those delicious harmonies is a welcome diversion and crucial to making this one of the Disco Nights’ highlights.
It’s Your Love is a slow ballad, where Emanuel, Keith, Paul and Herb all share and take turns of the lead vocal. WIth keyboards and the rhythm section keeping the tempo slow the four members of GQ demonstrate their vocal talents. They deliver some of the most beautiful harmonies on Disco Nights, while the arrangement is quite understated, with just chiming guitars, the rhythm section and keyboards combining. When the vocal drops out, a synth solo takes over, before GQ deliver some impassioned harmonies. Then when the vocal is traded, you get the opportunity to hear the contrasting vocals. Each vocal brings something to the track, while the arrangement grows, reflecting the drama and power of the heartfelt vocals. The result is a quite beautiful track, one that demonstrates just how versatile and talented GQ were. Considering this was their debut album, makes this even more remarkable.
Spirit was co-written by the four members of GQ and for many people, this is one of the best tracks on Disco Nights. GQ up the tempo and kick loose, after two slower tracks. Bursts of blazing horns, a dramatic, pounding rhythm section and keyboards give way to Emanuel’s vocal, which is a mixture of tenderness and power, while harmonies sweep in. All the time, stabs of horns and the thunderous rhythm section combine to create a pounding arrangement. Good as Emanuel’s vocal is, the harmonies are just as good, tight and heartfelt. A searing guitar solo, bursts of braying horns and keyboards see the arrangement combine elements of jazz and funk. Meanwhile Emanuel pleads for unity and understanding during this four-minute roller coaster comes to a dramatic ending and is indeed one of the best tracks on Disco Nights.
This Happy Feeling is another uptempo track that benefits from percussionist Sammy Figuroa’s considerable talents. To say this funky track bursts into life is almost a disservice. It’s a joyous explosion of music with the funkiest of bass lines and a myriad of percussion permanent fixtures. GQ’s rhythm section drive the track along, while Emanuel delivers a vocal that’s a mixture of power, passion and joy. All the time sweeping harmonies augment his vocal, while keyboards add to the drama. Later, Sammy adds percussive break, before the arrangement rebuilds and GQ it’s a case of hold tight as GQ take you on the rest of this joyous journey where they fuse funk, jazz and soul.
As Wonderful reveals its secrets, there’s a brief Earth, Wind and Fire influence. After that, GQ make the track their own. Bursts of rasping horns, chiming guitars, washes of synths and the funky rhythm section combine before Emanuel’s impassioned vocal enters. He’s in love and wants to tell the world. The harmonies that accompany him are perfect, ranging from tight and soaring to doo wop-esque. Keith’s bass and Emanuel’s guitar both play important roles as another irresistible track unfolds. Like so many other tracks, this good time slice of funk has so much going for it. Not only is hook laden, but has a funky rhythm section, the tightest of harmonies and of course, Emanuel’s joyous, impassioned vocal.
A Taste of Honey enjoyed a huge worldwide hit with Boogie Oogie Oogie in 1978. GQ’s version doesn’t slavishly copy the original. Instead, it’s more like GQ paying homage to the track. The tempo is quicker as the track unfolds. A pounding rhythm section, washes of synths, chiming guitars are joined by bursts of vocal. They’re panned hard left and right, which is quite unusual, as mostly, the vocal sits in the centre. This works, adding to the drama. Unlike the original version, GG up the funky quotient. With GQ’s pounding rhythm section, tight harmonies, chiming guitars and keyboard, Emanuel vocal is a sassy, powerful vamp. Why the track was only released as a B-Side seems a missed opportunity, as this is irresistible good time funky music?
Do I Love You closes Disco Nights and sees GQ drop the tempo on a track written by Billy Stewart. When QG released Do I Love You as a single, it sold over one-million copies and became their most successful single. All I can say is no wonder. GQ deliver a deliciously soulful version of the track, with Emanuel’s vocal breathing new life and meaning into the song, while some of the best harmonies on Disco Nights accompany him. Just the rhythm section, keyboards and GQ’s trademark chiming guitars are combined. Later, a guitar solo gives way to tight, punchy and hugely soulful harmonies which are just the finishing and satisfyingly soulful touch to Disco Nights.
Although it took GQ two changes of name, a chance meeting with Tony Lopez walking his dog and a ten year musical journey, the four members of GQ’s perseverance were rewarded. While many other groups would’ve called time on their career, GQ kept believing that one day, they’d make their commercial breakthrough. When they did, it was with a million selling single Disco Nights (Rock Freak) and then their most successful album Disco Nights. On Disco Nights, GQ fused soul, funk, jazz and disco over eight tracks, demonstrating just how talented, tight and versatile musicians GQ were. From the opening bars of Disco Nights (Rock Freak) to the closing notes of GQ’s deliciously, soulful cover of Billy Stewart’s Do I Love You, you’re spellbound by the quality of music. In Emanuel Rahiem LeBlanc GQ had a hugely talented vocalist, who could plea and preach, or inject passion, joy or soulfulness into a song. He does all this and more on Disco Nights. There was much more to GQ’s success than Emanuel’s vocals though. GQ’s rhythm section of bassist Keith “Sabu” Crier, Emanuel on rhythm guitar and Paul Service on drums were responsible for Disco Nights’ good-time funky sound. Then seamlessly, they switch things around and are just as comfortable playing jazz, disco or the Philly soul of Make My Dreams A Reality. After Disco Nights, which will be rereleased on 17th September 2012 by BBR Records, GQ released two more albums for Arista. Good as Two and Face To Face were, GQ’s debut album Disco Nights was their Magnus Opus, their most successful and critically acclaimed album, an album which is worthy of being described as a classic that’s the perfect soundtrack to every one of your Disco Nights. Standout Tracks: Disco Nights (Rock Freak), Make My Dreams A Reality, This Happy Feeling and Do I Love You.
GQ-DISCO NIGHTS.
DIONNE WARWICK-HEARTBREAKER.
DIONNE WARWICK-HEARTBREAKER.
Dionne Warwick found her career at a crossroads in 1978. She was without a recording contract and even contemplating retiring. Her final album for Warner Bros, 1977s Love At First Sight had failed to chart and Dionne hadn’t had an album certified gold since 1968s Dionne Warwick In the Valley of the Dolls. That was until Dionne met Arista Records founder Clive Davis. He knew Dionne well, and felt she’d be a good signing for Arista, so approached her about signing to Arista. After thinking about it, Dionne signed for Arista. Her first album for Arista, Dionne became her most successful album, and was certified platinum. The next two albums Dionne released for Arista, 1980s No Light So Long and 1982s Friends In Love failed to match the success of Dionne. What was needed for Dionne’s fourth album for Arista, was a new songwriting and production team, one who could rejuvenate Dionne Warwick’s career. As sometimes happens, fate intervened.
Andy Gibb asked to meet Clive Davis for lunch in Miami. After lunch, Andy broached the subject of working with one of Arista’s roster. Clive hadn’t anyone in mind, but when Andy Gibb looked down the list of artists, he picked out Dionne Warwick. Andy wanted to work with Dionne, and Clive mindful of The Bee Gees’ work with Barbara Streisand on Guilty was both shocked and intrigued. A week later, Clive Davis received a demo of the album The Bee Gees had in mind for Dionne…Heartbreaker. With songs from The Bee Gees and the production team of Andy Gibb, Albhy Galuten and Karl Richardson work became on an album that would become one of the biggest commercial successes of Dionne Warwick’s career Heartbreaker. Before I tell you about the music in Heartbreaker, which will be rereleased on 17th September 2012, by BBR Records, I’ll tell you about the background to the album.
For Heartbreaker, Barry, Robin and Maurice Gibb cowrote five tracks, including the two singles Heartbreaker and All the Love In the World. Co-producer Albhy Galuten collaborated with the Gibbs on four tracks, including co-writing three tracks with Barry Gibb. Albhy also cowrote I Can’t See Anything (But You) with Barry and Marice Gibb. Bob Hilliard and Mort Carson cowrote the other track, Our Day Will Come, which closes Heartbreaker. The ten tracks on Heartbreaker would be recorded by the Gibb, Galuten Richardson production team at Criteria Studios, Miami.
The Gibb, Galuten, Richardson partnership was established in 1977 and were one of the hottest production teams of the time. They’d worked on albums by The Bee Gees’ Spirits Having Flown and Barbara Streisand’s Guilty. With a track-record like that, Gibb, Galuten, Richardson were perfect for rejuvenating Dionne’s career. They recorded Heartbreaker in Miami, at Criteria Studios. Accompanying Dionne were a band that included a rhythm section of drummer Steve Gadd, bassist George Perry and guitarists Tim Renwick and George Terry. George Bitzer played synths, Gary Brown saxophone and percussionist Joe Lala. A string section was recorded at Mediasound Studios in New York and the Boneroo Horns were recorded at the Middle Ear Studios in Miami. Once the recording was completed in early 1982, Heartbreaker would be released in October 1982, giving Dionne her first gold album since 1968.
On the release of Heartbreaker in October 1982, it reached number twenty-five in the US Billboard 200 and number thirteen in the US R&B Charts, resulting in the second gold disc of Dionne’s career. Heartbreaker was the first single released in October 1982, reaching number ten in the US Billboard 100 and number fourteen in the US R&B Charts. Take the Short Way Home was released as a single in January 1983, but only reached number forty-one in the US Billboard 100 and number forty-three in the US R&B Charts. The final single released in the US was All the Love In the World, in May 1983, which reached just number 101 in the US Billboard 100. Over the Atlantic in the UK, Heartbreaker proved just as successful.
When Heartbreaker was released in October 1982, It reached number three, and was certified platinum. Heartbreaker was the first single released in the UK in October 1982, reaching number two. All the Love In the World was released in December 1982, reaching number ten in December 1982. Yours was the final single released in March 1983, but reached just number sixty-six. With the Gibbs’ songwriting skills and the production skills of Gibb, Galuten, Richardson Heartbreaker rejuvenated Dionne Warwick’s career. However, what made Heartbreaker such a huge success?
Heartbreaker opens with the lead single Heartbreaker, penned by Barry, Robin and Maurice Gibb. With its slick, polished production it’s the perfect way to open Heartbreaker and sets the tone for the album. It’s got the Gibb, Galuten, Richardson sound, with a bold combination of keyboards, rhythm section, chiming guitars and lush strings combining with Dionne’s heartfelt vocal. Straight away, you can hear a much different sound to that on Dionne. This is best described as bolder, sleeker and with a plentiful supply of hooks. As a piano drifts in and out of the track, lush strings cascade, while the Gibbs add tight harmonies to Dionne’s powerful, emotive, vocal. Later, the piano and guitar combine, as Dionne rolls back the years, unleashing a soaring vocal full of emotion and hurt. Truly, it’s a classic track from Dionne Warwick, and signals that she was back.
It Makes No Difference was the second single released from Heartbreaker in the US. It was written by Barry Gibb and Andy Galuten, and has a slightly tougher sound and lacks the polished sheen of Heartbreaker. This is no bad thing, and suits the song. Keyboards and the rhythm section combine as Dionne delivers a vocal full of sadness, resignation and frustration. The Gibbs add their trademark harmonies, while stabs of horns and searing guitars add to the arrangement’s drama. Strings glide in, adding to the emotion, while the drama and heartache grow, as this mini-soap opera reveals its hidden secrets.
Yours is the second of the five tracks written by the Gibbs and was released as single in the UK. It sees the tempo drop and drama grow. The arrangement has an understated sound, that takes time to develop as Dionne sings about the fleeting nature of love. With just the piano accompanying Dionne’s emotive vocal, the rhythm section and acoustic guitar add drama to the understated arrangement. Dionne delivers a vocal that’s tinged with loneliness and disbelief, that so soon, love is gone. Gradually, the arrangement builds, matching the emotion and power in Dionne’s vocal. Strings reflect the sadness in Dionne’s vocal, while later, the rhythm section reflect the drama, turmoil and power in her voice. A combination of Dionne’s heartfelt, emotive vocal and Gibb, Galuten, Richardson’s inspired production make this one of the most moving tracks on Heartbreaker.
Take The Short Way Home is very different from the previous track, with the style and tempo changing. Crucial to the track’s success is a swaggering rhythm that’s truly irresistible. Add in punchy blazing horns from the Boneroo Horns and a sassy vocal from Dionne and we’re hearing a quite different side to Dionne Warwick. That sashaying rhythm is combined with warm, melodic keyboards and breathy harmonies from the Gibbs. Dionne seems to relish the change of style, delivering a sassy vocal. Later, the horns that punctuate the arrangement and lush, dancing strings prove to be just the finishing touch to the funky arrangement. Thirty years later, not only has this track aged well, but is quite irresistible and one of the highlights of Heartbreaker.
Misunderstood is another track written by the Gibb brothers, and from the opening bars, you can tell they penned this track. Sometimes, there’s even brief similarities with Heartbreaker during some of the chord changes. Searing guitars, keyboards and the rhythm section combine with Dionne’s vocal, as she delivers her vocal quickly, with the Gibbs adding cascading harmonies. Soon, Dionne’s vocal grows in power, displaying a mixture of sadness and regret. As the arrangement flows along, strings add to the sadness, while the piano and harmonies play important roles. The harmonies are the perfect accompaniment to Dionne’s vocal and the interplay between them, plays in an important part in the song’s effectiveness.
Of the three singles released from Heartbreaker, I always though All The Love In The World should’ve been a bigger commercial success. With just the rhythm section, keyboards and guitar accompanying her, Dionne delivers one of her best vocals on Heartbreaker. She uses her full vocal range, starting way down, quickly combining power and passion. The arrangement is one of the best on Heartbreaker, with the Gibb, Galuten, Richardson production team adding crucial parts at the optimum time. Strings sweep in elegantly, add to the emotion in Dionne’s vocal, the rhythm section and guitar solos add to the drama, as the arrangement builds and the Gibb’s harmonies add to the payoff. It’s a masterful arrangement, one that stirs the emotions and tugs at your heartstrings with its beautiful sound.
I Can’t See Anything (But You) is a track that Barry and Maurice Gibb cowrote with Albhy Galuten. Straight away, the rhythm and horn section combine to create a bold, dramatic sound. When Dionne’s vocal enters, it’s tender, but quickly grows in power as the arrangement unfolds around her. At the bridge, strings sweep and swirl furiously, while a piano and the rhythm section create a hugely, dramatic, thunderous backdrop. Things calm down, but all the time, Dionne’s vocal weaves its way through the arrangement, seamlessly mixing power and passion with emotion and feeling.
With just a keyboards accompanying Dionne, Just One More Night allows her vocal to take centre-stage. What follows is something of a vocal tour de force, with Dionne’s using her full vocal range and displaying her gospel roots. Her vocal is filled with longing and loneliness, matched by sadness and sanguiness. Strings sweep in, their lush sound being joined by a dramatic burst from the rhythm section as Dionne breathes meaning and life into the lyrics. A rasping saxophone solo from Gary Brown is added at just the right time, adding to the emotion and effectiveness of the arrangement. What makes the track is a vocal masterclass from Dionne, where she fuses R&B with her gospel roots and injects energy, emotion and meaning into the song, making it her very own.
You Are My Love is the last song penned by the Gibbs and sees the tempo increase. Like other tracks on Heartbreaker, the introduction is bold, dramatic and sets the scene for the track. The rhythm section, piano and sizzling guitars combine with Dionne’s desperate vocal. Her vocal is tinged with worry and fear, fear at losing the man she loves and believes in. Dionne delivers her vocal quickly, while the arrangement quickly grows. Flourishes of strings, punchy harmonies, bursts of drama from the rhythm section all play their part in bold, melodramatic arrangement, while Dionne’s vocal is tinged with pathos and poignancy.
Closing Heartbreaker is a cover version of Ruby and The Romantics 1963 single Our Day Will Come. It has a lovely floaty arrangement, where percussion, keyboards, chiming guitars and a piano combining with Dionne’s tender vocal. She transforms the track, with her vocal. Similarly, the arrangement transforms the track. Lush strings are added and later, Gary Brown lays down a blazing saxophone solo and so do the brief bursts of punchy harmonies. They play their part in the arrangements beautiful, melodic and elegant sound. Although very different from the preceding tracks, it’s the perfect way to end Heartbreaker.
Although Heartbreaker never matched the commercial success of 1979s Dionne, I actually prefer Heartbreaker. Both Dionne and Heartbreaker feature Dionne Warwick at her very best, during what was an Indian Summer in her career. Of the two albums, Heartbreaker features a stronger set of songs. Mind you, with the Barry, Maurice and Robbin Gibb writing five of the tracks and co-writing four other tracks, that’s no surprise. They were at the height of their success when they wrote these songs, having just scored success with Barbara Streisand’s Guilty album. While the Gibb brothers played their part in making Dionne’s fourth Arista album Heartbreaker a success, so did the Gibb, Galuten, Richardson production team. They were responsible for slick, polished production where soul, funk R&B and gospel are fused by Dionne. The Gibb, Galuten, Richardson production team were also at the height of their success. They seemed to have the uncanny knack of adding each part of the arrangement at the perfect time. Just when you sense a track could do with strings to add emotion or a burst of the rhythm section or horns to add drama, it’s magically added. However, regardless of how good the songs were, or how polished and professional the production was, what made Heartbreaker such a huge success was Dionne Warwick’s voice. Her career had been revived with 1979s Dionne, but her next two albums weren’t as successful Heartbreaker was her fourth album for Arista and the best of the quartet. Not only is Dionne Warwick at her very best on Heartbreaker, which will be rereleased on 17th September 2012, by BBR Records, where she give more than a fleeting glimpse of the vocal prowess that made her one of the biggest soul singers of the sixties seventies. By 1982, she was Now into her third decade as a recording artist and Dionne Warwick was proof of the maxim that form was temporary, while class is permanent. Standout Tracks: Heartbreaker, Yours, All The Love In The World and Just One More Night.
DIONNE WARWICK-HEARTBREAKER.
M.F.S.B.-LOVE IS THE MESSAGE.
M.F.S.B.-LOVE IS THE MESSAGE.
Having founded Philadelphia International Records in 1972, Gamble and Huff were about to embark on a musical journey that would see them change the musical landscape forevermore. While much of Philadelphia International Records’ success was down to Gamble and Huff’s undoubtable skills as songwriters and producers, all to often the role of M.F.S.B. in the label’s success is underestimated, and sometimes underplayed. Between 1972 and 1975, the original and classic lineup of M.F.S.B. played on every one of the label’s successful albums. Whether it was Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Ship Ahoy and Family Reunion, Harold Melvin and The Blue Notes’ I Miss You, Black and Blue and Wake Up Everybody or The Three Degrees’ The Three Degrees and International M.F.S.B. played on each of these classic albums.
Then in 1975, after a dispute with Gamble and Huff over money, many of the classic lineup of M.F.S.B. left Philadelphia International Records and headed to New York, where they become The Salsoul Orchestra and played a huge part in Salsoul’s success. However, M.F.S.B. were much more than just Philadelphia International Records’ house-band, but a hugely successful group in their own right. Between their 1972 and 1980 M.F.S.B. released eight albums for Philadelphia International Records. M.F.S.B.’s recording career started with their eponymous debut album M.F.S.B., released in early 1973, which reached number 121 in the US Billboard 200 and number twenty in the US R&B Charts. Then in December 1973, M.F.S.B. released their seminal album Love Is The Message, which featured the classic, number one single TSOP (The Sound of Philadelphia). Before I tell you about M.F.S.B.’s sophomore album Love Is The Message, which will be released by BBR Records on 17th September 2012, I’ll tell you the background to the album.
Although M.F.S.B’s debut album M.F.S.B, released early in 1973, had proved to be a commercial success, reaching number 121 in the US Billboard 200 and number twenty in the US R&B Charts, it hadn’t featured a successful single. This disappointed Gamble and Huff, who realized that a successful single would translate into album sales. For M.F.S.B’s sophomore album, which would become Love Is The Message, they had no rethink their strategy for M.F.S.B. Then they heard that Don Cornelius television TV dance program Soul Train was changing.
After securing sponsorship from Sears Roebuck, Don Cornelius premiered Soul Train in 1970. It was filmed and broadcast from Chicago, with Jerry Butler featuring on the first show. Soon, Soul Train become a successful TV show, attracting new sponsors, The Johnson Products Company whose sponsorship allowed the program to be syndicated across America. This meant Soul Train would now be filmed in Los Angeles and for this new beginning, a new theme song was needed. This was where Gamble and Huff came in.
Gamble and Huff wrote the new theme tune, Soul Train. With people across America hearing the song every week, it worked its way into the nation’s consciousness. So, Gamble and Huff negotiated with Don Cornelius to license the song for Philadelphia International Records to release. A deal was struck, with the caveat that the name Soul Train couldn’t be used. So, Soul Train became TSOP (The Sound of Philadelphia). With Gamble and Huff looking for a hit single for M.F.S.B., TSOP (The Sound of Philadelphia) was just what they needed. M.F.S.B. had their next single sorted out, so work began on recording of their sophomore album Love Is The Message.
For Love Is The Message the album was a mixture of new tracks and cover versions. Gamble and Huff only cowrote two tracks, but they turned out to be classics, Love Is The Message and TSOP (The Sound of Philadelphia). Bruce Hawkes and Jack Faith cowrote Bitter Sweet. The cover versions included Cheaper To Keep Her, My One and Only Love and Touch Me In the Morning. These six tracks, plus the two short tracks, Zach’s Fanfare completed M.F.S.B’s second album Love Is The Message. It would be recorded at Philly’s Sigma Sound Studios, where all of Gamble and Huff’s Philadelphia International Records’ albums were recorded.
At Philly’s Sigma Sound Studios Gamble and Huff produced four tracks which were arranged by Bobby Martin, one of Philadelphia International Records’ best arrangers and producers. Vince Montana Jr. arranged and produced My One and Only Love, while Jack Faith arranged and produced Bitter Sweet. The lineup of M.F.S.B. which would play on Love Is The Message was the classic lineup. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli and T.J. Tindall,, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and violinist Don Renaldo. The Three Degrees added vocals on TSOP (The Sound of Philadelphia) and Love Is the Message, the two hit singles from Love Is The Message. Together The Three Degrees and M.F.S.B. recorded the eight tracks on Love Is The Message, which was released in December 1973.
On the release of M.F.S.B’s sophomore album Love Is The Message in December 1973, it reached number four in the US Billboard 200 and number one in the US R&B Charts. When TSOP (The Sound of Philadelphia) was released in February 1974, Gamble and Huff had their hit single for M.F.S.B. It reached number one in the US Billboard 100 and US R&B Charts, selling over one-million copies. In the UK, TSOP (The Sound of Philadelphia) reached just number twenty-two. When Love Is The Message was released as a single in June 1974, remarkably, it only reached number eighty-five in the US Billboard 100 and number forty-two in the US R&B Charts. However, Love Is The Message gave M.F.S.B. their most successful album and featured a dual number one single TSOP (The Sound of Philadelphia). What made Love Is The Message such a successful album?
Opening M.F.S.B’s most successful album Love Is The Message is the twenty-three second Zach’s Fanfare, where a roll of Earl Young’s drums, bursts of blazing horns and dramatically and enthusiastically, a musical equivalent of a fairground barker announces “ladies and gentlemen Gamble and Huff proudly present M.F.S.B.” With that tympani, joining the horn and rhythm section, the drama builds and builds, leaving you anticipating the seven tracks still to come.
Why the title-track Love Is The Message never fared better on its release has always been something of a mystery to me. With Gamble and Huff producing and writing the track, Bobby Martin arranging it and M.F.S.B. in all their glory, kicking loose and letting the world hear their considerable talents Philly Soul doesn’t get much better. When the track opens it’s a mass of the lushest strings, blazing horns, percussion and the pounding Baker, Harris, Young rhythm section. From its soulful beginnings, the track quickly decides to reveal its drama and delights. On the signal of Earl Young’s drums, a sizzling saxophone solo from Zach Zachary enters, while Lenny Pakula’s Hammond adds atmosphere. After that, the track briefly heads in a direction marked funk, before returning to its soulful sound. Strings sweep and swirl, horns blaze and growl, while Vince Montana Jr, adds the unmistakable sound of his vibes. Providing the track’s pulsating heartbeat is Baker, Harris, Young rhythm section. Later, the Three Degrees add their soulful strains, as M.F.S.B. combine soul, funk and jazz seamlessly. You can’t help but be hugely impressed by the combined talents of M.F.S.B, as they create track that’s blessed with a contemporary, timeless sound, that sounds as good today as in 1973.
Cheaper To Keep Her is a cover of a track made famous by Johnny Taylor on Stax Records. Originally written in 1953, M.F.S.B. with Gamble and Huff producing and Bobby Martin arranging, take the track back to its jazz roots. Stabs of Lenny Pakula’s Hammond organ, Ronnie Baker’s wandering bass, percussion and Vince Montana Jr’s vibes combine as M.F.S.B. are transformed into a big band. Horns blaze, while a jazzy piano solo drifts in and out. All the time, the Baker, Harris, Young create the track’s jazzy backbeat, while the Hammond organ, stabs of big kicking horns and percussion are ever-present. It’s very much a “team effort,” with each of M.F.S.B. playing their part in the track’s sound and success. Later, Vince Montana Jr. steps up, laying down one of his trademark solos, playing his part in this glorious sounding track that’s sounds as if it’s from another era.
Vibes virtuoso Vince Montana Jr, takes charge of arranging and production duties on My One and Only Love. The tempo drops a beautiful saxophone solo combining with the Baker, Harris, Young rhythm section, Vince Montana Jr,’s vibes and the lushest of strings. Saxophonist Zach lays down one of the best solos he’d play on an M.F.S.B. album. Later, a stab of Lenny Pakula’s Hammond organ signal’s Vince Montana Jr’s vibes solo to begin. Not to be outdone, Vince plays down an equally spellbinding solo, while strings sweep slowly and Ron Baker’s bass helps give the track its vintage sound. Norman Harris then plays one of his jazzy guitar solos, before Zach rejoins. Together they demonstrate just how fortunate Gamble and Huff were to have such talented personnel and in the process, create an absolutely gorgeous track.
TSOP (The Sound of Philadelphia) gave M.F.S.B. the hit single Gamble and Huff wanted for them, reaching number one in the US Billboard 100 and US R&B Charts, selling one-million copies. Written and produced by Gamble and Huff, Bobby Martin arranged it and The Three Degrees added vocals. With strings, swirling and sweeping, dancing with delight, horns rasp and growl, while the Baker, Harris, Young rhythm section’s pounding rhythm section drive the track along. Stabs of Lenny Pakula’s Hammond organ, a sprinkling of Larry Washington’s percussion join the punchy horns and cascading strings, as M.F.S.B. are like a musical Soul Train charging down the tracks. Norman Harris adds his jazz-tinged guitar, Vince Montana Jr, adds vibes, while Ron Baker’s bass and Earl Young’s bass unite. Later, the Three Degrees add sweet, soulful, soaring harmonies. Their elegant sound is just the finishing touch, drifting in and out and a quite beautiful contrast. It seems everyone brought their A-Game to the session, where M.F.S.B. create a fusion of soul and funk that would become a classic track. Indeed, this isn’t just Love Is The Message’s Magnus Opus, but one of Philadelphia International Records’ greatest recordings.
It’s almost impossible to followup the previous track, so Zach’s Fanfare is the perfect curveball. For just under a minute, Interlude sees M.F.S.B. enter a time-machine and are transported back in time, becoming an old style big band. Horns bray and rasp, while Baker, Harris, Young provide the track’s jazz-drenched heartbeat as the track unfolds at breakneck speed. All too soon, the track is over and you’re left wondering what this song could’ve become and what an album like this would’ve sounded like?
Touch Me In the Morning is another standard that’s been covered by many artists, but here, with Gamble and Huff producing and Bobby Martin arranging M.F.S.B. deliver a dramatic and then joyous track where jazz, soul and funk unite. Emotive strings, Zach’s impassioned alto saxophone solo and stabs of Lenny Pakula’s Hammond organ combine, before Earl Young’s thunderous drums signal all change. Earl’s drums and blazing horns combine before Vince Montana Jr,’s vibes, Ronnie Baker’s deliberate bass and the saxophone take charge. Now, M.F.S.B. kick loose and the sound is truly glorious. Flourishes of piano, sweeping, swirling strings, percussion and Norman Harris’ searing, jazzy guitar solo are all crucial to Bobby Martin’s arrangement. All the time Earl’s drums and Ronnie’s bass anchor the track, while Zach’s searing, blazing saxophone solo is breathtaking in its power, drama and the emotion it stirs. For over six minutes you’re taken on musical roller-coaster journey where drama, emotion and joy are your constant companions, while M.F.S.B. provide the stirring, stunning soundtrack.
Closing Love Is The Message is Bitter Sweet, written and produced by Bruce Hawkes and Jack Faith, who arranged the track. Jack Faith’s role in the Philadelphia International Records’ success story is too often overlooked, but he was a hugely talented songwriter, arranger, producer and musician. Again the tempo is dropped, with the arrangement having a dramatic, jazz-tinged sound. Another change is the tempo, which starts in 3/4 time, which for non-musicians is like a waltz. Midway through the track the tempo changes to 4/4 time. A rasping saxophone, the Baker, Harris, Young rhythm section, keyboards, woodwind and cascading strings combine to create a dramatic, jazzy arrangement in 3/4 time. All the time, Earl’s drums and Ron’s bass anchor the track. Floaty strings add beauty, contrasting the growling horns. Then with Ron and Earl combining, the tempo changes to 4/4 and things get funkier. Braying horns, a funky rhythm section, elegant strings, percussion and Vince’s vibes combine, before Zach blows another blazing saxophone solo. Vince then not to be outdone, lays down an equally impressive vibes solo, as M.F.S.B. bring Love Is The Message to a dramatic and memorable ending.
Of the eight albums M.F.S.B. released, Love Is The Message wasn’t just the most critically acclaimed and commercially successful, but their seminal album. Describing Love Is The Message as a classic doesn’t do the album justice. Instead, Love Is The Message is more like a Magnus Opus, and a demonstration of the combined talents and versatility of M.F.S.B. Whether it was Philly Soul, jazz, funk or even big band music, M.F.S.B. were just as comfortable playing it. M.F.S.B. could switch seamlessly between genres, and on Bitter Sweet, between time signatures. Nowadays, many musicians struggle with 4/4 tempo, while M.F.S.B. switched from 3/4 time to 4/4 time. For non-musicians that’s quite an achievement and something only truly gifted and talented musicians are capable of. Mind you with some of Philly’s finest musicians, including the Baker, Harris, Young rhythm section, Bobby “Electronic” Eli, T.J. Tindall, Vince Montana Jr, Larry Washington, Jack Faith and Don Renaldo playing on Love Is the Message, it’s no surprise the album sold over one-million copies. Playing their part in the success of Love Is the Message were The Three Degrees, who added vocals on Love Is the Message and TSOP (The Sound of Philadelphia). Of course Gamble and Huff’s contribution as songwriters and producers can’t be underestimated. By 1973, Gamble and Huff were going through the hottest, most successful period of their career. However, arrangers Bobby Martin and Jack Faith, who wrote and produced Bitter Sweet with Bruce Hakes, roles can’t be underestimated. Both Jack and Bobby would play an important part the Philadelphia International Records’ success story. That success story was based upon the combined talents of the arrangers, producers, songwriters and of course, the musicians, namely M.F.S.B. Look at any Philadelphia International Records’ album from this period and the same musicians played on each album.
Less than two years after the release of Love Is The Message, Gamble and Huff forgot that: “the workman is worthy of his hire.” They were locked in a dispute with many members of M.F.S.B. over money. When the dispute couldn’t be resolved, many of M.F.S.B. headed less than one-hundred miles away to New York, becoming The Sasoul Orchestra. Ironically for Gamble and Huff, The Salsoul Orchestra proved crucial in the rise and rise of Salsoul Records, replicating the success Gamble and Huff were enjoying when M.F.S.B. when Love Is The Message was released.
Although the original lineup of M.F.S.B. would released further albums, Love Is The Message which will be released by BBR Records on 17th September 2012 is their greatest album, their Magnus Opus. On Love Is The Message are two classic songs, TSOP (The Sound of Philadelphia) and Love Is the Message, which demonstrates the combined and many talents of the greatest house-bands in music M.F.S.B. Standout Tracks: Love Is The Message, Cheaper To Keep Her, My One and Only Love and TSOP (The Sound of Philadelphia).
M.F.S.B.-LOVE IS THE MESSAGE.
INSTANT FUNK-INSTANT FUNK.
INSTANT FUNK-INSTANT FUNK.
Often, Lady Luck has played her part in the success of artists and record labels. Back in 1978 Norman Harris’ Gold Mind Records was struggling financially. Without a major distributor the outlook was bleak for his beloved record label, even though it was a subsidiary of Saloul Records. What Norman Harris would give for a million selling single or album. Instantly this musical genius’ problems would be solved. Then ironically, Norman brought a group to Salsoul who’d record a million-selling album…Instant Funk. Sadly, he wouldn’t be involved in their success.
New Jersey band Instant Funk began their career as a backing band for artists like Bunny Sigler and The Manhattans, and later worked for Philly legends like The O’Jays, The Three Degrees, Dexter Wansell and Archie Bell and The Drells. It wasn’t until 1976 that Instant Funk’s recording career began, releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label. Three years later, when Instant Funk now signed to Salsoul, released their second album Instant Funk. On Instant Funk, which will be rereleased by BBR Records on 17th September 2012, was a song that would become a dance classic, selling one-million copies and totally transforming the career of Instant Funk. That song was I Got My Mind Made Up (You Can Get It Girl), which became one of Salsoul’s biggest selling singles. Before I tell you about Instant Funk’s second album Instant Funk, I’ll tell you about the background the album.
After releasing their debut album Get Down With the Philly Sound for Gamble and Huff’s T.S.O.P. label which failed commercially, Instant Funk found themselves without a record label. So Instant Funk returned to their role as backing band, accompanying the legendary Queen of Disco Loleatta Holloway on her Queen of The Night album for Gold Mind Records. Having played their part in Queen of The Night’s success, Norman Harris, Instant Funk played on another Gold Mind Records album, Double Exposure’s second album Fourplay. Soon they were playing on any album Bunny Sigler was involved in at Salsoul. While Bunny was playing a bigger role at Salsoul, one of the men responsible for Salsoul’s success was having problem with a Salsoul subsidiary Gold Mind Records.
By 1978, Norman Harris’ label Gold Mind Records was in financial trouble. Gold Mind didn’t have a major distributor, despite being a subsidiary of Salsoul. By 1979, Salsoul took over Gold Mind and Gold Mind was no longer an independent label. Ironically, if Norman Harris had managed to release Instant Funk’s second album Instant Funk, his troubles would’ve been over. Sadly, that wasn’t the case and the course of musical history and Norman Harris’ career changed.
With Instant Funk signed to Salsoul, they set about recording their Salsoul debut Instant Funk. On Instant Funk were eight tracks, with Bunny Sigler playing a huge role in the album and its success. He wrote two track and cowrote three other songs. Bunny wrote one of the singles Crying and I’ll Be Doggone, while cowroting Don’t You Wanna Party and Wide World of Sports, plus Dark Vader with his brother Jimmy Sigler. Instant Funk bassist Raymond Earl, drummer Scotty Miller and guitarist Scotty Miller cowrote the million-seller I Got My Mind Made Up (You Can Get It Girl) and You Say You Want Me To Stay, while co-writing Don’t You Wanna Party and Wide World of Sports with Bunny. These tracks and Never Let It Go made up Instant Funk, which was recorded at three studios in Philly.
For recording of their Salsoul debut, Instant Funk, the seven members of Instant Funk headed to Philadelphia. Once there, they recorded the eight tracks at three studios, Sigma Sound Studios, Alpha International and Philadelphia Music Works. The Sigler brothers Bunny and Jimmy played piano and organ on Instant Funk, with James Carmichael singing lead and backing vocals. Unlike other Salsoul artists, Instant Funk were a band, so didn’t need The Salsoul Orchestra. They laid the tracks down and soon, Instant Funk was ready for release.
I Got My Mind Made Up (You Can Get It Girl) was released in December 1978, reaching number twenty in the US Billboard 100 and number one in the US R&B Charts and US Disco Charts. When Instant Funk was released on January 1979 the success continued. It reached number twelve in the US Billboard 200 and number one in the US R&B Charts and US Disco Charts. Crying was released as a single in May 1979, reaching just number forty-one in the US R&B Charts. If only Instant Funk had been released earlier, Norman Harris’ Gold Mind Records would’ve been saved. That sadly wasn’t to be. However, Salsoul had a new superstar, but what made Instant Funk such a hugely successful album?
Opening Instant Funk is I Got My Mind Made Up (You Can Get It Girl), the single which launched their career selling over one-million copies. It was later sampled by many artists, including De La Soul on A Rollerskating Jam Named Saturdays. That familiar opening where punchy horns kick, before Instant Funk’s rhythm section combine with synths, tight harmonies, before a flourish of keyboards, ushers in James Carmichael’s punchy, sassy lead vocal. An equally sassy female vocal replies in disbelief to James’ vocal. Punchy harmonies add to the hook-laden sound, before James delivers a heartfelt vocal. Meanwhile, Instant Funk fuse percussion, a loping bass line, punchy drums and harmonies as the synths buzz. Breathy backing vocals accompany the really soulful lilting vocal, before midway through the track, a breakdown is like a musical curveball. When the track rebuilds, you’ve another two minutes to revel in this glorious funk classic, where Latin, funk, soul and disco combine seamlessly. No wonder this was Instant Funk’s biggest hit.
Hot on the heels of one Instant Funk classic comes another, Crying which is my favorite track from Instant Funk. A pounding rhythm section then drum rolls combine with tight, soulful harmonies as the piano drives the track along and James delivers his most impassioned vocal on Instant Funk. He’s accompanied by sweeping harmonies and synths, while horns growl and rasp, as the rhythm section drive the track along at breakneck speed. By now James and the rest of Instant Funk are delivering a soulful masterclass as he vamps his way through the track. The horns and harmonies add the finishing touch to Crying, which deserved to have been a much bigger commercial success than it was, given its outstanding quality and soulfulness.
Never Let It Go Away sees a real change in style, with Instant Funk dropping the tempo and a quite beautiful track unfolding. Warm, melodic keyboards, weeping electric guitar and the lushest of strings give way to a dramatic piano solo and a heartfelt, impassioned vocal from James. Horns blaze, while the rhythm section create the track’s sometimes, dramatic heartbeat. James’ vocal is at the forefront of the arrangement, while the horns, rhythm section, keyboards and meandering piano create a dramatic, emotive and hugely moving backdrop. Occasional harmonies join this myriad of dramatic and emotional music, while James Carmichael delivers one of his best vocals on Instant Funk. With music as soulful, moving and emotive as this, it’s no wonder Instant Funk was a huge success.
After the detour via heartbreakingly sad soul, Instant Funk get back to their good-time, party sound. They sound as if they’re having a ball on Don’t You Want To Party. The track explodes into life, with Instant Funk mixing the funkiest of pounding rhythm section, with stabs of punchy horns, piano, percussion and keyboards. James’ vocal is joyous, full of life and promises of good times, while the rest of Instant Funk add riotous, joyful backing vocals. Instant Funk show that while Salsoul was primarily a disco and soul label, they could funk it up with the best of bands, throwing down the gantlet to the new generation of funk bands. Anything funk giants like Funkadelic, Parliament and War could do, so could Instant Funk. It takes just one listen to this track to realize that.
Riotous applause opens Wide World of Sports as if the Philadelphia Eagles had just scored a touchdown in the Super Bowl. Instead, Instant Funk unleash a sizzling slice of jazz funk that unfolds at breathtaking speed. This is very different from previous tracks, with the rhythm section, stabs of blazing horns, percussion and piano combining seamlessly. There’s even a twist of Latin music thrown in for good measure, with the applause seemingly roaring for more of this dramatic, roller coaster journey through jazz, funk and Latin music. It shows the versatility of Instant Funk, that they can go fuse soul, funk and jazz funk and in the space of three songs, switch seamlessly from genre to genre, and be just as comfortable playing each genre.
Dark Vader was written by Jimmy and Bunny Sigler, with Jimmy Sigler and Sam Peaks arranging the track. There’s a space-age sound to the track, with synths and dark, moody spoken word vocal combining with stabs of horns, a thunderous rhythm section and percussion. Then Jimmy unleashes a fearsome, grizzled vocal in keeping with the track as this seven minute epic unfolds. Punchy harmonies are added, before normal service is resumed and Jimmy vamps his way through the track. Soon, a hugely catchy, dramatic track unfolds. With its bold, dramatic sound you’re drawn in and spellbound by Jimmy’s powerful, passionate vamp. The rest of Instant Funk add harmonies and create a hypnotic, funk-laden backdrop. They fuse buzzing synths, a pounding rhythm section, blazing horns and percussion, while later, pleading female harmonies augment Jimmy’s storming vamp. Truly, the word epic doesn’t begin to describe this track.
You Say You Want Me To Stay was written by Instant Funk bassist Raymond Earl, drummer Scotty Miller and guitarist Scotty Miller, with Kim Miller and Larry Davis arranging the track. While the pounding, funky rhythm section, growling horns and percussion combine with joyous harmonies creating a funky backdrop, James vocal is soulful. He unleashes another heartfelt, impassioned vocal, where power and passion are bedfellows. Meanwhile Instant Funk’s horn and rhythm section create an uber funky, dramatic backdrop. They add punchy, almost sensual harmonies that sound as if they belong on a Sly and The Family Stone album as Instant Funk combine a similar fusion of funk and soul.
Closing Instant Funk’s million-selling Salsoul debut Instant Funk is I’ll Be Doggone, where the funk and quality continue. Shrieks and yelps give way to Instant Funk’s rhythm section, waves and rolls of Hammond organ, growling horns and percussion. They combine to create a funky, dramatic and pounding arrangement before James’ delivers a vocal that owes much to James Brown. He delivers his vocal with power and desire, strutting his way through the track, while equally powerful, sassy harmonies accompany him. Stabs of horns and Hammond organ, thunderous drums and snarling harmonies are combined, as if realizing this was the track to close Instant Funk, Instant Funk kick loose. They raise their game, creating another slice their own unmistakable brand of funky music, that’s the perfect way to end Instant Funk.
Although when you think of labels that released funk music, you wouldn’t immediately think of Salsoul, Instant Funk proved that there was more to Salsoul than disco and Philly Soul. Instant Funk couldn’t have come at a better time for Salsoul, with disco having died at the hands of the Disco Sucks movement and Gold Mind Records’ financial problems. Ironically, if Instant Funk had been released earlier, Norman Harris’ financial problems at Gold Mind Records would’ve been over. Sadly, Norman was left high and dry, after doing so much for Salsoul. All his work, effort and genius went unrewarded. Now it was arrangers and producers like Bunny Sigler and Tom Moulton who were playing important parts in the next part of the Salsoul story. Bunny had already played an important part in Salsoul’s success, but now was playing a bigger role. While the artists he’d worked with had been successful, none had enjoyed the success that Instant Funk enjoyed. After spending years as a backing band and releasing just one previous album, Instant Funk hit the musical jackpot. Their fusion of soul, funk, disco, jazz and Latin was new, innovative and importantly, dance-floor friendly. It reinforced Salsoul as the premier dance label, but showed their music moving in a post-disco direction. With James Carmichael as Instant Funk’s frontman capable of delivering a song with the required passion, power, emotion and sass backed by some tight, talented and versatile musicians, it seemed strange that no label had spotted Instant Funk’s potential. One man did, Norman Harris and although Bunny Sigler produced Instant Funk, Norman deserves credit for recognizing their considerable talent. That talent which you can hear on Instant Funk’s Salsoul debut Instant Funk will be rereleased by BBR Records on 17th September 2012, would play an important part in the changing face of Salsoul Records in the post-disco musical landscape. Standout Tracks: I Got My Mind Made Up (You Can Get It Girl), Crying, Never Let It Go Away and Wide World of Sports.
INSTANT FUNK-INSTANT FUNK.
DOUBLE EXPOSURE-TEN PERCENT.
DOUBLE EXPOSURE-TEN PERCENT.
December 11th 1975 is a significant date in the history Salsoul Records. It was the date that Double Exposure started recording their debut album Ten Percent, which would become their most successful album, and one of Salsoul’s biggest selling albums. Ten Percent which will be released on 17th September 2012 by BBR Records would also feature three Double Exposure classics Everyman, Ten Percent and My Love Is Free. However, Double Exposure weren’t a new group, but were something of veterans of Philadelphia’s music scene. The quartet of James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis had formed United Image in 1966, whilst still at high school. Since then, their career hadn’t gone smoothly. Having released I’ll Keep Coming Back as single for Stax’s sister label Volt in 1971 they’d recorded enough material for an album. Unfortunately, the album was never recorded when the deal fell through. Having no record deal, United Image then released the single African Bump for the independent label Branding Iron Records. Things weren’t looking good until two things happened. United Image decided to change of name to Double Exposure and a chance meeting with an old friend Norman Harris transformed their career.
Norman Harris had been friendly with Double Exposure since their early days as United Image. Now the legendary Philadelphia guitarist, songwriter, arranger and producer Norman Harris was running his own label Gold Mind Records, a subsidiary of Salsoul. At Gold Mind, Baker, Harris, Young Productions, the production vehicle of the Baker, Harris, Young rhythm section would write, arrange, produce and provide the musicians for the label’s artists. Impressed with Double Exposure Norman recommended Double Exposure to the Cayre brothers, who owned Salsoul. The Cayres liked Double Exposure, so a contract was signed and work would begin on their debut album Ten Per Cent. Before I tell you about Ten Per Cent, I’ll tell you about the background to the album.
For Double Exposure’s debut album Ten Percent, Norman Harris put out a call to his best songwriting contacts. Given this was a newly signed group, Norman wanted the best material he could find. Two of Norman’s Philly based contacts were Alan Felder and T.G. Conway who wrote Ten Percent and My Love Is Free. Alan Felder also cowrote two other tracks, Pick Me with Bruce Gray and Lettie Holden and Everyman (Has To Carry His Own Weight) with Bunny Sigler. Of these four tracks, Ten Percent, My Love Is Free and Everyman (Has To Carry His Own Weight) would become Double Exposure classics. The other three tracks included Gotta Give My Love Away written by James Hendricks and Scott Hawkes while Vince Montana Jr. and Ronnie Walker cowrote Just Can’t Say Hello. Baby I Need Your Loving, penned by Holland, Dozier, Holland was the only cover version on Ten Percent. These seven tracks would be recorded at Philly’s Sigma Sound Studios.
At Philly’s Sigma Sound Studios, the seven tracks that became Double Exposure’s debut album were produced by Baker, Harris, Young Productions. Baker, Harris, Young Productions produced three tracks, with Norman Harris producing two other tracks. The other two tracks were produced by Vince Montana Jr. and Bruce Hawkes for Baker, Harris, Young Productions. For the recording of Ten Percent, the personnel is like a who’s who of Philadelphia music. This included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, T.J. Tindall, vibes virtuoso Vince Montana Jr, while Ron “Have Mercy” Kersey, Clark “Cotton” Kent, T.G. Conway and Bunny Sigler played keyboards. Violinist Don Renaldo was part of a full string and horn section, while Carla Benson, Evette Benton and Barbara Ingram, The Sweethearts of Sigma added backing vocals. WIth the seven tracks recorded, Double Exposure’s debut album Ten Percent ready for release.
The title-track Ten Percent was chosen as the first single to be released from Double Exposure’s debut album. Before its release, Walter Gibbons was given the title-track Ten Percent to remix. This was because the twelve inch single was favored by DJs, due to its better sound quality and its dance-floor friendly sound. This meant the single would be released on two formats, seven-inch and twelve-inch singles. Would this increase sales of Ten Percent?
With Double Exposure’s debut single Ten Percent released in May 1976, complete with Walter Gibbons remix, it reached number fifty-four in the US Billboard 100, sixty-three in the US R&B Charts and number two in the US Disco Charts. When the album Ten Percent was released in August 1976, it reached number 129 in the US Billboard 200 and number forty in the US R&B Charts. Everyman (Has To Carry His Own Weight) was released in October 1976, number eighty-four in the US R&B Charts and number eight in the US Disco Charts. My Love Is Free was the third and final single released from Ten Percent, released in January 1977. It reached number 104 in the US Billboard 100, forty-four in the US R&B Charts and number fifteen in the US Disco Charts. Overall, the Cayre’s decision to sign Double Exposure proved a successful one, resulting in a hugely successful album and three hit singles. However, what made Ten Percent so successful? That’s what I’ll now tell you.
Opening Double Exposure’s debut album Ten Percent is the lead single and title-track Ten Percent. It was arranged and produced by Norman Harris. Percussion, the Baker, Harris, Young rhythm section, rasping horns and Bobby “Electronic” Eli’s sizzling guitars combine before strings cascade and join the arrangement. Straight away, this is a track that could only have been released on one label Salsoul, with funk, Philly Soul and disco uniting. This is The Salsoul Orchestra at their finest, with the Baker, Harris, Young rhythm section providing the track’s funky heartbeat. Tight, punchy and hugely soulful harmonies soar above the arrangement, as Jimmy Williams’ impassioned lead vocal enters. Flourishes of piano join the frenzied guitars, pounding drums and percussion. Add in the lush strings, dramatic, punchy blazing horns and that impassioned, emotive vocal and you’ve the recipe for a classic disco track. This is just a stunning slice of delicious disco and truly is Disco Heaven.
Gotta Give My Love Away which was written by James Hendricks and Scott Hawkes, sees the tempo drop. Arranged and produced by Bruce Hawkes, there’s a real Philly Soul sound as Double Exposure deliver some heartfelt harmonies. As horns growl, strings sweep and swirl and the rhythm section add drama, punchy harmonies are added before Jimmy adds a heartfelt vocal full emotion. He’s accompanied by some beautiful sweeping, tender harmonies, while Earl Young’s drum, growling horns and cascading strings add to the drama and emotion. Meanwhile, Double Exposure get the opportunity to showcase their finely honed harmonies. For three dramatic and emotive minutes, Double Exposure deliver one of the most beautiful songs not just on Ten Per Cent, but any of their three albums.
Everyman was written by Allan Felder and Bunny Sigler and is arranged and produced by Norman Harris. The track literally bursts joyfully into life. A flourish of piano, the funky Baker, Harris, Young rhythm section, blazing horns, dancing disco strings and Vince Montana’s vibes give way to Jimmy’s lead vocal. He makes the song his own, delivering it with a mixture of power, passion and joy, bringing out the meaning in the lyrics. Meanwhile harmonies sweep in, with the Sweethearts of Sigma augmenting Double Exposure. By now Double Exposure and The Salsoul Orchestra kick loose. Jimmy’s vocal is inspirational and The Salsoul Orchestra’s breathtaking. Bobby Eli adds his trademark guitar sound, horns blaze, strings dance with delight, each playing their part in the track’s joyous, inspirational and feel-good sound. The song has Salsoul written all over it and Norman Harris’ production is absolutely peerless. That’s why this is the greatest song Double Exposure ever recorded. It’s anthemic, uplifting, inspirational and totally joyous.
Baby I Need Your Loving was written by Holland, Dozier and Holland, with Ron “Have Mercy” Kersey’s arrangement and Baker, Harris, Young’s production giving the song a makeover. Straight away, you realize the difference in the song. Rasping horns, a pounding Baker, Harris, Young, lush, sweeping and swirling strings and chiming guitars give way to the Sweethearts of Sigma’s punchy, testifying harmonies. Then Jimmy lays bare his soul, delivering a gut-wrenchingly heartbreaking vocal. All the time, the funky rhythm section, blazing horns and dancing strings combine with the Sweethearts of Sigma who deliver a harmonic masterclass. Their harmonies are soulfulness personified. Add in Bobby “Electronic” Eli’s guitar solo and Vince Montana Jr,’s vibes and the result is the track that this could I much prefer to the original. It’s punchier, more emotive, hugely soulful and sung with much more feeling.
I Just Can’t Say Hello was arranged and produced by Vince Montana Jr, one of the men who played such a huge part in the Salsoul success story. Flourishes of harp, give way to swathes of lush strings and guitars. Bobby “Electronic” Eli’s wah-wah guitar is contrasted by Norman Harris’ jazzy guitar. When Jimmy’s vocal enters, it’s heartfelt and sung with emotion and feeling. He’s accompanied by subtle harmonies, as layers of strings are at the heart of the arrangement, while the song reminds me of Gladys Knight and The Pips’ You’re the Best Thing That Happened To Me. With Jimmy’s voice growing in power and emotion, Vince’s arrangement compliments it, as the strings, harmonies and guitars melt together beautifully, to create a beautiful ballad that can’t fail to move you and tug at your heartstrings and emotions.
Produced by Baker, Harris, Young is Double Exposure’s My Love Is Free, sees the tempo increase and a Double Exposure classic unfold. Drums, shakers, swirling, sweeping strings, guitars and flourishes of keyboards, give way to Jimmy’s vocal. The rest of the group contribute punchy, backing harmonies, while the arrangement has made in Philadelphia stamped all over it. With rasping horns, cascading strings, percussion and the Baker, Harris, Young rhythm section providing the track’s pounding, funky heartbeat. Jimmy’s powerful, impassioned pleas are augmented by soulful harmonies and show just how polished and professional Double Exposure by the time they joined Salsoul. Combine the vocal with the dancing disco strings, chiming guitars, blazing horns and Baker, Harris, Young at their finest and this is a musical marriage made in heaven, one where drama and emotion unite, creating a timeless disco classic.
Closing Ten Percent is Pick Me arranged by T.G. Conway and produced by Baker, Harris, Young. It’s the perfect song to close the album, with its dramatic soulful introduction. Bursts of the pounding Baker, Harris, Young rhythm section, flourishes of strings, Vince Montana Jr’s vibes and growling horns give way to Jimmy Williams powerful, passionate pleas. He vamps his way though the arrangement, with tight, soulful harmonies, keyboards, swathes of strings and thunderous dramatic drums accompanying him. You can’t fault Jimmy Williams’ vocal and it’s as if he’s been waiting for this opportunity to showcase his considerable vocal talents. Given the chance to do so, he gives everything he has, while the rest of Double Exposure and The Salsoul Orchestra play their part in the track’s sound and success. Not only does this close Ten Percent on a high, but leaves you wanting more, so you press play again.
After nine years of struggling to make a commercial breakthrough, it took a change of name to Double Exposure and a chance meeting with Norman Harris to transform the career of James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis. Less than a year after signing to Gold Mind Records, Double Exposure found themselves with three hit singles in Ten Percent, My Love Is Free and Everyman (Has To Carry His Own Weight) and in Ten Percent, one of Salsoul’s biggest selling albums. Thirty-six years after its release, and it’s patently obvious why Ten Percent was such a successful album. Each of its seven tracks are of the highest quality, with Norman Harris’ songwriting contacts doing him proud. With three tracks that would become not just Double Exposure classics, but Salsoul classics My Love Is Free and Everyman (Has To Carry His Own Weight). Similarly, Baker, Harris, Young Production’s collection of arrangers, producers and The Salsoul Orchestra played a huge part in Ten Percent’s success. The Salsoul Orchestra included some of the best musicians of the time, including Baker, Harris, Young, Vince Montana, Bobby “Electronic” Eli, T.J. Tindall, Vince Montana Jr, Ron “Have Mercy” Kersey and the Sweethearts of Sigma adding backing vocals. Each of these musicians, arrangers, producers and songwriters played their part in making Double Exposure’s debut album such a critically acclaimed and commercially successful album. Of all the albums Salsoul Records would release, Double Exposure’s Ten Percent which will be released on 17th September 2012 by BBR Records is a true classic and is the best album Double Exposure released. Unfortunately, before Double Exposure could release the followup to Ten Percent, Double Exposure discovered a problem that would derail their career for two years.
Double Exposure found alleged discrepancies regarding their bookings and management expenses. Salsoul didn’t want to start recording another until album until the problems were resolved. So the momentum Double Exposure built up after the success of Tenpercent wasn’t built upon. Once the problems were resolved, Double Exposure were able to get back to doing what they were good at, making music. By then, Double Exposure were almost Salsoul’s forgotten men. So when Double Exposure released Fourplay in 1978, it failed to replicate the success of their debut album Ten Percent. After Fourplay, Double Exposure would only release one further album, 1979s Locker Room. While the quality of music was still there, commercial success eluded Double Exposure. Although they never again reached the heights of Ten Percent, Double Exposure will always be remembered for their classic debut album Ten Percent, one of Salsoul’s biggest selling albums. Standout Tracks: Ten Percent, My Love Is Free, Baby I Need Your Loving and Everyman (Has To Carry His Own Weight).
DOUBLE EXPOSURE-TEN PERCENT.
LIPPS INC-MOUTH TO MOUTH.
LIPPS INC-MOUTH TO MOUTH.
When Minneapolis based producer Steven Greenberg and the former Miss Black Minneapolis Cynthia Johnson entered the studio to record a single Rock It as Lipps Inc in 1979, little did they realize the commercial success that was about to come their way. Once Rock It was recorded, it was then released in September 1979, as a twelve inch single on Flight Records, and reached number twenty in the US Disco Charts. The success of Rock It was quite remarkable, given that it was released just two months after the Disco Sucks movement tried to destroy disco at Comiskey Park, Chicago on 12th July 1979. After that, disco became hugely unpopular, with labels who’d previously jumped on the disco bandwagon, jumping off. Not Casablanca Records though. They were one of the biggest disco labels, and were so impressed by Rock It and Lipps Inc that they signed them. Now signed to Casablanca Records, Lipps Inc set about recording their debut album Mouth To Mouth, which will be rereleased on BBR Records on 24th September 2012. Although Lipps Inc’s debut album Mouth To Mouth was released in the post-disco era, Lipps Inc it would prove a huge commercial success and contain a number one single Funkytown. Before I tell you about the music on Mouth To Mouth, I’ll tell you about the making of the album.
By the time Steven Greenberg wrote Rock It, he’d been immersed in music all his life. He’d learnt to play the drums whilst playing along with songs by The Beach Boys and The Searchers, while learning the art of songwriting listening to The Temptations and The Beatles. Steven formed his first band The Storm Center aged fourteen. Soon, he master other instruments, when his cousin taught him to play piano and his band-mates taught him guitar. The next step in his musical development was recording his band at home, which he did using reel-to-reel tape recorders. When The Storm Center split-up Steven formed The Quasi Kinship with his cousin Sandy Atlas, who’d been in The Storm Center. They had a number six single with Do You Know What I Mean in 1971. After the success of the single Do You Know What I Mean they wrote an album of songs and headed to Los Angeles to record an album. Then Steven discovered disco.
In Los Angeles Steven visited Studio One, which would change the course of his career. On his return home, he put together a mobile disco rig and sent out letters to clients telling them about disco. Steven was like an evangelist as far as disco was concerned. The next five years Steven and Sandy spent DJ-ing, until one night, Steven had a eureka moment. He wondered if he could write a disco song. When he returned home, he started work on a song, a song that would change his life and that of Cynthia Johnson’s…Rock It.
Having written Rock It, he needed a very special singer to carry the song of, given its structure. He also needed a studio with innovative facilities, so chose Minneapolis’ Sound 80, where Bob Dylan and Cat Stevens had recorded. Having chosen a studio, musicians were auditioned, but they struggled with the song. Eventually, Steven played the parts himself, using a string section after he’d recorded swirling strings that feature on the track. All that was needed was a vocalist. Five of the best female vocalists in Minneapolis auditioned, but couldn’t sing the song in the right key. Then one of singers mentioned another singer, Cynthia Johnson.
Cynthia was a talented vocalist, who had started singing in church. She was also a talented musician, who could also play the saxophone. Her career had taken a different route in 1976 when she was crowned Miss Black Minneapolis. Her previous group had been with Jimmy Jam and Terry Lewis in Flyte Tyme, who became The Time. After Cynthia recorded her vocal, the track was ready to release. Before that, the group needed a name and using the name of a voiceover talent agency for inspiration, the name Lipps Inc was born and their first single Rock It was released on Flight Records.
With Steven Greenberg going round clubs in Chicago and Los Angeles trying to get DJs to play Rock It. Play it they did, with the tempo of 136 beats per minute perfect for later in the DJs sets peak time sets. Soon, the track was a feature of regional charts. The next step was getting major label interested in Rock It. Through a friend, a demo to Rock It reached Casablanca Records. At the same time, Steven took a demo of Rock It to Casablanca’s head office on Sunset Strip in Los Angeles. Casablanca loved Rock It and offered Steven a record deal. After visiting Casablanca’s headquarters, a deal was signed and Rock It was released as a single. It reached number twenty in the US Disco Charts in September 1979. Now work would begin on Lipps Inc’s debut album Mouth To Mouth.
For Lipps’s Inc’s debut album Mouth To Mouth, Steven wrote three new songs All Night Dancing, Power and a track he’d come up with when singing into his tape recorder…Funkytown. Quickly, he’d the basis for Funkytown, which would transform Lipps Inc’s career. With the four songs written, they were recorded at Minneapolis’ Sound 80. These songs show just how creative and innovative Steven Greenberg was. He was ahead of his time, in the pre Logic, Pro-Tools or Ablteton Live days,
When Steven took Lipps Inc’s four song album Mouth To Mouth to Casablanca Records’ Los Angeles’ head office for the unveiling the gathered executives wondered why it only had four tracks? Steven explained that this made it perfect for playing in clubs with wide grooves on the vinyl which meant there was less chance of the record skipping and of course, the sound quality was much better. Having won over the label, Steven was also allowed the mix the songs how he saw fit. This would be a wise decision, considering the success that was about to come For Lipps Inc and Casablanca Records’ way when Mouth To Mouth was released.
On the release of Mouth To Mouth in November 1979, it reached number five in both the US Billboard 200 and US R&B Charts. Then when Funkytown was released as a single, Lipps Inc enjoyed worldwide success. Funkytown reached number one in the US Billboard 100 and US Disco Charts and number two in the US R&B Charts. In the UK, Funkytown reached number two, while reaching number one in Austria, Germany, the Netherlands, Norway, Sweden and Switzerland. Suddenly, everyone knew Lipps Inc and everyone knew Funkytown. Five months later, in July 1980, Rock It was rereleased, reaching number sixty-four in the US Billboard 100 and number eighty-five in the US R&B Charts. Casablanca’s decision to sign Lipps Inc had proved to be a masterstroke and proved to be the perfect partnership. It also proved that disco’s death had been exaggerated. However, what made Lipps Inc’s debut album Mouth To Mouth such a success? That’s what I’ll tell you, after I’ve told you about the music on Mouth To Mouth.
Opening Lipps Inc’s debut album Mouth To Mouth is the number one single Funkytown. Pounding drums then percussion enter, before a blast of horn signals the arrival of that familiar synth line. It’s joined by a vocal sung through a vocoder, before Cynthia Johnson’s punchy vocal enters. With bursts of electronic sounding drums, this post-disco track unfolds. Flourishes of string respond to Cynthia’s vocal, before a sultry saxophone is added. Steven Greenberg’s production is perfect, with each instrument added at just the right time. Everything works, whether its the driving, hooky guitar line that’s features throughout the track, the swirling strings or the percussion that Steven added in just three minutes, it’s like a musical jigsaw where all the pieces fit perfectly. Considering Steven played most of the instruments himself, that’s makes the track more remarkable. Although this track would provide a template for many other tracks, only Funktowntw as an innovative, timeless, post-disco classic.
All Night Dancing was the B-side to Funkytown and the first thing you notice is the innovative, progressive sound. Shivering percussion and thunderous drums combine before Cynthia’s emotive, heartfelt vocal. While keyboards combine with the pounding rhythm section, elegant strings swirl and sweep and a flugelhorn drifts in and out. Providing the arrangement’s constant funky heartbeat is Michael on drums and bassist Terry Grant. Cynthia gives one of her best vocals, one that’s soulful and heartfelt. Later, layered backing vocals accompany her, before a prolonged drum break ushers in jazzy piano solo. This is the clincher and is the icing on this glorious musical cake. So good is this track, that it deserved to be released as a single, rather than a B-side.
Rock It was the song that launched Lipps Inc’s career and resulted in them signing to Casablanca Records. The track opens at breakneck speed, 136 beats per minute. Crisp drums drive the track along, before Cynthia’s punchy, whispered vocal. Flourishes of strings, an uber funky bass line and synths combine. When Cynthia’s vocal enters, the track begins to reveal its funky secrets and subtleties. As her vocal drops out, the bass and synths combine, before Cynthia’s whispery vocal reenters. Then like a juggernaut, the synths, crispy drums and the funkiest of bass line drive the track along, fusing funk, synth pop, disco and hi-energy. Swathes of shivering strings and percussion are added just at the perfect time as this six minute dance-floor epic takes shape and helps launch Lipps Inc’s career.
Closing Lipps Inc’s debut album Mouth To Mouth is Power, a track where elements of synth pop, disco, hi-energy, jazz and funk are poured into the musical melting-pot by Steven. A curveball is thrown when percussion opens the track, before the track literally explodes into life, taking you on a roller-coaster journey. Synths, pounding drums and stabs of blazing horn combine as Cynthia delivers a powerful diva-eque vocal. With a jazz-tinged piano solo, giving way to multi-tracked backing vocals the synths and drums drive the track along. Stabs of horn respond to Cynthia’s vocal, and like the jazzy piano solo, plays its part in the track’s success. What really makes the track is Cynthia’s sassy, fiery vocal. When it’s combined with Michael’s imaginative, innovative arrangement the result is a track that is dynamic, dance-floor friendly and timeless.
Although Lipps Inc’s debut album Mouth To Mouth, only featured four tracks, they were four tracks of the highest order. From the opening bars of Funkytown, through All Night Dancing, Rock It and right up to the closing notes of Power, it’s a dance-floor oriented, tour de force. Released by Casablanca just four months after the zealots of the Disco Sucks movement tried to destroyed disco, Lipps Inc proved that disco hadn’t died, just reinvented itself and gone underground. For this post-disco landscape, Mouth To Mouth was perfect soundtrack and became a favorite of DJs, clubbers and record buyers. Granted Lipps Inc’s Mouth To Mouth wasn’t like disco of the mid-seventies, like the disco of Salsoul between 1976 and 1978. Instead, Steven Greenberg took a musical melting pot, added plenty of disco and funk, a sprinkling of synth pop, a twist of jazz and just a pinch hi-energy. This he mixed together for thirty minutes, resulting in Mouth To Mouth, Lipps Inc’s debut album. Not only did Steven Greenberg’s recipe prove hugely popular, with Mouth To Mouth a reaching number five in the US Billboard 200 and US R&B Charts, but featured the single Funkytown, which was a number one worldwide. While many albums released in 1980 haven’t aged well, Mouth To Mouth has. In the intervening thirty-three years Lipps Inc’s debut album Mouth To Mouth has stood the test of time and sounds as good in 2012, as it did in 2012. Mouth To Mouth, which will be rereleased by BBR Records on 24th September 2012, is an opportunity to head to Funkytown, for some All Night Dancing ,where you can Rock It and enjoy the Power of Lipps Inc’s music, which will provide the soundtrack to your evening.
LIPPS INC-MOUTH TO MOUTH.
FIRST CHOICE-DELUSIONS.
FIRST CHOICE-DELUSIONS.
Three men played a huge part in the success of two of the most important and successful record companies of the seventies, but despite doing so, don’t get the credit they so richly deserve. These three men are bassist Ron Baker, guitarist Norman Harris and drummer Earl Young. Together, were known as the Baker, Harris, Young rhythm section. Having being playing together since the sixties, playing on Thom Bell’s productions of The Detroit Spinners, The Delfonics and The Stylistics, Baker, Harris, Young went on to become members of Philadelphia International Records’ legendary house-band M.F.S.B. As members of M.F.S.B, Baker, Harris, Young featured on albums by Billy Paul, The O’Jays. Harold Melvin and The Blue Notes and of course M.F.S.B. Then in 1975, many members of M.F.S.B. left Philadelphia International Records after a dispute with Gamble and Huff over money. Baker, Harris, Young’s next destination was New York’s Salsoul Records, where they’d become part of The Salsoul Orchestra and write, arrange and produce several artists, including Loleatta Holloway, Double Exposure and First Choice, who Norman Harris had produced since their first single. Now that Baker, Harris, Young were at Salsoul, Ken Cayre gave Norman Harris a record label to run, Gold Mind Records. One of his first signings for Gold Mind in 1976 was First Choice, featuring Rochelle Fleming, Annette Guest and Joyce Jones. Now Baker, Harris, Young’s through their production vehicle Baker, Harris, Young Productions, would begin work on First Choice’s first album for Gold Mind, Delusions, which will be rereleased by BBR Records on 17th September 2012. Delusions would contain two songs that would become synonymous with First Choice and become disco classics, Dr. Love and Let No Man Put Asunder. Before I tell you about Delusions, I’ll tell you about First Choice’s pre-Salsoul career and the making of Delusions.
First Choice’s career had started back in Philadelphia, when Rochelle Fleming, Annette Guest and Joyce Jones were just fifteen and known as The Debronettes. They got their breakthrough after auditioning for Georgie Woods a DJ at Philadelphia’s WDAS radio station. He was so impressed with The Debronettes that he called Stan Watson, owner of Philly Groove Records. Stan liked the group, but not their name, so The Debronettes became First Choice. To produce First Choice’s debut single, Stan Watson brought in Philly-based guitarist, songwriter, arranger and producer Norman Harris.
For their first single, First Choice recorded This Is the House Where Love Died. It wasn’t initially a success, but when rereleased under license by Scepter/Wand gave First Choice a minor hit. First Choice’s second single Armed and Extremely Dangerous gave them a hit single, reaching number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. When their debut album Armed and Extremely Dangerous was released, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. With their debut album having given them a commercial success, Norman Harris started work on First Choice’s second album The Player.
1974 saw the release of The Player, First Choice’s second album. The Player featured another First Choice classic, The Player (Part 1), reaching number seventy in the US Billboard 100 and number seven in the US R&B Charts. When The Player was released, it reached number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. After the success of The Player, First Choice Stan Watson their manager signed a deal for Warner Bros to distribute their his Philly Groove releases, including First Choice.
Following the success of The Player, big things were expected of First Choice now they had a major label distributing their third album. Sadly,1976s So Let Us Entertain You failed to match the success of their two previous albums. It only reached number 204 in the US Billboard 200 and number fifty-three in the US R&B Charts. After the release of So Let Us Entertain You, First Choice then signed to Gold Mind Records, run by Norman Harris.
Now signed to Gold Mind Records, work began on First Choice’s fourth album Delusions in February 1977. Producing Delusions would be Baker, Harris, Young through their production vehicle Baker, Harris, Young Productions. Eight of the nine tracks on Delusions were written by Philly based songwriters or musicians. Norman Harris cowrote three songs with Ron Tyson and Alan Felder, Dr. Love, Indian Giver and Chances Go Around. Ron Baker cowrote Gamble On Love with Ron Tyson, while Ron “Have Mercy” Kersey cowrote I Love You More Than Before. Bruce Gray cowrote two tracks, Let No Man Put Asunder with Bruce Hawkes and Do Me Again with Mikki Farrow and T.G. Conway. Jimmy D was co-written by Bruce Hawkes and Mikki Farrow. The other track on Delusions was a cover of the Steve Wonder and Syreeta Wright penned Love Having You Around. These eight tracks would be recorded at Philadelphia’s Sigma Sound Studios with what amounted to The Salsoul Orchestra accompanying First Choice.
Accompanying First Choice were many of The Salsoul Orchestra’s personnel. This included the Baker, Harris, Young rhythm section, who providing the Delusion’s heartbeat. Augmenting Baker, Harris, Young were bassist Michael “Sugarbear” Foreman and Jim Williams plus drummer Keith Benson. They were joined by guitarists Bobby Eli, T.J. Tindall and Keith Dockins. Vibes virtuoso Vince Montana Jr. was joined by Larry Washington on congas and bongos, flautist Jack Faith, Carlton “Cotton” Kent on keyboards and Ron “Have Mercy” Kersey on keyboards and synths. Violinist Don Renaldo was part of the string and Leon Zachary part of the horn section. Among the arrangers and producers were Ron Baker, Norman Harris, Ron “Have Mercy” Kersey, Bruce Hakes and Baker, Harris, Young. Each of these arrangers, producers and musicians played their part in First Choice’s first album for Gold Mind Records Delusions. Would Delusions prove to be a commercial success for First Choice?
Before Delusions was released in August 1977, Dr. Love was released as a single and had been remixed by Tom Moulton. Given how successful Tom Mouton was a remixer, and how innovative his mixes were, this would prove crucial in Dr. Love’s success. Helped by having a Tom Moulton remix Dr. Love, it reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, becoming their most successful single since Armed and Extremely Dangerous. When Delusions was released in August 1977, it reached number 103 in the US Billboard 200 and number thirty-seven in the US R&B Charts. This meant Delusions was First Choice’s most successful album. Love Having You Around was then released as a single in November 1977, but only reached number sixty-eight in the US R&B Charts. Given that Delusions gave First Choice their most successful album and contained two disco classics, Delusions was the perfect way to mark their debut release for Gold Mind Records. Not only that, but it made up for the disappointment of their previous albums So Let Us Entertain. However, why was Delusions such a successful album and one that marked a change in First Choice’s fortunes? That’s what I’ll tell you, once I’ve told you about the music on Delusions.
Opening Delusions, is a classic track from First Choice and one that’s become synonymous with them Dr. Love, which was arranged and produced by Norman Harris. With a combination of a pounding Baker, Harris, Young rhythm section combining with blazing horns, cascading strings and a sizzling guitar the track bursts into life. A flourish of keyboards gives way to Rochelle’s vocal. It’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, soaring harmonies. All the time, Ron Baker’s bass and Earl Young’s drums anchor the track, each matching the other note for note. By now, Rochelle is overflowing with confidence. Her vocal is a powerful sassy, vamp with Annette and Joyce responding to her call. Strings quiver and shiver, horns growl, Norman Harris adds a jazzy guitar solo and The Salsoul Orchestra are in full flight. Together with First Choice and Rochelle’s vocal tour de force which is a mixture of power, passion and emotion. Add in Norman Harris’ stunning arrangement a disco classic has unfolded over the previous five-minutes.
Indian Giver, like Dr. Love, is a Norman Harris, Ron Tyson and Alan Felder composition, arranged and produced by Norman Harris. It’s a quite different sounding track, with the introduction slower, but dramatic. A good comparison of the production is Thom Bell’s work with The Stylistics, which Norman played on. With a roll of Earl Young’s drums, Rochelle’s heartfelt vocal enters, accompanied by sweeping, swirling strings, gently rasping horns, keyboards and Norman’s spacious, jazzy guitar. As Rochelle delivers a vocal filled with emotion and hurt, Annette and Joyce add dramatic harmonies, while strings cascade. Later, Rochelle’s vocal is softer and she ad-libs, as Vince Montana Jr’s vibes, keyboards and strings combine, while the arrangement takes on an understated sound. This really works and demonstrates another side of First Choice, one that’s very soulful, and full of emotion and heartache.
The only cover version on Delusions is Love Hanging You Around, written by Stevie Wonder and Syreeta Wright. Ron Kersey arranges and produces the track. Here, Ron uses a synth-vocoder during the arrangement which adds to the uber funky sound. Keyboards, rhythm section and vocoder combine, before the blazing horns and the sultry, sensual vocals enter. Rochelle switches from singing lead to joining Annette and Joyce singing harmonies. All the time the vocoder accompanies them, while the keyboards and horns sound similar to the original on Stevie’s Music of My Mind album. Ursula Herring’s fiery, sassy vocals are key to the track, and she’d later replace Joyce when she left First Choice. Together with testifying and cascading harmonies, warm, melodic keyboards and the vocoder, First Choice brings new life and meaning to a familiar track.
It wasn’t just Norman Harris who contributed tracks for Delusions, so did Ron Baker who cowrote Gamble On Love with Ron Tyson. Ron Baker arranged and produced the track, and the result is one of the slickest and most soulful tracks. He uses swathes of the lushest dancing strings, rasping horns, keyboards and the Baker, Harris, Young rhythm section to provide the track’s jaunty heartbeat. Rochelle’s vocal is much more tender, and very soulful with tight cascading harmonies augmenting her vocal. The arrangement just flows elegantly along, with occasional flourishes of keyboards and dramatic bursts of Earl’s drums punctuating the arrangement. Key to the arrangement are the lush strings, rasping horns and First Choice sumptuously soulful vocals.
Chances Go Round see Ron “Have Mercy” Kersey taking charge of arranging and production duties on a track where funk and disco are fused. The two genres immediately unite, with the Baker, Harris, Young rhythm section adding funk, as Ron Baker gives a funk masterclass, slapping his six-string bass. Sweeping, swirling strings, keyboards and braying horns are responsible for the disco influence. When Rochelle’s vocal enters, it’s fiery, full of frustration and anger, while tight, punchy harmonies accompany her. Flourishes of strings, the rhythm section and growling horns all add to the drama, in Rochelle’s vocal. It’s filled with emotion, regret and bravado as she brings the lyrics to life, sounding as if she’s lived and survived them. While funk and disco are fused, there’s a real Philly Soul sound in a track that’s laden with drama and hooks.
Ron “Have Mercy” Kersey cowrote I Love You More Than Before with Cheryl Dickinson, where the tempo drops way down and we hear First Choice at their soulful best. He arranged and produced this very beautiful track, which features a totally heartfelt vocal from Rochelle. She’s accompanied by the lushest of strings, the rhythm section and keyboards that are central to the arrangement’s sound and success. With Annette and Joyce adding tight, tender harmonies and occasional bursts of drama from The Salsoul Orchestra, this is a gorgeous, romantic track with Rochelle Fleming at her soulful best.
Let No Man Put Asunder is the second First Choice classic on Delusions and was written and arranged by Bruce Hawkes and Bruce Gray. Baker, Harris, Young produced the track and this is very definitely one of their very best productions and is a dance-floor classic, one that’s spanned several generations. Against a backdrop of the Baker, Harris, Young rhythm section, percussion and handclaps, Rochelle’s sassy vocal enters. She’s full of bravado and confidence, while harmonies accompany her. Rochelle literally vamps and struts her way through the track with sizzling guitars, punchy harmonies, cascading strings and the pounding rhythm section, with Norman Harris’ jazz-tinged guitar accompanying her. Over the years, I’ve heard numerous reedits and remixes of this track, but the original is the best and a true classic, with Rochelle’s vocal full of fire and defiance.
Do Me Again was arranged by Bruce Hawkes and produced by Baker, Harris, Young and the tempo is dropped way down, with a dramatic, pulsating arrangement unfolding. The Baker, Harris, Young rhythm section, quivering, shimmering strings and keyboards accompany Rochelle’s heartfelt, emotive vocal. Harmonies reflect Rochelle’s powerful, impassioned pleas as the arrangement threatens to explode. Throughout the track, the drama and emotion is almost palpable, with the production perfect for the vocal. Drama and emotion go hand in hand, as Rochelle delivers a needy vocal that demonstrates her soulful roots. She demonstrates how she can make a song her own, and with Annette and Joyce adding harmonies, First Choice show just why they were Salsoul’s most successful female group.
Closing Delusions is Jimmy D which has a much more poppy sound than any other track. Mikki Farrow cowrote Jimmy D with Bruce Hawkes, who arranged and produced the track. Quivering, shivering strings, bursts of rasping horns, keyboards and a pounding rhythm section combine before Rochelle adds an uptempo vocal that swings. Her vocal is accompanied by soaring harmonies while the arrangement has a catchy, poppy and uptempo sound. A piano meanders throughout the arrangement, Jack Faith’s flute, cascading strings and the rhythm section combine to create the perfect track to close Delusions. It’s bright, breezy, hugely catchy and puts a smile on your face. What could be better than that?
After the disappointment of their previous album for Warner Bros. So Let Us Entertain You, First Choice’s career was rejuvenated by Baker, Harris, Young at Gold Mind Records. With Baker, Harris, Young’s guidance, First Choice’s first album for their new label Delusions, proved to be the most successful album of their career, containing two stonewall disco classics Dr. Love and Let No Man Put Asunder. Along with arrangers and producers like Ron “Have Mercy” Kersey, Bruce, Hawkes and Bruce Gray, Baker, Harris, Young fused disco, funk and Philly Soul over the nine tracks on Delusions. While Dr. Love and Let No Man Put Asunder are the two best-known tracks on Delusions, there’s much more to the album than just two tracks. Indian Giver, Gamble On Love, I Love You More Than Before and Do Me Again see First Choice revisit their soulful roots and feature some of their best vocals on Delusions. On Indian Giver and Gamble On Love Rochelle delivers some of her most emotive, heartfelt and soulful vocals. Truly, this is a quite irresistible side of First Choice. Just as these tracks show the soulful side of First Choice, Chances Go Round sees Ron “Have Mercy” Kersey fusing disco, funk and Philly Soul, where Ron Baker gives a funk masterclass on his six-stringed bass. The cover of Stevie Wonder’s Love Hanging You Around was a brave inclusion on Delusions, but one that payed off and is truly uber funky, bringing new life and meaning to the track. Jimmy D, which closes Delusions, shows a much more poppy side of First Choice and demonstrates their versatility. Whether it was disco, funk and Philly Soul or pop, First Choice were just as comfortable singing it, and on Delusions, which will be rereleased by BBR Records on 17th September 2012, they do this and much more. Of all the albums First Choice released, Delusions is their finest, their Magnus Opus, which features two classic tracks Dr. Love and Let No Man Put Asunder. Much of the success of Delusions is down to three men Ron Baker, Norman Harris and Earl Young who rejuvenated and relaunched First Choice’s career on Delusions and would do with many other artists at Salsoul Records. Standout Tracks: Dr. Love, Indian Giver, Gamble On Love and Let No Man Put Asunder.
FIRST CHOICE-DELUSIONS.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
Sometimes, fate plays an important part in the success of an artist, album or in the case of Saloul Records, a record label. This was the case when Ken Cayre met vibes virtuoso Vince Montana Jr. Ken Cayre wanted to import the Philly Sound to his nascent record label, Salsoul, while coincidentally, Vince Montana Jr, approached Salsoul with the idea of bringing a Latin vocal to Mericana, another of Salsoul’s labels. When Ken and Vince met, Ken explained that he was looking for an orchestra similar to Philadelphia International Records’ legendary house-band M.F.S.B. Having explained his vision to Vince, Ken wrote Vince a cheque and in return, Vince would deliver three songs where the Philly Sound was fused a Latin, salsa influence. Without even looking at the cheque, Vince headed back to Philadelphia to record the three songs with some of Philly’s finest musicians. On the bus back to Philly, Vince looked at the cheque, and found it was for $10,000. With some of Philly’s legendary musicians, three tracks were recorded, Nice Vibes, Dance A Little Bit Closer and Salsoul Hustle. After these tracks were delivered to Ken Cayre, he took Salsoul Hustle to CBS who’d first refusal on Salsoul releases. Unluckily for CBS, they were busy releasing albums by Bob Dylan and Barbara Streisand. CBS passed on Salsoul Hustle, as did Atlantic and Polydor Records. So Salsoul released and distributed Salsoul Hustle and immediately, Salsoul had a hit single on their hands. This meant Salsoul needed more songs, enough for an album. That album would become The Salsoul Orchestra’s debut album The Salsoul Orchestra which will be released on 17th September 2012. Then fate would intervene again, and Ken Cayre had his orchestra.
Less than a hundred miles away from Salsoul’s New York headquarters in Philadelphia, problems were afoot at Philadelphia International Records. Gamble and Huff were locked in a dispute with Philadelphia International Records’ legendary house band M.F.S.B. over money. When this dispute couldn’t be resolved, members of M.F.S.B. remembering the proverb “the workman is worthy of his hire” quit Philadelphia International Records and headed to New York where they became The Salsoul Orchestra. In one fell swoop, Ken Cayre had his orchestra and the Philly Sound all in one. Little did Ken Cayre know it, he had just signed the musicians that would make Salsoul the greatest label in disco’s history. These musicians had played on all of Philadelphia International Records’ successful albums and had played on the three tracks Vince Montana Jr. had initially recorded for Ken Cayre. That was the best $10,000 Ken Cayre ever spend. With The Salsoul Orchestra established, they set about recording their debut album The Salsoul Orchestra.
When many of the members of M.F.S.B. left Philadelphia International Records, it was if their creativity was unleashed. Although many of the musicians were experienced arrangers, producers and songwriters, at Philadelphia International they hadn’t many opportunities write, arranger or produce. Suddenly at Salsoul, guitarist Norman Harris and bassist Ron Baker of the Baker, Harris, Young rhythm section were writing, arranging and producing tracks, and so were keyboard players Ron “Have Mercy” Kersey, Bunny Sigler. This outpouring of creativity started on The Salsoul Orchestra’s debut album The Salsoul Orchestra.
For The Salsoul Orchestra’s debut album The Salsoul Orchestra, Vince Montana Jr. wrote four of the eight tracks while arranging six tracks and producing the entire album. Get Happy and Tale of Three Cities were written and arranged by bassist Ron Baker, of the Baker, Harris, Young rhythm section. The other two tracks were cover versions. Tangerine was written by Johnny Mercer and Victor Schertzinger, while Victor Young and Edward Heyman cowrote Love Letters. These eight tracks would be recorded in the familiar surroundings of Philadelphia’s Sigma Sound Studios.
Previous recording sessions at Philly’s Sigma Sound Studios featuring the personnel that played on The Salsoul Orchestra were as M.F.S.B. and saw them playing on classic albums including Billy Paul’s 360 degrees of Billy Paul, The O’Jays Backstabbers, Harold Melvin and The Blue Notes’ Black And Blue and M.F.S.B’s Love Is the Message and many, many more. Now they’d left Philadelphia International Records and employ of Gamble and Huff, they were back as The Salsoul Orchestra and possibly, with a point to prove to their old employers that “the workman is worthy of his hire,”
Among The Salsoul Orchestra’s personnel were the Baker, Harris, Young rhythm section, providing the album’s heartbeat. They were joined by guitarists Bobby Eli and T.J. Tindall, bassist Gordon Edwards and drummer Charles Collins. Vince Montana Jr. added vibes and percussion, while Larry Washington played percussion and Ron “Have Mercy” Kersey Carlton “Cotton” Kent keyboards. Jack Faith played flute and piccolo, while violinist Don Renaldo was part of the string and horn section. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton who’d featured on so many Philadelphia International Records’ albums and would go on to feature on many Salsoul albums. With so many talented musicians and backing vocalists, plus Vince Montana Jr. producing The Salsoul Orchestra, the album was soon recorded and ready for release.
With The Salsoul Orchestra’s first release Salsoul Hustle having reached number seventy-six in the US Billboard 100 and number forty-four in the US R&B Charts in August 1975, Ken Cayre needed more songs recorded. So when The Salsoul Orchestra’s debut album The Salsoul Orchestra was released in November 1975, it proved a huge success, reaching number fourteen in the US Billboard 200, number twenty in the US R&B Charts and number four in the US Disco Charts. Tangerine was also released as a single in November 1975, reaching eighteen in the US Billboard 100, number thirty-six in the US R&B Charts and number six in the US Disco Charts. You’re Just the Right Size was then released as a single in April 1976, eighty-eight in the US Billboard 100 and number seventy-six in the US R&B Charts. Saying The Salsoul Orchestra’s debut album The Salsoul Orchestra was a commercial success is something of an understatement. Although it sold over one-million copies in the US, it wasn’t certified gold as Salsoul weren’t certified by the Record Industry Association of America. Even though The Salsoul Orchestra missed out on a gold disc, their debut album The Salsoul Orchestra would become a Salsoul classic, as you’ll realize, when I tell you about the music on The Salsoul Orchestra.
Opening The Salsoul Orchestra is the track that launched The Salsoul Orchestra and Salsoul Records, The Salsoul Hustle. Written, arranged and produced by Vince Montana Jr, which gave The Salsoul Orchestra their first hit single. With a pounding, funky Baker, Harris, Young key to the track’s hustle sound, percussion, searing and guitars join the arrangement, before the lushest of sweeping, swirling strings enter. They’re joined by Vince Montana Jr’s vibes and stabs of growling, blazing horns. By now, The Salsoul Orchestra have kicked loose and are in full flow. It’s a hugely impressive sound. Strings dance with joy, quivering and shivering, while stabs of horns and the pounding rhythm section create the track’s pulsating heartbeat. Later, Vince lays down a vibes solo, before Bobby “Electronic” Eli, not to be outdone, unleashed a searing guitar solo. All the time, they’re accompanied by the some of Philly’s greatest musicians. Together, they create a classic track, one where disco, funk and Philly Soul unite and a track that’s truly breathtaking and spellbinding.
Get Happy is one of two tracks written and arranged by Ron Baker of the Baker, Harris, Young rhythm section, who’d been playing together since the sixties. A jaunty, jazzy piano solo opens the track, before strings cascade, horns rasp and the rhythm section anchor the track. Ron Baker’s bass and Earl Young’s drum unite as one creating a powerful, pulsating heartbeat. Meanwhile, the strings are and horns are key to the arrangement. Strings dancing with joy, combine seamlessly with bursts of growling horns. Together they create a hypnotic sounding arrangement that’s joyous and uplifting. Sadly, the track’s only three minutes long and you can’t help but press play again, so good is the track.
Chicago Bus Stop (Ooh I Love It) continues in the same vein as the previous track, with an irresistibly, joyous and uplifting sound. This track features the Sweethearts of Sigma adding breathy, sassy vocals. The Baker, Harris, Young rhythm section lock into a funky groove, while keyboards, guitars and percussion are joined by sassy, sensual vocals from the Sweethearts of Sigma. A sultry alto saxophone enters, as strings, sweep and swirl as the breathy vocal drifts in and out. Dramatic stabs of growling horns accompany the saxophone, and the rhythm section never miss a beat. They’re responsible for the mesmeric, almost hypnotic backdrop, while flourishes of woodwind and a myriad of percussion give the arrangement a Latin flavor. Here, funk meets disco with a twist of Latin flavor and Philly Soul added for good measure, as only The Salsoul Orchestra could, that is with style, flair and a flourish.
You’re Just the Right Size was written, arranged and produced by Vince Montana Jr. and later was recorded by Charo. Here the Sweethearts of Sigma provide sultry, sensuous vocals. They’re’ accompanied the pounding, dramatic Baker, Harris, Young rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have hit their stride and are in full flight, showing why they were the best house-band of the seventies. As Ron Baker’s bass anchors the track, swathes of the lushest strings shiver and quiver, keyboards and blazing horns provide the backdrop to the sensual, sultry vamp. This results in one of the highlights of The Salsoul Orchestra. Good as Charo’s later version was, and it was one of the highlights of her album, this version is much, much better and demonstrates just how innovative Vince Montana Jr. Although this is similar in style and sound to Donna Summer’s Love To Love, this is a better track.
Tangerine is a cover of a track written by Johnny Mercer and Victor Schertzinger and demonstrates how The Salsoul Orchestra during Vince Montana Jr’s time could reinvent a track. It’s quite unlike the previous tracks and sees a new twist on an old standard. A combination of cascading strings, rasping horns and jazz-tinged Baker, Harris, Young rhythm section combine before the Sweethearts of Sigma add joyous whoops. They then add tight, soulful harmonies, as Ron Baker’s bass and Earl Young’s drums anchor the track. Later, Norman Harris add a peerless jazzy guitar solo, before Jack Faith takes centre-stage. He plays a flute solo accompanied by “bop-e-doo-wop” harmonies from the Sweethearts of Sigma, that are the perfect accompaniment. All these parts are like the pieces of a jazzy jigsaw, a jigsaw that’s enchanting, beguiling and a reminder of another age, when music was very different. Maybe if they’d been born in a different era, The Salsoul Orchestra would’ve played music like this?
Tale of Three Cities is the second track penned and arranged by Ron Baker. It’s a slower and funkier track, probably the funkiest on the album. The pounding Baker, Harris, Young rhythm section drive the track along creating the fattest, funkiest beat. Earl Young’s drums sit on top of Ron Baker’s bass as Bobby “Electronic” Eli and Norman Harris show different styles of guitar playing. Norman’s style is jazzy, sparse and spacious, while Bobby’s is harder, showier and more reliant on effects. Gradually, the arrangement shows its delights. Vince’s vibes, lush, cascading strings and growling horns combine, while Earl dramatically passionately pounds his drums. Later, a keyboard solo contrasts the tougher sound of the rhythm section, as do the strings. Then when The Salsoul Orchestra unite, and are in full flight, like they do here, that become a tight, dramatic and hugely funky band. Truly, they’re a band that’s peerless and capable of flitting seamless between musical style seamlessly.
Salsoul Rainbow is the fourth and final track Vince Montana Jr, wrote and sees the funk continue as the track opens. The Baker, Harris, Young rhythm section, percussion, wah-wah guitars and punchy harmonies from the Sweethearts of Sigma give way to the lushest of strings. Now disco and funk unite, with the strings adding to the disco influence. They’re joined by growling horns, a myriad of percussion, keyboards and wah-wah guitars, with occasional bursts of soaring backing vocals. Later, as the pulsating rhythm section provide the track’s heartbeat, a sultry saxophone solo and then keyboard solo are unleashed. They’re just the finishing touch to this pulsating fusion of disco, funk and Latin music.
Closing The Salsoul Orchestra’s debut album The Salsoul Orchestra is Love Letters, with Vince Montana Jr’s vibes at the heart of the arrangement from the get-go. He combines with the Baker, Harris, Young rhythm section to create a shuffling rhythm, while emotive strings, percussion, bongos and congas combine. Vince’s vibes are ever-present and crucial to the track tugging at your heartstrings and emotions. There’s a real Latin sound and influence to the track, elements of jazz and lounge music can be heard. Although very different from the previous track, this track has one thing on common with much of The Salsoul Orchestra, its beauty and emotive sound. That’s no surprise though, as The Salsoul Orchestra were always capable of making some really stunning music, like they do throughout their debut album he Salsoul Orchestra,
Although The Salsoul Orchestra almost came about by accident, Ken Cayre must have given thanks to the musical Gods that he met Vince Montana Jr. Vince brought about Ken’s vision of Philly Soul fused with a Latin salsa influence. Through Vince Montana Jr, Ken Cayre got his orchestra and the Philadelphia based musicians he so admired. With the Baker, Harris, Young rhythm section creating the The Salsoul Orchestra’s heartbeat on The Salsoul Orchestra and Philly legends like Bobby “Electronic” Eli, T.J. Tindall, Larry Washington Ron “Have Mercy,” Jack Faith, Don Renaldo and the Sweethearts of Sigma all featuring on The Salsoul Orchestra it’s no wonder the album was such a huge commercial success. During the eight tracks on The Salsoul Orchestra, disco, funk, jazz, Latin music and the Philly Sound were fused seamlessly creating a classic album. In the process, it launched Salsoul as a label, a label that would become the greatest of the disco era and one of the most important in musical history. The music on The Salsoul Orchestra is timeless, imaginative and innovative and gave birth to a new wave of disco orchestras. None of them could match The Salsoul Orchestra in full flight. After this, The Salsoul Orchestra would release ten more albums in the next seven years and accompany Salsoul’s roster of artists, including Loleatta Holloway, Double Exposure, Instant Funk and First Choice. These artists, with The Salsoul Orchestra’s help, would release some of the best albums not just of the disco era, but of the seventies. Like The Salsoul Orchestra’s debut album The Salsoul Orchestra, many of these albums are timeless, imaginative and innovative.
What must The Salsoul Orchestra’s former employers Gamble and Huff must have thought when The Salsoul Orchestra released their debut album to critical acclaim and huge commercial success? Surely they must have rued the day they never realized “the workman is worthy of his hire.” Having lost some many key members of M.F.S.B. that left a huge void to be filled at Philadelphia International Records. Although they continued to releases critically acclaimed and commercially successful records, Salsoul would replicate Philadelphia International’s early success and sometimes, surpass the success of their late-seventies albums. After the release of The Salsoul Orchestra’s classic debut album The Salsoul Orchestra, which will be released on 17th September 2012, Salsoul went from strength to strength. Critically acclaimed, commercially successful and timeless albums followed, but the album that started everything of was The Salsoul Orchestra’s classic debut album The Salsoul Orchestra, one of The Salsoul Orchestra’s greatest albums…ever. Standout Tracks: Salsoul Hustle, Get Happy, Chicago Bus Stop (Ooh I Love It) and Tangerine.
THE SALSOUL ORCHESTRA-THE SALSOUL ORCHESTRA.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
Recently, I’ve been reviewing many of Salsoul Records’ releases, and during these reviews, explaining how Salsoul Records started to change around 1978. This change came about when several of Salsoul’s key personnel started to leave the label or play less of a role in the label’s releases. This started when Vince Montana Jr. left Salsoul in 1978, after a dispute with Salsoul’s owners the Cayres. By 1978, Norman Harris who ran Salsoul’s subsidiary Gold Mind Records, was playing less of a role at Salsoul. Instead, Tom Moulton and Thor Baldurrson were now apparently flavor of the month. Looking back with the benefit of hindsight, with Vince having left Salsoul, and Norman playing a lesser role, this wasn’t the Cayre’s wisest decision. These two men had been a crucial part of the Salsoul success story and in some ways, this was history repeating itself. Three years earlier, many of Philadelphia International Records’ legendary house-band M.F.S.B. left the label after a dispute with Gamble and Huff over payments. They then became The Salsoul Orchestra and would record twelve albums and accompany every Salsoul artist. One of the last albums to feature the classic lineup of The Salsoul Orchestra was The Salsoul Strings’ only album How Deep Is Your Love, released in 1978. It was one of the last albums to feature Vince Montana Jr, and the greatest rhythm section of the seventies, Baker, Harris, Young. Before I tell you about the music on How Deep Is Your Love, I’ll tell you about the background to the album.
For How Deep Is Your Love, eight cover-versions were chosen for what would be The Salsoul Strings only album. The first side of How Deep Is Your Love featured covers of The Bee Gees’ How Deep Is Your Love and More Than A Woman, Billy Joel’s Just the Way You Are and Joe Brooks You Light Up My Life. Side Two featured Evergreen (Love Theme From “A Star Is Born”) Yours, Love Letters and a two-song medley of standards We’ve One Just Begun and Feelings. These eight tracks that would become How Deep Is Your Love were recorded at Philadelphia’s Sigma Sound Studios, where so many Salsoul albums were recorded.
The lineup of The Salsoul Strings that played on How Deep Is Your Love at Philly’s Sigma Sound Studios featured the legendary Baker, Harris, Young rhythm section, with Vince Montana Jr, playing vibraharp, bells, chimes and tympani. They were accompanied by drummer Charles “77” Collins, bassists Michael “Sugarbear” Foreman and Gordon Edwards, with Bobby “Electronic” Eli, T.J. Tindall, Dennis Harris and Ronnie “The Hawk” James on guitar. Ron “Have Mercy” Kersey and Clark “Cotton” Kent played keyboards, Larry Washington congas, bongos and timbales while Jack Faith played flute and piccolo flute. Crusher Bennett and Ray Armando added percussion, while violinist Don Renaldo was part of a full string and horn section. The final piece of The Salsoul Strings’ jigsaw were the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram who added backing vocals. These musicians and backing vocalists featured on the eight tracks which made up How Deep Is Your Love which was arranged, conducted and produced by Vince Montana Jr. With How Deep Is Your Love completed, The Salsoul Strings debut album was set for release in 1978. Given it was quite different from The Salsoul Orchestra’s albums would The Salsoul Strings’ debut album How Deep Is Your Love be a commercial success?
On the release of The Salsoul Strings’ debut album How Deep Is Your Love it wasn’t a commercial success. Maybe the quite downtempo, laid-back and almost smooth jazz sound of the album was out of place in the disco market. Sadly, The Salsoul Strings’ How Deep Is Your Love is another example of quality music not equalling commercial success, as you’ll realise when I tell you about The Salsoul Strings’ How Deep Is Your Love.
The Salsoul Strings’ How Deep Is Your Love opens with with the first of two tracks written by Barry, Robin and Maurice Gibb, The Bee Gees and is a track from the Saturday Night Fever Soundtrack. This track sets the vibe for the album, with The Salsoul Strings slowing the track way down, with just the Baker, Harris, Young rhythm section, rasping horns, percussion and the lushest of strings combining before Vince Montana Jr, takes centre-stage. He plays a prolonged vibes solo that transforms the track, giving it a jazzy, Latin feel. While Vince vibes take centre-stage, everything else seamlessly fits into place. Ron Baker’s bass and a piano play important roles, while slow sweeping strings and gently rasping horns accompany Vince. With the vibes playing such an important part in the track, it’s almost a reinvention of a familiar song, one that’s innovative and benefits from a quite beautiful, wistful sound.
Billy Joel wrote Just The Way You Are and here, The Salsoul Strings breath new life and meaning into the track. Quivering, shivering strings and Ron Baker’s slow, thoughtful bass give way to Joseph Caltaldo’s heartfelt, beautiful flugelhorn solo as the track reveals its many secrets. Percussion, the Baker, Harris, Young rhythm section and the lushest of strings combine as the arrangement flows along. Then T.J. Tindall lays down a guitar solo that’s almost a challenge to Joseph Caltaldo. He returns with another flugelhorn solo, against a backdrop of emotive, dancing strings and braying horns. They combine with percussion and the rhythm section, before Vince Montana Jr, steals the show. When he adds a vibes solo, he trumps T.J. and Joseph. It’s as if anything they can do, Vince can do so much better. As he lays down that glorious vibes solo everyone else seems content to just to become Vince’s backing band, allowing him to take centre-stage. Mind you, Vince’s solo is just the finishing touch to what is a scrumptious, sumptuous musical cake.
A standard like You Light Up My Life written by Joe Brooks isn’t the most obvious choice for The Salsoul Strings to cover, but they’ve the talent and imagination to make it work. The Baker, Harris, Young rhythm section combine to create the track’s slow, deliberate and thoughtful heartbeat, while percussion, keyboards and strings create an almost dramatic, grand backdrop. As the track progresses the emotion and beauty grow, with percussion, Vince Montana Jr,’s vibes and the lushest of strings uniting with rasping horns. As the track heads to its dramatic close, Vince Montana Jr, adds a piano solo that’s a mixture of drama and emotion.
Side One of How Deep Is Your Love closes with a cover of The Bee Gees More Than A Woman and sees The Salsoul Strings kick loose. It’s a much more uptempo track and sees the introduction of the Sweethearts of Sigma, who add tender, impassioned harmonies. With the pounding Baker, Harris, Young rhythm section combining with Cotton Kent’s piano solo and strings dance with delight as the band kick loose. As the Sweethearts of Sigma add tight, soulful harmonies, bursts of growling horns and Bobby “Electronic” Eli’s sizzling guitar punctuate the arrangement. While they all play a vital role in the tracks sound and success, it’s omnipresent Cotton Kent’s piano playing that makes this one of the real highlights of How Deep Is Your Love.
Evergreen (Love Theme From “A Star Is Born”) opens Side Two of How Deep Is Your Love and sees The Salsoul Strings breath new life and meaning to the track. There’s a real understated Latin sound to the track. Just congas and bongos subtly combine, before Vince Montana Jr lays down a slow, spacious vibes solo. Then the Sweethearts of Sigma lay some of the most heartfelt, beautiful harmonies on How Deep Is Your Love. When Vince adds the lushest of slow strings this is a masterstroke. He then combines his vibes with percussion and congas and the Sweethearts of Sigma tender harmonies. This innovative and imaginative combination sees elements of jazz, Latin and soul resulting is an understated and subtle reworking of a familiar song that’s a mixture of beauty and elegance personified.
Strings sweep and swirl and horns growl and rasp as Yours sees The Salsoul Strings up the tempo. While the Baker, Harris, Young rhythm section create a funky backdrop, Joseph Cataldo unleashes a blazing trumpet solo. As his solo drops out, the strings dance with delight, as horns rasp and a piano plays a supporting role. By now the band are kicking loose, with Norman Harris adding a jazz-tinged solo, while Bobby “Electronic” Eli’s add funky guitar. It’s when The Salsoul Strings unite that they take your breath away. Truly, in full flight, they’re a joy to behold capable of seamless combining jazz, funk and Latin music seamlessly, like they do hear and do with style, flair and panache.
After upping the tempo on the previous track, The Salsoul Strings return to a much more laid-back sound on Love Letters. Vince Montana Jr’s vibes are at the heart of the arrangement from the get-go. He combines with the Baker, Harris, Young rhythm section that create a shuffling rhythm, while emotive strings, percussion, bongos and congas combine. Vince’s vibes are ever-present and crucial to the track tugging at your heartstrings and emotions. There’s a real Latin sound and influence to the track, elements of jazz and lounge music can be heard. Although very different from the previous track, this track has one thing on common with much of How Deep Is Your Love, its beauty and emotive sound.
Closing The Salsoul Strings’ debut album How Deep Is Your Love are two standards We’ve Only Just Begun and Feelings. Not every band could take two standards and cross lounge music, with soul, funk and Latin music and create something as beautiful as this. However, not every band is as talented as The Salsoul Strings. The tempo’s slow, with the rhythm section, percussion and keyboards providing an understated backdrop for The Sweethearts of Sigma tender backing vocals. Lush strings accompany them, as Vince Montana Jr.’s vibes and percussion plays an important role in the track. Rasping horns join Vince as Feelings unfolds. His vibes, percussion, lush strings and The Sweethearts of Sigma are at the heart of the track. By now, The Salsoul Strings are transformed into a lounge band, but the greatest lounge band you’ll ever hear, capable of making some really stunning music.
Although The Salsoul Strings’ debut album How Deep Is Your Love is quite different to the music recorded by The Salsoul Orchestra, it allowed Salsoul’s musicians to demonstrate their versatility. Musicians like Ron Baker, Norman Harris, Earl Young, Vince Montana Jr, Jack Faith, Ron “Have Mersey” Kersey and Bobby “Electronic” Eli were seasoned, experienced musicians who were versatile and capable of flitting between musical genres. If they were asked to play big band music, disco, funk, jazz, Latin, lounge music or Philly Soul they were capable of doing so. Each musician had earner their dues, playing on numerous sessions, including for Gamble and Huff and Thom Bell. At Salsoul, The Salsoul Orchestra and here as The Salsoul Strings used their experience to create some of the greatest music of the disco era, classic music that’s timeless. On How Deep Is Your Love, The Salsoul Strings reinvented themselves, fusing elements of funk, jazz, Latin, lounge music and Philly Soul. Sometimes, the music is almost smooth jazz in sound. Indeed, tracks like this helped give birth to that much maligned musical genre. Other tracks see The Salsoul Strings turned into a lounge band, especially on tracks like Love Letters, We’ve Only Just Begun and Feelings. Given that How Deep Is Your Love wasn’t a commercial success, The Salsoul Strings never recorded another album. To me this is a pity, as The Salsoul Strings shows a different side to Salsoul’s musicians, and How Deep Is Your Love is something of a golden nugget waiting to be unearthed by Salsoul lovers. Sadly, 1978 saw a changing in the guard at Salsoul. Vince Montana Jr, left Salsoul in 1978, Norman Harris was playing less of a role at Salsoul and gradually the Salsoul’s legends went their own ways. Replacing them weren’t musicians, but the new flavor of the month, remixers including Tom Moulton and Larry Levan. Much as I enjoy anything from Salsoul, I prefer Salsoul’s music pre-1978, when Vince Montana Jr, Norman Harris and the classic lineup of The Salsoul Orchestra were creating musical gold. At least everything they created that glittered was gold, not pinchbeck like some of the post-1978 music. One of the gold nuggets produced by the classic lineup of The Salsoul Orchestra with Vince Montana Jr producing was The Salsoul Strings one and only album How Deep Is Your Love, a glittering goldern nugget from Salsoul’s back-catalogue that’s just waiting to be unearthed. Standout Tracks: More Than A Woman, Yours, Love Letters and We’ve Only Just Begun and Feelings.
THE SALSOUL STRINGS-HOW DEEP IS YOUR LOVE.
THE ORIGINAL MASTERS-DISCO VOLUME 8.
THE ORIGINAL MASTERS-DISCO VOLUME 8.
As many regular readers of this blog will realize, I’m constantly on the lookout for new music to tell you about. With the lack of new releases from both the major and independent record companies, I’m having to dig even deeper looking for new music. That’s meant I’ve been checking out imports, looking at what overseas record labels have been releasing. Recently I’ve been looking at American and Japanese labels, including Fountain Music and Plaza In Crowd’s back-catalogue. The latest label I’ve discovered are Miami bases Milestone Records, who have been releasing music since 2007. From looking at their back-catalogue they’ve been specializing in releasing compilations, including electronic music, funk, soul, Afrobeat, Brazilian music and disco. One of Milestone Records’ first releases, and one of their longest running compilation series is their The Original Masters-Disco series, which started back in 2007. In May 2012, Milestone Records’ released The Original Masters-Disco Volume 8, which features ten tracks, from of Tee Cee, Calender, Pam Todd and Love Exchange, Caress, Vincent Montana Jr. and Paradise Express. After I’ve told you about some of the music The Original Masters-Disco Volume 8, I’ll tell you whether this a compilation to add to your collection.
The track that opens The Original Masters-Disco Volume 8, is Tee Cee’s Ecstasy, released in 1978 on DJM Records. Arranged and produced by Trevor Rabin, a series of crackles give way to faux-sensual groans before thunderous drums, rocky guitars and keyboards are combined with dancing strings which sound slightly harsh. Blazing horns join the arrangement, as the pounding, funky rhythm section, join the rocky guitars, blazing horns and cascading strings, while the vocal, becomes a series of groans and moans. This gives the track a slightly comedic, low-rent sound and somewhat detracts from what is a decent track. Even though I’m not a fan of rock guitars on disco tracks, here it works, adding to the dramatic arrangement. However, I wouldn’t have chosen this track to open the compilation as better tracks await.
Calender were a New Jersey funk band and Hypertension is their best known track. It was released in 1975, and was on their 1976 album It’s A Monster. I’d describe this track as proto-funk. A pulsating, pounding rhythm section create the track’s pulse, while guitars and synths combine before rasping horns and sweeping strings enter. When the vocal enters, it reminiscent of Sly Stone. Indeed, Calender with their fusion of funk, soul and disco, sound as if they’ve been influenced by Sly and The Family Stone. As the vocal drops out, the strings, horns and rhythm section take charge and when the vocal returns, the Sly and The Family Stone is even more noticeable. Having said that, Hypertension is an irresistibly, funky timeless track and thirty-six years still sounds great.
The quality continues with Pam Todd and Love Exchange’s Let’s Get Together which was a track from the 1977 album Let’s Get Together. It was arranged, produced and written by Greg Carmichael, and grabs your attention from the opening bars. A pounding rhythm section, percussion and tight, sweet, harmonies, give way to an impassioned vocal, as braying horns, sweeping, swirling strings quiver and shiver. Soon, the drama builds with the piano leading the arrangement, while guitars are panned, strings dancing and the pounding rhythm section creating the track’s heartbeat. There’s a real innovative, sound to this track, where drama and hooks are in plentiful supply.
Cory Davy’s Green Light was released as a single in 1979, on New York International Records and was also on the album Cory and Me. It isn’t the most comfortable track to listen to, with Its stuttering start. When after thirty-seconds the synths and bass enter, you begin to relax. Then when swathes of guitars enter, things take a turn for the worse. Percussion is added while the track reveals a funky side. Then when a punchy vocal is added, things improve slightly, and this continues later, when a blazing saxophone solo and chiming guitars punctuate the arrangement. However, I almost struggle to the end of this ten-minute track, where elements of funk, rock, disco and boogie are fused. Maybe if the track was more focussed, rather than a melting pot of influences, this would’ve helped make it a better track. Sadly, it isn’t anywhere near as good as the previous two tracks.
When you hear the first few bars of Caress’ Catch the Rhythm, you’re struck by the track’s contemporary sound. It’s hard to believe that it was released in 1979 on Warner Bros. The arrangement is the opposite of the previous one. Everything makes sense and flows along, each part of the arrangement moves you along to the next and there’s a pay off. Gradually, parts drop in, starting with the rhythm section and percussion, before the strings and piano join the mix. This gives the track a timeless, proto-house sound. Even rock-tinged guitars work when they’re added, adding drama and energy. Over eleven-minutes you’re taken on a majestic musical journey. Lush strings dance, as a sprinkling of percussion is added, while the piano and guitars toy with each other. All the time, the rhythm section create the arrangement’s pulsating heartbeat. When this is all combined, the result is one of the highlights of The Original Masters-Disco Volume 8.
Ahzz released New York Movin’ in 1981, on the Land of Hits label. Although post-disco in date, and more towards boogie replacing disco, this is a sumptuous slice of disco, albeit with elements of boogie. Drums pound, combining with handclaps and percussion, before chiming guitars, funky bass and sweeping, swirling strings combine. It’s impossible to resist this track’s charms and it’s infectiously catchy. The rhythm section drive the track along, while the guitars and quivering strings play their part in the track’s sound and success, as eight of the best minutes of The Original Masters-Disco Volume 8 unfolds, sweeping you along and allowing you revel in its delights and charms.
Bob A Rela released their only album Bob A Rela in 1979. One of the four tracks was Spend The Night. The album was produced George Lagios and Pat Deserio with a team of session musicians. While the track has something of a space-age sound as it opens, that’s just a curve ball. Thunderous drums and percussion combine as the track opens at breakneck speed. Funky guitars and bass join the mix, before sassy, punchy vocals are delivered urgently. Synths are used, but work well, as the drama builds, and the track reveals its funky secrets. Having built the drama and energy up, an instrumental break is added, where just the drums and percussion combine. Then you’re anticipating Bob A Rela kicking loose. This they do gradually, using swathes of dark synths and blazing horns before the vocal drops back in and we head to the finish and what’s been a dramatic, fusion of glorious funk, disco and electronic music.
Sea Level’s Fifty Four has a very sound, with jazz-fusion and disco uniting. Confused? Don’t be. This was a track, from their 1978 album On the Edge. There’s more than a hint of The Crusaders during this track, where you hear a tight, really talented group of musicians combining elements of jazz, funk, rock and disco. It’s a really irresistible combination, with Sea Level’s rhythm section producing the track’s dance-floor friendly, pounding heartbeat, while rocky guitars are contrasted by melodic keyboards and percussion. Although very different from most of the tracks on The Original Masters-Disco Volume 8 it’s up their with the very best.
Vincent Montana Jr. left The Salsoul Orchestra in 1978 after a dispute over royalties, and signed to Atlantic Records. His first album on Atlantic was Goody Goody, which featured Bio Rhythms, a track that shows Vince innovating and producing a quite different sound to the music he produced on Salsoul. He combines a rolls of pounding drums with percussion and his vibes before building the arrangement up. Vince drops in a bass, then synths and keyboards. They all help him to build the drama and energy of the track. It’s as if every instrument has been chosen with the utmost care and as a result, the arrangement fits together perfectly, like a musical jigsaw. Sadly, Vince never enjoyed the same commercial success post-Salsoul and Salsoul was a poorer place without him. Having said that, post-Salsoul, Vince continued to innovate and create some stunning, cutting-edge music, like Bio Rhythms.
Paradise Express’ Dance closes The Original Masters-Disco Volume 8. Dance was a track from their 1978 album Paradise Express and is a a track that ends the compilation on a high. Here, disco and funk combine, with the track reminding me of Dan Hartman. Herb Jimmerson’s vocal has a similar sound and the track has a Dan Hartman influence. WIth a driving, funky rhythm section, handclaps and Chic influenced guitars, Herb’s sultry, whispering vocal enters, before backing vocalists join him. They add punchy, soaring harmonies, while the funky rhythm section and keyboards, are then joined by blazing horns and sweeping, swirling strings. Together they accompany Herb, as his teasing, sensuous vocal is combined with a storming, funky arrangement that you just can’t resist. it’s the perfect way to close The Original Masters-Disco Volume 8.
Having started The Original Masters-Disco Volume 8 with a disappointing track in Tee Cee’s Ecstasy, thankfully things quickly improved. From there Calender’s Hypertension and Pam Todd and Love Exchange’s Let’s Get Together made up for the disappointing start, and was a hint of what was still to come. Sadly, things took a disappointing turn on Cory Davy’s Green Light, but improved greatly on Caress’ Catch the Rhythm, which was the polar opposite of the previous track. After that, the final four tracks on The Original Masters-Disco Volume 8 were quality all the way. Ahzz’s New York Movin’ started this quartet, before Sea Level’s Fifty Four was very different, with jazz-fusion and disco uniting seamlessly. Then came Vince Montana Jr. with a track from his first post-Salsoul album Goody Goody, where Vince showed he was still an innovator, creating quality dance-floor friendly music. Closing The Original Masters-Disco Volume 8 was Paradise Express’ Dance, which closed the compilation on a high. Overall, eight of the ten tracks on The Original Masters-Disco Volume 8 really work and there are some hidden gems from the disco era.
However, there are two things I must point out. During a couple of tracks, the sound quality wasn’t the best, especially on the opening track. Whether that’s due to a couple of tracks being remastered from vinyl, or just badly stored master tapes, it’s not clear. While the album cover states each track is remastered, there’s no indication of what from. The other disappointment is the lack of sleeve-notes. As I opened the CD booklet expecting lengthy, detailed notes about each track, all I found were two blank pages. Although these are mid-price albums, I’d expect better than that. So should you buy The Original Masters-Disco Volume 8? I’d say that with eight of the ten tracks real hidden gems from the disco era, I’d recommend you do so, then like me explore more of The Original Masters-Disco series. Standout Tracks: Pam Todd and Love Exchange’s Let’s Get Together, Caress Catch the Rhythm, Vincent Montana Jr. Bio Rhythms and Paradise Express Dance.
THE ORIGINAL MASTERS-DISCO VOLUME 8.
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FAC. DANCE 02.
FAC. DANCE 02.
Of the many compilations released in 2011, one of the most eclectic and compelling collections of music was on Fac. Dance 01, a double-album featuring twenty-four tracks from the much missed Factory Records’ back-catalogue. Given how much I’d enjoyed Fac. Dance 01, I’ve been looking forward to reviewing this compilation. Indeed, I would’ve done so earlier, but circumstances unhelpfully intervened. Now somewhat belatedly, I can tell you about Fac. Dance 02, which Strut Records released on 3rd September 2012. For anyone new to Factory Records, the its predecessor Fac. Dance 01 and Fac. Dance 02 are the perfect introduction to one of the most innovative and influential independent record labels ever. Among the artists signed to Factory Records were legendary groups like New Order, Happy Mondays and Joy Division, while groups like A Certain Ratio, The Durutti Column, Quando Quango, Section 25 and 52nd Street are among Factory’s hidden gems. Will Fac. Dance 02 match the quality of Fac. Dance 01. That’s what I’ll tell you, after I’ve picked my highlights of Fac. Dance 02.
Factory Records were founded and based in Manchester between1978-1992, and were one of the most most influential and innovative British labels of the past forty years. Not only did the released some of the most cutting-edge music of that time, and it wouldn’t be exaggerating to say that, Factory’s influence spread much wider, influencing independent labels worldwide. During this period, Factory Records were a cutting-edge label, fearlessly treading where neither majors nor other independent labels would tread. Often, commercial considerations took a back-seat to artistic merit of music. As a result, Factory won kudos for their leftfield and sometimes cutting-edge releases, which sadly, didn’t sell in great numbers.
Sometimes, it wasn’t just music Factory Records were involved in. They opened the legendary Hacienda nightclub in Manchester, which initially, wasn’t a success. Then when Acid House exploded, then The Hacienda became one of the world’s best know clubs. Factory also ventured into owning their own clothes shop, bar, restaurant and even the short-lived hairdressers adjacent to The Hacienda. At one time, Factory decided to even venture into the world of independent films. All this diversification was only possible because of one of the label’s co-owners.
What allowed Factory Records to open all these different business, was New Order, who were co-owners of the label helped bankroll Factory. Much of the everyday running of the business was left to Anthony H. Wilson, who was at Factory’s helm. during the label’s fourteen year history. Apart from music, what helped Factory stand out from the crowd was design. Design was key to Factory Records philosophy, so Peter Saville’s designs adorning their record covers, resulting in many of their record covers resembling a mini work of art. All these things influenced other labels, labels who’d been inspired by Factory or learnt from their mistakes. After fourteen years which resembled an emotionally-charged roller-coaster journey, Factory Records became insolvent and was declared bankrupt. Now twenty years later, Factory Records is still a much loved and much missed label, remembered by many music fans who will relive their by listening to compilations like Fac. Dance 02.
DISC 1.
Several of the artists that feature on Disc One of Fac. Dance 02 featured on Fac. Dance 01. This includes Section 25, Quando Quango, Shark Vegas, The Durutti Column, X-O-Dus and A Certain Ratio. There are also tracks from Thick Pigeon, Sir Horatio, Fadela and Minny Pops and ESG, who didn’t feature on Fac. Dance 01. Their inclusion, especially ESG track are welcome inclusion. These twelve tracks are an eclectic selection of the innovative and influential music Factory released during its fourteen year history. Given the quality of music on Disc One of Fac. Dance 02, choosing the highlights isn’t going to be easy, but here goes.
My first choice is the track which opens Disc One of Fac. Dance 02, A Certain Ratio’s The Fox. It was a track from their second album To Each, released in April 1981. This was the followup album to 1980s The Graveyard and The Ballroom. Unlike their debut album, A Certain Ratio recorded their second album in New York, with producer Martin Hannet. The studio that wasn’t as well equipped as Strawberry Studios, where Martin Hannet was based, and gave To Each a different sound to The Graveyard and The Ballroom. Having said that, the track still is an innovative and influential sounding track, where post punk and funk unite as one.
ESG had the honor of becoming the first American group to sign to Factory Records. They were the four Scroggins sisters from the South Bronx, whose fusion of art-funk and sensuous, minimalist sound won over many people, including Ed Bahlman, owner of New York’s 99 Records. They supported A Certain Ratio at Danceteria and so impressed was Anthony H. Wilson, he signed them to Factory. With Martin Hannet producing, they recorded three tracks, one of which was Moody. In his inimitable style, Anthony H. Wilson described ESG as P.I.L. meets Motown on the wrong side of the Triborough Bridge.” Released in 1981, on the You’re No Good Ep, this was ESG’s only Factory release, as they signed to 99 Records. It’s a tantalizing taster and a case of what if? What would’ve happened to ESG on Factory Records? Would they have become a much bigger success than they were on 99 Records?
One of my favorite tracks from Fac. Dance 01 was the underrated X-O-Dus’ See Them-A-Come, so I’m pleased to their track Society feature on Fac. Dance 02. Formed in Manchester in 1975 by Wesley and Leddy Ricketts, in 1975X-O-Dus’ style of reggae had a harder edge and was much more political than other similar bands. Having been gigging for five years before they recorded Society in 1980, X-O-Dus were a tight and professional group, who deserved commercial success. Anyone whose heard their music will realize this. Sadly, that wasn’t to be the case, because when X-O-Dus started recording an album for Factory, slow progress and money problems lead to the band breaking up. To me, Society is a poignant reminder of what might have been.
Of all the Factory bands, one of my favorites has always been the hugely underrated Durutti Column, featuring the multitalented Vini Reilly. Over the years, I’ve bought many of Durutti Column’s albums so I’m pleased to see Self Portrait on Fac. Dance 02. Self Portrait released in 1980 on the Factory Quartet EP is a slightly dark, expirimental sonic soundscape that draws you and captivates you. It gradually reveals its charms and delights and benefits from A Certain Ratio’s drummer Donald Johnson providing the track’s heartbeat. Sadly, too soon it’s over, leaving wanting you wanting to hear more of The Durutti Column’s music. For anyone wanting to hear more of their music, then the Four Factory Records box set is a good starting point.
Section 25 were very much one of Factory Records’ innovators and to some extent, a group ahead of their time. Two of their songs featured on Fac. Dance 02 only Sakura features here. They joined Factory in 1979, with Rob Gretton and Joy Division taking an interest in their career. Sakura was a track from their 1982 EP The Beast which draws upon a fusion of influences. Post-punk, punk, rock and even Krautrock are all thrown into the melting pot and stirred by the three members of Section 25. Listen carefully and you’ll hear a real P.I.L. influence on Sakura, a track that doesn’t sound thirty-two years old.
Although I’ve only reviewed five of the tracks on Disc One of Fac. Dance 02, I could’ve mentioned many more tracks. After all, with quality tracks like Shark Vegas’ You Hurt Me, Thick Pigeon’s Babcock and Wilcox and Sir Horatio’s Sommadub, I was almost spoiled for choice. The twelve tracks show just how wide Factory Records cast their net when looking for new artists. Whether it was post-punk, art-funk, reggae or new wave, then there’s something for everyone on Disc One of Fac. Dance 02. While many of the artists, including ESG and X-O-Dus only released a few releases, Section 25, Durutti Column and A Certain Ration were some of Factory’s best known and in Durutti Column’s case, one of their longest serving and most successful artists, releasing five albums for Factory. Will the artists on Disc Two of Dac. Dance 02 include Factory veterans, or some of the lesser known names?
DISC 2.
Like Disc One of Fac. Dance 02, Disc Two features twelve tracks that are a mixture of familiar faces and newcomers to the Fac. Dance series. Among the familiar faces are Quando Quango, 52nd Street, Royal Family and The Poor and Swamp Children. The newcomers include The Wake, Anna Domino, Surprize, Nyam Nyam and Biting Tongues. These artists all played their part in Factory Records’ rich historym between 1978-1992. However, will the quality of music on Disc Two of Fac. Dance 02, match that on Disc One? That’s what I’ll tell you, when I tell you about the highlights of Disc Two of Fac Dance.
Softly Saying Goodbye was released by The Swamp Children in September 1982, two years after signing to Factory Records. Like many other Factory groups, The Swamp Children’s music was a fusion of musical genres. Although there’s a post-punk influence and sound to their music, you can hear elements of funk, jazz and jazz-funk, even Latin music. Sometimes, there’s even a Liz Fraser sound and quality to Ann Quigley’s vocals. Sadly, The Swamp Children only released one album Too Hot, released in 1981 and in 1982, released the Taste What’s Rhythm EP also on Factory Benelux, which features the compelling Softly Saying Goodbye.
While Quando Quango only released one album on Factory, 1985s Pigs and Battleships, they released their debut single So Exciting in 1982. The version of So Exciting included on Fac. Dance 02 is the twelve-inch version, which features producer Howard Johnson adding some funky slap bass to Quando Quango’s fusion of electronica, new-wave, funk and dance music. It’s a compelling mixture of genres and influences from the Anglo-European group lead by Mike Pickering, yes that Mike Pickering who went on to form M People. Listening to this track and it’s hard to believe that it’s the same Mike Pickering in both groups.
For Factory officianados, Anna Domino released one of Factory’s best albums of 1986, Anna Domino. Although only licensed from Le Discques De Crepuscule, it’s to Factory’s credit that they spotted the potential in Anna Domino. Take That is a song that reveals a very different side after its bright bouncy opening, where synths, percussion and the rhythm section combine. Soon the listener is taken on a journey where the Canadian singer-songwriter reveals her hurt and heartache, so much so that the pain is almost tangible. It’s an emotive and revealing journey, one that’s alos irresistible and quite beautiful. That’s why it’s the best track on Fac. Dance 02.
The Wake way not have been Factory Records biggest ever acts, but it features Bobby Gillespie’s as a…bassist. He was only a member of The Wake, for a short while, during which time they released their debut single Host. Like many Factory groups, The Wake’s music is a fusion of influences, taking in reggae, dub and perfect Postcard pop. Recorded in March 1983, and released in October 1983, Host was the group’s first single for Factory Benulux. It was in 1982 The Wake first signed to Factory Records, after being asked by Rob Gretton, one of Factory’s founders. Although The Wake were short-lived, it was taste of what was to come, when Bobby Gillespie left to concentrate on The Jesus and Mary Chain and later, formed Primal Scream, before strutting his way through countless genre crossing albums.
The last track I’ve chosen from Disc Two of Fac. Dance 02 just so happens to be the last track on Disc Two, Ad Infinitum’s Telstar. Lindsay Reade decided to write lyrics for Joe Meeke’s classic instrumental Telstar. Having written the lyrics, Lindsay was helped by a number of Manchester’s music community to record the track. Then tragedy struck, when Joe Meek’s publishers wouldn’t clear the track. It was only when the track was changed quite drastically that the track was cleared for release. This saw Lindsay’s vocal sung through a vocoder so the lyrics were really hard to hear and the track given something of a makeover. Only then was the track allowed to be released and gives Telstar a totally new dance-floor friendly sound, that even today still works well.
Like Disc One of Fac. Dance 02, Disc Two is a compelling and fascinating reminder of the eclectic nature of Factory Records’ music. It’s music that you can’t second guess and can’t pigeonhole. Much of the music on both discs crosses and fuses musical genres and influences and reflects the music the artists were influenced by. For anyone yet to discover Factory Records’ music, then Fac. Dance 01 and Fac. Dance 02 are the perfect introduction to the label’s music. I’d also recommend two books that will help your journey through Factory’s music, Peter Hook’s How Not To Run A Club Properly and James Nice’s Shadowplayers. These books detail Factory Records roller-coaster fourteen year history, plus many of the backstories of the behind the scenes capers and hijinks. Most of all, both books detail the musicians and personnel at Factory who were responsible for releasing so much influential and innovative music. Having had to wait some time to hear this music, the music on Fac. Dance 02 was well worth the wait and Strut Records have picked up where they left of with Fac. Dance 01, a compelling and eclectic collection of quality music that’s like Factory Records, influential and innovative. Standout Tracks: A Certain Ratio The Fox. Durutti Column Self Portrait, The Swamp Children Softly Saying Goodbye and Anna Domino Take That.
FAC. DANCE 02.
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BEHIND CLOSED DOORS: WHEN COUNTRY MEETS SOUL.
BEHIND CLOSED DOORS: WHEN COUNTRY MEETS SOUL.
Compilers it seems, are always looking for new ideas for the compilations, that will make their particular compilation standout from the sometimes overcrowded compilation market. Record companies big and small, sometimes perceive compilations as shooting fish in a barrel, an easy way to make quick buck. Having said that, there have been lovingly compiled quality compilations being released this year. So far, this year, some of the best compilations have included Al Kent’s The Best of Disco Demands, Johnny D Presents Disco Jamms Volume 1, Private Wax and Philadelphia Classics-The Tom Moulton Remixes. These compilations represent the creme de la creme of the compilations market. For every compilation of this quality, there are far too many inferior compilations. Sadly, this year has been a particularly poor year for quality compilations. Many of the ideas or themes for compilations are tenuous, sounding as if they’ve been compiled by Alan Partridge.
Now, with the music industry being forced to reinvent itself, you’d expect record companies, especially major labels, with access to huge back-catalogue’s really making an effort to release compilations with a “wow factor.” Unfortunately that not happening. That’s being left to smaller, independent labels to do so. So with the compilation market not enjoying its finest hour, the music industry trying to reinvent itself and record companies on an extended summer break, finding quality releases isn’t easy. So when I came across Behind Closed Doors: When Country Meets Soul a couple of weeks ago, I was hoping my search for a quality compilation was over. Would Behind Closed Doors: When Country Meets Soul join the top table of compilations or join the ever-increasing list of also-rans and inferior compilations?
For the past fifty years, country music has influenced soul music and soul singers. Many soul singers grew up listening to soul music, which would later influence and help shape their careers. Later, they’d go on to pay homage to how country music influenced their early lives. To understand this, you’ve got to go back to the fifties and early sixties. Many soul singers, especially Southern Soul singers grew up in the southern states, listening so to a soundtrack of the country music coming out of Nashville, Memphis and Muscle Shoals on the local radio station. Back then, country music was one of the most popular genres, with singers like Hank Williams, George Jones, Webb Pierce, Jerry Lee Lewis, Merle Haggard and Patsy Cline some of the biggest names in country music. Each of singers were influencing the next generation, including a new generation of soul singers. Indeed, Ray Charles was something of a trendsetter, releasing his album Modern Sounds In Country and Western Volumes 1 and 2 albums in 1962 on ABC-Paramount. These albums struck a chord, reaching numbers one and two in the US Billboard 200 Charts. After that, the crossover between country and soul became much more popular during the sixties and seventies. As a result, record companies have often released compilations of how country music influenced soul music. Let’s make no mistake, this isn’t a new idea, far from it. So with similar compilations having been released, Behind Closed Doors: When Country Meets Soul isn’t a new idea. However, does the music on Behind Closed Doors: When Country Meets Soul separate this compilation from the rest?
Among the twenty-three tracks on Behind Closed Doors: When Country Meets Soul are some familiar faces, including some greats of the fifties, sixties and seventies soul music. This includes Southern Soul stars Al Green, Ann Peebles and Candi Staton, who are joined by Arthur Alexander, Percy Sledge, Cookie Jackson, Little Milton, ZZ Hill, Joe Simon and Bettye Carter. Each of these singers cover what’s referred to as a “100% authentic country songs.” Among the highlights are Al Green’s compelling cover of Hank Williams’ I’m So Lonesome I Could Die, Brook Benton’s emotional interpretation of Jerry Lee Lewis’ She Even Woke Me Up To Say Goodbye and James Carr’s heartfelt take on Mel Tillis’ Life Turned Her That Way. Moses and Joshua Dillard’s take on the Curly Putnam and Billy Sherrill penned My Elusive Dreams, which was originally recorded by Tammy Wynette and David Houston is quite irresistible. While these four tracks are some of the highlights of Behind Closed Doors: When Country Meets Soul, it’s not just male soul singers who are responsible for the some of the highlights of Behind Closed Doors: When Country Meets Soul. Indeed three Southern belles are responsible for a trio of the compilation’s best tracks.
On Behind Closed Doors: Country Meets Soul, Southern belles like Candi Staton and Ann Peebles are responsible for two of the compilation’s highlights. Candi breathes new life and meaning into Patsy Cline’s He Called Me Baby. This was a track from Candi’s Stand By Your Man album. Ann Peebles’ interpretation of (You Keep Me) Hanging On was a track from her album I Can’t Stand The Rain. Her interpretation of the song is a mixture of emotion, heartache and hope, and demonstrates just how talented a vocalist Ann Peebles truly is. Bettye Swann take on the Hank Cochran penned Don’t Touch Me, is emotion, heartache and hurt personified.
Among the other highlights of Behind Closed Doors: Country Meets Soul are Aaron Neville’s version of The Grand Tour, originally recorded by George Jones. Aaron’s version is quite unlike the original, but incredibly soulful and heartfelt. Along with Solomon Burke’s He’ll Have To Go, Percy Sledge’s Take Time To Know Her Don’t Touch Me and Clarence Carter’s Set Me Free, these three tracks are among the best soulful covers of country tracks. Some tracks good as they are, just don’t compare favorably to the originals.
Tony Border’s Gentle On My Mind was written and recorded by John Hartford who won two Grammy’s for the track. I was made famous by Glen Campbell in 1968.
and Tony’s version is nowhere as good as the original. Similarly, Good as Little Milton’s version of Charlie Rich’s Behind Closed Door is, I much prefer Charlie’s version. Then there are a trio of tracks that just don’t work and are among the disappointments of Behind Closed Doors: Country Meets Soul.
Like all compilations, some tracks on Behind Closed Doors: Country Meets Soul disappoint. Millie Jackson’s version of Merle Haggard’s If You’re Not Back In Love By Monday is slightly disappointing, although this is an alternate vocal version. Similarly, The Limelites’ version of Before the Teardrop Falls, is just too sweet, slick and smooth, and isn’t anywhere near as good as Freddy Fender heartfelt version. Joe Tex’s version of Skip A Rope leaves me cold, and I much prefer Henson Cargill’s 1967 version. These three tracks to me are the low-points of Behind Closed Doors: Country Meets Soul and personally, I wouldn’t have included them on the compilation.
So, having told you about Behind Closed Doors: Country Meets Soul, would I recommend you buy the compilation? Well, I’ve mixed feelings about it. Many of the artists included on the compilation are quite predictable, especially artists like Al Green, Ann Peebles, Candi Staton, Solomon Burke, Percy Sledge and James Carr. Similarly, some of these songs are hardly hard to find, and are available elsewhere. That’s why I wonder whether this compilation is aimed at occasional compilation buyers, as it’s hardly a collection of hard to find hidden gems? The idea of country music’s influence on soul is hardly a eureka moment, in terms originality. Getting onto the music, yes, there’s some great music on Behind Closed Doors: Country Meets Soul, albeit with a few disappointments. Okay the good tracks outnumber the disappointments, but add in the predictable tracks and its a close run thing. Separating the fact that this “concept” isn’t original, with the standard of the music, I’d say the overall standard music on Behind Closed Doors: Country Meets Soul means it’s worth buying the compilation. For many lovers of soul music, they’ll have many of the tracks on either the original albums or other compilations, I know I have. Maybe the compilers should’ve dug deeper, but in doing so, they’d have missed the occasional compilation buyer, who seeing a few familiar names, buys the compilation on spec. What I would say though, is Behind Closed Doors: Country Meets Soul is a decent primer for anyone wanting an introduction to country music’s influence on soul music. For the more serious soul fan, then I’d think that they’ll have many of the tracks on Behind Closed Doors: Country Meets Soul and the compilation won’t appeal to them.
Maybe the compilers should’ve tried harder when coming up with a theme for Behind Closed Doors: Country Meets Soul. In such a saturated compilation market, in especially economically trouble times, people will be picking and choosing what compilations to buy. When a compilation offers very little in the way of new and compelling music they’ll look elsewhere. Sadly, good as Behind Closed Doors: Country Meets Soul is, it certainly won’t be finding its way into my list of best compilations of 2012. Standout Tracks: Ann Peebles (You Keep Me) Hanging On, Al Green I’m So Lonesome I Could Die, James Carr Life Turned Her That Way and Candi Staton He Called Me Baby.
BEHIND CLOSED DOORS: WHEN COUNTRY MEETS SOUL.
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M.F.S.B.-THE GAMBLE AND HUFF ORCHESTRA.
M.F.S.B.-THE GAMBLE AND HUFF ORCHESTRA.
Over the last few weeks, I’ve been charting the rise of Salsoul Records and then the changes in personnel that ensued from 1978 onwards. The story of Salsoul Records wouldn’t have happened without Philadelphia International Records and Gamble and Huff. M.F.S.B. were Philadelphia International Records legendary house-band, and in 1975 after members of M.F.S.B. were involved in a dispute with Gamble and Huff over money. When the dispute couldn’t be resolved, many members of M.F.S.B. quit, deciding to head less than one-hundred miles away to New York, where they became The Salsoul Orchestra. This left behind a very different M.F.S.B., with many musicians that played on albums like Philly Soul classics like Billy Paul’s 360 Degrees of Billy Paul, The O’Jays Backstabbers, Harold Melvin and The Blue Notes’ Black and Blue and M.F.S.B.’s Love Is the Message had left M.F.S.B. While this might of proved fatal for many labels, Philadelphia International Records continued to release many classic albums. However, losing the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and keyboard players Bunny Sigler and Ron “Have Mercy” Kersey left a void. While Philadelphia International Records continued to release many classic and successful albums, M.F.S.B. released further studio albums, including 1978s The Gamble and Huff Orchestra. This was M.F.S.B.’s sixth album and the follow up to 1976s Summertime, which was the first album by M.F.S.B. since the change in M.F.S.B.’s lineup. Would The Gamble and Huff Orchestra be an album match the quality of classic M.F.S.B. albums like Love Is the Message and Philadelphia Freedom? That’s what I’ll tell you, after I’ve told you about the background to The Gamble and Huff Orchestra.
For M.F.S.B.’s sixth studio album The Gamble and Huff Orchestra, it was very much a team-effort, with various songwriters and songwriting partnerships contributing the eight tracks. Gamble and Huff only contributed two tracks, and one of them, Use Ta Be My Guy was a cover of a track originally recorded by The O’Jays. The other tracks was The Way I Feel Tonight. Another cover version was Billie Calvin’s Wishing On A Star, originally recorded by Rose Royce. Dennis Harris, M.F.S.B. guitarist, wrote Redwood Beach, while Dexter Wansel and Cynthia Biggs cowrote Dance With Me Tonight. Joseph Jefferson and Philadelphia International arranger John L. Usry Jr. cowrote To Be In Love, while Leroy Bell and Casey James cowrote Let’s Party Down and with Thom Bell, cowrote Is It Something I Said. These tracks would be recorded at two studios, Philly’s Sigma Sound Studios and Seattle’s Kaye Smith Studios.
Of the eight tracks on The Gamble and Huff Orchestra, only Let’s Party Down and Is It Something I Said were recorded at Kaye Smith Studios in Seattle. The other six tracks were recorded in the familiar surroundings of Philly’s Sigma Sound Studios. With many of M.F.S.B. now finding even further success as The Salsoul Orchestra, the new lineup was very different from the early days, when albums like Love Is the Message and Philadelphia Freedom were recorded. Among the musicians that featured in this lineup of M.F.S.B. were guitarists James Herb Smith, Dennis Harris, Anthony Bell and Leroy Bell who also added percussion and backing vocals. Dexter Wansel added keyboards, while the legendary trio of backing vocalists Yvette Benton, Carla Benson and Barbara Ingram know as the Sweethearts of Sigma were familiar faces at Philadelphia International. Incidentally, they also featured on the Salsoul recordings. More familiar faces could be found among the arrangers and producers who worked on M.F.S.B.’s sixth album The Gamble and Huff Orchestra.
The producers who worked on The Gamble and Huff Orchestra included Gamble and Huff who produced The Way I Feel Tonight, while Joseph Jefferson and John L. Usry Jr. produced two tracks. Jack Faith arranged two tracks and produced Wishing On A Star. Anthony Bell arranged Let’s Party Down, which his brother Thom Bell produced. Thom Bell also arranged and produced Is It Something I Said, which was recorded in Seattle. Dennis Harris who wrote Redwood Beach, arranged and produced the track. With The Gamble and Huff Orchestra recorded, what would prove to be M.F.S.B.’s penultimate album would be released in 1978.
On the release of M.F.S.B. sixth album, The Gamble and Huff Orchestra failed to chart. Given how M.F.S.B.’s sound had changed, hoping to compete with The Salsoul Orchestra, which comprised many former M.F.S.B. legends, this must have hurt everyone at Philadelphia International Records. At least Used Ta Be My Guy reached a lowly number ninety-four in the US R&B Charts. However, given how M.F.S.B.’s sound had been changed to fit the growing love of all things disco, was this a mistake and should’ve M.F.S.B. have stuck to what they did best, fusing soul, funk and jazz seamlessly and peerlessly. That’s what I’ll tell you, after I’ve told you about the music on M.F.S.B. 1978 album The Gamble and Huff Orchestra.
Opening The Gamble and Huff Orchestra is Dance with Me Tonight written by Cynthia Biggs and Dexter Wansel, who arranged and produced the track. As the track opens, it could only be one band M.F.S.B. With a pounding, funky rhythm section, flourishes of quivering strings, keyboards and blazing horns combining, M.F.S.B. kick loose. While M.F.S.B. combine their combination of soul and funk, the track heads in the direction of disco. Graceful strings, rasping horns, Dexter Wansel’s keyboards and an uber-funky rhythm section provide a pulsating, funk-laden heartbeat. In the space of five-minutes, M.F.S.B. seamlessly fuse funk, soul, jazz and disco like only they can.
To Be in Love was written and produced by Joseph Jefferson and John L. Usry Jr. who arranged the track. When a flourish of piano opens the track, your hopes are high. As a Latin-tinged rhythm section, punchy backing vocals and cascading strings combine, things are still looking good. When keyboards are introduced they don’t quite work, but the braying horns rescue the situation and M.F.S.B. spring a surprise. Suddenly, you think you’re listening to The Salsoul Orchestra, when the Sweethearts of Sigma add sensuous, sultry backing vocals. If you think The Salsoul Orchestra, circa Nice ‘N’ Nasty you’re on the right lines. This is M.F.S.B.’s take on disco. Everything works, with the blazing horns, woodwind, dancing strings and the Sweethearts of Sigma’s vocal, showing that anything The Salsoul Orchestra can do, so can M.F.S.B. Mind you, by 1978 Salsoul featured many of M.F.S.B.’s legends and so was more M.F.S.B. than M.F.S.B.
Let’s Party Down sees the Bell brothers take charge of arranging and producing the track. Anthony is arranger and Thom producer. They combine elements of disco with funk and soulful vocals. There’s a slightly space-age sound to the synths and keyboards, with what sounds like a Moog Bass synth providing part of the track’s funky backdrop. While sometimes, synths from this era can sound slightly dated, this isn’t the case here. Add Bill Lamb’s sweeping, soulful vocals plus the lush strings, percussion and blazing horns and the result is a funky slice of dance-floor friendly music, where Philadelphia International had one firmly fixed on the ever increasing popularity of disco. If Gamble and Huff really wanted to conquer the increasingly popular disco market, maybe they should’ve hired The Salsoul Orchestra?
Wishing on a Star sees Jack Faith take over the production chair, resulting in one of the best tracks on The Gamble and Huff Orchestra. His arrangement sees a jazz-tinged, chiming guitar solo accompany a subtle rhythm section, melodic keyboards and the Sweethearts of Sigma’s tender, elegant harmonies. When the vocals drop out, a clarinet solo fills the gap, before the lushest of cascading strings and growling horns combine to create one of the most traditional M.F.S.B. sounding tracks. Later, M.F.S.B. threaten to kick loose, as they toy with you, as they add a sprinkling of funk to the jazzy sound. That this is one of the highlights of The Gamble and Huff Orchestra is no surprise, after all, Jack Faith, one of the most talented arrangers and producers at Philadelphia International was responsible for this track and its success.
Use Ta Be My Guy was written by Gamble and Huff and is a cover of a track made famous by The O’Jays. The Sweethearts of Sigma take charge of the vocal, as Joseph Jefferson and John L. Usry Jr. produce it. With a jazzy guitar, punchy harmonies from the Sweethearts of Sigma combined with a dance-floor friendly beat, the track reveals its secrets. Bursts of pounding drums and blazing horns punctuate the arrangement, while strings sweep and swirl and the tender harmonies add beauty to the drama of the horns and drums. A rasping horn solo is key to track’s sound and success, while the keyboards, rhythm section and cascading strings see M.F.S.B. fuse jazz, funk, soulful harmonies and disco beautifully and seamlessly, all in the space of five minutes.
Gamble and Huff’s only produced The Way I Feel Today, which they cowrote. Jack Faith arranges the tracks, which is another of the highlights of The Gamble and Huff Orchestra. The Sweethearts of Sigma add wistful and sometimes joyful vocals, while the arrangement is more jazz than funk. A standup bass, helps give the track a slightly moody, thoughtful old-fashioned jazzy sound, as do bursts of rasping horns and the Sweethearts of Sigma’s tender harmonies. The coup de grace is the swathes of lush strings that sweep and swirl. They’re just the icing on Gamble and Huff’s delicious, jazzy cake.
Is it Something I Said is one of two tracks that were recorded at Seattle. Given that Sigma Sound Studios was familiar territory for Philadelphia International and part of the Philly Sound, this seems a strange move. Thom Bell arranges and produces the track, where the funky rhythm section, combine with swathes of dancing strings, growling horns and keyboards. This works really well, but for some reason Thom thought that allowing a poor man’s James Brown to holler “Is it Something I Said” occasionally would add to the track? Obviously it doesn’t and is something of an unwelcome intrusion. Thankfully it doesn’t happen too often and doesn’t spoil what’s a dramatic and funky track.
Closing The Gamble and Huff Orchestra is Reedwood Beach written, arranged and produced by M.F.S.B. guitarist Dennis Harris. It’s a track where jazz and funk are combined, with jazzy guitar, piano and drums combining, before cascading strings and rasping horns combine. M.F.S.B. play their part in moving the track from a quite beautiful, laid-back sounding track, before injecting woodwind, blazing horns and bursts of horns as M.F.S.B. threaten to kick loose. They never do, instead toy and tease you, and in the process, create a quite beautiful track to close The Gamble and Huff Orchestra.
The Gamble and Huff Orchestra was M.F.S.B.’s fifth album and first since 1976s Summertime. It would also prove to be the penultimate M.F.S.B. album. While music had changed much since their debut album M.F.S.B. in 1972. So too had M.F.S.B.’s personnel and on The Gamble and Huff Orchestra, their music. Although many of the tracks on The Gamble and Huff Orchestra were M.F.S.B.’s familiar fusion of funk, jazz and soul, some of the track’s were designed to help Gamble and Huff and Philadelphia International Records to conquer the increasingly popular disco market in 1978. This is somewhat ironic, given that Gamble and Huff with the help of the other multitalented personnel at Philadelphia International Records had been creating quality and timeless dance music since 1972. What they didn’t do, was go chasing popular musical trends. Somewhat ironically, disco had only another year to live, before it nearly died in July 1979, on Disco Demolition Night at Comiskey Park in Chicago. However, on The Gamble and Huff Orchestra, Gamble and Huff spread their bets, by not solely concentrating on one musical genre. Instead, there was the usual mixture of funk, soul, jazz and dance-floor friendly music, including disco. These eight tracks ranged from beautiful, wistful and melancholy jazz and soulful, to dramatic, pulsating and uber-funky.
Although the classic lineup of M.F.S.B. had headed to New York and became The Salsoul Orchestra in 1975, Philly still had more than its fair share of talented musicians. These musicians became in some respects, M.F.S.B. Mk. 2 and for many people, M.F.S.B.’s music is best described as two periods 1972-1975 and the classic lineup and M.F.S.B. Mk. 2, the post-1975 lineup. While many legendary musicians left M.F.S.B. in 1975, it was still a hugely talented lineup of musicians, backing vocalists, the Sweethearts of Sigma, plys some talented songwriters, arrangers and producers. They all played their part in making The Gamble and Huff Orchestra a really enjoyable album which mostly has aged well. While it’s maybe not a classic album like Love Is the Message or Philadelphia Freedom, but it’s one of the best albums from M.F.S.B. Mk. 2, along with Summertime, M.F.S.B.’s fourth album released in 1976. Standout Tracks: Wishing on a Star, Use Ta Be My Guy, The Way I Feel Today and Redwood Beach.
M.F.S.B.-THE GAMBLE AND HUFF ORCHESTRA.
SAM COOKE-THE RCA ALBUMS COLLECTION.
SAM COOKE-THE RCA ALBUMS COLLECTION.
With record companies on what seems like an extended summer break, it gives me the opportunity to look back at albums I’ve overlooked or not had time to review when they were released. Now as someone whose something of a self-confessed music addict, who can’t go more than two days without my fix of new music, you can imagine the amount of albums that I own. Truly, over the years I’ve bought and been given thousands upon thousands of albums. Often, the amount of albums that come my way mean I can’t review everything. So when there’s a lull in the amount of new releases, this allows me catch up on albums that I meant to review but never got round to. However, it’s not just albums I buy, but box sets. For as long as I can remember, I’ve always loved box sets and over the years, built up quite a collection. 2012 has been a good year for box sets, with Harmless Records’ ten-disc Magnus Opus Philadelphia International Records-The 40th Anniversary Box Set, plus their four-disc Philadelphia International Classics-The Tom Moulton Remixes. Then there’s been the recent P&P Hits, Hits, Hits and Freedom Sounds released by Trojan Records, plus the intriguing Great British Albums box set which was released recently. Last year was just as good, with the Screamadelica box set one of the best box sets of 2011, while there were welcome release of box sets from Nina Simone and the eight-disc box Sam Cooke box set Sam Cooke-The RCA Albums Collection, which I’ll now tell you about.
For many people, the music of Otis Redding, Aretha Frankin, Al Green, Motown and Sam Cooke were their introduction to soul music. These artists will be what started them on a lifelong love-affair with all things soul music. Much as I like each of these artists and labels like Atlantic Records, Hi Records and Motown, I’ve always loved the music of Philadelphia International Records. Nothing else comes close. Having said that I appreciate and enjoy all types of soul music, including the music of Sam Cooke. For too long, Sam Cooke’s music had been unavailable, with just the usual collection of hastily compiled compilations available. So when I saw that Sam Cooke-The RCA Albums Collection, I decided it was time to replace my old vinyl copies with this eight-disc box set. However, what did I find in the eight-disc Sam Cooke-The RCA Albums Collection and has Sam’s music stood the test of time?
COOKE’S TOUR.
Sam Cooke-The RCA Albums Collection features seven studio albums that Sam Cooke released between April 1960 and September 1963. This box set starts in 1960, with Cooke’s Tour, released in April 1960, which you could loosely call an early concept album, with Sam singing about some of the cities of the world. This is very much a mixed bag, or what I’d call the good, the bad and the ugly. Far Away Places which opens Cooke’s Tour works, as do South of the Border, Bali Ha’i and Sweet Leilani. These tracks are the highlights of Cooke’s Tour. After that, things go astray.
Apart from these tracks, the rest of Cooke’s Tour are an ill advised collection of tracks. Truly, they haven’t stood the test of of time well. Listening to Under Paris Skies, The Coffee Song, Jamaica Farewell and Arrivederci, Roma (Goodbye To Rome) these tracks just sound of there time. However, the absolute low-points of Cooke’s Tours are the Hawaiian-tinged Sweet Leilani and Japanese Farewell Song.
Sadly, Cook’s Tour is an album that back in 1960, would’ve sounded very different, but fifty years later, it’s showing its age. Although Sam’s voice has the rich quality you’d expect, many of the songs on Cooke’s Tour do him no favors. Hopefully things will improve during the rest of Sam Cooke-The RCA Albums Collection.
COOKE’S TOUR.
HITS OF THE 50s.
Hits of the 50s was released in August 1960 and sees Sam Cooke revisit some of the popular songs of the fifties. This sees the entrance of Sam Cooke crooner, delivering familiar tracks like Mona Lisa, The Great Pretender, Unchained Melody, The Song From Moulin Rouge and I’m Walking Behind You. Again there very much a mixed bag of tracks, that sound from another era. It’s the type of music you’d hear on easy listening radio stations in the late sixties, early seventies. Having said that, there are some highlights, including Hey There, Too Young and Unchained Melody. Sam’s version of Too Young brings new life to the song, and on Unchained Melody he slows the song way down, delivering the track in a way that brings out the song’s subtleties, nuances and beauty. The jazz-tinged Cry allows you to experience that glorious, rich voice at its very best.
Overall, Hits of the 50s is much better that Cooke’s Tour and has stood the test of time much better. Sam’s voice is suited to many of the tracks on Hits of the 50s, although there are a few tracks that just don’t work, including The Wayward Wind which never gets going, and Venus where despite Sam’s best efforts, just doesn’t work. However, at least the good tracks outnumber the bad tracks on Hits of the 50s, unlike Cooke’s Tour.
HITS OF THE 50s.
SWING LOW.
When Swing Low was originally released in March 1961, it was originally entitled Sam Cooke. Sadly, Swing Low has more in common with Cooke’s Tour than Hits of the 50s. Apart from the classic Chain Gang, which is Sam Cooke at his very best, much of Swing Low is filler. Tracks like Grandfather’s Clock, Jeanie With The Light Brown Hair are two of the worst tracks on the box set. They really belong to another age, and haven’t stood the test of time. The strange things is, many other albums from other artists have stood the test of time, but not Swing Low. Of the other tracks on Swing Low, I’m Just A Country Boy, Long, Long Ago, You Belong To Me and Goin’ Home do something to rescue the situation just.
Truly, Swing Low isn’t Sam Cooke at his finest. Maybe if I’d been around in 1961, I’d be writing a different review, but fifty-one years later, it’s a different story. For anyone looking to buy a Sam Cooke studio album, sadly Swing Low wouldn’t my recommendation.
SWING LOW.
MY KIND OF BLUES.
By the time Sam Cooke released My Kind of Blues in October 1961, he was beginning to hit his stride. This is a much better collection of songs. Opening with the jazz-tinged Don’t Get Around Much Anymore, Sam is accompanied by a small tight band and horn section. They really lift things, as Sam kicks loose. Soon, he drops the tempo on Little Girl Blue, before delivering a heartfelt, slow and spacious version of Nobody Knows You When You’re Down And Out. From there, Out In The Cold Again and But Not For Me sees the quality continue, with Sam delivering some of his best vocals on the box set so far.
My only quibble and criticism is that some of the tracks have similar arrangements, with the blazing horns opening the track and rasping their way through the track. Having said that, they add to the bluesy sound and feel, and this is so much better than Cooke’s tour or Swing Low.
Since I Met You Baby sees Sam at his best, while his cover of Big Joe Turner’s Trouble In Mind manages to come across as soulful and bluesy. A combination of Sam’s soulful vocal and the bluesy horns combine beautifully. There’s no real disappointing tracks on My Kind of Blues and is something of a coming of age album for Sam Cooke. He seemed to find the sound that suited him and the songs on My Kind of Blues fit Sam like a glove. My Kind of Blues is my favorite Sam Cooke album from Sam Cooke-The RCA Albums Collection and is Sam Cooke at his very best.
MY KIND OF BLUES.
TWISTIN’ THE NIGHT AWAY.
After the consistent quality of what was a classic Sam Cooke album, My Kind of Blues, Twistin’ The Night Away released in April 1962 sees a return to the mixed bag of Cooke’s Tour and Swing Low. It seems that having had a hit with Twisting The Night Away, someone came up with the bright idea to write a several variations on the them. Hence Twisting In The Kitchen With Dinah, Twisting In The Old Town Tonight and Camptown Twist. Sadly, these tracks are nothing like as good as the original and just don’t work. Maybe fifty years ago these songs sounded great, but not any more. Their addition wasn’t big and wasn’t clever. Staying on the theme of all things twisting, Sam covers The Twist, but it’s nothing like the original. So with twisting tracks taking up five tracks, are the other seven tracks on Twistin’ The Night Away any better?
Apart from Somebody’s Gonna Miss Me and the impassioned pleas of Sam on Somebody Have Mercy and Soothe Me, the highlights of Twistin’ The Night Away are few and far between. The bluesy Movin’ And A Groovin’ is a song that’s obviously been influenced by the twisting songs, and is derivative in nature. Obviously, Twistin’ The Night Away is one of Sam Cooke’s best known tracks, but apart from it and three other tracks, Twistin’ The Night Away isn’t vintage Sam Cooke. Indeed far from it. Indeed,Twistin’ The Night Away seems a backward step from Sam Cooke after My Kind of Blues. Thankfully, things would improve for Sam Cooke in 1963.
TWISTIN’ THE NIGHT AWAY.
MR. SOUL.
Sam Cooke released two more albums in 1963, with Mr. Soul the first of them. Here, Sam finds the form he showed on My Kind of Blues, delivering twelve soulful tracks, where that velvet voice tantalizes you. From I Wish You Love, though Chains Of Love, Chains Of Love, the sumptuous Smoke Rings and the bluesy All The Way, this makes listening to all the inferior tracks on Cooke’s Tour, Swing Low and Twistin’ The Night Away worthwhile. It’s as if Sam’s been working up to Mr. Soul.
Unfortunately, things go slightly awry on Send Me Some Lovin,’ which isn’t as good as the other tracks. After that, quivering, shivering strings give way to the piano and an impassioned and peerless version of Cry Me A River. Driftin’ Blues sees Sam return to the bluesy sound of My Kind of Blues, with For Sentimental Reasons (I Love You), Nothing Can Change This Love and Little Girl continuing to take Mr. Soul in the same bluesy, soulful direction. Closing Mr. Soul is These Foolish Things, which close this classic album. Along with My Kind of Blues, Mr. Soul is vintage Sam Cooke and makes enduring Cooke’s Tour, Swing Low and Twistin’ the Night Away worthwhile.
MR. SOUL.
NIGHT BEAT.
Night Beat is the final Sam Cooke studio album, released in August 1963. Like many of the albums in the Sam Cooke-The RCA Albums Collection, Night Beat features twelve tracks from Sam Cooke. Nobody Knows The Trouble I’ve Seen gets Night Beat of to a dramatic, impassioned opening, before Sam lays bare his soul on Lost And Lookin.’ Mean Old World fuses the bluesy sound of My Kind of Blues with country soul and even gospel music. By now you realize that many of Sam Cooke’s previous albums were leading up to albums like Mr. Soul and Night Beat
Mean Old World fuses the bluesy sound of My Kind of Blues with country soul and even gospel music. The bluesy sound continues on Please Don’t Drive Me Away, where Sam pleas and begs, delivering one of most emotive and heartfelt vocals. On the piano lead Get Yourself Another Fool, Sam’s vocal is a mixture of sadness and heartbreak, but results in one of his best vocals. You can’t fail to be moved by his vocal, and the same can be said of Trouble Blues and Fool’s Paradise, where Sam makes each track his own. Much of the music on Night Beat has a similar style, except two tracks.
Little Red Rooster sees Sam Cooke kick loose, while his band create a bluesy backdrop for his vocal. He returns to this sound on Shake, Rattle And Roll, which closes Night Beat. Of all the tracks on Night Beat, this track absolutely swings..and then some. This is the perfect way to close Night Beat, which is the last of Sam Cooke’s studio albums included in Sam Cooke-The RCA Albums Collection. For Sam Cooke’s fans, Night Beat is Sam at his very best. Night Beat almost seems a fitting finale Sam Cooke-The RCA Albums Collection. However, there’s the still the live album to come, One Night Stand! Live At the Harlem Club.
NIGHT BEAT.
ONE NIGHT STAND-LIVE AT THE HARLEM CLUB.
Although this concert was recorded back in January 1963, One Night Stand-Live At the Harlem Cub was never officially released until twenty-two years later in June 1985. Maybe the reason it wasn’t released before 1985 is that the sound quality is pretty poor. Sam seems to be forcing his vocals on some tracks, as if trying far too hard to win the audience over. As a result, the songs lose their subtlety, nuances and beauty. Having said that, he delivers a string of classics. This includes Chain Gang, Cupid, Twistin’ The Night Away and closes with the joyous Having A Party.
Why the record company decided to include One Night Stand-Live At the Harlem Cub is something of a puzzle? Given how poor the sound quality is and that it’s hardly a vintage performance from Sam Cooke, why didn’t the include another studio album. Surely Ain’t That Good News, the final studio album released in Sam’s lifetime would’ve been a better choice? For me, One Night Stand-Live At the Harlem Club is a slightly disappointing way to close Sam Cooke-The RCA Albums Collection.
ONE NIGHT STAND-LIVE AT THE HARLEM CLUB.
For anyone wondering whether I’d recommend they buy Sam Cooke-The RCA Albums Collection, I’d say that if you do, don’t expect eight classic albums. In reality, I’d only consider My Kind of Blues, Mr.Soul and Night Beat as classic albums, with My Kind of Blues something of a hidden gem in Sam Cooke’s back-catalogue. Of the other four studio albums, Hits of the 50s is what I’d call the best of the rest. It’s far from the standard of My Kind of Blues, Mr.Soul and Night Beat, but contains some tracks where Sam Cooke makes the song his own and gives a tantalizing glimpse of what’s still to come. That leaves the other three studio albums, with Cooke’s Tour, Swing Low and Twistin’ The Night Away very much a mixed bag, with very little to commend them. During this trio of albums, there are occasions when Sam’s talent shines through and we hear Sam Cooke at his best. Sadly, the other album in the Sam Cooke-The RCA Albums Collection is one that’s quite forgettable, due to the poor quality of the recording and Sam Cooke sounding like he’s trying too hard to win his audience over.
So, would I buy Sam Cooke-The RCA Albums Collection again? I think given I would. Although Cooke’s Tour, Swing Low and Twistin’ The Night Away are very much mixed bags, they show Sam Cooke developing and growing as a singer. This is the case on One Night Stand-Live At the Harlem Club which despite it’s pretty awful sound quality, you can hear Sam trying too hard. The upside of Sam Cooke-The RCA Albums Collection is the three classic Sam Cooke albums My Kind of Blues, Mr. Soul and Night Beat. Given how good these three albums are and how reasonably priced Sam Cooke-The RCA Albums Collection is then, even if you find the other albums mixed bags, then it’ll still be cheaper than buying My Kind of Blues, Mr. Soul and Night Beat separately. Anyway, My Kind of Blues, Mr. Soul and Night Beat alone are three classic albums from one of the legends of soul music Sam Cooke.
SAM COOKE-THE RCA ALBUMS COLLECTION.
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THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.
THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.
Recently I wrote a feature on two of Electronic Dance Music’s most ambitious and innovative labels, Japan’s Fountain Music and Plaza In Crowd. Although Fountain Music and Plaza In Crowd were only founded in June 2008 by Shinji Tokida, they’ve been releasing innovative and groundbreaking music since then. They’ve put many UK, European and American labels to shame, with the amount of quality music they’ve been releasing in the past four years. During that time, both Fountain Music and Plaza In Crowd have released over twenty CD albums and over one-hundred digital releases and built up an international following. For anyone yet to hear the music of Fountain Music and Plaza In Crowd, label President Shinji Tokida, has decided to release a series of limited edition “collections,” which will prove the perfect introduction to both labels music. There is The Fountain Music and Plaza In Crowd Collection an eleven CD collection which I’ll review here and two five CD collections, which are available from Fountain Music’s website. So, for anyone yet to discover the music of Fountain Music and Plaza In Crowd, I’ll give you an overview of the eleven disc The Fountain Music and Plaza In Crowd Collection, which features some artists I’ve previously reviewed and enthused about, plus a few new faces. The eleven disc Fountain Music and Plaza In Crowd Collection features albums like Shin Nishimura’s Mash, TEMMA-Teje’s Midget Lamps In the Dark and Satoshi Fumi’s Colours, plus albums by Dave Angel, DJ Yellow, Popnoname, Sans Soleil and Genevieve and Takaaki Tsuchiya. These albums range from some of Fountain Music and Plaza In Crowd’s earliest releases, through to their most recent release. After I’ve briefly told you about each album, I’ll tell you whether you invest in The Fountain Music and Plaza In Crowd Collection.
DJ YELLOW AND ASTRID SURYANTO-THE INTERMISSION.
DJ Yellow and Astrid Suryanto’s Intermission was one of Fountain Music’s earliest releases, released back in 2008. Intermission was a collaboration between French house and electro producer DJ Yellow and Indonesian singer, singer and producer Astrid Suryanto. It’s a glorious journey through house and electro, with elements of techno on Light On Me and To The Top. Joining DJ Yellow and Astrid on The Intermission are King Britt who features on Night in Tranzylvania. To me, Intermission’s success is the combination of talented personnel, especially Astrid’s vocals.
Astrid’s hauntingly beautiful vocals key to Intermission’s success. Her vocals help set the mood of the track. Some of her best vocals are on the joyous and irresistible In Your Voice, To The Top especially on To The Top, the moody Alone and is hauntingly beautiful on To The Top. Add to that the combination of synths and drums from DJ Yellow that provide the backdrop for Astrid’s vocals and the scene is set for The Intermission to be a mood changing sixty-nine minute musical roller-coaster.
Sadly, The Intermission was the only collaboration between DJ Yellow and Astrid Suryanto. However, given how good The Intermission is, it would be difficult to top The Intermission. Of the eleven discs in The Fountain Music and Plaza In Crowd Collection, Intermission is one of my favorites. It’s a glorious journey through house, electro and techno, which changes your mood, ranging from makes you think, feel sad and make you want to dance for joy. Take my advice and buy a copy of DJ Yellow and Astrid Suryanto’s The Intermission…now.
DJ YELLOW AND ASTRID SURYANTO-THE INTERMISSION.
SANS SOLEIL AND GENEVIEVE-SIMPLE MACHINE.
Sans Soleil and Genevieve’s Simple Machine was released by Fountain Music in 2009. Simple Machine was Sans Soleil’s fourth album, and the followup to 2007s Boreal. Simple Machine was a collaboration between two mainstays of Toronto’s music scene. Michael Trommer is a producers who describes his work as experimental, while vocalist Genevieve Marentette originally trained as jazz singer. She’s was a feature of the Detroit music scene for many years, but is now based in Toronto and her versatility sees her singing jazz, Latin and soul music. On Simple Machine, Michael and Genevieve’s talents are put to good use.
Simple Machine is one of these albums that makes an impression straight away. From the opening track, Bike which mixes Detroit techno with Genevieve’s ethereal vocal the combined talents of Sans Soleil and Genevieve is apparent. Bike mixes techno and ambient music, while Bulb is a slow burner, featuring a whispered vocal from Genevieve set against a pounding beats and synths. Gradually, Bulb reveals its secrets over seven compelling minutes. Lorax V1 bubbles along, with synths and crunchy beats and Genevieve’s fragile vocal floating above the arrangement. Like other tracks Star Nibbler reveals the innovative side of Michael Trommer, as a pounding techno track unfolds, while melodic synths and sound effects punctuate the arrangement. Lover`s Endgame which closes Simple Machine shows the experimental side to Michael Trommer, as he incorporates elements of techno, ambient music and house music while referencing electronic pioneers like Kraftwerk. It’s a compelling and fascinating end to Simple Machine.
For anyone whose either a fan of techno, ambient music or just Electronic Dance Music, then Simple Machine by Sans Soleil and Genevieve, which to me is an absolute hidden gem of an album. I for one, will be checking out more of Sans Soleil and Genevieve’s solo work and so should you, after you’ve heard Simple Machine.
SANS SOLEIL AND GENEVIEVE-SIMPLE MACHINE.
BEAUTIA.
Beuatia was one of Fountain Music’s first compilations, released back in 2009. It’s an eleven track compilation, compiled by Fountain Music President Shinji Tokida. For anyone wanting an introduction to Fountain Music and Plaza In Crowd, then this is what you’ve been looking for. The eleven tracks on Beautia are some of the earliest releases on Fountain Music and Plaza In Crowd. This includes tracks from Small Town Girls, DJ Yellow, Hiroshi Watanabe, Dave Angel, Sans Soleil, Popnoname, D. Soul and Synethesys. Truly, Shinji Tokida has chosen well for the eleven tracks that feature on Beautia.
Small Town Girls’ Don’t Dance Just Yet opens Beautia and is a track the grabs your attention from the get-go. It toys with you, teasing you before revealing its secrets. Like the albums by DJ Yellow and Astrid Suryanto and Sans Soleil and Genevieve, Small Town Girls’ Don’t Dance Just Yet features a glorious vocal, set amidst a swathes of synths and crunchy beats. Having gotten Beautia of to a storming start, DJ Yellow’s Melody For H is a ten-minute Magnus Opus which draws you in and then takes you on a joyous musical adventure. Then comes Hiroshi Watanabe’s melodic A New Place For Your Heart where elements of techno and house are combined to create drama and beauty in equal measures. London born techno producer Dave Angel’s Ghost Train is another of Beautia’s highlights, proving that UK producers can create techno that’s capable of rivalling the techno coming out of New York, Detroit and Chicago.
Among the many other highlights of Beautia is Spring Breeze by Dublee is a bubbling slice of minimal techno. It’s one of my favorite tracks on Beautia and I’d like to hear much more of Yusuke Sakurai’s music. Sans Soleil and Genevieve’s Lover’s Endgame is another welcome addition, as is Popnoname’s melodic, moody and dramatic techno track Storm. Synethesys’ Sunday Afternoon is the final track on Beautia, where techno and ambient music are fused, creating a thoughtful and beautiful track.
For newcomers to the music of Fountain Music and Plaza In Crowd, the music on Beautia are the perfect introduction to both labels. Beautia features eleven track that demonstrate just some of the hugely talented and innovative artists that have played their part in Fountain Music and Plaza In Crowd’s history. Compiler Shinji Tokida has chosen the tracks on Beautia well, and Beautia is a very much a voyage of discovery, where you’ll hear some new music from some innovative and imaganitive music.
BEAUTIA.
POPNONAME-SURROUNDED BY MARS.
Popnoname which is the production vehicle for Cologne based producer Jens-Uwe Beyer, first release for Fountain Music was their 2009 Save the World single. A year later in 2010, Popnoname released Surrounded By Mars on Plaza In Crowd. Surrounded By Mars was a remix album, where remixers remixed the eight tracks on Popnonames’ 2009 album Surrounded By Weather, which had been released on the Italic label.
The remixes on Surrounded By Mars brought new life and meaning into the eight tracks that featured on Surrounded By Weather. These tracks are a combination of techno, house and ambient music. Of the twelve tracks on Surrounded By Mars, the Storm Picious Remix is a fusion of elements techno, house and ambient music, with even a touch of dub thrown in for good measure. On 2012 Pinto Remix there’s more of a house and techno sound and feel, while the Perspective Geiger & Deepulse Remix starts off something of a slow burner, but once it gets going, is an eight-minute journey where elements of techno, house and ambient music are combined seamlessly. Love Deeper Than Love Remix sweeps you along in its midst and with its combination of crunchy beats and swathes of synths, The Smallest Part Ambient Remix brings Surrounded By Mars to a meandering, laid-back and beautiful close. It’s a track that would be a welcome inclusion on any ambient or chill-out compilation and is one of the real highlights of Surrounded By Mars.
Given how much I enjoyed Popnoname’s Surrounded By Mars, I’ll very definitely be investigating Popnoname’s music further. Sometimes, remix albums don’t work, but Surrounded By Mars does. It breathes new life and meaning into the original tracks and comparing and contrasting the original tracks on Surrounded By Weather is an interesting exercise. For anyone yet to discover Popnoname’s music, then Surrounded By Mars is a good starting point for your journey.
POPNONAME-SURROUNDED BY MARS.
DJ YELLOW-ALIENATION.
The only artist who has two discs in The Fountain Music and Plaza In Crowd Collection is DJ Yellow, whose 2010 album Alienation for Fountain Music is his second contribution to the collection. Given how good DJ Yellow’s and Astrid Suryanto’s Intermission was, the bar has been set high. Will DJ Yellow’s Alienation match the quality of Intermission?
There are nine tracks on DJ Yellow’s Alienation, including Dubfire’s Dubstep Re-edit of 1st Step. Alienation opens with the moody, haunting DJ Yellow’s Kontrolling Your Mindz. With its myriad of haunting vocal, melodic percussion and dark, moody synths, it’s a compelling way to open Alienation. DJ Yellow builds up the drama and you’re wondering which way the track is heading. Instead, DJ Yellow just teases you with a moody, elegiac musical journey that gets Alienation off to a compelling start.
On There Are Some Jedi, DJ Yellow’s techno roots come into play, with a pulsating track, that continues on the dramatic You Think Too Much, where you’re swept along amidst crunchy, galloping beats and old-school synths. This Is It is another of the highlights of Alienation, with the track featuring pounding beats, swathes of synths and percussion that drive the track along. Lost sees a change in sound, with a much more minimalist sound. No More Enemies sees DJ Yellow change the sound again, but this results in one of the most compelling and fascinating tracks on Alienation. Closing Alienation is one of the highlights of the album Melody For H. It’s a track that has a joyous sound where techno and house unite. Just stabs and washes of synths combine with pounding beats, as DJ Yellow seems determined to end Alienation on a high. This he does, creating a track that would sound great in clubs anywhere.
While I’d earlier wondered whether DJ Yellow’s Alienation would match the quality of his collaboration with Astrid Suryanto on Intermission, I can honestly say that that’s the case. Having said that, Alienation is very different, given that there are no vocals on the album. In a way, that allowed DJ Yellow to create an album that’s a compelling combination of techno and house, melodic, uplifting and dance-floor friendly.
DJ YELLOW-ALIENATION.
TAKAAKI TSUCHIYA-CONNECT VIA LOVE BRIDGE.
Takaaki Tsuchiya released his debut album Connect Via Love Bridge in 2011 on Fountain Music. On Connect Via Love Bridge, Takaaki is joined Genevieve Marenette whose responsible for the melodies and is guest vocalist on Stream and Connected. Among the other guest artists on Connect Via Love Bridge are Loud One, 4/4 Kicks Kiss, Popnoname and Kasumi. Together, Takaaki Tsuchiya and these guest artists created eleven slices of uplifting house music.
Genevieve adds her ethereal vocals to the intriguing and wistful Stream, before joining Takaaki on the pounding 4/4 of Connected, which is a dramatic combination of tech and deep house. Smile is aptly titled, because as soon as you hear this uplifting and joyous hands in the air track, you’ll Smile. When Disorder opens, you immediately think of sixties and seventies spy movie soundtracks, given the track’s moody, broody sound. Gradually, the track reveals its subtleties and secrets, with pounding beats, percussion, synths and whistles punctuating the track. Truly, it’s hard to resist this tracks charms.
One of the real highlights of Connect Via Love Bridge is Luv In Space, where 4/4 Kicks Kiss add sensuous, breathy vocals. They combine perfectly with the crispy beats that drive the track along at breakneck speed, along with stabs and swathes of synths. Another of Connect Via Love Bridge’s standout tracks is Super Light, which features Kasumi’s vocal. Listen carefully, and you’ll hear a slight French Touch influence to the track’s melody. Although the thunderous beats provide the track’s pounding heartbeat, it’s Kasumi’s vocal that make this such an outstanding tracks.
For a debut album, Takaaki Tsuchiya’s Connect Via Love Bridge is a really accomplished album. Although Takaaki is obviously a talented musician and producer, what makes this such a good album, is the artists who collaborate with Takaaki on Connect Via Love Bridge, especially the vocalists. Genevieve, 4/4 Kicks Kiss and Kasumi’s vocals play an important part in Connect Via Love Bridge sound and success. Of all the house albums I’ve heard over the past few years, Connect Via Love Bridge is right up there with the best and proves that there are still talented producers out there producing new and innovative quality music.
TAKAAKI TSUCHIYA-CONNECT VIA LOVE BRIDGE.
DAVE ANGEL-FRAME BY FRAME
New and innovative quality music is the perfect description of what Dave Angel has been doing all his career. Dave is a London based techno producer and founder of Rotation Records whose been making music since the nineties. In 2011, Dave Angel released Frame By Frame for Fountain Music, which is a combination of techno and tech house. On Frame By Frame, Dave is responsible for ten of the eleven tracks and collaborates with Japanese producer Ken Ishii on Type E. Trying to pick just a few of the highlights of Frame By Frame isn’t easy, but here goes.
The Hunt opens Frame By Frame and a glorious slice of techno, that has you licking your lips with anticipation at what’s still to come. Atlantis has a much more downtempo sound, although the beats still pound. Melodic synths sit in the background, their warm sound omnipresent. Then Dave unleashes a fusion of beats, synths and bursts of vocals that draw you in. You could say it’s Game On, which is the next track on Frame By Frame. It has much in common with Atlantis, and sees the track heading in the direction of tech house, with elements of techno still present. From there On Point and Drop Top see the quality continuing, as Dave Angel does what he’s been doing for three decades, producing quality techno. Jet Stream and Counter Wave sees more of Dave Angel’s unique brand of techno, with elements of tech house added for good measure. One of my favorite tracks is Scots Warrior’s, which chunters along, with crunchy drumbeats, percussion and swathes of synths escaping from the mix. You can imagine this being played in a dark, cavernous club and bringing the house down.
Of all the albums in The Fountain Music and Plaza In Crowd Collection, Dave Angel’s Frame By Frame is one of the best albums. It’s of the standard you’d expect from Dave Angel, who now is something of a veteran of the techno scene. Given that Dave’s about to record another album for Fountain Music, I can’t wait to hear more from Dave Angel, given how good Frame By Frame is. Techno and tech house fans everywhere, Frame By Frame is an album that belongs in your collection.
DAVE ANGEL-FRAME BY FRAME
CENTURY GROOVE INNOVATION VOLUME 1-MIXED BY HIROSHI WATANBE.
Century Groove Innovation Volume 1-Mixed By Hiroshi Watanabe demonstrates just how eclectic a selection of albums The Fountain Music and Plaza In Crowd Collection is. It sees Hiroshi Watanabe seamlessly mix his way seamlessly through a mammoth twenty-five tracks. Demonstrating how DJ-ing is fast changing, Hiroshi Watanabe mixed Century Groove Innovation Volume 1 not on traditional turntables, but using Traktor Pro X2, Kontrol X1, Audio 6 and his trusty MacBook Pro. Not only is his mixing seamless, but his selection of music is peerless. During his twenty-five mix set, he introduces us to some familiar faces from Fountain Music and Plaza In Crowd’s roster. However, who are these familiar faces?
During Hiroshi Watanabe’s twenty-five track mix Century Groove Innovation Volume 1, he mixes tracks from Fountain Music and Plaza In Crowd’s roster. This includes Synethesys’ Hope which gets the mix of to an infectiously catchy and dramatic start. From there, the mix includes TEMMA-Teje’s Run, Foog and TEMMA-Teje’s Dumb, DJ Yellow’s Tranzylvania, Dave Angel And Ken Ishii’s Type E and Sans Soleil’s Moulinex. Two Fountain music artists collaborate on Cherry Breaks, which is remixed by DJ Sodeyama Remix. They are Popnoname and Hiroshi Watanabe and their contribution is one of the highlights of Century Groove Innovation Volume 1. So too is Dublee melodic and irresistible Escape.
Although I’ve only mentioned what are just a few of the highlights of Century Groove Innovation Volume 1, there’s many more delights to discover on Hiroshi Watanabe’s mix. The twenty-five track musical journey that is Century Groove Innovation Volume 1, Hiroshi Watanabe seamlessly mixes various genres of electronic music, including techno and tech house. During that twenty-five mix, you’ll discover many artists you’ve never heard of before, along with a few familiar friends, so enjoy the voyage of discover that is Century Groove Innovation Volume 1-Mixed By Hiroshi Watanabe.
CENTURY GROOVE INNOVATION VOLUME 1-MIXED BY HIROSHI WATANBE.
TEMMA TEJE-MIDGET LAMPS IN THE DARK.
One of the first albums that alerted me to Fountain Music and Plaza In Crowd’s music was TEMMA-Teje Midget Lamps In the Dark, released earlier in 2012. Although TEMMA-Teje is just twenty-one, he’s packed a lot into his nascent musical career so far. Starting at just aged thirteen, he was writing songs and by aged sixteen, performing twice a week with for his band. Then his career progressed in different directions.
Inspired by the music of Underworld, TEMMA-Teje started making music on his laptop. Having put his music on My Space, people all over the world, discovered his music. This lead to a career as remixer, remixing tracks by Dave Angel and Ken Ishii, Thopa, Hiroshi Wantanbe, Dublee and Sasaki Hiroka. These remixes have been critically acclaimed by his peers, as has his original work.
So far, TEMMA-Teje has released three E.P.s, plus collaborating with Foog on an E.P, Dumb. His career as a remixer and artist runs parallel to a career as one of the hottest DJs in Tokyo, spinning his own brand of urban groove. Somehow, TEMME Teje has found time to record his debut album, Midget Lamps In the Dark, which was released on July 2012 on Plaza In Crowd. On Midget Lamps In the Dark, TEMMA-Teje’s fuses a variety of genres, with everything from folk, pop and rock to ambient, techno and house playing its part in the album’s sound.
TEEMA-Teje’s debut album Midget Lamps In the Dark is a intriguing series of eight compelling and mesmerizing soundscapes. During the album TEMMA-Teje fuses a variety of musical genres and influences. Everything from folk, pop and rock to ambient, techno and house plays its part in the album’s sound. During the album, TEMMA-Teje journey’s through darkness and light on tracke like Littleorc, Suici, Orb and Fail. On some tracks, the darkness descends, with the sound becoming moody and broody, sometimes, even menacing. Other times, the darkness lifts, with the light shining through, and the music becoming quite different. This is what makes Midget Lamps In the Dark such a compelling, intriguing and accomplished suite of soundscapes. What makes Midget Lamps In the Dark even more remarkable, is that this is his debut album and TEMMA-Teje is only twenty-one years old. If TEMMA-Teje is able to create such an accomplished album as Midget Lamps In the Dark, aged just twenty-one, then what will the a bright future awaits him, not just as an artist, but as a remixer and DJ. Once you’ve heard Midget Lamps In the Dark, I’m sure you’ll agree.
TEMMA TEJE-MIDGET LAMPS IN THE DARK.
SHIN NISHIMURA-MASH.
Since his 2005 debut album Star Light, Japanese Techno producer Shin Nishimura has released four albums plus two albums of remixes. His latest album Mash, which was released in May 2012 on the Plaza In Crowd label. Mash is the follow-up to his previous studio album Q’hey and Shin’s 2007 album Planetary Alliance. However, between 2007 and 2012, Shin has been busy, releasing two remix albums Identity Politics and Identity Politics Part 2, while releasing a series of EP’s. Shin describes Mash as an innovative techno album that contains “UK Beats and hard grooves. This if anything was something of an understatement, when I reviewed Mash earlier this year. Since then, Shin Nishimura’s Mash has become one of my favorite albums of 2012. However, why was that?
Shin Nishimura’s Mash is an ambitious, innovative and highly accomplished album of techno. His claim that Shin is an innovative album, with “UK beats” pointing towards the future direction techno is heading, was indeed a bold statement. However, Mash is an innovative album of techno music from a hugely experienced techno producer. In total, there are twelve tracks on Mash, the eleven that make up the album, plus a bonus track Frustration-No Nukes. Using a variety of influences, Shin came up with an album that’s compelling, intriguing and contains an eclectic and consistently high quality of techno. From the opening bars of Unity, until the closing notes of Acid Eye Shin never strays from his mission statement to create, innovate and demonstrate the direction he thinks techno is heading in the future. On tracks like Earl’s Court, Milden Hall, Mash Monster and Knightsbridge Shin shows the way techno is heading and I for one like his vision. Mid he’s had plenty of time to think about this, given it’s five years since his last album, Planetary Alliance was released.
Given the quality of music on Mash, let’s hope that it’s not another five years until Shin Nishimura’s next album. For anyone who loves techno music, then Mash is an album to look out for. On it’s released in May 2012 it allowed everyone to hear Shin Nishimura’s manifesto for the future direction of techno. The future of techno is bright with talented producers like Shin Nishimura releasing music of the quality of Mash.
SHIN NISHIMURA-MASH.
SATOSHI FUMI-COLOURS.
I’ve kept my favorite release from The Fountain Music and Plaza In Crowd Collection until last, Satoshi Fumi’s Colours, which was released by Fountain Music in July 2012. Behind the album, is fascinating backstory, about the genesis of Satoshi Fumi’s musical career, when he discovered house music in the mid-nineties. It was the house music coming out of Detroit, Chicago and New York that first interested Satoshi. Having discovered dance music, Satoshi embarked upon a life long love of dance music, which lead to a career as a DJ and producer. He started collecting synthesizers and building a home studio. From there, he began making his own music, experimenting with sounds a variety of musical genres. Over time, Satoshi developed his own unique and unmistakable sound, fusing various genres, from techno, Acid House, click, tech house and deep house. Since then, Satoshi Fumi hs become a prolific producer, releasing his debut album Sweet Sensation in 2008. Four years later, Satoshi Fumi released his second album Colours, which surpassed everything he’d previously released.
Although there’s been a gap of four years between Satoshi Fumi’s debut album Sweet Sensation and the followup Colours, it’s been well worth the wait. The eleven tracks prove just how imaginative, inventive and innovative a producer Satoshi Fumi truly is. On Colours, Satoshi journeys through a variety of musical genres, including Acid House, ambient music and deep house, before visiting jazzy house tech house and techno. It’s a compelling musical journey, with each track blessed with its own unique sound. Given how high the standard of music is, choosing some of the highlights isn’t easy, but includes Light and Breez, Metropolitan, Myth You and Su My Lee. These tracks range from bold and dramatic, moody and broody, right through light and melodic and even encompassing wistful, melancholy and beautiful. That’s how wide the range of Colours in Satoshi Fumi’s palette is. Satoshi uses his palette well, creating an accomplished musical canvas, where layers of sounds are merged majestically creating what is, one of the most eclectic and best albums of 2012 and the real highlight of The Fountain Music and Plaza In Crowd Collection.
SATOSHI FUMI-COLOURS.
Having received the eleven disc Magus Opus that is The Fountain Music and Plaza In Crowd Collection, and the last week or so listening to each album, I was hugely impressed by the consistently high standard of each album. This is to the credit of Fountain Music and Plaza In Crowd President Shinji Tokida, whose also in charge of A&R for both labels. He seems to have the uncanny knack of discovering really talented artists and producers, and helping them to fulfill their dream of releasing an album. Shinji Tokida clearly has the talent and ability to discover new artists, plus reinvigorate other artists’ careers. His enthusiasm is truly infectious, and Shinji Tokida and his music on his two labels, Fountain Music and Plaza In Crowd deserve truly deserves a much wider audience. All too often, record companies, especially major labels, don’t spend enough time or money looking and finding new artists. A&R is the lifeblood of music industry, and by neglecting A&R and continuing to churn out a mind-numbingly tedious series of reissues of dinosaurs from the sixties and seventies, major labels do themselves no favors. Instead, it’s left to smaller labels like Fountain Music and Plaza In Crowd to discover and nourish new talent. Not only do they discover and nourish new talent, but they risk the scarcest of resources…capital. These smaller companies put their money where their mouthes are, taking a chances albums like DJ Yellow and Astrid Suryanto’s Intermission, Sans Soleil and Genevieve’s Simple Machine, Takaaki Tsuchiya’s Connect Via Love Bridge, EMMA-Teje’s Midget Lamps In the Dark, Shin Nishimura’s Mash and Satoshi Fumi’s Colours. It’s too Fountain Music and Plaza In Crowd President Shinji Tokida’s credit that he’s taken a chance and signed and released these albums. Each of these albums you can discover and enjoy, on the luxurious, Magus Opus that is The Fountain Music and Plaza In Crowd Collection, which is available via Fountain Music’s website, along with the five disc collections.
THE FOUNTAIN MUSIC AND PLAZA IN CROWD COLLECTION.
INNER LIFE-INNER LIFE I.
INNER LIFE-INNER LIFE I.
In the last few articles I’ve written about Salsoul Records, I’ve mentioned how from 1978 onwards, things were changing at Salsoul. The Salsoul Orchestra played a huge part in Salsoul’s success. They were much more than musicians, with many of its members songwriters, arrangers and producers. This included the Baker, Harris, Young rhythm section, Ron “Have Mercy” Kersey and Vince Montana Jr. So when Vince Montana Jr. left Salsoul in 1978 after a dispute with the Cayre’s over royalties, Salsoul lost one of its most creative members. When Baker, Harris, Young weren’t playing as big roles at Salsoul: “the times they were a-changing.” Some of their replacements weren’t musicians, including remixer Tom Mouton, while producers like Thor Baldursson recorded tracks in Munich Germany. As the personnel started to change, so did The Salsoul Orchestra. By 1978, Ron Baker and Earl Young were no longer regular features in The Salsoul Orchestra and Vince Montana Jr. had now signed to Atlantic Records.
Then in July 1979, the musical landscape changed even more, after the Disco Sucks movement tried to destroy disco. Suddenly, disco sucked and record companies weren’t interested in disco. Disco artists and disco albums were now deeply unpopular. For a disco label like Salsoul, this was disastrous. However, Salsoul managed to survive the disco backlash, doing so by adapting and signing new artists and new producers. One of these new signings was Inner Life, a studio based project formed by Patrick Adams and Greg Carmichael, that featured Jocelyn Brown’s vocals. Inner Life had enjoyed a huge hit in 1979 with I’m Caught Up (In A One Night Love Affair), which they followed up with I Want To Give You Me. After that release, Greg Carmichael took Inner Life to Salsoul and they agreed a two-year deal. In July 1981, Inner Life released their first Salsoul album Inner Life I. How would Inner Life I differ from the earlier Salsoul sound? That’s what I’ll tell you after I’ve told you about the background to Inner Life I.
When disco producer Patrick Adams and singer Jocelyn Brown met by chance, it was a fortuitous meeting. Patrick was looking for a vocalist for a project he was working on, Musique. Jocelyn sang the lead vocal on Musique’s two tracks The Bush and Keep On Jumpin.’ When The Bush and Keep On Jumpin’ were released as a double-A-side on Prelude, it reached number one in the US Dance Charts in 1978. The two tracks were then released as singles, and gave Musique two hits in the US R&B Charts. After the success of Musique, Patrick Adams hooked up with Greg Carmichael to form a new studio-based group Inner Life.
After the success of Musique, Inner Life were signed by Prelude. Inner Life featured Jocelyn Brown’s vocals and their first single I’m Caught Up (In A One Night Love Affair) reached number twenty-two in the US R&B Charts in 1979. This was followed up with I Want To Give You Me, and then Inner Life’s debut album I’m Caught Up (In A One Night Love Affair). This proved to be Inner Life’s only album released on Prelude. Greg Carmichael decided to take Inner Life to disco’s greatest label Salsoul. Salsoul and Greg Carmichael agreed a two-year deal. So now signed to Salsoul, Inner Life would set about recording their new album Inner Life I, which showed how times were changing at Salsoul.
For Inner Life’s second album six tracks were chosen, with Jocelyn Brown contributing It’s You and Pay Girl, while Stan Lucas a friend of Greg and Patrick wrote (Knock Out) Let’s Go Another Round and Live It Up. Greg Carmichael wrote what would become an Inner Life classic, Make It Last Forever. Good as Make It Last Forever was, Inner Life’s version of Ashford and Simpson’s Ain’t No Mountain High Enough would go on to become a post-disco Salsoul classic. Unlike so many Salsoul albums, recording didn’t take place at Sigma Sound Studios, with Inner Life preferring familiar surroundings.
Inner Life I was recorded at three studios, Blank Tape Studios, Right Track Recording and Nola Recording Studios. Jocelyn Brown sang lead vocals, while Carol Sylvan, Dennis Collins, La Rita Gaskins and Jocelyn added backing vocals. Production was shared between Patrick Adams, Greg Carmichael, Stan Lucas and Jocelyn Brown. Greg and Jocelyn arranged and produced It’s You and Pay Girl. Patrick and Greg arranged and produced the two best known tracks Ain’t No Mountain High Enough and Make It Last Forever, while Greg and Stan Lucas arranged and produced the other two tracks. Showing how the musical landscape was changing, each of the six tracks were remixed. Tee Scott remixed three tracks, Larry Levan two tracks and John Morales one track. With Inner Life I recorded, the album was released in July 1981.
When Inner Life I was released in July 1981, it failed to chart. However, two of the singles proved successful. Ain’t No Mountain High Enough reached number twenty in the US Dance Charts. (Knock Out) Let’s Go Another Round was the second single released from Inner Life I, but failed to chart. Then when Make It Last Forever was released as a single in 1982, it reached number fifteen in the US Dance Charts. Although Inner Life I wasn’t a huge commercial success, it contained two Inner Life classics, as you’ll realize when I tell you about the music on Inner Life I.
Opening Inner Life I is It’s You, written by Jocelyn Brown and produced by Greg Carmichael and Jocelyn. It’s just Jocelyn’s impassioned vocal accompanied by a piano as the track opens. She displays a wide vocal range and controls her voice perfectly. After ninety-seconds, a thoughtful rhythm section joins the piano as the track reveals its secrets and beauty. The understated arrangement grows in power and drama, matching the emotion, power and passion in Jocelyn’s vocal. When soulful backing vocalists join Jocelyn, a moving, powerful and quite beautiful song takes shape. It allows you to hear a very different side to Jocelyn Brown, one I’d like to hear much more of.
Like many of the tracks released by Salsoul Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This sees a timeless sounding arrangement and a stunning vocal from Jocelyn Brown combined. Her vocal is diva-esque, as she delivers Ashford and Simpson’s lyrics. Produced by Patrick Adams and Greg Carmichael, it’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is without doubt, one the highlights of Inner Life I, given its uplifting, joyous and energetic sound.
Pay Girl written by Jocelyn Brown has a really funky sound from the get-go. Just a pounding, slap bass, piano, drums and handclaps accompany Jocelyn’s sassy, feisty vocal. Tight, soaring harmonies accompany Jocelyn’s vocal, as the arrangement swings along. It doesn’t take long to realize just how talented a vocalist Jocelyn really is. She’s another of the long line of Salsoul’s divas, following Loleatta Holloway, Rochellle Fleming and Carol Williams. Later, when Jocelyn’s vocals drops out, a prolonged break sees percussion, piano, handclaps and the pounding rhythm section take charge. Sadly, when a synth makes an unwelcome appearance, things go slightly awry. Why that was included I’ve no idea, but it detracts from the track. Things get back on track when the backing vocals and Jocelyn return, but that synth makes another unwelcome appearance. Apart from that, this a good track, that could’ve been a great track.
(Knock Out) Let’s Go Another Round was written by Stan Lucas and arranged and produced by Stan and Greg Carmichael. It’s a boogie track, with Greg Carmichael’s influence all over it. The introduction sounds like a cousin of Ain’t No Mountain High Enough. That similarity is only brief, and quickly, the track takes on its own identity. Percussion, a funky rhythm section, swathes of synths and handclaps combine to create a catchy backdrop, even before Jocelyn’s powerful vocal enters. Her vocal struts in, sassy and full of confidence, with the banks of keyboards and synths accompanying the rhythm section that provide the track’s funky heartbeat. After two minutes, Inner Life tease you relentlessly when the vocal drops out. Synths and keyboards take centre-stage, before Jocelyn’s vocal returns. This pattern continues, so you sit back and enjoy the ride. Over seven minutes, an irresistible track unfolds, which Jocelyn Brown key to the track’s sound and success.
From the opening bars of Live It Up you’re hooked. Instantly, the track grabs your attention. Inner Life’s rhythm section, keyboards and of course Jocelyn’s joyous, sassy vocal combine to take you on a four minute whistle-stop musical roller coaster. During that time, Jocelyn unleashes a powerful vocal accompanied by tight, equally joyous, soaring harmonies. Meanwhile the banks of keyboards and synths, pounding rhythm section, percussion and sizzling guitars provide the perfect accompaniment to another peerless vocal from Jocelyn Brown. Truly, I defy anyone not to succumb to charms and delights of this hook-laden track, which proves that into eighties Salsoul were still releasing groundbreaking dance music.
Patrick Adams and Greg Carmichael cowrote Make It Last Forever which closes Inner Life I. Since then, the track became not just an Inner life classic, but a Salsoul classic. This is a seven-minute Magnus Opus, with swathes of cascading strings, joined by the rhythm section and percussion. Then Jocelyn’s vocal heartfelt, impassioned enters, with tight, soulful harmonies accompanying her. Her vocal and the way the strings are used are key to the track. They’re the perfect accompaniment to Jocelyn’s vocal, and are augmented by the rhythm section, keyboards and percussion. As Jocelyn sings “Make It Last Forever,” so good is the tracks, that you wish it would last forever. Of the post-disco era, this is a Salsoul classic.
While the Disco Sucks movement tried to destroy disco in July 1979, they didn’t destroy disco’s greatest label Salsoul. Instead, Salsoul evolved and the music it released changed. Greg Carmichael and Patrick Adams went on to play important roles in the Salsoul’s future. Inner Life was their way into Salsoul, and in Inner Life I, they proved just how talented they were as songwriters, arrangers, producers and musicians. Although they couldn’t replace legends like Vince Montana Jr. or the Baker, Harris, Young rhythm section, four men who played huge parts in Salsoul’s success story, they brought new ideas and much needed talent to the label. For their Salsoul debut, Inner Life I, the album featured two stonewall Salsoul classics and Ain’t No Mountain High Enough and Make It Last Forever. The album also introduced Jocelyn Brown’s vocal prowess to a much wider audience. Jocelyn’s part in Inner Life I’s success can’t be underestimated. She made each of the songs her own, bringing life and meaning into them. Sometimes, she took the song by the scruff of the neck and made it work. With the combined talents of Patrick Adams, Greg Carmichael and Stan Lucas collaborating on Inner Life I, it’s neither a surprise nor a happy accident that the album was a success. With John Morales, Tee Scott and Larry Levan mixing the tracks on Inner Life I, this meant that the tracks were dance-floor friendly. Many of these tracks have has stood the test of time, especially Ain’t No Mountain High Enough, (Knock Out) Let’s Go Another Round, Live It Up Make It Last Forever. It’s You, written by Jocelyn Brown was the perfect track to open the album, and is a real slow burner, that takes its time to reveal its charms and delights. Apart from Pay Girl, which could’ve been a great track, but ends up just a good track, due to the unwelcome intrusion of a rogue synth, Inner Life I is one of my favorite post-disco albums from Salsoul. While Inner Life I may not have been Salsoul’s most successful album, it certainly has stood the test time and features Jocelyn Brown and Inner Life at their very best. Standout Tracks: It’s You, Ain’t No Mountain High Enough, Live It Up and Make It Last Forever.
INNER LIFE-INNER LIFE I.
DOUBLE EXPOSURE-FOURPLAY.
DOUBLE EXPOSURE-FOURPLAY.
Before changing their name to Double Exposure, the Philadelphia quartet of James Williams, Joseph Harris, Charles Whittington and Leonard “Butch” Davis were known as United Image. The group had formed back in the sixties, whilst the four members of United Image were still in high school. Through their lifelong friendship with legendary Philadelphia guitarist, songwriter, arranger and producer Norman Harris, of the Baker, Harris, Young rhythm section Double Exposure signed to Salsoul Records. Double Exposure’s career at Salsoul started with their 1976 album Ten Percent, which was recorded at Philly’s Sigma Sound Studios and became one of Salsoul’s most commercially successful albums. The singles released from Ten Percent, the title-track Ten Percent, Everyman and My Love Is Free became Salsoul classics and firmly established Double Exposure as one of Salsoul’s rising stars. After the success of Ten Percent, Double Exposure set about recording their second album for Salsoul, Fourplay, which would be released in 1978. By the time recording of Fourplay got underway things were starting to change at Salsoul, with people leaving The Salsoul Orchestra who’d so successfully accompanied Double Exposure on Ten Percent. One of the people leaving was Vince Montana Jr. after a dispute with the Cayre’s over royalties. Over the next few years Salsoul would become a very different label, with many of the classic lineup of The Salsoul Orchestra leaving. They were more than musicians though, with many of them songwriters, arrangers and producers. These changes meant Fourplay features a very different lineup of The Salsoul Orchestra. There was no Ron Baker on bass, Earl Young on drums or Vince Montana Jr. on vibes. How would thee changes affect Double Exposure’s second album Fourplay?
It had been two years since Tenpercent had been released, but there was a good reason for the gap between albums. Double Exposure had found alleged discrepancies regarding their bookings and management expenses. Salsoul didn’t want to start recording another until album until the problems were resolved. So the momentum Double Exposure built up after the success of Tenpercent wasn’t built upon. Eventually, the problems were resolved, Double Exposure were able to get back to doing what they were good at, making music.
With the problems regarding discrepancies in their bookings and management expenses resolved, Double Exposure started work on their second album. For Double Exposure’s second album Fourplay many of Philly’s greatest songwriters, musicians, arrangers and producers would play their part in the album. One of them was Norman Harris, of the Baker, Harris, Young rhythm section and guitarist for M.F.S.B. and The Salsoul Orchestra. Norman was also a successful songwriter, arranger and producer. He cowrote and produced two tracks on Fourplay. These were I Declare War which he cowrote with James Hendricks and Mikki Farra, while Norman cowrote Newsy Neighbour with Alan Felder. Ronnie Tyson and Eddie Moore cowrote Handy Man and Falling In Love, while Bunny Sigler wrote Why Do I Have To Leave. Bruce Gray wrote cowrote Perfect Love and wrote There Is No Reason. The eight tracks that featured on Fourplay would be recorded at Philly’s Sigma Sound Studios, with a quite different lineup of The Salsoul Orchestra.
Accompanying Double Exposure at Sigma Sound Studios were The Salsoul Orchestra which didn’t feature Ron Baker on bass, Earl Young on drums or Vince Montana Jr. on vibes. The rhythm section comprised bassists Jimmy Williams and Raymond Earl, drummers Scotty Miller and Keith Benson, while the guitarists included Norman Harris, Bobby “Electronic” Eli, T.J. Tindall and Edward Moore. Larry Washington and James Walker played congas, while Ron “Have Mercy” Kersey, Bunny Sigler, Bruce Hawkes, Bruce Gray and Cotton Kent played keyboards. Don Renaldo took charge of the strings and horns, while The Sweethearts of Sigma Evette Benton, Carla Benson and Barbara Ingram were now called The Philadelphia Angels. The eight tracks on Fourplay were arranged and produced by some familiar Philly faces. Norman Harris, Ron “Have Mercy” Kersey, Ron Tyson produced two tracks apiece while Bunny Sigler and Bruce Hawkes both produced tracks. With Fourplay ready for release in 1978, would it match the success of Tenpercent?
When Fourplay was released in 1978 it failed to chart. Worse was to come when none of the singles released from Fourplay charted. One of these singles was the Norman Harris produced Newsy Neighbours. Fourplay had failed to replicate the success of Tenpercent. Why was that, and did Fourplay deserve to fare better commercially than it actually did? That’s what I’ll tell you, when after I’ve told you about the music on Fourplay.
Fourplay opens with I Declare War arranged by Leon Mitchell and produced by Norman Harris. The track has a dramatic, uptempo sound and grabs your attention from the opening bars. A pounding rhythm section drives the tracks along while searing guitars and cascading strings combine. As the bass and drums anchors the track, providing its pulsating heartbeat, Jimmy Williams unleashes a vocal that’s a mixture of power and passion. His vocal is accompanied by the tightest of soulful harmonies. Not only do the strings add a contrasting sound, but they add to the drama of the funky rhythm section, sizzling guitars and keyboards. It’s one of these tracks that longer it progresses, the more the drama increases and the better the song gets. Key to the track are Double Exposure’s vocals and harmonies, The Salsoul Orchestra’s performance and Norman Harris’ production. Together, they get Fourplay off to the perfect start.
Handy Man is another uptempo tracks, which Eddie Moore cowrote with Ron Tyson, who produced the track. It’s a track not short of hooks and features some of the peerless harmonies. The rhythm section, blazing horns and keyboards combine with Double Exposure’s close, cascading harmonies. Jimmy Williams makes the track his own, delivering the vocal with a sassy, swagger. He’s accompanied by joyous, soaring harmonies, as The Salsoul Orchestra produce one of their best performances on Fourplay. Again, the pounding bass helps anchor the track, while Norman Harris jazz-tinged guitar combines with flourishes of piano and a myriad of rasping horns and sweeping strings. The result is a joyful, hook-laden song that’s truly irresistible.
Bunny Sigler wrote and produced Why Do I Have To Leave, which features a trademark Jack Faith arrangement. The tempo is dropped way down, with a sultry saxophone combining with a slow, thoughtful rhythm section and sweeping, swirling strings. As horns rasp, Jimmy delivers a heartfelt, impassioned vocal, while a dramatic rhythm section, emotive Hammond organ and tight harmonies accompany him. Rasping horns and piano add to the drama and emotion, while Jimmy lays bare his soul. He delivers a gut-wrenching, heartfelt vocal, as The Salsoul Orchestra combine drama, emotion and beauty, while fusing soul and jazz seamlessly.
Falling In Love produced by Ron Tyson and arranged by Jack Faith closes Side One of Fourplay. There’s a real Philly Sound to the track, which is another irresistible, uptempo track. After The Salsoul Orchestra tease you, pounding drums see the track burst into life. Double Exposure add heartfelt harmonies while strings cascade, horns rasp and the rhythm section add the track’s pounding heartbeat. Jimmy Williams’ emotive, heartfelt delivery is accompanied by soaring harmonies, while a glorious arrangement unfolds. With the combination of the rhythm section, dancing strings and blazing horns, Double Exposure bring Side One of Fourplay to dramatic, impassioned and irresistible close.
Newsy Neighbours originally recorded by First Choice on Philly Groove Records opens Side Two of Fourplay. It was written by Alan Felder and Norman Harris, who arranged and produced the track. The track literally bursts into life with The Salsoul Orchestra in full flight. Lush strings dance with delight, as the rhythm section provide the track’s pounding, dramatic heartbeat accompanied by a piano, guitars and rasping horns. Jimmy Williams’ delivery is a powerful, sassy vamp with cascading harmonies accompany him. Meanwhile, The Salsoul Orchestra have brought their A-game, playing their part in what is a six minute musical roller-coaster, that you must climb on board at least once.
Perfect Lover sees Ron “Have Mercy” Kersey taking charge of the producer’s chair for the first of two consecutive tracks. It’s another ballad, where swathes of the lushest strings, Norman Harris’ chiming guitar, the rhythm section and blazing horns set the scene for Jimmy’s vocal. He embarks on one his most heartfelt, impassioned and emotional vocals. Both the arrangement and harmonies compliment his vocal. Ron’s uses strings to tug at the heartstrings and the rhythm section to create a dramatic backdrop. When Jimmy Williams vocal is added to the arrangement, that really is the icing on a very beautiful, more-ish cake that you’ll want more than one slice of.
There Is No Reason sees arranger and producer Ron “Have Mercy” Kersey take Double Exposure in the direction of funk. It’s by far the funkiest track on Fourplay. From the get-go, it’s funky with a capital F. A jazz-tinged piano gives way to the funk-laden rhythm section, growling horns and piano as Jimmy delivers a throaty, sassy vocal. The harmonies are louder and punchier, while The Salsoul Orchestra provide the funkiest of backdrops for Jimmy growling, feisty vocal. Although it’s very definitely the rhythm section and horns driving the track along, the piano lends a helping hand. Ron uses the piano during jazzy breakdowns, before letting the funky arrangement explode. This is something of a masterstroke and you anticipate and relish these breakdowns then the explosion of funky music that follows.
Closing Fourplay is There’s Something Missing, a ballad arranged and produced by Bruce Hawkes. With the rhythm section, braying horns and shimmering, quivering strings combining to create a dynamic, dramatic backdrop for Double Exposure’s vocals. They’re tender and heartfelt, with equally subtle, heartfelt harmonies. The arrangement unfolds in waves, resulting in a combination of beauty and drama. With the growling horns, cascading strings, searlng guitars and piano combining with Jimmy Williams’ impassioned vocal, it’s a beautiful combination and the perfect way to close Fourplay.
Although Double Exposure’s second album Fourplay wasn’t a commercial success, there’s nothing whatsoever wrong with the music on Fourplay. From the opening bars of I Declare War until the closing notes of There’s Something Missing Double Exposure combine a compelling collection of uptempo dance tracks and ballads. Truly, while there isn’t a bad track on Fourplay, there aren’t any hits like Ten Percent, Everyman and My Love Is Free. Even though the standard of music is still high on Fourplay, the two year gap between albums didn’t help Double Exposure. By 1978, they’d become the forgotten men of Salsoul. This meant people weren’t anticipating Double Exposure’s second album. Once Double Exposure resolved the problem regarding the financial discrepancies, they discovered things had changed at Salsoul.
Sadly, things and people had changed at Salsoul in the two years since Double Exposure released Tenpercent. So when Double Exposure returned to the Sigma Sound Studios, Salsoul Records was changing. People had left Salsoul, including Vince Montana Jr, and neither Ron Baker nor Earl Young played on Fourplay. Losing three key musicians was quite a loss for Double Exposure. Even without this trio, Fourplay featured some fantastic music. Of the eight tracks on Fourplay, Handy Man, Falling In Love and Newsy Neighbours are irresistible, hook-laden dance tracks, while Why Do I Have To Leave, Perfect Lover and There’s Something Missing are gut-wrenching heartfelt ballads. With music as good as this, then it’s no wonder that thirty-four years later, Fourplay, Double Exposure’s second album has a timeless sound. While it might not be the classic album that Double Exposure’s debut album Tenpercent was, Fourplay is a still a thoroughly enjoyable, musical journey with Double Exposure as your tour guide. Standout Tracks: Handy Man, Why Do I Have To Leave, Falling In Love and Newsy Neighbours.
DOUBLE EXPOSURE-FOURPLAY.
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