LOLEATTA HOLLOWAY-LOLEATTA.
LOLEATTA HOLLOWAY-LOLEATTA.
Recently, when I reviewed Carol Williams’ ‘Lectric Lady, I referred to Carol as the First Lady of Salsoul, as she was the first female artist to sign to Salsoul Records. Now while Carol Williams was the First Lady of Salsoul, Loleatta Holloway was the undisputed Queen of Salsoul. I’d go further and say Loleatta was the Queen of Disco, with other singers just pretenders. Loleatta Holloway’s transformation from Southern Soul singer to the Queen of Salsoul started back in 1976, when Loleatta signed to Norman Harris’ new label Gold Mind, a subsidiary of Salsoul. Norman Harris was the guitarist in the legendary Philadelphia rhythm section Baker, Harris, Young and one of the best arrangers and producers of the seventies. Through Norman’s production vehicle The Harris Machine, Loleatta would have access to some of the most talented songwriters, arrangers, producers and musicians. This would prove crucial in getting Loleatta’s career back on track. Previously, Loleatta had released two albums on the Atlanta soul label Aware, 1973s Loleatta and 1975s Cry To Me. Then just as Loleatta’s career was taking off, tragedy struck. Cry To Me had been released as the lead single from Loleatta’s second album, reaching number sixty-eight in the US Billboard 100 and number ten in the US R&B Charts. Before Aware could build on this success, Aware went out of business. Without a label, Loleatta Holloway was at the proverbial musical crossroads. Fortunately, Loleatta’s was about to meet the man who would transform her career and turn her into the Queen of Disco.
By 1976, when Norman Harris signed Loleatta Holloway to Gold Mind, he was something of a musical veteran. Norman Harris is one of the men who helped shape the Philly Sound. He was guitarist in the legendary Baker, Harris, Young rhythm section, along with bassist Ron Baker and drummer Earl Young. He played on Thom Bell’s sessions for producers Thom Bell and then Gamble and Huff at Philadelphia International Records. From Thom Bell’s sessions for The Delfonics and later The Detroit Spinners, Norman Harris was a founding member of M.F.S.B., Philadelphia International Records legendary house-band. During his time as a member of M.F.S.B. Norman played on albums by Billy Paul, The O’Jays and Harold Melvin and The Blue Notes. As a member M.F.S.B. Norman played on several M.F.S.B. albums Then in 1975, when members of M.F.S.B. were involved in a financial dispute with Gamble and Huff, many of M.F.S.B. left Philadelphia International Records, becoming the Saloul Orchestra. One of these musicians was Norman Harris, whose considerable talents flourished at Salsoul, with one of the beneficiaries of Norman’s talents Loleatta Holloway.
Having signed Loleatta Holloway to Gold Mind, Norman Harris and The Harris Machine started working on Loleatta’s debut album for Gold Mine Loleatta. The Harris Machine was Norman’s production vehicle, a collection of Philly based songwriters, producers, arrangers and musicians. Four of the tracks on Loleatta were written by member of The Harris Machine. Norman cowrote four tracks, including Hit and Run, We’re Getting Stronger (the Longer We Stay Together), Dreamin’ and Ripped Off with Ron Tyson and Allan Felder. The other four tracks on Loleatta included the Sam Dees and Sandra Drayton penned Worn Out Broken Heart and a cover of Curtis Mayfield’s What Now. The other two tracks chosen for Loleatta were Ben Raleigh and Bob Halley’s That’s How Heartaches Are Made and Floyd Smith’s Is It Just A Man’s Way? These eight tracks that comprised Loleatta would be recorded at two studios.
For recording of Loleatta, the sessions took place during two separate sessions in Philadelphia and Chicago. At Sigma Sound Studios in Philadelphia, five tracks were recorded by The Salsoul Orchestra that included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, T.J. Tindall and Roland Chambers. Ron “Have Mercy” Kersey played keyboards, Vince Montana Jr, vibes, Larry Washington congas and percussion, flautist Jack Faith plus Don Renaldo’s strings and horns. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. While five tracks were recorded at Sigma Sound, three were recorded in Chicago.
Over in the Windy City of Chicago, at Paragon Studios, a different band, The Chicago Company, played on the other three tracks. Guitarist Bobby “Electronic” Eli was joined by drummer Quentin Joseph and bassist Bernard Reed. Keyboard player John Bishop and Emanuel Willis on congas were joined by a full horn, woodwind and string section. At Paragon Studios, the three tracks We’re Getting Stronger (the Longer We Stay Together), Is It Just A Man’s Way and What Now were recorded. Now Loleatta, Loleatta Holloway’s third album and debut for new label Gold Mind was ready for release. With a quite different sound from her previous album Cry To Me, would Loleatta prove a commercial success?
Loleatta followed a similar pattern to Cry To Me on its release in 1977, with the singles proving commercially successful while Loleatta didn’t chart. Dreamin’ was the first single released from Loleatta, reaching number seventy-two in the US Billboard 100 and number three in the US Dance Charts. When Hit and Run was originally released, it reached number fifty-six in the US R&B Charts and number three in the US Dance Charts. Then when Walter Gibbons remixed Hit and Run, it went on to sell over 300,000 copies, giving Loleatta a surprise hit single. However, on Loleatta, you’re able to hear the original version of Hit and Run, plus Dreamin,’ We’re Getting Stronger (the Longer We Stay Together) and That’s How Heartaches Are Made. However, what’s made Loleatta an album that several generations of music fans have discovered and cherished? That’s what I’ll now tell you, when I tell you about the music on Loleatta, Loleatta Holloway’s third album and debut for new label Gold Mind.
Opening Loleatta is a Hit and Run one of Loleatta’s tracks that’s become a favorite for remixers. It gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs. The unmistakable sound of The Salsoul Orchestra in full flight opens Hit and Run. This includes the Baker, Harris, Young rhythm section, sweeping swirling strings, bursts of blazing horns and Bobby “Electronic” Eli’s guitar. Then comes Loleatta singing that familiar opening line:“now I may be an old fashioned country girl.” By now everything’s right with the world. Loleatta embarks upon a sassy, sultry vamp. She mixes power and passion, while percussion, guitars, blazing horns and Vince Montana’s vibes accompany the rhythm section. Tight, cooing punchy backing vocals from the Sweethearts of Sigma augment Loleatta’s powerful vamp. Meanwhile, strings cascade, punchy horns kick and the greatest rhythm section of the seventies provide the track’s heartbeat. Together, Loleatta Holloway the greatest diva of the disco era, and the multitalented Salsoul Orchestra, make this not just a Salsoul classic, but one of the greatest tracks of the disco era.
On Is It Just a Man’s Way, Loleatta returns to her Southern Soul roots. The song was written by Floyd Smith and arranged and produced by Ron “Have Mercy” Kersey. Rasping horns, the lushest of strings and a slow, dramatic Baker, Harris, Young rhythm section combine, before a cymbal reverberates and Loleatta delivers a heartfelt vocal, full of heartache and hurt. She’s been heartbroken by her cheating man, so the swathes of strings, bursts of rasping horns, Norman Harris’ jazz tinged guitars and Vince Montana Jr.’s vibes that accompany Loleatta provide the perfect emotive backdrop. Here, you hear a very different Salsoul Orchestra, one that demonstrates their versatility and talent. Similarly, the Loleatta Holloway you hear show’s she too is just as comfortable returning to her soulful roots, and in doing so, delivers one of the most impassioned, emotive tracks on Loleatta.
We’re Getting Stronger (The Longer We Stay Together) was one of three tracks recorded in Chicago, with a different band. Bobby “Electronic” Eli was the only musician to play on both sessions. Even without The Salsoul Orchestra the quality of music doesn’t suffer. As the track opens, Loleatta scats while braying horns, cascading strings and a pounding rhythm section accompany her. Stabs of keyboards and Bobby “Electronic” Eli’s a searing guitar accompany Loleatta’s powerful, passionate vocal. Her vocal soars, displaying a wide vocal range and incredible control, while backing vocalists accompany her. Swathes of strings dance above her vocal, as she vamps her way through the track. It’s an inspirational, uplifting performance from Loleatta, on a track that for far too long, has been a hidden gem of Loleatta’s back-catalogue.
Dreamin’ is another of the four tracks that Norman Harris cowrote with Ron Tyson and Allan Felder. Norman arranged and produced the track, while Loleatta gives one of the best performances of her career. Larry Washington’s congas give way to grand strings that sweep and swirl, before the Baker, Harris, Young rhythm section, guitars and blazing horns. Loleatta struts centre-stage, her vocal sassy and fiery. She combines controlled power and confidence, while the Sweethearts of Sigma add sweet, soaring backing vocals. With the pounding rhythm section, punchy blazing horns and dancing strings accompanying Loleatta she gives one of sassiest, feistiest performances, settling into the roll of disco diva as if born for the roll. Little did she know that as another of her tracks puts it “The Greatest Performance Of My Life.” That was certainly case.
Ripped Off is a track that could’ve only been recorded by one label…Salsoul. Written by Norman Harris, Ron Tyson and Allan Felder the title describes perfectly what’s happened to Loleatta’s music, with every wannabe producer borrowing samples of her music. Layers of the lushest strings, growling horns, the Baker, Harris, Young rhythm section and the Sweethearts of Sigma combine drama beauty before Loleatta’s vocal enters. Her vocal is slightly more subdued, perfect for the track, with the Sweethearts of Sigma adding some of the best harmonies on Loleatta. Ron Baker’s bass and Norman Harris guitar are at the heart of the track’s sound and success. Along with the dancing strings and growling horns, Loleatta’s vocal grows in power. She combines a passion, frustration and anger to give another outstanding vocal, while Norman Harris’ arrangement and production results in a track that’s soul, dance-floor friendly and laden with hooks.
Many times I’ve said how underrated a songwriter Sam Dees is, and further proof of this is Worn Out Broken Heart, which Sam wrote with Sandra Drayton. Recorded in Chicago and produced by Floyd Smith, it’s another chance for Loleatta to return to her soulful roots. Her whispered, heartfelt, half-spoken vocal is accompanied by keyboards, guitars and bursts of subtle horns, before drums signal the arrival of Loleatta’s heartbroken, emotive vocal. She sings the lyrics with feeling, from the heart, as if sharing the pain and hurt in the lyrics. Layers of strings, punchy horns and a dramatic rhythm section accompany her. Soaring, gospel-tinged backing vocalists add equally heartfelt harmonies and lush strings are key to the track’s beautiful, emotive sound.
That’s How Heartaches are Made is a track that’s been covered many times, but Loleatta delivers the definitive version. Mind you, with The Salsoul Orchestra and the Sweethearts of Sigma accompanying her, no wonder. Produced by Ron “Have Mercy” Kersey keyboards, vibes, the Baker, Harris, Young rhythm section and lush strings combine to accompany Loleatta. Her vocal is full of emotion and passion, while the Sweethearts of Sigma add dramatic, soaring harmonies. Norman Harris lays down one of the best guitar solos on Loleatta. By now everything has just fallen into place and Loleatta, with The Salsoul Orchestra and the Sweethearts of Sigma’s help makes the song her own, as she makes another return to her Southern Soul roots.
Closing Loelatta is a cover version of Curtis Mayfield’s What Now recorded in Chicago by The Chicago Company. The tempo is slow, with just a slow bass, piano and shimmering strings combining with drums that provide the track’s heartbeat. When Loleatta enters, she unleashes that powerful, impassioned vocal. Subtle, distant horns rasp, emotive, strings sweep and occasional flourishes of piano accompany Loleatta, as the band realize that she’s the star and play around her vocal, allowing it to take centre stage. Here, the band sound different from the other two tracks they play on. This however, is the perfect for the song, as it adds to the drama and emotion of the track, as Loleatta closes her Gold Mind debut Loleatta on a dramatic, emotive and powerful high.
On Loleatta, Norman Harris and The Harris Machine, took Loleatta Holloway and transformed her from Southern Soul singer to the undisputed Queen of Salsoul. It was a remarkable transformation, and it seemed as if Loleatta had been born for this role. However, we shouldn’t be surprised at her newfound success, given the personnel that contributed towards the album. Some of the most talented songwriters, arrangers, producers, musicians and backing vocalists accompanied Loleatta Holloway. This included songwriters Ron Tyson and Allan Felder who cowrote four tracks with Norman Harris, who produced these four tracks. Arrangers included Ron Baker, Bruce Hawkes, Talmage Conway and Ron “Have Mercy” Kersey, who produced two tracks. Five of these tracks were recorded by The Salsoul Orchestra and three by The Chicago Company. The Salsoul Orchestra featured some of Philly’s greatest musicians, including the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, Ron “Have Mercy” Kersey, Vince Montana Jr, Larry Washington, Jack Faith and Don Renaldo. Adding backing vocals were the legendary Sweethearts of Sigma backing vocalists. Add to the equation a hugely talented singer in Loleatta Holloway, who was part disco diva, part Southern Soul singer and everything was in place for Loleatta to become a classic album. While Loleatta may not have been a huge commercial success upon its release, Walter Gibbons remix of Hit and Run, gave Loleatta a surprise hit single, selling over 300,000 copies. Other top remixers like Tom Moulton and John Morales have gone on to remix Loleatta’s music, helping new generations of music lovers discover the music of Loleatta Holloway and albums like Loleatta.
Through remixes by remixers Walter Gibbons, Tom Moulton and John Morales, new generations of producers discovered Loleatta’s music. Classic tracks like Hit and Run and Dreamin’ have been sampled by these new generation of producers. These producers have sampled, legally, or otherwise, tracks like Hit and Run and Dreamin.’ Ironically, Ripped Off, a track on Loleatta, describes perfectly what these producers have done to Loleatta’s music. Wannabe producers everywhere have produced edits of Loleatta’s music, with the results good, bad and downright ugly. Over the last twenty-plus years, Loleatta Hollaway has gone on to become one of the most-sampled artists in music.
Little did Loleatta Holloway or members of The Harris Machine of The Salsoul Orchestra realize the effect of Loleatta, Loleatta’s debut album for Gold Mind. Although Loleatta was recorded thirty-five years ago, it has a timeless sound and is a genuine classic album that would inspire several generations of producers. Not only did Loleatta launch Loleatta Holloway onto becoming the undisputed Queen of Salsoul, but in my opinion, the true Queen of Disco. Standout Tracks: Hit and Run, Is It Just a Man’s Way, Dreamin’ and Ripped Off.
LOLEATTA HOLLOWAY-LOLEATTA.
DIONNE WARWICK-DIONNE.
DIONNE WARWICK-DIONNE.
Before Dionne Warwick signed for Clive Davis’ Arista Records in 1978, her career was at a musical crossroads. After leaving Warner Bros after the release of 1977s Love At First Sight, Dionne found herself without a record company. It seemed the seventies had been a tumultuous decade for era for her. The seventies started with Dionne signed to Warner Bros in 1972 and contracted to work with Bacharach and David. However, Bacharach and David were in the process of dissolving their partnership and Dionne’s career stalled. She ended up suing Bacharach and David and settling out of court. Then Dionne worked with a series of producers, including Thom Bell, Holland, Dozier, Holland, Michael Omartian and Jerry Ragovoy, but the albums sold badly. The only bright spot was the success of Dionne’s 1977 duet with The Detroit Spinners on Then Came You, which reached number one. Sadly, Dionne’s solo career didn’t benefit. So, now she was without a recording contract Dionne Warwick was considering retirement. She’d released nearly thirty albums and won four Grammy Awards. Clive Davis knew Dionne well, and felt she’d be a good signing for Arista, so approached her about signing to Arista. Dionne said she’s think about it and after some consideration, signed for Arista. Dionne’s first album for Arista, Dionne which will be rereleased on 27th August 2012, by BBR Records, saw a remarkable transformation in Dionne Warwick’s career.
Having signed Dionne Warwick to Arista, Clive Davis needed to team her up with the right producer. Clive had one man in particular in mind, who he felt would bring out the best in Dionne…Barry Manilow. Instantly, the veteran soul singer and AOR crooner bonded. While they may have seemed like an unlikely partnership, the partnership would work.
For what would become Dionne, ten tracks were chosen. This included I’ll Never Love This Way Again which Will Jennings and Richard cowrote, plus Deja Vu written by Dionne’s old friend Isaac Hayes, along with Adrienne Anderson. Rupert Holmes wrote Who, What, When, Where, Why while two of producer Barry Manilow songs featured on Dionne. They were In Your Eyes and All the Way. Now that the material for Dionne was chosen, Dionne headed to United Western Studios in Hollywood to record Dionne.
At United Western Studios, Dionne was joined by a small band. This included a rhythm section of drummer Rick Schlosser, bassist Will Lee and guitarist Mitch Holder. Barry Manilow played piano, Bill Mays keyboards and Alan Estes percussion. Gene Page, Artie Butler, Greg Mathieson and Jimmy Haskell arranged the string and horns, while Sid Sharp was the concertmaster. Once the ten tracks were recorded, Dionne would be released in June 1979.
Before Dionne was released in June 1979, I’ll Never Love This Way Again was released in May 1979. Not only did it reach number five in the US Billboard 100 and number eighteen in the US R&B Charts, but saw Dionne awarded a Grammy Award for Best R&B Vocal Performance. When Dionne was released in June 1979, it reached number twelve in the US Billboard 200 and number ten in the US R&B Charts. Deja Vu was the second single released from Dionne in October 1979. While it reached number fifteen in the US Billboard 100 and number twenty-five in the US R&B Charts, it reached number one in the US AOR Charts. The final single released from Dionne was After You, in March 1980, reaching number sixty-five in the US Billboard 100 and number thirty-three in the US R&B Charts. This was a remarkable transformation of Dionne’s career. Within a year, Dionne Warwick had gone from having no recording contract to having a Grammy Award Winning album in Dionne, plus three hit singles. However, what made Dionne such a successful album? That’s what I’ll now tell you, when I tell you about the music on Dionne.
Open Dionne is the Rupert Holmes penned Who, What, When, Where, Why which had previously been recorded by several artists, including Rupert Holmes. It’s a song perfectly suited to Dionne’s impassioned vocal. With Tight soaring, dramatic backing vocalists accompany her, a pounding rhythm section, punchy horns, chiming guitars and keyboards combine. The arrangement flows along, with sweeping, swirling strings, backing vocalists and rasping horns at its heart, while the rhythm section provide the track’s heartbeat. As the song builds and builds, a piano slows things way down, before rebuilding and unleashing more of its glorious sound. What a way to start Dionne, a song that shows Dionne was back and had lost none of her talent. Like a fine wine, her voice matures with age.
After You, which was originally recorded by Cissy Houston of Think It Over, is very different to the opening track. Whereas the previous track burst into life, this is a slow, emotive ballad. The tempo is slow, with woodwind, piano and strings giving way to Dionne’s thoughtful vocal. Her voice is full of sadness, reflected in the strings. The piano adds to the drama of the track, while woodwind adds a wistful, melancholy sound. Drums and piano then build the drama, as Dionne’s vocal grows in power, tinged with sadness and regret.
There’s another change in style on The Letter, with the track combining elements of funk, soul and rock to make the track dance-floor friendly. The rhythm section add funk and drama, while cooing backing vocalists and flourishes of strings accompany Dionne. Her vocal soars high, while the trio of backing vocalists and rhythm section are key to the track’s sound. While it’s a much covered track, Dionne tries to breath new meaning into the track. There’s a bit of showboating from the band, growling horns, flourishes of piano and bursts of searing guitars. It’s as if Dionne and her band have decided to kick loose and show case their considerable talents, which they do with aplomb.
I’ll Never Love This Way Again was the single that won Dionne a Grammy Award. When you hear this track even once you’ll realize why. Her vocal is tinged with emotion, sadness and resignation. Behind her, swathes of grand strings, a dramatic rhythm section and piano combine. Drums are at the heart of this drama, with Rick Sclosser pounding his drums to match the drama and heartache in Dionne’s vocal. Dionne displays a wide range, and ability to bring new life and meaning to this ballad, and in doing so, produces the definitive version, by adding emotion and much needed soul.
Deja Vu was written by Isaac Hayes and Adrienne Anderson. A jaunty rhythm section, keyboards and cascading strings combines before Dionne’s tender, heartfelt vocals. The arrangement floats along, with a pounding bass line and melancholy, lush strings. Dionne’s vocal is much more understated, but this has the effect of making you focus on her every word. With its spacious, floaty arrangement and Dionne’s deeply soulful, heartfelt vocal, this showed another quite beautiful side to Dionne Warwick’s music, one I’d like to much more of.
Feeling Old Feelings is another of the five ballads on Dionne, and features a wistful, melancholy vocal from Dionne. Here, the arrangement is quite understated, with just sad strings, piano and occasional flourishes of harpsichord key to the arrangement. Midway through the track, as if on cue, producer Barry Manilow builds the drama. Using drums to do so, strings and piano accompany Dionne as her vocal grows in power, passion and emotion, ending the track on a dramatic flourish.
As In Your Eyes begins, you’re immediately struck by similarities with Bacharach and David. It just has that feel and sound. The starts slow, with Dionne’s vocal gentle, but growing in power. With the rhythm section, melancholy string and guitars combining, percussion and piano join Dionne. Throughout the track, which was written by Barry Manilow, Jack Feldman and Barry Sussman, the cadence and even the melancholy horn sound is straight out of the Bacharach and David songbook. Given who much Dionne’s vocal suited Bacharach and David’s song’s, then it’s no surprise that this track’s perfect for Dionne, who brings the track to life, with her wistful vocal.
My Everlasting Love has an understated sound, with just the piano, sweeping, strings and bass accompanying Dionne’s pensive vocal. You’re just awaiting the arrangement building. Drums enter, while the strings and piano play a more prominent role in the track. As the arrangement and drama builds, multi-tracked backing vocals, grand sweeping strings and the rhythm section combine. They accompany Dionne’s heartfelt, impassioned vocal as the track heads to its emotive ending.
Out Of My Hands sees Dionne take Dionne in the direction of dance music. Keyboards, sweeping, swirling strings and a funky rhythm section accompany Dionne. She’s accompanied by cooing, soaring backing vocalists. They play an important part in the track. As the track flows along, there are sudden bursts in tempo. This means Dionne seems to rush her vocal. The rest of the time, a really catchy dance track unfolds, where disco, boogie and hi-energy unite.
Closing Dionne is All the Time, another ballad written by Barry Manilow and Marty Pantzer. Just piano and the lushest of strings accompany Dionne’s heartfelt vocal. Soon, Dionne’s vocal grows in power and emotion, while bursts of horns and strings combine. The piano is at the heart of the arrangement when it starts to build. Producer Barry Manilow uses the drums to add to the drama. Similarly, the strings and piano play a more prominent role as Dionne unleashes a vocal laden with emotion, passion and heartache. It’s an impressive and dramatic way to close Dionne Warwick’s comeback album, and one that launched an Indian Summer in her career.
It’s lucky that Dionne Warwick hadn’t retired when she found herself without a record company. Had she done so, she’d have missed out on Dionne, one of the most successful albums of the later period of her career. She’d also have missed out on three hit singles, plus a Grammy Award. For all this, she had Arista Records’ founder Clive Davis to thank. He gave Dionne the chance to relaunch her career and to some extent, reinvent herself. Clive Davis’ other idea was pairing Dionne with Barry Manilow, who produced Dionne. On Dionne, Dionne sang five ballads, while interspersing these with some uptempo tracks, including the deliciously irresistible Who, What, When, Where, Why which opens the album. Out Of My Hands was another dance-floor friendly track, where Dionne and her band kick loose. Deja Vu which was a spacious, floaty arrangement, was another of the highlights of Dionne. Of the five ballads, I’ll Never Love This Way Again and My Everlasting Love are the two best ballads. After Dionne, Dionne Warwick would release a string of successful albums, including Heartbreaker, which was one of Dionne Warwick’s most successful album. However, Dionne, which will be rereleased on 27th August 2012, by BBR Records, was the album that relaunched Dionne Warwick’s career and saw her career enter a successful Indian Summer. Standout Tracks: Who, What, When, Where, Why, I’ll Never Love This Way Again, Deja Vu and Out Of My Hands.
DIONNE WARWICK-DIONNE.
BILLY PAUL-360 DEGREES OF BILLY PAUL.
BILLY PAUL-360 DEGREES OF BILLY PAUL.
Sometimes, an artist releases a single that becomes a huge commercial success and regardless of whatever else they release, they’re forever be known as the artist that recorded “that single.” For Billy Paul, ever since he released Me and Mrs Jones as a single back in October 1972, he’s become synonymous with that one song. Whatever else Billy recorded, and he recorded so much fantastic music during his career, people always remember Billy for Me and Mrs Jones. It went on to give Billy a number one single, in both the US Billboard 100 and US R&B Charts. Spurred on by the success of Me and Mrs Jones, when 360 Degrees of Billy Paul was released in November 1972, the album reached number one in the US R&B Charts and number seventeen in the US Billboard 200. This helped launch Philadelphia International Records, and in the process, gave the label its first male superstar. For Billy Paul, 360 Degrees of Billy Paul, which will be rereleased on 27th August 2012, by BBR Records, the album transformed his career. Billy Paul was no overnight star. He’d paid his dues, releasing three previous albums, to little success. However, nothing like the success he enjoyed with 360 Degrees of Billy Paul. Before I tell you about the music on 360 Degrees of Billy Paul, I’ll tell you about Billy’s recording career until then and the making of the album.
360 Degrees of Billy Paul was Billy’s fourth album. Feelin’ Good At the Cadillac Club, released on Gambled Records in 1968 was his debut album, but failed to chart. Two years later, in 1970, Billy released Ebony Woman on Neptune Records. Ebony Woman gave Billy his first taste of chart success, reaching number 183 in the US Billboard 200 and number twelve in the US R&B Charts. Then when Gamble and Huff founded Philadelphia International Records, Billy’s third album Going East was the new label’s first release in 1971. Going East didn’t match the modest success of Ebony Woman, reaching just number 197 in the US Billboard 200 and number forty-two in the US R&B Charts. While this was disappointing for Billy, a year later, things would be very different for Billy Paul, thanks in no end to one song… Me and Mrs Jones.
For Billy Paul’s fourth album 360 Degrees of Billy Paul, a mixture of original material and cover versions were chosen. The cover versions included a cover of Carol King’s It’s Too Late, Al Green’s Let’s Stay Together and Elton John’s Your Song. The other five tracks were written by songwriters within the Philadelphia International Records’ “family.” Kenny Gamble cowrote I’m Just A Prisoner with Phil Hurtt and Bunny Sigler, while Bunny cowrote I’m Gonna Make It This Time with Jean Lang. Gamble and Huff cowrote two tracks Brown Baby and Am I Black Enough For You. They wrote one other song, this time with Cary Gilbert… Me and Mrs Jones. Little did Gamble and Huff know that this one song would help change not just Billy Paul’s career, but their future and that of their nascent label Philadelphia International Records.
To record the eight tracks on 360 Degrees of Billy Paul, Gamble and Huff took Billy Paul and an early lineup of M.F.S.B. to Philadelphia’s legendary Sigma Sound Studios. This was where all of Gamble and Huff’s Philadelphia International Records’ albums were recorded. It’s also where Thom Bell recorded groups like The Delfonics and The Detroit Spinners and where so many of Salsoul Records’ albums were recorded. Even then, M.F.S.B. was taking shape, with its key members in place. The Baker, Harris, Young rhythm section would provide the album’s heartbeat, while guitarists Bobby Eli and Roland Chambers were joined by vibes virtuous Vince Montana Jr, conga player Larry Washington, organist Lenny Pakula and Don Renaldo and his String and Horn Section. Bobby Martin, Norman Harris and Lenny Pakula would be responsible for arranging the strings and horns. Once the eight tracks that comprise 360 Degrees of Billy Paul were recorded, the album was scheduled for release later in 1972.
Before 360 Degrees of Billy Paul was released, a single was chosen from the album. One track stood out, Me and Mrs Jones. It was released in October 1972, and made its way up the charts. Ironically, before it hit number one in the US Billboard 100, the single blocking its way was The O’Jays’ Backstabbers, another Philadelphia International Records’ single. Soon, Billy Paul had a a dual number one single, in both the US Billboard 100 and US R&B Charts. Suddenly, Me and Mrs Jones was a worldwide hit and everyone knew who Billy Paul was. Spurred on by the success of Me and Mrs Jones, 360 Degrees of Billy Paul was released in November 1972, reaching reached number one in the US R&B Charts and number seventeen in the US Billboard 200. Am I Black Enough For You was then released as a single in March 1973, reaching number twenty-nine in the US R&B Charts and number seventy-nine in the US Billboard 200. Although Am I Black Enough For You didn’t replicate the success of Me and Mrs Jones, Billy would win a Grammy Award for the best Male R&B Vocal Performance for Me and Mrs Jones. This was just the icing on the cake for Billy Paul’s incredible year. However, as 360 Degrees of Billy Paul celebrates its fortieth birthday later this year, how has the album aged? That’s what I’ll tell you, after I’ve told you about the music on 360 Degrees of Billy Paul.
Opening 360 Degrees of Billy Paul is the Gamble and Huff penned Brown Baby. A searing, dramatic guitar solo and bursts of pounding drums grab your attention, before keyboards, the Baker, Harris, Young rhythm section and swathes of cascading strings arranged by Bobby Martin combine. When Billy’s vocal enters, it’s a combination pride, power and passion. Billy sings “spread the news around” and “make your people proud.” Cooing backing vocalists The Sweethearts of Sigma accompany Billy with tender, beautiful harmonies. Gamble and Huff combines layers of luscious strings, with bursts of subtle, rasping horns, a punchy rhythm section and keyboards. It’s obvious the lyrics resonate with Billy, as he delivers each word with equal amounts of pride, passion positivity. As a result, this is a quite inspirational way to open 360 Degrees of Billy Paul.
I’m Just A Prisoner is another song Gamble and Huff with a story, and here, a tortured and despondent Billy plays the part of a prisoner stuck within the American prison system. The song is dramatic, theatrical and extremely powerful from its opening bars. The rhythm section, keyboards and percussion combine dramatically, before a despondent Billy’s vocal is accompanied by slow, emotive strings. Roils of drums and guitars add to the drama, as Billy’s vocal is laden with pain and misery, sounding heartbroken as he scats. M.F.S.B. provide a dramatic backdrop for Billy’s vocal, that’s a mixture of music and theatre. Blazing horns are added as Earl Young’s drums are heart of the storm of drama, before almost beaten Billy’s vocal becomes despairing and despondent as this eight minute Magnus Opus plays out before you. By the end of the track, you empathize with Billy’s plight and feel angry and frustrated at the injustice he’s endured. That’s how powerful a track this truly is.
Most people will know It’s Too Late as a track from Carole King’s album Tapestry. This is one of three cover versions on 360 Degrees of Billy Paul. Here, Billy Paul breathes new life, meaning and some much needed soul into the song. A piano, percussion, sweeping strings and Vince Montana Jr.’s vibes open the track, before before M.F.S.B. take the arrangement in a jazzy direction. Like the arrangement, Billy’s heartfelt vocal leaves space in the song. M.F.S.B. are then transformed into a jazz band jazz band, with flourishes of piano, sweeping strings and the rhythm section creating an understated arrangement. Bursts of Hammond organ from Lenny Pakula, Norman Harris’ jazz-tinged guitar and flute accompany Billy’s deliberate, powerful vocal. Billy’s vocal and Gamble and Huff’s arrangement really suits the song. They bring new life and meaning to the track, while adding some much needed soul.
Mention Billy Paul to most people and they’ll say just four words..Me and Mrs Jones. Billy’s become synonymous with this track, a tale of an illicit affair, where Mrs Jones meets Billy “every day, same cafe 6.30.” When you hear the first few unmistakable notes, you know what’s coming next. Best just settle back and enjoy the journey. Just a piano, guitars, rasping horns and lush strings combine, before Billy’s tender, vocal enters. He’s mesmerized by Mrs Jones, needs her, wants her, but in his heart, knows tjat their dreams and hopes will come to nothing. The Sweethearts of Sigma add subtle backing vocals, while the arrangement is peerless. It shifts seamlessly from a beautiful flowing string drenched arrangement, to one that’s dramatic. It’s almost as if Billy’s heart takes a leap when he sees Mrs Jones. When that happens, horns blaze and drums pound, before the piano meanders and strings sweep and swirl. For nearly five minutes, Billy Paul delivers one of his best ever vocals, while Gamble and Huff create one of their most memorable productions, one that’s timeless, dramatic, beautiful and tinged with sadness.
Am I Black Enough For You was the second Gamble and Huff song, and the second single released from 360 Degrees of Billy Paul. It’s another song with a social message and features an emotive, an almost angry questioning vocal from Billy. With a growling clavinet giving way to the rhythm section, bongos and punchy blazing horns, the arrangement literally explodes. Billy’s vocal is defiant and powerful, as the funkiest track on the album unfolds. Stabs of Hammond organ, wah-wah guitars and bursts of rasping horns provide the glorious backdrop to Billy’s defiant vocal. On 360 Degrees of Billy Paul you hear many different sides to Billy Paul. Although, this is very different from the balladeer of Me and Mrs Paul or the jazz singer on It’s Too Late, it’s compelling, defiant and downright funky.
Let’s Stay Together is a track made famous by Al Green at Hi Records, but here, Billy takes the song and transforms it. He slows it way down, leaving space where there was previously none and turning the track into something akin to a MOR ballad. However, it really works. Just a piano, drums and standup bass accompany lush strings, while Billy’s deliver is slow, sensuous and totally heartfelt accompanied by the Sweethearts of Sigma. Along with bursts of drums and stabs of Hammond organ Billy builds and builds the drama and emotion. The result is a hugely emotive and heartfelt reinterpretation of a classic track.
Sometimes, when you hear a cover version of a track, it can change your mind about a song. Here, Billy covers Elton John’s Your Song, a track I’ve never particularly liked. Can Billy change my opinion of it? Percussion, bursts of horns and sweeping, swirling string accompany Billy, as he sings the track with a swing. Billy is accompanied by the Sweethearts of Sigma’s tight, gospel tinged soaring harmonies, as myriad of cascading strings, flourishes of piano and Hammond organ combine with percussion and the rhythm section. This combination is irresistible as is Billy’s uplifting and inspirational vocal. Suddenly, I’ve changed my mind about this song, but only this version which swings, and is uplifting and soulful.
Closing 360 Degrees of Billy Paul is I’m Gonna Make It This Time, where Billy returns to the jazzy style of It’s Too Late. This song meant something to Billy when he recorded it, as if it articulated his feeling and belief, that one time, he’d make it as a singer. Little did he know it would be this time around? Just guitar, cascading strings, piano and the rhythm section accompany Billy’s tender, determined vocal. Vince Montana Jr. sprinkles vibes throughout the track, while bursts of Earl Young’s drums add drama. Lush strings, jazzy guitars and piano add to and reflect, the beauty, emotion and quite determination in Billy’s voice. His vocal soars, high above the arrangement as finishes the song and 360 Degrees of Billy Paul with a dramatic flourish.
Billy Paul’s 360 Degrees of Billy Paul is best described as a timeless classic, where you hear every side of Billy Paul’s music. He seamlessly flits from the dramatic, socially conscious lyrics of Brown Baby to the despondency of I’m Just A Prisoner, before transforming It’s Too Late into a jazz tinged and emotionally charged track. Then on Me and Mrs Jones Billy Paul becomes a soul balladeer, before the defiance of Am I Black Enough For You. On Let’s Stay Together, the transformation of the song is quite incredible, as Billy and M.F.S.B. produce a spacious, understated version of Al Green’s classic, before making Elton John’s pedestrian Your Song swings, complete with gospel tinged backing vocals. Closing 360 Degrees of Billy Paul is Billy’s jazzy interpretation of I’m Gonna Make It This Time, which proved to be a forecast of the fame and fortune that was about to come Billy’s way. This would include number one singles in the US Billboard 100 and US R&B charts with Me and Mrs Jones, while 360 Degrees of Billy Paul would reach number one in the US R&B charts. Having become a worldwide star, the icing on the cake was when Billy won a Grammy Award Me and Mrs Jones. After three albums where fame had eluded Billy Paul, his career and life was transformed. So was Gamble and Huff’s nascent label Philadelphia International Records, which went on to become one of the biggest and most influential labels in the history of music. As for Billy Paul, he continued to release a series of successful albums, but none of these albums ever matched the success of 360 Degrees of Billy Paul. Having said that, there is some great music awaiting discovery in Billy Paul’s back-catalogue. Although albums like First Class, Let ‘Em In, Only the Strong Survive and When Love Is New all contain some fantastic music none of these albums replicated the success of the timeless classic that is 360 Degrees of Billy Paul. 360 Degrees of Billy Paul which will be rereleased on 27th August 2012,by BBR Records, also features a song that will forever become synonymous with Billy Paul, Me and Mrs Jones. Standout Tracks: Brown Baby, Me and Mrs Jones, Am I Black Enough For You and I’m Gonna Make It This Time.
BILLY PAUL-360 DEGREES OF BILLY PAUL.
SALSOUL ENCORE.
SALSOUL ENCORE.
As regular readers of this blog will realized by now, I’m a huge fan of all things Salsoul and really pleased that soon, BBR Records will be releasing their first batch of rereleases of Salsoul’s back catalogue. In the lead up to Salsoul’s back-catalogue received its overdue rerelease, I’ve been revisiting several of Salsoul’s albums and compilations. One of these was Saloul 30th, a compilation released in 2005 to celebrate Salsoul Records 30th Anniversary. The idea was quite straightforward, with thirty DJs asked what their favorite Salsoul track was. Many DJs chose real Salsoul classics like Loleatta Holloway’s Dreamin’, Inner Life’s Ain’t No Mountain High Enough, Double Exposure’s My Love Is Free and First Choice’s Doctor Love. Other DJs however, chose some more leftfield choices, with hidden gems like Joe Bataan’s The Bottle and Gaz’s Sing Sing. Now given how fond of sequels record companies are, I wasn’t surprised when, a year later, in 2006, came the sequel, Salsoul Encore. Like Salsoul 30th, Salsoul Encore saw another thirty DJs were asked what their favorite tracks were. This was fair enough, but I foresaw a problem. Surely, many of these DJs would want to choose tracks that were on Salsoul 30th? After all, what would the odds of asking thirty DJs what their favorite Salsoul track was, and it wasn’t on Salsoul 30th? Even though I’m not a mathematician, I’m pretty sure they’d be pretty high. Apparently the odds were defied. Luckily, or should I say very luckily, the thirty DJs all chose tracks that weren’t on Salsoul 30th. These thirty tracks feature on Salsoul Encore. So, will Sasoul Encore follow in the footsteps of Salsoul 30th by combining Salsoul classics and hidden gems or will this be the best of the rest? That’s what I’ll now tell you?
DISC ONE.
Disc One of Salsoul Encore sees DJs like Kenny Carpenter, Greg Wilson, Arthur Baker and Keb Darge asked to choose their favorite tracks. Their choices are a mixture of some known Salsoul tracks and quite a few surprising choices. Some artists you’d expect to feature. They’re had to be a couple of tracks from The Salsoul Orchestra, at least one from Loleatta Holloway, Instant Funk, First Choice and Inner Life surely? Well, all these artists feature except Inner Life, which is something of a disappointment. Among the tracks that I’d have expected to see are Loleatta Holloway’s We’re Getting Stronger (The Longer We Stay Together), Skyy’s Call Me and Instant Funk’s Crying. I wasn’t expecting Jimmy Williams’ All My Loving or Rafael Cameron. There are also tracks from Logg, Aurra and Jimmy Castor. This means some of these tracks are later period Salsoul. Will that affect the quality of the music on Disc One of Salsoul Encore?
My first choice from Disc One of Salsoul Encore in Skyy’s Call Me. It was released in 1981, when disco was developing into boogie and the personnel at Salsoul was changing. Call Me written by Randy Muller and produced by Randy Muller and Solomon Roberts. This was a track from Skyy’s 1981 Skyy Line album. It’s a track that marries elements of funk with a disco beat. Above the loping bass line, crisp driving beats and chiming guitars sits a dramatic vocal accompanied by backing vocals. Later, bursts of keyboards and rocky sounding guitars give the track a quite different sound to earlier Salsoul tracks. Although quite different from earlier Sasoul tracks, Call Me has one thing in common its…quality.
Instant Funk’s Crying is a track from their 1979 album Instant Funk. Rolls of pounding drums, a funky bass line and cascading backing vocals combine to build and build the drama. The rhythm section are key to the track’s sound, while guitars and keyboards play their parts. Blazing horns signal the arrival of tight, soulful harmonies. Then the growling, emotive vocal enters. It’s a mixture of power and passion, with soulful harmonies accompanying it. By now, you realize a Salsoul classic is unfolding. The next few minutes literally fly by, with swathes of keyboards, punchy, blazing horns and not forgetting that pounding rhythm section. The final piece in the jigsaw is that glorious, emotional vocal, and those tight, soulful harmonies. Together, they create a track that’ll have you Crying with joy.
While many compilers always plump for one of Loleatta Holloway’s better known tracks, it makes a pleasant change to hear We’re Getting Stronger (The Longer We Stay Together). Released in 1977, but a track Loleatta’s 1976 album Loleatta. Produced by Norman Harris, the track reveals a really soulful side to the Queen of Salsoul. Again the Baker, Harris, Young rhythm section are key to the track’s sound and success, combining with keyboards and rasping horns, before the track takes on melodic, hooky sound. Cascading strings enter, before Earl’s dramatic drums signal’s the Queen’s entrance. Her voice is emotive, impassioned and deeply soulful. Sizzling guitars, a pounding rhythm section, lush strings and braying horns accompany Loleatta’s vocal as she veers between tenderness and power. This is an irresistible combination, as Loleatta demonstrates her Southern Soul roots.
Although Jimmy Castor never released an album for Salsoul, several of his tracks became favorites of remixers. Probably his best known is It’s Only Just Begun. Stabs of keyboards, bursts of braying horns and the rhythm section give the track a loose, funky sound with a Latin twist. Then when Jimmy’s vocal enters, he delivers it with a swing, perfect for the arrangement. Backing vocalists are added, helping percussion, handclaps and growling horns, creating the loose, catchy sound. This results in a quite un-Salsoul sounding track. There’s neither the big production of other tracks, nor the vocal that grabs your attention. However, it still works, and still results in a catchy, some might say irresistible sounding track.
Given how important a role in Salsoul Records’ success The Salsoul Orchestra played, then it would almost be remiss of me not mentioning Getaway, a track from their 1977 album Magic Bird. Getaway was released as a single in 1977 and this is The Salsoul Orchestra at their very best. Percussion opens the track, before The Salsoul Orchestra kick loose. Bursts of blazing horns, a pounding rhythm section, percussion and cascading strings combine. It’s glorious combination, with the blistering, growling horns and the Baker, Harris, Young rhythm section key to the tracks sound and success. As The Salsoul Orchestra fuse funk and soul against a disco beat, they create a timeless classic, that thirty-five years later, still has a contemporary sound.
While Disc One of Salsoul Encore wasn’t as chock full of Salsoul classics as Salsoul 30th, there’s still plenty of great music on Disc One. With tracks from some of Salsoul’s biggest artists like Loleatta Holloway, Instant Funk and The Salsoul Orchestra, plus tracks from Skyy, Logg, Jimmy Castor, Aurra and Candido, then there’s plenty of familiar faces on Disc One. A couple of the artists on Disc One aren’t as well know. Sly Cabell and Rafael Cameron won’t be known to many people, except those of us who love Salsoul’s music. In a way, that’s part of the fun of compilations like Saloul Encore, discovering new music, music that might start on you a lifelong musical journey through Salsoul Records’ back-catalogue. However, what will journey through Disc Two of Salsoul Encore be like?
DISC TWO.
When you look at the track-listing for Disc Two of Salsoul Encore, you’re immediately drawn to the first four tracks. Carol Williams, First Choice, Loleatta Hollaway and Double Exposure. Then there’s tracks from Instant Funk, The Salsoul Orchestra, Bunny Sigler and Skyy. So there’s quite a few of Salsoul’s big names. After that, artists like Edwin Birdsong, Skip Mahoney, Joe Bataan, Rafael Cameron, Lemon and Vaugn Mason aren’t as well known. So, for anyone looking for a compilation full of Salsoul’s best known tracks will be disappointed. Having said that, there could be a few hidden gems among these tracks. Will that be the case on Disc Two of Salsoul Encore?
Carol Williams’ Love Is You, released in March 1977, is a track I’ve always loved, and for far too long, it was an underrated and overlooked track. Thankfully, Carol’s track has come back into “fashion,” and is one of the hidden gems in the Salsoul back-catalogue. Produced and co-written by Vince Montana Jr., who fuses the sweetest, joyful vocal with a stunning arrangement. This results in five minutes of majestic, magical music. When the track opens, it’s just Earl Young’s drums that you hear, before literally, the track explodes into life. Suddenly, you’re greeted by sweet, cascading strings, blazing horns, percussion and the rhythm section. They give way to Carol’s sweet, beautiful vocal. She’s accompanied by a backdrop of quivering strings, flourishes of guitars and bursts of horns as the track reveals its irresistible sound. Later, Vince adds just the finishing touch to the track with his vibes, playing a lengthy and glorious solo. This is just the perfect way to close this gorgeous track, one with a hook-laden, feel-good sound.
First Choice, who featured the vocals of Rochelle Fleming were one of Salsoul’s biggest groups. Double Cross, was a track from their Hold Your Horses album, released in 1979. Written by Norman Harris and Ron Tyson, and produced by Norman Harris this is a classic from First Choice. Just the dramatic soaring vocal opens the track, before grand strings cascade, blazing horns and the rhythm section enter. They provide the perfect backdrop for Rochelle’s vocal, while tight, soulful harmonies accompany her. As her impassioned vocal drops out, a bass pounds, horns rasp, and flourishes of strings are joined by a wistful flute and jazz-tinged guitars from Bobby Eli. All this makes Double Cross tracks on Disc Two of Sasoul Encore. Mind you, with Rochelle’s stunning vocal and Norman Harris’ peerless production that isn’t a surprise.
Although I’ve already chosen one Loleatta Holloway track on Disc One, I make no apology for choosing another. To me, All About the Paper is vintage Loleatta Hollaway. It’s a track from her 1979 album Loleatta Hollway. Written by Clarence McDonald and Lorell Simon, arranged by James Mack and produced by Floyd Smith. Loleatta Hollway literally struts her way through the track. Her vocal is a powerful, passionate and sassy vamp. Chiming guitars, punchy horns and cascading strings accompany her, while the Sweethearts of Sigma add cooing harmonies. A pounding bass anchors the track, while horns respond to Loleatta’s call. The Salsoul Orchestra surpass themselves, with the arrangement a myriad of growling horns, pounding rhythm section and sweeping, swirling strings. They accompany the undisputed Queen of Salsoul, on another of her classic tracks. In fact, Loleatta Holloway wasn’t just the Queen of Salsoul, but the Queen of Disco, with no equal.
Bunny Sigler had moved from Philadelphia International Records to Salsoul after M.F.S.B‘s dispute with Gamble and Huff over payment. Let Me Party With You was the title-track to his 1977 album Let Me Party With You. After what sounds like a party in a studio, Bunny’s joyous, soaring vocal is accompanied by a funky rhythm section, rasping horns, keyboards and percussion. Tight soulful, doo wop styled harmonies and handclaps augment Bunny’s vocal. For nearly four minutes, this slice of good time, soulful party music unfolds. It’s certainly catchy, soulful and more than a bit funky. What more could you ask for?
The last track I’ve chosen in The Salsoul Orchestra’s Nice ‘N’ Nasty. Nice ‘N’ Nasty was the title-track from The Salsoul Orchestra’s second album, released in October 1976. This track was written, arranged, conducted and produced by Vince Montana. Pounding drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Disc Two of Salsoul Encore is similar to Disc One, with a sprinkling of Salsoul classics, sitting side by wide with well-known tracks, hidden gems and leftfield choices. Artists like Loleatta Holloway, First Choice, The Salsoul Orchestra, Double Exposure, Skyy and Instant Funk provide some of the best tracks on Disc Two of Salsoul Encore. Carol Williams provides one of the real hidden gems from Salsoul’s back-catalogue with More, a track from her stunning album ‘Lectric Lady. However, some of the DJs have chosen to dig deep into Salsoul’s back-catalogue, introducing tracks from Edwin Birdsong, Skip Mahoney, Joe Bataan, Rafael Cameron, Lemon and Vaugn Mason. While Salsoul Encore is a compelling collection of tracks, it won’t appeal to someone whose looking for a compilation crammed full of Salsoul classics. If that’s what you’re looking for, then I suggest that you try The Definitive Salsoul Remixes. Talking of remixes, there aren’t many extended remixes on Salsoul Encore. Instead, the thirty tracks are mostly album tracks, to fit the fifteen tracks onto the disc. To me, Salsoul Encore will appeal to people who want to dig deeper into Salsoul’s back-catalogue. For them, this will be a good starting point. In digging deeper into Salsoul’s back-catalogue, then occasionally, the quality occasionally suffers. There’s the odd track on Salsoul Encore which doesn’t quite match the quality of other tracks. As a result, while Salsoul Encore isn’t the best Salsoul compilation I’ve ever heard. Mind you, it’s still well worth considering. Part of the problem lies in the concept. Having asked thirty previous DJs to choose their favorite tracks on Salsoul 30th, this restricts the choice of the DJs on Salsoul Encore. With many of the classic tracks having already been chosen, many people would say this is the best of the rest. That’s not the case. There’s much to commend Salsoul Encore, as it allows you to hear some of the greatest artists and music of the disco and boogie eras, from the greatest disco label ever…Salsoul. Standout Tracks: Instant Funk Crying, The Salsoul Orchestra Getaway, Carol Williams More and Loleatta Holloway All About the Paper.
SALSOUL ENCORE.
TAVARES-LOVE UPRISING.
TAVARES-LOVE UPRISING.
As a new decade dawned for Tavares, they set about recording what would prove to be their ninth and penultimate album for Capitol Records Love Uprising. This was Tavares’ second album of 1980, the followup to Supercharged. Love Uprising, which will be released on 20th August 2012 by SoulMusic Records, would be produced by Benjamin Wright, who’d produced Supercharged. Over the past two years, Tavares’ music had changed. Starting with the Bobby Martin produced Madam Butterfly, released in 1979, Tavares’ music had moved their music away from their previous disco sound. With Bobby Martin’s help, Tavares’ music moved in a more R&B and soulful direction. Madame Butterfly saw Tavares’ return to the sound that features on albums like Check It Out, Hardcore Poetry and In the City. The result was Tavares’ most successful US R&B album since 1975s In the City, reaching number ninety-two in the US Billboard 200 and number thirteen in the US R&B Charts. For the followup, Supercharged, producer Benjamin Wright continued this change of style. Supercharged reached number seventy-five in the US Billboard 200 and number twenty in the US R&B Charts. This was Tavares’ most success album in the US Billboard 200 Charts since 1977s Love Storm. Now that their was an upturn in Tavares’ fortunes, would this continue on their ninth album Love Uprising?
For Tavares’ ninth album Love Uprising eleven tracks were chosen. Of these tracks, Break Down For Love and Hot Love were written by Feliciano Tavares with Kathy Wakefield and producer Benjamin Wright. They also cowrote Do You Believe In Love with Perry Tavares, while producer Benjamin Wright wrote Loneliness with Louis Price. Jerry G. Taylor and Geoffrey Leib both wrote two tracks apiece and Steve Kipner wrote Knock the Wall Down. These tracks would be recorded at Conway Studios, with Benjamin Wright producing Love Uprising.
Joining Tavares for the recording of Love Uprising were a rhythm section of drummer Nate Bebellett, bassist James Jamerson and guitarists David Williams and Paul Jackson Jr. They were joined by Paul Smith Jr. on synths, percussionist Paulinho Da Costa and The Benjamin Wright Orchestra. This included The Phoenix Horns, who were best known for their work with Earth, Wind and Fire and trombonist George Bohanon. With Love Uprising recorded at Conway Studios, the album would be released just before Christmas, hopefully to catch the lucrative market. However, would Love Uprising be a favorite of record buyers before Christmas 1980?
Love Uprising was released in December 1980, just before Christmas, reached number 205 in the US Billboards 200. This was Tavares’ only album not to charge in either the US Billboard 200 or US R&B Charts. Although Love Uprising failed to chart, the two singles charted. The title-track Love Uprising reached number seventeen in the US R&B Charts, while Loneliness, the second single reached number sixty-four in the US R&B Charts. After two albums that had seen an upturn in Tavares’ fortunes, this must have been a huge blow to everyone involved in the project, especially when music was changing and changing fast. However, why was Love Uprising the least successful album of Tavares’ career? That’s what I’ll tell you, after I’ve told you about the music on Love Uprising.
Opening Tavares’s second album of 1980, Love Uprising, was the first of two Jerry G. Taylor penned tracks The One I Need To Love. It’s an uptempo track, where bursts of woodwind, drums and guitars combine before the track reveals its secrets. Subtle, tender harmonies give way to swathes of lush strings and rasping horns from the Phoenix Horns. They give the track a sound that’s reminiscent of their former charges Earth, Wind and Fire. The lead vocal is a mixture of power and passion, augmented by punchy, soulful harmonies, while James Jamerson Jr.’s bass helps anchor the track. Strings cascade throughout the track, while the horns and rhythm section drive the track along, providing the perfect accompaniment to Tavares’ soulfulness. It’s like Tavares have picked up from where Madam Butterfly left of, and is a track that leaves you wanting to hear much more of this side of Tavares.
Break Down For Love was the B-side of Loneliness, the second single released from Love Uprising. Straight away, you can hear similarities with Earth, Wind and Fire in the horn sound. They combine with Paulinho Da Costa’s percussion and the rhythm section, while strings sweep and swirl joyously. The heartfelt and fervent vocal is accompanied by sweeping harmonies, percussion, punchy horns and flourishes of keyboards. While, the horns and strings are key to Benjamin Wright’s arrangement, Tavares don’t let the side down. Their harmonies are tight, the lead vocal heartfelt and in some ways, turning the clock back to their mid-seventies heyday. Like the opening track, Tavares and their band are at the top of their game, but sadly, unlike the mid-seventies, music was changing and their music was no longer as popular.
Blazing horns open the title-track Love Uprising, written by Angela Winbush and Rene Moore of Rene and Angela, who were recording their debut album. Again, there are similarities with Earth, Wind and Fire, especially the way the horns, percussion and soaring harmonies combine. This is another uptempo track, one that’s really catchy and deserved to fare better than it did when it was released as a single. Tavares’ vocal interplay in peerless, some of the best on Love Uprising, with their band providing a backdrop where funk and soul unite. Key to the track’s sound and success were Phoenix Horns, Paulinho Da Costa’s percussion and a rhythm section that provides the track’s glorious funky heartbeat.
Loneliness, was the second single from Love Uprising and is very different to Love Uprising. Whereas it was an uptempo track, this is a much slower ballad. Here, the strings play an important part in what’s a quite beautiful, emotive arrangement, while Tavares prove that even after nine albums, they’ve lost none of their vocal prowess. The lead vocal is heartfelt, but tinged with sadness, while the tender harmonies and strings reflect this. Horns add to the track’s wistful sound, while the drums add drama to the emotion and sadness of this quite beautiful ballad.
Knock the Wall Down is very different from the previous tracks. It has a much tougher, harder and funkier sound. From the opening bars, when growling horns, a searing, rocky guitar solo and bursts of punchy harmonies, this change of sound is apparent. Similarly, the vocal is sassier, but still soulful. As the track progress, soul and funk unite, but the addition of rocky guitar solos seem out of place. However, bursts of Earth, Wind and Fire tinged horns make up for this. Meanwhile, Tavares inject soulfulness and vocal hooks as they show yet another side to their music.
Hot Love is an uptempo horn driven track, while Tavares inject some sass into the track. This they do with the help of the Phoenix Horns, Paulinho Da Costa’s percussion, swathes of shimmering, dancing strings and a driving rhythm section. The lead vocal is powerful and sassy, with punchy, dramatic harmonies answering its call. Sadly, all too quickly the track is over, it’s been just a three minute musical journey but one that’s proved infectiously catchy and truly memorable.
On Don’t Wanna Say Goodnight there a real change is sound. For the first time on Love Uprising, synths are at the heart of the track’s sound as the track opens. They’re combined with driving, searing guitars, rasping horns and the rhythm section. As waves of the arrangement unfold, the lead vocal is a mixture of power, passion and drama, with the harmonies, punchy and dramatic. Again, horns with an Earth, WInd and Fire influence are at the heart of an arrangement that’s still a fusion of funk and soul, but also rocky guitars and eighties synths. This sets the track apart from the previous six tracks, and sees Tavares following in the footsteps of their peers and contemporaries. Of the two sounds, I much prefer the Tavares of the first six tracks.
Do You Believe In Love has much more in common with the first six tracks on Love Uprising, rather than the previous track. Cascading strings, tight harmonies, a sizzling guitar solo and the rhythm section combine, before a tender, heartfelt vocal enters. It’s accompanied by growling horns, percussion and swathes of lush strings. Together they provide a dramatic and dramatic backdrop for the impassioned, beautiful vocal. This vocal, plus one of Benjamin Wright’s best arrangements make this one of the most beautiful tracks on Love Uprising.
She Can Wait Forever is the first of two tracks written by Geoffrey Leib. Here, Tavares remind me of both The Chi-Lites and Earth, Wind and Fire. The track bursts into life, with punchy horns, cascading string and harmonies you’d expect to hear on an Earth, WInd and Fire album. When the lead vocal enters, it’s a fusion of emotion, power and passion, while strings quiver and shiver, as punchy horns and cascading harmonies punctuate the arrangement. As you listen to this track, you can neither fault Tavares nor the arrangement. It’s another highly accomplished and polished fusion of funk and soul. It’s just a pity the track hadn’t been released five years previously, when this was a really popular sound.
In This Lonely World, is a ballad which Jerry G. Taylor wrote. It has a dramatic sound introduction. Just the rhythm section, braying horns and keyboards accompany the heartfelt vocal. The harmonies are equally fervent, with shimmering, strings sweeping and swirling while gentle bursts of horns and slow dramatic drums combine. Here, everything falls into place. Not only do the band reserve one of their best performances, but the one of the most fervent vocals is accompanied by some of the best harmonies on Love Uprising.
Closing Love Uprising is Lifetime of Love, which sees Tavares determined to make a lasting impression. The tempo is quick, with strings, cascading, bursts of blazing horns and a funky rhythm section combining with Tavares. A tender lead vocal is augmented by subtle, sweeping and soulful harmonies, as the band fuse funk and soul one last time. Accompanied by the swathes of strings, rasping horns and their funky rhythm section, Tavares close Love Uprising on a joyous, uplifting high.
Although Tavares’ ninth album for Capitol Records Love Uprising was their least successful album, there’s nothing wrong with the music. The problem was the music on Love Uprising was released about five or six years too late. If it had been released in 1975 or 1976, then it would’ve proved a bigger success, just like Earth, Wind and Fire’s music. Having mentioned Earth, Wind and Fire, there’s a real Earth, Wind and Fire influence throughout Love Uprising. That’s partly because of the use of the Phoenix Horns, who played on Earth, Wind and Fire album’s. In some ways, this influence is a good and bad thing. Given how successful Earth, Wind and Fire were, and how melodic, uplifting and hook-laden their music was, this is no bad thing. Other people may that argue that this is a derivative sound. I would strongly disagree, because throughout the history of music, people have been influence by other groups. After all, one of the biggest bands in popular music early success was based upon “borrowing heavily” from old blues singers.
There are two reason why Love Uprising wasn’t a commercial success. The first was that Capitol Records didn’t promote their music to pop stations that could’ve helped their music crossover to the mainstream. Tavares weren’t happy about this. They decided to give Capitol Records another chance and would release one more album, 1981s Loveline, their tenth album.
The other reason why Love Uprising was a commercial failure was that by 1980, soul groups like Tavares weren’t as popular. This style of music wasn’t selling in such huge quantities. Indeed, record companies were cutting their rosters of soul and R&B groups. Despite some artists and groups releasing quality music, the demand for it was not longer there. Sadly, this meant that groups like Tavares, who were still releasing some great music, including Love Uprising were being overlooked by record buyers. Thankfully, Love Uprising, which is a real hidden soulful gem from Tavares will be released on 20th August 2012 by SoulMusic Records. This gives discerning soul fans everywhere the opportunity to hear some soulful delights from the brothers Tavares on Love Uprising. Standout Tracks: The One I Need To Love, Love Uprising, Do You Believe In Love and Lifetime of Love.
TAVARES-LOVE UPRISING.
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THE SOULJAZZ ORCHESTRA-SOLIDARITY.
THE SOULJAZZ ORCHESTRA-SOLIDARITY.
When The Souljazz Orchestra released their acoustic album Rising Sun in 2101, it was to widespread critical acclaim. Now two years later, The Souljazz Orchestra are celebrating their tenth anniversary with the release of their fifth album Solidarity, which will be released by Strut Records on 17th September 2012. During the last ten years, The Souljazz Orchestra have come a long way, with their compelling fusion of musical influences and genres. Having released their debut album Uprooted in 2005, three further albums were released in the next five years. Freedom Must Die was released in 2007, with Manifesto following in 2008 and Rising Sun in 2010. For their fifth album, The Souljazz Orchestra have changed direction from the acoustic style of Rising Sun to an electric, vocal driven style. Joining The Souljazz Orchestra are a number of guest artists, plus a fascinating and eclectic selection of instruments, as they embark on a journey through African, Latin and Caribbean music, via detours into jazz and soul. On that journey, The Souljazz Orchestra sing in English, Spanish, Portugese and Wolof. Before I tell you about the ten tracks that comprise Solidarity, I’ll tell you the background to Solidarity.
Having unplugged and recorded an acoustic album Rising Sun last time out, The Souljazz Orchestra dust off an eclectic selection of instruments. Many of these are instruments are long lost, sometimes unloved junk shop finds. A transistor organ, cheap guitars, reverb and echo units, an electric piano rescued from a dumpster and the crowning glory, an old eight-track Tascam tape machine, that was bought at a yard sale by the Royal Canadian Mounted Police. Incredibly, the ten tracks on Solidarity were recorded on this old eight-track Tascam tape-deck, which is described by The Souljazz Orchestra as temperamental. This gives Solidarity a really raw lo-fi, analogue sound. Having said that, The Souljazz Orchestra and their guest artists give Solidarity its soulful sound.
Joining The Souljazz Orchestra on Solidarity are El Hadji “Elage” M’baye, whose originally from Saint-Louis, on the coast of Senegal. He now lives in Quebec, Canada and is from a long line of griot minstrels, who fuse of Wolof and popular music. Singer, songwriter and guitarist Rommel Texeira Ribeiro who is from Sao Luis in Southern Brazil, but now lives in Ottawa, is famed for his melting pot of musical genres, including West African, Caribbean and North American music also features on Solidarity. Joining them are jazz trumpeter Nicholas Dyson, baritone saxophonist Ray Murray, drummer and conguero Philippe Lafreniere. Then there’s the vocal delights of Slim Moore and Amelia Leclair, who sings backing vocals on Solidarity. These are the personnel that join The Souljazz Orchestra on their forthcoming album Solidarity, which I’ll now tell you about.
Bibinay opens The Souljazz Orchestra’s fifth album Solidarity. Like the other tracks on Solidarity, is a song with a social message. The song deals with the exploitation of natural resources by big business, at the expense of the local people and environment. Written in Wolof and English, the message is clear, delivered with vocal full of frustration and anger, against an Afro-tinged backdrop. Percussion, blazing horns and drums combine with an angry and frustrated vocal. There’s a raw, lo-fi sound to the track, with each of the musicians giving a wholehearted, impassioned performance. Horns rasp soaring high above the arrangement, while stabs of piano, a proliferation of percussion and pounding drums provide the punchy, dramatic backdrop for the vocal. Not only is this music with a message, but music played with emotion and passion.
Kelen Ati Leen is a track based on a Wolof folk tale, written in Senegal’s Orchestra Baoba in 1975 after James Brown visited Dakar. It’s almost a homage to the Godfather of Funk, as a blistering slice of funk unfolds. A punchy, powerful vocal is accompanied by a driving, funky arrangement. This blistering slice of funk has wah-wah guitars, growling horns, percussion and drums at its heart. Soon you’re spellbound and mesmerized by the track’s glorious rhythms, percussive delights and funky guitars aplenty.
Cartão Postal is a fusion of music from two continents. Brazilian samba and Angolan semba unite. Percussion, rolls of thundering drums, joyous vocals and guitars combine, before the impassioned vocal enters. Backing vocalists respond the lead vocal samba style, as The Souljazz Orchestra kick loose. A pounding bass joins the fusion of frenzied percussion, thunderous drums. Later, a sizzling guitar solo weaves its may across the arrangement. By now you can’t help but submit to this fusion of semba and samba. It’s irresistible, music for the heart and soul.
Ya Basta is a salsa dura style protest song written in Spanish, demanding equality for the working class and an end to abuses of power. Here, glorious rhythms unfold, with steel drums, percussion and growling horns providing the track’s heartbeat. Flourishes of organ, flutes and mesmerizing rhythms courtesy of The Souljazz Orchestra, are accompanied by impassioned, chanted vocals. Together, they get across the song’s message of “Enough Already.”
Solidarity is a musical journey through a wide variety of musical influences and styles. On Jericho, the style changes to Afro-Reggae. This should mean more of these infectious and gloriously catchy rhythms that defy you to keep still. You’re not disappointed, when a reggae-style vocal is accompanied by slow, pulsating rhythms and bursts of blazing horns. These rhythms and horns are some of the best on Solidarity, as The Souljazz Orchestra seamlessly move from salsa to reggae peerlessly.
From Afro-Reggae, to a heavy duty slice of Afrobeat Serve and Protect. It’s written in Wolof and Toronto, and was inspired by the events of the G20 Summit in Toronto. From the get-go this is a joy to behold. Pounding beats, frantic percussion, stabs of organ and chanted vocals drive the track along dramatically. As thunderous drums, bursts of growling horns and vocals combine, a scintillating organ solo takes centre-stage. It’s closely followed by one of the best horn solos on the album. The result is a mesmerizing and dramatic, heavy duty slice of Afrobeat, Souljazz Orchestra style.
Conquering Lion is a fitting description of this track. With its fusion of Afro-funk and breakbeat plus a Magnus Opus of a masterclass from the horn section. Truly, this track conquers all. The breakbeat influence is apparent straight away, when bursts of horns, drums and percussion combine. Straight away, the horns take charge, grabbing the track by the scruff of its neck. Drums crack, while stabs and later, flourishes of organ and occasional vocals punctuate the track. Mostly it’s the horns that have your attention, they growl and rasp, soaring and sizzling as this mesmeric mixture of Afrobeat, funk and breakbeat unfolds. Of the ten tracks on Solidarity, this has no equal. Once you’ve heard it, you’ll surely agree.
Kingpin is a dancehall reggae track, condemning gun violence in Jamaican parties. The meandering arrangement sees stabs of horns, rhythm section and bursts of organ combining, while the vocal is sung patois style. Like the last reggae track, The Souljazz Orchestra fuse some percussive delights with glorious Jamaican rhythms. Space is left in the arrangement, with bursts of organ filling the spaces left behind by rhythm section. The finishing touch is the heartfelt and impassioned vocal, almost rapped in a Jamaican toaster style.
Tanbou Lou, which is Heavy Drum in French Creole is a uptempo, joyous biguine jazz track. This music originated in Martinique in the nineteenth century. Nowadays, the sound is compared to New Orleans jazz and R&B. An uplifting mixture of the drum biguine, sizzling horns, percussion and pounding rhythm section. During the track, a lengthy, drum solo is unleashed. It’s truly mesmerizing. Glorious rhythms unfold, and are like a call to dance. You can’t resist this infectiously catchy music, and it can’t help but bring joy into your life. Resistance is impossible, best just submit to the charms and delights of the biguine drum.
Closing Solidarity is Nijaay, which here, means sweetheart and its message is never take your partner for granted. A slow, thoughtful guitar solo is accompanied by a heartfelt, emotive vocal. Backing vocalists accompany the lead vocal, reflecting its emotion and sincerity. When a trumpet solo replaces the vocal, it adds to the emotion and beauty of the track. This is the perfect way to close Solidarity, with track this not just emotive and heartfelt, but deeply soulful and very beautiful.
On Solidarity, The Souljazz Orchestra take you on a musical journey through various musical genres. There’s everything from Angolan semba, Afrobeat, biguine jazz, Brazilian samba, Carribean, funk, jazz, reggae and Wolof on Solidarity, which will be relased by Strut on 17th September 2012. You hear some glorious rhythms, percussive delights and impassioned, heartfelt vocals. It’s ten tracks featuring the combined talents of the multi-talented Souljazz Orchestra and their equally talented and far-travelled guest artists. Their music is about togetherness, standing up against injustice, discrimination and persecution. They want to bring about change, making the world a better place. That’s what the music on Solidarity is about. That music was recorded on an old eight-track Tascam tape deck, giving Solidarity a really raw lo-fi, analogue sound. That’s much of Solidarity’s charm. So this isn’t a slick, polished production. Instead, it’s music that’s soulful, music that for the heart, the soul and the feet. Many of the tracks are irresistible, you want to submit to their delights and lose yourself in its rhythms and beats. Similarly, you realize that Solidarity is music with a message, music for a new and constantly changing world. Once you’ve embarked upon The Souljazz Orchestra’s musical adventure that is Solidarity, you’ll want to experience the journey again, and revel in its glorious, fusion of musical styles and influences. Standout Tracks: Kelen Ati Leen, Serve and Protect, Conquering Lion and Tanbou Lou.
THE SOULJAZZ ORCHESTRA-SOLIDARITY.
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MYSTIC MERLIN-FULL MOON.
MYSTIC MERLIN-FULL MOON.
When Mystic Merlin started their musical adventure, here was a group of talented musicians looking to fill their considerable potential. They were the latest in a line of New York funk bands looking to hit the big time. Parliament, Funkadelic, Brass Construction, B.T. Express were funk royalty, but Mystic Merlin were looking to steal the King’s crown. Over the next few years, Mystic Merlin embark on a Magical Mystery Tour, whose script could’ve been written by a Hollywood scriptwriter. Their journey started when Mystic Merlin signed to Capitol Records and released their debut album Mystic Merlin in April 1980. Produced by Charles Kipps, neither the lead single Burned To Learn nor Mystic Merlin charted. Worse was to come, when the album was dropped by Capitol Records. The only small crumb of comfort was the Mystic Merlin enjoyed minor chart success in the UK, when Just Can’t Give You Up and Got To Make the Best (Of A Bad Situation), which seemed to describe Mystic Merlin’s situation reached number twenty in the singles charts. A new producer Alan V. Abrahams was hired. Alan seemed the perfect fit for Mystic Merlin, so they flew to Los Angeles and recorded their second album Sixty Thrills A Minute. Although history repeated itself when Sixty Thrills A Minute failed to chart, the two singles released from the album Got To Make It Better and Sixty Thrills A Minute gave the group minor hit singles in the US R&B Charts. This showed that Mystic Merlin were getting somewhere. Maybe when they released their third album Full Moon, which was recently released by BBR Records, Mystic Merlin would make their commercial breakthrough. However, would that be the case? Would Full Moon see Mystic Merlin realize their potential with Full Moon?
Things weren’t going well for Mystic Merlin by the time they came to record Full Moon. After Sixty Thrills A Minute was released, Keith Gonzales announced going through a spiritual awakening, and decided music was no longer part of his life. He left the group, leaving the group without their lead singer. Then briefly, Mystic Merlin’s luck changed.
Out of nowhere, Capitol decided they’d spend some money on Mystic Merlin. Hanna-Barbera Cartoons, famous for Fred Flintsone and Scooby Doo decided they’d make a cartoon about Mystic Merlin. The show would be called The Mystic Merlin Hour, and a track from Sixty Thrills A Minute was chosen as the theme tune. Each week, on a live show, Mystic Merlin would be joined by guest artists. All that was left was for Hanna-Barbera’s headquarters to sign the deal. Then a writers strike took place in Hollywood. It lasted a year, and when it was over things had changed, and there would be no Mystic Merlin Hour. However, then Mystic Merlin got the chance to open for one of the biggest artists ever…Michael Jackson.
It tuned out Michael Jackson and Mystic Merlin shared the same lawyers and accountants. This is how the potential deal came about. Now after years of struggling, Mystic Merlin a band with talent and potential had the opportunity to open for Michael Jackson. He was basking in the success of Off the Wall, and months away from releasing Thriller. So, you’d think Mystic Merlin would jump at this opportunity? Quite the opposite. One condition of the deal was that Mystic Merlin wouldn’t perform magic, which was part of their live act. Bassist Clyde Bullard didn’t react well to this condition, nor did Barry Strut the saxophone and keyboard virtuoso. Clyde spent years learning to become a talented magician. Magic was part of Mystic Merlin’s show and concept, it was what made them standout from other bands, made them unique. So, with no magic allowed, Mystic Merlin decided not to open for Michael Jackson on The Off the Wall tour. Now they’d no lead singer, no Mystic Merlin Hour and weren’t supporting MIchael Jackson. Could things get any worse?
Then as if someone had waved a magic wand, Mystic Merlin’s luck changed. Enter Bronx born singer Freddie Jackson. He was hungry and a hugely talented singer, who’d started singing gospel. As he came highly recommended, having sang backing vocals for Melba Moore and Lillo Thomas, this could be the man Mystic Merlin were looking for? Stephanie Mills backing singer Diane Wilson heard of the Mystic Merlin’s need for a lead singer and recommended Freddie. After auditioning,
Mystic Merlin had their new lead singer. Only one problem remained, telling Capitol and producer Alan V. Abraham that Keith Gonzales had left the Mystic Merlin and Freddie Jackson was his replacement. The members of Mystic Merlin feared their contract would be cancelled, as the group had been signed, and as lead singer, Keith Gonzales was a key member. A four song demo was recorded and Capitol liked what they heard. Now Mystic Merlin were ready to record their third album, Full Moon.
For Full Moon, a total of nine tracks were written. Jerry Anderson wrote one tracks and cowrote five of the other tracks. Freddie Jackson would get his first writing credits, co-writing four tracks. Producer Alan V. Abrahams cowrote Full Moon (Prelude) with William Michael Lewis and cowrote three other tracks, while Barry Strutt was one of the most productive members of Mystic Merlin co-writing five tracks. WIth the material written, Producer Alan Abrahams took Mystic Merlin to The Lighthouse, Studio City, California.
At The Lighthouse, a number of guest artists joined Mystic Merlin. This included percussionist Paulinho Da Costa, and bassist Nathan East who played on two tracks. Michael Lewis played synths, Greg Mathieson keyboards and Charles Fearing guitar. They were joined by Gene Page who arranged strings, and backing vocalists that included Jim Gilstrap, John Lehman and Augie Johnson. Together, these guest artists and Mystic Merlin, complete with new lead singer Freddie Jackson, recorded the nine tracks that became Full Moon? Would Full Moon see Mystic Merlin make their commercial breakthrough after a turbulent year?
Sadly, Mystic Merlin’s third album neither Full Moon, nor the only single released from the album Mr. Magician, charted. This was hugely disappointing after all that had happened to Mystic Merlin. They were a group with talent and potential, but had released a funk album, Full Moon as funk became less popular. Full Moon was the wrong album released at the wrong time. However, thirty years later, what does Full Moon sound like and has it stood the test of time?
Opening Full Moon is Mr. Magician, the only single released from the album. It’s just a pounding rhythm section, stabs of keyboards and blazing horns that combine before Freddie Jackson makes his Mystic Merlin debut. His vocal is impassioned and emotive, accompanied by the lushest swings. Freddie’s vocal combines beautifully with arrangement, especially the swathes of strings. While drummer Sly Randolph and Clyde Bullard bubbling bass provide the track’s funky heartbeat, Barry Strutt’s dazzling saxophone playing is key to the track’s sound and success. It’s no wonder Billboard magazine selected the single as of one their recommendations. It’s funk and soulful, and thirty years later, like a fine wine has matured with age.
As Perfect opens, the arrangement has a spacious sound, with the track reluctant to reveal all its secrets straight away. Mystic Merlin’s rhythm section gradually build the track up, before Barry Strutt’s saxophone punctuates the track. Freddie Jackson seems to be settling into his role as lead singer, his vocal soaring powerfully. Melodic keyboards and sweeping strings are added to the funky rhythm section. As the track progresses, Freddie grows in confidence. He vamps his way through the track, his vocal sassy and sensual against Alan Abraham’s slick, polished arrangement.
When Rock The World opens, there’s a quite different sound to the previous tracks. Light, melodic keyboards and crispy drums combine, before synths are added. There’s a much more electronic sound to the track. Freddie’s vocal is delivered dramatically, mixing bursts of power and passion. Joyous backing vocals and bursts of horns punctuate the arrangement, as it takes on an early eighties sound. Here, Mystic Merlin and producer Alan Abrahams combine eighties electronic music and R&B, demonstrating another side to their music.
It doesn’t take more than a few bars to realize that Your Love is one of the highlights of Full Moon. Key to this slower, dramatic track is Freddie’s vocal. You can hear here, the Freddie that can be heard on Rock Me Tonight. His vocal veers from a heartfelt, impassioned style to a punchy, dramatic deliver. The rest of Mystic Merlin provide the perfect backdrop for Freddie’s vocal. Their playing, the rhythm section especially, is a mixture of understated and drama, matching the vocal. Strings work well, as does the synth dramatic drumming that punctuates the arrangement. The result is one of the best tracks on Full Moon, where Freddie Jackson announces his arrival.
Full Moon Rising (Prelude) opens with a dramatic space age sound when it opens. Synths provide a foreboding, haunting backdrop and grab your attention, Full Moon unfolds. With the synths having gotten your attention, the funky rhythm section of Mystic Merlin take centre-stage. Freddie’s vocal sits well as swathes of lush, cascading strings caress you. Waves of pounding rhythms unfold, while Paulinho Da Costa sprinkles percussion amongst the rhythms. It’s a deeply satisfying, quite mesmerizing combination, that makes you wonder why Capitol didn’t release it as a single. After all, this song has Mystic Merlin’s name written all over it?
Love Is What You Need is one of catchiest tracks on the album, and sounds as if it belongs on a late seventies Jacksons’ album. Stabs of keyboards join a driving rhythm section and punchy horns, while soaring backing vocalists augment Freddie’s lead vocal. Echo is added to the vocals, leaving them hanging in midair. Then up steps Barry Strutt. Whereas, you’ve heard of a guitar hero, Barry becomes saxophone hero, unleashing a scintillating saxophone solo. Everything is in place, as a joyous, hook-laden and uplifting track unfolds. Again you’re left wondering, why rather than a Full Moon, the album’s lack of success was more like a crescent moon?
As Back To Zero starts to share its secrets, the sound of howling gale blowing is followed by banks of keyboards and synths. They’re joined by rocky guitars and a driving rhythm section, as a dramatic, moody track unfolds. Freddie’s vocal is full of hurt and pain, as guitars dance across the arrangement, augmented by synths and melodic keyboards. Then the synths and guitars take centre-stage, before Barry Strutt unleashes another peerless saxophone solo. As his solo drops out, punchy backing vocals accompany Freddie as he sings about “starting over.” Sadly, after Full Moon, both Freddie and Mystic Merlin would be “starting over.”
Closing Full Moon is Mindreader, where Mystic Merlin demonstrate how good they were at writing a hooky, memorable track. Sizzling, chiming guitars, Mystic Merlin’s funky rhythm section and keyboards are joined by bursts of Barry Strutt’s rasping saxophone. Joyous backing vocals, handclaps and percussion augment Freddie’s soaring lead vocal. Then one last time, Mystic Merlin unleash waves of funky music. The heavy synths sound weaves its way through the track, playing an important part in the track’s sometimes bold, dramatic sound. Mystic Merlin close Full Moon with another catchy track, fusing elements of seventies disco with eighties boogie, along with soul and funk.
Sadly, Full Moon proved to be Mystic Merlin’s final album. Although Full Moon was an album that saw Mystic Merlin maturing and growing as a group. By the time Full Moon was released, Mystic Merlin had honed their sound. Freddie Jackson was settling in to the role of lead singer, but would’ve taken longer than one album to fill Keith Gonzales’ shoes. Producer Alan V. Abrahams was key to their sound, helping shape their sound and ensure it stood out from other group’s music. However, when Full Moon was released, the problem was funk was no longer as popular. Maybe if Full Moon had been released a year earlier, things might have been different, maybe it would’ve proved a bigger commercial success. With disco no longer popular and funk heading down the same road, then records companies starting downsizing. Mystic Merlin were released by Capitol Records and the band would broke up. In some ways, Mystic Merlin were the victim of circumstances.
Losing lead singer Keith Gonzales after his “spiritual awakening,” was one problem, but Freddie Jackson’s tried hard to fill his shows. Then when Hanna-Barbera’s Magic Merlin Show fell through after the writer’s strike, this must have been a huge disappointment. After all, this could’ve transformed the band making them huge stars. So could opening for Michael Jackson on his Off the Wall tour. Deciding not open for Michael Jackson, when they said that Clyde Bullard couldn’t perform his magic tricks seems a strange, and maybe, even, foolhardy decision. I’m sure Mystic Merlin’s management and everyone at Capitol Records must have despaired. This was the break they’d been waiting for. Just about every other band would’ve jumped at the chance. I wonder whether thirty years later, the members of Mystic Merlin every sit at home and say what if? How would their lives and career been different? Would Full Moon, which was recently rereleased by BBR Records, have been a commercial success? Maybe Mystic Merlin would’ve fulfilled their potential and their considerable talent would’ve been heard by many more people. Instead, Mystic Merlin’s third and final album was more crescent moon than Full Moon. Mind you, imagine being able to tell your children and grandchildren that very nearly, the group you were in Mystic Merlin nearly had a cartoon made about them and refused the chance to open for Michael Jackson on a world tour. I’m sure they’ll say three words “why didn’t you?” Standout Tracks: Mr. Magician, Perfect, Full Moon and Love Is What You Need.
MYSTIC MERLIN-FULL MOON.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
When I realized that this would my 500th review, I decided that to mark the occasion, by reviewing a really special album, one of my favorite albums. Now with the best part of two-thousand albums to choose from, I’ve plenty of choice. Regular readers of this blog will have realized that two of my favorite labels are Philadelphia International Records and Salsoul. To me, both labels represent everything that’s good about music. This is real music, music played my real musicians, music that’s soulful and timeless. There isn’t a sampler, sequencer or drum machine in sight. Philadelphia International and Salsoul featured some of most talented, innovative and creative musical minds. A common thread that runs through both labels’ success, and that’s the personnel. At Philadelphia International, the musicians that featured on albums by Billy Paul, The O’Jays, Harold Melvin and The Blue Notes and The Three Degrees were M.F.S.B. From the label’s first release, Billy Paul’s 360 Degrees of Billy Paul, M.F.S.B. were key to Gamble and Huff’s sound and success. Then when members of M.F.S.B. and Gamble and Huff were locked in a dispute about finances, M.F.S.B. headed to New York and became The Salsoul Orchestra. This meant musical geniuses like the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, and Don Renaldo’s Swinging Strings and Horns left Philadelphia International. These weren’t just musicians though, they were songwriters, arrangers, producers and people who could spot real talent, talent that would end up on Salsoul. Having signed to Salsoul in 1975, The Salsoul Orchestra released The Salsoul Orchestra in 1975. A year later, came their second album Nice ‘N’ Nasty, which I’ll now tell you about.
Nice ‘N’ Nasty was the first of two albums The Salsoul Orchestra would release within two months of 1976. After releasing Nice ‘N’ Nasty in October 1976, Christmas Jollies was released in November 1976. So, 1976 was a busy year for The Salsoul Orchestra. For their second album, ten songs were written, with Vince Montana Jr. writing five tracks, co-writing Standing and Waiting On Love with Floyd Smith and adapted Salsoul 3001. Ron Baker of the Baker, Harris, Young rhythm section, wrote the other new song, It Don’t Have To Be Funky (To Have A Groove). Along with a suite of two standards We’ve Only Just Begun and Feelings, which The Salsoul Orchestra would transform, the material was in place for Nice ‘N’ Nasty. Now the classic lineup of The Salsoul Orchestra would head to Philly’s legendary Sigma Sound Studios to record Nice ‘N’ Nasty.
This classic lineup of The Salsoul Orchestra featured some of the greatest musicians of the seventies. All the greats played on the album. The Baker, Harris, Young rhythm section were joined by guitarists Bobby “electronic” Eli and T.J. Tindall. Ron “Have Mercy” Kersey and Carlton “Cotton” Kent played keyboards, while Vince Montana Jr, played tympany, percussion and vibes. Larry Washington and Carlos Martib added percussion and Jack Faith played flute and piccolo. Violinist Don Renaldo was part of the string section and horn section that was key to the Salsoul sound. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, along with Ronnie Tyson, Phil Hurtt and Carl Helms. With Vince Montana Jr. producing the hugely talented Salsoul Orchestra, Nice ‘N’ Nasty would be released in October 1976. Surely, Nice ‘N’ Nasty would be a huge hit?
On the release of Nice ‘N’ Nasty in October 1976, it reached number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. The title-track Nice ‘N’ Nasty was the lead single, reaching number thirty in the US Billboard 100, number twenty in the US R&B Charts, number eight in the Disco Charts and number three in the Dance Music-Club Play Charts. Ritzy Mambo was then released as a single, reaching ninety-nine in the US Billboard 100. Nice ‘N’ Nasty had been a huge success. Given how good the music on Nice ‘N’ Nasty which I’ll tell you about, is that’s no surprise.
Opening The Salsoul Orchestra’s second album Nice ‘N’ Nasty is It’s Good For the Soul. From the get-go, you realize this is an uptempo album for the dance floor, when a pounding rhythm section, chiming guitars, lush shimmering strings and cascading woodwind combine. The track floats along, while the Baker, Harris, Young rhythm section produce a pounding heartbeat. Guitars and sweeping, swirling strings give way to punchy, sassy vocals and growling horns. Bursts of frenzied percussion, are just the latest curveball thrown by producer Vince Montana J,. Later, Norman Harris lays down a peerless, jazz-tinged guitar solo, as swathes of lush strings float elegantly above him. It’s the perfect way to start Nice ‘N’ Nasty, with The Salsoul Orchestras demonstrating their considerable talents, proving that while this track, It’s Good For the Soul, it’s perfect for any dance-floor, even thirty-six years later.
Nice ‘N’ Nasty was written, arranged, conducted and produced by Vince Montana. Pounding drums and hissing h-hats give way to a sizzling guitars, before horns blaze, strings swirl and breathy female vocals enter. From there, you’re swept away, atop lush strings, while horns serenade you. Later, Norman Harris lays down a peerless guitar solo. A proliferation of percussion, backing vocalists, punchy horns and dancing, shimmering strings are key to the track’s success and its joyful, uplifting sound.
Bassist Ron Baker, of the Baker, Harris, Young rhythm section wrote It Don’t Have To Be Funky (To Be A Groove). A driving rhythm section, guitars, swathes of swirling, sweeping strings and the soulful sound of The Sweethearts of Sigma open the track. As strings dance, blazing horns accompany them. Earl Young’s drums pound, while Norman Baker guitar chimes and The Sweethearts of Sigma add soulful, dramatic harmonies. You realise you’re hearing some of the greatest musicians at the top of their game, fusing soul, funk and disco seamlessly and peerlessly, and creating one of the Salsoul Orchestra’s greatest ever uptempo tracks.
Congas, woodwind, percussion and grand strings open Nightcrawler, one of the slower tracks on Nice ‘N’ Nasty. There’s a very different sound to the track, but still the glorious rhythms are present. Keyboards, vibes and percussion combine while strings sweep and woodwind cascade. By now there’s an almost grandiose sound, with The Salsoul Orchestra exploring elements of classical and Latin music, adding it to their usual fusion of styles. Other members of the group get a chance to shine, especially the woodwind section, including flautist and piccolo player Jack Faith. Along with percussionists Larry Washington, Carlos Martib and Vince Montana Jr, The Salsoul Orchestra embark on a compelling musical journey, where you hear another side to their music.
Earl Young’s pounding drums open Don’t Beat Around The Busch, providing the track’s funky heartbeat. Guitars, cascading strings and The Sweethearts of Sigma’s urgent, sassy backing vocals are augmented by a glorious combination of percussion, keyboards, sizzling guitars. Sensuous, punchy chants, Earl’s mesmerizing drumbeats and an infectiously catchy guitar solo have you spellbound. Add to this bursts of horns and dramatic, cascading strings and a myriad of percussion, and you’re spellbound, caught in a storm of dramatic, mesmeric, rhythmic music. You can’t help but be impressed by the combined talents of The Salsoul Orchestra and Vince Montana Jr.’s genius at bringing everything together.
Standing And Waiting On Love opens side Two of Nice ‘N’ Nasty. Bursts of rasping horns, rhythm section and wah-wah guitars are joined by swathes of swirling strings as a glorious uptempo track takes shape. Keyboards, percussion and cooing backing vocalists enter. The Sweethearts of Sigma give one of their best, most soulful performances, as The Salsoul Orchestra fuse soul and funk to a disco beat. Adding to the finishing touch is Vince Montana Jr.’s vibes which, along with the dancing strings and Norman Harris’ guitar playing, play their part in this uplifting, joyous slice of sunshine.
Salsoul 3001 is an adaptation of Richard Strauss’ interpretation of Friedrich Nietzsche’s Thus Spoke Zarathustra. It’s a book I’ve read, and for anyone who suffers from chronic insomnia, is a perfect cure. There’s a dramatic space-age opening to the track. In the distance, percussion plays, building up the drama. Then the sound of 2001 A Space Odyssey can be heard, but with a twist. Booming, dramatic drums, frantic percussion, growling horns and grand strings combine, as The Salsoul Orchestra take you on A Space Odyssey, one that’s funky and soulful. Lush strings, keyboards, punchy blazing horns and the Baker, Harris, Young rhythm section combine with percussion, taking you on an enthralling, dramatic journey aboard Salsoul 3001.
Not every band could take two standards like We’ve Only Just Begun and Feelings, crossing 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 Orchestra. 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 Orchestra are transformed into a lounge band, but the greatest lounge band you’ll ever hear, capable of making some really beautiful music.
The final track on Nice ‘N’ Nasty is Ritzy Mambo. After this, there’s only the thirteen-second tongue in cheek Jack and Jill. As the Latin delights of Ritzy Mambo unfolds, you realize how truly versatile The Salsoul Orchestra. They’re able to seamlessly shift styles at will. Percussion, keyboards and the rhythm section open the track, before sweeping strings enter. They signal the arrival of The Sweethearts of Sigma joyous, sometimes sassy backing vocals. Rasping horns join the percussion and strings as Ron Baker’s pounding bass anchors the track. Vince Montana Jr. unleashes another scintillating vibes solo, that adds to the Latin sound of this joyous, hook-laden track. It’s a glorious way to close Nice ‘N’ Nasty, one that leaves you with a mile on your face.
Every time I listen to one of The Salsoul Orchestra’s albums, including Nice ‘N’ Nasty, I’m always struck by the combined creative talents of everyone involved. Not only were The Salsoul Orchestra a hugely talented group of musicians, but also songwriter, arrangers and producers. At Salsoul Records, these talents were unleashed, while at Philadelphia International Records, the talents of Baker, Harris, Young and Vince Montana Jr. were underused. They were part of M.F.S.B., but not actively involved in songwriting and arranging, production. All this talent was on Gamble and Huff’s doorstep, but they never used or embraced it. That seems strange, that they never involved such hugely creative and talented people. Maybe, the dispute over payments that caused M.F.S.B. to leave Philadelphia International Records was something of a blessing in disguise. After the members of M.F.S.B.left Philadelphia International Records, their creativity was unleashed, playing a vital part in Salsoul’s sound and success. This creativity and talent can be heard on Nice ‘N’ Nasty, where the Baker, Harris, Young provide the track’s heartbeat, while producer Vince Montana Jr. brought together the combined talents of musicians that included guitarist Bobby “electronic” Eli, keyboard player Ron “Have Mercy” Kersey, percussionist Larry Washington, flautist Jack Faith and violinist Don Renaldo. Adding the final finishing touch were the legendary backing vocalists the Sweethearts of Sigma. Each of these musicians and backing singers played their part in making Nice ‘N’ Nasty such a compelling, uplifting, joyous and timeless classic. Even thirty-six years later, listening to Nice ‘N’ Nasty well, It’s Good For the Soul and is the perfect introduction to a majestic journey through the back-catalogue of The Salsoul Orchestra that We’ve Only Just Begun. Standout Tracks: It’s Good For the Soul, Nice ‘N’ Nasty, Standing And Waiting and We’ve Only Just Begun and Feelings.
THE SALSOUL ORCHESTRA-NICE ‘N’ NASTY.
LIGHT OF THE WORLD-LIGHT OF THE WORLD.
LIGHT OF THE WORLD-LIGHT OF THE WORLD.
One of the bands who were at the forefront of the UK’s jazz funk movement during the late-seventies were Light of The World, whose name pays homage to Kool and The Gang’s 1974 album Light of the Worlds. They went on to release five albums between 1979 and 1999. Their debut album was Light of The World, released in 1979. A year later in 1980, and after the tragic death of percussion player Chris Etienne two new members joined Light of the World and Round Trip was released. In 1981, Light of the World split up for the first time. This would result in two new bands being formed. Kenny Wellington, David Baptiste and Breeze McKreith went on to form Beggar and Co., while Jean Paul Maunick, Peter Hinds and Paul Williams went on to found Incognito. With Light of the World having spilt-up, Light of the World Remixed was released in 1981. Then with a new lineup, Light of the World released Check It Out in 1982. After this, Light of the World wouldn’t release another album until 1999, when Kenny Wellington got most of the original band together. Inner Voices was the result of this reunion. Since then Light of the World haven’t released any more albums. Now thirty-three years after Light of the World released Light of the World, the album will be rereleased by BBR Records on 27th August 2012. After, I’ve told you about the background to the album, I’ll tell you about the music on Light of the World.
Light of the World had been signed to Ensign Records by Nigel Grainge. He had a track record for signing successful bands at Phonograph Records. Two of his most successful signings were 10cc and Thin Lizzy. After seven years working at Phonograph Records, Nigel decided to start his own label, Ensign.
Having founded Ensign, one of Nigel’s first signings were wannabe punks The Boomtown Rats. Nigel had been alerted to the popularity of what was called Brit Funk by Chris Hill. The term Brit Funk came about when Hi Tension, one of the first wave of Brit Funk groups signed to Island Records. Soon, Ensign would have their own Brit Funk outfit, Light of the World.
Joe Williams, who owned a record shop North London selling funk and soul, heard Light of The World and thought the group had potential. He let the group rehearse above his shop. Then one day, hearing an argument in the rehearsal space, one of his employees in the shop Jean Paul Maunick, went up to investigate. He started trying to convince the group to let him join. He joined, as did a new drummer. Soon, the group were honing their sound in North London clubs. Next step was for Joe Williams to arrange a recording of an acetate of a track Light of The World had been honing. It was passed to the so-called “Funk Mafia,” a collective of London DJs. Soon the word spread about Light of The World, with word reaching Ensign Records’ Nigel Grainge.
When Nigel Grainge at Ensign Records heard Light of The World, his original idea was to record and release a single, with the possibility of an album following. However, he decided to send the group into the studio to record an album. Light of The World would head into the studio with American producer Vinnie Castellano, who’d later work with Grandmaster Flash. The resulting album Light of The World was recorded at London’s Chappells Studios. Nine tracks were recorded during the fall of 1978, with the album Light of The World set for release in 1979,
Swingin’ was chosen as the lead single and released in April 1979. It reached number forty-five in the UK. The second single released was Midnight Groovin’ in June 1979, which reached number seventy-five in the UK. When Light of The World was released in 1979, it failed to chart in the UK album charts. For a new band, having their first two singles chart was a reasonable start to Light of The World’s career. However, what does the music on Light of The World sound like?
When Light of The World opens with the lead single Swingin’ the sound is funk from the get-go. Chiming guitars and a driving rhythm section combine with blazing horns before Neville McKreith’s punchy, joyous vocal enters. Key to the sound is the pounding, funky rhythm section, with Paul Williams’ bass at the heart of the arrangement. His slap bass is augmented by sizzling guitars, bursts of blazing horns and percussion. Backing vocalists accompany Neville’s punchy, deliberate vocal, while Light of The World give a Brit Funk masterclass. They take you on an irresistible, seven minute funk-laden musical journey and by the end of the journey, you wonder why the single wasn’t a bigger success.
Dreams has a slightly dramatic sound, with the guitar opening the track, as the sound pans from right to left. The tempo is dropped, the sound distant and the vocal pensive. Neville’s vocal is accompanied by the rhythm section, keyboards, guitars and keyboards. It’s a very different sounding track, with a slightly spacey, experimental sound. There’s a real seventies American influence, especially in the interplay between the lead and whispery backing vocals. As the track progresses, the tempo builds, and Light of The World inject their funky sound. A bass bubbles, sitting at the forefront of the arrangement, while the sound pans and the vocals take on a dreamy, wistful sound. Although very different from the opening track, I like the almost experimental nature of the track, especially the use of effects and that bubbling bass line.
Pounding drums, handclaps and a slap bass open Who Are You (Who Do You Think You Are?) almost explodes into being. Soon, the horn section and bursts of probing backing vocals join the fray. Neville’s vocal is impassioned, emotive and sometimes, even angry. He’s accompanied by backing vocals and an arrangement that’s fast, furious and gloriously funky. Again, Paul Williams slap bass is key to the sound, with bursts of rasping horns and percussion helping drive the track along to its emotive ending.
Midnight Groovin’ was the second single released from Light of The World, reaching a disappointing seventy-five in the UK. Here, percussion and a clavinet, which was a favourite of Stevie Wonder’s in the early seventies feature heavily during the track. Percussion is central to the sound, along with the rhythm section, punchy, blazing horns and clavinet. As Light of The World head on a Magnus Opus of a funky jam, Neville’s vocal are joyful, sensual whoops. The vocal is almost incidental, as the focus of your attention is the band’s performance. They unleash one of their most polished, accomplished and funky performance, as they head on their way to becoming leaders of the Brit Funk pack.
Aspects opens with an acoustic guitar and pounding drums combining, and providing contrasting sounds. You wonder where the track is heading, and settle back to enjoy the journey. It’s a more mellow sound, with guitars, percussion and the rhythm section combining, creating a much more soulful, less heavy funky sound. Although the track’s still funky, the tempo is slightly slower and the cascading tender vocals encourage you to lose yourself in the track. This you do, enjoying hearing another side to Light of The World’s music, one that’s quite enchanting and beautiful.
Mirror of My Soul is a mid-tempo track, where Light of The World toy with you, before the track begins to unfold. Percussion, guitars and a pounding bass are joined by emotive, bursts of growling horns. Neville’s vocal is tender, tinged with heartache and despair. Backing vocals accompany him, as searing horns reflect his hurt and heartache. The use of the horns by producer Vinnie Castellano is something of a masterstroke and along with Neville’s vocal, what makes this such a an emotive, beautiful and soulful song.
Closing Light of The World is Liv Together (The Greater London Funkathon), where Light of The World spread their message of unity to fellow Londoners. Banks of synths and keyboards open the track, before sizzling horns, guitars and a funky, driving rhythm section combine. The vocal is plea for unity and togetherness, which in 1979, when the album was released something that was sadly lacking in the UK. As the track progresses, they fuse punchy horns, the funkiest of rhythm section, handclaps and joyous, uplifting vocals, before keyboards fill out the sound further. By the end of the track, Light of The World provide a joyous jazz-funk soundtrack for London, one that thirty-three years later is uplifting, inspiration and hugely catchy.
Light of The World’s debut album Light of The World put them at the forefront of the Brit Funk movement. It’s an accomplished album that’s aged well in the intervening thirty-three years. Sadly, over the next few years tragedy and changes in the band’s personnel meant that the band never quite fulfilled their early potential. Members left the band, forming new bands, with new members joining when the band reformed. This meant there was never a consistent lineup. Maybe if tragedy and personnel changes hadn’t affected the band, they would’ve gone on to become a much more successful band. Everything was in place on Light of The World, with Light of The World becoming one of the best of the first wave of Brit Funk pioneers. On Light of The World, the seven tracks feature a fusion of some of the funky and soulful music. Of the seven tracks on the album, four tracks stand out. These are the irresistible lead single Swingin’ and Dreams, and two of the more soulful songs Aspects and Mirror of My Soul. For anyone who wants to rediscover the music of one of the pioneers of the Brit Funk, then Light of The World which will be rereleased by BBR Records on 27th August 2012 is a good starting point. Light of The World will also bring back memories of the British nascent funk scene, when a few British musicians showed that it wasn’t just American musicians who could play funky music. Standout Tracks: Swingin,’ Dreams, Aspects and Mirror of My Soul.
LIGHT OF THE WORLD-LIGHT OF THE WORLD.
GINA CAREY LIVE, LOVE AND LAUGH VOLUME 1 (LIVE).
GINA CAREY LIVE, LOVE AND LAUGH VOLUME 1 (LIVE).
For any independent artist, trying to think of innovative ways of releasing music, isn’t easy. After all, major record companies have whole departments of strategists, whose job is to do just that. So, releasing music on a limited budget must be much harder. However, one artist whose pioneering a new way of releasing an album is Gina Carey. For here eighth album, Live, Love and Laugh, Gina’s decided to release the album in three volumes. This is perfectly suited to the three suites or themes of music that run through the twelve songs on Live, Love and Laugh . With these three very different themes running through the album, Gina decided that an innovative and imaginative way of releasing her new album was in three volumes. On September 4th, Gina will release Volume 1, entitled Live will be released on 4th September, with Volume 2 Love released on January 1st 2012 and Volume 3 Laugh being released on 1st May 2013.
Live, Love and Laugh Volume 1 (Live) is Gina’s third album of 2012 and fifth soul album. Gina Carey’s soulful journey started with My Journey, before releasing was Melodic 2011. Before, becoming a soul singer, Gina had released three gospel albums, In His Time, Changes and Tell Um. Then on St. Valentines’ Day 2012, Gina released the first of three albums she’d release in 2012. Love Letters, was Gina’s fusion of Nu-Soul, smooth soul, R&B and jazz. It was released on the same day as husband John’s Smooth, Soulful and Funky. Then just three months later, released her second album of 2012 Love Letters 2. Again, Gina was innovative, with Love Letters 2 featuring four tracks from Melodic and Love Letters, plus three tracks from Live, Love and Laugh. Now just three months later, I’ve been given a preview of Live, Love and Laugh Volume 1 (Live), which I’ll now tell you about.
The title-track Live, Love and Laugh opens Live, Love and Laugh Volume One. Straight away, swathes of grand strings build the drama up before Live, Love and Laugh reveals its soulful delights. A flourish of strings signal the arrival of Gina’s cascading vocal. Gina’s vocal is heartfelt, full of passion and positivity, while she adds multi-tracked backing vocals. Melodic keyboards, crispy drums, guitar and percussion combine, as this paean to positivity unfolds. With a mixture of emotion, and sincerity, Gina delivers her vocal. She does so as if she means every word, as the arrangement unfolds in waves, with keyboards and guitars key to the single’s sound. When combined with an uptempo, catchy arrangement, the result is an irresistible and hook-laden single,
My All opens with gentle, melodic keyboards, a hint of a shaker and a flourish of harp. They give no clue to where the track’s heading. Then an uptempo track unfolds. Gina’s impassioned vocal soars, while multi-tracked backing vocalists accompany her. Crispy drums provide the track’s heartbeat, while dramatic keyboards and rumbling bass punctuate the arrangement. As Gina’s voice almost trembles with emotion and pride, sweet backing vocals accompany her. Midway through the track, blazing horns add to the drama and emotion of the track. The longer the track progresses, the better Gina’s vocal gets. She mixes power, passion and pride, a formidable combination in life.
Gina drops the tempo on Angel, delivering a beautiful and heartfelt vocal. To me this is the best track on the album. It’s a gorgeous, slow, love song, one that’s perfectly suited to Gina’s voice and which she brings to life. Her delivery is stunning, with her phrasing getting across the beautiful lyrics. Like the two previous tracks, there’s a real Nu-Soul sound, bur Gina’s voice perfect for this style of music. As Gina delivers a heartfelt, emotional vocal, drums and bass provide the song’s slow, sensuous heartbeat. Keyboards, acoustic guitar and backing vocals accompany Gina, before the lushest of strings provide the track’s coupe de grace. Of the four tracks on Live, Love and Laugh Volume 1, this is the best, and very definitely the most beautiful.
Closing Live, Love and Laugh Volume 1 is Jam Session. A pounding bass, keyboards, drums and wah-wah guitar combine with Gina’s vocal. Her vocal is delivered in a dramatic, sassy style, with backing vocals accompanying here. Here, Gina and husband John, decide to unleash a tougher, funkier sound. Similarly, Gina’s vocal has a tougher, sassier sound. Having said that, the track is still soulful. Later, John unleashes a series of sizzling guitar solos, wah-wah-ing his way across the arrangement, almost making his guitar talk. Meanwhile Gina and backing vocalists soulfully soar above the arrangement, as Gina Carey reveals another side to her music, one that I can’t wait to hear more of.
Having constantly played the four tracks on Gina Carey’s forthcoming album Live, Love and Laugh Volume 1 (Live), I can honestly say that Gina’s sounding better than ever. Her vocals are variously a mixture of power, passion, positivity and emotion. The four songs are infectiously catchy and deeply soulful. While Live, Love and Laugh is the lead single, and a hook-laden single at that, Angel a gorgeous, heartfelt love song is the real standout track. Surely, that’ll be released as a single. I know if I was choosing the next single, that’s the one I’d choose. Truly, each of the songs on Live, Love and Laugh Volume 1 (Live) show Gina Carey to be a multi-talented lady, who wrote, arranged and produced the album. She has dedicated Live, Love and Laugh Volume 1 (Live) to her father Eugene Harrison, who sadly died earlier this year. I’m sure that Mr. Harrison would be truly proud of his hugely talented daughter Gina Carey, as she continues to Live, Love and Laugh and make so many happy with her beautiful voice.
GINA CAREY LIVE, LOVE AND LAUGH VOLUME 1 (LIVE).
FOUNTAIN MUSIC AND PLAZA IN CROWD.
FOUNTAIN MUSIC AND PLAZA IN CROWD.
With the recent resurgence in interest in dance music, or as it’s now referred to in the US Electronic Dance Music, you’d think that record companies worldwide would be releasing innovative music to quench what seems like America’s relentless thirst for dance music. Sadly, with a few exceptions, this isn’t the case. Instead, much of the dance music being released is mainstream, bland and derivative. Artists and producer’s move towards the mainstream is with one eye on the dollar, pound or Euro. Not all fans of dance music seem happy with the shift towards commerciality. Neither will some of the pioneers of early electronic music. However, there are still some innovative, pioneering labels left. Two of these labels are from Japan, Fountain Music and Plaza In Crowd. Recently, I’ve reviewed three of their latest releases, Shin Nishimura’s Mash, TEMMA-Teje’s Midget Lamps In the Dark and Satoshi Fumi’s Colours. These albums restored my faith in dance music, showed that their were labels looking for genuinely talented artists and releasing their music. After writing these reviews, I was inundated with people of the same opinion, who were pleased to hear some imaginative, inventive and innovative music. Since then, I’ve set out to finding more about Fountain Music and Plaza In Crowd, from their President Shinji Tokida. He told me about their music, vision and their hopes for the future.
Although it’s been just four years since Shinji Tokida founded Fountain Music and Plaza In Crowd in June 2008, both labels have come a long way. This wasn’t Shinji’s first foray into music, having founded his first label Water Cable when he was still a teenager. He’d been inspired to launch Water Cable after becoming a fan of the music released by Kompact and Mule Musiq. When Water Cable wasn’t the success Shiji hoped for, he was crestfallen. It had been his dream and his life. Then when Shinji was twenty-four he dusted himself down, started saving towards launching a new label. Three years later, he’d saved the money to launch Fountain Music and Plaza In Crowd.
Having founded Fountain Music and Plaza In Crowd in June 2008, Shinji hasn’t looked back. Fountain Music’s first year in business proved a busy and productive one. This included a variety of singles and E.P.s plus the release of Fountain Music’s first CD album Synethesys’ From A Distance. Digital albums that included Yousaka Kaga’s Alive and Shinji Tokida’s A Man Will Transform Himself Into A Heaven. For a new record company, Fountain Music had established themselves in just the final six months of 2008.
2009 would prove even busier for Fountain Music, with Plaza In Crowd now releasing a number of E.P.s, including Dave Angel’s Ghost Train and DJ Yellows’ Alienation 11 and 12. Fountain Music released singles from Popnoname and French DJ and producer Life Recorder. Now Shinji Tokida had established two record companies, he wasn’t content to stand still. He admits to being “ambitious and driven.” Each year, he wants to release more music. However, this must be intelligent music, music he “believes in, music for the heart, soul and mind.” More of this music would follow in 2010.
A new year would see both Fountain Music and Plaza In Crowd releasing much more new, innovate music. In 2010, TEMMA-Teje released his groundbreaking E.P. Run on Fountain Music. Among the albums Fountain Music released were Sans Soleil and Genevieve’s Simple Machine and the Beautia compilation. At Plaza In Crowd they were busy releasing albums. Dublee released Monologue and Popnoname released Surrounded By Mars.
By 2011, both Fountain Music and Plaza In Crowd had established them as successful labels, their music crossing continents. Although Shinji Tokida says: “electronic music isn’t a major musical genre, in Japan both labels are attracting an ever-growing following of fans at home and abroad”. A number of singles, E.P.s and albums released by both labels during 2011. One of the albums Plaza In Crowd released was Dave Angel and Ken Ishii’s album Frame To Frame Remixes. Over at Fountain Music, they marked 2011 by releasing E.P.s from Ney Faustini, Martin Schulte, Rob Belleville, Low Orbit Satellite and Hiroshi Watanabe and Popnoname. It had been a hectic few years for Shinji Tokida but both Fountain Music and Plaza In Crowd were growing in size and stature.
This year has been just as busy for Shinji. Among Fountain Music’s releases are Shin Nishimura’s Mash, TEMMA-Teje’s Midget Lamps In the Dark and Satoshi Fumi’s Colours. Earlier this year, Plaza In Crowd released Dave Angel’s Frame By Frame. In total Fountain Music and Plaza In Crowd have released over twenty CD albums and over one-hundred digital releases. That’s not enough for Shinji Tokida. Further albums will be released later this year, with Synethesys’ Nostalgies Fountain Music’s release. However, what are Shinji Tokida’s plans for Fountain Music and Plaza In Crowd in 2013?
When I asked Shinji Tokida about future releases for 2013 from Fountain Music and Plaza In Crowd, he was excited about three artists. One of these is “French hip hop DJ and producer DJ Cam, who’ll be releasing an album next year.” “Claude Young, is a Detroit producer who is in Japan producing music for his new album for Fountain Music. He’s another artist who Shinji has high hopes for. “Mijk Van Dijk is recording an album for release in 2013.” This is something of a coup, as Mijk is experienced German producer, having spent thirty years in the music business. These are just three albums which will be released in 2013, but I was interested to hear how many albums both labels would release? Shinji said: “we are planning to release between thirty and fifty albums next year.” This is an ambitious undertaking, given how fraught with difficulties even releasing just one album is. However, Shinji Tojida is a determined and driven to do so, taking inspiration from the growth of Apple, especially Eddie Cue, who was responsible for building the iTunes store.
Long term, Shinji Tokida says he’s “constantly looking for new music and new artists.” He’s “constantly striving to discover and release music he believes in, music for the heart, soul and mind.” Shinji, has to feel: “connected with the music.” He wants people to remember “music is art, something beautiful and sacred.” Music he believes: “should help unite people.” Fountain Music’s philosophy is: “everyone is the most beautiful in the world,” an admirable perspective. Plaza In Crowd’s philosophy is : “all mankind is one party.” Through this philosophy of inclusiveness and togetherness, both Fountain Music and Plaza In Crowd “want music to transcend continents, barriers and cultures.”
Helping Fountain Music and Plaza In Crowd to spread their philosophy will be the use of new media and technology. With the arrival of the digital age and Soundcloud, Mix Cloud and Band Camp a much wider audience can hear the music Fountain Music and Plaza In Crowd are releasing. Through Facebook and Twitter people worldwide are able to stay up-to-date with their new releases. Similarly, the advent of the download, means Fountain Music and Plaza In Crowd in Japan can release their music digitally and instantly, listeners worldwide can hear this music. Developments like this means being based in Japan shouldn’t hamper the rise of Fountain Music and Plaza In Crowd. This new and exciting digital age should play a big part in the development of all record companies, and Shinji Tokida is determined to use this to his advantage. Eventually, Shinji Tokida hopes that Fountain Music and Plaza In Crowd “will be able to release one-hundred albums annually, with one of these albums “selling one million copies, turning his records labels into major players in the Japanese music industry.” If he succeeds in doing so, then Shinji Tokida will have fulfilled his dream, the dream he nearly gave up, but thankfully never did.
FOUNTAIN MUSIC AND PLAZA IN CROWD.
htp://soundcloud.com/shinnishimura/shin-nishimura-joonil-bae-haus
http://soundcloud.com/shinnishimura/sun-dance-on-4th-album-mash
http://soundcloud.com/satoshi-fumi/dave-angel-zulu-satoshi-fumi
http://soundcloud.com/info-448-1/fountain-music-plaza-in-crowd
http://soundcloud.com/kino-internacional/sun-is-sunning-on-plaza-in
CAROL WILLIAMS-‘LECTRIC LADY.
CAROL WILLIAMS-‘LECTRIC LADY.
Ask me what my favorite album on Salsoul Records is, and I’m spoiled for choice. Instead of just one album, I’d probably give you a shortlist of albums. Obviously there would be something by The Salsoul Orchestra, Loleatta Holloway, First Choice, Inner Life and Double Exposure. Another album that would be right up there with my favorites, would by Carol Williams’ ‘Lectric Lady. Best known for Love Is You and More, which both feature on ‘Lectric Lady, Carol Williams was one of the original disco divas, and was was the first female artist to sign for Salsoul. So although Carol was the First Lady of Salsoul, her career as a disco diva started towards the end of 1975 with the infectiously catchy Rattlesnake. It was at Salsoul where Carol worked with Vince Montana Jr. and The Salsoul Orchestra that Carol Williams disco diva would release two disco classics Love Is You and More. More became the first twelve inch single commercially available worldwide, reaching number four in the Hot Club Play Charts in 1976. The following year, Carol released ‘Lectric Lady, her only album for Salsoul. Mind you, if you’re only going to release one album for the greatest disco label Salsoul, make it one as good as ‘Lectric Lady. On ‘Lectric Lady, Carol Williams with The Salsoul Orchestra created a true Salsoul classic.
New Jersey born Carol Williams, transformation to becoming the First Lady of Salsoul was almost accidental. Her career started back in the sixties, when she was a member of the female soul trio The Geminis. They released a string of singles on RCA Victor, with 1966s Get It On Home, giving The Geminis their biggest hit. Further singles, including I Hired A Girl and You Put A Hurting On followed, before The Geminis signed to Brunswick. During her time with The Geminis, Carol established herself as a singer and songwriter.
It was during a stint performing on the New Jersey hotel circuit that Carol Williams got the opportunity to become a solo artist. She was performing six nights a week, further honing her skills as a singer, when the opportunity to sign for Salsoul arose. Daverne, Carol’s husband was Wilson Pickett’s bandleader, and his assistant got a call from Salsoul looking for a female vocalist who was similar to Gloria Gaynor. Carol went to the audition and was chosen. When Salsoul heard of Carol’s background in the music industry that was the clincher. Salsoul’s search was over. Carol signed a contract with Salsoul for one album, and soon, a true disco diva would be born.
Now signed to Salsoul, Carol got the opportunity to work with some of the most talented arrangers, producers and musicians. This included producer Vince Montana Jr. and The Salsoul Orchestra. Vince Montana Jr. would play a big part in the success of ‘Lectric Lady. Not only did he produce the album, but played vibes on it and cowrote four tracks. One of these tracks Love Is You which he cowrote with Ron Walker would give Carol one of her biggest hits and best loved tracks. Vince would also go onto become one of Carol’s songwriting partners.
For her Salsoul debut, Carol had the artistic freedom to choose many of the tracks on ‘Lectric Lady. She also cowrote three of the tracks on ‘Lectric Lady and acted as co-publisher of these three tracks. This was an innovative idea, allowing Carol control of the music she cowrote. Of the three tracks she cowrote, two were with Vince Montana Jr, My Time of Need and Come Back, The other track she cowrote wasYou’re So Much A Part of Me, with Jack Perricone, who also cowrote This May Be the Last Time with Paul Vance. With
A total of nine tracks were chosen for ‘Lectric Lady, including a cover version of a track from 1963, More. Originally, the track had been recorded by Kai Winding and featured in the movie Monde Cane. Little did anyone at Salsoul realize that this would become one of Carol’s best known tracks. It was transformed into a stonewall disco classic, at the legendary Sigma Sound Studios.
Accompanying Carol Williams were The Salsoul Orchestra, featuring some of the greatest musicians of the seventies. All the greats played on the album. The Baker, Harris, Young rhythm section and guitarists Bobby Eli, T.J. Tindall and Roland Chambers. Ron “Have Mercy” Kersey and Bunny Sigler played keyboards, Vince Montana Jr, vibes, Larry Washington congas and percussion, flautist Jack Faith plus Don Renaldo’s strings and horns. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton, along with Deborah McKnight, Ronnie Walker and Carl Helms. With such talented personnel accompanying Carol Williams and Vince Montan Jr. producing ‘Lectric Lady, it should come as no surprise that the album would become a Salsoul classic, and featured two successful singles.
Although ‘Lectric Lady didn’t chart on it release in 1976, the two singles released from the album would not just prove successful. They became Salsoul and disco classics. More reached number ninety-eight in the US R&B Charts, number eight in the Dance Music-Club Play Charts and number four in the Hot Club Play Charts. Love Is You then reached number twenty-nine in the Dance Music-Club Play Charts.
From their release Carol Williams two singles More and Love Is You were favorites of disco lovers worldwide. However, there’s much more to Carol Williams Salsoul debut ‘Lectric Lady than just two tracks, as you’ll realize when I tell you about the music on ‘Lectric Lady.
Opening ‘Lectric Lady is Love Is You, the second single released from the album. Earl Young’s pounding drums and Larry Washington’s congas combine before the lushest of strings sweep in accompanied by bursts of rasping horns. They usher in Carol’s tender, heartfelt and beautiful vocal enters. Instantly, you realize an anthemic Salsoul classic is unfolding. With the Baker, Harris, Young rhythm section providing the track’s heartbeat, Bobby Eli’s guitar punctuates the arrangement, while the mass of lush strings and rasping horns carry Carol’s vocal along. The Sweethearts of Sigma provide subtle, tender backing vocals, while flourishes of harp and solos from vibes supremo Vince Montana Jr. and a blistering horn solo play their part in the track’s hook-laden sound. However, it’s Carol’s vocal that makes the track. Her vocal is perfect for the track, delivering the lyrics with equal amounts emotion, energy and passion.
Having started ‘Lectric Lady with a classic track, you’d think that following up such a track wouldn’t be easy. Not here. This was Salsoul at the height of their creative powers. Paul Vance and Jack Perricone cowrote This Time May Be The Last Time, an emotive ballad that tugs at the heartstrings. Carol sings the song from the point of the “other woman,” with gentle, cooing backing vocals accompanying her. Slow, sad sounding strings are at the heart of the arrangement, with the Baker, Harris, Young rhythm section playing subtly, before dramatically reflecting the passion and pain in Carol’s voice. Bursts of rasping horns and keyboards punctuate the arrangement, as Carol’s voice soars, full of heartache and hurt, with strings ever-present reflecting the emotion in the love she might of lost. During this track, Carol shows that there was much more to her music than disco, proving she was equally at home delivering a heartfelt, emotive soulful ballad.
As More begins, the track literally explodes. A pounding rhythm section, with drummer Earl Young at its helm, combines with blazing horns and cascading strings. Carol’s vocal is a mixture of power and joy, as she struts her way through the track. The Sweethearts of Sigma deliver punchy backing vocals, while swathes of strings dance with delight and horns bray. Ron Baker’s bass helps anchor the track, matching Earl beat for beat as he almost makes his drums speak, while percussion, congas and Vince Montana Jr.’s vibes feature. Key to the track are the strings, backing vocalists and horns. One of the best saxophone solos you’ll hear on a Salsoul album can be heard here. Truly, Carol Williams and The Salsoul Orchestra transform this track, turning it into an anthemic disco track thirty-six years later, is best described as a timeless. It’s joyous, uplifting classic, featuring one of Carol’s best vocals.
The tempo drops on Just Feel, which gives Carol another opportunity to reveal her soulful side. The rhythm section, rasping horns, swathes of lush strings, guitar and vibes combine, creating a dramatic, punchy and beautiful backdrop for Carol’s vocal. Her vocal is tender, impassioned and full of hope, with the Sweethearts of Sigma adding equally, tender and soulful backing vocals. Layers of strings, growling horns and pounding drums set the scene for Carol, as she steps up to deliver a stunning vocal. It’s as if she’s been waiting the moment, anticipating delivering Vince Montana Jr. and Ron Walker’s lyrics. She mixes power and passion with emotion, against a backdrop of cooing backing vocalists, the lushest of strings, growling horns and a punchy rhythm section. It’s a mesmerising performance, filed hope and happiness from a hugely talented and versatile vocalist.
My Time Of Need is the first of three songs Carol cowrote, with this one of two she cowrote with Vince Montana Jr. This song is like a four minute soap-opera, filled with drama and emotion. Carol singing the song from the perspective of a young woman, pregnant, desperate and on her own. Strings cascade, while horns rasp, as percussion and vibes accompany the Baker, Harris, Young rhythm section. Together they provide track’s dramatic and moody heartbeat. Carol’s voice is tinged with sadness and hurt, while the Sweethearts of Sigma add judgmental backing vocalists, their vocals are full of shock and surprise. Their back vocals are the finishing touch, contrasting Carol’s desperation, sadness and loneliness. Here, also Carol shows how a talented songwriter and storyteller she, painting vivid pictures in just four minutes.
Come Back is the second track Carol and Vince Montana Jr. cowrote. This is a much quicker, dance-floor friendly track. Pounding drums, breathy backing vocals and flourishes of strings signal the arrival of Carol’s vocal. It’s a mixture of power, passion and hurt, with the Sweethearts of Sigma adding sweeping backing vocals. Meanwhile, horns growl as string dance, as if marching to the rhythm section’s pounding beat. It’s a glorious combination, with Carol’s impassioned, pleading vocal, the finishing touch, swept along above Vince Montana Jr.’s arrangement.
Flourishes of percussion and harp, are augmented by Jack Faith’s flute and Bobby Eli’s guitar, before Danger Sign reveals its secrets. Carol’s vocal is tinged with regret as the rhythm section, sizzling guitars and swathes of strings accompany her. Her heartbroken vocal is a mixture of despair, drama and regret, matched by Vince Montana Jr.’s arrangement. Ron Baker’s pounding bass, bursts of harp and flute plus moody horns play their part in an arrangement that reflects that sadness and regret in Carol’s vocal, as do Don Renaldo’s strings.
Rattlesnake is something of a hidden gem from Carol Williams. It features a sassy, strutting, power vocal from Carol. The Salsoul Orchestra certainly don’t let the side down. A pounding rhythm section, percussion, cascading strings and blazing horns accompany jazz-tinged guitar as Carol Williams disco diva takes centre-stage. Punchy, soaring backing vocals from the Sweethearts of Sigma accompany Carol, as The Salsoul Orchestra kick loose. Here, the mix of a mesmerizing mixture of growling horns, dancing strings and a pounding rhythm section shows them at their very best. It’s a peerless performance from The Salsoul Orchestra, the Sweethearts of Sigma and Carol Williams. She struts her way through the track delivering an impassioned, powerful and sassy vocal.
Closing ‘Lectric Lady is You’re So Much A Part Of Me, which Carol and Jack Perricone cowrote. There’s an almost wistful sound to the track, as horns rasp while strings sweep and swirl. A dramatic burst of Earl Young’s drums signals the arrival of Carol’s beautiful, heartfelt vocal. It floats along amidst the lushest of strings, while horns growl as percussion, vibes and the rhythm section accompany Carol. Soulful backing vocals from the Sweethearts of Sigma augment Carol’s vocal. Sadly, too soon, one of the most beautiful tracks on ‘Lectric Lady close and so does Carol Williams’ career at Salsoul.
Truly, Carol Williams debut album for Salsoul, ‘Lectric Lady is a true gem. It’s been a pleasure reviewing ‘Lectric Lady. To me it represents everything that’s good about music in the seventies. Here was a hugely talented vocalist, equally comfortable in her role as disco diva or singing soulful ballads. Carol was also a talented songwriter, who cowrote a trio of tracks My Time of Need, Come Back and You’re So Much A Part of Me. She also proved a shrewd and innovative businesswoman, deciding to co-publish the three tracks she cowrote, allowing her control of her music. On the nine tracks that comprise ‘Lectric Lady, Carol breathes life and meaning into each of the tracks, transforming herself from disco diva and soul singer seamlessly. Although ‘Lectric Lady wasn’t a commercial success, two of the tracks would become stonewall disco classics, More and Love Is You. These tracks gave Carol the two biggest hits of her career. Since then, they’ve become disco classics, with Love Is You being sampled by Spiller on If This Ain’t Love. Although Carol’s voice played a huge part in the sound and success of ‘Lectric Lady, so did The Salsoul Orchestra and The Sweethearts of Sigma.
The Salsoul Orchestra featured some of the most talented musicians not just of the seventies, but in the history of music. However, The Salsoul Orchestra were much more than musicians, but arrangers, producers and songwriters. On ‘Lectric Lady their combined talents were put to good use. They played real instruments, without a sampler, sequencer or drum machine in sight. Similarly, on ‘Lectric Lady musicians like Vince Montana Jr. proved he was a talented songwriter. He wrote three songs, two with Carol and Love Is You which with Ron Walker. This was way before artists “borrowed” samples from other tracks. Instead they wrote their own material. Vince Montana Jr. and Baker, Harris, Young proved to be talented songwriters, arrangers and producers. With such a coming together of musical talents, it’s no wonder that ‘Lectric Lady is such a stunning album. Really, there’s not a bad track on ‘Lectric Lady. Sadly, ‘Lectric Lady would be Caroi Williams’ only album for Salsoul Records.
Not long after ‘Lectric Lady was released, Carol Williams and Salsoul parted company. Carol didn’t want to become known as just a disco diva. She felt she’d much more to offer. ‘Lectric Lady shows that Carol is just as comfortable singing soulful ballads. However, if you’re only going to release one album for Salsoul, make it as good as ‘Lectric Lady. Truly, ‘Lectric Lady is a Salsoul classic, as are its two singles More and Love Is You. ‘Lectric Lady belongs in the collection of anyone who loves disco, soul or Salsoul. Once you’ve heard Carol Williams’ ‘Lectric Lady, you’ll Come Back for More. Standout Tracks: Love Is You, More, Come Back and You’re So Much A Part Of Me.
CAROL WILLIAMS-‘LECTRIC LADY.
GINA CAREY-LIVE, LOVE AND LAUGH
GINA CAREY-LIVE, LOVE AND LAUGH
Over the last two years, Gina Carey has been one of the busiest singers in music. What’s been a hectic couple of years, started with the release of Melodic in August 2011, which Gina wrote, arranged and produced. Melodic went on to reach number one in the UK Soul Charts and was her fifth solo album. Then on St. Valentines’ Day this year, Gina released the first of three albums she’d release in 2012. Love Letters, was a fusion of Nu-Soul, smooth soul, R&B and jazz and was released on the same day as husband John’s Smooth, Soulful and Funky. Then just three months later. Gina would release her second album of 2012.
Gina’ second album of 2012, Love Letters 2 was an innovative idea, which I’m sure other artists will use. Love Letters 2 featured four tracks from Melodic and Love Letters, plus a trio of tracks from Gina’s forthcoming album Live, Love and Laugh. As well as featuring some much-loved favorites, Live, Love and Laugh gave listeners to hear a sneak-preview of what her new album would sound like. However, fans of Gina Carey’s music are is for a feast of music over the next few weeks.
The first course in the musical feast that Gina Carey is about serve up, is the release of her new single Live, Love and Laugh, which I’ve been given a sneak-preview of. Then on September 4th, Gina will be releasing the first installment of her new album Live, Love and Laugh. Unlike previous albums, Gina’s tempting listeners with three volumes of Live, Love and Laugh. Volume 1, entitled Live will be released on 4th September, with Volume 2 Love released on January 1st 2012 and Volume 3 Laugh being released on 1st May 2013. Later this week, I’ll be reviewing Live, Love and Laugh, but before that, I’ll tell you about Gina’s new single Live, Love and Laugh.
Swathes of grand strings build the drama up before Live, Love and Laugh reveals its soulful delights. A flourish of strings signal the arrival of Gina’s cascading vocal. Gina’s vocal is heartfelt, full of passion and positivity, while she adds multi-tracked backing vocals. Melodic keyboards, crispy drums, guitar and percussion combine, as this paean to positivity unfolds. With a mixture of emotion, and sincerity, Gina delivers her vocal. She does so as if she means every word. Meanwhile, the arrangement unfolds in waves, with keyboards, drums and guitars key to the single’s sound. When combined with an uptempo, catchy arrangement, the result is an irresistible and hook-laden single, that will have you wanting to hear much, much more of Gina Carey’s music. Luckily for you, I’ll be reviewing the first volume of Live, Love and Laugh later this week, which I’m sure you’ll love.
GINA CAREY-LIVE, LOVE AND LAUGH
JOHNICK-YOU KNOW HOW WE DEW.
JOHNICK-YOU KNOW HOW WE DEW.
Earlier this year, BBE Music released Johnny D Presents Disco Jamms Volume 1, compiled by legendary ‘Brooklyn’ DJ Johnny De Mairo. Johnny D Presents Disco Jamms Volume 1 featured some of the best edits I’ve heard this year. Along with Al Kent’s edits on The Best of Disco Demands, nothing else has come close. Believe me, I’ve heard many, many edits. Now Johnny D is back with a new compilation of deep house classic, You Know How We Dew featuring twenty-two tracks from JohNick, Johnny’s collaboration with Nicky P. These tracks were released during the nineties, with many of them released on Johhny D’s Henry Street Records’ label. However, Johnny D and Nicky P’s were much more than musical collaborators, but lifelong friends who embarked upon their musical adventure back in Brooklyn. Their friendship would result in Johnny D and Nicky P releasing some of the most innovative and successful house music of the nineties. This they did as JohNick, with You Know How We Dew, which will be released by BBE Music on 27th August 2012, featuring some of the many highlights of JohNick’s career.
Johnny De Mairo and Nicky Palermo Jr. first met in Brooklyn, through their love of music. Both Johnny D and Nicky P lived in the same neighborhood, and both were aspiring mobile DJs in the early teens. They DJ-ed at parties throughout the borough of Brooklyn. By then, Johnny D was something of a veteran DJ, having started his career aged just twelve. Since then, music came naturally, with Johnny D just knowing which records worked well together. The pair met at block parties, started talking and quickly, became friends. Living just two blocks apart, they spent time at each others houses, listening to and talking about music. Another of their favorite haunts was Phil’s Country Store, where they hung out together. By 1982, Johnny D and Nicky P decided to start DJ-ing together.
Having nearly ten years DJ-ing throughout Brooklyn and further afield, the next step for Johnny D and Nicky P was production. Luckily, a fellow DJ and friend would give them their first break. This was Kenny “Dope” Gonzales, one half of Masters At Work. Johnny had been spending time with Kenny, watching him produce music at home. Johnny liked the rawness and energy of the music Kenny was producing. Soon, Kenny was encouraging Johnny to buy a drum machine and sampler. Kenny showed Johnny the basics of how the drum machine and sampler worked. Having learnt how to use his new equipment, Johnny taught Nicky. It was then that the pair’s contrasting personalities proved an asset
In some ways, Johnny D and Nicky P seemed opposites. Nicky is quieter and studious, while Johnny is bubbly and enthusiastic. This would work well when they started producing music. Nicky had made copious notes about how the drum machine and sampler worked. Soon, he could program the drums from scratch. Johnny admits he wasn’t as patient, so would seek out a loop to speed things up. Johnny worked quickly, faster than many of the engineers he met. Mind you, given Johnny was working for Atlantic Records during the day, time was precious. So, what Nicky had programmed during the day, Johnny added his parts to in the evening. Now that Johnny and Nicky were producing music, they needed a label. Luckily, Johnny and Kenny “Dope” Gonzales had founded their own label, Henry Street Records.
Although most of Johnny and Nicky’s tracks were released on Henry Street, one of their early releases Everything I Got was released in Vibe Music as The Faces. Everything I Got was an example of what JohNick would go on to release. It was a fusion of disco samples, SP-1200 synths sounds and the rawness of Chicago house. Soon, disco become the inspiration for their music. Rather than program their tracks like other producers, tracks were recorded live, with live mutes used. This was akin to the analogue days of disco. If a mistake occurred, then it meant starting from scratch. Either that, or just leave it in, adding to the rawness of the music.
Soon JohNick’s music was seen as some of the most innovative and influential house music. Throughout the nineties, JohNick were releasing tracks on Henry Street Music. By 1995, JohNick released their biggest single, Play the World, based on First Choice’s Salsoul classic The Player. From there on, JohNick continued to release innovative and influential music, using disco as part of their inspiration.
JohNick’s music would ensure that disco was at the heart of house music’s history. Their music inspired a new genre, French Touch. French Touch is sometimes referred to as New Disco or Disco House, would go on to be popularized by artists like Daft Punk, Dimitri From Paris, Stardust, AIR and St. Germain. WIth its use of disco samples, heavy, funky bass lines, filters and soulful vocals, often with a vocoder added, this new genre was inspired by Johnick. They’d secured their place in the history of house music. Since then, the music of Henry Street and JohNick is seen as some of the best house music of the nineties Twenty-two tracks from JohNick feature on You Know How We Dew and I’ll now pick some of highlights from You Know How We Dew.
DISC ONE.
Disc One of You Know How We Dew features eleven tracks from Johnick. Most of the tracks were released on Henry Street, the label that Johnny D and Kenny “Dope” Gonzales own. They were released from the early nineties onwards and many of the tracks pay homage to JohNick’s love of disco. Not only does disco influence the sound of the music, but feature many samples from old disco tracks. As you listen to Disc One of You Know How We Dew, you’ll be able to play that old game, “spot the sample.” There’s quite a few on Disc One of You Know How We Dew, some are obvious, some not, with some have been sampled several times since JohNick sampled them back in the nineties. However, there’s much more to JohNick’s music than a few samples, as you’ll realize when I tell you about the highlights of Disc One of You Know How We Dew.
The track that opens Disc One City Rhythm shows how disco has inspired Johnny and Nicky. This is one of their tracks that gave birth to French Touche. It’s best described as the best elements of disco and house fused seamlessly. The track literally bursts into life, with the soaring vocal, pounding drums, percussion and synths combining. Filters are used really effectively throughout the track. Low pass, phaser and cutoff add to the track’s drama, while delay is added to the vocal. Then it explodes back into life. Johnick then build the drama back up. They use filters to tease and tantalize the listeners. From the opening bars to the closing beats, there’s no let up. Disco and house unite, creating a classic French Touch track, that although recorded in the nineties, has a timeless sound.
As someone who loves First Choice’s music, I just had to mention the Play The World. Here, JohNick sample First Choice’s The Player, released on Philly Groove Records. Thundering drums and hissing hi-hats open the track, before percussion and synths enter. Then JohNick take the samples from The Player. They add subtle filters then unleashes swathes of lush, swirling sweeping strings. By now, JohNick have your attention. You’re spellbound, wondering where the track is heading? The vocal soars above the arrangement, before the strings are unleashed again, Dancin’ and Prancin’ their way across the arrangement, with pounding drums and percussion for company. For eight minutes, JohNick’s biggest single unfolds, but it only takes one listen to realize why this was such a successful track. It’s shows how innovative and inventive JohNick were, and why they’d play such an important part in the history of house music.
As you listen isten to You Know How We Dew, you can play spot the sample. Throughout the two discs, you hear snippets of disco tracks and The Captain, a track from their 1997 album Non Stop is no different. Here, JohNick sample Carrie Lucas’ Dance With Me. You’ll know the track when you hear it. That sample opens the track, before thundering drums are unleashed. Then comes the punchy vocal, with the sample drifting in and out as the drums pound. It’s a glorious combination. Maybe that’s why this is such a popular sample. Although Armand Van Helden, A Small Phat One and Bob Sinclair among others, used this sample, listen to each track and you’ll realize that JohNick’s use of Dance With Me on The Captain is by far, the best.
Major Sea is a track from JohNick’s The Bay Ridge EP 2, released in 1992. When I started listening to the track, I recognized the sample JohNick used straight away. It’s from Cerrone Love In C Minor. Finding the right sample and using properly are two very different things, and JohNick put the sample to good use. Only fifteen-seconds of reverberating drums have elapsed before the sensuous sample is introduced. Cerrone’s growling horns, cascading strings, layers of keyboards and percussion are added to the drums that dramatically drive the track along. Having found the perfect sample, JohNick use it brilliantly. It’s at the heart of the track, as they unleash wave upon wave of dramatic, hypnotic pounding music, music that’s guaranteed to liven up any dance-floor.
The track that closes Disc One of You Know How We Dew is Johnick Planet, released in 1998. A sample of Dexter Wansel’s Life On Mars is used throughout the track. It first appears after fifty-five seconds, but before that, crunchy drums, crashing hi-hats and percussion combine. JohNick throw a series of curveballs, seemingly pausing the track, only to start it all over. Then the sample of Dexter’s Life On Mars meanders in, providing a contrast, with its space-age sound. Swathes of synths and keyboards courtesy of Dexter accompany pounding drums. Just as you’re enjoying the sample, it drifts out, while JohNick tease you with just drums. You anticipate and welcome the reintroduction of sample, as it floats beautifully above the drums, playing its part in JohNick’s homage to a musical pioneer, Dexter Wansel.
Although I’ve only mentioned five of the eleven tracks on Disc One of You Know How We Dew, there’s nothing whatsoever wrong with the other tracks. So good is the music on Disc One, that I could’ve picked any of the eleven tracks. That shows how consistent the quality of music is. Anyone who enjoys either disco, French Touch or house music, will enjoy these tracks. These tracks demonstrate just how inventive and innovative JohNick were. Not only were they inventive and innovative, but their music would prove influential. Indeed so influential was JohNick’s music, that it gave birth to a new genre of music French Touch. Several of the tracks on Disc One feature this French Touch sound, where disco and house unite. Although some these tracks are nearly twenty years old, they’re blessed with a timeless sound. So, the music on Disc One of You Know How We Dew is imaginative, inventive and innovative, and has a timeless sound, will that be the case on Disc One of You Know How We Dew?
DISC TWO
Like Disc One of You Know How We Dew, Disc Two features another eleven tracks. These eleven tracks were released on Henry Street during the nineties, with several featuring on JohNick’s only album, 1997s Non Stop. Will Disc Two of You Know How We Dew prove to be a Non Stop journey of quality music, just like Disc One?
Opening Disc Two of JohNick’s You Know How We Do, is The Blow. Not only is this the perfect track to open Disc Two, but it’s one of the highlights of the compilation. Pounding beats and percussion drive the track along, while bursts of synths and effects are added. Subtle filters are used, playing their part in building up the drama. A pounding bass line adding to the bold, dramatic sound, while short bursts of rasping horns punctuate the arrangement. Truly, it’s like a musical roller coaster ride, albeit one with French Touch as your glorious soundtrack.
Open Your Eyes, another track from JohNick’s 1997 album Non Stop, doesn’t just feature one sample, but listen carefully and you’ll hear two. Unless I’m mistaken, a short burst of the Rolling Stones’ Start Me Up, gives way to drums and percussion. Before you know it, another sample arrives. This time it’s Saint Tropez’s One More Minute, from their album Belle De Jour. Filters are added to the sample, increasing the warmth of its sound. Key to the sample is the vocal, with lush, cascading strings, growling horns and keyboards sitting in the background. When the sample drops out, it’s just the percussion and drums left and you find yourself missing the sample. Before too long, the sample is reintroduced, and all is well with the world. JohNick’s use of the sample is key to the track’s sound and success. Finding the right sample isn’t ever easy, but having the imagination and inventiveness to using it like this, sets JohNick apart from other producers.
There’s a dark, foreboding sound to Heat as the track opens. Drums have filter added, before synths and percussion add to the track. Then JohNick reveal the track’s secrets and subtleties. They unleash wave upon wave of French Touch, using filters effectively. Drums pound, as flourishes of keyboards drift in, before suddenly, filters are dropped in, teasing and tantalizing you. Synths reverberate above the arrangement as JohNick build and build the drama for six magical minutes.
Light is one of the most uplifting and joyous tracks on You Know How We Dew. After the opening bars when the synths sweep in, creating a moody sound, out of nowhere you hear this sweet vocal. The same phrase is constantly repeated, accompanied by drums, synths and percussion. Then JohNick unleash their filters, dropping the vocal out, before rebuilding the track and the drama. This continues throughout the rest of the track. This is an effective way of building up drama and heightening tension and anticipation, in a similar way as DJs uses a mixer’s EQ in a club. Talking of clubs, Light is one of these joyous, uplifting French Touch tracks that will sound great in any club.
My final choice from You Know How We Dew is Don’t Stop, another track with one of these false starts that Johnick seem fond of. It gives way to a combination of thunderous drums, percussion and synths. It seems as if JohNick are determined to end the compilation on a high. Again, filters are used, but sparingly and subtly. Keyboards and brief snippets of a sampled vocal play their part in the track, before bursts of a vocal are unleashed. It sounds as if the vocal’a had an effect added. As the drums that drive the track along, the vocal makes another brief appearance. Then after six minutes, all that’s left is the drums, before percussion and keyboards rejoin the track as JohNick close the album on a dramatically and memorably high.
Disc Two of JohNick’s You Know How We Dew picks up where Disc One left of, with eleven slices of quality house music unfolding. During these eleven tracks, JohNick’s love and knowledge of disco shines through. After all, how many other producers would know Saint Tropez’s One More Minute, a track from their album Belle De Jour, which features on Open Your Eyes? This is just the latest sample that JohNick put to good use on You Know How We Dew. Dance With Me joins First Choice’s The Player, Carrie Lucas’ Dance With Me, Cerrone’s Love In C Minor and Dexter Wansel’s Life On Mars in the samples that can be heard during You Know How We Dew. Other samples feature during the twenty-two tracks, but I won’t spoil your fun by naming them. Sourcing a sample is one thing, but using it successfully is a different matter. Knowing where to place it in a track and what to add to the track is another thing. You only need to listen to tracks like The Captain, Major Sea and Johnick Planet demonstrate that it more than the perfect sample to create a successful track. Listen to the way the track’s built up, the way instruments are added and filters used. That’s what sets successful producers like JohNick apart from the also rans. JohNick’s music wasn’t just inventive and innovative, but would prove influential. Indeed so influential was JohNick’s music, that it gave birth to a new genre of music French Touch. It was fusion of disco samples, heavy, funky bass lines, filters and soulful vocals, often with a vocoder added. This new musical genre put disco at the heart of house music’s history. Now just as people have been rediscovering disco, people are rediscovering house music and discovering the important role JohNick played in the development of house music. Twenty-two of JohNick’s inventive, innovative and influential tracks feature on the two discs of You Know How We Dew, which will be released on 27th August 2012 by BBE Music. For anyone who loves disco, house music or French Touch, then JohNick’s forthcoming album will be a welcome treasure trove of timeless classics, bringing back memories of the nineties, when house music was King. Standout Tracks: The Captain, Major Sea, The Blow and Open Your Eyes.
JOHNICK-YOU KNOW HOW WE DEW.
PRIVATE WAX.
PRIVATE WAX.
When the Disco Sucks movement tried to kill disco back on 12th July 1979 at Comiskey Park, Chicago, disco never died, and take it from me, never, ever will die. Instead, disco went underground. Out of disco came boogie, before disco went on to play a huge part in the development of house music. Since then, there’s been several resurgences in disco’s popularity, including during the past few years. Recently, there’s been a resurgence in interest not just in disco, but boogie too. With disco and boogie’s popularity on the rise, many UK labels have released compilations of disco and boogie. This has been to the delight of disco lovers everywhere. Literally, dozens of disco compilations have been released. Each celebrate the music that made disco great. One label in particular, BBE Music, has released several peerless disco compilations over the past couple of years. During that time, BBE Music have released two volumes of Al Kent’s Disco Love series and Al’s five disc Magnus Opus The Best of Disco Demands. Then there’s Dimitri From Paris’ Get Down With the Philly Sound, John Morales The M&M Mixes Volumes 1 and 2 and Johnny D Presents Disco Jamms Volume 1. These releases have sated and satisfied disco lover’s hunger for more of the music that filled dance-floors during disco’s glory days. Now, BBE Music have a new addition to their canon of disco compilations, Private Wax. Private Wax is a sixteen track compilation of deep disco and boogie, compiled by crate-digger and record collector extraordinaire, Zaf. Before I tell you about some of the music on Private Wax, which will be released by BBE Music on 27th August 2012, I’ll tell you more about the compilation and the compiler, Zaf.
Private Wax is a sixteen track compilation of extremely rare and collectable deep disco and boogie. These sixteen tracks have been privately pressed and produced. The sixteen tracks were either privately pressed by the artists involved, or by small, unknown record companies. These tracks weren’t hits. Instead, they disappeared without trace. After that, these tracks languished unloved, lying in dusty basements awaiting discovery. That’s where Zaf, of Zaf Music, the compiler of Private Wax comes in.
Zaf who compiled Private Wax, has been collecting records since the mid-seventies and dealing in rare records since 1998. Up until 2007. Zaf worked at Reckless Records in London. At Reckless Records, Zaf must have been in element, working with lots and lots of lovely vinyl day in, day out. The reason for this is that Zaf is a crate digger and record collector extraordinaire. His mission in life is to seek out rarities and hidden gems aplenty. He journeys into dusty basements, scouring piles of long-forgotten and unloved music, seeking, and often securing, hidden gems. Often, these hidden gems have escaped other crate-diggers’ attention. This appears to be Zaf’s mission in life. Among record collectors, Zaf’s a bit like a secret agent among crate-diggers, a 007 among collectors of old 45s. Collecting and dealing in rare records are just two strings to Zaf’s bow. Another is compiling compilations, including Deep Disco Culture Volume Two back in 2007. So, Zaf makes a living out of collecting, selling and compiling compilations. For anyone who loves music, this is musical nirvana. Does life get any better than this? Well, it does. Much, much better. When you put that gleaming silver disc marked Private Wax into your CD player, life gets so much better, as you’ll realize when I pick my highlights from Private Wax.
My first choice from Private Eye is the track that opens the compilation, Ashanti’s Dance. Ashanti’s only single Dance was recorded in Michigan and released on the Jabner label. The track was written, arranged and produced by Johnny Jordan, who plays alto saxophone and electric guitar. A dramatic driving rhythm section, keyboards, piano and guitar get the track underway. Lush strings cascade, dance above the arrangement, while handclaps and bursts of synths compete for your attention. Then comes Roland Hamilton’s powerful, emotive vocal enters. Later, Johnny Jordan steps forward, unleashing a blazing alto saxophone solo, then jazz-tinged guitar solo. His contributions and Roland’s vocal play vital parts in this real gem that Zaf’s chosen to open Private Wax.
Christian Gaubert was a French bandleader who released four albums between 1969 and 1979. The last of these was 1979s Last Exit released on RCA Polydor. Last Exit contained Sweet Maryline, which features on Private Wax. Blazing horns, a funky rhythm section, guitars and lush, sweeping, swirling strings give way to an impassioned female vocal. Punchy, growling horns, percussion and the rhythm section create a funky backdrop for the dramatic, soaring diva-esque vocal. By now, a gloriously funky slice of boogie has unfolded, and you’re wondering where this track has been all your life. You’re tempted not just press play, but replay and revel in this sumptuous song all over again,
Mr. Fox’s Party Track is one of the rarest tracks on Private Wax. If you’re fortunate to own a copy, you could be sitting on a goldmine. Not always does scarcity translate to quality music, but this is the case here. Released in 1980 on Golden Flamingo Records, Party Track was the B-side of Smooth Talk. Produced by Peter Brown, this is joyous, good-time music, that just happens to funky with a capital F. It’s a like a party in studio with a funk band playing. That funky sound is present from the get-go. It’s just the rhythm section, guitars, percussion and keyboards that combine. While the rhythm section create the track’s pounding, funky heartbeat, bursts of confident, synths, sassy hollers and whoops punctuate the arrangement. After you’ve heard the track, you’ll want Mr. Fox’s Party Track to be the soundtrack to your next party. Of the sixteen tracks on Private Wax, this is one of the funkiest, without doubt.
Since I first heard Private Wax, one of my favorites has been Pure Love’s D.I.S.C.O. Spells Love. Truly, this is just like an injection of happiness and sunshine. Released on Mississippi’s Sun Belt Records, this was just the B-Side to I Knew Our Love Would Last. Given how good a track D.I.S.C.O. Spells Love is, I Knew Our Love Would Last must have been some track? From the opening bars, you’re smitten. Rhythm section, keyboards, guitars and a soaring vocal combine. When the lead vocal struts centre-stage, It’s a mixture of sass, power and drama, with sensual, whispering backing vocalists accompany it. Bursts of blazing horns, a pounding, funky rhythm section, percussion and keyboards fuse funk, soul and disco, as an irresistible, hook-laden, joyous track unfolds. Resistance is futile and impossible, just remember D.I.S.C.O. Spells Love.
Gregory Jolly’s What ‘Em Doing Is My Business is another track that shows that it’s always worth listening to the B-side of a single. This track was the B-side to his 1979 single I Want To Clap My Hands For Power, released on G-K Production. Again, Zaf has dug really deep to unearth this three minute funky treasure. A pulsating, funky beat is combined with guitars, percussion and keyboards before Gregory’s powerful, confident and sassy vocal enters. As Gregory struts his way through the track, bursts of Hammond organ and wah wah guitars drift in and out. By now the track sounds not unlike something from a seventies Blaxploitation movie, albeit one with the funkiest of soundtracks.
Back in 1977, Philadelphia was producing some of the best music of the seventies. This included Philadelphia International Records and of course, Salsoul, with many of Salsoul’s albums being recorded at Sigma Sound Studios in Philly. A label seemingly inspired by Philadelphia International was Spector Records International. They released Philadelphia Brite’s Never Leave Me and I’ll Never Leave Me. Given that this is a track inspired by the Philly Sound, it’s no surprise that it’s the best track on Private Wax. It’s a glorious slice of disco, with lush strings, growling horns, percussion and a rhythm section creating a track that’s obviously inspired by Gamble and Huff. Sweet sounding female backing vocalists float in atop the swathes of strings, while rasping horns, keyboards and percussion punctuate the arrangement. Meanwhile, the rhythm section create the track’s beautiful heartbeat. For six enchanting, bewitching minutes, a gloriously, beautiful homage to the Philly Sound unfolds.
For anyone just glancing at the sleeve and seeing the name Aura, they’d immediately think that this was a track from Salsoul Records. They’d be wrong. That was Aurra, whereas Aura released Freex in 1978, on the Canadian label Starbase Sounds. The track literally explodes into life, frenzied vocals, driving rhythm section, organ, handclaps and percussion. Now Aura have your attention, they don’t let go. Backing vocalists encourage you to “dance, dance, dance,” as the track reaches 135 beats per minutes. Soul and funk combine, with the rhythm section, guitars, keyboards and percussion at the heart of the action. They create a blistering backdrop, while the half-spoken vocal drifts in and out. five frantic, funky minutes later, Aura leave you mesmerized and spellbound. You’re on your feet and to quote Candido are a dancin‘ and prancin’.”
The last of the sixteen tracks on Private Wax I’ve chosen to tell you about is Chuck Strong’s Doin’ It Cause It Feels Good. Released in 1983 on Invasion Records, Chuck went on to release three albums between 1986 and 1991. Written by Willie Hutch, this boogie track became famous when Gwen McCrae covered it. Growling horns, a driving, funky rhythm section, guitars and keyboards combine with Chuck’s vocal lilting vocal. Percussion and blasts of whistles join the rhythm section, guitars and horns, combine elements of funk and Latin music, as Chuck creates a memorable slice of boogie, that would later be made famous by Gwen McCrae.
Listening to, and reviewing Private Wax has been a real pleasure. It’s another peerless compilation of boogie and disco from BBE Music, compiled by Zaf. He’s dug deep, seeking out some of the rarest hidden gems in boogie and disco’s history. This includes discovering some real golden nuggets tucked on the B-side of singles. Among them are Mr. Fox’s Party Track, Pure Love’s D.I.S.C.O. Spells Love and Gregory Jolly’s What ‘Em Doing Is My Business. So good are this trio of tracks, that you wonder why they were only released as B-sides? After all, the A-side of these singles were hardly roaring successes? Not only has is his new compilation in Private Wax one of the best compilations this summer, but buying it saves you a small fortune. Buying each of the sixteen tracks individually would not only be prohibitively expensive, but would probably prove impossible, given how rare many of these tracks are. Private Wax isn’t just a compilation that anyone who loves either boogie or disco will adore, but so will anyone who likes their music funky or soulful. From the opening bars of Ashanti’s only single Dance right until the closing beats of Soseme Makonde’s fusion of funk, soul and Afrobeat you never once lose interest, never once reach for the remote control and skip a track. Instead, you’re spellbound, swept away by sixteen slices of boogie and disco. For a compilation as good as Private Wax, the compiler deserves our thanks. Zaf is a man with not just with impeccable taste, and a determination to find the best in boogie and disco. Hopefully, after Private Wax is released by BBE Music on 27th August 2012, Zaf will embark on many more crate-digging expeditions, discovering many more hidden gems for further volumes of Private Wax. Standout Tracks: Christian Gaubert Sweet Maryline, Pure Love D.I.S.C.O. Spells Love, Philadelphia Brite Never Leave Me and I’ll Never Leave Me and Aura Freex.
PRIVATE WAX.
BODDHI SATVA-INVOCATION INSTRUMENTALS.
BODDHI SATVA-INVOCATION INSTRUMENTALS.
Earlier this year, I came across one of the most beautiful tracks that I’d heard in a long time. This was Boddhi Satva’s From Another World, featuring a haunting, heartfelt and spiritual vocal from Vikter Duplaix. From Another World is one of these compelling tracks not only instantly grabs your attention, but is uplifting and inspirational. It seems as if it’s designed to sooth your soul and make you feel at one with the world. Little did I know when I heard this track, that this was just one fourteen powerful, emotive and equally beautiful tracks that would feature on Boddhi Satva’s debut album Invocation. Soon, Invocation, which was released on BBE Music, became one of my favorite albums of 2012. Since then, hardly a day has passed without me playing Invocation. Truly, I never tire of hearing Boddhi Satva’s fusion of musical genres and influences on Invocation. During the fourteen tracks on Invocation, Boddhi fuses everything from authentic African Roots, Ragga and hip hop to Nu Soul, jazz and house music. However, what helped make Invocation such an emotive, powerful musical journey were the guest vocalists who feature on Invocation. This includes C. Robert Walker, Freddy Masamba, Leah Beabout, Leslie Kisumuna, Pegguy Tabu, Rohan Xilent and Vikter Duplaix. They brought life and meaning, as well as emotion and passion, to the songs on Invocation. Given how important a part these vocalists played in Invocations sound and success, I wondered how Boddhi Satva’s new album on BBE Music Invocation Instrumentals would work? That’s what I’ll tell you, once I’ve given you a recap on Boddhi Satva’s own musical journey from his early years in the Central African Republic, to the release of his two albums for BBE Music, Invocation and Invocation Instrumentals.
Boddhi Satva was born and spent much of the the early part of his life in the Central African Republic. Soon, Boddhi was immersed in music, writing, producing and rapping with the hip hop crew the Gbekpa Crew, which he founded with his friends. Although enjoying being immersed in the local music scene, Boddhi wanted his music to be heard much further afield. So when Boddhi headed to Belgium to continue his studies, his dream of his music reaching a wider audience came true.
Boddhi moved to Belgium in 2000, to continue his studies. It was in Belgium, that Boddhi discovered something that he’d quickly became passionate about, Deep House music. Having discovered a musical genre he loved, he started immersing himself into the genre’s music. Quickly, he discovered the giants of the Deep House scene. Kevin Yost, Alton Miller, Osunlade and Masters At Work became some of his favorites. Now that Boddhi had discovered Deep House, music he loved, and was passionate about, Boddhi decided that he’d make a career out of it. DJ-ing and producing deep house music was now going to be his career.
Five years later, Boddhi met and collaborated with one of the artists who inspired him to make a career out of the music he loved. Alton Miller and Boddhi met in 2005 and produced two EPs Prelude To A Motion and See the Day. Both were released on Paris based label ATAL Music. These EPs were well received, and quickly, Boddhi was receiving recognition from both fans and his peers in the music industry. Quickly, he established a reputation as a talented producer, one capable of producing stunning music, music that had an uplifting quality, By 2006, Boddhi produced Ancestral Soul, released on Yoruba Records. After this, he became in demand for both remixes and new tracks. The next step would be for Boddhi to start his own label, Offering Recordings.
Having established Offering Recordings, Boddhi set about releasing quality music, music that was uplifting, had a spiritual quality and carried a message. In a way, it’s music for the soul, music that helps people forget their worries, fears and pain. Although Boddhi has an almost unique take on music, he doesn’t forget that the music he’s producing is for people to dance to. His music sees drums and traditional sounds and instruments and is a compelling and glorious combination. Having established his own label, another label owner would sign Boddhi to his label in 2010. This was one of the people who inspired Boddhi, fueling and inspiring his love of house music, Louie Vega, from Masters At Work.
Louie Vega was by now a Grammy Award winning producer and owner of Vega Records. Boddhi signed for Vega Records in 2010 and Louie started introducing everyone to Boddhi’s music. From Miami’s World Music Conference, to London’s Ministry of Sound and everywhere from Amsterdam to Ibiza, music lovers and music industry insiders were introduced to Boddhi and his music. Not long after this, Boddhi started recording Invocation, his debut album.
Invocation was released by BBE Music in March 2012, to critical acclaim. Invocation is a truly eclectic collection of music, spanning Nu Soul, African Roots and Ragga, all with Boddhi Satva’s own unique sound. Boddhi says Invocation was recorded during visits to Africa, in his home studio, with a quite basic and modest setup. To record the album, he used just a PC, ordinary sound card, one microphone, plus drums, Koras and a variety of other instruments. On Invocation, Boddhi collaborates with a variety of artists including Oumou Sangare, Vikter Duplaix, C. Robert Walker, Freddy Masamba Leslie Kisumuna and Pegguy Tabu. These collaborations on Invocation resulted in some uplifting, inspirational and beautiful music, music that crosses and fuses the musical genres. Having released Invocation in March 2012, the next few months would prove busy for Boddhi.
The next project Boddhi was involved with was producing Sage Monk’s album Heartache Allegory released on Offering Recordings. Heartache Allegory is a heartfelt, impassioned and beautiful album, with many similarities to Invocation. Then came Invocation Instrumentals, released by BBE Music, where Boddhi revisits the fourteen tracks on Invocation, transforming them into instrumental tracks. However, given how important part the vocals played on Invocation, how will Invocation Instrumentals work? Will it still have the same power and emotion, and be able to uplift and inspire? That’s what I’ll tell you, after I’ve told you about some of the highlights of Invocation Instrumentals.
Opening Invocation Instrumentals is the title-track Invocation, which has a real African roots sound, quick tempo and spiritual sound. As the track opens there’s a slightly foreboding sound as pounding drums, darks synths and percussion combine. They quickly gives way to a joyful and uplifting sound, thanks to the frenzied drums and percussion that provide the track’s heartbeat. Quickly, the pounding drums, percussion and Koras drive this almost hypnotic sounding track along. Although Freddie Masamba’s vocal is absent, the track still has a compelling, hypnotic sound, one that’s also joyful and spiritual sounding.
You’re My Woman is very different to the previous track, with its fusion of jazz and African Roots. It’ll be interesting to hear how the absence of C. Robert Walker’s heartfelt vocal affects the track. Punchy, rasping horns punctuate the track, while stabs of keyboards, drums, percussion and handclaps are combined. Horns, drums and percussion are at the heart of the track’s success, as Boddhi fuses elements of two cultures. While there’s a jazz and Nu Soul sound and feel, Boddhi’s combines this with elements of African music. During the track, traditional African instruments sit comfortably with keyboards and horns, which play a huge part in the track’s arrangement. Without C. Robert Walker’s vocal, you’re struck by how the fusion of styles still compliment each other perfectly. As the horns growl adding bursts of dramatic jazz, percussion and drums provide the track’s African heartbeat. Here, two cultures unite seamless and peerlessly, creating a heartfelt, impassioned track.
From Another World was the track that introduced me to Boddhi Satva, and featured a quite beautiful, almost haunting, spiritual vocal from Vikter Duplaix. Without Vikter’s vocal, how would the track sound? Would it still move, inspire and uplift me? Keyboards open the track, before handclaps, pounding drums and percussion combine. There’s a contrast in sounds, with traditional African instruments joined by synths and keyboards. Now you focus on the drums, percussion and Koras and warm, melodic synth sounds, whereas previously, you couldn’t help but be drawn to Vikter’s vocal and the message he delivered. Even without Vikter delivering the song’s message, the track still works. Now the percussion, drums and melodic keyboards are at the heart of a dance track. This isn’t just any dance track. Instead, it’s one you can lose yourself in, one that’s beautiful, with a warm and pounding, percussive and irresistibly catchy heartbeat.
Life Is A Lesson is a another of the dance-floor friendly tracks from Invocation Instrumentals. It’s almost tailor-made for the dance-floor, with its tempo of 120 beats per minute. There’s a real contemporary sound to the track, with squelchy synths, pounding drumbeats, acoustic guitar, Koras and percussion combining. Bursts of effects punctuate the track, while a series of musical contrasts reveal themselves. The crystalline, elegant guitar contrasts with the crunchy drumbeats, percussion and squelchy synths. So much is going on, so many contrasts unfolding, with Boddhi fusing musical genres and elements aplenty. Here, Boddhi Satva fuses elements of Deep House, broken beat, Acid House and African Roots, resulting in a classy dance-track, full of surprises and subtleties.
Nankoumandjan is a totally irresistible track, that from it’s opening bars, has you totally spellbound. There’s a joyous, uplifting sound to the track, with African and Western instruments combining. Guitars open the track, before percussion and crispy drums play their part in some glorious rhythms that soon reveal themselves. Powerful drumming, percussion and stringed instruments provide an African Roots sound, while bursts of squelchy synths and keyboards provide a contrast. Together, they create a hypnotic, joyous and uplifting Magnus Opus lasting seven sensational minutes. So good is the track, that you want to become part of the music, submit to it and revel in its glories and beauty.
On Invocation, there was a real change of sound and style on Because I Know. It had a contemporary sound, where house and Nu Soul were combined. Much of that was down to Leah Beabout’s vocal. Now the track’s an instrumental, how will that affect the track? Straight away, you realize this is a quite different track. Swathes of echoey synths reverberate, before crunchy drumbeats, keyboards, bass and percussion combine. Flourishes of buzzing synths, keyboards, crunchy drumbeats and bursts of percussion are at the heart of the track. They take you on a captivating and bewitching musical adventure, as the drama builds and builds. Even though there’s no vocal, the mixture of rhythms and melodies have you captivated. You’re locked into the groove, mesmerized by a track that was inspired by, and pays homage to Boddhi Satva’s love of house music.
How Sex Changes was another track that signaled the change in sound and style of Invocation. It featured a beautiful vocal from Leslie Kisumuna, which was key to the track’s sound and success. However, even without the vocal, the track still works. Crunchy beats, shakers, stabs of warm, melodic keyboards and percussion combine, as another glorious slice of house music unfolds. The irresistible combination of keyboards, drums and percussion grab your attention. The track is blessed with a gorgeous, melodic and irresistibly catchy sound. Not only is this sound joyous and uplifting, but soothes your soul. It sends signals to your brain that all’s well in the world. Although there’s vocal, and no Nu Soul sound, the track has a really joyful, catchy and uplifting sound that is absolutely irresistible.
My final choice from Invocation Instrumentals in Stop Crying. Originally, it featured a heartfelt, impassioned vocal from Sage Monk, whose album Heartache Allegory Boddhi produced. As the track reveals its secrets and subtleties, Boddhi throws a curveball. The tempo is slow, with a combination of handclaps, percussion and moody synths combining. Waves crash against a deserted beach, as the tempo increases. Stabs of dark synths, drumbeats and percussion are combined. Waves cascade against the beach, as Boddhi drops the tempo and heightens the tension and drama. Dark synths, drumbeats, percussion and urgent bursts of whistles drive the track, and indeed Invocation-Instrumentals to it’s dramatic, yet beautiful conclusion. It’s the perfect track to close Invocation, one that sums up what Boddhi Satva’s music is about. It has a dramatic and emotive sound, but is still joyous, uplifting and spiritual.
Listening to Invocation Instrumentals is like discovering a totally new album. The fourteen tracks on Invocation-Instrumentals are very different from those on Invocation. Even though the vocals played such a crucial part in the success and sound of Invocation are missing, you discover a whole new side to Boddhi Satva’s music. You hear some glorious rhythms and melodies unfolding, as Boddhi fuses a variety of musical genres and influences. During the fourteen tracks musical journey Boddhi Satva takes you on on Invocation Instrumentals, you hear everything from authentic African Roots, Ragga and hip hop to Nu Soul, jazz and house music. It’s a glorious melting pot where two continents music are fused seamlessly and peerlessly. Pounding beats, percussion and Koras allow you to experience some authentic African Roots’ music, while the synths, keyboards, guitars and bass provide musical contrasts. Each of these instruments play their part in Invocation-Instrumentals’ powerful, emotive and beautiful sound. This music is variously uplifting, inspirational, joyous and thoughtful. It’s music for the heart and soul, music that makes you think, music that makes you laugh and music that makes you want to dance to Invocation-Instrumentals’ gloriously irresistible sound. Invocation-Instrumentals demonstrates just how talented a songwriter, musician and producer Boddhi Satva is. Given how important a part the vocals played on Invocation, many producers couldn’t have transformed the fourteen tracks to something new and innovative as the tracks on Invocation Instrumentals. For anyone yet to discover Boddhi Satva’s music, then I can’t recommend Invocation Instrumentals highly enough. It’s available from BBE Music as a digital download, and along with Invocation, his debut album, is the perfect starting point to the music of Boddhi Satva. What you’ll discover on the fourteen tracks of Invocation Instrumentals and Invocation is some beautiful, emotive, inspirational and uplifting music, Tmusic that’s lso joyous, powerful and deeply spiritual, music that once you’ve discovered, will become a constant and beautiful companion. Standout Tracks: You’re My Woman, From Another World, Because I Know and How Sex Changes Everything.
BODDHI SATVA-INVOCATION INSTRUMENTALS.
http://soundcloud.com/flyingpearl/boddhi-satva-ngnari-konon-feat
http://soundcloud.com/dillmatic/boddhi-satva-nankoumandjan
TAVARES-MADAM BUTTERFLY.
TAVARES-MADAM BUTTERFLY.
Between 1974 and 1977, Tavares enjoyed a trio of million selling US R&B number one singles with She’s Gone, It Only Takes A Minute and Whodunnit. These were just three of ten of Tavares’ ten singles that have Tavares a top ten US R&B single. That’s not forgetting the Grammy winning More Than A Woman, which featured on the Saturday Night Fever soundtrack. It seemed that Tavares could do no wrong. Scratch below the surface and this wasn’t the case. Tavares’ third and fourth albums 1975s In the City and 1976s Sky High, were their two most commercially successful albums. After that, Tavares next two albums weren’t as successful. From 1977s Love Storm sales decreased. Future Bound released in 1978, reaching just number 155 in the US Billboard 200 and number fifty-five in the US R&B Charts. This was their least successful album since their 1974 debut album Check It Out. Something had to change, and this would be their sound. Tavares decided to head back to their soul and R&B roots. The man who would reshape Tavares’ sound was Bobby Martin, one of Philadelphia International Records’ best arrangers and now a successful and sought after producer. Tasked with reshaping Tavares’ sound, and taking them back to their soul and R&B roots, could Bobby Martin help rejuvenate Tavares’ career on Madam Butterfly which will be rereleased on 20th August 2012 by SoulMusic Records.
With Tavares seeking a return to their R&B and soul roots on Madam Butterfly. Bobby Martin put together a team of talented songwriters. Bobby Martin brought in Sam Dees and the songwriting team of Len Ron Hanks and Zane Grey. Sam Dees wrote three tracks, while Hanks and Grey contributed what would the two singles, Straight From the Heart and Never Had A Love Like This Before. Kenneth Stover wrote I’m Back For More and cowrote the title-track Madame Butterfly with Johnny Simon. Benorce Blackmon wrote One Telephone Call Away, while Joe D. Reaves and Lonnie E. Reaves cowrote Positive Forces. With nine tracks that took Tavares back to their soul and R&B roots, Bobby Martin put together a band to record what would become Madam Butterfly.
One of the first musicians Bobby called upon was Ron “Have Mercy” Kersey, a former member of M.F.S.B. from Bobby’s Philadelphia International Records days. He’d play piano, electric piano, clavinet, Wurlitzer and Melodica. Joining Ron was a rhythm section of drummer Gaylord Birch, bassist David Shields and guitarist Benorce Blackmon. They were joined by vibes player Don Moore, Melvin D. Webb on congas, bongos, percussion and drums and a full string and horn section. Bobby Martin and Ron “Have Mercy” Kersey would arrange the nine tracks on Madam Butterfly, while the Tavares’ brothers would share the vocal duties. With Tavares being given a Philly Sound makeover on Madam Butterfly by Bobby Martin, would this reshaping of their sound rejuvenate their career?
Never Had A Love Like This Before was chosen as the lead single from Madam Butterfly, reaching number five in the US R&B Charts. This gave Tavares their first US R&B top ten single since Whodunnit in 1977. When Madame Butterfly was released, it reached number ninety-two in the US Billboard 200 and number thirteen in the US R&B Charts. Madame Butterfly was Tavares’ most successful album in the US R&B Charts since 1975s In the City. Straight From the Heart was then released as a single, reaching number seventy-seven in the US R&B Charts. The only disappointment was when Let Me Heal the Bruises failed to chart. Overall, Bobby Martin had achieved what he’d set out to do with Tavares on Madam Butterfly. He’d taken them back to the R&B and soul routes, resulting in two hit singles and a top twenty album in the US R&B Charts. With this return to Tavares’ roots, what does the music on n Madam Butterfly sound like? That’s what I’ll now tell you.
Opening Madam Butterfly is the second single released from the Straight From the Heart. This is one of two tracks written by the Hanks and Grey songwriting team. It’s an uptempo, funky dance track. Cascading, dancing strings, punchy, blazing horns and the rhythm section combine with Ron “Have Mercy” Kersey’s keyboards. They provide a powerful, dramatic backdrop for Pooch Tavares lead vocal. His brothers add punchy, soaring harmonies, against the backdrop of ever-present dancing strings, punchy horns and driving, funky rhythm section. Later, Pooch vamps his way through a prolonged, percussive breakdown, against a joyous, riotous backdrop. The result is the perfect start to Madam Butterfly. Producer Bobby Martin’s makes his mark straight away, with a dramatic, uplifting and funky dance-track that grabs your attention and won’t let go.
Games, Games is one of three tracks from one of the most underrated singer and songwriters Sam Dees. This is ballad, tinged in sadness and emotion, something Sam Dees does so well. Chubby and Butch share the lead vocal, getting across the sadness and heartache of the games people play in relationships. As the rest of Tavares add tight harmonies, the rhythm section, guitars and keyboards combine. Benorce Blackmon almost weeps sympathetically, producing a heartachingly beautiful sound. Not quite as beautiful as the vocals and harmonies, that get across the Sam Dees emotive and quite beautiful lyrics.
Kenneth Stover and Johnny Simon cowrote the title-track Madam Butterfly. Bobby Martin’s arrangement draws upon his Philly roots, combining lush strings and piano with the rhythm section and guitars. They create a dramatic, punchy arrangement that’s perfect for Chubby and Butch’s heartfelt and impassioned vocals. Their vocals soar powerfully, matching the drama of the arrangement. Tight, soulful harmonies sweep in, joining the lushest of strings and rhythm section that punctuate the arrangement dramatically. Here, Tavares make a return to their soulful roots, mixing emotion power and passion, with the help of Bobby Martin. Not only does he demonstrate just how talented a producer he was, but how he was the right man to help Tavares return to their roots.
Let Me Heal the Bruises written by Sam Dees was the third single released from Madam Butterfly, but the only single not to chart. The track has a real Sam Dees sound. Tiny’s pleading, heartfelt vocal is delivered against swathes of emotive strings, keyboards and a slow, thoughtful rhythm section. Harmonies sweep in, soulful and heartfelt in equal measures, while Tiny’s vocal is sincere and impassioned. Towards the end of the track, Bobby Martin builds the arrangement using the strings. This is hugely effective and proves to be a real masterstroke. Of all the ballads on the album, this is the best.
Never Had A Love Like This Before was the single that gave Tavares a number five single in the US R&B Charts. From the track’s opening bars, you realize something special is about to unfold. Again Bobby Martin uses strings effectively, placing them at the heart of the arrangement. He adds to the strings, percussion, congas, keyboards and guitars. They give the track a real Philly Sound. Punchy harmonies augment the lead vocal, which is shared by Butch, Tiny and Pooch. Each of them deliver the vocal with joy and emotion, accompanied by some of the best harmonies on Madam Butterfly. Later, bursts of rasping horns punctuate what is one of Bobby Martin’s best arrangements on Madam Butterfly. Here, everything falls perfectly into place. Tavares’s vocal, the band’s performance and the production are flawless. It’s no wonder this proved so successful as a single.
Benorce Blackmon wrote One Telephone Call Away, a track that’s quite unlike the previous tracks. For a band going back to their R&B and soul roots, it works well. A harmonica, pounding rhythm section and keyboards accompany rousing vocal that opens the track. Chubby and Pooch share the lead vocal, while strings dance and cascade, as the rhythm section create the track’s powerful, pounding and dramatic heartbeat. The vocals are a mixture of power, passion and drama, sometimes sounding needy and insecure. This allows Tavares to showcase their considerable vocal versatility and talents, as they shake off their disco past.
My Love Calls is the last of the trio of Sam Dees penned tracks. This is the perfect track for Tavares’ return to their roots, a slow, emotive ballad. Just the rhythm section, guitars, percussion, keyboards and lush strings combine, before Pooch’s heartfelt vocal enters. Equally heartfelt, soulful harmonies sweep in, while Benorce Blackmon’s guiar chimes. Bobby Martin’s slow, beautiful arrangement, with its use of strings, guitars and harmonies is perfect for Sam Dees lyrics. The harmonies just cascade above the arrangement, augmenting Pooch’s fervent, impassioned delivery. His delivery even reminds me of Sam Dees. Like Let Me Heal the Bruises, My Love Calls is a gorgeous ballad, which brings out the best in Tavares, as they return to their soulful past.
While the previous track was an impassioned ballad, Positive Forces demonstrates another side of Tavares. It’s an uptempo track, with Tiny taking charge of the lead vocal. The track bursts into life, with Tavares’ harmonies accompanied by the rhythm section, sweeping swirling strings and growling horns. Bobby Martin throws a curveball, with the arrangement almost pausing. He’s only teasing though, with the arrangement continuing in a similar vein. Rasping horns, dancing strings, keyboards and pounding rhythm section accompany Tiny as he struts his way through the track. His vocal is a mixture of sass and confidence, while punchy harmonies accompany him. Although very different from the previous track, it shows how versatile a group Tavares were.
Closing Madam Butterfly is I’m Back For More, a track where Tavares fuse funk and soul. The funky influence is apparent when the track opens with growling horns, swirling strings, keyboards and a funky rhythm section combining. Things change when Tiny and Butch share the vocal. Out goes the funk, replaced by a more soulful sound. The lush strings are key to the sound, along with sweeping, soaring harmonies and Ron “Have Mercy” Kersey’s keyboards. Throughout the track funk and soul are combined, with blazing horns added towards the end, as Tavares end Madam Butterfly on a high.
Tavares’ decision to go back to their soul and R&B roots on Madam Butterfly, and their decision to bring in Bobby Martin to produce the album was something of a masterstroke. He transformed Tavares’ sound, taking them back to the sound of their early albums. This resulted in Madam Butterfly becoming Tavares’ most successful album since 1975s In the City. Similarly, Never Had A Love Like This gave Tavares their first US R&B top ten single since Whodunnit in 1977. Later in 1979, Tavares’ decision to move away from the disco sound of the previous albums, looked like a masterstroke. After the Disco Sucks movement attempted to destroy disco on Disco Demolition Night at Comiskey Park, Chicago, in July 1979, disco became something of a hot potato. Neither record companies, nor record buyers were interested in disco albums. So, Tavares’ decision to return to their roots meant they were one step ahead of their contemporaries. Suddenly, disco was deeply unpopular and unfashionable. Luckily Tavares were no longer a disco group. Instead, they were a soul and R&B group, starting with Madam Butterfly. Of their last three albums, Madam Butterfly surpassed both Love Storm and Future Bound. However, much of the credit for the success of Madam Butterfly must go to producer Bobby Martin. He brought in the right songwriters in Sam Dees and songwriting team of Len Ron Hanks and Zane Grey. The he put together a band that were capable of helping him give Tavares a Philly Sound makeover. With Ron “Have Mercy” Kersey at his side, Madam Butterfly which will be rereleased on 20th August 2012 by SoulMusic Records, saw Bobby Martin transform Tavares from disco group back to their soulful, R&B roots. Madam Butterfly, the result of Bobby Martin and Tavares’ collaboration resulted in one of the best and most successful albums of Tavares career. Standout Tracks: Games, Games, Let Me Heal the Bruises, Never Had A Love Like This Before and My Love Calls.
TAVARES-MADAM BUTTERFLY.
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BIG BOY BLOATER AND THE LIMITS-THE WORLD EXPLAINED.
BIG BOY BLOATER AND THE LIMITS-THE WORLD EXPLAINED.
Some people are just born to sing the blues. It’s almost as they’re predestined to follow in the well trodden path of bluesmen like Muddy Waters, Jimmy Reed, Floyd Dixon and Jimmy Rogers. There’s something about their world weary voices, the experiences they share, and their storytelling skills. Mostly, it’s about their voices, tinged with sadness and regret in equal measures with hurt and pain. One modern bluesman who has all that and much more is Big Boy Bloater. His voice has a world weary, whiskey and cigarettes soaked, lived in sound. Too many late nights and disappointments have colored this veteran of modern blues scene voice, given it the sound that people have flocked to see for over twenty years. Soon, Big Boy Bloater and The Limits will be releasing their second album The World Explained on 1st October 2012. This is the followup to 2011s Big Boy Bloater and The Limits. Now Big Boy Bloater and The Limits are back. The ten new tracks that comprise The World Explained see Big Boy Bloaters explore subjects like “life, love and loss.” These ten song are a very personal exploration of relationships and ambition along with hopes and dreams. Before I tell you about the music on Big Boy Bloater and The Limits forthcoming album The World Explained, I’ll tell you about Big Boy Bloater’s musical journey to becoming the UK’s best bluesman.
When Big Boy Bloater first picked up a guitar aged eleven, he never realized that this decision would shape his future. His destiny had been decided, only he never knew it. Spurred on by his father’s love of music, it didn’t take long for Big Boy Bloater’s career to get underway. Aged just thirteen, he was soon playing in local pubs and clubs to earn pocket money. Soon, he went from sideman to band leader, fronting his own bands. Quickly, Big Boy Bloater and his band became a favorite among the vintage R&B and blues crowds. One of these bands were Big Boy Bloater and His Southside Stompers.
Big Boy Bloater and His Southside Stompers would go on to release four albums between 1998 and 2006. This started with Jumpin’ Rhythm and Blues in 1999, with You Better Believe It following in 2001 and Great Hunk of A Man in 2003. The last album Big Boy Bloater and His Southside Stompers released was 2006s What You Been Praying For? After this, Big Boy Bloater would become a solo artist.
With Big Boy Bloater now a solo artist, he released That Ain’t My Name in 2008. By then, Big Boy Bloater was constantly touring, wooing crowds worldwide. His fan-base was rapidly growing, with DJ Mark Lamarr a huge fan of Big Boy Bloater’s music. He was so impressed with Big Boy Bloater’s music, that Mark even used his own money behind a limited edition of release of one of Big Boy Bloater’s tracks. With his fan-base now including numerous musicians, Big Boy Bloater was establishing a reputation as one of the hottest session players.
Throughout his career, Big Boy Bloater’s virtuoso guitar playing skills were in demand for recording sessions and for R&B, blues and rock and roll musicians visiting the UK. This has lead to Big Boy Bloater playing sessions and touring with Harvey Faqua, Imelda May, Wanda Jackson, Roddy Jackson, Chuck Rio, Paloma Faith, Frankie Miller, The Five Keys and Eddy Clearwater. Then out of the blue, Paul McCartney invited Big Boy Bloater to the Abbey Road Studios to play on a session. Now that Big Boy Bloater had established himself as a bandleader, recording artist, session musician and friend to the stars, you’d have thought Big Boy Bloater was happy. After all, his career was on an ever-upward curve and his reputation higher than ever. Not so. Then in 2009, Big Boy Bloater realized his career needed a change of direction.
The problem was Big Boy Bloater felt restless and trapped. He needed a change of direction, needed something new, something different and something that would challenge him, something that would push him to his limits. So after finishing his band, he decided to take a step back. This might seem strange. After all, Big Boy Bloater’s band were a hugely successful, constantly in-demand band, touring far and wide. However, this gamble paid off. Big Boy Bloater spent much of 2010 writing new material, honoring existing commitments and enjoyed being a musician again. During this period, Big Boy Bloater recorded sessions for Mark Lamarr, Jo Wiley Paul Jones and Jools Holland. Now refreshed and ready, Big Boy Bloater would launch his solo career in 2011.
At the beginning of 2011, Big Boy Bloater launched his solo career. He had a new sound, a new band and a new album. His new band were Big Boy Bloater and The Limits, who released their debut album Big Boy Bloater and The Limits in March 2011. Big Boy Bloater and The Limits was released to critical acclaim, with critics praising Big Boy Bloater and The Limits’ new, mature, musical style. After this, Big Boy Bloater and The Limits spent time supporting Imelda May during November 2011. Then in February 2012, Big Boy Bloater and The Limits embarked upon a headline tour of the UK. Having wooed audiences throughout the UK, Big Boy Bloater and The Limits then set about recording their second album The World Expanded.
For Big Boy Bloater and The Limits’ second album The World Explained, Big Boy Bloater wrote ten new tracks where he explore subjects like “life, love and loss.” These ten song are a very personal exploration of relationships and ambition along with hopes and dreams. The World Explained will be released on 1st October 2012. However, on 3oth July 2012 Big Boy Bloater and The Limits released the lead single from The World Explained Leonard Cohen. That should whet Big Boy Bloater and The Limits’ fans until the release of The World Explained. What will also whet your appetite is my review of the ten tracks on The World Explained and the story behind them.
Opening Big Boy Bloater & The Limits’ second album The World Explained is Leonard Cohen. Like the other songs on the album, there’s a story behind the song. It’s about life on the road with band. The track is based upon a true story, when the band caught food poisoning. When traveling home exhausted, all Big Boy Bloater can remember is seeing a magazine with Leonard Cohen’s face on the cover, lying on the dashboard of the van. Bursting into life with the rhythm section, guitars and keyboards accompanies Big Boy Bloater’s gnarled, emotive vocal. His band add handclaps and tight soaring harmonies, while pounding drums, and sizzling, searing guitars dance across the arrangement. By the end of the track, you realize just why it was chosen as a single. It provides a storming start to the album, painting a picture about the pitfalls and experiences that bind a band together.
Lifetime Money Back Guarantee is about a friend of Big Boy Bloater’s whose cautious in life, including relationships. Here, Big Boy Bloater sings that with relationships, there certainly isn’t a Lifetime Money Back Guarantee. There’s a different sound to the track, with the tempo slower, but with the track blessed with a meandering bluesy and sometimes dramatic sounding arrangement. Just the guitar opens the track, before the rhythm section and then keyboards join in. Big Boy Bloater’s vocal is heartfelt and world weary, tinged with experience and hurt, as The Limits build up the drama. Later, he steps forward laying down one of his trademark guitar solos, demonstrating why he’s so in-demand as a session player. Although Big Boy Bloater’s vocal and guitar playing are key to the track’s sound and success, the other four members play important roles. However, it’s only Big Boy Bloater that offers wise words of advice on relationships. Maybe he’s the one qualified to do so.
On I Can’t Forget About You, you can hear how Big Boy Bloater has matured as a songwriter and storyteller. The song is about a celebrity stalker who try as he may, keeps seeing the person everywhere they look. So strong are the lyrics and the delivery, you can picture the scenes unfolding before your eyes. This track has more in common with Leonard Cohen, and is a rocking, catchy blues. Here, Big Boy Bloater plays keyboards and guitars, while The Limits drive the track along and add sweeping harmonies. His vocal is full of torment, paranoia and pain, with his guitar playing peerless. He plays quickly and accurately, his guitar chiming and a perfect replacement for his vocal. While so many of the tracks on The World Explained are catchy, this for me, is most hook-laden of the ten. It worms its way into your subconscious and you find yourself constantly singing it.
She Gets Naked For A Living is a track about an inept burlesque dancer who once played on the same bill as Big Boy Bloater. She was clumsy, with her ambition not matched by her talent and the track examines her feelings towards her more talented contemporaries. As the track opens, it has a deliberately clumsy sound, similar to the dancer’s talent. Big Boy Bloater’s vocal is a mixture of power, sass and sadness at her ineptness. Meanwhile, The Limits add a broody, moody backdrop, contrasted by tight harmonies. Later, Big Boy Bloater uses his surf-tinged guitar and string to build up waves of drama. This is a masterstroke and really effective, adding to what’s already a powerful, thoughtful track, tinged with pathos and humour in equal measures.
Double Whammy is the only song on The World Explained that isn’t a new song. It was previously the B-side of the limited edition of the single Mark Lamarr financed. Mind you, given how good it is, it’s deserving of its place on the album. It’s a bit like the tracks that used to be released in the sixties to create a new dance craze. Maybe after The World Explained is released people will be doing the Double Whammy. The best way to describe the track is a good time, really catchy rocking track where waves of music are unleashed. Key to the track are Big Boy Bloater’s guitar playing, while The Limits rhythm section help drive the track along. With its gloriously vintage sound, you’re swept away atop waves of good-time music, as you try to work out the moves to The Double Whammy.
Stop Dragging Me Back is a song many people, myself included will be able to relate to. Anyone whose a positive and forward thinking person will know a really negative person that keeps bursting your bubble. They try to stop you innovating, drag you down. This is a song to play to these people. Chiming, searing guitars and pounding drums are joined by driving guitars as if Big Boy Bloater’s frustration at these people has spilled over. His voice is full of frustration and anger, with the arrangement reflecting this. Later, flourishes of keyboards drift in and out, but it’s the driving guitars and vocal that are key to the track’s energetic, anthemic sound. Next time someone bursts your bubble, sing just four words to them… Stop Dragging Me Back.
Evil Twist was a phrase that Big Boy Bloater thought of, and decided to write a song around it. It’s a dramatic, emotive relationship song, about a relationship gone very wrong. Here, the whole band get the chance to showcase their considerable talents. The rhythm section add a choppy backdrop, while swathes of keyboards and guitars accompany the vocal. Big Boy Bloater’s vocal is tined with bravado, while pain and hurt simmer below the surface. You can hear it in his voice, it’s almost tangible. Both his guitar playing and keyboards is tinged with emotion, reflecting and amplifying the heartache and hurt in his vocal.
Everyone who enjoys a good night out, has a Black Sambuca song. Big Boy Bloater describes this track as the soundtrack to the nights he’s spent in pubs and clubs of Soho. It’s an instrumental track, with a real vintage sound, not unlike what you’d expect to hear in a late sixties or seventies film soundtrack. Here, Big Boy Bloater unleashes some peerless guitar playing, while layer upon layer of keyboards add to the track’s vintage sound. Meanwhile, the rhythm section anchor the track, providing the track’s pounding heartbeat. Although the whole band play their part in what is a blistering, vintage sounding instrumental, it’s Big Boy Bloater’s guitar playing that steals the show.
Having written so many dark songs, Big Boy Bloater decided to write a happy song. The result was Insanely Happy, about a man that’s happy for the first time in years, because his relationship has ended. From the opening bars, you’re smitten by the track. Again, you find yourself singing along with the lyrics, a smile on your face. Big Boy Bloater’s powerful vocal is full of joy, with the rhythm section, guitar and keyboards accompanying. Harmonies accompany him, while the backdrop reflects the joy in the vocal. Things get even better when Big Boy Bloater adds a sizzling guitar solo. That’s the cherry on Mr. Kipling’s cake. Although Mrs. Bloater wan’t too happy when she heard the track, I’m sure she’ll appreciate this a hook-laden, sing-a-long track, that’s not in the least autobiographical.
Closing The World Explained is Hey-Funky, a paean to good times. Big Boy Bloater sings “you’ve only got one life, so enjoy it,” a sentiment I can only second. Pounding drums, surf tinged, driving guitars, stabs of keyboard and Big Boy Bloater’s throaty vocal combine as this hard rocking, driving track unfolds. You’re swept along by Big Boy Bloater and The Limits’ energy, enthusiasm and sheer talent. One last time, Big Boy Bloater lays down a stunning guitar solo, as if determined to end Closing The World on a high. This he does and then some more.
Having constantly played Big Boy Bloater and The Limits’ The World Explained since the moment I received the album, I can truly say that I thoroughly enjoyed the album. It’s one of the best albums I’ve heard for ages. No wonder Big Boy Bloater is referred to as the elder statesman of the British blues scene. On The World Explained, one great track follows hard on the heels of the previous one. Each track have two things in common, a great story behind the song and the quality of each song. Big Boy Bloater is like a painter on The World Explained. He draws upon a wide and varied palette of musical colors. Using his memories and experiences, Big Boy Bloater has written ten songs with equally strong musical narratives. So vivid are the pictures Big Boy Bloater paints, that you can imagine the pictures unfolding before your eyes. From the cautious character on Money Back Guarantee, the paranoia of On I Can’t Forget About You to the tragi-comedy and pathos of She Gets Naked For A Living you’re introduced to a cast of colorful characters. Then there’s the anger and frustration of Stop Dragging Me Back, the pain and hurt of Evil Twist and the sheer joy of Black Sambuca, Insanely Happy and Hey-Funky. These songs show Big Bloater maturing as a singer, songwriter and storyteller, while his guitar playing is breathtaking and peerless. You’ll go a long way before you hear a better guitar player than Big Boy Bloater. That’s why he’s so in-demand as a session musician. Hopefully, after the release of Big Boy Bloater and The Limits’ second album on The World Explained on 1st October 2012, Big Boy Bloater won’t be playing as many sessions. Instead, the music on The World Explained should see Big Boy Bloater and The Limits make their commercial breakthrough and be touring the world, wooing audiences with his unique combination of blues and soul. Given how good the music on Big Boy Bloater and The Limits’ second album The World Explained is, that seems like a given. Standout Tracks: Leonard Cohen, On I Can’t Forget About You, She Gets Naked For A Living and Evil Twist.
BIG BOY BLOATER AND THE LIMITS-THE WORLD EXPLAINED.
THE SALSOUL ORCHESTRA-HOW HIGH.
THE SALSOUL ORCHESTRA-HOW HIGH.
With BBR Records comprehensive rerelease of the Salsoul back-catalogue due to begin later in August 2012, I thought that this was the perfect opportunity to give everyone a taster of what’s in-store. What better way to do this than with one of The Salsoul Orchestra’s albums How High. How High was released in 1978, on Salsoul and was The Salsoul Orchestra’s sixth studio album. The Salsoul Orchestra were formed in 1974 by members of Philadelphia International Records’ legendary studio band M.F.S.B. They left Philadelphia International Records after a dispute with Gamble and Huff over finances. Gamble and Huff’s loss would prove to be Salsoul’s gain. It’s fair to say that between their formation in 1974 and when band was disbanded in 1982, The Salsoul Orchestra were at the heart of everything Salsoul released. Musicians that included the Baker, Harris, Young rhythm section, guitarist Bobby Eli, percussionist Larry Washington, vibes virtuoso Vince Montana and Don Renaldo’s strings and horns played on most of Salsoul’s releases. However, The Salsoul Orchestra were much more than a studio band, and were a hugely successful group in their own right. Before I tell you about the music on How High, I’ll tell you about The Salsoul Orchestra’s recording career up until the release of How High.
Having formed in 1974, The Salsoul Orchestra released their self titled debut album The Salsoul Orchestra in 1975. It reached number fourteen in the US Billboard 200 and number twenty in the US R&B Charts. Key to the album’s sound and success were the personnel, especially the former members of M.F.S.B. They were transformed, with Vince Montana Jr. and Ron Baker now writing and arranging tracks, whereas at Philadelphia International Records, they were seen as just part of M.F.S.B. Their talents flourished at Salsoul. Little did they realise that this was just the first step on a remarkable seven year journey.
1976 proved to be a busy year for The Salsoul Orchestra. Not only did they release the followup to The Salsoul Orchestra, Nice ‘N’ Nasty, but released their own Christmas album Christmas Jollies. Nice ‘N’ Nasty was released in October 1976, reaching number sixty-one in the US Billboard 200 and number twenty-three in the US R&B Charts. A month later, Christmas Jollies was released in November 1976. It proved to be a bigger success, reaching number forty-eight in the US Billboard 200 and number thirty-eight in the US R&B Charts. Never before or after, will have Santa enjoyed a Sleigh Ride like the one on Christmas Jollies.
After releasing two albums in 1976, The Salsoul Orchestra would release a further two albums in 1977. Magic Journey was released in June 1977, featuring classics like Runaway and Magic Bird of Fire. It reached number sixty-one in the US Billboard 200 and number fifty-one in the US R&B Charts. Magic Bird of Fire gave The Salsoul Orchestra a number three hit single in the US Dance Charts. The other album The Salsoul Orchestra were involved were by Charo and The Salsoul Orchestra. Although Cuchi-Cuchi wasn’t strictly an album by The Saloul Orchestra, Cuchi-Cuchi reached number 100 in the US Billboard 200 and featured the sultry single Dance A Little Bit Closer.
By 1978, The Salsoul Orchestra had settled into the routine of releasing two albums a year. Their first release of 1978 was Up The Yellow Brick Road, which saw The Salsoul Orchestra reinvent Ease On Down the Road, Sgt. Pepper’s Lonely Hearts Club Band, Fiddler On the Roof and a medley of tracks from West Side Story. These tracks were given a disco makeover on Up The Yellow Brick Road, reaching number 117 in the US Billboard 200 and number fifty-two in the US R&B Charts. The next album from The Salsoul Orchestra would be How High, their sixth studio album.
For their sixth studio album How High, there was one major change in The Salsoul Orchestra’s lineup. Vince Montana Jr. had left The Salsoul Orchestra, so the band were without its former leader. Six tracks had been written for How High. Bunny Sigler wrote one track and cowrote two other tracks, one with his brother James. Ron Baker wrote Have A Good Time, while Edward Moore and Ron Tyson cowrote Stop and Think. Along with the title-track How High, written by Colin Horton Jennings and Steve O’Donnell, The Salsoul Orchestra headed to the familiar territory of Philadelphia’s Sigma Sound Studios for recording of How High.
At Sigma Sound Studios, over twenty musicians and backing vocalists would appear on How High. This included the Baker, Harris. Young rhythm section, guitarist Bobby Eli, percussionist Larry Washington, keyboard player Dennis Richardson and Don Renaldo’s strings and horns. Adding backing vocals were Philly’s legendary backing vocalists The Sweethearts of Sigma, plus Ron Tyson and Bunny Sigler. Ron Baker, Bunny Sigler and Ron Tyson would all produce tracks on How High, with Lenny Pakula, Tee Scott and Larry Davis arranging these tracks. With How High recorded, the album would be released later in 1978.
When How High was released in 1978, the album didn’t prove as successful as previous Salsoul Orchestra albums. Why that proved to be the case is something of a mystery. There certainly wasn’t anything wrong with the music. The only difference was that Vince Montana Jr. was no longer at the helm of The Salsoul Orchestra. Given the multi-talented personnel that appear of How High, and were involved with the project, surely one man’s loss couldn’t make such a difference? Maybe, How High is one of these hidden gems of an album that somehow, aren’t the success their music deserves. Was that the case with How High? That’s what I’ll tell you, after I’ve told you about the music on How High?
How High opens with the title-track How High, written and produced by Colin Horton Jennings and Steve O’Donnell. Cognac were drafted in to add vocals to a track that literally bursts into life. The Baker, Harris, Young rhythm section provide the track’s heartbeat, while keyboards, percussion and Don Renaldo’s lush strings and growling horns signal the arrival of the vocal. Her vocal is a mixture of power and passion, with tight, soaring, soulful harmonies accompanying it. Vibes, Bobby Eli’s guitar, the pounding, funky rhythm section and percussion combine, while the horns blaze, growling and rasping, almost ever-present and crucial to the track’s sound and success. Together, with The Salsoul Orchestra and Cognac, How High gets the album of to a brilliant start, one that’s soulful and funky.
Have A Good Time written and produced by Ron Baker, takes over where How High left off. It’s another uptempo, uplifting and joyous track. Keyboards, the Baker, Harris, rhythm section, cascading strings and percussion combine before the sassy, strutting vocal enters. Strings cascade, horns rasp and handclaps punctate the arrangement, as the rhythm section drive the track along. Flourishes of keyboards drift in and out of the track, before rocky guitars and Don Renaldo’s swinging, sweeping horns join in. By now, the track resembles a riotous party in a studio, with shrieks of joy and happiness accompanying the vocal. It’s impossible to resist this good time music. Not only is it uplifting and joyous, but it’s guaranteed to put a smile on your face.
Pounding drums, a funky bass and percussion combine as My Number’s Up begins to reveal its secrets, subtleties and surprises. Sizzling guitars are joined by the Sweethearts of Sigma, who take charge of the vocal. It’s delivered in sharp, urgent bursts, against a backdrop of lush strings, braying horns, pounding drums and percussion. Here, The Salsoul Orchestra seamless fuse funk, disco, soul and Latin music. This Latin influence is most noticeable in the arrangement’s percussive sound, especially during the lengthy breakdowns. Even the vocal is tinged with a Latin influence. Later, the band improvise and explore the nuances and subtleties of the track demonstrating just how versatile and talented the members of The Salsoul Orchestra truly were.
Straight away, when I’ll Keep You Warm begins, it’s apparent the influence the Salsoul sound had on house music. With the percussion, sound effects and pounding rhythm section, it’s a sound that was “borrowed” by several generation of house producers. Growling horns and lush cascading strings signal the arrival of The Sweethearts of Sigma and Bunny Sigler’s vocal. As the sweet, soulful vocals sweep in, disco strings, blazing horns, Latin percussion and Disco greatest rhythm section provide a powerful, dramatic and pulsating heartbeat. For nearly eight minutes, The Salsoul Orchestra and Sweethearts of Sigma take you on compelling, captivating and pulsating, Latin tinged musical journey, that demonstrates why no other label or house band came close to Salsoul and The Salsoul Orchestra. Not only were they peerless, but influenced several generations of producers.
Punchy, blazing horns and a pounding rhythm section open Resorts International, before the Sweethearts of Sigma’s beckoning vocals enter. Don Renaldo’s dancing strings and growling horns, plus the Baker, Harris, Young rhythm section play important roles in the arrangement. Along with guitars, percussion, keyboards and harmonies, a track that fuses a variety of influences reveals its beauty and glories. Funk, soul and disco are combined with elements of big band music and even doo wop vocals. They unite as one, creating a dramatic, floaty and hook-laden, dance-floor friendly track.
Closing How High is Stop and Think, which is very different to the previous tracks. It has a much more understated sound. Percussion, lush strings, guitars, keyboards and rasping strings combine, while the rhythm section create the track’s slow, subtle heartbeat. Impassioned, tender harmonies, emotive strings, growling horns and chiming guitars all play their part in what is a quite beautiful arrangement. Eventually and gradually, the arrangement grows in power and drama. Once the track reaches its dramatic peak, things calm down, before rebuilding and unleashing another wave of powerful, dramatic music. This continues throughout the rest of the track, with The Salsoul Orchestra teasing and tantalizing you, springing surprises and subtleties, along with drama and beauty.
Although How High wasn’t as commercially successful as previous albums, there’s nothing whatsoever wrong with the music on the album. During the six tracks on How High, The Salsoul Orchestra fuse soul, funk, jazz, Latin music and disco seamlessly and peerlessly. The Salsoul Orchestra were peerless, and truly. had no equal. I’ve always wondered whether Gamble and Huff ever regretted allowing so many members of M.F.S.B. leave Philadelphia International Records. Surely the must have regretted losing such talented musicians as the Baker, Harris, Young rhythm section, guitarist Bobby Eli, percussionist Larry Washington, vibes virtuoso Vince Montana and Don Renaldo’s strings and horns. Proof of just how multitalented a group of musicians The Salsoul Orchestra were can be found on How High. Some members of The Salsoul Orchestra went from strength to strength at Saloul, becoming songwriters, arrangers and producers. It was as if all this talent was suddenly unleashed, with Salsoul providing an outlet for their talents. How High is proof of this. It was the first album since Vince Montana Jr., The Salsoul Orchestra’s leader had left the band. However, Ron Baker, Ron Kersey and Bunny Sigler stepped up to the mark, filling the void by either writing, arranging and producing tracks, This had been the case since The Salsoul Orchestra’s released their debut album in 1975. Since then, the members of The Salsoul Orchestra unleashed their creativity. All this potential just poured out, with many of Salsoul’s artists the fortunate beneficiaries of this talent. Not only that, but How High was The Salsoul Orchestra’s sixth album. They became one of Salsoul’s most successful artists, replacing a series of outstanding, classic albums. One of these is their sixth album, How High, which to me, is one of The Salsoul Orchestra’s best ever albums. Standout Tracks: How High, Have A Good Time, I’ll Keep You Warm and Resorts International.
THE SALSOUL ORCHESTRA-HOW HIGH.
dereksmusicblog
dereksmusicblog 