FIRST CHOICE-HOLD YOUR HORSES.
FIRST CHOICE-HOLD YOUR HORSES.
By the time First Choice signed to Gold Mind Records in 1976, they’d already released three albums since forming in Philadelphia 1972. First Choice would go on to release three albums for Gold Mind Records, a subsidiary of Salsoul Records. Their first release was 1977s Delusions, which contained two tracks that would become synonymous with First Choice and become true disco classics. These tracks were Doctor Love and Let No Man Put Asunder. Doctor Love reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, giving First Choice their most successful single since 1973s Armed and Extremely Dangerous. Buoyed by the success of Delusions, First Choice and producer Norman Harris, the man who had guided their career since 1972 headed Philly’s Sigma Sound Studios to record the followup to Delusions, Hold Your Horses. However, things were changing at Salsoul, Gold Mind’s parent company, with new arrangers and producers joining the company. Would this mean a change in First Choice’s sound and fortunes when Hold Your Horses was released? Before I tell what happened, I’ll tell you about First Choice’s career
First Choice started their career as The Debronettes when they were just fifteen years old. The original lineup of lead singer Rochelle Fleming, Annette Guest and Joyce Jones breakthrough came when they auditioned for Georgie Woods a DJ at Philadelphia’s WDAS radio station. Georgie was so impressed he contacted Stan Watson, who owned Philly Groove Records. He liked The Debronettes so much, he signed them straight away. However, the only thing he didn’t like was their name, so The Debronettes became First Choice. Stan Watson then sent First Choice into the studio with the man who’d guide their career, writing and producing many of their greatest songs…Norman Harris.
Norman Harris was the guitarist in the legendary Baker, Harris, Young rhythm section, who in 1972, were part of Philadelphia International Records’ house-band M.F.S.B. Norman’s first session with First Choice saw them record This Is the House Where Love Died. Although the single wasn’t a commercial success upon its release on Philly Groove Records, it gave First Choice a minor hit when leased to the Sceptre/Wand Label. The next single First Choice released would give the group their first and biggest hit single.
Armed and Extremely Dangerous was First Choice’s second single, and reached number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. First Choice’s debut album was also called Armed and Extremely Dangerous. It reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. After the success of Armed and Extremely Dangerous, First Choice and producer Norman Harris would begin work on their second album.
The Player was First Choice’s second album and was released in 1974. On The Player was another First Choice classic, The Player (Part 1). It reached number seventy in the Us Billboard 100 and reached number seven in the US R&B Charts. When The Player was released, it reached number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. The success of The Player lead to First Choice signing to a new record label, Warner Bros.
Having signed to Warner Bros, First Choice only released one album for their new label. The album was 1976s So Let Us Entertain You. It failed to match the success of their two previous albums, reaching number 204 in the US Billboard 200 and number fifty-three in the US R&B Charts. After the release of So Let Us Entertain You, First Choice signed to another record label Gold Mind Records, a subsidiary of Salsoul Records.
Although Gold Mind Records was a subsidiary of Salsoul, it was run by Norman Harris, the man who’d written and produced so much of First Choice’s music. The Cayre’s who owned Salsoul, thought that if Norman Harris had his own label, he’d work even harder. Norman Harris’ production vehicle was The Harris Machine, which have him access to some of Philadelphia’s best songwriters, musicians, arrangers and producers. He’d used many of these songwriters, musicians, arrangers and producers on the various albums he’d worked on, including First Choice’s and their Gold Mine debut Delusions. Sadly, Joyce Jones, an original member of First Choice left the group, and was replaced by Ursula Herring, who’d previously sang backing vocals for the group.
Delusions was released in 1977, and contained two tracks that would become synonymous with First Choice, becoming disco classics. These tracks were Doctor Love and Let No Man Put Asunder. Doctor Love reached number forty-one in the US Billboard 100 and number twenty-three in the US R&B Charts, becoming heir most successful single since Armed and Extremely Dangerous. On the release of Delusions, it reached number 103 in the US Billboard 200. This meant Delusions was First Choice’s most successful album.
After the success of Delusions, First Choice set about recording the followup album Hold Your Horses. However, things were changing at Salsoul. Whereas Delusions saw Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Baker, Harris, Young producing tracks, it seemed Philly’s finest were being replaced by the new guard at Salsoul. This included Tom Moulton and Thor Baldursson who’d produce four of the albums six tracks in Munich, Germany, where Giorgio Moroder was one of the most successful Euro Disco producers. Given how successful Delusions had been, the decision to change things around so much seems strange. However, the departure of Vince Montana Jr. over dispute over royalties had affected Salsoul. Sadly, First Choice’s mentor Norman Harris only wrote one track for Hold Your Horses. Mind you, it was the best track on Hold Your Horses…Double Cross.
The six tracks that would feature on Hold Your Horses included Double Cross, written by Norman Harris and Ron Tyson, with Norman arranging and producing the track. Let Me Down Easy was written by Andrew Smith and David Jordan, while McKinley Jackson and Melvin Steals cowrote Love Thang. Great Expectations was written by British songwriter Peter Belotte. Hold Your Horses, the title-track, was co-written by Frank Ricotti, Kathleen Poppy, Les Hurdle and Peter Gosling. The two tracks were co-written by Thor Baldursson. These tracks would be recorded two studios, two continents apart.
Of the six tracks that comprise Hold Your Horses, Only Love Thang and Double Cross were completely recorded at Sigma Sound Studios in Philly. However, all the vocals and horns were recorded at Sigma Sound Studios. The rhythm and string sections of the other four tracks were recorded in Music Land Studios, Munich. Considering that the greatest rhythm section of the seventies, Baker, Harris, Young were based in Philly, this seemed an unnecessary journey. Given how good Baker, Harris, Young were, you’d expect something outstanding to be the result of Tom Moulton and Thor Baldursson’s journey. Would that be the case when Hold Your Horses was released in 1979.
On the release of Hold Your Horses in 1979, the album didn’t fare as well as Delusions in the US Billboard 200. It only reached number 135 and number fifty-eight in the US R&B Charts. The title-track Hold Your Horses reached number seventy-three in the US R&B Charts. Double Cross, arranged and produced by Norman Harris reached number 104 in the US Billboard 100 and number sixty in the US R&B Charts. Overall, Hold Your Horses’ commercial success must have left First Choice with mixed feelings. Granted it hadn’t fared as well in the US Billboard 200 as Delusions, but had reached number fifty-eight in the US R&B Charts. However, had the changes in producers affected the music on Hold Your Horses? That’s what I’ll tell you, after I’ve told you about the music on Hold Your Horses.
Opening Hold Your Horses is Let Me Down Easy, the first of the Tom Moulton and Thor Baldursson productions, which Andrew Smith and David Jordan cowrote. By 1979, Tom Moulton had established his reputation as one of the best remixers of the seventies and had moved into production. Pounding drums are placed at the heart of the arrangement, as percussion and John Davis’ rasping saxophone solo combine before Rochelle Fleming’s vocal enters. It’s heartfelt and impassioned soaring above the arrangement, while Annette Guest and Ursula Herring add tight, dramatic harmonies. The arrangement flows along, before thunderous drums are unleashed, replacing the lush strings from the Munich Philharmonics. When they drop out, the piano, rhythm section and strings combine, as John Davis unleashes a blazing saxophone solo. When all this is combined with First Choice’s vocals, it’s an impressive opening track from that’s both soulful and dance-floor friendly.
There’s a real Spanish sound to Good Morning Midnight, as the track begins to reveal its secrets. Percussion, bass and acoustic guitars combine, before a distant horn adds to the Spanish influence. When First Choice’s soulful vocals sweep in, the arrangement takes on a punchy sound. Bursts of rasping horn punctuate the arrangement, while sweeping, swirling strings are crucial to the track’s sound. They’re combined with the rhythm section as waves of tight harmonies are unleashed. By now elements of Euro Disco are combined with Philly Soul, funk and traditional Spanish music. Although It’s very different from the previous track, and unlike anything on Delusions, it’s catchy and shows another side to First Choice’s music.
Straight away, there’s a Euro Disco influence on Great Expectations. Later in the track elements of disco and Philly Soul are fused by arranger and producer Thor Baldursson. Drummer Keith Forsey and bassist Les Hurdle provide the track’s pulsating, pounding heartbeat. They help create a dramatic, moody sound, but sometimes, Thor’s arrangement briefly, sounds crowded, before swathes of dancing strings, growling horns and a piano join the mix. When Rochelle’s vocal enters, it’s sassy and sensuous, while Annette and Ursula add cooing harmonies. Thor Baldursson’s arrangement unfolds in dramatic waves, with cascading strings and braying horns accompanying First Choice’s joyous harmonies. They’re key to the sound and success of what is the best track on Side One of Hold Your Horses and joyous, uplifting slice of disco.
The title-track Hold Your Horses opens Side Two of Hold Your Horses. It’s the last in the quartet of tracks partly recorded in Munich. With thunderous drums galloping along the arrangement, percussion and quivering strings join the mix, before the rest of the rhythm section enter. Then come First Choice delivering some of their best vocals on the album. When Rochelle’s lead vocal enters, her vocal is sultry and powerful. Annette and Ursula add dramatic, soaring harmonies while the best arrangement of the first four tracks unfolds. Apart from a piano panned hard left, the mix is well balanced. Tom Moulton mixed and arranged the track, and his combination of a pounding rhythm section, quivering strings and blazing horns results in a masterpiece of modern production, that over thirty years later, still has a timeless sound. Mind you, with First Choice at their very best, he couldn’t go wrong.
Love Thang sees some of Philly’s finest musicians accompany First Choice, with McKinley Jackson arranging and producing the track. The rhythm section features guitarist Norman Baker, drummer Keith Benson and bassist Jimmy Williams. Add in guitarists T.J. Tindall and Bobby “Electronic” Eli and Don Renaldo’s strings and you can’t go wrong. From the opening bars, you realize that something special is about to unfold. With a pounding, punchy rhythm section, shimmering strings and percussion combining First Choice add sweet and sassy vocals. With handclaps accompanying them, the track swings along, with Rochelle strutting her way through the track. Horns rasp, strings sweep and swirl, while the rhythm section produce the track’s funky heartbeat. Together they play their part in what is one of the real highlights of the album. It’s an eight minute Magnus Opus that’s got made in Philadelphia stamped right through it.
Closing Hold Your Horses is Double Cross, written by Ron Tyson and Norman Harris, who arranged and produced the track. The same band that featured on Love Thang play their part on what’s the highlight of Hold Your Horses. A funky rhythm section with Jimmy Williams’ bass anchoring the track, combines with lush cascading strings and guitars before Rochelle steps forward to produce her best vocal on the album. Her vocal is heartfelt, dramatic and fiery, full of frustration and regret. Annette and Ursula to their bit, adding tight, soaring harmonies that compliment Rochelle’s vocal. Meanwhile, a classic Norman Harris arrangement unfolds. He uses Don Renaldo’s grand, quivering strings, growling horns and the funky rhythm section to reflect the drama, passion and emotion in Rochelle’s vocal. This is a masterstroke, working brilliantly and resulting in the best track on Hold Your Horses. It’s the perfect way to close Hold Your Horses, and was the perfect reminder to the Cayre’s of Norman Harris’ considerable talents.
Much had changed since First Choice signed to Gold Mind Records and as a result, it was a very different lineup of arrangers, producers, musicians and songwriters who collaborated with First Choice on Hold Your Horses. Whereas Norman Harris had guided First Choice since their debut album Armed and Extremely Dangerous, things had changed since Delusions, First Choice’s Gold Mind Records’ debut album. Delusions had been and remained First Choice’s most successful album and saw Norman Harris, Ron Baker, Ron “Have Mercy” Kersey and Baker, Harris, Young producing tracks. By the time First Choice came to record their second album for Gold Mind Records, it seemed Philly’s finest were being replaced by the new guard at Salsoul. In came Tom Moulton and Thor Baldursson, who produced four of tracks on Hold Your Horses.
A change in producer meant a change in sound. Tom Moulton and Thor Baldursson chose to record parts of these four tracks in Music Land Studios in Munich, where Giorgio Moroder recorded his albums with Donna Summer and The Three Degrees. This lead to a Euro Disco influence on these tracks. Although the quality of music doesn’t suffer, the music is different from that on Delusions. Of the four tracks recorded in Munich, Hold Your Horses, mixed and produced by Tom Moulton is easily the best track.That’s why it was chosen as one of the singles released from Hold Your Horses. Of the other three tracks, Great Expectations’ is dramatic and unfolds in waves, but sometimes, sounds slightly crowded. Having said that, the track is the highlight of Side One, while Good Morning Midnight, with its Spanish influence is a track that’s production works..just.
Ironically, the two best tracks on Hold Your Horses are the two recorded in Philadelphia by Philadelphia musicians. Love Thang with that glorious bass line from Jimmy Williams and Double Cross arranged and produced by Norman Harris have since become First Choice favorites. Since the release of Hold Your Horses, they’ve also become favorites of remixers and compilation compilers. Double Cross’ sound has most in common with the music on Delusions, which to me, was First Choice’s best release for Gold Mind Records. I just wonder whether the same personnel that wrote, arranged, produced and played on Delusions had worked on Hold Your Horses, what the album would’ve sounded like? Would First Choice have built on the success of Delusions and become an even bigger commercial success than they were. Much as I’ve always liked Hold Your Horses, with many of the tracks having a timeless sound, and featuring some stunning vocals from First Choice, Delusions, produced by some of Philly finest, will forever remain my favorite First Choice album. That’s why for anyone looking to discover the magical music of First Choice, I’d recommend that they start with Delusions and then Hold Your Horses. These two albums will allow you to hear First Choice, Salsoul’s greatest ever female group at their very best. Standout Tracks: Let Me Down Easy, Hold Your Horses, Love Thang and Double Cross.
FIRST CHOICE-HOLD YOUR HORSES.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
Having signed Loleatta Holloway to Gold Mind Records in 1976, Loleatta’s producer and mentor Norman Harris set about giving Loleatta a makeover. He started transforming the Southern Soul singer in the a disco diva on her debut album Loleatta. After her Sasloul debut Loleatta was released, Loleatta Holloway’s makeover to disco diva and the Undisputed Queen of Salsoul was underway. On Loleatta’s second album Queen of The Night, Loleatta’s transformation would be completed. Soon, Loleatta Holloway would be one disco’s greatest divas. However, Norman Harris’ role in Loleata’s makeover shouldn’t be underestimated. He transformed Loleatta Holloway from a Southern Soul singer, not just to the disco diva that can be heard on the four albums Loleatta released for Salsoul, but the the real Queen of Disco. Along with some of the greatest musicians of the seventies, Norman Harris set about transforming Loleatta’s career on 1977s Loleatta, her first album for Salsoul. Having started this transformation from Southern Soul singer to the undisputed Queen of Salsoul, on 1977s Loleatta, Loleatta Holloway and her mentor at Salsoul, Norman Harris set about recording the followup album Queen of The Night. Together, Loleatta and Norman Harris would complete Loleatta’s transformation, resulting in her becoming the undisputed Queen of Disco after Queen of The Night was released in 1978. Before I tell you about the music on Queen of The Night, I’ll tell you about how Norman Harris, with the help of everyone at Salsoul, completed Loleatta’s transformation to disco diva and ultimately, the rightful heir to disco’s crown.
After the success of the singles released from Loleatta, especially Hit and Run which would sell over 300,000 copies when remixed by Walter Gibbons, Loleatta and her mentor at Salsoul set about recording the followup Queen of The Night. For Queen of The Night, eight tracks were chosen. Norman Harris cowrote two tracks, Catch Me On the Rebound and Good, Good Feeling with Ron Tyson, who also cowrote Two Sides To Every Story with Edward Moore. Bunny Sigler wrote two tracks, I May Not Be There When You Want Me (But I’m Right On Time) and Only You, which he produced and adds guest vocals on. The other three tracks were written by non-Salsoul personnel, and included cover versions of Bobby Womack’s I’m In Love and Joe Brooks classic You Light Up My Life. These tracks would be recorded at Sigma Sound Studios in Philadelphia and New York, with The Salsoul Orchestra accompanying Loleatta.
By the time Loleatta came to record Queen of The Night, she was accompanied by many of the classic lineup of The Salsoul Orchestra. Sadly, one man was absent, vibes virtuoso Vince Montana Jr. He’d split with The Salsoul Orchestra, after a dispute about money. While Vince played a hugely important part in The Salsoul Orchestra’s sound, three other men played an equally important part ,the legendary Baker, Harris, Young rhythm section. Among the other familiar faces were guitarist T.J. Tindall, bassist Jimmy Williams and drummer Scotty Miller, along with percussionist and conga player Larry Washington and keyboard players Ron “Have Mercy” Kersey and Bunny Sigler. Adding backing vocals were the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson. It seemed things were changing at Salsoul, with people leaving and new faces joining the label. This included some new faces, who’d play a part in the production of Queen of The Night.
Norman Harris, who’d played such an important part on Loleatta, produced four of the tracks on Queen of The Night. Bunny Sigler and Ron Tyson, who both played an important role in the sound and success of Loleatta both produced tracks. They were all familiar Salsoul faces. So was Jack Faith, who arranged three tracks on Queen of The Night. Floyd Smith and Arthur Jenkins produced the Bobby Womack penned I’m In Love. The other track You Light Up My Life was mixed and produced by Tom Moulton. This was one of Tom Moulton’s first production jobs for Salsoul. He’d later go on to play an influential role, as would Thor Baldursson who arranged You Light Up My Life. Times were indeed changing at Salsoul. Hopefully this wouldn’t affect the success of Loleatta Holloway’s second album for Salsoul Queen of The Night?
When Queen of The Night was released in 1978, the album failed to chart. Two of the singles fared much better, one of them giving Loleatta Holloway her biggest chart hit single. Catch Me On the Rebound reaching number sixteen in the US Dance Charts. I May Not Be There When You Want Me (But I’m Right On Time) was then released as a single, but failed to chart. Then when Only You, featuring Bunny Sigler was released as a single, it reached number eighty-seven in the US Billboard 100 and number eleven in the US R&B Charts. While things were changing at Salsoul, so was Loleatta Holloway and on Queen of The Night, her transformation from Southern Soul singer to disco diva was complete, as you’ll realize when I tell you about the music on Queen of The Night.
Opening Queen of The Night is Catch Me on the Rebound, arranged and produced by Norman Harris, who cowrote the track with Ron Tyson. The track literally bursts into life, with the chugging Baker, Harris, Young rhythm combining with blazing horns and sweeping, swirling strings. When Loleatta’s vocal enters, it’s a mixture of power, passion and sassiness. Norman Harris arrangement is peerless, combining a backdrop that has made in Philly stamped all over it, with Loleatta’s sassy vamp. Her vocal soars above the arrangement, feisty and fiery. She starts off Queen of The Night where she left off on Loleatta. As the strings cascade, horns growl and flourishes of keyboards, the Sweethearts of Sigma add equally powerful, impassioned harmonies. All the time, Earl Young’s drums, Ron Baker’s bass and Norman Harris guitar provide the track’s pounding dynamic heartbeat. By the end of this classic track, Loleatta, transformation to disco diva by Norman Harris is complete.
Only You gave Loleatta her most successful single in the US Billboard 100 and US R&B Charts. She returns to her soulful roots, with Bunny Sigler joining her on vocal. It’s a very different track from the previous track, bristling with chemistry between Loleatta and Bunny. Just a piano, the lushest of strings and a sprinkling of percussion combine with Norman Harris jazz-tinged guitar. With a burst of Earl Young’s drums, Loleatta kicks loose. Her vocal is soulful and heartfelt, with Bunny matching her every step of the way. The Baker, Harris, Young rhythm section and braying horns provide the track’s dramatic sound, while lush strings add to the emotion and beauty thanks to Jack Faith’s arrangement. For over six minutes, Loleatta and Bunny give a quite beautiful, romantic and soulful masterclass, while Loleatta shows she wasn’t going to forget her soulful roots in a hurry.
Good, Good Feeling is another of the uptempo, dance tracks on Queen of The Night. It’s the second track that Ron Tyson and Norman Harris, who produced the track cowrote. This is a track that would prove influential to a new generation of house producers and has such a timeless sound, that it’s hard to believe it was recorded over thirty years ago. With a punchy, driving Baker, Harris, Young rhythm section, strings dance while horns rasp and Loleatta embarks upon one of her trademark vamps. Her vocal is a mixture of controlled power and raw emotion, as the Sweethearts of Sigma add tight, testifying harmonies. They’re harmonies are crucial to the track’s sound and without them, Loleatta’s impassioned vocal wouldn’t be as effective. Norman Harris jazz-tinged guitar is contrasted by rocky guitars, as The Salsoul Orchestra give a peerless performance, as if spurred on by the energetic and dynamic performance of Loleatta and of the Sweethearts of Sigma.
Mama Won’t, Papa Won’t produced by Norman Harris closes Side One of Queen of the Night. It’s another track that could only have been produced in Philly. With its combination of sweeping, swirling strings, growling horns, pounding Baker, Harris Young rhythm section and percussion from Larry Washington, Loleatta produces another gut wrenching vocal. Her vocal’s full of hurt, emotion and frustration while the Sweethearts of Sigma add soaring harmonies. Ron Baker’s bass and Earl Young’s drums provide the tracks pounding, pulsating heartbeat, as Loleatta unleashes one of her most emotive, powerful vocals. Tracks like this prove just why Loleatta Holloway is the true and rightful heir to disco’s crown, someone whose music we “Never Can Say Goodbye” to.
Side Two of Queen of The Night opens with another of the singles, I May Not Be There When You Want Me (But I’m Right On Time). It was written by Bunny Sigler, arranged by Jack Faith and produced by Norman Harris. Tom Moulton was given the job of mixing the track. Here Loleatta’s vocal is a mixture gospel, Southern Soul and disco. These three genres meet head on, with Jack Faith’s arrangement having a real Philly influence. The track bursts into life, sweeping you along atop the cascading strings, blazing horns and pounding piano and rhythm section. Loleatta testifies her way through the track with the Sweethearts of Sigma adding equally impressive and powerful soaring harmonies. When the glorious combination of strings, horns and the Baker, Harris Young rhythm section is added to the fusion of gospel, Southern Soul and disco this is a hugely powerful and moving piece of music, and quite definitely, an underrated track from Loleatta’s back-catalogue.
You Light Up My Life is a cover of the Joe Brooks standard, with Tom Moulton mixing and producing a track which Thor Baldursson arranged. The track is slowed way down, maybe too much even, and given a real Southern Soul and bluesy makeover by Tom and Thor. Tom Moulton places the piano at the track, gradually building the track up. He drops in the rhythm section, Hammond organ as Loleatta throws herself headlong into the track. She delivers the ballad with a mixture of power, passion and emotion, while slow, lush strings and the Sweethearts of Sigma accompany her, adding gloriously soulful harmonies. With the Sweethearts of Sigma’s help Loleatta transforms an old standard, bringing out the beauty and emotion of the track’s lyrics.
Two Sides To Every Story sees ex-Temptation Ron Tyson take over the producer’s chair, while Jack Faith arranges the track. It’s an uptempo dance track, with Loleatta delivering the lyrics in a way that makes you believe she’d lived them. The Salsoul Orchestra kick loose, producing the perfect backdrop for Loleatta. As the track opens, the Baker, Harris, Young rhythm section combine with cascading strings, blazing horns and piano. Loleatta’s vocal is full of anger and frustration with the Sweethearts of Sigma adding punchy, soaring backing vocals, that are crucial to the track’s success. Later, a sultry saxophone solo is added at just the right time, and towards the end of the track, Loleatta embarks on an angry, fiery vamp, at her wandering husband. That’s just the finishing touch to a track that shows Loleatta at her sassy, vampish best.
Closing Queen of The Night is a cover of the Bobby Womack penned I’m In Love, produced by Floyd Smith and Gordon Edwards. Of all the Bobby Womack tracks that could’ve been chosen, this is perfect for Loelatta. It allows her to showcase her considerable vocal talents. The arrangement is quite different, much looser and more spacious. Here lush strings, growling horns and piano accompany the rhythm section, who leave space for Loleatta’s joyous vocal. Backing vocalists accompany Loleatta, as her vocal grows in power and joy, while horns punctuate the arrangement effectively. Although quite different from other tracks on Queen of The Night, it demonstrates Loleatta Holloway’s versatility and ability to interpret a track in such a way that she makes it her own.
Queen of The Night sees Loleatta Holloway picking up where she left off on Loleatta. Queen of The Night bursts into life with a true classic from Loleatta’s back-catalogue, Catch Me on the Rebound. From there, Loleatta variously combines power, passion and her feisty sassiness with emotion, beauty and gut wrenching soulfulness. She continues this throughout the other seven tracks on Queen of The Night. Loleatta makes tracks like Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time) her own. These tracks were produced by Norman Harris, Loleatta’s mentor. Norman seemed to bring out the best in Loleatta, spurring her on to greater heights. During these tracks, Norman combines Loleatta’s soulful roots with disco. Only You sees Loleatta joined by another Salsoul stalwart, Bunny Sigler, and together, they create a track bristling with chemistry. On Queen of The Night, Loleatta is introduced to Tom Moulton who produced and mixes You Light Up My Life and mixes I May Not Be There When You Want Me (But I’m Right On Time). This is the start of a changing of the guard at Salsoul Records. Tom was joined by Thor Baldursson, who arranged You Light Up My Life. While both men would go on to play bigger roles at Salsoul, Vince Montana Jr. had left Salsoul over a dispute with royalties. Vince signed a contract with Atlantic Records in 1978, and given how important a role he played at Salsoul, was sorely missed. Even The Salsoul Orchestra were changing, with new faces joining the lineup. Thankfully, with musicians like the Baker, Harris, Young rhythm section, percussionist Larry Washington, guitarist T.J. Tindall and of course, the Sweethearts of Sigma all featuring on Queen of The Night, these changes didn’t affect the quality of music. Along with her mentor Norman Harris, who guided her through this transformation, Loleatta Holloway became one of biggest stars of Salsoul Records. After the release of Queen of The Night, Loleatta Holloway’s transformation from Southern Soul singer to the Undisputed Queen of Salsoul, and in my opinion, the true and rightful heir to disco’s crown was complete. Disco had a new crown and the new Queen of Disco and was Loleatta Holloway, Queen of The Night. Standout Tracks: Catch Me On the Rebound, Good, Good Feeling, Mama Won’t, Papa Won’t and I May Not Be There When You Want Me (But I’m Right On Time).
LOLEATTA HOLLOWAY-QUEEN OF THE NIGHT.
LUTHER VANDROSS-GIVE ME THE REASON.
LUTHER VANDROSS-GIVE ME THE REASON.
There aren’t many singers that go from singing backing vocals to releasing a string of gold and platinum albums. While that might sound like the stuff of fiction, that’s what happened to Luther Vandross. During the late seventies, Luther was singing backing vocals for Chic, while no doubt studying Niles Rogers and Bernard Edwards production secrets. This would help him in years to come. By the time Luther Vandross headed to the studio to record his fifth album Give Me the Reason in 1986, he’d become one of the most successful soul singers of the first half of the eighties. His four previous albums been either certified platinum of double-platinum in America. He’d also become a successful and well-respected producer, producing artists like Aretha Franklin and successfully rejuvenating her flagging career. Luther Vandross had come a long way in a short space of time. Would Luther Vandross’ run of successful albums continue when he released Give Me the Reason in September 1986?
Luther Vandross’ run of commercially successful started with his 1981 debut album Never Too Much. It reached number nineteen in the US Billboard 200 and number one in the US R&B Charts, and was certified double-platinum in America. Having taken America by storm, Luther’s debut album only reached number forty-one in the UK. However, his second album would see him conquer the UK.
When Forever, For Always, For Love was released in 1982, it built on the success of Never Too Much. It reached number twenty in the US Billboard 200 and number one in the US R&B Charts, and was certified platinum. Over the Atlantic in the UK, Forever, For Always, For Love reached number twenty-three, resulting in the album being certified silver. Having conquered the US and the UK, Luther’s third album wouldn’t prove as popular as his first two albums.
1983s Busy Body was Luther’s least successful album, reaching number thirty-two in the US Billboard 200 and number one in the US R&B Charts. It was still certified platinum in the US, while it only reached number forty-two in the UK. Luther’s fourth album The Night I Fell In Love would prove to be a return to form
The Night I Fell In Love was released in 1984, and was a very much a return to form from Luther Vandross. Not only did The Night I Fell In Love reach reached number nineteen in the US Billboard 200 and number one in the US R&B Charts, but was certified double-platinum. Over in the UK, The Night I Fell In Love failed to chart, regardless of its success in the UK. With Luther Vandross now one of the most successful soul singers of the eighties, could things get any better for Luther when he released Give Me the Reason in 1986?
For Luther Vandross’ fifth album Give Me the Reason, the album comprised nine tracks. Luther cowrote six tracks on Give Me the Reason and wrote two tracks. These two tracks were So Amazing and Because It’s Really Love. Of the six tracks Luther cowrote, three of them were with Marcus Miller, two with Nad Adderley Jr. and There’s Nothing Better Than Love with Skip Anderson. The other track on Give Me the Reason was a cover of Bacharach and David’s Anyone Who Had A Heart. These nine tracks were recorded at three studios with a tight, talented band.
Give Me the Reason was recorded at AIR Studios Monsterrat, New York’s Minot Sound and Westlake Recording Studios in Hollywood. Accompanying Luther Vandross were a rhythm section of drummer Yogi Horton, bassist Marcus Miller and guitarist Pul Jackson Jr, Doc Powell and Ira Siegel. Percussionist and conga player Paulinho Da Costa joined Jason Miles on synths and backing vocalists Cissy Houston, Fonzi Thornton and Cheryl Lynn. Gregory Hines duetted with Luther on There’s Nothing Better Than Love. Arranging horns and strings was Paul Riser, while Luther arranged and produced Give Me the Reason. With the nine tracks that comprise Give Me the Reason recorded, Give Me the Reason was released in September 1986. Would Give Me the Reason match or better the success of Luther Vandross’ four previous albums?
Before Give Me the Reason was released in September 1986, the title-track was released as a single, reaching number fifty-seven in the US Billboard 100 and number three in the US R&B Charts. When Give Me the Reason was released it reached number fourteen in the US Billboard 200 and number one in the US R&B Charts. In the UK, Give Me the Reason became Luther’s most successful album, reaching number three and was certified double-platinum. Stop To Love was then released as a single, reaching number fifteen in the US R&B Charts and number one in the US R&B Charts. There’s Nothing Better Than Love then reached number fifty in the US R&B Charts and number one in the US R&B Charts. The fourth single released from Give Me the Reason was I Really Didn’t Mean It, which reached number six in the US R&B Charts. So Amazing was the final single released from the album, stalling at a lowly number ninety-four in the US R&B Charts. Give Me the Reason was Luther’s most successful album and featured two number one US R&B singles. However, why was Give Me the Reason such a successful album? That’s what I’ll tell you, once I’ve told you about the music on Give Me the Reason.
Opening Give Me the Reason is Stop To Love, written by Luther and Nat Adderley Jr. Straight away, the arrangement has a real eighties sound. Like many eighties arrangements, it hasn’t exactly aged well. The crisp drums and synths have a synthetic sound. In other ways it’s effective, providing the track with a punchy heartbeat that drives the track along. When Luther’s heartfelt vocal enters, it’s accompanied by guitars, percussion, strings and stabs of keyboards. By now things are improving. Then when the dramatic, punchy and uplifting harmonies accompany Luther’s impassioned vocal, things get a whole lot better. These testifying backing vocalists seem to drive him to greater heights. Although the track hasn’t aged well, you can’t fault the passion and emotion in Luther’s vocal.
See Me is a slower track, one that slowly reveals its subtleties and surprises. Even though the drums are similar on this track, they work well and don’t overpower the rest of the mix. A funky slap bass, guitars and keyboards combine to create a spacious, laid-back arrangement. Luther’s vocal is tinged with sadness and emotion, as the arrangement flows along. Bursts of guitar, dramatic stabs and flourishes of piano accompany Luther, while tender, cooing backing vocalists augment Luther’s vocal. Throughout the track, the piano and bass are at the heart of the arrangement’s sound and success. The longer the track progresses, the better it gets, with this track featuring one of Luther’s most heartfelt vocals on Give Me the Reason.
Gave It Up (When I Fell In Love) bursts dramatically into life. It’s an uptempo track, with an irresistible, hook-laden sound. Eighties sounding drums crack, while a funky bass, synths and blazing horns combine. Luther’s vocal is a combination of power and sassiness and together with backing vocalists are crucial to the track’s sound, ensures the track swings. Without the backing vocalists, the track wouldn’t be half as good. Just when you think things can’t get any better, rasping saxophone solo manages to do so. After a percussive break, the horns, piano and backing vocalists combine with Luther, taking the track to it’s hook-laden and swinging ending.
Of the five singles released from Give Me the Reason, So Amazing was final single and least successful single. To me, its the most beautiful track on Give Me the Reason and features one of Luther’s most emotive, heartfelt vocals. The slow cascading arrangement sees the piano, lush strings and percussion combine with a slow, subtle rhythm section. Adding the finishing touch to this beautiful love song are tender and equally heartfelt harmonies. They play their part in what is a classic track from Luther Vandross.
Closing Side One of Give Me The Reason is the title-track Give Me The Reason. It was a track from the soundtrack to the movie Ruthless People. It’s very different from the previous track. Chalk and Cheese spring to mind. The pounding rhythm section and synths combine with Luther’s soaring vocal. His vocal is a mixture of power and anger, while bursts of rocky guitars, keyboards and tight, punchy harmonies add to the track’s dramatic sound. Unlike the previous track, which has a timeless sound, this track is very much of its day. You could almost date it within a year or two by its sound. Having said that, it’s still a good track, with a dramatic sound, where Luther and his band fuse elements of soul, funk, rock and eighties electronic music.
There’s Nothing Better Than Love opens Side Two of Give Me The Reason. Here, Luther duets with Gregory Hines and their voices work well together. They’re accompanied by a slow arrangement, that grows in power and drama. It’s just piano, percussion and the rhythm section that accompany the vocals. They sit well together and combining and complimenting each other. Luther and Gregory bring out the subtleties, nuances and beauty in the lyrics.
When I Really Didn’t Mean It opens, I was wondering if I was listening to same album. The drums and percussion that open the track have an Acid House sound. I keep expecting Luther to sing “Acieed.” This is a quicker track, one for the dance-floor. When Luther’s vocal enters, it’s full of sadness and regret, at what he said. His vocal has echo added, which the rhythm section and synths are augmented by backing vocalists. They add tight, sweeping harmonies, while Luther’s echo drenched vocal is a mixture of sorrow and hope, hope that all will be forgiven. Like several other tracks, this track has a real eighties sound, but one that works.
I always think Luther’s at his best singing ballads and Because It’s Really Love sees Luther what he does so well. This is one of his most impassioned and sincere performances. Like other tracks on Give Me the Reason, the arrangement is slow, spacious and allows Luther vocal to take centre-stage. Just the slow rhythm section, synths, percussion and lush strings combine. Backing vocals add tender harmonies, before the drums help the track move through the gears. Luther’s vocal grows in power and passion, as another beautiful bedroom ballad from Luther unfolds. For over six-minutes, Luther has you spellbound and mesmerised, as he gives one of his best performances on Give Me the Reason.
Luther closes Give Me the Reason with a cover of Bacharach and David’s Anyone Who Had A Heart. Of all the Bacharach and David songs he could’ve chosen, he made a strange choice, choosing a song more suited to a female vocalist. However, he pulls it off. He slows the song way down, combining the rhythm section, percussion, a sultry saxophone solo and melodic keyboards. His deliver is slow, quite dramatic and leaving space within the song. This is effective, bringing new life and meaning to the track and is a lovely way to close Give Me the Reason.
By the time Luther Vandross released his fifth album Give Me the Reason, he’d become an accomplished and experienced performer and producer. He’d matured as a songwriter and singer, and was able to bring out the subtleties and nuances in a song. Songs like See Me, So Amazing, Because It’s Really Love and Bacharach and David’s Anyone Who Had A Heart are examples of this. To me, Luther Vandross is at his best singing ballads. One of the ballads I wasn’t sure about when I first bought Give Me the Reason, was Luther’s cover of Bacharach and David’s Anyone Who Had A Heart. I was wondering how he’d approach the song? Having heard many cover versions of the track, many of which didn’t work, I wasn’t sure this was the right Bacharach and David song for Luther. I needn’t have worried, as Luther’s interpretation of the track brought new life and meaning to the track, bringing out the songs subtleties, nuances and beauty.
While Luther was at his best on the ballads on Give Me the Reason, some of the quicker tracks haven’t aged as well. They’re very much a mixed bag. I Gave It Up (When I Fell In Love) is the best of the uptempo songs on Give Me the Reason, while I Really Didn’t Mean It works well after an unexpected opening. During that track, you’ll hear another side to Luther Vandross. Stop To Love has a quite eighties sound, but is saved by Luther’s impassioned vocal. The title-track Give Me The Reason is another track with an eighties sound, where Luther and his band fuse musical genres. Of all the tracks on Side One, this is the that hasn’t aged well.
Overall, Give Me the Reason, like the previous Luther Vandross album I reviewed Never Too Much, is another of Luther’s best albums. For anyone looking for an introduction to Luther Vandross’ music, these are two of his best albums. Mind you, between 1981 when Luther released Never Too Much and his final albums in 2003 Dance With My Father, Luther Vandross didn’t release many bad albums. Each album was either certified gold, platinum or double-platinum in the US. This meant Luther Vandross was one of the most successful artists of that era, and Give Me the Reason shows just why. With its combination of bedroom ballads and dance-floor friendly tracks, Give Me the Reason is Luther Vandross doing what he does best and what made him one of the biggest and most successful soul singers of that time. Standout Tracks: See Me, So Amazing, Because It’s Really Love and Anyone Who Had A Heart.
LUTHER VANDROSS-GIVE ME THE REASON.
FREEDOM SOUNDS.
FREEDOM SOUNDS.
With Jamaica celebrating the fiftieth anniversary since it gained independence from Britain, record companies big and small have been celebrating this landmark anniversary. Their way of celebrating Jamaican independence is by releasing a multitude of compilations and box sets. With so many compilations hitting the market at the one time, anyone considering buying just one compilation will be confused by so much choice. So, for anyone thinking of buying just one compilation or box set I’d spent some time looking through each of the contenders. During the last couple of weeks I’ve searched high and low, immersing myself in these releases and chosen what I consider to be one of the best of these releases. My choice is Freedom Sounds, a five-disc box set, featuring 108 remastered tracks, fifty of which, have never been released before. As well as a the five discs, there’s an in-depth and informative fifty-two page booklet filled with photographs of the people and places that shaped Jamaican music. Trojan Records statement that Freedom Sounds is quite rightly described as “a celebration of Jamaican music.” Each of the five discs that comprise Freedom Sounds are have a “theme,” ranging from Freedom Sounds, Jamaican Hits, Pioneers, Innovators and Forgotten Treasures. If you choose to register your copy of Freedom Sounds, you unlock “bonus content.” Doing so, only unlocks ten further tracks. Even without these ten tracks, the other five discs feature much of the music which shaped Jamaican music. You’ll realize this when I tell you about the five discs on Freedom Sounds.
DISC ONE.
Disc One of Freedom sounds is entitled Freedom Sounds, and features seventeen “Sounds of Freedom,” from some of the biggest names in Jamaican music. These tracks range from protest songs, to songs about unity and liberation. This includes seventeen tracks from Bob Marley and The Wailers, The Heptones, Burning Spear, Culture, and Judy Mowatt. These tracks are produced by such luminaries as Lee “Scratch” Perry, Sonia Potinger and Augustus Pablo, under the guise of Horace Swaby.
Of these seventeen tracks, several of them standout, including Bob Marley and The Wailers’ Rainbow released in 1968 and The Heptones’ cover of the Bob Dylan penned I Shall Be Released. Burning Spear’s Shout It Out, produced by Winston Rodney, and Third World’s Freedom Sound are two other highlights of Disc One. Overall, the majority of the seventeen tracks on Disc One of Freedom Sounds have stood the test of time. They’re an interesting, eclectic and sometimes compelling selection of “Freedom Sounds.”
DISC TWO.
Even someone with just has a passing interest in reggae will know many of the twenty-three tracks that feature on Disc Two of Freedom Sounds. Entitled Jamaican Hits, Disc Two is like a who’s who Jamaican music. This includes Desmond Dekker and The Aces 007 (Shanty Town) and Poor Me (Israelites), Toots and The Mayals 54 46 That’s My Number, Burning Spear’s Marcus Garvey and Junior Murvin’s Police and Thieves, which The Clash later covered. There’s also tracks from Bob Marley and The Wailers, Dennis Brown, Derrick Morgan, Marcia Griffin and Culture.
Sometimes the choice of music heads towards populist, featuring tracks like Gregory Isaacs’ Night Nurse, Jimmy Cliff’s The Harder They Come and Althea and Donna’s Uptown Top Rankin, whose inclusion I could’ve very definitely have lived without. The two most recent tracks on Disc Two are Chaka Demus and Pliers’ Murder She Wrote released in 1992, and Beenie Man’s Slam, released in 1995. Why the compiler decided to Include Beenie Man’s Slam is beyond me? I could’ve thought of several other tracks worthy of inclusion before Slam.
That the most recent Jamaican hit on Freedom Sound was in 1995, must be something that worries Jamaican musicians and producers. Having released innovative and groundbreaking music during the sixties, seventies and eighties, it seems that maybe Jamaican music lost its way after that? Given how good much of the music of these three decades were, Jamaica can boast a rich and varied musical history. Many of these Jamaican Hits feature on Disc Two of Freedom Sounds, and are among some of its biggest and best-known songs.
DISC THREE.
It seems that the compilers of Freedom Sounds were struggling for themes when they got to Discs Three and Four. Disc Three is entitled Pioneers, while Disc Four is entitled Innovators. Confused? So was I. Especially when much of the music on Discs three and four was similar, ranging from Ska, Rocksteady and early reggae tracks. The musicians that feature on Discs Three Four and are pioneers of Ska, Rocksteady and early reggae, rather than pioneers of reggae in the wider sense. When it comes to the Pioneers theme of Disc Three, I was thinking along the lines Bob Marley, Lee Scratch Perry, King Tubby, Sly and Robbie. To me, these are pioneers of Jamaican music, musicians who will forever be perceived as shaping and defining Jamaican music. To me, these are just a few of the pioneers of Jamaican music that spring to mind. Similarly, you could argue that Bob Marley, Lee Scratch Perry, King Tubby, Sly and Robbie were all Innovators, in the true sense of the world. Rather than get bogged down in phonetics, I’ll tell you about the music on Discs Three and Four?
Among the Pioneers to feature on Disc Three, are Errol Brown, Ernest Raglin, The Uniques, The Gladiators, Bob Marley and The Wailers, Richard Ace and Phyllis Dillon. Many of the tracks range from 1968-1971, during a time that Jamaican music was evolving and just before reggae crossed over into mainstream music with Bob Marley and The Wailers. There’s also tracks from Don Drummond and The Skalites, Clancy Eccles and Niney and Big Youth. These tracks provide a snapshot of reggae as the music was evolving.
Five of the twenty-three tracks haven’t been released before, so will be of interest to reggae completists. Unreleased tracks can either be hidden gems or unreleased for a reason…that they weren’t particularly good. Thankfully, while the unreleased tracks aren’t quite hidden gems, some are worthy of inclusion. Surely rather than focus on releasing previously unreleased tracks, the compiler could’ve focused on some of the real gems of the Trojan back-catalogue?
Having said that, there’s some great music on Disc Three, with The Sensations’ I Was Born A Loser, Ken Boothe’s Love and Unity and Nicky Thomas Love of the Common People three of the highlights of Disc Three. However, I would suggest that there’s no way that several artists on the disc can ever be described as Pioneers. Will the artists that feature on Disc Four be worthy of being described as innovators?
DISC FOUR.
While I was critical of some of the “Pioneers” of Disc Three, many of the artists that are referred to as Innovators on Disc Four are worthy of that accolade. Toots and The Mayals, Barrington Levy and Augustus Pablo are three true Innovators of Jamaican music. So too are some of the producers of tracks on Disc Four.
Edward “Bunny” Lee produced Johnny Clark and King Tubby’s None Shall Escape the Judgement, while Lee “Scratch” Perry produced Bunny “Rugs” Clarke produced Big May. Warwick Lyn and Joe Boyd produced Toots and The Mayals’ Treating Me So Bad, one of the highlights of Disc Four. Another of Jamaica’s most talented producers was Ossie Hibbert who produced Horace Andy’s Sea of Love.
One of the real gems on Disc Four is Pat Kelly’s I’m So Proud, a compelling cover version of Curtis Mayfield’s song. The Paragons Man Next Door, released in 1981, was produced by Sly and Robbie, and demonstrates just why they were in such demand as producers. King Jammy is another of Jamaica’s legendary producers, and on Disc Four, produced Johnny Osbourne’s Rock and Come On (Yah). Overall, Disc Four features some of Innovators of Jamaican music, both artists and producers. My only quibble is the inclusion of Luciano’s Never Give Up My Pride, released in 1995. All I can say is why?
DISC FIVE.
By Disc Five, I’m beginning to think that the compilers of Freedom Sounds have exhausted their themes. Why? Well, they’ve decided to use the catch-all of Forgotten Treasures. This comes across as an excuse just to pick a selection of tracks with no real theme running through the disc. Surely, a better idea would’ve been to include another disc of Jamaican Hits or even better, a disc of some glorious dub reggae? However, maybe a disc of dub reggae may not have been palatable for the casual reggae buyer? Instead, Disc Five features twenty-six Forgotten Treasures. Will they really be Forgotten Treasures or best forgotten?
There are twenty-six Forgotten Treasure on Disc Five, with the compilers digging deep into Trojan’s back-catalogue. Sadly, they didn’t dig deep enough. What raised my suspicions were when I noticed several alternate versions or cover versions of old soul track. From past experiences, this can prove disappointing. This was the case here. On Disc Five are alternate versions Austin Faithful’s I’m In A Rocking Good Mood and The Techniques Traveling Man. Neither of these tracks are what I’d call Forgotten Treasures, nor is Tommy McCook and The Specialists cover version of (Ode To) Billy Joe. As for Toots and The Mayals cover of Otis Redding’s Fa-Fa-Fa-Fa-Fa (Sad Song), it really is a sad song and best forgotten. The extended version of Max Romeo and Prince Jazzbo shouldn’t have been extended and I wonder at its inclusion on Freedom Sounds.
Of the rest of the tracks, they’re very much a mixed bag in terms of quality. Tracks by The Slickers, Ska Campbell, The Prophets, The Ethiopians and Trevor and The Maytones didn’t disappoint, but the rest of the tracks reminded me of a well-known Clint Eastwood film, The Good, The Bad and The Ugly. It’s just a pity that the compilers weren’t more imaginative when thinking of a theme for Disc Five. Sadly, they could’ve made more use of Disc Five and Freedom Sounds really would’ve been “a celebration of Jamaican music.”
Given how important a role Jamaican music has had on other musical genres, it’s no surprise that so many compilations and box sets were released to celebrate the fiftieth anniversary of Jamaican independence. Sadly, some these releases were of these releases lacked in quality. Indeed, some came across as nothing more than a commercial attempt to cash in on a historically important event. At least Freedom Sounds features some quality music, which is representative of Jamaican musical history. Having said that, it’s not without faults. Disc Two which featured twenty-three Jamaican Hits was sometimes predictable, and far too populist. The inclusion of Gregory Isaacs’ Night Nurse, Jimmy Cliff’s The Harder They Come and Althea and Donna’s Uptown Top Rankin is proof of this. In Discs Three and Four the compilers seemed to be struggling for themes, with Pioneers and Innovators almost a duplication of themes. While some of the artists who were deemed worthy of being Pioneers and Innovators surprising, so were some of the omissions. Having said that, given how many box sets Trojan have released over the years, maybe this was an attempt to come up with something new, different and controversial. By the time we got to Disc Five, Freedom Sounds had been an enjoyable journey through Jamaican music, albeit one with a few strange and I’d say debatable inclusions. Then came Disc Five and its twenty-six Forgotten Treasures. Maybe they’re best described as a few forgotten treasures with the rest best forgotten. To me, Disc Five was very much a mixed musical bag, ranging from The Good, The Bad and The Ugly. Surely better use could’ve been made of Disc Five, as a disc full of Forgotten Treasures was a disappointing end to what had been an otherwise enjoyable “a celebration of Jamaican music.” However, considering the five-disc box set that is Freedom Sounds retails for under £30, €40 or $50, then even with the disappointing disc of Forgotten Treasures, it’s good value for money. For anyone wanting to buy one of the many compilations that celebrates the fiftieth anniversary of Jamaican Independence, then Freedom Sounds won’t disappoint.
FREEDOM SOUNDS.
http://soundcloud.com/trojan-records-official/freedom-sounds-megamix
http://soundcloud.com/trojan-records-official/freedom-sounds-megamix-disc-2
http://soundcloud.com/trojan-records-official/freedom-sounds-megamix-disc-3
http://soundcloud.com/trojan-records-official/freedom-sounds-megamix-disc
http://soundcloud.com/trojan-records-official/freedom-sounds
DEXTER WANSEL-VOYAGER.
DEXTER WANSEL-VOYAGER.
For any label, losing many members of their house-band, plus some of their best songwriters, arrangers and producers could’ve proved fatal. This is what happened at Philadelphia International Records in 1975. Many of M.F.S.B. were locked in a dispute with Gamble and Huff over money. When the dispute couldn’t be resolved many of M.F.S.B, plus some of Philadelphia International Records’ top arrangers, producers and musicians headed to New York, becoming The Salsoul Orchestra. This left a huge void, a void that needed filled. One of the men to do so was Dexter Wansel. Soon, Dexter would become Gamble and Huff’s top arrangers and producers. He’d also form a successful songwriting partnership with Cynthia Biggs, and played keyboards and synths on many of Philadelphia International’s post 1975 releases. Soon, Gamble and Huff realized just how talented Dexter Wansel was and in 1976, signed him as a solo artist. He would go on to release four innovative and groundbreaking albums. These albums were quite unlike anything else Philadelphia International Records was releasing and as a result, divided opinion. His debut album was 1976s the groundbreaking Life On Mars which reached number forty-four in the US R&B Charts. 1977s What the World Coming To reached number 168 in the US Billboard 200 and number forty-five in the US R&B Charts. A year later, in 1978 Dexter released Voyager, his third solo album. Voyager saw Dexter Wansel continue his innovative and imaginative journey, where he fuses funk, Philly soul and jazz-funk. Would Voyager see Dexter Wansel make his commercial breakthrough or would he continue to be Philadelphia International Records’ nearly man?
For his third album Voyager, Dexter wrote two tracks, I Just Want To Love You and Time Is the Teacher. He cowrote four of other five tracks, Solutions and I’m In Love with his regular songwriting partner Cynthia Biggs. Dexter cowrote All Night Long with Derrick Graves, who wrote and arranged Latin Love(Let Me Know). Together with Dexter and Derrick cowrote the title-track Voyager with Steve Goldstein, Herb Smith, Lemuel Harper, Billy Johnson and George Howard. While Dexter produced the seven tracks on Voyager, and arranged four tracks and arranged All Night Long with George Howard and Jack Faith arranged I’m In Love. The seven tracks that comprise Voyager would be recorded at Philly’s Sigma Sound Studios.
Dexter Wansel sang lead vocals and played Fender Rhodes and electric piano on Voyager. He was accompanied by M.F.S.B. Mk 2. By 1978, it was a very different, almost unrecognizable lineup of M.F.S.B. Gone were the Baker, Harris, Young rhythm section, replaced by bassist Derrick Graves, guitarist Herb Smith and drummer Billy Johnson, who also added temple bells. Steve Gold played Baldwin grand piano and Mini Moog, and George Howard tenor and soprano saxophones. Among the familiar faces were conga player Larry Washington and Don Renaldo’s strings and horns. Adding backing vocals were Terri Wells and legendary backing vocalists the Sweethearts, Barbara Ingram, Evette Benton and Carla Benson.
Before Voyager was released in 1978, All Night Long was released as a single, but failed to chart. Things improved when Voyager reached number 139 in the US Billboard 200 and number thirty-seven in the US R&B Charts. The Dexter Wansel and Cynthia Biggs penned Solutions was then released as a single, reaching number eighty-seven in the US R&B Charts. Voyager proved to be Dexter’s most successful album, but why was that? That’s what I’ll tell you, after I’ve told you about the music on Voyager?
Opening Voyager is the lead single All Night Long, which Dexter and Derrick Graves cowrote. On its release as a single, It failed to chart. Stabs of squelchy and buzzing synths open the track, before exploding when the driving rhythm section enter. They’re joined by blazing horns, cascading strings and keyboards. Soon, the track heads in the direction of funk. Dexter’s vocal is a sassy growl, as a pounding, funky bass and guitars join the myriad of horns, strings and banks of synths and keyboards. Tender, gentle backing vocals accompany Dexter’s vocal. Later, Herb Smith lays down one of the best guitar solos on Voyager, as this uptempo slice of catchy 21st Century funk unfolds.
Solutions is the first of two Dexter Wansel and Cynthia Biggs penned tracks, and was the second single released from Voyager. Dexter’s innovative side comes to the fore as he replicates the crackling sound of a radio being tuned before the track reveals its secrets. The arrangement sees Dexter impassioned vocal, accompanied by a bass synth while a myriad of synths and keyboards fill out the arrangement. As the arrangement meanders along, the track’s social message is interspersed with snippets of radio news. They detail worlds ills, while Dexter sings about Solutions. On the face of it, it’s a pleasant enough song, with a radio-friendly sound, but listen carefully and to quote The O’Jays there’s a “Message In The Music.”
The title-track Voyager sees Dexter take the album in the direction of jazz-fusion. This eight-minute track has a tougher, harder sound than much of Dexter’s music, with the track heading in the direction Mahavishnu Orchestra. When the track opens, it’s bold, dramatic and even grandiose. It’s the rhythm section that drive the track along, with a pounding, slap bass, searing guitars and drums combining. Bouncy, melodic keyboards and growling, rasping horns combine, as Dexter and his band showcase their considerable talents. Jazz, funk and rock music are combined, as a dramatic, and sometimes, space age sounding track reveals its secrets and subtleties. Sometimes, you wonder what direction the track is heading? By the end of the track, you can only marvel at the combined talents of the band, and realise that Dexter Wansel, was seeking to innovate, explore and push the musical boundaries.
I Just Want To Love You is one of two tracks Dexter wrote, and sees a return to the funk of All Night Young. The track sounds like something Prince was producing a decade later and being called an innovator. Maybe Dexter was ahead of his time? He certainly influenced a generation of artists including Andre Cymone and Prince. As drums pound relentlessly, swathes of synths and keyboards combine with Dexter’s vocal, which sounds uncannily like Prince’s. Later, in the track, Dexter’s vocal grows in power and passion, becoming a sassy vamp. The finishing touch is a searing, sizzling guitar solo, which weaves its way across the arrangement, an arrangement that like Dexter, was way ahead of its time.
Time Is The Teacher sees another change in style, with the track heading in the direction of jazz, with diversions into jazz funk and smooth jazz. Key to the track’s sound and success is George Howard’s saxophone, that veers between tenderm, subtle and thoughtful to powerful and dramatic. It’s accompanied by lush strings, percussion, keyboards and sometimes, an uber funky rhythm section. During the track, Dexter fuses everything from rocky guitars, plus elements of jazz funk, smooth jazz and classical music. In doing so, Dexter and M.F.S.B. create one of the best tracks on Voyager.
Derrick Graves wrote and arranged Latin Love (Let Me Know). From the get-go, the track is best described as space-age funk. M.F.S.B.’s rhythm section, including bassist Derrick Graves and guitarist Herb Smith are key to the track’s sound. Billy Johnson’s drums provide the track’s heartbeat, while Derrick’s bass playing is spacious and funky and Herb’s guitar playing dynamic, energetic and rock-tinged. Banks of synths and keyboards are joined by bursts of punchy, blazing horns, but it’s three men that prove crucial in the tracks’s success, Herb Smith, Derrick Graves and Dexter Wansel. They’re key to the track’s space-age, funky sound.
Closing Voyager is I’m In Love which Dexter cowrote with Cynthia Biggs. It’s the most Philly sounding track on Voyager, with Cynthia Biggs’ piano accompanying Dexter’s emotive, impassioned vocal. The Sweethearts of Sigma add tight, heartfelt harmonies, while the lushest of strings, rasping horns and a thoughtful rhythm section combine to create a beautiful backdrop. Ironically, what is the most Philly sounding track on Voyager, is also the best one, and is the perfect way to close Voyager.
Voyager, Dexter Wansel’s third albums sees Dexter flitting between, and fusing a variety of musical genres over seven tracks. From the opening track, All Night Long, with its 21st Century funky sound, which he revisits on Latin Love (Let Me Know), Dexter heads towards a tougher jazz-fusion sound on the title-track Voyager. In between there’s the radio-friendly sound of Solutions, while on I Just Want To Love You, Dexter creates a template for artists like Prince and Andre Cymone. This track demonstrates how innovative and imaginative Dexter Wansel was as an artist, and how far ahead of his time he was. Of the other two tracks, Time Is The Teacher sees Dexter fuse smooth jazz and jazz funk, while I’m In Love, which closes Voyager, is the only Philly sounding track on Voyager. Given how eclectic Voyager is, that could also be part of the album’s problem.
Like Forest Gump’s box of chocolates, you never knew what was coming next on a Dexter Wansel album. It could be anything from Philly Soul, jazz-fusion, smooth jazz or funk. That was the case on Voyager. Whereas most of Philadelphia International Records’ other releases could be categorized, you couldn’t pigeonhole Dexter’s music. After all, what would you refer to it as? It’s neither funk, nor soul, or even jazz. Indeed, Dexter’s four albums for Philadelphia International Records were quite unlike anything else on the label. Maybe it would’ve been better if Gamble and Huff had released the albums on a subsidiary label, like other labels did? By releasing Dexter’s music on Philadelphia International Records, it maybe confused people. They were used to Philadelphia International releasing soul and funk music, but Dexter’s music was very different to the labels other releases.
Another problem with Voyager’s eclectic nature means it doesn’t come across as a cohesive album. The constant change in style of music sometimes jars, even though most of the tracks work. Apart from Solutions, which comes across as somewhat lightweight, even with “The Message In the Music” the other six tracks work. The other six tracks on Voyager demonstrate that Dexter Wansel was innovative, imaginative and way ahead of his time. Sadly, people neither understood nor appreciated his music in the late seventies. It was only when a new generation of music lovers and producers discovered Dexter Wansel’s albums, including Voyager, that people realized just how talented Dexter was and that he was something of musical visionary, whose talents were under-appreciated. Sadly, by then Dexter Wansel had retired from music, and albums like Voyager were a reminder of a musical visionary way ahead of his time. Standout Tracks: All Night Long, Voyager, Latin Love (Let Me Know) and I’m In Love.
DEXTER WANSEL-VOYAGER.
M.F.S.B.-PHILADELPHIA FREEDOM.
M.F.S.B.-PHILADELPHIA FREEDOM.
Often, when I’m either writing about Philadelphia International Records or Salsoul Records, I mention M.F.S.B. Philadelphia International Records’ legendary house-band. M.F.S.B.’s role in the Philly Sound can’t be underestimated. They played on literally every album the influenced and shaped what became known as the Philly Sound. Whether it was working with Thom Bell on albums by The Delfonics or The Detroit Spinners, or with Gamble and Huff’s on albums by The O’Jays, Billy Paul, Harold Melvin and The Blue Notes and The Three Degrees, M.F.S.B. played on each of these albums. By 1975, many of the original members of M.F.S.B. were locked in a dispute with Gamble and Huff over money. When no agreement could be reached M.F.S.B. headed to New York, taking their considerable talents to Salsoul Records, where they became The Salsoul Orchestra. As a result, Gamble and Huff lost some of the most talented musicians of the seventies. This included the Baker, Harris, Young rhythm section, who provided M.F.S.B.’s heartbeat, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, violinist Don Renaldo, percussionist Larry Washington and keyboard player Ron “Have Mercy” Kersey. There’s no doubt that Philadelphia International Records were affected by the loss of such hugely talented musicians. Granted, a number of talented musicians filled their shoes, but really, some of these talented musicians were irreplaceable. Ironically, many of the musicians that became The Salsoul Orchestra flourished. It was as if their talents were unleashed. Baker, Harris, Young, Bobby “Electronic” Eli, Ron “Have Mercy” Kersey and Vince Montana Jr. all went on to become songwriters, arrangers and producers at Salsoul. Gamble and Huff’s loss was Salsoul’s gain. However, before many of M.F.S.B. headed to the Big Apple, they played on one last M.F.S.B. album, Philadelphia Freedom. Would M.F.S.B. leave Philadelphia International Records on a high?
For M.F.S.B.’ last hurrah for Philadelphia International Records Philadelphia Freedom Gamble and Huff only contributed three tracks, South Philly, Brothers and Sisters and The Zip. Leon Huff contributed one further track, Ferry Avenue cowrote he cowrote with McFadden and Whitehead. The title-track Philadelphia Freedom, was a cover of a track Elton John and Bernie Taupin cowrote. Roland Chambers penned, arranged and produced the unmistakable Get Down With the Philly Sound, while Dexter Wansel wrote When Your Love Is Gone and Morning Tears. These tracks and three others, would be recorded at Philly’s Sigma Sound Studios, familiar territory for M.F.S.B., as they’d recorded not just the Gamble and Huff sessions there, but Thom Bell’s sessions as well. When many of M.F.S.B. left Philadelphia International Records to become The Salsoul Orchestra, they’d return to Sigma Sound Studios to record many of Salsoul’s classic albums. Before that, they’d record the eleven tracks that would become Philadelphia Freedom.
The recording sessions for Philadelphia Freedom proved to be the last appearance of the original and best lineup of M.F.S.B. Playing on Philadelphia Freedom were all the M.F.S.B. greats. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with guitarists Bobby “Electronic” Eli and Roland Chambers. Ron “Have Mercy” Kersey and Leon Huff played keyboards, Larry Washington percussion and Vince Montana Jr. vibes. Violinist Don Renaldo was part of the string section, while alto saxophonist Zach Zachery plays an important part in Philadelphia Freedom’s sound. McFadden and Whitehead added backing vocals along with the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson.
Like many Philadelphia International Records albums, a variety of arrangers and producers worked on Philadelphia Freedom. Of the eleven tracks on Philadelphia Freedom, Gamble and Huff only produced three of the tracks, and co-produced The Zip with Jack Faith. Jack Faith, along with Bobby Martin were two of Philadelphia International best arrangers. Jack Faith only arranged and produced Smile Happy and co-produced The Zip with Gamble and Huff. Bobby Martin arranged and produced Brothers and Sisters, while arranging Ferry Avenue. Dexter Wansel, another of Philadelphia International’s most talented arranged and produced two tracks and produced one other track. With Philadelphia Freedom the last album to feature the original lineup of M.F.S.B. recorded, the album would be released in June 1976. By then, many of the original lineup of M.F.S.B. would’ve signed for Salsoul Records and become The Salsoul Orchestra. Would their last hurrah for Philadelphia International Records, Philadelphia Freedom prove to be a commercial success?
Before Philadelphia Freedom was released in June 1976, The Zip was released as a single in 1975. It reached number ninety-one in the US Billboard 100, number seventy-two in the US R&B Charts and number three in the US Disco Singles charts. Get Down With the Philly Sound was then released as a single, reaching number ten in the US Disco Singles charts and number eleven in the US Club Play Singles charts. Ferry Avenue then reached number five in the US Disco Singles charts. When Philadelphia Freedom was released in June 1976, it reached number thirty-nine in the US Billboard 200, number fourteen in the US R&B Charts. The original lineup of M.F.S.B.’s album for Philadelphia International Records, Philadelphia Freedom had had a resounding success. From their new home in New York, where they were now The Salsoul Orchestra, the former members of M.F.S.B. must have smiled with satisfaction. Even more satisfying was the success The Salsoul Orchestra was now enjoying. However, why was Philadelphia Freedom such a success? That’s what I’ll now tell you when, I tell you about the music on Philadelphia Freedom.
Opening Philadelphia Freedom is Zac’s Fanfare No 2, where a roll of Earl Young’s drums, bursts of blazing horns and dramatically and enthusiastically, a musical equivalent of a fairground barker announces “ladies and gentlemen Gamble and Huff proudly present M.F.S.B.” With that the horn and rhythm section build and build the drama, leaving you anticipating the ten tracks still to come.
Straight away, M.F.S.B. set the bar high with Get Down With The Philly Sound, written, arranged and produced by M.F.S.B. guitarist Roland Chambers. Here you get the chance to witness M.F.S.B. in full flight. It’s a joy to behold. With the Baker, Harris, Young rhythm section providing the track’s heartbeat, searing funky guitar, growling, braying horns and percussion combine. While Zach Zachary lays down a peerless, scintillating alto-saxophone solo, Earl Young’s pounding drums drive the track along, while Ron Baker’s bass matches him note for note. They play their part in the track big, bold and hugely impressive sound, fusing elements of soul, funk and jazz with a disco beat. So impressive are M.F.S.B. in full flow, you wonder why Gamble and Huff allowed such talented musicians to walk away from Philadelphia International Records?
Philadelphia Freedom was written by Elton John and Bernie Taupin and was a hit for Elton John in 1975. It was recorded in Philly with members of M.F.S.B. playing on the track. Here, M.F.S.B. reinterpret the track, with Gamble and Huff producing it and Dexter Wansel arranging the track. Flourishes of sweeping, swirling strings, the rhythm section and rasping horns combine. While Zach Zachary lays down a subtle alto-saxophone solo, Norman Harris’ guitar chimes, while backing vocalists including the Sweethearts of Sigma’s harmonies drift in and out. While the alto-saxophone is central to the track’s sound and success, Baker, Harris, Young produce a funky, backdrop. Later, Norman Harris takes centre-stage, adding a jazz-tinged solo accompanied by beautiful harmonies from the Sweethearts of Sigma. This is just the finishing touch to the track, which brings new life and meaning to track, adding soul and a disco beat.
South Philly was penned and produced by Gamble and Huff and arranged by Tony Bell. It’s a slower track, with a beautiful wistful sound. Again, the Zach Zachary’s tender, emotive alto-saxophone solo is accompanied by the lushest of strings, melodic keyboards and beautiful harmonies from the Sweethearts of Sigma. As the track progresses, M.F.S.B. kick loose, the mass of horns and strings play a bigger role in track, while the Baker, Harris, Young rhythm section produce the track’s melancholy, heartbeat. Although very different from the previous tracks, it’s a very beautiful track, one with a wistful, thoughtful sound.
Often, I think McFadden and Whitehead don’t get the credit they deserve for their part in the Philadelphia International Records’ success story. The cowrote Ferry Avenue with Leon Huff. There’s another change in style, with the track taking as its reference points, jazz and soul. Keyboards, rasping horns and lush strings, while the rhythm section drive the track along. Zach Zachary’s alto-saxophone is key to the sound, while flourishes of piano, punchy horns and the lushest of sweeping string combine. The result is a track that’s flamboyant and dramatic, and could’ve only been produced by two men Gamble and Huff, in one city, Philadelphia with one band…M.F.S.B.
For just under a minute, Interlude sees M.F.S.B. enter a time-machine and are transported back in time, becoming an old style big band. They carry this of with aplomb and ease, as comfortable playing as a big band, as they are playing soul, funk or disco.
When Your Love Is Gone is one of two tracks Dexter Wansel wrote, arranged and produced. From the opening bars, it could only have been Dexter that wrote, arranged and produced the track. It has his name written large all over it. The reason for this is the synths that open the track, and are used throughout the track. However, Dexter uses them well and they work within the arrangement. A pounding rhythm section, percussion, blazing horns and cascading strings accompany his banks of synths. This results in what’s best describes as a space-age funky sound. Dexter uses them to build and add to the drama of the track.
Morning Tears is the second of the Dexter Wansel tracks. Again, he wrote, arranged and produced the track. This is very different, and a much better track. He sacrifices the synths, allowing Zach Zachary’s alto-saxophone to sit centre-stage while swathes of lush strings envelop his saxophone. The Baker, Harris, Young rhythm section fuse soul and funk, while keyboards, bursts of rasping horns and flourishes of strings combine. After Zach Zachary takes the track in the direction of jazz, the rest of M.F.S.B. take charge of the track, as they fuse soul, funk and jazz. When Zach reenters, he and M.F.S.B. drive this epic track along to its impressive and dramatic crescendo.
When Brothers And Sisters begins, straight away, you can tell this is a Bobby Martin arrangement and production. Bobby was a hugely talented arranger and producer, who later, would forge a successful production career, working with groups like L.T.D. Keyboards, the Baker, Harris, Young rhythm section and percussion combine before dancing strings and growling horns enter. They’re joined by the Sweethearts of Sigma who add punchy harmonies. As their harmonies drop out, M.F.S.B. kick loose, with strings sweeping and swirling, while horns rasp and blaze. Providing the track’s pulsating heartbeat are Earl Young’s drums, Ron Baker’s bass and Norman Harris’ chiming guitar. By now, M.F.S.B. with a little help from the Sweethearts of Sigma are in full flow, spreading hooks and joy in equal measures.
Ron Baker’s moody, broody bas is joined by an acoustic guitar and percussion as Smile Happy begins to share its secrets. Keyboards and rasping horns are then joined by lush strings as a thoughtful, melancholy sounding track reveals its hidden charms and inner beauty. It’s a gradual process, one that can’t be rushed and must be savored. Jack Faith, another of Philadelphia International Records best arrangers, arranged and produced the track, and does a masterful job. The result a thoughtful, melancholy and sometimes moody sounding soundscape, where drama and beauty are also present.
Closing Philadelphia Freedom are The Zip written by Gamble and Huff, who produced the track with Jack Faith. Bursts of blazing horns, sweeping swirling and shimmering strings are combined with a funky, driving Baker, Harris, Young rhythm section. The Sweethearts of Sigma add tight sweet and soulful harmonies. Chiming guitars, pounding drums, quivering cascading strings and growling horns combine with flourishes of flamboyant piano as M.F.S.B. end Philadelphia Freedom on a funky and soulful high, before waving goodbye to Philadelphia International Records and saying hello Salsoul. What a way to go.
The original and best lineup of M.F.S.B.’s final hurrah for Philadelphia International Records Philadelphia Freedom saw them leaving on a majestic, musical high. During the eleven tracks that comprise Philadelphia Freedom, M.F.S.B are in full flight, fusing funk, soul, jazz and disco seamlessly. They never missed a beat during the eleven tracks, with the Baker, Harris, Young rhythm section providing Philadelphia Freedom’s heartbeat. Along with musicians of the standard of guitarist Bobby “Electronic” Eli, keyboard player Ron “Have Mercy” Kersey, percussionist Larry Washington, vibes virtuoso Vince Montana Jr. vibes and violinist Don Renaldo M.F.S.B. demonstrated just why they were the greatest house-band of the seventies. By the time Philadelphia Freedom was released in June 1976, many of the original lineup of M.F.S.B. had left Philadelphia International Records after a dispute with Gamble and Huff over money. Their destination was New York and Salsoul Records, where they became The Salsoul Orchestra, and went on to releases numerous albums as The Salsoul Orchestra, while accompanying Loleatta Holloway, First Choice, Double Exposure and many more. These musicians went on to make Salsoul the greatest label in disco’s era. They played their part of the success story of two of the greatest labels in music, Philadelphia International Records and Salsoul Records. When M.F.S.B. released their next album Summertime, it was a very different lineup of M.F.S.B. Although M.F.S.B. Mk 2 went on to release further albums and accompany the label’s roster of artists, the original lineup of M.F.S.B. was the best and most successful, releasing classic albums like Love Is the Message, M.F.S.B. and Philadelphia Freedom, where you’ll hear M.F.S.B. in full flight, a sound that truly, is a majestic experience and a joy to behold. Standout Tracks: Get Down With The Philly Sound, South Philly, Ferry Avenue and Brothers And Sisters.
M.F.S.B.-PHILADELPHIA FREEDOM.
SAM RECORDS EXTENDED PLAY-MIXED BY JACQUES RENAULT.
SAM RECORDS EXTENDED PLAY-MIXED BY JACQUES RENAULT.
Sometimes, I wonder whether the music industry sets out to take advantage of loyal fans. Too often, the same albums are constantly rereleased, usually under the premise of remastering the album or celebrating the twentieth or thirtieth anniversary of its release. Come Christmas, Greatest Hits and Best of compilations are churned out. Even if the nearest the artist or band has come to a hit is number thirty in the US AOR charts in 1976, record companies feel the need to celebrate this and unfortunately, share this with us…at a price. Then there’s compilations, which I always categorize as the good, the bad and the ugly. Now I enjoy compilations, and often, have discovered some fantastic music on compilations. However, sometimes, the same music can be found the same compilations, albeit with different titles and on different labels. This can be really frustrating, especially if you did what I what I did recently. I’d been looking at the forthcoming releases, seeing whether there was anything interesting being released. It was then that I came across an album that looked interesting. The details were sketchy, there was neither a track listing, nor even photo of the album cover. All it said was SAM Records Extended Play. So I did some digging about and came across an album of the same name released a few years ago. Maybe it was a reissue of that compilation? As I didn’t have a copy, I took a chance and bought it. You can imagine my horror this morning when I discovered that this compilation was one that had recently been released earlier this month on a different label. What I’d bought was SAM Records Extended Play-Mixed By Jacques Renault, released by Nervous Records. Unfortunately, this was the same mix that featured on Disc Two of Mixology-SAM Records Extended Play.
Mixology-SAM Records Extended Play, was the second instalment in Harmless’ excellent Mixology series, which was released on 20th August 2012. It’s a double album, with Disc One featuring eleven reedits and remixes, plus another two on Disc Two and a thirteen-track mix by Jacques Renault, the same mix that features on Disc Two of Mixology-SAM Records Extended Play. Now I wasn’t best pleased about this and if I’d seen the track listing before I bought the album, I’d have realized it was the same album. Looking at SAM Records Extended Play-Mixed By Jacques Renault, it has been released by Nervous Records, a US label. Even the photo of Jacques on both albums is the same. Now this is the first time I’ve come across two labels releasing the same albums, or at least part of the same release a week apart. Having bought SAM Records Extended Play-Mixed By Jacques Renault, I thought I might as well review the album, just to ensure this is indeed the same mix? Given the track listing on SAM Records Extended Play-Mixed By Jacques Renault is the exact same as on Mixology-SAM Records Extended Play-Mixed By Jacques Renault, I was pretty sure that this was the same mix. Was that the case? That’s what I’ll find out by telling you about the highlights of SAM Records Extended Play-Mixed By Jacques Renault.
The track that opens SAM Records Extended Play-Mixed By Jacques Renault, is one of SAM Records’ biggest hits, Vicki D’s This Beat Is Mine. Released in 1981, this gave Vicki D a worldwide hit. Pounding drums, percussion and whispered vocals combine as the track starts to reveal its secrets and surprises. A mixture of yelps, handclaps, rhythm section and keyboards combine before Vicki unleashes a sassy, vampish vocal. Sometimes, her vocal is swathed in echo, while the rhythm section add funk and keyboards give the track its boogie sound. For nearly eight minutes, Vicki D’s vocal is at the heart of the track’s success, as producers Gary R. Turnier and Andre Booth fuse funk, disco and boogie. In doing so, they create a track that’s dramatic and catchy, classic dance track.
One of SAM Records’ biggest acts in the label’s early days were John Davis and The Monster Orchestra. They released Up Jumped the Devil in 1977. The version chosen is the 6th Borough Project’s Jumped Up Jam, where the track’s extended to nearly nine minutes. The Monster Orchestra featured M.F.S.B.’s Bobby Eli, percussionist Larry Washington and Don Renaldo’s Strings and Horns, plus the Sweethearts of Sigma backing vocalists. Percussion, rhythm section and guitars combine, before John’s dramatic vocal enters. Not only do the Sweethearts of Sigma add punchy, soulful backing vocals, but share the lead vocal. Later, Don Renaldo’s Strings and Horns play an important part in the track’s bold, dramatic sound. Strings sweep and swirl, while horns rasp and growl. With percussion, pounding rhythm section and a proliferation of percussion combining, one of the highlights of the compilation reveals its drama and majestic sound.
Gary’s Gang released their most successful single Keep On Dancing in 1979. The version chosen is Todd Terje’s Remix. Pounding drums, percussion and swathes of keyboards are combined as the introduction is extended. Todd Terje teases and tantalizes, unleashing a seemingly never ending groove that has you spellbound. You’re swept along atop layer upon layer of keyboards and synths, while a pulsating, punchy beat ushers in the vocal. Even the vocal is used to tease the listener. The same line is repeated, becoming part of the track’s hypnotic and timeless sound, which now includes bursts of whistles, synths and a myriad of percussion. Here, Todd Terje gives the track a complete makeover. However, he had a good starting point with the original track. The result of his remix is a track that has an uplifting, joyous and contemporary sound. It’s hard to believe it’s over thirty years old.
Convertion’s only release for SAM Records was Let’s Do It, released in 1980. From Convertion, the Universal Robot Band and Logg were born. Produced by Greg Carmichael, the track features Leroy Burgess’ lead vocal and virtuoso keyboard skills. His vocal is almost rapped, while his keyboards are central the track’s sound and success. Percussion, rhythm section and then backing vocalists sweep in. They add tight, soulful harmonies, before the keyboards, percussion and rhythm section head for a prolonged breakdown, where delay adds to the drama of the track. During this innovative, percussive heavy track, the keyboards have an Italian Piano House sound. Sam Weiss’ failure to agree a longer deal for Convertion would prove costly. They signed to Salsoul, becoming Logg, who’d enjoy much more commercial success on disco’s premier label…Salsoul.
K.I.D. released Don’t Stop in 1981. The version chosen is the Runaway Remix. From the opening bars, you can hear how dance music had changed since 1979, and the Disco Suck’s backlash. Gone are the lush strings of disco, with a much more electronic sound replacing it. Keyboards, synths and crunchy beats combine, while punchy backing vocals and an almost haunting, sinister vocal soars above the arrangement. Marauding drums and stabs of synths replace the vocal, before it reenters, displaying a different type of soulfulness. Although many people would criticize tracks like this as soulless, to me that isn’t case. Instead the track has a compelling, hypnotic and electronic soulfulness, which thirty-one years later, has aged well.
Mike and Brenda Sutton were originally signed to Motown, but would release three singles for SAM Records. Don’t Let Go of Me (Grip My Hips and Move Me) was their biggest single. Clinton Houlker’s edit of the track features here, and transforms the track with a 21st Century edit. Although I’m far from a fan of edits, I like this one. Pounding drums, squelchy synths and crashing, flying cymbals are combined before the vocal is unleashed. Bursts of the punchy, dramatic vocal are added, as the drama builds. Swathes of synths cascade, as drums crack and pound, testing the tolerance of your speakers. The vocal is a mixture of sass, drama and power. Clinton repeats parts of the vocal, using it to tease the listener mercilessly. He then deploys filters to add to the drama. Having locked into a groove, Clinton exploits it fully and quite masterfully, resulting in new life and meaning being brought into an old track.
It’s as if the best track on SAM Records Extended Play-Mixed By Jacques Renault has been kept until last. John Davis and The Monster Orchestra’s version of the Ashford and Simpson classic Bourgie, Bourgie. This one of the real classics from the SAM Records’ back-catalogue and is one of three tracks from John Davis and The Monster Orchestra. The Catz and Dogz Remix is very different from the original. It’s as if the remixers throw a series of never-ending series of curveballs. They’ve deconstructed, then reconstructed the original, resulting in a spacious, dramatic track, where snippets of the track are unleashed. Bursts of the rhythm section, vocals, percussion and keyboards escape from the arrangement, allowing you to hear snapshots of the original. Then crunchy drums, echoey keyboards and bewitching vocals join the mix. They play their part in what’s best described as an atmospheric, alluring ambient exploration of the original, with elements of broken beat added for good measure. Although described as a remix, so different from the original, it’s more like a reproduction, and something new and quite leftfield.
Having wondered whether SAM Records Extended Play-Mixed By Jacques Renault released by Nervous Records and Harmless Records Mixology series Mixology-SAM Records Extended Play are identical musical twins, who were separated at birth, that sadly, seems to be the case. Much as I really enjoyed SAM Records Extended Play-Mixed By Jacques Renault, that this is the case, is something of a disappointment. Having said that, Jacques a hugely talented DJ, whose mixing is smooth and seamless. Jacques Renault lays down a seamless, peerless mix of the thirteen tracks. Her mixing is smooth, never missing a beat and seamlessly weaving the thirteen tracks into a majestic musical tapestry. The thirteen tracks she mixes are innovative, creative and inventive. Now this is indeed high praise from me, as I’m someone whose not a fan of reedits and sometimes, not overly impressed for what now passes for remixes. Why I hear you ask?
Reedits and remixes, can bring a new twist and new life to familiar and classic tracks. However, reedits aren’t something that I’m a huge fan of. They can be very much a hit and miss affair. Sadly, every wannabe DJ wants to reedit tracks and is being encouraged to do so. Usually, these reedits are just cut and paste jobs, with effects and filters added. Even supposedly experienced DJs who think reedits are a shortcut to doing remixes, lack the required creativity and talent. Why these poor deluded fools even decide to upload their remixes is beyond me? They should have their copies of Soundforge confiscated and made to sit on the naughty step for miscreant DJ whose egos outweighs their talents. So, as someone whose heard way too many third rate reedits, and often thinks of reedits as a poor man’s remix, I can honestly say I thoroughly enjoyed the reedits on SAM Records Extended Play. They were innovative, creative and inventive, breathing new life and meaning to much loved tracks.
Similarly, the remixes are innovative, creative and inventive, none more so than Todd Terje’s remix of Gary’s Gang Keep On Dancing and the Runaway Remix of K.I.D’s Don’t Stop. One of the most compelling and imaginative remixes is The Catz and Dogz Remix of John Davis and The Monster Orchestra’s Bourgie, Bourgie. During the track, it’s impossible to second-guess where the remixers are taking the track. You certainly weren’t expecting what Catz and Dogz come up with. You’re taken an a fascinating journey, where surprises aplenty are in-store.
So having told you about SAM Records Extended Play-Mixed By Jacques Renault, and having previously told you about Mixology-SAM Records Extended Play, my advice is buy Mixology-SAM Records Extended Play, as it’s a double-album featuring the thirteen tracks and Jacques Renault’s seamless mix. Just don’t make my mistake and end up with two copies of Jacques Renault’s mix. Whether you buy Mixology-SAM Records Extended Play or SAM Records Extended Play-Mixed By Jacques Renault, it’s an opportunity to revisit and rediscover one of the most important, influential and innovative labels in the long and illustrious history of dance music. Standout Tracks: John Davis and The Monster Orchestra’s Jumped the Devil, Gary’s Gang Keep On Dancing, Convertion’s Let’s Do It and K.I.D’s Don’t Stop.
SAM RECORDS EXTENDED PLAY-MIXED BY JACQUES RENAULT.
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JACKIE MOORE-WITH YOUR LOVE.
JACKIE MOORE-WITH YOUR LOVE.
It was during the recording sessions for Jackie Moore’s 1973 album Sweet Charlie Babe that Jackie first met Philly guitarist and producer Bobby Eli. In 1973, Bobby was a member of M.F.S.B., Philadelphia International Records’ legendary house band. Two years later, after a dispute over money, Bobby Eli and other members of M.F.S.B. Bobby Eli left Philadelphia International Records in 1975, The Salsoul Orchestra. This saw Bobby Eli become a member of two of the greatest house-bands in musical history. By 1978, when Jackie Moore signed to Columbia, Bobby Eli had forged a successful career as a producer. Among the groups Bobby had produced were Blue Magic, Major Harris and Brenda and The Tabulations. So, it was no surprise that Jackie specified that Bobby Eli produced her Columbia debut, I’m On My Way. While I’m On My Way reached number forty-five in the US R&B Charts in 1979, it featured This Time Baby, which gave Jackie Moore a number one single in the Club Play Charts. Since then, This Time Baby has become a stonewall disco classic, and become synonymous with Jackie Moore. A year later, in 1980, Jackie Moore would release her second album for Columbia, With Your Love. Again, Bobby Eli produced the album, but since I’m On My Way was released, the musical landscape had changed drastically. Disco was no longer as popular. Suddenly, disco sucked and disco artists were something of a hot potato. How would this affect Jackie Moore’s fourth album and second album for Columbia With Your Love?
For Jackie’s post-disco album, eight tracks were chosen. Producer Bobby Eli cowrote four of the tracks, three with Jeffrey Prusan. Bobby also cowrote Love Won’t Let Me Wait with Vinnie Barrett, which saw Jackie sing a duet with Winifred “Blue” Lovett of The Manhattans. Of the other tracks, Holland, Dozier, Holland cowrote Helpless, William Neal and Diane Bernstein penned Just To Be With You (I Would Be In Heaven) and Brad Shapiro and Wilson Pickett Jr. contributed Don’t Know My Love. These tracks would be recorded at the Sigma Sound Studios in New York and Philadelphia, along with some of Philly’s most talented musicians.
Joining Jackie Moore and producer Bobby Eli were some of Philly’s greatest musicians. This includes guitarists Dennis Harris, T.J. Tindall, drummer Keith Benson and bassist Jimmy Williams. Then there was Lenny Pakula and Cotton Kent on keyboards, percussionist Larry Washington and Don Renaldo and The Philadelphia Horns and Strings. Adding backing vocals were the legendary Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson.These musicians and backing vocalists recorded the eight tracks at Sigma Sound Studios in New York and Philadelphia. Once the eight tracks that comprise With Your Love were recorded, the album was released in 1980.
On the release of Jackie Moore’s second album for Columbia, With Your Love in 1980, the album failed to match the success of I’m On My Way. Nor did the singles match the success of This Time Baby. Sadly, this lead to Jackie Moore being dropped by Columbia. This wasn’t unusual for the time. Whereas previously, labels would’ve given an artist another chance to redeem themselves, not now, not since disco’s demise. Similarly, soul and funk wass decreasing popularity, labels were dropping disco, soul and funk artists whose music wasn’t selling in the same quantities as before. Jackie Moore sadly, was a victim of the times. However, if With Your Love had been released a couple of years earlier, would it have been a commercial success? That’s what I’ll tell, after I’ve told you about the music on With Your Love.
Opening With Your Love is Helpless penned by Holland, Dozier and Holland. It’s an uptempo dance track that literally bursts into life. The rhythm section, guitars and percussion drive the arrangement along, while Don Renaldo and The Philadelphia Horns and Strings are at the heart of the track’s sound. Jackie’s vocal is a mixture of power and emotion, while the Sweethearts of Sigma accompany her. Strings sweep and swirl, while horns rasp as Jackie’s vocal is soulful, reminiscent of a late sixties, early seventies sound. Key to the track’s sound and success is the interplay between Jackie and the soaring, Sweethearts of Sigma. Holland, Dozier and Holland’s name is written all over this hook-laden track, while Bobby Eli’s production is a mixture of emotion and drama.
As Just To Be With You (I Would Be In Heaven) begins, straight away, Jackie has your attention. Her powerful, voice soars high above Bobby Eli’s arrangement, while tight dramatic and soulful Sweethearts of Sigma augment her vocal. The punchy, funky rhythm section, keyboards, lush cascading strings and bursts of blazing horns accompany Jackie as she delivers an impassioned, diva-seque vocal. She strides through the track, delivering one of her best vocals on With Your Love, with the Sweethearts of Sigma playing an important part in the track’s sound. Bobby Eli’s multi-talented band also play a crucial part in the track’s success, especially Don Renaldo and The Philadelphia Horns and Strings, plus the rhythm section of drummer Keith Benson, Jimmy Williams and Dennis Harris provide the track’s heartbeat. Their contribution plus Jackie Moore’s diva-esque performance make this one of the album’s highlights.
On Love Won’t Let Me Wait, Winifred “Blue” Lovett The Manhattans’ join Jackie on a track written by Bobbie Eli and Vinnie Barrett. Woodwind, Larry Washington’s percussion, Lenny Pakula’s keyboards and sensual saxophone solo gives way to Winifred’s deep, sultry vocal. Then Jackie’s heartfelt, needy vocal enters with the Sweethearts of Sigma reflecting the heartache and desire in her vocal. Meanwhile, Bobby Eli’s arrangement perfectly compliments Jackie’s vocal. He keeps the tempo slow, combining lush strings, keyboards, a thoughtful rhythm section and the Sweethearts of Sigma. His coup de grace is a beautiful saxophone solo that adds to the emotion, beauty and heartache of the track.
Walk Away From Love is the first of a trio of tracks which Bobby Eli and Jeffrey Prusan cowrote. It’s another uptempo dance track, which occasionally sounds like a close relation of This Time Baby. After that, you’re swept away above lush sweeping, swirling strings, while a pounding rhythm section and rasping horns combine with Jackie’s sassy, confident vocal. The Sweethearts of Sigma add some of their best harmonies. They’re tight, punchy and soar above the arrangement, in time with the strings. Jackie and the whole band seem to raise their game and this results in a glorious sounding track, one that if it had been released a couple of years earlier, would’ve filled many a dance-floor.
Take A Stand is another of the Bobby Eli and Jeffrey Prusan penned tracks. Jimmy Williams funky bass opens the track, before a myriad of cascading strings, funky rhythm section and growling horns combine with Jackie’s powerful, feisty vocal. The Sweethearts of Sigma tight harmonies sweep in, while the pounding rhythm section provides the track’s funky heartbeat. As Jackie’s vocal is carried along amidst the strings, backing vocals and rasping horns, she delivers a powerful, swaggering vocal that’s brimming with confidence. Bobby Eli’s arrangement sees him fuse Philly Soul with elements of disco and funk, and in doing so, provide the perfect backdrop for Jackie Moore’s swaggering vocal.
The tempo drops on the title-track With Your Love, the last of the trio of Bobby Eli and Jeffrey Prusan compositions. It allows Jackie to return to her soulful roots, and demonstrate just how good she is at delivering a ballads. With a piano, slow rhythm section, weeping guitars and the Sweethearts of Sigma accompanying Jackie’s tender, heartfelt vocal. Her vocal is full of regret and resignation, while strings flourishes of harp add to the emotion and bursts of electric guitars add drama. While this is quite different to the other tracks on With Your Love, it demonstrates another side of Jackie Moore, where she breathes life meaning and emotion into a track.
Don’t Knock My Love sees a return to the uptempo style of music that prevalent on the first six tracks. Bobby Eli’s band kick loose. The rhythm section and guitars drive the track along, while Don Renaldo and The Philadelphia Horns and Strings, and Larry Washington’s percussion combine. Strings dance, quivering and shimmering, while horns rasp and blaze. Jackie struts her way through the track, like a disc diva, while the Sweethearts of Sigma surpass themselves. Their harmonies are tight, dramatic and punch, soaring soulfully above the arrangement, the perfect accompaniment for Jackie. Sometimes, they almost steal the show, as horns rasp and strings swirl. So good is this track, that it’s almost worth buying With Your Love to hear it. It would’ve been the perfect track to close the album. After all, it’s better to leave an audience wanting more?
Closing With Your Love is a medley of two tracks You Needed Me and I Honestly Love You. After the last blistering track, this descent into AOR is somewhat unexpected. However, with the rhythm section playing slowly, while lush strings and gospel tinged backing vocals from the Sweethearts of Sigma Jackie delivers a heartfelt vocal full of emotion and sincerity. As the track progresses, Bobby Eli builds the drama. He uses the rhythm section, weeping guitars, lush strings and keyboards to do so. Jackie puts her heart and soul into the track, delivering it with a mixture of power, emotion and drama, ably assisted by the Sweethearts of Sigma. This results in a quite beautiful and emotional way to end With Your Love.
Jackie Moore’s second and final album for Columbia With Your Love is one of these albums that had the misfortune to be released at the wrong time. Released in 1980, a year after the Disco Sucks backlash, With Your Love was released to an apathetic audience for disco, soul and funk albums. That meant that this hidden gem of an album failed to find the audience it deserved. While her previous album, 1979s I’m On My Way had been a commercial success reaching number forty-five in the US R&B Charts in 1979, and featured This Time Baby, which gave Jackie Moore a number one single in the Club Play Charts, With Your Love failed commercially. Given the quality of Bobby Eli’s production, plus the performance from his multi-talented band and legendary backing vocalists the Sweethearts of Sigma, With Your Love deserved to be a commercial success. Sadly, all too often, quality music isn’t a commercial success, for many different reasons. After this, Jackie Moore was dropped by Columbia, and since then has continued to perform regularly. In the thirty-two years since With Your Love’s release, its charms, subtleties and hook-laden sound has gradually found a wider audience.
For anyone whose looking to discover With Your Love, a word of warning. With Your Love is available on CD, but the sound quality isn’t the best. Listen carefully, and you can hear crackle and hiss on several tracks. This makes me surmise that rather than the original master tapes being used, this CD was mastered from vinyl. So, if like me you’re something of an audiophile, this CD isn’t for you. Best just look out for a good quality vinyl copy. All too often, I’m coming across reissue record companies who aren’t using the original master tapes. This was a practice I thought was gradually disappearing. Sadly, this isn’t the case. So, for anyone wanting to hear Jackie Moore’s second and final album for Columbia, take my advice, and look out for a good quality vinyl copy of I’m On My Way. Then you can revel in the Philly drenched sound of Jackie Moore on the eight tracks of With Your Love. Standout Tracks: As Just To Be With You (I Would Be In Heaven), Walk Away From Love, Take A Stand and Don’t Knock My Love.
JACKIE MOORE-WITH YOUR LOVE.
GO GO GET DOWN-COMPILED BY JOEY NEGRO.
GO GO GET DOWN-COMPILED BY JOEY NEGRO.
Usually, at this time of year, the compilation market is at its most buoyant, with record labels releasing some of their best compilations of the year. This year things have been unusually quiet, with quality compilations being the exception rather than the rule. Apart from a few independent labels, who consistently release quality innovative and interesting compilations, the compilations market is something of a cultural desert. For me, this has been hugely disappointing. Part of the problem is major labels who have access to some fantastic back-catalogues available, seem to ignore compilations, meaning we’re denied access to some music that deserves a wider audience. Instead, major labels prefer to release albums by the “usual suspects.” By the usual suspects, I mean all those washed up sixties and seventies acts whose music seems to be released every other year. Sadly, record labels release this music to a salivating, sniveling mainstream music press, who trot out yet another fawning article about these releases. With major labels ignoring the quality compilation market there missing commercial opportunities. For example, I’ve been looking for a decent Go Go compilation, but never could find one. After the recent death of the Godfather of Go Go, Chuck Brown in May 2012, and a resurgence of interest in Go Go afterwards, I’d have thought there would be a market for a quality Go Go compilation? Sadly, that wasn’t the case. Then a couple of weeks ago, I came across Go Go Get Down-Compiled By Joey Negro, double-album featuring twenty-four tracks. Was my search for a quality go go compilation over? That’s what I’ll tell you, when I tell you about the highlights of Go Go Get Down-Compiled By Joey Negro.
Go Go Get Down-Compiled By Joey Negro is a double album featuring twenty-four tracks. This compilation was compiled by Joey Negro, and was released by ZR Records on 30th July 2012. The compilation features lengthy and detailed sleeve-notes from Sean P, whose an authority on Go Go. Given Sean P has been a collector and connoisseur of Go Go since 1981, he’s well qualified to comment. My only problem with the sleeve-notes were they weren’t in chronological order and the track-listings weren’t particularly detailed. It would’ve been helpful to know what label released each track and when.
Many of the tracks on Go Go Get Down-Compiled By Joey Negro are extremely rare tracks, released on small local labels. They’ve been long-forgotten by all but the most diehard collectors and of course, those who released the tracks. While many of the tracks are little known gems, there’s a track from the Godfather of Go Go, Chuck Brown and The Soul Searchers, Back It On Up. Given his untimely death in May 2012, and that he coined the term Go Go, this is a fitting tribute to a hugely talented musician, who sadly, doesn’t get the credit he deserves. However, there’s much more to Go Go Get Down-Compiled By Joey Negro than just that one track by Chuck Brown and The Soul Searchers, as you’ll realize when I tell you about the music on Go Go Get Down-Compiled By Joey Negro.
DISC ONE.
Disc One of Go Go Get Down-Compiled By Joey Negro has twelve tracks, from artists that include Little Benny and The Masters, Chuck Brown and The Soul Searchers, Donald Banks, Osiris, Familiar Faces, The Backlash and Jackie Boy & Natures Creation. These include tracks from little known artists, released on small regional labels that weren’t huge commercial successes, but found a small loyal following. Since their release, these releases have become extremely collectable and as a result, extremely valuable. Sourcing these tracks has been something of a labor or love for Joey Negro, and to save fans of Go Go the time and expense of finding these tracks, has collected them on Disc One of Go Go Get Down-Compiled By Joey Negro. However, what will be the highlights of Disc One of Go Go Get Down-Compiled By Joey Negro?
Little Benny & The Masters released Who Comes To Boogie in 1985 on the Jem-Rose label. When the track reached number thirty-five in the US R&B Charts in February 1985, Elektra picked the track up. With a new remix, the tracks was released nationwide. Who Comes To Boogie is the perfect track to open the compilation, with punchy, growling horns, a pounding rhythm section and percussion accompanying Anthony “Little Benny” Harley’s rapped vocal. Bursts of synths and tight, sweeping backing vocalists accompany the vocal, while some glorious horns and a punchy rhythm section are at the heart of the track’s sound and success. They play their part in making this one of the real highlights of Go Go Get Down-Compiled By Joey Negro, by a long chalk.
It would almost be remiss of me not to mention Chuck Brown and The Soul Searchers’ Back It Up, released in 1982 on the Featherbed label. Chuck later recorded the tracks Sho’ Yuh Right (Back-It On Up) in 1985. For anyone wanting to hear the Godfather of Go Go Chuck Brown, then this tough, tantalizing funky track is a good place to start. With The Soul Searchers producing a uber-funky backdrop, Chuck is like a joyous cheerleader, driving the track along. His vocal style is reminiscent of James Brown, the Godfather of Funk. Meanwhile swathes of synths and handclaps accompany the funky-laden rhythm section, percussion and blazing horns. Backing vocalists respond to Chuck’s call, as the James Brown influence increases. While both men were Godfathers of their chosen genres, they both released some gloriously funky music..and then some.
Rare Essence released Body Moves, their debut single in 1981 on Groove Records. The tracks was produced by none other than Chuck Brown and recorded at Philadelphia’s Sigma Sound Studios, where all the Gamble and Huff, Thom Bell and Salsoul albums were recorded. Drums pound while percussion, crashing cymbals and synths combine. Slowly, the track reveals its secrets, when synths and a pulsating bass line join the mix. The vocal is delivered urgently, as elements of seventies soul and funk is combined witg early eighties synth and rap. There’s everything you could want on a Go Go track and more. Rasping horns, handclaps, a tight, funky rhythm section, keyboards and of course the vocal. They all play their part in making this an irresistible sounding track.
Jackie Boy and Natures Creation Dab Wet’s This Groove Is Made For Funkin’ is my final choice from Disc One. This near nine-minute epic was hidden away on the B-side of Freak Unique, a single they released on Washington’s Capitol Hill Records. Joey Negro deserves credit for unearthing this gem of a track. It’s a track that represents everything that’s good about Go Go. Just synths and the rhythm section that accompany the bravado-laden introduction. Bursts of growling horns and backing vocalists accompany Jackie Boy’s sassy vocal. This track demonstrates how to use synths successfully in a track like this. They’re key to the sound, along with frenzied horns, backing vocals and of course Jackie Boy’s vampish vocal. For nearly nine majestic minutes, you’re transported back to early eighties Washington, when Go Go was King.
Although I’ve only mentioned four of the tracks from Disc One of Go Go Get Down-Compiled By Joey Negro, there’s much more to Disc One than four tracks. Tracks like Donald Banks’ Status Quo, Expression’s Release Disco, Static Disruptors’ DC Groove and Am-FM’s You Are The One deserve mentioning. Each of these tracks are good examples of Go Go in its various guises. When you hear some of the tracks on Go Go Get Down-Compiled By Joey Negro, you wonder why they never found a much wider audience? Two tracks in particular, Chuck Brown and The Soul Searchers’ Back It Up and Jackie Boy and Natures Creation Dab Wet’s This Groove Is Made For Funkin’ prove this point. Considerin Jackie Boy and Natures Creation Dab Wet’s This Groove Is Made For Funkin’ was only a B-side, you wonder what the A-side was like, given how good the B-side is? Only two tracks on Disc One disappointed, EU’s Rock Yer Butt and Osris’ War (On The Bull Shit). To me, they lacked the quality of the other tracks on Disc One. However, most of the music on Disc One of Go Go Get Down-Compiled By Joey Negro are good examples of Go Go, will that be the case on Disc Two?
DISC TWO.
On Disc Two of Go Go Get Down-Compiled By Joey Negro there are another twelve tracks unearthed by Joey. This includes tracks from Davis Pinckney Project, Trouble Funk, Code Red, Class Band, The Soul Searchers, CJ’s Uptown Crew and Jim Bennett & His Bumpin’ Crew. My only quibble about Disc Two is the inclusion of two more tracks from EU. Surely given how many other artists could’ve been included, and whose music have found a wider audience, was it really necessary to include three tracks from the same artist? Like the twelve tracks on Disc One, many of these tracks are really rare and would cost you a King’s fortune to buy, even it was possible to find them. Having said that these tracks are rare, sometimes, rarity doesn’t equate to quality. So, will rarity equate to quality on Disc Two of Go Go Get Down-Compiled By Joey Negro?
Trouble Funk were a Washington Go Go group who released four studio albums during the eighties. They’re one of the most successful groups on the compilation, who built up a loyal following in both the US and UK. Get Down With Your Get Down is the perfect introduction to their music. The track has a tough, funky sound thanks to the rhythm section, swathes of eighties synths and percussion. Like other tracks, the vocal is delivered in an aggressive, rapped style. This contrasts with the melodic, hugely funky backdrop from what are a talented group of musicians. You only need to listen to the track once to realize that, especially Trouble Funk’s rhythm section and guitars. As a result, this is one of the highlights of Disc Two and a perfect example of Washington Go Go.
Anyone who likes Cameo, especially their early music will be drawn to Code Red’s Virginia Gone Go-Go. If you think of Cameo’s 1978 hit Insane, then you get the picture. The track literally bursts into life, with a myriad of percussion, keyboards, and growling horns combining, with punchy backing vocalists. Straight away, you realize that these are seriously talented musicians, as they combine elements of jazz, funk and soul. Later, you hear one of the best bass lines on the whole compilation, plucked and slapped, and playing a part on my favorite track on Disc Two. This is another of these tracks that makes you wonder why a group as talented as Code Red never made a commercial breakthrough?
CJ’s Uptown Crew reveal a quite different sound on Satisfaction Guaranteed. Their music lacks the aggression of other tracks on Go Go Get Down-Compiled By Joey Negro. Like Code Red, CJ’s Uptown Crew demonstrate a really talented group of musicians, capable of producing a slick, polished fusion of elements of jazz, funk and soul. Blazing horns open the track, while percussion and section rhythm combine with CJ’s vocal. Quickly, a really melodic, hook-laden track unfolds. Key to this are the vocal, punchy horns and rhythm section that provides the track’s heartbeat. It’s quite unlike other tracks on the compilation, and might not suit Go Go purists, but I love this track, so much that it’s six of the best minutes of Go Go Get Down-Compiled By Joey Negro.
The last track I’ve chosen from Disc Two of Go Go Get Down-Compiled By Joey Negro is Bump and Roll (Give Up The Funk) by Jim Bennett and His Bumpin’ Crew. This has a much tougher, edgier sound to tracks like Code Red and CJ’s Uptown Crew. Released in 1987, it’s sound is more for Go Go purists than these two tracks. With its aggressive, rapped vocal, banks of synths and pounding rhythm section, it’s a track that you could only date to the eighties. There’s a hip hop influence to the track, especially with the vocal. I really like the slapped bass line and some of the synths on the track, and they play their part in making this a catchy, memorable track.
While I’ve only mentioned four the twelve tracks on Disc Two of Go Go Get Down-Compiled By Joey Negro, these four tracks demonstrate just how rich and varied Go Go’s history is. Different types of music are referred to as Go Go and the tracks by Trouble Funk, Code Red, CJ’s Uptown Crew and Jim Bennett and His Bumpin’ Crew show the different sides to Go Go. There’s more to Disc Two than a mere four tracks, with several other tracks deserving a mention. This includes The Soul Searchers’ brilliant Boogie Up The Nation and Class Band’s horn driven Welcome To The Go-Go. Like Disc One, a couple of tracks let Disc Two down. Ovation’s Boogie Groove (You Got To Do It) is one of the rarest tracks on Go Get Down Compiled By Joey Negro, but sadly here, rarity doesn’t equate with quality. Sadly, Dr Skunk Funk’s Skunk Funk Go-Go which is the newest track on the compilation disappoints too. Released in 2004, the track sounds like a Go Go tribute act. It just isn’t as good as many of the other tracks and is disappointing way to close Go Go Get Down-Compiled By Joey Negro. My only other quibble was why include two further tracks by EU feature on Disc Two? Apart from this, Disc Two of Go Go Get Down-Compiled By Joey Negro contains an eclectic selection of music, all of which is referred to as Go Go.
Reading the sleeve-notes to Go Go Get Down-Compiled By Joey Negro, this compilation was very much a labor of love for Joey Negro. He deserves credit for showcasing such a wide spectrum of artists who played their part in Go Go’s rich and eclectic history. For too long, Go Go has been an overlooked genre of music, ignored by record companies big and small. Thankfully, Joey Negro’s rectified this with a quality compilation of Go Go, Go Go Get Down-Compiled By Joey Negro. While the definitive Go Go compilation has still to be released, this compilation will suffice until then. Of the twenty-four tracks on Go Go Get Down-Compiled By Joey Negro, I’d say that eighteen of the tracks really work. That’s a pretty good average, and for anyone looking for an introduction to Go Go, then Go Go Get Down-Compiled By Joey Negro is a good place to start and will introduce you to some of Go Go royalty. Standout Tracks: Chuck Brown and The Soul Searchers Back It Up, Rare Essence Body Moves, Code Red Virginia Gone Go-Go and CJ’s Uptown Crew Satisfaction Guaranteed.
GO GO GET DOWN-COMPILED BY JOEY NEGRO.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I DO.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I DO.
When Jerry Butler signed to Philadelphia International Records in 1978, it was a homecoming of sorts. Seven years previously, in 1971, Gamble and Huff and Jerry Butler ended what had been a fruitful working relationship. Now seven years later, the three men were older and wiser. Much had changed, and much water had passed under their bridges since then. With Gamble and Huff keen to add to Philadelphia International Records’ roster of artists, and Jerry Butler without a record contract, it seemed the musical gods were sending subtle messages that now, was the time to reconvene their musical partnership. So, Jerry Butler was signed to Philadelphia International Records, work began on his debut album for the label, Nothing Says I Love You Like I Do. Would the reunited Gamble, Huff and Butler’s first collaboration Nothing Says I Love You Like I Do prove a commercial success? After all, music had changed in the intervening seven years.
For Jerry Butler’s first album for Philadelphia International Records, Nothing Says I Love You Like I Do, Gamble and Huff and Jerry Butler cowrote seven of the album’s eight tracks. The other track, I’m Glad To Be Back, saw Jerry collaborate with Philadelphia International arranger Jack Faith and Joseph Jefferson, who’d penned so many of The Detroit Spinners’ biggest hits. These eight tracks would be recorded at Philly’s Sigma Sound Studios, where all of Gamble and Huff’s Philadelphia International Records’ albums were recorded.
At Sigma Sound Studios, Jerry Butler was accompanied by M.F.S.B. This was M.F.S.B. Mk.2, with the many of the original members of M.F.S.B. leaving Philadelphia International in 1975, after a dispute over money. So, M.F.S.B. Mk.2 included a rhythm section of included drummer Quinton Joseph, bassist James Williams and guitarists Roland Chambers, Dennis Harris and Bobby “Electronic” Eli. Percussionist David Cruse was joined by Leon Huff on keyboards and Don Renaldo’s Swinging Strings and Horns. The Sweethearts of Sigma backing vocalists, Carla Benson, Barbara Ingram and Evette Benton would play an important part in Nothing Says I Love You Like I Do’s sound. Arranging the tracks were John L. Usry Jr., who arranged the Gamble, Huff and Butler songs and Jack Faith who arranged and cowrote I’m Glad To Be Back. With the eight tracks on Nothing Says I Love You Like I Do recorded, would Jerry Butler’s collaboration with Gamble and Huff prove to a successful one?
Before the release of Nothing Says I Love You Like I Do in 1978, (I’m Just Thinking About) Cooling Out was released as a single. Although it reached number fourteen in the US R&B Charts, a single of that quality deserved a much higher chart placing. Then when Nothing Says I Love You Like I Do was released, it reached number 160 in the US Billboard 200 and number forty-two in the US R&B Charts. Again, this must have been frustrating for everyone concerned, but none more so for Gamble and Huff and of course, Jerry Butler. When the title-track Nothing Says I Love You Like I Love You was released as a single, it reached a disappointing number eighty-six in the US R&B Charts. While (I’m Just Thinking About) Cooling Out had given Jerry a top twenty US R&B single, Nothing Says I Love You Like I Do deserved to fare much better commercially, given the quality of music on the album, which I’ll now tell you about.
Nothing Says I Love You Like I Do opens with (I’m Just Thinking About) Cooling Out and straight away, you realize why this track was chosen as the lead single. This is the first of the seven tracks Jerry cowrote with Gamble and Huff. A combination of melodic keyboards, pounding rhythm section, guitars and lush cascading strings join rasping horns and tight, punchy backing vocals from the Sweethearts of Sigma. Their joyous soaring vocals give way to Jerry’s emotive, vocal. His vocal grows in power and emotion, while M.F.S.B. combine disco and soul. Strings shimmer and shiver, while bursts of blazing horns and a pounding bass anchors the arrangement. Key to the track are the Sweethearts of Sigma, whose interplay with Jerry is vital to the track’s uplifting, joyous and hook laden sound. It’s a glorious way to open Nothing Says I Love You Like I Do, especially with Leon Huff showboating on keyboards as the track heads towards its dramatic ending.
Let’s Make Love sees Jerry show that when it comes to bedroom ballads, that Teddy Pendergrass wasn’t the only artist on Philadelphia International capable delivering them with aplomb. He goes on to give a sensuous masterclass in bedroom balladry. From the opening bars, when strings quiver, and keyboards and the rhythm section enter, Jerry rolls back the years. Growling horns match the power and passion in Jerry’s needy vocal. Strings sweep and swirl, their lush sound contrasted by the horns and bass line. The finishing touch are the Sweethearts of Sigma, tender, beautiful harmonies. Together with jazz-tinged guitars, flourishes of piano and keyboards, M.F.S.B. mix drama and beauty, providing a suitable backdrop for Jerry’s impassioned, needy vocal.
The tempo drops on Sad Eyes, where Jerry’s delivers a heartfelt, wistful vocal against John L. Usry Jr.’s understated arrangement. A melancholy horn solo is joined by slow, sad strings before congas, keyboards and a subtle rhythm section accompany Jerry’s heartfelt vocal. Bursts of rasping horns punctuate the arrangement, before a beautiful saxophone drifts in and out. All to soon, it’s gone, but Jerry’s emotive, sincere vocal is the perfect replacement as he delivers one of his best vocals on Nothing Says I Love You Like I Do.
Mighty Good People sees a change of style on the track that closes Side One of Nothing Says I Love You Like. It’s an uptempo track, with a punchy, jaunty arrangement. It allows Jerry and M.F.S.B. to kick loose. Jerry’s vocal is stronger, but just as full of feeling and impassioned. He vamps his way through the track, while strings sweep and sweep, horns rasp and the rhythm section provide the track’s pulsating heartbeat. Flourishes of keyboards, punchy horns and cascading strings combine as Jerry gives another vocal masterclass, against a backdrop where Philly Soul and funk unite. Again, the Sweethearts of Sigma play an important part in the track’s sound and success, adding tight, tender and soaring harmonies, that are the perfect foil for Jerry’s power and passion.
I’m Glad To Be Back which seems to perfectly articulate Jerry’s feelings at being reunited with Gamble and Huff on Philadelphia International Records. It’s a jazz-tinged ballad, which sounds quite unlike anything that’s gone before. The reason for this is that Jerry cowrote the track with Jack Faith and Joseph Jefferson. Jack Faith arranges the track, while Jerry’s vocal is quite different. His vocal is slow and full of sincerity. Meanwhile, a pounding bass anchors the track, while M.F.S.B. take the track in the direction of jazz, combining blazing horns, keyboards and the rhythm section, as strings sweep. While this is a quite different sounding track, it shows another side of Jerry “The Iceman” Butler and his music, one I’d liked to have heard more of.
The second singles was the title-track Nothing Says I Love You Like I Love You, which features a pleading, heartfelt vocal from Jerry. With the tempo dropped way down, Leon Huff’s keyboards open the track, before Jerry’s vocal soars, a mixture of emotion and power. Strings sweep in, while drums pound and guitars are joined by the Sweethearts of Sigma. Their vocals are tight, impassioned and heartfelt, and a perfect accompaniment for Jerry’s moving, and soulful vocal. Meanwhile, the arrangement veers between an understated and dramatic sound, as this near seven minute Magnus Opus reveals its secrets, subtleties and not inconsiderable beauty. You only need to listen to this track once to realize it should’ve been a huge hit.
Like several tracks, Dream World opens with Leon Huff’s melodic keyboards, before pounding drums, swathes of lush strings and then Jerry’s tender vocal enters. It doesn’t take long to realize that this is another quality track from the Gamble, Huff and Butler songwriting team. Soon, John L. Usry Jr.’s arrangement grows, as he makes good use of the cascading strings, blazing horns and M.F.S.B.’s rhythm section. As the track progresses, Jerry’s vocal grows in power and passion, demonstrating that in the seven years since Gamble and Huff lasted with Jerry, he’d lost none of his talent to bring a song to life.
Are You Lonely Tonight closes Nothing Says I Love You Like I Love You Like I Do, Jerry Butler’s debut album for Philadelphia International Records. This is another of the album’s bedroom ballads, something Jerry does so well. While keyboards and the rhythm section open the track, swathes of the lushest strings and harmonies from the Sweethearts of Sigma accompany Jerry’s vocal. Their harmonies are crucial to the track’s emotive sound. Meanwhile, Jerry’s vocal is laden with emotion, sadness and regret. Bursts of punchy horns, jazz-tinged guitars, soaring harmonies and dramatic drums combine as the arrangement floats wistfully along, while a heartbroken Jerry delivers a vocal that’s needy and full of loneliness and longing. It’s the perfect track to close Nothing Says I Love You Like I Love You, and leaves you wanting to hear much more of Jerry Butler.
It seems almost unjust and tragic that Jerry Butler’s debut album for Philadelphia International Records’ Nothing Says I Love You Like I Love You Like I Do wasn’t a much bigger success. With music of the quality of the eight tracks on Nothing Says I Love You Like I Love You, that the album only reached number 160 in the US Billboard 200 and number forty-two in the US R&B Charts must have surprised and disappointed everyone involved in the project. Part of the problem was that by 1978, when Nothing Says I Love You Like I Love You Like I Do was released, albums by soul singers like Jerry Butler and Bobby Womack were no longer selling in such huge quantities. Music had changed, with disco now King. Even that would change in summer 1979, when the Disco Sucks movement tried to kill disco. However, given disco’s popularity in 1978, I’d have thought (I’m Just Thinking About) Cooling Out would’ve proved more popular than it did, reaching just number fourteen in the US R&B Charts. As regular readers of this blog will have realized, all too often, some fantastic albums are overlooked when they’re released. They remain hidden gems, known and loved only by a few people. Although Nothing Says I Love You Like I Love You Like I Do charted upon its release, it remains for far too long, an hidden gem in Philadelphia International Records’ back-catalogue, that deserves to be heard by many more people. After Nothing Says I Love You Like I Love You Like I Do, Jerry Butler only released one more album for Philadelphia International Records The Best Love. When it wasn’t a commercial success, Jerry waited until his contract with Philadelphia International Records expired and retired. His decision to retire was music’s loss. Thankfully, the two albums Jerry recorded for Philadelphia International Records, Nothing Says I Love You Like I Love You Like I Do and The Best Love, contain some fantastic music. It seems that although Gamble and Huff and Jerry Butler had spent seven years apart, the second coming of Jerry Butler resulted in Nothing Says I Love You Like I Love You Like I Do, which although not Jerry’s biggest commercial success, contains Jerry Butler at his very best. Standout Tracks: (I’m Just Thinking About) Cooling Out, Sad Eyes, Mighty Good People and Are You Lonely Tonight.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I DO.
IDRISSA SISSOKO-LOPILOPILO.
IDRISSA SISSOKO-LOPILOPOLO.
There are few people in music that work as hard as Boddhi Satva does, that I can say with a degree of certainty. Not only is he one of the hardest working men in music, but successfully juggles a variety of roles. Boddhi Satva is a DJ, recording artist, producer and owns his own record company Offering Recordings, for which he’s also the A&R man. So far, 2012 has been a busy and successful year for Boddhi Satva. 2012 started with Boddhi releasing Invocation In March, one of the most powerful, moving and beautiful albums of the year. He then followed this up with Invocation Instrumentals, which revealed a quite different and fascinating side to the songs on Invocation. As if 2012 hadn’t been a busy enough year having released two albums, and touring and continuing to DJ extensively, somehow, Boddhi found time to produce Sage Monk’s recent album Heartache Allegory, which was released by Offering Records as a free digital download. Like Invocation and Invocation Instrumentals, Heartache Allegory was an extremely powerful and emotional musical journey, a musical journey that was beautiful, uplifting and inspirational. Another of Boddhi’s roles in that of A&R man for Offering Recordings. It was whilst Boddhi Satva was carrying out this roles that Boddhi discovered Idrissa Sissoko in Mali. Having come across Idrissa Sissoko purely by chance, Idrissa played Boddhi just a few songs. Instantly, Boddhi realized just how talented Idrissa Sissoko is, and before the sun had set, Idrissa had signed his first recording contract. Since then, Idrissa Sissoko has recorded his debut album Lopilopilo, which will be released in September 2012 by Offering Recordings. Before I tell you about the music on Idrissa Sissoko’s debut album Lopilopilo, I’ll tell you about Idrissa Sissoko.
Idrissa Sissoko is a singer and poet, who was born in Kaye, Mali. His musical style has been influenced by the Griot bards. Griot bards much more that master storytellers, they’re hailed as historians, poets and musicians. Griot bards combine wit and satire with their knowledge of politics and history. This tradition in Mali stretches back to the fourteenth century, and can be found in other parts of West Africa. However, when Idrissa was younger, he left Mali, and headed to another part of Africa, Libya, in Northern Africa.
When Idrissa Sissoko arrived in Libya, it was to troubled times. Khaddafi was persecuting musicians, burning musical instruments. As musicians were persecuted, Idrissa had to endure both verbal and physical aggression. After a few years, Idrissa headed home to Mali. It was lucky he decided to do so, because in Mali he met the man who’d give him his first record contract…Boddhi Satva.
Neither Idrissa Sissoko nor Boddhi Satva went looking for each other in Mail. Instead, fate intervened. Boddhi came across Idrissa by chance. Idrissa played Boddhi a few songs and before the sun set that night in Mali, Idrissa Sissoko was had had signed his first recording contract. However, who is Idrissa Sissoko and what does he stand for?
The best way to describe Idrissa Sissoko is a man whose both charismatic and passionate. He uses his music share his vision and observations about Africa in a way that’s honest and innovative. Idrissa is something of a visionary and spokesperson for all of Africa and its diaspora. Neither defeat nor compromise are words in Idrissa’s vocabulary as he speaks of Africa and his hopes for the future and his fears about the poverty, violence and economic that blights Africa’s poorer regions. Sometimes, Idrissa uses humor as a means to get across the message he wants to share with the wider world. This humor can be heard in Idrissa’s music, along with passion, emotion and honesty on the six tracks on Lopillopilo.
Having recorded his debut album Lopillopilo, which will be released by Offering Recordings in September 2012, Wari was chosen as the lead single. Wari was released to critical acclaim earlier this year. Since then, people everywhere have been anticipating the release of Idrissa Sissoko’s debut album Lopillopilo, which I’ll now tell you about.
Opening Lopillopilo is the lead slngle Wari, which like the other tracks on Lopillopilo was written, arranged and produced by Idrissa Sissoko. It’s just Idrissa playing acoustic guitar that opens the track, before his impassioned, heartfelt vocal enters. This is a powerful and compelling combination, with Idrissa not just singing lead vocal, but harmonizing too. His vocal isn’t just emotive and impassioned, but soulful and deeply moving. You feel he’s chosen each word with the utmost care and attention, and as he delivers these lyrics believes in and means every word he sings.
On Dibi Idrissa’s fingers nimbly weave up and down the fretboards, as he plays a wistful, somewhat melancholy acoustic guitar solo. His vocal is full of emotion, as it grows in power. With just his trusty acoustic guitar accompanying him, Idrissa delivers one of his most fervent vocals, full of sincerity and intensity.
Lettre de Tripoli sees Idrissa draw upon his time and experiences in Libya, where he spent a few tumultuous years. Although it’s just Idrissa and his acoustic guitar that feature on this track, you can sense the pain and heartache that he endured during his time in Libya. As a musician, he was persecuted and had to endure physical and verbal assaults. All the hurt, pain and humiliation literally just pours out of Idrissa. It’s certainly powerful and dramatic, as he combines humor with anger and frustration. I hope for Idrissa in sharing his experiences, it was cathartic and cleansing too.
With just his acoustic guitar accompanying him as Lopilopilo begins, Idrissa effectively uses it to build up the drama. After a flourish of his guitar, he unleashes a loud guffaw then shares the subtleties and secrets of this song. As his vocal grows in power and passion, he delivers the lyrics with feeling and charisma. Although it’s just Idrissa accompanied by his guitar, this proves a powerful combination, especially Idrissa’s mixture of charisma and emotion, which proves uplifting and inspirational.
When Bassirou Sissoko opens with Idrissa passionately plucking his guitar, you sense the intensity and passion that’s about to be unleashed. Just by the effort and emotion Idrissa puts into playing his guitar, somehow, you realize that Idrissa’s vocal will be a heartfelt fusion of feelings, fervor and frustration. He doesn’t disappoint, delivering a dramatic, feisty vocal, where heartache and hope rise to the surface. As if overwhelmed and spent at having given so much of himself, his guitar then takes centre-stage. Idrissa’s playing is like his vocal, a mixture of power and passion that proves almost as powerful as his vocal.
Closing Lopilopilo is Yiri, where Idrissa plays with a similar power and intensity as the previous track. It’s as if he has so much to say and share, and so little time to do so. He’s so keen to get his message across that this comes out in his playing. His vocal is wholehearted and fervid, with the lyrics delivered, quickly with an urgency and intensity. This is what makes this track such a compelling and powerful one, one that’s also heartfelt and soulful.
Boddhi Satva’s chance encounter with Idrissa Sissoko truly was a fortuitous one. If it hadn’t taken place, then we’d never had the chance to experience Idrissa Sissoko’s music, the music that features on Lopilopilo. The music on Lopilopilo is best described as emotive, powerful, passionate and intense, but also, moving and soulful. It’s music that’s for the heart and the soul, music that’s cathartic, music that soothes and cleanses the soul. All these are similar qualities to the music on Boddhi Satva’s invocation and Invocation Instrumentals, and on Sage Monk’s Heartache Allegory. To this trio of stunning albums, you can add Idrissa Sissoko’s debut album Lopilopilo. This is a new type of soul music, one for the 21st Century, music where two cultures are united through music. Although Lopilopilo is only six tracks long, plus three remixes, it’s an incredibly intense, powerful and moving musical journey, that once you’ve experienced it, will want to relive and experience again. You’ll get the chance to embark on, and experience firsthand, this intense, powerful and moving musical journey, that is Idrissa Sissoko’s debut album Lopilopilo, which will be released by Offering Recordings in September 2012. Standout Tracks: Wari, Dibi, Lettre de Tripoli and Yiri.
IDRISSA SISSOKO-LOPILOPOLO.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
Having been discovered by bandleader Xavier Cugat Maria del Rosario Mercedes Pilar Martinez Molina Baeza, or Charo as she became, went on to become one of the highest paid performers in America during the early seventies. Reputedly, actress, singer and guitarist Charo was paid as much as Rat Pack members Frank Sinatra, Dean Martin or Sammy Davis Jr. Charo made her debut on American television on The Today Show, before becoming a regular on shows like The Love Boat, The Mike Douglas Show and a variety of chat shows. It was during this time that Charo’s catchphrase cuchi cuchi was first heard. By 1976, Charo signed to Salsoul Records and would release her debut album Cuchi-Cuchi. Cuchi Cuchi was a collaboration with the legendary Salsoul Orchestra and the first of three albums Charo recorded for Salsoul. Ole Ole was then released in 1978 with Dancing With Charo following in 1981. However, the album that launched Charo’s career was Cuch–Cuchi by Charo and The Salsoul Orchestra, which features The Salsoul Orchestra at the peak of their powers.
By the time Charo signed to Salsoul, she’d established herself as a talented singer and flamenco guitarist. For her debut she couldn’t have picked a better label than Salsoul, as some of the most talented songwriters, arrangers, producers and musicians called Salsoul home. This included Vince Montana Jr., who’d write two of the tracks on Cuchi-Cuchi and cowrote three other tracks. The two tracks Vince Montana Jr, wrote would become synonymous with Charo, Dance A Little Bit Closer and You’re Just the Right Size. Vince cowrote More of You and Only You (Can Make My Life Worthwhile) with Ronnie James and the title-track Cuchi-Cuchi with Ronnie Walker. The other five tracks were cover versions, including a cover of the Rolling Stone’s Let’s Spend the Night Together and Speedy Gonzales, originally recorded by Pat Boone. Charo and The Salsoul Orchestra would transform these tracks at Philadelphia’s Sigma Sound Studios.
When Charo and The Salsoul Orchestra headed to Philly’s Sigma Sound Studios, it was with some of the Americas best musicians. This included drummer Earl Young of Baker, Harris, Young rhythm section, bassist Michael “Sugar Bear” Foreman and guitarists Bobby “Electronic” Eli and T.J. Tindall. Ron “Have Mercy” Kersey and Cotton Kent played keyboards and Bill O’Brian played synths. Vibes supremo Vince Montana Jr, also played tympani, chimes, bells, vibraharp and marimba, while Larry Washington and Crusher Bennet played congas, timbales and bongos. Among the woodwind section was Jack Faith, playing flute and piccolo, while violist Don Renaldo was part of the string section. Adding backing vocals were the legendary Sweethearts of Sigma, Carla Benson, Barbara Ingram and Evette Benton. Arranging, conducting and producing Cuchi-Cuchi was Vince Montana Jr. Given how multi-talented the personnel accompanying Charo on Cuchi-Cuchi, would the album be a commercial success?
On the release of Charo and The Salsoul Orchestra’s Cuchi-Cuchi, the album reached number 100 in the US Billboard 200. Dance A Little Bit Closer was released as a single, reaching number eighteen in the US Dance Charts and number forty-four in the UK and in the process, becoming something of a Salsoul classic. However, what are the rest of the songs on Cuchi-Cuchi like? That’s what I’ll now tell you, when I tell you about the music on Cuchi-Cuchi.
Cuchi-Cuchi opens with one of the songs that have become synonymous with Charo’s time on Salsoul. Drums pound, before keyboards, a pounding bass line, lush strings and growling horns signal the arrival of Charo’s breathy vocal. She’s accompanied by blazing horns, vibes and swathes of lush strings that glide elegantly into the arrangement. Earl Young’s drums provide the track’s heartbeat, while backing vocalists accompany Charo. Later, her vocal becomes much more flamboyant, as disco and Latin music are fused seamlessly. By the end of this irresistible track, you realize a little Charo will brighten up your life.
On Let’s Spend the Night Together, Charo and The Salsoul Orchestra transform the old Rolling Stones track into something very different. There’s an easy listening feel to the arrangement, with congas, rasping horns and the rhythm section combining with Charo’s slow, sultry vocal. The Sweethearts of Sigma add tender backing vocals, as Latin percussion, jazz-tinged guitars and the lushest of strings combine. Earl Young’s drums add bursts of drama, as a myriad of Latin percussion is added to the arrangement. As easy listening and Latin music unite, and The Salsoul Orchestra are transformed into a lounge band, Charo’s delivers a breathless, sultry and needy vocal, that makes the track.
Borriquito see Charo and The Salsoul Orchestra combine flamenco and disco. As strings sweep and swirl, horns growl and the rhythm section provide the track’s Latin heartbeat, percussion and backing vocalists accompany Charo. She delivers an enthusiastic and rousing vocal in her native Spanish. This is uplifting and catchy, and something of a curveball after the previous two tracks.
More of You is one of two tracks Vince Montana Jr. and Ronnie James cowrote. It sees Cuchi-Cuchi head back to more familiar territory. The tempo is slower as strings cascade, while guitars, bongos, congas and a punchy rhythm section combine with rasping horns. Charo’s vocal is sassy and emotive, with the Sweethearts of Sigma adding tight, soulful harmonies. Meanwhile, a pounding rhythm section, swathes of quivering strings and braying horns provide the backdrop for Charo. This is a much better track than Borriquito, with Charo and The Salsoul Orchestra combining to create one of Cuchi-Cuchi’s highlights.
El Reloj (The Clock) sees Charo deliver a heartfelt, impassioned vocal, against a dramatic, string-drenched backdrop from The Salsoul Orchestra. Charo’s vocal is tinged with sadness and regret, at the thought of being parted from the man she loves. Providing the perfect backdrop, The Salsoul Orchestra combine percussion, piano and congas with the rhythm section, rasping horns and strings. This emotive arrangement works beautifully with Charo’s heartfelt, impassioned and emotive vocal on this moving, melancholy ballad.
Speedy Gonzales was previously recorded by Pat Boone, but not this way. Charo and The Salsoul Orchestra combine vibes and percussion with a punchy, pounding rhythm section. Together, they make the track swing, adding flourishes of dancing strings and soaring backing vocalists that are just the finishing touches to the Vince Montana Jr.‘s arrangement. Although this is just a throwaway slice of bubblegum pop, you can’t help but enjoy it, and anyway, it puts a smile on your face.
So good was Chora’s catchphrase, they named it twice and Vince Montana Jr. and Ronnie Walker wrote a song named after it, Cutchi-Cutchi. Earl Young’s pounding drums open the track, before strings sweep and swirl, horns growl and Spanish guitars combine. Chora’s dramatic, punchy vocal is joined by woodwind, percussion and tight, soaring harmonies from the Sweethearts of Sigma. By now The Salsoul Orchestra is in full flight, mixing disco, funk and Latin music. It’s an impressive sight and sound, with Charo’s vocal drifting in and out of the track, as horns blaze and strings cascade. Key to the track’s success is Vince Montana Jr,‘s arrangement and The Salsoul Orchestra’s performance.
Cookie Jar is another track that’s best described as throwaway bubblegum pop. The lyrics are probably the weakest track on Cuchi-Cuchi, but the track is saved by The Salsoul Orchestra’s performance. They provide a backdrop where strings dance, horns rasp and growl, while the pounding rhythm section and cooing harmonies from the Sweethearts of Sigma accompany Charo sultry, vampish vocal.
You’re Just the Right Size was written, arranged and produced by Vince Montana Jr. and gets the album back on track. Charo is at her sultry, sensuous best, accompanied the pounding, dramatic rhythm section, growling horns and lush strings. Soon, The Salsoul Orchestra have klcked loose and are in full flight, showing why they were the best house-band of the seventies. The bass anchors the track, as swathes of the lushest strings, keyboards and blazing horns provide the backdrop to Charo’s sensual, sultry vamp. This results in one of Charo’s best ever Salsoul recordings.
Closing Cuchi-Cuchi is Only You (Can Make My Life Worthwhile), written by Vince Monatan Jr, and Ronnie Walker. Layers of sad strings sweep and swirl, while congas, bongos and percussion combine with the dramatic rhythm section and Charo’s emotive, heartfelt vocal. As strings quiver and shiver, bursts of blazing horns, Spanish guitars and the Sweethearts of Sigma accompany what is Charo’s most moving and emotive vocals. It’s the perfect way to end Cuchi-Cuchi, where drama, emotion and beauty combine.
Cuchi-Cuchi, with its combination of disco, easy listening and Latin music, is an album that’s one that’s guaranteed to brighten your life. The Salsoul Orchestra don’t disappoint, weren’t in the habit of recording bad albums. Hearing The Salsoul Orchestra in full flight, like you do on Cuchi-Cuchi is a joy to behold. With their combination of the tightest of rhythm sections, blazing horns, lush dancing strings, Vince Montana Jr.’s vibes and guitarists like Bobby “Electronic” Eli T.J. Tindall you get the chance to hear the greatest house-band of the disco era. Add to this the Sweethearts of Sigma accompanying Charo and it’s no wonder that Cuchi-Cuchi is such an enjoyable album. Having said that, Cuchi-Cuchi will never be seen as a Salsoul classic. It’s a good album, but not a great album. Among the highlights of Cuchi-Cuchi are Dance A Little Closer, More of You, Cutchi-Cutchi, You’re Just the Right Size and the beautiful Only You (Can Make My Life Worthwhile) which closes Cuchi-Cuchi. After Cuchi-Cuchi Charo would release other albums, but Cuchi-Cuchi was the highlight of her career and features two songs that would become synonymous with Charo Dance A Little Closer and You’re Just the Right Size. For anyone who hasn’t heard Charo and The Salsoul Orchestra’s Cuchi-Cuchi, then it’s an album that’s quite different from much of the music Salsoul were releasing at this time, but is an album that contains some great music. Take my advice, Cuchi-Cuchi and a little Charo will brighten up your life. Standout Tracks: Dance A Little Closer, More of You, Cutchi-Cutchi and You’re Just the Right Size.
CHARO AND THE SALSOUL ORCHESTRA-CUCHI-CUCHI.
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.
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