MIXOLOGY-SAM RECORDS EXTENDED PLAY.

♦ August 1, 2012 ♦ Leave a comment

MIXOLOGY-SAM RECORDS EXTENDED PLAY.

Just over a year ago, in July 2011, Harmless Records released their first installment in their new Mixology series, releasing Mixology-The Definitive Salsoul Mixes. This triple album featured thirty-one tracks from disco’s premier label, Salsoul. Now the Mixology series will return on 20th August 2012, with Harmless Records turning their attention to another of disco’s most important labels SAM Records. Mixology-Sam Records Extended Play is a double album, with Disc One featuring eleven tracks, which are a combination of remixes and reedits. Disc Two of Mixology-SAM Records Extended Play features a further edit and remix, before the rest of the disc is given over to seamless mix from Jacques Renault. On the two discs some of SAM Records’ biggest acts can be heard. Vicki D, John Davis and The Monster Orchestra, Gary’s Gang, Rhyze and Mike and Brenda Sutton. Before I tell you about the highlights of Mixology-SAM Records Extended Play, I’ll tell you about the history of Sam Records.

When Sam Weiss founded SAM Records in Long Island City, New York in 1976, he was something of a veteran of the music industry. He’d been involved in the music industry since the late forties, when he and his brother Hy founded Parody Records. Although the company wasn’t a commercial success, and soon folded, the Weiss brothers persevered. Eight years later, in 1954, they founded Madison Records, which was primarily a vehicle for releasing R&B records. Soon, Madison was releasing soul, doo wop, pop, rock, soul and gospel. Madison continued right through until the late seventies. By then, Sam Weiss had founded another record label, Sam Records, which he specifically setup to cash in on disco’s popularity.

Having founded SAM Records in 1976, the nascent label released it’s first release the same year. Doris Troy’s Woman and The Ghetto was SAM Records’ first release, although John Davis and The Monster Orchestra’s Night and Day gave the label its first hit single, reaching the top five in the US. The following year, SAM Records would release their first twelve inch single, after Tom Moulton had inadvertently invented it.

John Davis and The Monster Orchestra’s I Can’t Stop had the honor of being SAM Records’ first twelve inch single. The next couple of years saw SAM Records release some of their most memorable and successful singles. This included releasing Lucy Hawkins’ Gotta Get Out Of Her and John Davis and The Monster Orchestra’s disco version of the Kojak Theme in 1978. Then came one of Sam Records’ best known tracks in 1979, Gary’s Gangs Keep On Dancing. However, the twelve-inch versions of these singles weren’t released on SAM. Instead, between 1978-1980 Sam Weiss decided to license the tracks to Columbia. For one of SAM’s artists, the Columbia deal was perfect. John Davis and The Monster Orchestra enjoyed commercial successes with Love Magic, a cover of Ashford and Simpson’s Bourgie Bourgie and Baby I’ve Got It. Similarly, Gary’s Gang found commercial success with Let’s Lovedance Tonight and Do Ya Wanna Go Dancin’? Once the deal with Columbia ended, twelve-inch singles were released on SAM Records again.

By the time the Columbia deal had expired in 1980, the disco boom was over. The Disco Sucks had caused disco’s demise. Neither record labels, nor record buyers were interested in buying music by disco artists. So with dance music evolving, so did the music SAM Records released. Among the groups that joined SAM Records and helped establish the label’s new sound were Rhyze and Convertion.

Covertion were produced by Greg Carmichael, with Leroy Burgess lead vocalist and keyboard player. He was joined by various members of his family, including his sister Rennee and adopted brother James Calloway. Convertion’s big hit was Let’s Do It. Sadly, after that, the relationship between Covertion and Sam Weiss broke down. When Convertion left SAM Records, Sam kept the name Covertion, which he owned the copyright to. Having said that, Convertion released one more track, the boogie classic Sweet Thing in 1983. By then, SAM Records had folded. After leaving SAM Records, Convertion became Logg and the Universal Robot Band.

The next two years, 1981 and 1982, proved to be busy and successful years for SAM Records. Among the artists that released tracks were K.I.D’s Don’t Stop and Vicki D’s This Beat Is Mine in 1981. Vicki D’s This Beat Is Mine, which was a worldwide hit. Sadly, her followup Mystery Lover, released in 1982 wasn’t as successful. Former Motown duo Mike and Brenda Sutton would release a trio of tracks for SAM Records. This started with 1981s We’ll Make It. Their other two releases were 1982s Don’t Hold Back and Don’t Let Go of Me, which gave them their biggest hit. It reached number thirty-seven in the US Disco Charts. Along with tracks from Komiko, Monica Neal, Soundtroupe, Kreamcircle and Greg Henderson, the rest of 1982 was just as busy as 1981 had been. Ironically, after two busy years, 1983 would prove to be the year SAM Records closed its doors.

During 1983, SAM Records’ final year in business, the label didn’t release as many releases as previous years. There were releases from Wardell Piper, who was something of a disco veteran, plus releases from Steve Shelto and Tony McKenzie. Klassique’s Somebody’s Loving You proved to be SAM Records’ final release. This was a quality slice of dance music, from a label who’d prided itself on releasing some classic music. After five years, SAM Records closed its doors, bringing to an end Sam Weiss’ career in the music industry…for now. 

Six years later, the SAM Records name was revived in 1989, with new music and old favorites released. Two years later, Sam’s son Michael Weiss founded Nervous Records, with SAM Records being incorporated into Nervous Records. Sam came out of retirement, becoming Vice President. They released SAM Extended Play, a double album of some of SAM’s best music. Only a few new tracks were released, with Richard Rogers’ All I Want the label’s final release. This time, Sam Weiss had finally retired, after over forty years in the music industry. However, Sam Weiss’ left his mark on music, with Sam Records one of disco’s most important labels. Thirteen tracks from the SAM Records’ back-catalogue feature on Mixology-SAM Records Extended Play, which I’ll pick the highlights of.

The track that opens Disc One of Mixology-SAM Records Extended Play, 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 Disc One 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 Mixology-SAM Records Extended Play 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.

Although I’ve only mentioned seven of the thirteen tracks compiler Jacques Renault  has chosen for the second instalment in Harmless Records Mixology series Mixology-SAM Records Extended Play, there’s nothing wrong with the other six tracks. These are what I consider to be the highlights of Mixology-SAM Records Extended Play. The thirteen tracks are a mixture of reedits and remixes, which bring a new twist and new life to familiar and classic tracks. Edits can be very much a hit and miss affair. Nowadays, it seems everyone wants to reedit tracks, believing it to be a shortcut to fame and fortune. Usually, these edits are just cut and paste jobs, with effects and filters added. Even supposedly experienced DJs who think edits are a shortcut to doing remixes, lack the required creativity and talent. 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 Mixology-SAM Records Extended Play. They were innovative, creative and inventive, breathing new life and meaning to much loved tracks. Similarly, the remixes are just as 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. After the thirteen reedits and remixes of SAM Records’ classics, compiler Jacques Renault then lays down a seamless, peerless mix of the thirteen tracks. His mixing is smooth, he never misses a beat and seamlessly weaves the thirteen tracks into a majestic musical tapestry. So, just over a year after the release of Mixology-The Definitive Salsoul Mixes, comes Mixology-SAM Records Extended Play, the second volume of Harmless Records’ Mixology series, which will be released on 20th August 2012. Like Mixology-The Definitive Salsoul Mixes, Mixology-SAM Records Extended Play is 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 Jumped the Devil, Gary’s Gang Keep On Dancing, Convertion Let’s Do It and K.I.D Don’t Stop. 

MIXOLOGY-SAM RECORDS EXTENDED PLAY.

THE O’JAYS-WHEN WILL I SEE YOU AGAIN.

♦ July 31, 2012 ♦ Leave a comment

THE O’JAYS-WHEN WILL I SEE YOU AGAIN.

Any group that celebrate twenty-five years in the music business must be doing something right. For The O’Jays, they’d been formed in 1958 and released their debut album Comin’ Through in 1965. It was when The O’Jays signed to Philadelphia International Records and released their first album for their new label Backstabbers, that their career took off. Backstabbers was certified gold in 1972, as were 1975s Survival, 1976s Message In the Music and Travelin’ At the Speed of Thought. As is this wasn’t impressive enough,1973s Ship Ahoy, 1975s Family Reunion, 1978s So Full of Love and 1979s Identify Yourself were all certified platinum. The O’Jays even managed to survive the loss of William Powell, who died of cancer in May 1977. Even the tragic loss of William didn’t affect the success of The O’Jays. Sammy Strain replaced William, making his O’Jays debut on Travelin’ At the Speed of Thought and the success continued. Much of this success can be credited to the Gamble and Huff’s songwriting and production skills. However, this success wouldn’t have been possible without the arrangers, producers, musicians and backing vocalists that worked at Philadelphia International Records. Sadly, when the eighties dawned and music changed, The O’Jays weren’t as successful. 1980s The Year 2000 only reached number thirty-six in the US Billboard 200 and number six in the US R&B Charts, while 1982s My Favorite Person only reached number forty-nine in the US Billboard 200 and number seven in the US R&B Charts. Would When Will I See You Again, released in 1983, and the album that celebrated The O’Jays’ twenty-fifth anniversary see a return to the success they enjoyed during the seventies?

After the disappointing sales of their two previous albums, The Year 2000 and My Favorite Person, The O’Jays were looking for a return to the commercial success of the seventies. Each of the eight albums The O’Jays released between 1972 and 1979 for Philadelphia International Records, had either been certified gold or platinum. So, with The O’Jays celebrating their twenty-fifth anniversary, there was even more reason for a return to the commercial success of the seventies. What would become When Will I See You Again was their sixteenth album, their eleventh album for Philadelphia International Records. Gamble and Huff cowrote three of the album’s eight tracks and produced four tracks. Kenneth Gamble cowrote Put Our Heads Together with Keni Burke, while Leon Huff cowrote House of Fire with Stephanie Huff. Leon Huff would arrange a total of four tracks, one on his own, one with Jack Faith and two with Jiggs Faith. Recording took place at Philadelphia’s Sigma Sound Studios, along with M.F.S.B. Mk. 2.

Joining The O’Jays at Sigma Sound Studios were M.F.S.B. Mk. 2. This included drummers Quinton Joseph and Wendell Wayne Steward, bassists James Williams and Anthony G. Brown plus guitarists Dennis Harris and Willie Lee Ross. Lenny Pakula played organ, Leon Huff keyboards, Larry Washington and Leonard W. Gibbs percussion and Don Renaldo added strings. These are just a few of the musicians that played on When Will I See You Again. This shows just how many musicians were part of M.F.S.B’s constantly evolving lineup. During the seventies and eighties, around fifty musicians were part of M.F.S.B’s lineup. Considering M.F.S.B. lost many of its original members in 1976, when they went on to form The Salsoul Orchestra in 1976, this shows how many talented musicians were based in Philly during this time. Many of these musicians played on the eight tracks that comprise When Will I See You Again. Would When Will I See You Again see a return to the commercial success The O’Jays enjoyed during the seventies?

Before the release of When Will I See You Again, I Can’t Stand the Pain was released as a single, reaching number thirty-five in the US R&B Charts. On the release of When Will I See You Again in 1983, the album reached number 142 in the US Billboard 200 and number nineteen in the US R&B Charts. Rather than a return to the commercial success of the seventies, When Will I See You Again became The O’Jays least successful Philadelphia International Records’ album. Put Our Hands Together was the second single released from When Will I See You Again, reaching thirty-five in the US R&B Charts and number eleven in the US Dance Charts. Sadly, When Will I See You Again was an inaspicious way for The O’Jays to celebrate their twenty-fifth anniversary. However, was When Will I See You Again a case of the wrong type of album being released at the wrong time. After all, music was changing in the early eighties and changing fast. So is When Will I See You Again an album that deserved to have been a bigger commercial success? That’s what I’ll tell you, once I’ve told you about the music on When Will I See You Again.

Opening When Will I See You Again was the lead single I Can’t Stand the Pain. Written and produced by Gamble and Huff, with Leon Huff arranging the track, is a track that shows Philadelphia International’s influence on house and garage music. Pounding beats, percussion and keyboards combine creating a dramatic backdrop for The O’Jays urgent harmonies. Then comes Eddie’s lead vocal. It has a similar urgency, full of heartache and hurt. Meanwhile, the rhythm section, guitars, keyboards and percussion create a bold and pulsating backdrop for Eddie’s pained vocal. His hurt is reflected by the tight, soaring and dramatic harmonies. The longer the track progresses, the more the drama, urgency and hurt grows. So much so, that when track ends, you’re left wondering why a track with such a contemporary, innovative sounding track wasn’t a bigger success? 

You don’t even need to check the sleeve-notes to realize that Betcha Don’t Know (What Comes After That) was written and produced by Gamble and Huff. It’s got their name written all over it. Growling horns, a funky, pounding rhythm section and percussion give way to Eddie’s vocal. It’s powerful and passionate, accompanied by punchy, soaring harmonies. The growling horns, keyboards, slap bass and guitars create an uplifting, joyous backdrop for The O’Jays. Spurred on by one of the best arrangements on the album, Eddie’s vocal and the harmonies are peerless during this heartfelt, punchy paean to love courtesy of Gamble and Huff.

Covering such a familiar track as When Will I See You Again isn’t an easy task, given The Three Degrees had already recorded the definitive version. The only way to do so, is to transform the track. Stabs of Lenny Pakula’s Hammond organ, swathes of Don Renaldo’s strings and the rhythm section create an arrangement that’s much more understated, The O’Jays add tender harmonies. By now the arrangement in gradually revealing its subtleties and secrets. Eventually, Eddie’s heartfelt vocal enters, with the lushest of strings for company. Like the arrangement, Eddie’s vocal grows in power and fervor. Horns enter, drums pound and strings sweep and swirl, while The O’Jays add a new twist to a familiar track. However, good as their version is, it comes up short of The Three Degrees’ definitive version.

House of Fire was written by Leon and Stephanie Huff, and makes a dramatic impact from the opening bars. Vibes and percussion give the track a floaty sound, before it’s all change. A pounding rhythm section drive the track along, The O’Jays matching M.F.S.B. Mk. 2 every step of the way. Eddie’s vocal is powerful, sassy and full of fire and fervor. The object of his desire is a devilish temptress who teases and tantalizes. Sweeping, punchy and dramatic harmonies augment Eddie’s vocal, while drummer Quinton Joseph and bassist James Williams provides the arrangement’s pulsating heartbeat. 

Percussion, piano and rhythm section provide a dramatic introduction to A Letter To My Friends. The arrangement is slightly stop, start, and you’re constantly wondering the direction the track is heading. A searing, sizzling guitar solo gives way to tight harmonies from The O’Jays. These are just curveballs. When Eddie’s impassioned vocal enters, it’s accompanied by lush strings and a dramatic rhythm section. From there, the arrangement meanders along, mixing drama, jaunty rhythms and Eddie’s impassioned vocal. However, the song doesn’t quite grab you like other tracks on the album. It’s a good track, but a long way from a great one.

The unmistakable sound of an early eighties synth opens Put Our Heads Together. It combines with drums, guitar and Moog bass creating a catchy, funky backdrop for The O’Jays’ uplifting, joyous vocals. Soon, you’re hooked. Eddie becomes like a cheerleader, encouraging people to “organize…put our heads together…let’s get on the move.” His vocal is inspirational, a call for action and change. Sammy and Walter do their part, adding encouragement and seconding Eddie’s call for action and change. So powerful is Eddie’s vocal and catchy is this hook-laden track, that resistance is impossible, better just organize…put our heads together…let’s get on the move.” 

Ain’t Nothin’ Wrong With Good Lovin’ is a track with a real Philly Sound to it. Having said that, There’s a vintage jazz sound to parts of the arrangement. From Bunny Sigler’s keyboards that open the track, to tight harmonies, lush strings, rasping horns and a dramatic rhythm section, the track has made in Philly written all over it. Eddie delivers a heartfelt, fervent vocal, accompanied by punchy harmonies, strings, horns and keyboards are key to an arrangement’s elegant, dramatic and beautiful sound. Of all the songs on When Will I See You Again, this has to be one of the best.

Closing When Will I See You Again is Nice And Easy, a track written by Brenda Mitchell and Morris “Butch” Stewart. Like A Letter To My Friends, it’s a track where you’ve no idea where it’s heading. Bursts of blazing horns give way to doo wop style vocals, before Eddie delivers a sassy half-spoken vocal. After that, things get back on track. Eddie’s vocal is powerful and sassy, accompanied by dramatic drums, blazing horns and cascading strings. The rest of The O’Jays adds sweeping, soulful and sometimes, punchy harmonies, as Eddie vamps his way through the track, against a backdrop that sounds ironically, not unlike The Salsoul Orchestra. This is a quite different way to close When Will I See You Again. It doesn’t quite match the quality of other tracks, but having said, is full of sass, humor and not a little passion. 

When Will I See You Again didn’t provide The O’Jays with the commercial success that they’d hoped for to mark their twenty-fifth anniversary. Although When Will I See You Again deserved to fare better than number 142 in the US Billboard 200 and number nineteen in the US R&B Charts, it didn’t quite match the quality of their seventies albums. Of the eight tracks, six of them worked. Only Like A Letter To My Friends and Nice and Easy didn’t quite work. Neither track is a bad track, just not the standard you’ve come to expect from The O’Jays. Of these two tracks, Like A Letter To My Friends is a bit too stop, start and doesn’t quite hold your attention, grabbing your attention like I Can’t Stand the Pain and Betcha Don’t Know (What Comes After That) which are two of the highlights of When Will I See You Again. Mind you, they were penned and produced by Gamble and Huff, so enough said. Nice and Easy which closes the album is slightly contrived. It tries to hard to be clever and humorous, like a boy on first date. There are similarities with The Salsoul Orchestra, but this doesn’t quite work. Apart from these two tracks, the rest of When Will I See You Again sees The O’Jays delivering some peerless vocals and harmonies. Their take on The Three Degrees’ When Will I See You Again, works well, but they had a hard act to follow, with The Three Degrees version the definitive version. House of Fire written by Leon and Stephanie Huff was a fervent, fiery track, with Eddie proving why he was one of the best soul singers of his time. Put Our Heads Together is an inspirational track, one that’s a call for action, with Eddie transformed into a fervent cheerleader. The best track on Side Two was Ain’t Nothin’ Wrong With Good Lovin,’ where the Philly Sound and jazz unite seamlessly. Along with I Can’t Stand the Pain, Betcha Don’t Know (What Comes After That) and Put Our Heads Together, this quartet are the best tracks on When Will I See You Again. They’re followed by the title-track and House of Fire. Overall, When Will I See You Again may have been a commercial failure, but rather than the music, the album was released at at the wrong time. People’s taste in music was changing rapidly, with The O’Jays and their contemporaries seen as yesterday’s men. That meant many people missed out on many great soul albums, including The O’Jays When Will I See You Again. To me, When Will I See You Again is an album that’s stood the test of time, and nearly thirty years later, has much to commend it. Standout Tracks: I Can’t Stand the Pain, Betcha Don’t Know (What Comes After That), Put Our Heads Together and Ain’t Nothin’ Wrong With Good Lovin.’

THE O’JAYS-WHEN WILL I SEE YOU AGAIN. 

 

TEDDY PENDERGRASS-T.P.

♦ July 29, 2012 ♦ Leave a comment

TEDDY PENDERGRASS-T.P.

By 1980, Teddy Pendergrass was at the height of his commercial success. Teddy has released three studio albums since leaving Harold Melvin and The Blue Notes. This trio of albums, 1977s Teddy Pendergrass, 1978s Life Is A Song Worth Singing and 1979s Teddy had all been certified platinum. Such was Teddy’s popularity, that even his 1979 live album Live! Coast To Coast was certified gold. When Teddy Pendergrass headed to Sigma Sound Studios in Philadelphia, it would be a very different album he’d record. The big difference was that on T.P., Gamble and Huff neither nor produced any of the tracks on T.P. Previously, Gamble and Huff had played a huge part in Teddy’s career, way back to his days with Harold Melvin and The Blue Notes. Indeed, Philadelphia International Records’ staffers didn’t play as important a role in T.P. For many of the tracks, outside songwriting and production teams were used. This included Ashford and Simpson and Cecil Womack. How would this affect the success of T.P. when it was released?

With Gamble and Huff not contributing any tracks for T.P., only the songwriting and production teams of Cynthia Biggs and Dexter Wansel and Jerry Cohen, Gene McFadden and John Whitehead cowrote tracks for T.P. They contributed Take Me In Your Arms Tonight and Let Me Love You. Ashford and Simpson cowrote and produced Is It Good To Ya? and Girl You Know. Cecil Womack wrote I Just Called To Say, plus cowrote Love TKO with Linda Womack and Gip Noble. Feel the Fire saw Teddy cover a Peabo Bryson penned track. Teddy co-produced the track with Dexter Wansel. The other tracks on T.P. Can’t We Try?, which Ken Hirsch and Ron Miller cowrote. With the material chosen for Teddy’s fourth studio album, the album would be recorded at Sigma Sound Studios in Philadelphia.

Joining Teddy at Sigma Sound Studios were M.F.S.B. Mk 2, including bassist James Williams, Quinton Joseph and guitarists Dennis Harris and Roland Chambers. Cynthia Biggs played keyboards, while Don Ronaldo’s String and Horns feature on several tracks. Among the backing vocalists were the legendary backing vocalists the Sweethearts of Sigma and The Jones Girls. These were some of the familiar Philly faces who played on T.P. Some unfamiliar faces can be hear on T.P., including guitarist Cecil Womack, percussionist Valerie Simpson and Nicholas Ashford adding backing vocals. Once the eight tracks on T.P. were recorded, the album was released in July 1980.

Can’t We Try was the first of two singles released from T.P. reaching number fifty-two in the US Billboard 100 and number three in the US R&B Charts. When T.P. was released in July 1980, it reached number fourteen in the US Billboard 200 and number three in the US R&B Charts. T.P. gave Teddy his fourth platinum album. Then in 1981, Love T.K.O. was released as a single, reaching number forty-four in the US Billboard 100 and number two in the US R&B Charts. It seems that although different songwriting and production teams worked on T.P., that Teddy Pendergrass’ career was going from strength to strength. However, does the music on T.P. sound different from previous Teddy Pendergrass’ albums?

Is It Still Good To Ya? is the first of two Ashford and Simpson penned tracks. It’s a bedroom ballad, something Teddy was the best at. He had no equal, no ifs no buts. No-one came close. This proves this. A blazing horns, lush strings and rhythm section give way to Teddy’s heartfelt, sensuous vocal accompanied by a piano. His delivery is slow and full of emotion. Soulful backing vocalists, including the Sweethearts of Sigma accompany him, as the arrangement grows in power and drama. Lush strings cascade, while bursts of horns, percussion and drums combine to create a dramatic and beautiful backdrop for Teddy’s impassioned pleas. Truly his vocal is irresistible, totally heartfelt, as he mixes passion and power, against Ashford and Simpson’s arrangement.

Take Me In Your Arms Tonight sees Teddy joined by Stephanie Mills, who he duets with. It’s a very different track, produced by Dexter Wansel. He deploys keyboards, percussion and a funky rhythm section before Stephanie’s strutting vocal enters. Strings sweep and swirl, accompanying Stephanie, before Teddy takes charge of the vocal. His vocal is strong and sassy, matching Stephanie stride for stride. Percussion is a constant companion, while a pounding bass makes its presence felt. It plays a part in the track’s dance-floor friendly sound, as do the cascading strings and percussion, while Stephanie Mills proves to be a perfect foil for Teddy Pendergrass.

I Just Called To Say was written and produced by Cecil Womack. This was a new idea, bringing outside personnel in to write and produce tracks. Having said that, Cecil’s songwriting, production and guitar playing are key to the track’s success. Strings dance, while horns rasp and the rhythm section provide the track’s pounding heartbeat. With a flourish of a piano, Teddy’s emotive vocal enters. It’s full of sadness and regret, while Cecil’s guitar chimes in the background. Don Renaldo’s Strings and Horns add to, and reflect the emotion and heartache in Teddy’s vocal. The strings and horns are really effective and play a vital part in the track’s sound and success. However, the most important part is played by Teddy Pendergrass, delivering an emotion full of heartache, emotion and regret.

Can’t We Try? was chosen as the lead single from T.P. Written by Ken Hirsch and Ron Miller it’s a quite beautiful ballad, with an understated arrangement. Lush strings, keyboards, percussion and a rhythm section that’s plays subtly provide the backdrop for Teddy’s heartfelt, impassioned vocal. Later, the arrangement grows. What seems like a choir of backing vocalists accompany Teddy. This includes The Jones Girls and the Sweethearts of Sigma. With swathes of strings, bursts of horns and dramatic flourishes of piano, Teddy unleashes a pleading vocal, laden with feeling and hope, while this celestial, ethereal choir accompany him. The result is an emotional and beautiful musical journey, where either heartbreak and despair, or joy and happiness are only one word away.

Melodic keyboards, strings and guitars combine as Feel The Fire, written by Peabo Bryson opens. Again, Stephanie Mills duets with Teddy. Their vocals are softer and subtler than on Take Me In Your Arms Tonight.  Neither the vocal nor arrangement certainly lack drama. Producers Dexter Wansel and Teddy Pendergrass ensure that. Punchy, dramatic drums, percussion and chiming guitars accompany Teddy’s vocal, before a sensual, soaring saxophone solo enters. It gives way to backing vocalists that sweep in soulfully and elegantly. The backing vocalists and saxophone provide the finishing touches, before Teddy vamps his way through the rest of the track, with Stephanie left to play a supporting role. What makes this such a dramatic, beautiful and emotive track are the arrangement and vocals.

Girl You Know is the second Ashford and Simpson penned tracks. It has a quite different sound to their previous track. Drama is built up straight from the get go. Growling horns, a driving rhythm section and cascading strings combine, before Teddy’s confident, powerful vocal enters. He’s accompanied by soaring, dramatic backing vocalists, bursts of horns and a pounding rhythm section. They all play an important part in the success and sound of the track.

Probably the best known track from T.P. is Love T.K.O., one of Teddy’s best known tracks. Written by Cecil and Linda Womack with Gip Noble, while Cecil co-produced the track with Dexter Wansel, Philadelphia International’s own Party Time Men, The Futures add backing vocals. The track meanders into being Cecil’s guitar, keyboards and the lushest of strings combining with rasping horns and the rhythm section. Then comes a pensive, reflective Teddy, is voice veering between tenderness and power. With lush strings, subtle, soulful backing vocalists, keyboards and James Williams’ pounding bass accompanying Teddy, the track reveals its enchanting secrets and beauty, becoming one of his most successful and memorable songs.

Closing T.P. is Let Me Love You penned and produced by Jerry Cohen, Gene McFadden and John Whitehead. Keyboards, sizzling guitars and rhythm section combine, creating a bold dramatic sound. Teddy’s vocal is laden with drama and emotion, while the Sweethearts of Sigma add their inimitable backing vocalists. They add to the drama and emotion of the track, as Teddy struts his way through the track. His vocal is heartfelt, sincere and dramatic, sometimes, becoming an emotive vamp. With only keyboards and guitars for company, Teddy goes into overdrive, determined to close T.P. with a hugely memorable track. This he does, with aplomb and the help of three of Philly’s finest sons Jerry Cohen, Gene McFadden and John Whitehead.

Although T.P. saw various outside songwriting and production teams joining Dexter Wansel and Cynthia Biggs and Jerry Cohen, Gene McFadden and John Whitehead, the album works. Whereas it could’ve sounded like a disparate collection of tracks, this wasn’t the case. The only thing is, some tracks don’t have the Philly Sound you’d expect. Producers like Ashford and Simpson have their own style, and aren’t going to copy someone else’s sound and style. Cecil Womack as you can hear on T.P., has his own style, right down to the way the guitar sounds. This style works on I Just Called To Say, while on Love T.K.O. Dexter Wansel and Cynthia Biggs stamp their sound over the track. Having mentioned the guest producers, Stephanie Mills is a guest artist on T.P. She joins Teddy on two tracks, and was the perfect foil for him on Take Me In Your Arms. On Feel The Fire, Stephanie is left playing a supporting role to Teddy, as he takes charge of the vocal, strutting his way through the track. While songwriters and producers changed, one things stayed the same, Teddy’s vocal. He was at his best on the bedroom ballads, delivering them with emotion, passion and power. One thing that was different on T.P. was the lack of Gamble and Huff. 

Although Gamble and Huff were executive producers on T.P., their talent and influence is missed. Back in 1980, Gamble and Huff were among the best songwriters and producers worldwide. So their influence would be missed. To me, T.P. was a great album, but not quite as good as Teddy’s previous three albums Teddy Pendergrass, Life Is A Song Worth Singing and Teddy. Some of the tracks don’t quite grab you like tracks on Teddy’s three previous albums do. Instead, T.P. is an album you grow into. The more you listen to T.P. the more you come to enjoy it. To me, the best tracks on T.P. are the beautiful, bedroom ballads, where Teddy Pendergrass was at his very best. Standout Tracks: Is It Still Good To Ya?, I Just Called To Say,  Love T.K.O. and Let Me Love You.

TEDDY PENDERGRASS-T.P.

SAGE MONK-HEARTACHE ALLEGORY.

♦ July 28, 2012 ♦ Leave a comment

SAGE MONK-HEARTACHE ALLEGORY.

Over the past twenty years, the way people discover, buy and consume music has evolved beyond recognition. Maybe rather than evolution, the best word to describe these changes are revolution. No longer is a record shop people’s first place to look for new music. Instead, it’s the internet. Now downloading is perceived as the future of music. Then there’s mediums like Soundcloud, Mix Cloud and Bandcamp, where you can discover new music and share it with friends. These are like the music shops for the new millennia. Soon, a whole generation of music lovers will have grown up buying and sourcing music online. They’ll never have set foot on a record shop. This is a shame, as music has never been so inexpensive. Of course this problem is made so much worse by file-sharing and illegal downloads. Since the introduction of computers, which could copy CDs record companies have been fighting a losing battle against illegal downloads. Worse was to come, with universal access to the internet and the introduction of broadband. Suddenly things got a whole lot worse. As a result, record companies are less profitable, able to sign fewer new artists and constantly seeking new ways to release music. During the last few years, various ideas have been tried. Radiohead asked fans to pay what they thought an album was worth, albums were given away with newspapers. Record companies have tried innovative ideas to deliver music to consumers. Offering Recordings have come up with their own idea for Sage Monk’s album Heartache Allegory, giving the album away free. However, does giving music away free cheapen the music? That’s what I’ll tell you after I’ve told you about Sage Monk’s debut album Heartache Allegory.

Recently, Sage Monk was a guest artist on one of my favorite albums of 2012 so far, Boddhi Satva’s brilliant Invocation. He featured on the beautiful and heartfelt Stop Crying, which closed Invocation. Having been so impressed by his vocal on Stop Crying, I looked into Sage Monk’s career so far. All he’d released was an E.P. Baram Bakie in 2009, plus two singles in March 2012, Lambs of Summerian Shepherds and Mbesto Ti Abuntu. These three tracks were released on Offering Recordings, who would have a pleasant and welcome surprise in store for me this week.

This pleasant and welcome surprise was that Sage Monk had released his debut album on Offering Recordings, Heartache Allegory and it was produced by Boddhi Satva. Even better, Heartache Allegory was free. Having downloaded the Heartache Allegory, I discovered it featured a whole host of guest artists, including two artists who featured on Boddhi Satva’s Invocation. These are C.Robert Walker who features on Never, while Leslie Kisumuna features on Lost Without A Sound. They’re joined on Heartache Allegory, by Quetzal Guerrero, Mizzy, Ade Alafia and Amalia. With some of the same personnel featuring on Heartache Allegory that featured on Invocation, will Heartache Allegory match the quality of Invocation? That’s what I’ll tell you, after I’ve told you about the music on Heartache Allegory.

Mon Amour ”Eternal Love” is just a tantalizing taster of what’s to come on Heartache Allegory. It’s a thirty-second snippet of melodic and bold keyboards that whets the appetite nicely.

Ain’t Easy sees the introduction of the first guest artist on Heartache Allegory. Quetzal Guerrero join Sage Monk, as a similar melodic keyboard sound to the opening track is introduced. They’re joined by percussion and crispy drums in providing the backdrop for the vocal. The vocal is heartfelt and impassioned, delivered with a tenderness. Handclaps, crashing cymbals and melodic keyboards drift in and out of the arrangement, as the vocal, like the arrangement, grows in power, passion and drama. Later, a rapped vocal added, adding a hip hop sound to the mostly Nu Soul sound. This works well, adding to the drama, passion and beauty of the track.

Hatred Temple is another short interlude. Unlike the previous one, there’s a busier, bolder sounds. It piques your attention, makes you think, especially given the title. This means this interlude has worked. It’s designed to ask questions and make you think.

Truth Hurts is a very different sounding track, one that’s very beautiful. It features Mizzy, another of the guest artists. Here, elements of African Roots, hip hop and Nu Soul are fused, while the track reveals a vocal that’s impassioned, full of emotion and feeling. Keyboards, percussion, bells, pounding drums and backing vocalists combine, creating a backdrop that’s full of subtle sounds and nuances. The more you hear the track, the more you hear different sounds, subtleties and surprises. Similarly, the more you hear the track, the more you grow to love it and the more you feel and share the hurt, anguish and pain in the vocal. After all, as Sage Monk says Truth Hurts.

C.Robert Walker played an important part in the success of Boddhi Satva’s Invocation, both as a guest artist and songwriter. He plays an equally important role on Never, a track that’s dramatic and one that teases and tantalises you with its hidden secrets. Slowly, very slowly the track unfolds. Keyboards, percussion and samples are added, while the vocal is sincere, fervent and totally heartfelt. As Sage and C.Robert Walker’s vocals intertwine, each adding to the emotion, passion and beauty of the track. It’s impossible not to be touched and moved by their vocals, and it’s impossible to resist a track as beautiful, heartfelt and spiritual as this. This is music for the soul and for the heart.

Pounding drums reverberate dramatically Would You Walk Away begins. Keyboards and percussion are added, providing a contrast. Then comes the moody, broody vocal. It’s full of anguish and hurt, as it asks “Would You Walk Away?” When the vocal drops out, the keyboards take over, but you await the anguished, probing vocal. You feel and share the pain, you worry about the answer and the effects of that answer. You’re caught up in the drama, anguish and hurt. That’s how powerful the music is, that it can move and change your emotions. 

Seven Degrees Of Perfection sees marauding beats and squelchy synths combine and collide. There’s a boldness and drama to the this twenty-second snapshot of music. Elements of drum and bass and Acid House can be heard as Sage Monk leaves you hanging. You long for the track to last longer

Aching Heart is an eight-minute epic that features Ade Alafia. There’s a real African Roots sound to the track when it opens. Percussion, drums and shakers combine, before stabs of keyboards enter. You can hear water cascading before the vocal enters. It’s delivered with feeling, with sincerity and emotion. You’re drawn in, spellbound. When the arrangement grows, the tempo quickens. By now a myriad of percussion, drums and subtle, but dramatic layers of keyboards combine. Two things makes this such a great track, the African Roots influenced arrangement and an impassioned, powerful and absolutely heartfelt vocal.

The Thief Interlude is thirty-seconds of contrasts. The tempo is slow, with keyboards gentle and melodic. They’re the thief creeping along, while drums pound like the thief’s heartbeatm as he tries to escape or evade capture. Understated and dramatic, the track is about contrasts, but paints a picture in thirty-seconds.

Lost Without A Sound features Leslie Kisumuna, who also featured on Boddhi Satva’s Invocation. Her vocal is uplifting and joyous sound, while Sage’s vocal is the polar opposite. His vocal is dark and moody. Meanwhile, the arrangement has a contemporary house music sound, with keyboards, drums and percussion combining. With a tempo of 122 beats per minute, this is a real dance-floor friendly track. Later, a piano enters, joining keyboards, synths and percussion. Although they’re key to the track’s sound and success, it’s the vocal and their contrasting sounds and styles that are most important. While Leslie’s vocal is uplifting and joyful, Sage’s is dark and dramatic. As they unite, they both play vital role’s in the track’s sound and success.

Still In Love With You closes Heartache Allegory. It features a sassy, seductive vocal from Amalia. Her vocal is soulful and impassioned, one of the best on Heartache Allegory. She’s accompanied by crunchy drums, swathes and stabs of keyboards and percussion. The addition of a rasping, jazzy saxophone as a finishing touch is a masterstroke. It drifts above the arrangement, adding to the contemporary, emotive sound as Amalia fuses emotion and passion. Again, it’s a guest artist who plays a leading role in a track’s success, with Amalia delivering a seductive, sassy vocal.

Sage Monk’s debut album Heartache Allegory is a compelling musical journey. On this musical journey, Sage is joined by hugely talented artists of the stature of C.Robert Walker, Leslie Kisumuna, Quetzal Guerrero, Mizzy, Ade Alafia and Amalia. Together, they create eleven innovative tracks, tracks that straddle musical genres and influences. There’s everything from African Roots, house music, Nu Soul, jazz and hip hop. Four of the tracks are just short snapshots of music, posing questions. Sometimes, Sage Monk doesn’t provide answers, leaving you hanging, wondering and thinking. These tracks provoke thought, with Hatred Temple and The Thief Interlude two good examples of this. The other seven tracks vary from heartfelt, impassioned and beautiful tracks like Truth Hurts, Never and Aching Heart through to tracks with a real contemporary sound. Two examples of this are Lost Without A Sound and Still In Love, the two tracks that close Heartache Allegory have a more contemporary sound. There’s a real house music influence and sound to Lost Without A Sound. Still In Love With You which closes Heartache Allegory features a sassy, seductive vocal from Amalia along with an equally seductive, jazzy saxophone solo. Her vocal is just one of several quality vocals on Heartache Allegory. They’re key to the success and sound of the album. Boddhi Satva’s production was also key to Heartache Allegory’s sound and success. He brought his experience and talent, creating an album that’s a fusion of styles and sounds. This means there are parallels with Boddhi’s debut album Invocation.

Earlier, I wondered whether giving music away free cheapens music? I can say the answer to that is a resounding no. Instead, it helps a new artist build a large, loyal fan-base, who will buy their future albums. Giving music away free is an innovative marketing tool, but one that works and will life an artist’s profile.  I also wondered whether Heartache Allegory, which features some of the artists that appeared on Boddhi Satva’s Invocation, would match Invocation for quality? That was a big ask for any album, given that Invocation is one of the best albums of 2012. However, Heartache Allegory comes close. The eleven tracks on Heartache Allegory, like Invocation, are a similar fusion of musical genres and influences. Like Invocation, Heartache Allegory features some heartfelt, impassioned and beautiful music.  Heartache Allegory is music that’s from Sage Monk’s heart, music that’s for the heart and soul and music that’s not only uplifting and inspirational, but extremely emotive and beautiful. Standout Tracks: Truth Hurts, Never, Lost Without A Sound and Still In Love With You.

SAGE MONK-HEARTACHE ALLEGORY.

sagemonknew

http://soundcloud.com/offeringrecordings/sage-monk-lambs-of-the

http://soundcloud.com/offeringrecordings/sage-monk-truth-hurts-ft-mizzy

http://soundcloud.com/afro-dj-pupo/sage-monk-mbeso-ti-abantu-afro

http://official.fm/playlists/cv02?artwork=1&width=194&height=194&skin_bg=000000&skin_fg=FFFFFF

DAVID GRANT-DAVID GRANT.

♦ July 27, 2012 ♦ Leave a comment

DAVID GRANT-DAVID GRANT.

For any artist, leaving a successful group can be something of a gamble. Regardless of how successful the group has been, there’s no guarantee that a successful solo career will follow. Obviously, there are exceptions to this, with Teddy Pendergrass one that springs to mind. After he left Harold Melvin and The Blue Notes, his career headed for the stratosphere, while Harold Melvin and The Blue Notes never found the same success. Sometimes though, a group is stronger as a whole, than the sum of its parts. However, for David Grant this didn’t apply. He left Linx after two successful albums during 1981. Intuition reached number eight in March 1981 and Go Ahead reached number thirty-five in the UK in October. While Linx had six hit singles, only Intuition and So This Is Romance reached the top twenty in the UK. Linx had been part of a new wave of UK dance-floor friendly R&B groups, along with contemporaries Beggar and Co., Light of the World and Central Line. These groups had been influence by the new generation of American producers, including Niles Rodgers, Narada, Kashif, Luther Vandross and Michael Walder.  By 1983 however, Linx were no more. David Grant now a solo artist, a solo artist looking to record his debut solo album. For this he needed a producer. Then during a meeting at Red Bus Recording Studios, David Grant met Steve Levine, who’d produce his debut album David Grant, which will be rereleased on 30th July 2012 by BBR Records. Steve was one of the hottest producers of the early eighties, working with some of the most successful UK bands. Would his collaboration with David Grant on David Grant prove to be as successful? 

Now that David Grant was ready to record his debut solo album, he needed material for the album. David wrote two tracks for his debut solo album, cowrote one with producer Steve Levine and cowrote three with Derek Bramble of Heatwave. Derek Bramble write the other three tracks, including Watching You, Watching Me. These nine tracks were recorded at the Red Bus Recording Studios in London. Key to the sound on David Grant was the technology that Steve Levine was using. This included a Roland 808 drum machine, CSQ600 Sequencer and Linn LM1 with a trigger interface. All this was new to David. In Linx, they used real drums. However, if this new, electronic sound would give David a hit album, he wasn’t complaining. Would this be the case when David Grant’s debut album David Grant was released?

Before David Grant was released, three singles were released. The first was Stop and Go, released in April 1983. It reached number nineteen in the UK, but more importantly, gave David a breakthrough in the US. Although it only reached number seventy-five in the US R&B Charts and number forty in the US Dance Charts, it raised his profile stateside. Watching You, Watching Me became the most successful single in July 1983, reaching number ten in the UK. The third single was Love Will Find A Way, released in September 1983 and reaching number twenty-four. Then when David Grant was released in November 1983, it reached number thirty-two in the UK album charts. Released to coincide with the album’s release was Rock the Midnight, which stalled at number forty-six. Organize was the fifth single released from David Grant, reaching just number ninety in February 1984. Overall, David Grant’s solo career had started off where Linx finished. While it hadn’t matched the success of Linx’s debut album Intuition, it was a solid starting point for his solo career. However, what does the music on David Grant sound like, and with its reliance on electronic instruments has it aged well? 

When Rock the Midnight opens David Grant, you’re immediately struck by the electronic dominated sound of the arrangement. It has a real eighties sound, but has aged well. Synths and drum machines combine, providing a contrast to David’s tender vocal. He’s accompanied by punchy backing vocalists and melodic keyboards, while the drums crack. Later, squelchy synths are added, as David’s vocal grows in power and emotion. The result is a catchy, hooky track full of drama and emotion.

Love Will Find A Way was one of five singles released from David Grant, and was written by David and Derek Bramble. It’s a slice of dance-floor friendly R&B. Key to Steve Levine’s arrangement the Linn LM1 and Roland 808 drum machine. To that he adds percussion and keyboards. David adds an impassioned vocal, which is one of his best on the album. Swathes of soulful, backing vocalists added by Derek Bramble accompany David, as he delivers a heartfelt vocal against a dance-floor friendly arrangement from Steve Levine.

Wrap Yourself Around Me sees the tempo drop way down, to about eighty-four beats per minute. This allows us to hear a different side of David Grant. His vocal is delivered with feeling and tenderness. He delivers his vocal against an understated arrangement, where keyboards, drum machine and equally impassioned backing vocals. Later, a soprano saxophone solo from Ian Ritchie adds the finishing touch to the track. It adds to the emotion and beauty of the track, on a track where a very different and quite beautiful side of David Grant is revealed.

After the beautiful slow track that was Wrap Yourself Around Me, the tempo increases on Stop and Go. It’s a much more dance-floor oriented track. The arrangement is busier, with synths, keyboards and crisp drums cracking. Above the arrangement sits David’s vocal, delivered in sharp bursts, with punchy backing vocalists accompanying him. They add to the energy and drama of the track.

Organize sees another change in style. There’s a moody, dramatic sound, with the lyrics delivered with urgency and anger by David. He’s urging people to make a stand, organize themselves and stand firm against those that divide and discriminate. David adds backing vocalists that reflect his anger and frustration. Waves of synths and marauding beats provide the perfect backdrop, accompanied by swathes of dramatic harmonies. This results in an impassioned, fervent protest sound, albeit one with a dance-floor friendly sound. 

In The Flow Of Love is another chance to hear the tender side of David we heard in Wrap Yourself Around Me. Again, there’s a tenderness and sincerity in David’s vocal, while percussion, soprano saxophone and keyboards accompany him. With the slower tempo, and a much more subtle delivery, David displays a maturity beyond his years. He seems much more at home on tracks like this, bringing out the best in his vocal. Sometimes, when his voice grows in power and passion, there’s a similarity with Prince. Although this similarity is brief, both men share one thing, their ability to deliver a ballad with feeling, fervor and passion.

Holding On was written by Derek Bramble of Heatwave. David’s vocal is stronger and louder, but always in control. He’s accompanied by crunchy beats, jagged synths and backing vocalists, before a guitar drifts in and out. It leaves the synths, keyboards and drum machine to produce a mid-tempo, sometimes edgy, dance-floor centric arrangement, that’s certainly not short of hooks. 

Watching You, Watching Me was the most successful single released from David Grant, reaching number ten in the UK. David seems to have reserved one of his best vocals for this track. His vocal combines emotion and passion, sometimes almost becoming a plea.  Swathes of backing vocalists accompanying him. Key to Steve Levine’s arrangement was the use of the Roland 808 drum machine, augmented by stabs of synths. The synths added to the drama of the track, while the Roland 808 drum machine provided the memorable beat and hook-laden arrangement. Two things made this such a memorable and successful track, Steve Levine’s arrangement and David’s vocal. One couldn’t exist without the other, 

Closing David Grant is You Are All another slow ballad. This is the slowest track on the album and gives David another chance to demonstrate how good he is at delivering a ballad. His tender vocal is accompanied by multi-tracked vocals, keyboards and percussion. They provide an understated arrangement, allowing David’s gorgeous vocal to take centre-stage, where it rightly belongs.

David Grant was the first of four solo albums David released between 1983 and 1990. Two years later in 1985 came Hopes and Dreams, with Change following in 1987. His solo career ended with The Anxious Edge, before he launched a successful career as a vocal coach. However, of his solo albums David Grant, which launched his nascent solo career contained a song that will forever be synonymous with him, Watching You, Watching Me. Back in 1983, David was at the forefront of a new generation of UK R&B singers whose music was dance-floor friendly. Interestingly, on David Grant, three of the best tracks are slower tracks. Wrap Yourself Around Me, In the Flow of Love and You Are All are a trio of heartfelt, beautiful ballads that show a very different, tender side to David Grant. Maybe if this was a road he’d pursued, his career would’ve enjoyed much more longevity and success. These songs show a maturity beyond his years, and are the polar opposite to the more uptempo, dance-floor oriented tracks. Having said that, David Grant which will be rereleased on 30th July 2012 by BBR Records, is a mixture of uptempo tracks and beautiful ballads and will appeal to people who were fans of the new wave of early eighties UK R&B pioneers, with their dance-floor friendly music. The music on David Grant has aged well, and is a welcome reminder of the times when UK R&B was producing a new generation of artists. Standout Tracks: Wrap Yourself Around Me, In the Flow of Love, Watching You, Watching Me and You Are All.

DAVID GRANT-DAVID GRANT.

 

CHARLES BRADLEY-NO TIME FOR DREAMING.

♦ July 26, 2012 ♦ Leave a comment

CHARLES BRADLEY-NO TIME FOR DREAMING.

Although it was a long time coming, Charles Bradley released his debut album No Time For Dreaming in 2011 on Dunham Records. By 2011, Charles was fifty-three, and during his life, he’d travelled more than a few roads, most of them twisty. His love of music started when his sister took him to see James Brown in New York in 1962. This lead to Charles copying James Brown’s every move and mannerism, and lead to a lifelong love of music, with music the one constant in his life. Charles Bradley was born in Gainesville, Florida, and brought up in Brooklyn, New York. Having spent much of his childhood on the streets, the Job Corps offered Charles an alternative. He headed to Maine, where he worked as a chef. After someone remarked upon how Charles looked like James Brown, he formed a band. Unfortunately, the band had to be put on hold, when Charles’ band were drafted during the Vietnam war. With no band, Charles found work in New York, working as a chef for mentally ill people. During this time, Charles saved enough for a deposit for a car, but couldn’t keep up the repayments. Handing the car back to the dealer, Charles Bradley, with no band and no car, started hitchhiking his way through America. Eventually, at the end of the road he was about to travel, came savior in the form a recording contract with Dunham Records, who released No Time For Dreaming. Before that, much would happen to Charles.

During Charles time hitchhiking, he caught rides throughout America and Canada, persevering with the dangers a life on the road through at him. Having settled upon California as a home, Charles spent twenty years living there. He worked as a chef, playing concerts on an ad-hoc basis. With no regular band, he picked up gigs when he could and sat in on recording sessions. After seventeen years working the same job, Charles was about to buy his first home. Then out of nowhere, he lost his job. This lead to him heading home to Brooklyn, New York. Loading his family, musical equipment and every possession he owned into a truck, Charles headed home. It was In Brooklyn that his musical career would at last take-of.

Working as a handyman and performing in local clubs as a James Brown impersonator, Charles honed his Black Velvet routine. At long last, things were improving for Charles. He was making a living and name for himself doing what he loved and was good at..music. His career was on the up, but then his life was forever changed.

This life-changing event was the news that his brother had been shot and killed. Suddenly, nothing matter, neither music, nor life itself. Then Gabriel Roth of Daptone Records entered Charles Bradley’s life. He’d heard Charles sing at the Tarheel Lounge and recognized Charles’ raw talent and hunger. Gabriel took Charles to Daptone’s House of Soul Studios, where he sang on a Sugarman 3 session. Soon Charles’ debut single Take It As It Comes was released. Then the final piece of the jigsaw fell into place one night in Staten Island.

Gabriel Roth took Charles to Staten Island to hear a young funk band playing cover versions of James Brown and Meters tracks. They were Dirt Rifle and The Bullets. Soon, Thomas Brenneck the songwriter and guitarist for the band formed close friendship. Two singles were released under the name Charles Bradley and The Bullets. When The Bullets decided to become an Afrobeat band, this presented a problem. However, Charles Bradley had the man who’d cowrite and produce his debut album No Time For Dreaming, Thomas Brenneck.

Charles and Thomas had become close friends, with Charles confiding in Thomas the tragedy of his brother’s death. Out of this tragedy came lyrics for a new set of of songs. Then Thomas Brenneck told Charles about a new set of instrumental songs he was working on with a group called The Menahan Street Band. He felt that their sound was perfect for Charles’ lyrics. All they needed was a record company to record and release their music. Even that fell into place. Thomas Brenneck had just launched Dunham Records, a subsidiary of Daptone. It seemed that everything was falling into place not just for Charles Bradley, but the aspiring producer Thomas Brenneck.

Soon, two singles were released The Whole World Is Going Up In Flames in 2007 and in 2008 The Telephone Song. Then after many a long recording session and late night, Charles Bradley’s debut album No Time For Dreaming was completed. Its release was preceded by the release of the title-track No Time For Dreaming. During this period, Charles had little time for anything, never mind dreaming. He’d been touring with The Menahan Street Band while recording his debut album. Time spent on the road saw Charles further honing his skills as a charismatic performer and entertainer. Then at last, 2011 saw Charles Bradley release his debut album No Time For Dreaming.

Although Charles Bradley was fifty-three in 2011, No Time For Dreaming, saw a new star born. No Time For Dreaming reached number fifty in the US Top Heatseakers Chart in 2011. Soon, people all over the world were talking about this new singer Charles Bradley and his music. Little did they know the road he’d travelled before releasing No Time For Dreaming. The road had been long and hard, with tragedy and triumphs along the way. At the end of that road was No Time For Dreaming, which I’ll tell you about, by picking some of the highlights of the album.

Opening No Time For Dreaming is the 2006 single The World (Is Going Up In Flames). Straight away, you hear a real vintage soul sound from the track’s opening bars. Just guitars, rhythm section and piano combine, before dramatic, soulful backing vocalists give way to that voice. Think Al Green, shades of O.V. Wright, Otis Clay and even Marvin Gaye. Charles delivers the lyrics with passion, pain and power. This is real soul music, music from the heart. Bursts of rasping horns and backing vocalists accompany his heartfelt delivery. You’re spellbound, by how impassioned and soulful his voice is. It seems everything that’s happened to Charles Bradley, both the tragedy and triumph finds an outlet during the song. 

During The Telephone Song which was released as a single back in 2008, you can hear similarities with Marvin Gaye. After Charles’ telephone conversation to his lover, Charles vocal is full of hurt and pain. He’s trying to make up for the heartbreak he’s caused. Blazing horns reflect the pain and hurt in his vocal, while the rhythm section and percussion combine to create a backdrop for his brokenhearted vocal. Key to the track’s sound and success are Charles’ vocal and the horns, who reflect the hurt and heartache in Charles’ desperate vocal.

Lovin’ You, Baby is another track where there’s a vintage soul sound. This is thanks to the Hammond organ that opens the track. With its unmistakable, unique sound, it’s the perfect backdrop for Charles’ fervent, impassioned pleas. Here, you can hear similarities with James Brown in Charles’ voice. This similarity is noticeable with the horns and their growling, pained sound. It’s just the a slow, loose rhythm section, Hammond organ and horn section that accompany Charles. He builds the drama, mixing heartache, passion and sincerity, delivering an irresistible heartfelt vocal.

No Time For Dreaming sees Charles, his band and backing vocalists pay homage to James Brown. There are similarities to James Browns, The JBs and The Famous Flames. This similarity is noticeable from the opening bars. Charles and his backing vocalists feed off each other. One drives the other to greater heights of drama and soulfulness. Meanwhile, The Menahan Street Band provide a backdrop that’s funk personified. The rhythm section and rasping horns and backing vocalists are a perfect foil to Charles’ growling vocal. He really unleashes a voice that’s fiery, funky and full of feeling and is a perfect homage to the Godfather of Funk James Brown. 

A roll of drums, Hammond organ and punchy, rasping horns open Why Is It So Hard. They build up the drama, setting the scene for Charles’ vocal. He asks “why is it so hard to make it in America?” This sounds personal. Soon you realize it is. What you hear is the story of Charles Bradley and his struggle for recognition. With just the Hammond organ, rhythm section and bursts of angry horns accompanying him, Charles lays bare his soul. His voice is full of sadness and frustration, combined with anger and hurt. When the backing vocalists sweep in, they add the finishing touch to the track. It’s as if they sympathize with Charles, sharing his anguish and hurt, during a thirty year struggle for musical recognition.  

My final choice from No Time For Dreaming is the track that closes the album, Heartaches and Pain. When you hear the track, it’s hard to believe this is a new track. It could’ve been recorded thirty or forty years ago. The best way to describe it is vintage in sound. The tempo is slow, with just the rhythm section, guitars and braying horns accompanying Charles. His voice is full of sadness and regret, as he sings about the death of his brother, painting a picture before you’re eyes. You can sense the emotions, sadness and anger are flooding out. It can’t be easy delivering lyrics that are so personal. So, emotive and impassioned is Charles’ delivery that it’s impossible not to be moved by these lyrics, which are some of the best on the album. I just hope that singing this track proved cathartic for Charles Bradley, as he lays bare his soul for all the world to hear and share his pain and hurt.

Although I’ve only mentioned half of the twelve tracks on No Time For Dreaming, these are just a taster of the delights on the album. I’ve just chosen what I believe to be highlights of No Time For Dreaming, but it’s an album with much more than six tracks. No Time For Dreaming is a quite amazing album, one that’s autobiographical, telling the story of the lives and times of Charles Bradley. This is a story full of hurt, heartbreak and a hidden talent, that deserved to be heard much earlier. That’s what makes the sound of No Time For Dreaming so apt. It’s a bit like a trip back to the sixties and seventies, albeit one released in 2011. There’s a real vintage soul sound on the twelve tracks. It’s a bit like discovering a hidden album on Hi Records, one where Al Green, O.V. Wright and Otis Clay with a bit of Marvin Gaye plus heaps of James Brown thrown in for good measure. During the twelve tracks on No Time For Dreaming, Charles Bradley pays homage to each of these giants of soul and funk, fusing soul and funk seamlessly and peerlessly. However, whereas these men are soul past, Charles Bradley is the future of soul. He may be fifty-four this year, but I’m sure Charles Bradley has many more tales to tell and stories to share, just like he did on No Time For Dreaming. Let’s just hope his second album takes less time to record and release than his debut album. After all, with talent like Charles Bradley has, the whole world needs to hear his voice and share his soulful secrets, like he did on No Time For Dreaming. Standout Tracks: The World (Is Going Up In Flames), Lovin’ You, Baby, Why Is It So Hard and Heartaches and Pain.

CHARLES BRADLEY-NO TIME FOR DREAMING.

http://soundcloud.com/unknown-19/charles-bradley-heart-of-gold

http://soundcloud.com/scionav/sets/scion-av-cd-sampler-v-19-daptone-records-remixed

No Time for Dreaming (Re-Issue)

THE CRUSADERS-STREET LIFE.

♦ July 25, 2012 ♦ Leave a comment

THE CRUSADERS-STREET LIFE.

Having started their career as The Jazz Crusaders and releasing their debut album Freedom Sound in 1961, it took a change in name and sound before their music became commercially popular. This transformation occurred in 1971, with The Jazz Crusaders becoming The Crusaders. They released their “debut” album as The Crusaders in 1971 with Pass the Plate. After this, The Crusaders would release eleven more albums during the seventies, and in the process, becoming one of the biggest jazz fusion groups of the seventies. By 1979, The Crusaders were at the height of commercial popularity, with their music becoming more jazz funk in style. Then in 1979, The Crusaders would release their most successful album Street Life. It featured their most successful single, the title-track Street Life, which features Randy Crawford on lead vocal. Street Life reached number thirty-six in the US Billboard 100 and number seventeen in the US R&B Charts. They’d come a long way from their early days as The Jazz Crusaders, but the success of Street Life was helped no end by the success of the single Street Life, which since then, has become a classic track. However, apart from Street Life which everyone knows, what do the other tracks on Street Life Sound like? Before I tell you about the music on Street Life, I’ll tell you about the background to the album.

The Crusaders had been one of the most prolific artists of the seventies when they set about recording their twelfth and final album of the seventies. Bassist Wilton Felder, drummer and percussionist Stix Hooper and keyboard player Joe Sample had six tracks to record. Wilton and Joe had written two tracks apiece while Stix had written just one track. The other track Street Life was a collaboration between Joe Sample and Will Jennings. For that track, a female vocalist was required, so Randy Crawford was brought in to add her vocal prowess. Little did they know the effect Street Life would have on their career. Randy Crawford wasn’t the only guest artist on what become Street Life. A number of high-profile musicians would play on the album. 

Among the guest artists were percussionist Paulinho Da Costa, guitarist Paul Jackson, bassist Alphonso Johnson and William Green. They joined The Crusaders and guest vocalist Randy Crawford at Hollywood Sound Recorders in Los Angeles. Producing Street Life were Wilton Felder, Stix Hooper and Joe Sample. With the six tracks that became Street Life recorded, The Crusaders’ twelfth album was set for release. Little did they know that Street Life and one track in particular, Street Life would surpass the success they’d previously enjoyed.

Before the release of Street Life in 1979, the title-track Street Life featuring Randy Crawford was released as a single. It reached number thirty-six in the US Billboard 100 and number seventeen in the US R&B Charts. Then when Street Life was released, it became their most successful album reaching number eighteen in the US Billboard 200 and number three in the US R&B Charts. Although sales of Street Life were helped no end by the success of the single Street Life, there was more to the album than one track, as you’ll realize when I tell you about the music on Street Life. 

Keyboards and that slow, sultry saxophone solo open Street Life, as an eleven minute epic unfolds. This version is very different from the single version. Here, you hear the track in all its glory. Randy Crawford’s vocal is full of emotion and passion, growing in power before the track reveals its secrets and charms. The rhythm section, guitars, keyboards and Randy’s vocal combine as a sumptuous slice of jazz funk unfolds. Lush strings, percussion and punchy blazing horns are added, as The Crusaders tease and tantalize. One minute the arrangement is wistful and melancholy, then exploding into an uplifting, melodic and infectiously catchy jazz funk sound. With keyboards, rhythm section, sweeping strings, percussion and growling horns providing a backdrop, Randy Crawford delivers a career defining vocal, stealing the show. If another vocalist had been chosen, they wouldn’t have been able to bring out the subtleties and nuances in the lyrics. Not only that, but maybe Randy’s career would’ve been very different. Of all the songs she’d record, Street Life is without doubt one of the best and one that’s become synonymous with her.

For anyone expecting the rest of Street Life to be similar to the opening track, then they’re in for a surprise. There’s no more Randy Crawford, with The Crusaders delivering their own brand of jazz funk on My Lady. It’s a mid-tempo track, where the rhythm section, guitars and percussion combine, before a rasping tenor saxophone played by Wilton Felder enters. Paulinho Da Costa adds percussion, while Stix Hooper provides the track’s thoughtful heartbeat. Key to the track’s sound is Joe Sample’s keyboards. They’ve a similar pleasing, melodic sound to those on Street Life. Once the saxophone drops out, they take centre-stage, providing a contrast to the rasping tenor saxophone. However, both the saxophone and keyboards play important role in what’s a quite beautiful, uplifting track, that shows there’s more to Street Life than just one track. 

Rodeo Drive (High Steppin’) sees the tempo quicken, with the rhythm section and horns driving the track along. Soon, gentle strings are added, before Barry Finnerty unleashes a peerless jazzy guitar solo. You’re spellbound by his virtuoso skills. This is the best guitar playing on Street Life. The rest of the band are reduced to playing supporting roles. Later, it’s the horns turn to take centre-stage, with sizzling, blazing horn solos drifting across the arrangement. Again, The Crusaders are content to allow their guest musicians to share and sometimes, steal the limelight. Mind you, given the guitar and horn solos are key to the sound and success of the track, maybe that’s why.

There’s a Latin sound and influence apparent when Carnival of the Night begins. This is thanks to Paulinho Da Costa adding percussion. He combines with keyboards, a funky rhythm section, chiming guitars and Wilton Felder’s tenor saxophone. Later, Barry Finnerty is called upon to lay down another guitar solo. He’s one of four guitar players on the track, but contributes the most. His fingers race up and down the fretboard, mixing elements of jazz, funk and rock. When his solo is over, Joe Sample steps up, adding an equally impressive keyboard solo, fusing jazz and funk. This is just the finishing touch to a track where The Crusaders fuse jazz funk, Latin and even elements of rock music.

There’s a dramatic sound to The Hustler, with drummer Stix Hooper, Joe Sample’s keyboards and the rest of the rhythm section combining. You thing that The Crusaders are about to kick loose, with the track more funk than jazz. That’s not the case. When Wilton Felder switches to alto sax, the sense of drama is lost. It’s only when Stix Hooper returns that the drama is built back up. Later, the momentum builds, with Wilton delivering an impassioned, growling alto saxophone solo. However, neither that, nor Stix’s interventions on drums help the track live up to its early promise. Instead, The Crusaders head for safe territory, resisting the temptation to unleash their combined talents and create something dramatic and dynamic. This is disappointing, as the track neither lives up to its early promise, nor offers anything new.

Closing Street Life is Night Faces, another mid-tempo track. It’s just the rhythm section that accompanies Wilton Felder on alto sax. His playing is slow, heartfelt and quite beautiful. Later, Joe Sample takes charge, laying down one of his trademark keyboard solos. He improvises, exploring the subtleties and nuances of the track, with just the rhythm section for company. After that, Wilton Felder on alto sax returns taking his turn to improvise, never overplaying, instead playing his part in what’s a beautiful track to close Street Life.

Not only was Street Life the twelfth album of The Crusaders’ career, but marked the commercial peak of The Crusaders’ career. It also helped launch Randy Crawford’s career solo career. Street Life is also an album of two differing styles. The title-track and most successful single of The Crusaders’ career, saw them fuse the soul supplied by Randy Crawford with their own unique brand of jazz funk. After that, the other five tracks are very different. They’re much more jazz funk in sound and style. Most of these tracks feature some quality jazz funk, although one track disappoints. The Hustler promises drama and energy but ultimately fails to deliver. You think that at last, The Crusaders are about to kick loose. Sadly, that’s the case. Instead. The Crusaders stick with the jazz funk of the three previous tracks, and after a while, this becomes slightly repetitive. This is the case with The Hustler. Night Faces which closes the album, bookmarks the album nicely. It’s a quite beautiful track, with Wilton Felder on alto sax and Joe Sample on keyboards key to the track’s sound and success. For anyone yet to discover the music of The Crusaders, then this is a good starting point. Their earlier albums were much more jazz fusion in style, whereas this Street Life is much more laid back jazz funk sound. This isn’t the heavy jazz funk of other jazz funk group. Instead, it’s a much more laid-back sounding album. If anyone buying Street Life thinking that it’s an album full of tracks like Street Life, then this isn’t the case. What they’ll find on Street Life is an album full of some quality jazz funk, from the triumvirate of jazz giants Wilton Felder, Joe Sample and Stix Hooper. Standout Tracks: Street Life, My Lady, Carnival of the Night and Night Faces.

THE CRUSADERS-STREET LIFE.

Street Life

MY SALSOUL MARSHALL JEFFERSON PRESENTS:THE FOUNDATIONS OF HOUSE.

♦ July 24, 2012 ♦ Leave a comment

MY SALSOUL MARSHALL JEFFERSON PRESENTS:THE FOUNDATIONS OF HOUSE.

Often when writing about Salsoul Records, I’ve mentioned how important a part Salsoul played in the development of house music. Salsoul’s music wouldn’t just influence the first generation of house DJs, but several generations of producers. Even now, that influence is apparent, with producers paying homage to the many delights of Salsoul. One pioneering house producer influenced by Salsoul was Marshall Jefferson. This influence can be heard in his seminal track Move Your Body. He was inspired by Salsoul tracks he’d heard played by DJs like Ron Hardy at the Music Box and Frankie Knuckles sets at the Warehouse. Frankie Knuckles sets were crammed full of Salsoul tracks, including First Choice’s Let No Man Put Asunder. Given how important a part Salsoul played in Marshall’s career, it seems somewhat fitting that twenty years later, he’d compile a compilation entitled My Salsoul-Marshall Jefferson Presents: The Foundations of House. Released in 2004 by Suss’d Records, this double-album contains twenty-six Salsoul tracks. With tracks from Inner Life, Double Exposure, The Salsoul Orchestra, Love Committee, Instant Funk and the undisputed Queen of Salsoul, this is a compilation absoloutely chock full of quality music. However, with so many classic tracks. what are the highlights of My Salsoul-Marshall Jefferson Presents: The Foundations of House?

DISC ONE.

On Disc One of Salsoul Marshall Jefferson Presents: The Foundations of House, Marshall Jefferson has combined a combination of familiar, Salsoul classics with a few less obvious choice. This includes opening Disc One with Aurra’s Are You Single and Skyy’s High. After that, we’re on familiar territory, with tracks like Loleatta Holloway’s Hit and Run, Inner Life’s Moment of My Life, First Choice’s Let No Man Put Asunder and the gloriously uplifting and inspirational Inner Life’s Ain’t No Mountain High Enough which closes Disc One. Truly, there’s classics aplenty in-store for the discerning, Salsoul aficionado. Disco, Philly Soul and funk can all be heard during the thirteen tracks that Marshall Jefferson chooses. He proves to have discerning taste on My Salsoul-Marshall Jefferson Presents: The Foundations of House, as you’ll see, when I tell you about some of the highlights from Disc One.

Loleatta Holloway’s Hit and Run  was a track from her 1976 album. It gave Loleatta a surprise hit single, selling over 300,000 copies. Since then, it’s become one of Loleatta’s best known songs, a favorite of re-editors and remixers. Two things made this a classic track, Loleatta’s vocal and the sound of the Salsoul Orchestra. With the Baker, Harris and Young rhythm section at the heart of the track, driving the track along, 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. Along with tracks like Dreaming and Runaway, Loleatta Holloway was the greatest diva of the disco era. Here, her powerful and sassy vocal along with the multitalented Salsoul Orchestra, make this not just one of the greatest tracks of the disco era, but a Salsoul classic.

Inner Life’s Moment of My Life was released on Salsoul Records in 1982. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in the arrangement.

Double Exposure’s My Love Is Free, from their 1976 debut album Ten Percent, produced by Baker, Harris, Young. The introduction is extended, so that the combination of drums, shakers, swirling strings, guitars and flourishes of piano seemingly last forever. Eventually, the power, passionate vocal vocal drifts in, while punchy, soulful harmonies augmenting it. The arrangement has made in Philadelphia stamped all over it. With rasping horns, cascading string, percussion and the Baker, Harris, Young rhythm section providing the track’s pounding, dramatic and uplifting heartbeat, a gloriously soulful slice of disco unfolds. 

Love Sensation written by Dan Hartman, was released by Loleatta Holloway in July 1980. Opening with its combination of rhythm section, percussion, piano and cascading strings, you anticipate the entrance of Loleatta’s strutting, powerful vocal. Accompanied by swirling strings, rasping horns and a punchy rhythm section, Loleatta gives a vocal masterclass. Her voice becomes an impassioned roar, while backing vocalists accompany her. Lush strings combine with dramatic drums and blazing horns, as Loleatta’s powerful vocal is key to the track’s success and timeless, dramatic sound.

First Choice were a group discovered by Baker, Harris, Young, who had the group under contract  Philly Groove. When Baker, Harris, Young left Philadelphia International, they brought them to Salsoul.  The album Armed and Extremely Dangerous had previously given the group some success. Doctor Love was released in April 1977, and produced by Norman Harris. With lead singer Rochelle Fleming, fronting First Choice, they’d become one of the disco era’s biggest groups. The track has a bright and bold introduction with a mixture of blazing horns, cascading strings and a punchy rhythm section combining. Then, when Rochelle’s vocal enters it’s perfect for the arrangement, with its mixture of power, passion and confidence. Behind Rochelle, the rest of the group contribute soulful, backing vocals. A combination of Rochelle’s powerful and passionate vocal and Norman Harris’ stunning arrangement result in one of First Choice’s greatest tracks.

When First Choice released their fourth album Delusions, it didn’t just feature one classic track, but two. These were Dr. Love and this track Let No Man Put Asunder, both produced by Baker, Harris, Young. Rochelle Fleming’s lead vocal is a sassy vamp, from a true disco diva. The interplay between Rochelle’s and her backing vocalists helps build up the drama and emotion of the track. This she does against a backdrop where the rhythm section, percussion and keyboards combine. As Rochelle teases and tantalizes with her peerless, sassy vocal, Frankie Knuckles transforms the track into a near eleven minute epic.

Like many Salsoul tracks, Inner Life’s Ain’t No Mountain High Enough has a real timeless sound. It’s hard to believe that it was originally released back in August 1981. This was a track from Inner Life’s 1981 album Inner Life. Produced by Patrick Adams and Greg Carmichael. A timeless sounding arrangement is combined and a stunning vocal from Jocelyn Brown. Her vocal is diva-esque, as she delivers Ashford and Simpson’s lyrics. It’s a track that after a subtle, hesitant start, where drums, percussion and then Jocelyn’s vocal combine. Then. the track literally bursts into life. Drums pound, strings swirl, percussion, keyboards and chiming guitars combine before Jocelyn’s powerful, emotive vocal enters. After that, the track just gets so much better. Handclaps and bursts of backing vocalists join the arrangement, combining power and drama. The result is an uplifting and joyous sounding Salsoul classic.

From the opening bars of Disc One of My Salsoul-Marshall Jefferson Presents: The Foundations of House you’re introduced to Salsoul classics galore. This includes two from Loleatta Holloway’s Hit and Run and Love Sensation. Loleatta isn’t the only diva on Disc One, with Rochelle Fleming lead singer of First Choice featuring on Doctor Love and Let No Man Put Asunder. Then there’s Jocelyn Brown on Inner Life’s Ain’t No Mountain High Enough. Among the other highlights of Disc One are Inner Life’s Moment of My Life, Instant Funk’s I Got My Mind Made Up and The Salsoul Orchestra’s You’re Just the Right Size. Among the lesser known tracks are Aurra’s Are You Single and Skyy’s High. Both have the quality you’d expect for a release baring the Salsoul label. The thirteen tracks that feature on Disc One of My Salsoul-Marshall Jefferson Presents: The Foundations of House show Marshall Jefferson is DJ with quite impeccable taste. Will his taste be just as good on Disc Two of My Salsoul-Marshall Jefferson Presents: The Foundations of House and will we hear many more Salsoul classics?

DISC TWO.

While Disc One of My Salsoul-Marshall Jefferson Presents: The Foundations of House is chocked full of Salsoul classics, Disc Two isn’t quite as packed full of classics, with hidden gems and well-known tracks featuring. Among the classic tracks are Skyy’s First Time Around and Call Me, Candido’s Thousand Finger Man and Loleatta Holloway’s Catch Me On The Rebound. Hidden gems include Gaz’s Sing Sing, Love Committee’s Law and Order and Carol Williams’ Love Is You. The Salsoul Orchestra feature twice, with the Vince Montana Jr produced Ooh I Love It (Love Break) a real joyous gem. This tracks and twelve others, were chosen by Marshall Jefferson, who certainly knows his way around the Salsoul back-catalogue given the quality of music on Disc Two. However, what are the highlights of Disc Two of My Salsoul-Marshall Jefferson Presents: The Foundations of House?

Skyy’s First Time Around was released in May 1979 just before the Disco Sucks movement tried to kill disco. Opening with just a wandering bass. Then a male vocal enters, before sizzling guitars, swirling strings and pounding drums combine. The arrangement is dramatic, while sweet, sensuous vocals drift in and out of the track. This track has a quite different sound, with rocky guitars providing a contrast to the lushness of the strings and the pounding drums. There’s even synths which occasionally reverberate above the arrangement, as the track reveals its charms and secrets. 

Gaz’s Sing SIng is a track that wasn’t originally recorded by Salsoul. Instead, it was recorded by the German label Lollipop. Produced by Jurgen Korduletsch, who also discovered Claudia Barry and brought her to the US, Jurgen wanted Salsoul to distribute the track. Salsoul gave it to Robbie Rivera to remix. This was his first remix and the result is a joyous track with a real feel-good sound. Released in November 1978, and mixed by Robbie Rivera, the track is extended to seven magical minutes. Opening with pounding drums and guitars, they’re joined by the bass, percussion and strings, before Claudia’s vocal enters. As she sings, her vocal is answered by a male vocalist. The track benefits from a strong rhythm section, which is augmented by rasping horns, keyboards and percussion. Robbie Rivera’s mix is excellent, totally transforming the original track, turning it into a Magnus Opus, where the best of European and US disco becomes one.

The Salsoul Orchestra played a huge part in the success of Salsoul. With musicians of the standard of the Baker, Harris, Young rhythm section, Don Renaldo’s Swingings Strings and Horns and vibes virtuoso Vince Montana Jr. this is no wonder. Ooh I Love It (Love Break), is a Vince Montana Jr.’s production. Like the First Choice version, the tempo is 118 beats per minute, the crispy drumbeats, with percussion, a funky bass line and keyboards combining before backing vocalists enter. Then, cascading strings enter, while the track takes on a Latin sound and influence due to the percussion and bursts of vocal enter. When the lead vocal enter, it’s almost rapped be a female vocalists, while the percussion, drums and strings provide a mesmeric, almost hypnotic backdrop. It’s a new take on a classic track, one with a funk tinged percussive heavy sound.

Carol Williams’ Love Is You, released in March 1977, is a track I’ve always felt was an underrated and overlooked track. It’s 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.

Instant Funk’s Crying appeared on their 1979 album Instant Funk. Pounding drums and powerful vocal enters, with the rhythm section key to the track’s sound. Guitars, keyboards and blazing horns signal the arrival of tight, soulful harmonies. Then at last nearly two minutes into the track the growling, emotive vocal enters. It’s well worth the wait, although the soulful harmonies are the perfect appetizer. From there, tight harmonies, swathes of keyboards, punchy, blazing horns and not forgetting the pounding rhythm section build up the drama. These pieces of the jigsaw are put together by Bunny SIgler who produced this piece of musical perfection.

My final choice from Disc Two is another track from the Queen of Salsoul, Loleatta Holloway, Catch Me On The Rebound. This is a track from her 1978 album Queen of The Night, produced by Norman Harris. It features the Baker, Harris, Young rhythm section, who combine with blazing horns, keyboard and percussion to create a track that’s steeped in drama. You’re anticipating Loleatta’s vocal, awaiting her grand entrance. You’re not disappointed. Her mixture of power, passion and emotion is present, while Earl Young’s drums pound. The Sweethearts of Sigma add punchy harmonies, before Ron Baker’s bass bounds across the arrangement. As Loleatta vamps, percussion and gospel-tinged backing vocals add to the drama of the track. All this makes this the best track on Disc Two and demonstrates just why Loleatta Holloway was the real First Lady of Disco. No-one else came close.

On Disc Two of My Salsoul-Marshall Jefferson Presents: The Foundations of House, Marshall Jefferson eschews many of the more obvious Salsoul tracks, instead digging deeper than other compilers. In doing so, Marshall discovers some real hidden gems, with Gaz’s Sing Sing and Order and Carol Williams’ Love Is You two cases in point. Only recently, has Love Is You been recognized as the quality track it really is. This was a track from Carol William’s ‘Lectric Lady album. Gaz’s Sing Sing is another real gem. It’s a track that wasn’t recorded at Salsoul. Instead, Sing Sing was produced by Jurgen Korduletsch, who also brought Claudia Barry to Salsoul Records. Having said Marshall eschewed the more obvious tracks on Disc Two, a case in point is the Loleatta Holloway track he’s chosen. Catch Me On The Rebound was chosen, rather than a track like Runaway. Tracks like Catch Me On the Rebound demonstrate how at Salsoul, Loleatta was transformed from Southern Soul singer, to the undisputed Queen of Salsoul. Two of her classic tracks, Dreamin’ and Love Sensation feature on Disc One, and show the real Queen of Disco at her very best. First Choice, Double Exposure and The Salsoul Orchestra are among some of the other big names on Disc Two, along with Skyy and Candido who provides Thousand Finger Man and Jingo. Although Disc Two of My Salsoul-Marshall Jefferson Presents: The Foundations of House isn’t as top heavy with Salsoul classics, the quality continues throughout Disc Two. For people unfamiliar with Salsoul Records, then My Salsoul-Marshall Jefferson Presents: The Foundations of House is a good introduction to disco’s most important and best ever label. With is combination of classics and hidden gems, then My Salsoul-Marshall Jefferson Presents: The Foundations of House is a good starting point for newcomer’s to Salsoul. However, for veterans of Salsoul, then there’s nothing new for them. There’s no unreleased mixes, like on John Morales-The M&M Mixes. While My Salsoul-Marshall Jefferson Presents: The Foundations of House, isn’t as comprehensive as Harmless Records’ The Definitive Salsoul Mixes, it has one thing in common…its quality, twenty-six tracks from Salsoul Records, the greatest disco label ever. Standout Track: First Choice Doctor Love, Inner Life Ain’t No Mountain High Enough, Carol William Love Is You and Loleatta Holloway Catch Me On The Rebound. 

MY SALSOUL MARSHALL JEFFERSON PRESENTS:THE FOUNDATIONS OF HOUSE.

 

MYSTIC MERLIN-SIXTY THRILLS A MINUTE.

♦ July 23, 2012 ♦ Leave a comment

MYSTIC MERLIN-SIXTY THRILLS A MINUTE.

When Mystic Merlin signed Capitol Records, it looked as if the New York based soul and funk group had a great future ahead of them. They were tipped to join funk’s elite, joining Parliament, Funkadelic, Brass Construction, B.T. Express. Charles Kipp had been hired to produce their debut album Mystic Merlin, which was released in April1980. However, after the lead single Burned To Learn failed to chart, Mystic Merlin’s debut album was dropped by Capitol Records. With neither promotion, nor radio play, Mystic Merlin disappeared without trace in the US. Over in the UK, Mystic Merlin acquired something of a cult following, enjoying minor chart success. Even that minor success couldn’t make up for the disappointment of Mystic Merlin being dropped in the US. A year later, in 1981, disappointed but not defeated, Mystic Merlin returned with their second album Sixty Thrills A Minute, which will be rereleased by BBR Records on 30th July 2012. Would Sixty Thrills A Minute see Mystic Merlin make their commercial breakthrough?

For Sixty Thrills A Minute, Capitol Records thought a few changes were needed, the most important, was hiring a new producer. Capitol thought Los Angeles based Alan V. Abrahams would be the perfect fit for Mystic Merlin. He was steeped in music, having been part of Pig Iron, who released just one album Pig Iron. With Pig iron, Alan toured with Canned Heat, The Allman Brothers and B.B King. From there, Alan moved into A&R with at RCA, where he was partly responsible for signing Hall and Oates. Having dipped his toe into production, Alan produced artists as diverse as the Memphis Horns, Pure Prairie League and even David Cassidy. Mostly, however, Alan with his title of executive producer tired of being a desk jockey. So when Capitol Records offered Alan a position where he could get back into production, this was what he needed. 

Now at Capitol and based in Los Angeles, Alan was asked to meet with Mystic Merlin. Both Mystic Merlin and Alan bonded, so Alan was hired to produce what would become Sixty Thrills A Minute. This meant Mystic Merlin had to relocate temporarily to Los Angeles, where their second album would be recorded at Capitol Studios in Hollywood. 

Once Mystic Merlin had flown in from New York to their temporary new home in Los Angeles, Alan would start recording their second album. A total of nine tracks would  be recorded, with Clyde Bullard co-writing five of these tracks, while producer Alan V. Abrahams cowrote Get It For Yourself. What became Sixty Thrills A Minute saw the five members of Mystic Merlin contribute towards the nine tracks. Alan V. Abrahams was determined to help Mystic Merlin make their commercial breakthrough. To do so, he brought in a number of guest artists. This included saxophonist Ernie Watts, percussionist Paulinho Da Costa and synth wizard Michael Boddicker. Gene Page was hired to arrange the strings on Searching For the Meaning of Love, with the horns on Goddess of the Boogie arranged by Barry Strutt. With Alan V. Abrahams having brought in such high profile session musicians and arrangers for recording of Sixty Thrills A Minute, would this pay of with a commercially successful album?

Got To Make It Better was chosen as the lead single from Sixty Thrills A Minute, and was released in February 1981. It gave Mystic Merlin their first chart success, reaching number eighty-two in the US R&B Charts. Then when Sixty Thrills A Minute was released in April 1981, history repeated itself, with the album failing to chart. When Sixty Thrills A Minute was released in May 1981, it reached number seventy-six in the US R&B Charts. Although this minor success was a small crumb of comfort, Mystic Merlin’s second album Sixty Thrills A Minute had failed to be a commercial success. However, should Sixty Thrills A Minute have fared better when it was released?

Opening Sixty Thrills A Minute was the title-track and the second single Sixty Thrills A Minute, a track with an Earth, Wind and Fire influence. Funk and dance music unite, with the rhythm section supplying the funk, along with infectious percussion that punctuates the arrangement. Then comes the joyous vocal, accompanied by punchy backing vocals and blazing horns. Sizzling guitars, synths and the funk laden rhythm section all play their part in creating an irresistible sounding arrangement, while uplifting vocal and growling horns supply Sixty Thrills A Minute.

The funk continues on Hideaway, breathy backing vocals and a hard driving, funky rhythm section combining. Backing vocals cascade, giving way to a soulful vocal. Bursts of synths join the guitars, rhythm section and tender backing vocals. Swathes of keyboards add to the drama, as the arrangement builds up, as Mystic Merlin fuse funk and soul while teasing and tantalizing listeners.

On their debut album Mystic Merlin often were at their best on the soulful tracks. Sign of the Times sees a return to this side of Mystic Merlin. Keith Gonzales delivers one of the most emotive, impassioned and heartfelt vocals. Haunting strings, a slow, sometimes dramatic rhythm section and guitars combine with tight, punchy backing vocals. They provide the perfect backdrop for Keith’s vocal, on what’s one of the real highlights of Sixty Thrills A Minute.

The first singles released from Sixty Thrills A Minute was Got To Make It Better. Again there’s a real Earth, Wind and Fire sound and feel to the track. Everything from the rhythm section, bursts of horns and backing vocals pay homage to one of the most successful bands of the seventies and eighties. Even Keith’s vocal has a Maurice White influence. Lush strings are added as Mystic Merlin provide an infectiously catchy, feel-good sound. Resistance is impossible. It’s best just to succumb to the charms and delights of Mystic Merlin and enjoy the magical journey. Given the sheer hook-laden, quality of the track, this deserved to fare much better upon its release as a single.

Monkey Love is very different from the previous tracks. Gone is the out and out soulful side of Mystic Merlin, gone also is the Earth, Wind and Fire influence. Instead, dramatic synths are added to Mystic Merlin’s funky rhythm section, before surprises aplenty are sprung. Still there’s a soulfulness to Keith’s vocal, as it’s accompanied by subtle harmonies. They quickly, grow in drama, matching the heavier, funkier sound of the arrangement. Later, animal sound effects are added, making it sound like there’s half of Los Angeles’ zoo in the studio. Having said that, it adds drama to the track.

Goodness of the Boogie sees percussionist Paulinho Da Costa accompanied by keyboards open the track. This is melodic and builds up the drama. You wonder what’s in store, are Mystic Merlin about to unleash a curveball. They are. The track bursts into life, revealing a track that’s catchy and funky. Key to the track are the rhythm section, especially Clyde Bullard’s pounding funky bass and Keith’s sassy vocal. Guitars, bursts of blazing horns and percussion combine with the heavy duty funk of Mystic Merlin, as they cast a funky spell, on a track that demonstrates just how talented and versatile a band they truly were.

Searching For the Meaning of Love sees just piano, percussion and lush strings combine with Keith’s heartfelt vocal. Producer Alan V. Abrahams gradually builds the arrangement. Subtle, chiming guitars, swirling string and beautiful backing vocals all are added. Drums add drama, while strings cascade and the piano is central to the success of the arrangement. The last vital ingredient is a rasping horn, which dramatically and emotively drifts above the arrangement. Again, Mystic Merlin demonstrate that when it comes to soulful ballads, they were peerless. Maybe this is a side they should’ve concentrated more on, rather than carrying on down the funky road.

Listening to Get It For Yourself, you wonder why it was only chosen as the B-side to Got To Make It Better. Given its quality, surely it deserved a better fate. Here, Mystic Merlin joyously fuse funk and soul. Mystic Merlin’s pounding rhythm section, driving guitars and keyboards provide the funk, while the vocal is impassioned and uplifting. Later, a horn solo blazes above the arrangement, setting up the vocal for one last hurrah. It takes over where the horn left of, as Mystic Merlin spread their joyous, uplifting message.

Closing Sixty Thrills A Minute is Haunting You (Crystal Ball). Chiming, driving guitars, stabs and flourishes of keyboards and swathes of cascading strings are added, to Mystic Merlin’s rhythm section. The emotive vocal is accompanied by bursts of atmospheric, dramatic effects. Key to the track is arrangement, with producer Alan V. Abrahams dropping in each of the instruments at just the right time. Pounding drums, haunting strings and a myriad of atmospheric, dramatic instruments and effects all are used to good effect, bringing Sixty Thrills A Minute to a thrilling conclusion.

After Sixty Thrills A Minute failed to chart, the five members of Mystic Merlin must have wondered what they’d have to do have an album chart? Their debut album Mystic Merlin had been dropped by Capitol Records a year earlier, and now Sixty Thrills A Minute had failed to chart. They must have feared for their futures. There was nothing wrong with the music on either album. On Sixty Thrills A Minute, the album was crammed full of quality music. Maybe one of the problems was Mystic Merlin’s focus on funk. When they revealed the much more soulful side of their music they excelled. Tracks like Sign of the Times and Searching For the Meaning of Love are two of the highlights of Sixty Thrills A Minute. Other tracks, including Sixty Thrills A Minute and Got To Make It Better see Mystic Merlin sound like Earth, Wind and Fire. Much as I enjoyed these tracks, maybe Mystic Merlin needed to find their own sound, rather than pay homage to a hugely successful group? Of the nine tracks on Sixty Thrills A Minute, only Monkey Love seems out of place. It isn’t a bad track, but just doesn’t sit well with the eight other tracks. Overall, the quality of music on Sixty Thrills A Minute is of the highest quality. New producer Alan V. Abrahams bringing out the best in Mystic Merlin, bringing out the potential and talent that was obviously there on Mystic Merlin. Sadly, Sixty Thrills A Minute wasn’t a commercial success. Maybe the problem wasn’t the music, but there wasn’t the appetite for Mystic Merlin’s brand of music. By the early eighties, music was changing and changing fast. Funk wasn’t as popular as it was in the seventies. The other problem was who were Mystic Merlin? Were they a funk or soul group, or somewhere in between? Maybe soul fans would enjoy their soulful songs, but there wasn’t enough of these songs for them? Whatever it was, there was nothing wrong with the music on Mystic Merlin’s second album Sixty Thrills A Minute, which will be rereleased by BBR Records on 30th July 2012. The title to Mystic Merlin’s second album is indeed a fitting one. Mystic Merlin’s music truly is, Sixty Thrills A Minute. Standout Tracks: Sixty Thrills A Minute, Sign of the Times, Got To Make It Better and  Searching For the Meaning of Love.

 MYSTIC MERLIN-SIXTY THRILLS A MINUTE.

LISA LISA AND CULT JAM WITH FULL FORCE-LISA LISA AND CULT JAM WITH FULL FORCE.

♦ July 22, 2012 ♦ Leave a comment

LISA LISA AND CULT JAM WITH FULL FORCE-LISA LISA AND CULT JAM WITH FULL FORCE.

After signing to Columbia Records, the three members of Lisa Lisa and Cult Jam, Lisa Velez, Alex Panador and Mike Hughes would embark upon the most successful period of their career. During the four year period between 1985 and 1989, Lisa Lisa and Cult Jam released three albums, two of which were certified platinum and one gold. Oh, and that’s not forgetting two US R&B number one singles Head To Toe and Lost In Emotion. This successful period started with Lisa Lisa and Cult Jam’s debut album Lisa Lisa and Cult Jam With Full Force which will be released on 30th July 2012  by BBR Records. Key to the success of Lisa Lisa and Cult Jam were the production team of Full Force, plus a hugely talented vocalist in Lisa Lisa. Full Force were one of the most successful production teams of this time, working with artists like La Toya Jackson, The Weather Girls and Lil’ Kim. With the help of Full Force, Lisa Lisa and Cult Jam and their fusion of R&B and hip hop burst onto the musical scene. The next four years, would change the lives of Lisa, Alex and Mike, resulting in some memorable music, including their debut album Lisa Lisa and Cult Jam With Full Force.

Now signed to Columbia Records, Lisa Lisa and Cult Jam headed to New York’s Sigma Sound Studios, where they’d record their debut album Lisa Lisa and Cult Jam With Full Force. The three members of Lisa Lisa and Cult Jam lead vocalists Lisa Velez, guitarist and bassist Alex Panador and drummer and keyboard player Mike Hughes cowrote seven tracks, while Lisa Lisa cowrote This Is Cult Jam with Full Force and Howie Tee. Not only would Full Force produce the album, but accompany Lisa Lisa and Cult Jam, including Bow Legged Lou and Paul Anthony adding vocals. A total of eight tracks were recorded, becoming Lisa Lisa and Cult Jam With Full Force.

Before the release of Lisa Lisa and Cult Jam With Full Force, the first single was chosen from the album. This was I Wonder If I Take You Home, released in April 1985. It reached number thirty-four in the US Billboard 100, number six in the US R&B Charts and number one in the US Dance Charts, resulting in the single being certified gold. More success would come the way of Lisa Lisa and Cult Jam when they released their debut album. Lisa Lisa and Cult Jam With Full Force was released in August 1985, reaching number fifty-two in the US Billboard 200 and number sixteen in the US R&B Charts. Having sold over one-million copies, the album was certified platinum. Can You Feel the Beat was released in October 1985, reaching number sixty-nine in the US Billboard 100, number forty in the US R&B Charts and number six in the US Dance Charts. All Cried Out was the final single from Lisa Lisa and Cult Jam With Full Force, released in June 1986, reaching number eight in the US Billboard 100 and number three in the US R&B Charts. Quite simply, Lisa Lisa and Cult Jam With Full Force had been a huge success, but what does the album sound like? That’s what I’ll now tell you.

You Wonder If I Take You Home opens Lisa Lisa & Cult Jam With Full Force. Not only was this the lead single from the album, and was certified gold, but saw hip hop, R&B dance music and pop combine. Lisa’s vocal combines R&B and pop, while Cult Jam and Full Force fuses hip hop and dance music. Stabs of keyboards and crispy beats precede Lisa’s emotive, needy vocal. As backing vocalists augment Lisa’s vocal, swathes of keyboards combine with crunchy, spacey beats. During a breakdown, Lisa’s vocal dances above Cult Jam and Full Force arrangement, before Mike lays down his rap. For seven minutes, Lisa Lisa & Cult Jam With Full Force create a groundbreaking, innovative and genre uniting track. In doing so, they paved the way for a wave of similar artists and in the process, laid down a marker.

You’ll Never Change opens with a dialogue between an errant boyfriend and his frustrated girlfriend. Then comes Lisa’s frustrated, angry vocal. It’s delivered against pounding beats, as stabs and layer upon layer of keyboards provide the mainstay of the arrangement. Backing vocalists sympathize and empathize with Lisa, reflecting her frustration and disappointment. Meanwhile, drums crack, providing the track’s angry heartbeat, as keyboards add to the sadness of Lisa’s weary vocal. Key to the success of the track is Lisa’s vocal. Without her vocal, this track wouldn’t be half as good.

All Cried Out was the third single from the album reaching the top ten in the US Billboard 100 and US R&B Charts. It’s quite different from the two preceding tracks. The reason for this is the use of a piano, guitar and bass. They give the track a much more R&B sound. Lisa’s vocal is accompanied by just the piano, as again, she demonstrates just how talented a vocalist she is. Her vocal is full of sadness and regret. Later, Paul Anthony delivers the male lead vocal, adding to the emotion of the track. The addition of a searing, rocky guitar solo adds drama, and is the finishing touch to one of the highlights of Lisa Lisa and Cult Jam With Full Force.

This Is Cult Jam was one of only two tracks not written by Cult Jam. Here, a haunting, sinister sounding male vocal is fused with crunchy hip hop beats, synths, scratches and Mike’s rap. Lisa’s vocal drifts in and out of the track, while Cult Jam and Full Force combine, scratches, samples, sinister vocals, melodic harmonies and Mike’s punchy rap peerlessly. The result is a pioneering, innovative track, from true musical pioneers.

Can You Feel the Beat sees another change in style, with the track more dance-floor influence. The tempo is quicker, Lisa’s vocal dropped in, before the track reveals its secrets. Marauding beats, a pounding bass, multilayered synths and guitars create a track where hip hop, dance, R&B and pop unite. Lisa’s vocal is R&B and pop combined, while the arrangement would prove a template for later dance music producers. Even many years later, Lisa Lisa and Cult Jam With Full Force’s influence could be heard, with another generation of artists and producers using their pioneering sound and moving it forward.

Stabs of squelchy synths and drums accompany Lisa’s anguished vocal as Behind My Eyes opens. Background vocals from Full Force accompany her, while an infectiously catchy arrangement unfolds. Guitars and electric percussion are added, providing a contrast to the rest of the arrangement, as Lisa’s vocal becomes sassy, brimming with confidence, before she dramatically half-sings, half-speaks the vocal. Again, it’s Lisa’s vocal that’s the clincher. It takes the track the next level, as hip hop, dance, R&B and pop hooks melts together seamlessly,

Private Property opens dramatically, with piano opening the track, before crunchy, punchy beats and synths are added. They give the track a hooky, melodic sound, before Lisa takes charge. Her vocal is powerful, laden with emotion. As her vocal drops out, the piano reenters, adding a new dimension to the sound. So do the backing vocals that accompany Lisa, as she struts her way across the track, mixing bravado with a sassiness. Although Lisa Lisa and Cult Jam With Full Force all play their part in the sound and success of the track, it’s Lisa that plays the starring role.

Closing Lisa Lisa and Cult Jam With Full Force is Take Me Home, a two minute rap by Mike of Full Force. Crispy beats crack, reverberating, while Lisa adds a dramatic vocal. Mike literally struts in, his vocal full of bravado. Keyboards, percussion and crunchy beats accompany as Lisa Lisa and Cult Jam With Full Force bring their debut album Lisa Lisa and Cult Jam With Full Force to a dramatic, machismo-fueled close.

When Lisa Lisa and Cult Jam With Full Force was released, little did Lisa Lisa, Cult Jam or Full Force realize the impact of the album would have. With its fusion of R&B, hip hop, dance and pop, artist had managed to bridge the gap between the various genres. This made Lisa Lisa and Cult Jam With Full Force musical pioneers, boldly going where no artist had gone before. Where Lisa Lisa and Cult Jam With Full Force first walked, other artists stepped into their shoes and walked even further. They took over the baton from Lisa Lisa and Cult Jam With Full Force, whose music became a template for a new generation of artists and producers. What Lisa Lisa and Cult Jam With Full Force had seemed almost impossible back in the early eighties, artists and producers now take for granted. Maybe they should tip their hat to true musical pioneers, Lisa Lisa and Cult Jam With Full Force. Without Lisa Lisa and Cult Jam With Full Force’s debut album Lisa Lisa and Cult Jam With Full Force, which will be rereleased on 30th July 2012 by BBR Records, then much of the music we take for granted wouldn’t have happened. So, maybe the artists and producers who’ve benefited from the pioneering music on Lisa Lisa and Cult Jam With Full Force, should give thanks to Lisa Lisa and Cult Jam With Full Force for paving the way for them and in some cases, the untold riches that has come their way. Standout Tracks: I Wonder If I Take You Home, You’ll Never Change, All Cried Out and Private Property.

LISA LISA AND CULT JAM WITH FULL FORCE-LISA LISA AND CULT JAM WITH FULL FORCE.

HOLY SPIRIT-SPIRITUAL SOUL AND GOSPEL FUNK.

♦ July 21, 2012 ♦ 1 Comment

HOLY SPIRIT-SPIRITUAL SOUL AND GOSPEL FUNK.

In an increasingly overcrowded compilation market, certain labels can be relied upon to release quality compilations. Three labels spring to mind, BBE Music, Strut and Harmless Records. Whilst other labels, including major labels continue to recycle the same collections of familiar and sometimes tired songs, albeit using different titles. Meanwhile, BBE Music, Strut and Harmless Records, three British labels continue to a plow lone furrow releasing innovative, imaginative and inspirational compilations. Harmless Records latest compilation sees them release their first volume of gospel music, Holy Spirit-Spiritual Soul and Gospel Funk, a double-album featuring forty-one tracks from Jewel Records. Considering gospel music’s historical importance, this is a very welcome release. Without gospel music’s vocal techniques and arrangements there would no R&B, rock and roll and soul music. For far too long, many labels have shied away from releasing gospel music. That wasn’t the case forty or fifty years ago, with Chess and Stax releasing gospel music on subsidiary labels like Checker and Chalice. Nowadays, many labels perceive gospel music to be very much a niche market, given its lyrics and religious nature. To me, that’s wrong. Surely, you can appreciate and enjoy gospel music without buying into the religious message, given how uplifting and inspirational the music is? I defy anyone not to find the music on Holy Spirit-Spiritual Soul and Gospel Funk truly uplifting and inspirational. You’ll realize that when I tell you more about the music on Holy Spirit-Spiritual Soul and Gospel Funk. 

Jewel Records was founded in 1963 by Stan Lewis in Shreveport, Louisiana. Stan was then a record distributor and jukebox operator, who was encouraged to start his own label by Leonard Chess, founder of the legendary Chess Records. However, Stan Lewis was a man steeped in music. His introduction to the music industry came when he bought five jukeboxes in 1948, placing them in various part of Shreveport. From there, he opened his first record shop, in a store measuring just eight feet by twelve. Stan’s Record Store was born at 728 Texas Street, Shreveport. Paula, Stan’s wife worked in the shop, while Stan worked a variety of other jobs. After a while and lot’s of hard work, Stan bought a bigger store. Then he started to branch out, making contacts in the record industry.

By now, Stan Lewis was meeting record promoters from the various small, independent labels whose records he stocked. He was, it seems, an early networker. Another example of Stan Lewis pioneering and innovative spirit was his decision to drive around Shreveport selling records from his car trunk. Obviously, he’d figured if the customer didn’t come to his shop he’d go to them. Eventually, Stan started dealing with new, up and coming labels. Among these labels were Modern, Imperial, Speciality and a label whose owner would become a friend of Stan’s Chess Records’ Leonard Chess. Having established a relationship with record labels, Stan started promoting records in-store, and sponsoring a program on the Shreveport’s radio station. The radio station would play an important role in Stan’s next venture.

Having sponsored a program on the local radio station, Stan was able to use the station’s downtime to produce various artists. This was long before radio stations were on-air twenty-four hours a day. The only problems was this meant Stan had to record his sessions in the middle of the night. One of his early productions was Dale Hawkins Suzie Q. Having started producing records, the natural progression was to found a record company. 

This was something one of his contacts and friends from another label Leonard Chess, founder of Chess Records had been trying to persuade Stan to do for awhile. Eventually, Stan founded Jewel Records a gospel label in 1963. The chess connection came into play again, when Chess pressed the many of Jewel’s early releases. Two years later in 1965, Stan founded another label Paula, named after his wife. Paula saw Stan branch out from gospel music, releasing pop records. Then in 1966, Stan’s duo of labels became a trio, when he founded Ronn, which released blues, R&B and and jazz. However, out of Stan Lewis’ trio of labels Jewel was truly the Jewel in the crown, building up a roster of some of the biggest names in gospel music. 

Having founded Jewel in 1963, Jewel was at the peak of it’s powers throughout the sixties and seventies. By the eighties, Jewel wasn’t releasing as many records as before. Stan decided to sell the label to Sue Records founder Henry Murray. Maybe this was a wise move, with Stan Lewis having been at Jewel Records’ helm during its heyday. On Harmless Records’ double album Holy Spirit-Spiritual Soul and Gospel Funk From Shreveport’s Jewel Records, many of the biggest names from Jewel Records’ history feature. The recordings on Holy Spirit-Spiritual Soul and Gospel Funk From Shreveport’s Jewel Records are from the period between 1971 and 1984 and I’ll now tell you about some of the highlights of the compilation.

DISC ONE.

Disc One of Holy Spirit-Spiritual Soul and Gospel Funk features some of Jewel Records’ gospel jewels. This includes apiece two tracks from The Meditation Singers, The Brookylyn Allstars, The Soul Stirrers. Among the other artists are Dorothy Norwood, Roscoe Robinson, Ernest Franklin, Keith Barrow, Leomia Boyd and the Gospel Music Makers and The Chimes. These truly are some of jewels in Jewel Records’ back-catalogue. So good is the music and so consistent is the quality of music, that choosing just a few tracks isn’t easy. However, here are the highlights of Disc One of Holy Spirit-Spiritual Soul and Gospel Funk.

Having mentioned The Meditation Singers, their uplifting Trouble’s Brewin’ opens Disc One. Good as that track, The Meditation Singers other contribution to Disc One trumps that track. It’s a beautiful, heartfelt and totally inspirational the Sam Cooke penned A Change Is Gonna Come. Of all the versions I’ve heard of this track, this one of the best, delivered with sincerity and humility. 

Many people will be familiar with Ann Peebles classic track If Loving You Is Wrong (I Don’t Want To Be Right) released in 1972. Written by Homer Banks, Carl Hampton and Raymond Jackson, this is a true Southern Soul gem from Hi Records. However, how many people have heard the gospel version of the track by The Brookylyn Allstars. Entitled, If Loving God Is Wrong (I Don’t Want To Be Right) there are some similarities with Ann’s version. A Hammond organ opens the track, before an equally emotive, impassioned vocal unfolds. While, it might lack the fire of Ann Peebles version, it gets across the message just as well.

There’s another Hi Records connection to The Brookylyn Allstars other contribution to Disc One. Al Green wrote I’m Glad You’re Mine, a track from his 1972 album I’m Still In Love With You. During this time, Al could do no wrong, with his albums topping the US Charts and gold discs a regular occurrence. The Brookylyn Allstars’ version is very different to Al’s version. While Al delivers the track with tenderness, The Brookylyn Allstars deliver the lyrics with passion and power. Both versions have one thing in common though, their heartfelt, sincere delivery. 

Dorothy Norwood’s He’s A Friend is another cover version, this time of Eddie Hendricks’ track. Listening to the track, you realize why Dorothy was called “The World’s Greatest Storyteller.” She has you spellbound, hanging on her every word. So good is her vocal, that she’ll turn an unbeliever into a believer. The finishing touch are some of the best and tightest, soaring, inspirational backing vocals. They help the track swing along as Dorothy weaves her magical storytelling skills.

The Soul Stirrers have two tracks on Disc One, I’m Trying To Be Your Friend and Crying On The Mountain. Of these two tracks, I’m Trying To Be Your Friend, a track from their 1973 album Strength, Love and Power is the best. It has a much more understated sound than other tracks. This works really well, meaning you focus totally on the vocal and backing vocals. Both are deeply soulful, with lead vocalist reminding of Sam Cooke. This is even more noticeable on Crying On the Mountain. Here, The Soul Stirrers roll back the years, revisiting a sound that’s reminiscent of Sam Cooke’s time as lead singer. 

Roscoe Robinson wrote Do It Right Now, a track from his 1972 album He Still Lives In Me. Like The Soul Stirrers’ I’m Trying To Be Your Friend, this track has a much more subtle sound. That doesn’t matter when the vocal is as good as Roscoe’s. He has you mesmerized, hanging on his every subtlety and nuance. His voice is emotive, believing deeply in the “message” he’s delivering. Not only that, but there’s a real Southern Soul sound to the track, one that fans of soul music will adore.

While I’ve only mentioned eight of the twenty tracks on Disc One of Holy Spirit-Spiritual Soul and Gospel Funk, I could just as easily have mentioned several other tracks. Among these tracks are Ernest Franklin’s Trying Times, Keith Barrow’s Everything’s Gonna Be Alright, Leomia Boyd and the Gospel Music Makers’ Need More Love or The Chimes’ Woke Up This Morning. That shows the consistently high standard of music on Disc One of Holy Spirit-Spiritual Soul and Gospel Funk From Shreveport’s Jewel Records. Truly, there isn’t a bad track on Disc One. Mind you, this is Jewel Records we’re talking about. They didn’t release bad records, just quality gospel music. Given the standard of music on Disc One, I’m sure there will be more quality gospel music on Disc Two of Holy Spirit-Spiritual Soul and Gospel Funk.

DISC TWO.

On Disc Two of Holy Spirit-Spiritual Soul and Gospel Funk several of the artists that feature on Disc One feature again. Given how important a role groups like The Soul Stirrers, The Meditation Singers and The Brookylyn Allstars played in gospel music and Jewel Records’ history, this is totally acceptable. Dorothy Norwood and Roscoe Robinson both feature again, while new names on Disc Two include The Southerners, The Silver Gate Quartet Of North Carolina, Mighty Sons Of Glory and the Armstrong Brothers. In total, there are twenty-one tracks on Disc Two of Holy Spirit-Spiritual Soul and Gospel Funk, which I’ll pick the highlights of.

Bill Moss & The Celestials’ You’ve Got To Serve Somebody is my first choice from Disc Two. This is a cover version of a Bob Dylan track, released as a single in 1980. There’s a big difference in the two versions, with Bill Moss & The Celestials energizing the track. It comes alive, Bill’s vocal powerful and impassioned, with The Celestials adding soaring, dramatic backing vocals. Add to that an arrangement that’s downright funky and the result is one of the real highlights of the compilation. 

Mighty Sons Of Glory’s Don’t Forget The Bridge (That Brought You Over), a track the group cowrote was released in 1982. It’s a track that fuses blues guitars, soul, funk and gospel in four magical minutes. Not only that, but it features one of the best vocals on Disc Two. The vocal is from the heart, delivered with sincerity, accompanied by tight, soulful and uplifting harmonies. Truly, this is an absolute gem of a track, one I can’t praise highly enough. I just hope a record label somewhere rereleases some of Mighty Sons Of Glory’s music. It deserves a wider audience.

There’s Got To Be Rain In Your Life is the best of a trio of tracks from Dorothy Norwood on Disc Two. Good as Come and Go With Me and Winding Up are, for me There’s Got To Be Rain In Your Life is her best offering on Disc Two. Again, she shows why she was called “The World’s Greatest Storyteller.” Having delivered a half-spoken vocal, she kicks loose, revealing one of the soulful vocals on the compilation. She mixes power and passion, accompanied by subtle but soulful backing vocalists and an understated arrangement. 

When I first heard Robert Blair & The Fantastic Violinaires’ I’m Not Worried, I immediately heard similarities with Otis Clay and O.V. Wright, with its grizzled, gravely quality. Then when the vocal changes hands, an impassioned falsetto takes charge of the vocal. From there the interplay between both vocals is compelling and heartfelt. This is gospel music, it’s music for the heart and soul. The icing on the cake are the cascading close harmonies. They make a great song even greater.

Although I’ve already mentioned two of The Brooklyn Allstars’ tracks, it would be remiss of me not to mention their version of In the Ghetto. My favorite version is Candi Staton’s, rather than Elvis Pressley’s overblown version. Here, The Brooklyn Allstars slow the song way down, with the heartfelt vocal delivering against a stripped-down arrangement. Just a piano, Hammond organ and rhythm section give the track a Southern Soul sound, while soaring harmonies augment the vocal. This helps give a familiar track a new twist.

Closing Disc Two of Holy Spirit-Spiritual Soul and Gospel Funk is Stanley Winston’s No More Ghettos In America, released as a single in 1965. His half-spoken vocal is accompanied by just a piano and backing vocalists, before he unleashes an impassioned vocal. Stanley’s vocal is from the heart and full of hope, accompanied by pleading backing vocalists. He alternates between the two styles. The result is rousing, uplifting and anthemic and a perfect way to close Holy Spirit-Spiritual Soul and Gospel Funk.

The quality and consistency of music that features on Disc One of Holy Spirit-Spiritual Soul and Gospel Funk, continues on Disc Two. On Disc Two, we hear more from The Soul Stirrers, The Meditation Singers, The Brookylyn Allstars, Dorothy Norwood and Roscoe Robinson who all feature on Disc One. We’re also introduced to some new faces on Disc Two. We hear the gospel delights of The Southerners, The Silver Gate Quartet Of North Carolina and the Armstrong Brothers. That’s not forgetting Robert Blair & The Fantastic Violinaires, Bill Moss & The Celestials and Mighty Sons Of Glory who are responsible for some of the real highlights of Holy Spirit-Spiritual Soul and Gospel Fun. So good is the music on Holy Spirit-Spiritual Soul and Gospel Funk, that when you hear one stunning track, and think it can’t be topped, another one trumps it. Although these tracks are described as gospel, there’s more than one side to gospel music. Truly, there’s much more to gospel than meets the eye. Some of the tracks reveal a soulful side of gospel, while the other side reveals a gloriously funky side of gospel music. This means that soul and funk fans, as well as lovers of gospel music will welcome the release of Harmless Records’ latest release and first gospel compilation Holy Spirit-Spiritual Soul and Gospel Funk. Given the quality of music on Holy Spirit-Spiritual Soul and Gospel Funk then I for one hope that it won’t be Harmless Records last gospel compilation. Standout Tracks: The Brookylyn Allstars, If Loving God Is Wrong (I Don’t Want To Be Right), Dorothy Norwood He’s A Friend, Bill Moss & The Celestials’ You’ve Got To Serve Somebody and Mighty Sons Of Glory’s Don’t Forget The Bridge (That Brought You Over).

HOLY SPIRIT-SPIRITUAL SOUL AND GOSPEL FUNK

 

THE SYLVERS-SHOWCASE AND NEW HORIZONS.

♦ July 20, 2012 ♦ Leave a comment

THE SYLVERS-SHOWCASE AND NEW HORIZONS.

In these recessionary times, even the most dedicated music fan is feeling the pinch. With people having less disposable income than ever to spend on life’s essentials like music, it’s always a bonus when a record company releases two albums on one CD. This is what the good people at SoulMusic Records have done with two of The Sylvers’ albums Showcase and New Horizons, which will be rereleased on 23rd July 2012. Showcase released in 1975, was The Sylvers’ first album for Capitol Records. It featured The Sylvers’ biggest hit single, and only number one single Boogie Fever, which reached number one in both the US Billboard 100 and US R&B Charts. New Horizons was released two years later in 1977, and was the followup to 1976s Something Special. This proved to be The Sylvers’ final album for Capitol Records, but was from the most successful period of their career. Before I tell you about the music on Showcase and New Horizons, I’ll tell you about The Sylvers and their career.

Having started their career as The Little Angels, a Los Angeles based family group, appearing on television shows with Ray Charles and Johnny Mathis, The Little Angels started to grow up. This meant a change of name for the group, with The Little Angels becoming The Sylvers. With a new name, The Sylvers would sign the their first record contract and then release their first album in 1972.

With now renamed The Sylvers signed to Pride Records, they released their eponymous debut album in 1972. The Sylvers reached number 180 in the US Billboard 200 and number fifteen in the US R&B Charts. Sales of the album were helped along by two successful singles, Fools Paradise and Wish I Could Talk To You. This was an encouraging start to The Sylvers nascent recording career. 

After the success of their debut album The Sylvers, they released the followup a year later in 1973. Entitled The Sylvers II, the album reached number 164 in the US Billboard 200 and number thirty-seven in the US R&B Charts. While the album didn’t perform as well in the US R&B Charts, the two singles released from the album Stay Away From Me and Through the Love In My Heart failed to match the success of Fools Paradise and Wish I Could Talk To You. After releasing two albums for Pride, The Sylvers signed to a major label MGM.

Now signed to a major label, MGM The Sylvers career stalled. They only released one album for MGM The Sylvers III. Neither the album, nor the single I Aim To Please charted. This meant that The Sylvers time on MGM was brief. However, having left MGM, The Sylvers would sign to another major label Capitol Records.

It was at Capitol Records that The Sylvers would enjoy the most successful period of their career. This commercially successful period started with their first album for Capitol, Showcase. The ten tracks on Showcase included three tracks written by Leon F. Sylvers, the bassist and vocalist, who was the second oldest member of the group. Freddie Perren who’d produce Showcase would cowrite five tracks with Kenneth St. Lewis, three of them with Yarian Perren. With the material for Showcase written, producer Freddie Perren and arranger Wade Marcus headed to Total Experience Recording Studios in Los Angeles with The Sylvers. When Showcase was released, The Sylvers would embark upon the most successful period of their career.

Before the release of Showcase, the first single from the album Boogie Fever was released. Written by Freddie Perren and Kenneth St. Lewis, this proved to be The Sylvers most successful single, selling over one-million copies. Boogie Fever reached number one in both the US Billboard 100 and US R&B Charts. When Showcase was released later in 1975, it surpassed the minor success of their previous albums reaching number fifty-eight in the US Billboard 200 and number twenty-three in the US R&B Charts. Cotton Candy was the second single released from Showcase, reaching number fifty-nine in the US Billboard 100 and number nineteen in the US R&B Charts. It seemed that The Sylvers’ career had taken off, but could they continue the momentum they’d built up with the followup to Showcase?

Something Special the followup to Showcase was released in late 1976. Again it had been produced by Freddie Perren, who cowrote six of the tracks on the album. It reached number eighty in the US R&B Charts and number thirteen in the US R&B Charts. The two singles released from Something Special would give The Sylvers top ten US R&B hits. Hot Line reached number five in the US Billboard 100 and number three in the US R&B Charts and like Boogie Fever, solo over one million copies. High School Dance then reached number seventeen in the US Billboard 100 and number six in the US R&B Charts. Although Something Special didn’t fare so well in the US Billboard 200, it proved more popular in the US R&B Charts. However, for their third and final album for Capitol, New Horizons, there would be a change of producer and songwriters. Would this affect sales of New Horizons?

For their third album for Capitol, New Horizons, there wasn’t just a change in producer for the album. Unlike their two previous albums for Capitol, the ten tracks on New Horizons were written by The Sylvers, with various members contributing tracks. Leon F. Sylvers wrote one track and cowrote the other nine tracks. Having written all the songs on New Horizons, the nine members of The Sylvers decided to produce New Horizons. Considering the ages of The Sylvers, some people queried this decision. They thought its was either a brave decision or gamble. For The Sylvers, this wasn’t the case. They’d watched every producer they’d worked with, absorbing what they were doing. So to The Sylvers, producing New Horizons was far from a gamble. Like before, New Horizons was recorded at Total Experience Recording Studios in Los Angeles. How would all these changes affect the success of New Horizon upon its release?

On the release of New Horizons, it reached number 143 in the US Billboard 200 and number forty-three in the US R&B Charts. To some people, it seemed that The Sylvers’ decision to write and produce New Horizons hadn’t paid off. When Any Way You Want Me was released as a single, it reached number seventy-two in the US Billboard 100 and number twelve in the US R&B Charts. The title-track New Horizons reached number forty-five in the US R&B Charts. New Horizons would prove to be the last single and album The Sylvers released for Capitol Records. 

New Horizons brought an end to The Sylvers time at Capitol Records. It proved to be the most successful period of their career. A number one single and two milion selling singles were proof of this. However, what does the music on Showcase and New Horizons sound like and should New Horizons have been a bigger commercial success? That’s what I’ll tell you, when I pick some of the highlights of Showcase and New Horizons.

SHOWCASE

Opening Showcase is the second single released from the album Cotton Candy. Straight away, you’re hooked by the track’s uptempo, sweet sound. You’re also struck with similarities with The Jackson 5 and real Philly Sound influence. A pounding rhythm section, sizzling guitars and percussion combine with lush cascading string as the vocal enters. It’s joyous, accompanied by tight dramatic harmonies. Similarly, the arrangement is bold, growing and growing. Stabs of piano, swirling strings, percussion and a powerful rhythm section augment the peerless harmonies and a youthful, but confident vocal. Why this wasn’t a bigger commercial success on its release as a single seems strange, given its hook laden quality.

The Roulette Wheel of Love sees a change of style from The Sylvers. They deliver a heartfelt ballad, with the tempo is dropped way down. Lush strings, a deliberate rhythm section and piano accompanying Olympia’s tender, beautiful vocal. Wade Marcus’ arrangement has a much more understated sound, with chiming guitars, piano and percussion key to this. Meanwhile, the rhythm section add bursts of drama, as the vocal grows in power and emotion. It’s the vocal, laden with emotion and totally impassioned that makes this such a beautiful, track together with some equally heartfelt harmonies.

Boogie Fever was The Sylvers’ most successful single, selling over one-million copies and being certified gold. Pounding drums, percussion and a buzzing bass combine to build up the drama. A searing guitar and flamboyant flourish of piano and then the track explodes. The vocal is powerful, with punchy harmonies augmenting it, while strings sweep and swirl. Again, there are similarities with The Jackson 5. Key to the track’s sound and success is the pounding rhythm section, which drives the track along, providing a pulsating heartbeat, while The Sylvers’ showcase their considerable vocal prowess. This they do with aplomb, resulting in an irresistible sounding disco track.

I Can Be For Real was written by Leon F. Sylvers and demonstrates a talented songwriter developing. It’s another slower track, with another understated arrangement. The tender vocal is accompanied by a suitably subtle arrangement. A piano plays an important part in the arrangement, with slow, strings sweeping and the rhythm section playing with a tenderness. Similarly, the rest of The Sylvers add tender harmonies. This is in keeping with rest of the understated arrangement and the addition of a harpsichord works wells.

The final track from Showcase I’ve chosen to mention is Keep On Keepin’ On (Doin’ What You’re Doin’). Again it’s a slower track, with a lovely floaty, spacious arrangement. Olympia takes charge of the vocal, her beautiful vocal reminding me sometimes of Karen Carpenter. She’s accompanied by swathes of strings, the rhythm section, guitars and keyboards, while the harmonies are some of the best on Showcase. 

NEW HORIZONS.

New Horizons was the first album The Sylvers produced themselves. Opening New Horizons was the title-track and second single released from New Horizons. From the opening bars, there’s a difference in sound. It’s as if The Sylvers were trying to produce a much more grownup sounding album. The track meanders into being, the arrangement spacious, before taking on a tougher sound. Sizzling, rock-tinged guitars and a punchy rhythm section accompany an impassioned vocal. Layers of strings and soaring harmonies are added, as the arrangement grows. There’s a late sixties influence to the lyrics and arrangement. Later, the tougher sound continues, with blazing horns added. Although this is a quite different sounding track, the change in direction shows a group not just maturing and developing, but growing up. 

Dressed To Kill is the perfect example of the change in The Sylvers’ sound. Although there’s a much tougher, harder edge to the track, the track isn’t short of hooks as The Sylvers fuse funk and soul. Again the track has a much more grownup sound. A driving rhythm section, sizzling guitars and piano combine with bursts of punchy, rasping horns. The vocal is impassioned and sassy, with tight and soaring harmonies accompanying it. Not only does this new sound from The Sylvers really works, but demonstrates The Sylvers to be accomplished songwriters and producers.

Straight away, you realize why Any Way You Want Me was chosen as the lead single from New Horizons.  A pounding, dramatic rhythm section and bursts of blazing horns accompany the powerful and passionate vocal. The tempo is quick, with lush strings and soaring harmonies added, as the catchiest track on the album unfolds. It’s unavoidable, but comparisons must be drawn with The Jacksons, especially their first album for Philadelphia International Records. Any Way You Want Me has a similar quality to several tracks on that album. This hook-laden Magnus Opus isn’t just the best track on New Horizons, but should’ve been a much bigger commercial success.

Another Day To Love is one of the slow tracks on New Horizons. On Showcase, The Syvlers delivered some beautiful ballads. This is just as good, with percussion, chiming guitars and rhythm section creating an understated, melodic arrangement. The vocal is tender and heartfelt, with equally impassioned harmonies accompanying it. Key to the track’s success are some of the lushest strings on the album. They cascade, adding to the beauty and emotion of vocal and arrangement.

My final choice from New Horizons is You Bring the Sunshine (Back Into My Life). When the track opens, the strings, rhythm section and guitars combine to grab your attention. They give way to the joyous vocal, while handclaps, harmonies and growling horns accompany it. The growling horns, toughen up the track’s sound, and is much more representative of The Sylvers’ new sound. Later, a rasping saxophone solo adds to the drama of the vocal and arrangement, as The Sylvers. It gives way to The Sylvers’ vocals as they joyously combine to bring the track to an uplifting end.

Although I’ve only mentioned five tracks from Showcase and New Horizons, I found both albums showing quite different sides of The Sylvers. On Showcase, the album is a slick and polished fusion of soul, R&B and disco. There’s a youthful sound to some of the tracks, with The Sylvers sounding not unlike The Jackson 5. This sound changes when Olympia takes charge of the lead vocal. She’s responsible for two of the best tracks on Showcase, The Roulette Wheel of Love and Keep On Keepin’ On (Doin’ What You’re Doin’) with its floaty, spacious arrangement. Of the two singles released from Showcase, although Boogie Fever gave The Sylvers the biggest single of their career, selling over one-million copies, Cotton Candy is blessed with a much more catchy, hook-laden sound. It was one of three tracks that Freddie and Tayian Perren cowrote with Kenneth St. Lewis. Only two of the ten track on Showcase was written by The Sylvers. One was I Can Be For Real, written by Leon F. Sylvers. It shows Leon maturing and developing as a songwriter. He’d put his songwriting skills to good use on New Horizons. Overall, Showcase was a slick, polished album where The Sylvers flit from soul, disco and R&B, spraying hooks, melodies and harmonies in their wake. From the opening track you realise just why  Showcase was so successful. However, The Sylvers couldn’t keep producing albums of similar sounding music. Instead, they were growing up and maturing. After the release of their next album Something Special, The Sylvers decided to change their sound, seeking New Horizons.

New Horizons is a very different album to Showcase, with the group maturing and developing. They were growing up and maybe, had outlived the sound that featured on Showcase and Something Special. While deciding to produce New Horizons was seen perceived as a gamble by some people, helping them find their own sound was writing their own songs. These songs, plus a different approach to production lead to this much more grownup, mature sound with its tougher edge. Their new sound saw The Sylvers fuse funk, soul and disco across ten tracks. With rasping horns and lush strings aplenty, the sound was still polished, but tougher. While The Sylvers revisited the slick sound of Showcase, they didn’t do this often. Instead, they concentrated in creating their own grownup sound. Sadly, this new sound didn’t find favor with The Sylvers’ fans, with the album not selling in the same quantities as Showcase as Something Special. The fans that overlooked New Horizons missed an album of quality music. Although New Horizons is quite different to Showcase, both albums have one thing in common…the quality of music. To me New Horizons is something of a hidden gem, that deserved to fare bettter commercially. After being unavailable for many years, both Showcase and New Horizons which will be rereleased on 23rd July 2012 by SoulMusic Records. These albums feature some of the best music of The Sylvers’ career, during the most successful period of their career. The Sylvers career at  Capitol Records, is best describes as a time when they were able to Showcase their considerable vocal talents, before changing their sound seeking New Horizons, and once again, producing Something Special. Standout Tracks: Cotton Candy, Boogie Fever, Any Way You Want Me and You Bring the Sunshine (Back Into My Life). 

THE SYLVERS-SHOWCASE AND NEW HORIZONS.

Showcase / New Horizons ~ Expanded Edition

SATOSHI FUMI-COLOURS.

♦ July 19, 2012 ♦ Leave a comment

SATOSHI FUMI-COLOURS.

The genesis of Satoshi Fumi’s musical career was when he discovered house music in the mid-nineties. It was the house music coming out of Detroit, Chicago and New York that first interested Satoshi. Having discovered dance music, Satoshi embarked upon a life long love of dance music, which lead to a career as a DJ and producer. He started collecting synthesizers and building a home studio. From there, he began making his own music, experimenting with sounds a variety of musical genres. Over time, Satoshi developed his own unique and unmistakable sound, fusing various genres, from techno, Acid House, click, tech house and deep house. Since then, Satoshi Fumi hs become a prolific producer, releasing his debut album Sweet Sensation in 2008. Now four years later, Satoshi Fumi will soon be releasing his second album Colours on pioneering Japanese label Fountain Music on 26th July 2012. However, before I tell you about the music on Colours, I’ll tell you about Satoshi Fumi’s career so far.

Once Satoshi Fumi had built his own studio, he set about experimenting, fusing various genres of electronic music. Into Satoshi’s melting pot went everything from techno, Acid House, click, tech house and deep house. Soon the fruits of labor would pay off. His nascent production career got a big break in 2002 when Washington DC’s dance duo Deep Dish discovered Satoshi Fumi’s track Protlex. Deep Dish released Protlex on their own label Yoshitoshi Records, albeit under the name Satoshi Fume. Later in 2002, Satoshi’s track The Dub Beatlex featured on Desyn Masiello’s Symphonic compilation for DJ Magazine and on Phil K’s Balance 004. 2002 proved to be a big year for Satoshi Fumi. His career was up and running, less than ten years after discovering house music and he’d soon become a prolific producer.

Since then, Satoshi Fumi has released a number of EP, twelve-inch singles and has contributed tracks to a number of compilations. This has included a quartet of EPs. Madness and Thereness EP was released in 2005, with the Treasure EP released in 2006 and his Pod EP following in 2007. The same year, Satoshi and Osamu M. collaborated on an EP entitled Reminiscence. Throughout this period, Satoshi was releasing twelve-inch singles on various labels. A year later, Satoshi Fumi would release his debut album, Sweet Sensation.

Just six years since Deep Dish discovered Satoshi’s track Protlex, Satoshi Fumi would release his debut album Sweet Sensation. Sweet Sensation was released on the Greek label Klik in 2008. It featured nine tracks, where Satoshi combined deep house and tech house. With his debut album Sweet Sensation released, it wouldn’t be long before Satoshi Fumi released another album, this time a collaboration with Osamu M. 

Two years after Satoshi Funi and Osamu M collaborated on their Reminiscence EP, they’d release an album. This was Outerspace, release in June 2009, ten tracks of house music, ranging from minimal to tech house. Having released two albums in the space of two years, it would be another three years before Satoshi Fumi would release another album.

Now four years after the release of Sweet Sensation, Satoshi Fumi’s second solo album  Colours will sound be released on Fountain Music. Colours feature eleven tracks where fusing various genres, from techno, Acid House, click, tech house and deep house. These tracks are variously sensual, melodic, dramatic bold wistful, melancholy and beautiful, as you’ll see when I tell you about the music on Colours.

Colours opens with Applism, where marauding pounding beats and percussion combine before stabs of dark, dramatic synths enter. You get the sense that Satoshi is toying with you, building up the tension and drama. This proves to be the case, when melodic synths and rhythm patterns unfold. By now there’s a real teach house sound developing. Layers of synths and drums create a sound that’s almost hypnotic, but hugely catchy. Later, addition of squelchy Acid House synths sees Satoshi pay homage to the early days of house, as he continues to mesmerize with his creativity and inventiveness, using each of the Colours in his musical palette.

Beautiful Life sees Satoshi combine darkness and light, while fusing a variety of musical genres. During the track, you hear elements of tech house, techno and even an ambient sound, provided by the airy synths. As the track opens, there’s a darkness which gradually recedes. Pounding drums reverberate, before Satoshi introduces another set of drums that give the track a techno sound and feel. Then when Satoshi introduces light, melodic synths, they add a bright, joyous sound. Having discovered this synth sound, Satoshi wisely exploits it fully. Along with galloping beats, percussion and stabs of keyboards, the result is a track where darkness and light meets and melts, as Satoshi mixes elements of tech house, techno and ambient music.

Fuji has a very different sound to the previous two tracks. From the opening beats, you hear a different side to Satoshi, one that’s really soulful and sensuous. While the drums sound different, it’s the introduction of retro, ambient sounding synths that give the track a very different sound. Then when a sensuous sounding saxophone enters, the track takes on a soulful house sound. This results in something you’d expect to hear on a Naked Music compilation. Truly, it’s absolutely irresistible. Not only is Fuji soulful and sensual, but it’s blessed with a real summery, feel-good sound.

Light and Breez sees the reintroduction of the ambient sounding synths. They meander elegantly along, their glacial sound unfolding in waves. The introduction of pounding drums, hissing hi-hats and percussion adds a new dimension. It sees the track head in the direction of ambient house. Dreamy synths are combined with stabs of a piano that’s influenced by Italian piano house. Meanwhile, drums drive the track along. By now, you’re spellbound, by the ethereal sound of the track. Things get even better when the drums are dropped out. Subtle swathes of synths and a crystalline piano combine during a breakdown, as Satoshi builds the beautiful, arrangement back up, resulting in one of the best Colours on the album. 

Metropolitan is a track with more than a few surprises in store for the listener. When the track opens, it’s with crunchy drumbeats and percussion combining, before a prolonged stab of synths is added. So far, no surprises have been sprung by Satoshi, with the sound more deep than tech house. It’s only when an acoustic guitar is added while wave upon wave of synths unfold, that you realize something is happening. Then as a piano is added to the guitar that the track takes on a jazzy house sound. As jazzy house and deep house combine the result is melodic, elegant and quite beautiful.

It’s just keyboards that you hear when Myth You unveils its wistful sound. Drums provide a gentle heartbeat, while lush strings add to the track’s melancholy beauty. You lose yourself in the track, allowing it to tug at your heartstrings and toy with your emotions. Wistful, melancholy and bewitching, this track is all this and much, much more.

After the wistfulness of Myth You, Nacht Musique is the polar opposite of the previous track. Thunderous drums, flourishes of dramatic keyboards and swathes of synths power the track along, like a journey on an express train. Adding a contrast to the boldness and power are tinkling, melodic keyboards. Hissing hi-hats join the mix, as this explosive track powers along, trailing drama in its midst. By the end of the journey, you’re spent, exhausted, by the sheer thunderous power and drama of the music.

Not only is the drum sound on each of the tracks on Colours different, but Satoshi introduces something imaginative and inventive during each track. Pizzi Katze is no different. It’s a track made up of layers of contrasting sounds. Drums pound and crack, before swathes of haunting, fragile synths offer a contrast. They meander along, their ambient sound providing a contrast to the boldness of drums. Occasional bursts of percussion, stabs of piano and the lushest of strings add further contrasts, as Satoshi combines elements of Italian piano house, jazzy house and deep house seamlessly. In doing so, he demonstrate’s just how imaginative, inventive and innovative a producer he truly is.

Thundering drums boom, testing the tolerance of your speakers as Signal gets underway. Stabs of synths and percussion are added, as one of the boldest sounding tracks on Colours unfolds. The combination of the beats and synths are hypnotic. Later, squelchy Acid House synths are unleashed, as Satoshi pays homage to the pioneers of house. Although this isn’t Acid House, it’s a Tech House Magnus Opus, one that’s bold, dramatic and thunderous.

Closing Colours is Su My Lee, a track that’s broody and moody from the get-go. There’s a dramatic undertone, with drums, dark piano and the saddest of strings combining. Here, classical strings are mixed with slow, spacey drums that have a real retro sound. These drums are like something an early drum machine would produce. They’re really effective though, adding to emotive sound. Then Satoshi moves from broody and moody to wistful and melancholy seamlessly, adding an elegant, but pensive piano solo. This results in pensive, ambient soundscape, that’s although moody and broody, is wistful, melancholy and bewitching.

Although there’s been a gap of four years between Satoshi Fumi’s debut album Sweet Sensation and the followup Colours, it’s been well worth the wait. The eleven tracks prove just how imaginative, inventive and innovative a producer Satoshi Fumi truly is. On Colours,  the latest release from pioneering Japanese label Fountain Music, Satoshi journeys through a variety of musical genres, including Acid House, ambient music and deep house, before visiting jazzy house tech house and techno. It’s a compelling musical journey, with each track blessed with its own unique sound. This ranges from bold and dramatic, moody and broody, right through light and melodic and even encompassing wistful, melancholy and beautiful. That’s how wide the range of Colours in Satoshi Fumi’s musical palette is. Satoshi uses his musical palette well, creating an accomplished musical canvas, where layers of sounds are merged majestically, resulting in one of the most inventive, innovative and imaginative house albums I’ve heard for a long time. Standout Tracks: Light and Breez, Metropolitan, Myth You and Su My Lee.

SATOSHI FUMI-COLOURS.

 

DISCO RECHARGE: VOYAGE-VOYAGE.

♦ July 18, 2012 ♦ Leave a comment

DISCO RECHARGE: VOYAGE-VOYAGE.

When Harmless Records launched their new label Disco Recharge back in June 2012, the new label’s first release was Voyage’s eponymous debut album Voyage. Released in 1978, this sees Voyage embark upon a worldwide whistle-top tour, where they pay homage to various styles of music. Their whistle-top tour ends in America, the spiritual home of disco. Voyage close their debut album with Lady America, a glorious slice of classic disco. Although Voyage pay homage to the world’s music, they manage do so in just seven tracks. These seven tracks that comprise Voyage would become a Euro Disco classic. However, the first volume of Disco Recharge, Voyage’s Voyage, there was much more to the album than seven tracks. Disco Recharge is a double album, where Mr. Pinks and everyone at Harmless Records dug deep, way deep. On Disc One, there are nine bonus instrumental tracks, while Disc Two has sixteen bonus tracks. For disco lovers everywhere, then Harmless Records new label Disco Recharge was Disco Heaven 127, especially given Voyage’s debut album is a Euro Disco classic, which I’ll now tell you about.

When Marc Chantereau, Pierre-Alain Dahan and Slim Pezin started collaborating on Voyage’s debut album Voyage, they hit upon a theme for the album. This theme saw Voyage pay homage to the various musical style of the various regions of the world. The idea was Voyage jumped on a jet, and in true jet-setting style, made a whistle-top tour of the world, before returning the disco’s spiritual home America. With the idea in place, Marc Chantereau, Pierre-Alain Dahan and Slim Pezin cowrote seven tracks.

With the seven tracks that became Voyage written, Voyage set about recording the seven tracks. Marc Chantereau, Pierre-Alain Dahan and Slim Pezin would arrange the seven tracks, with Roger Tokarz producing the album. Many of the instruments on Voyage were played by the trio of Marc Chantereau, Pierre-Alain Dahan and Slim Pezin. They brought in a variety of other musicians to play the more specialized instruments like fiddles and bagpipes, which gave the album’s its authentic “world” sound. One women was vital to Voyage’s sound and success…Sylvia Mason. She added her crystalline vocals, with the backing vocalists the Birds of Paris accompanying her. Among the Birds of Paris were Madeline Bell, Kay Garner, Sue Glover, Stephanie De Sykes and Vicki Brown, some of whom had sung on albums by Cerrone and Don Ray. With such talented personnel having collaborated on Voyage, surely the album would become a huge commercial success, especially since disco was at its commercial peak?

On the release of Voyage’s debut album Voyage in 1978, it reached number forty in the US Billboard Charts and number fifty-seven in the US R&B Charts. Voyage fared even better in the US Disco Charts, reaching number one. One of the singles from Voyage, From East To West reached number eighty-five in the US R&B Charts. Over in the UK, East To West reached number fifteen in the UK charts. It seemed that not only had Voyage embarked upon a whistle-top tour of the world, but were sitting on top of the world, after the success of their debut album Voyage. However, why was Voyage so successful? That’s what I’ll tell you after I’ve told you about the music on Voyage?

Voyage’s jet-setting journey begins as they head From East To West.  For a minute, Voyage’s pounding rhythm section, guitars and keyboards and combine, creating a dark, dramatic sound, which unfolds in waves, The drama builds and builds, but soon, things change drastically. From the darkness comes light. Layers of keyboards, wah-wah guitars and percussion create a joyous, melodic slice of disco. Lush strings are added, as you’re transported to Disco Heaven. Just when you think things can’t get any better, Sylvia Mason’s beautiful vocal enters, with bursts of punchy horns and handclaps accompanying her. Later during a breakdown, Voyage take a detour into dramatic funk. You get the sense they’re building the drama up. That’s the case, with Sylvia and the Birds of Paris floating atop the lush strings while horns serenade her. Although this is just the opening leg of Voyage, this will prove to be the most memorable Voyage you’ve experienced.

Point Zero sees Voyage touch down in the hot, humidity of the African jungle. The track is like something from a Cameroon saxophonist and vibes player Manu Dibango’s seventies albums. Interestingly, when Manu settled in Paris, Voyage guitarist Slim Pezin  played on several of Manu’s album. Maybe this is where the inspiration for Voyage fusion of funk with Afrobeat emanates from. Here, Voyage mix spiritual chants, rich in glorious rhythms, with rolls of dramatic drums and swathes of percussion augment the chants. While they provide an authentic Afrobeat sound, sizzling, searing guitars add a contrast. However, it’s the irresistible Afrobeat arrangement that has you spellbound and mesmerized majestically,

From the heart of Africa, we’re aboard the Orient Express, with Voyage in the driver’s seat. They combine Asian and Japanese music seamlessly. It’s a compelling combination, with percussion, synths, cascading string and drums combining. Just as you’re enjoying this fusion of musical melodies, Voyage throw a curveball. Rock-tinged guitars enter, with the West meeting East. The guitars strut across the arrangement, giving way to the strings that dance gracefully and elegantly. Meanwhile whistles, percussion and pounding drums combine as the rocky guitars and strings toy for your attention, Western and Eastern influences and music combine to create a track that’s both elegant and dramatic.

As someone born in Scotland, I’ve always thought that the bagpipes were just a bit twee, a bit one-dimensional. Many people think that, but after hearing Scotch Machine, you’ll change your mind. Why? Well, you’ll hear bagpipes played in a way that you’ve never heard before, playe with swing to a disco beat. Before that piano, wah-wah guitars and a driving rhythm section combine.  Swathes of synths resonate above the arrangement as Voyage create a blistering, funky arrangement, complete with pulsating disco beat. Then Voyage throw another curveball, the bagpipes enter swinging along. Thankfully, the bagpipes are used sparingly as Voyage fuse funk with a pulsating disco beat.

When Voyage arriving in Bayou Village it’s not to a disco but a square dance. Fiddles and drums combine at breakneck speed, while whoops and hollers aplenty encourage Voyage to sample another, very different type of dance. Disco it isn’t, bit regardless of that, Voyage enjoy the party atmosphere.

With only two legs of Voyage left, Voyage embark upon a Latin Odyssey. It’s an arrangement with two different sounds and sides. While percussion and drums provide an authentic Latin heartbeat, sizzling guitars, sweeping, swirling strings, a punchy rhythm section and blazing horns provide a flamboyant, dramatic side, full of flourishes. As the two merge, the results is compelling and irresistible. The longer the track progresses, the more the flamboyance, flourishes and drama grows. It’s truly impossible to keep still, it’s music for the heart and the feet.

As Voyage’s Voyage ends, we head for the spiritual home of disco America, meeting Lady America, the First Lady of Disco. It’s as if Voyage was building up to this track, heading to the home of disco music. Pounding drums and piano combine before a male vocal enters,  accompanied by the Birds of Paris’ tight harmonies. They coo “America” as if giving thanks at the altar of disco. Bursts of punchy blazing horns punctuate the arrangement, as the rhythm section and piano take turns at driving the arrangement along. Later, percussion and vibes enters, taking their reference point from the Philly Sound and percussionist Larry Washington and vibes supremo Vince Montana. So good is this part of the Voyage that you hope it’ll never end.  Sadly, after seven minutes your whistle-top tour of of the regions of the world is over, but what a place to finish your Voyage in the spiritual home of disco…America.

Although Voyage’s Voyage was only a seven stop whistle-stop tour, where they pay homage to various styles of music, there’s much more than that on the first installment of Disco Recharge. Apart from the seven tracks that comprise Voyage, Disc One of the double album features nine instrumental tracks, which are a combination of Voyage’s first two albums Voyage and Fly Away. Among the highlights of these nine tracks are the instrumental versions of Souvenirs, From East To West and Latin Odyssey. As if that’s not enough of a bonus, Disc Two features eleven single and twelve-inch versions, plus various remixes. The Special Extended version of From East To West the original twelve-inch version of Lady America are two of the many highlights of these tracks. Added to this are two tracks Voyage recorded as V.I.P. Connection, Please Love Me Again and West Coast Drive. Both the original single and twelve-inch versions feature here and are a very welcome addition and bonus. These twenty-four extra tracks extend Voyage’s Voyage making it more akin to a Grand Tour of old, albeit with a pulsating disco beat. Harmless Records and Mr. Pinks deserve credit for unearthing Voyage’s classic disco album once again. It’ll prove a  very welcome addition to many disco lover’s collection. So whether you’re rediscovering again, or discovering Voyage’s Voyage for the first time, enjoy the journey. Standout Tracks: From East To West, Orient Express, Latin Odyssey and Lady America.

DISCO RECHARGE: VOYAGE-VOYAGE.

Disco Recharge: Voyage

 

 

WAH WAH WATSON-ELEMENTARY.

♦ July 17, 2012 ♦ Leave a comment

WAH WAH WATSON-ELEMENTARY.

Whenever I listen to music, one thing I always do is look at which musicians play on an album. One man whose played on more sessions than the average musician has had gigs, is the one and only Wah Wah Watson, virtuoso guitarist and a man who weaves that unmistakable wah wah guitar sound. If I was to try to list the albums Wah Wah has played on, then I’d still be writing his list of credits later this week. These include The Temptations, Marvin Gaye, Quincy Jones, Rose Royce, The Beach Boys, Eric Clapton and Rose Royce. As I say, these are just a snapshot of artists Wah Wah’s accompanied. He’s been the go-to-guy for jazz, soul and funk artists since 1970. However, there’s much more to Wah Wah Watson than just a session guitarist. He was a member of Motown’s famous studio band The Funk Brothers, worked with every major Motown producer and is a songwriter and producer. While I’m reeling of remarkable facts about the master of the wah-wah pedal, I’ll give you one more fact about Wah Wah Watson. Twenty-six years ago in 1976, Wah Wah Watson released his only solo album Elementary, which will be released by BBR Records on 30th July 2012. For anyone wondering about the title Elementary, just check out the album cover to Elementary. There’s Wah Wah complete with Sherlock Holmes deerstalker hat and puffing furiously at a pipe. No you’ll realize, to misquote Sherlock Holmes it’s Elementary my dear Wah Wah Watson. One thing you’re probably wondering though, why was Elementary Wah Wah Watson’s only album? That’s what I’ll tell you now.

How Wah Wah went from session musician came after he worked on Herbie Hancock’s 1975 album Man-Child. Wah Wah played on Herbie Hancock’s 1975 album Man-Child, forging a musical partnership that would see Herbie play on Herbie’s 1979 album Feets Don’t Fail Me Now and his two 1980 albums Mr Hands and Monster. Once the Man-Child was recorded, Bruce Lundvall president of CBS heard Herbie Hancock’s band live, with Wah Wah Watson weaving his wah-wah guitar and was astounded, totally blown away. There was Wah Wah with a bank of pedals, speakers and tubes surrounding him, all of which brought about this unique and unmistakable sound. Bruce realized hehad to sign Wah Wah Watson. After all, the guy was an innovator, totally way ahead of the musical curve. Soon, Wah Wah Watson was signed to CBS, with work ready to start on his debut album. For a musician like Wah Wah Watson, an experienced songwriter, musician and producer, this would be Elementary.

For his debut album Wah Wah Watson wrote three tracks, using his real name Melvin Ragin. The other seven tracks he wrote with various songwriting partners. This included writing two tracks Love My Blues Away and Love Ain’t Something (That You Get For Free) with Ray Parker Jr, who’d play guitar on the album. Dave Gruisin cowrote I’ll Get By Without You with Wah Wah. Herbie Hancock would cowrite Bubbles with Wah Wah. These tracks, plus five other tracks would be recorded with some of Wah Wah’s heavyweight musician friends joining him.

To produce what would become Elementary Wah Wah drafted in David Rubinson and Friends Inc. Recording sessions took place at several studios, in Los Angeles, including Village Recorders and Quad Tech. Wally Heider Recording studios in Los Angeles and San Francisco were used, as were Funky Features in San Francisco. In these studios, the all-star band would record. Herbie Hancock would join Wah Wah for the record sessions, while Ray Parker Jr played guitar, Joe Sample played piano and Sonnie Burke keyboards. The brass section included tenor saxophonist Ernie Watts and soprano saxophonist, while a rhythm section of drummer Ollie Brown and bassist Louis Johnson provided the album’s heartbeat. Wah Wah played guitar, while demonstrating his innovative side playing synths, Echoplex and a multitude of innovative instruments. Soon, the ten tracks that became Elementary were recorded. All that was left was for the Elementary to be released later in 1976.

On the release of Elementary in September 1976, the album sold poorly and failed to trouble the US charts. The same month Goo Goo Wah Wah was released as a single in the US, and again, failed to chart. A month later, in October 1976 Love Ain’t Something (That You Get For Free) was released as a single in the UK. Again, it failed to chart. Maybe the problem was that Wah Wah Watson’s debut album Elementary was far too ahead of its time, and record buyers would need to grow into his innovative, imaginative sound. Was that the case. That’s what I’ll decide, once I’ve told you about the music on Wah Wah Watson’s debut album Elementary.

Goo Goo Wah Wah opens Elementary, with Wah Wah’s unmistakable guitar drenched in echo, dancing its way across the arrangement, with the rhythm section, hissing hi-hats and keyboards for company. The sound is big, bold and dramatic with Wah Wah using the Voice Bag to good effect. His crack team of musicians combine with Wah-Wah as he innovates, not just with guitar, but with his effects. He fuses jazz, funk and even elements of rock, for six minutes, slowly and dramatically trailing the words “boogie, boogie, boogie using his Voice Bag.” In doing so, he innovates in such a way, that’s totally unique and absolutely compelling.

Love My Blues Away has a much straight forward sound, with bursts of subtle horns, accompanying the rhythm section as Wah Wah delivers a tender vocal. The tempo is slow, the band playing in such a way that matches the drama and hurt in the lyrics. They don’t overpower the tenderness of the vocal, with backing vocalists subtly accompanying Wah Wah. Later, after just two minutes, a blazing, emotive horn solo is unleashed by Ernie Watts, which is key to the song’s success. Lush strings are added, while the rhythm section grow the arrangement, which unfolds in waves. Similarly, Wah Wah’s vocal grows in power and pain, resulting in the best track on the album.

Cry Baby sees the rhythm section take charge of the track, before Wah Wah, accompanied by a jaunty piano delivers the vocal through the Voice Bag. This is effective, with the broody, dramatic rhythm section, keyboards and guitar enveloping his vocal. Although Sonny Burke’s piano playing plays an important part, it’s the rhythm section and of course the unmistakable sound of one and only Wah Wah Watson weaving his magic through the track that’s at the heart of the track’s inventive, innovative sound. 

From the inventive, innovative sound of Cry Baby, My Love Comes and Goes sees the introduction of the legendary backing vocalists The Walters Family. Their cooing, tender vocals are accompanied by keyboards, growling horns and lush strings while the rhythm section provide the track’s beautiful heartbeat. Wah Wah’s heartfelt vocal demonstrates just how good a vocal he is. He’s foregone the trickery of the previous track, his guitar playing more straight ahead. This results in a heart achingly beautiful track, that you’ll never, ever tire of. That I can promise you.

The unique sound of Wah Wah’s guitar opens the blistering Together (Whatever). It’s complete with gospel-tinged vocals from The Walters Family. With Wah Wah and his band creating a backdrop where funk and jazz combine, this is an intriguing combination. Punchy backing vocals accompany Wah Wah’s guitar which helps drive the track along, as The Walters Family add glorious testifying vocals. Again, Sonny Burke’s keyboards are at the heart of everything that’s good. He helps drive the track along, playing his part, before a sizzling, blazing horn adds the icing on this irresistible musical cake.

Elementary is a bit like Forest Gump’s box of chocolates,  “you never know what you’ll get next.” Unlike Forest’s box of chocolates, there’s no chocolates that remain uneaten in Wah Wah’s box of delights. When Sunset Boulevard opens, you wonder where Wah Wah wah-wah guitar is heading. Then his backing band provide a jaunty backdrop with the piano, rhythm section and horns combining. Meanwhile The Walter Family add some tight harmonies, their vocal exploding dramatically. Lush strings are added, while Wah Wah’s vocal is accompanied by an arrangement that sometimes, heads in the direction of jazz. Swathes of strings and backing vocalists add to the track’s drama and beauty. By the end of the track, you’re left with a feeling of contentment, at the track’s uplifting, feel-good sound.

It’s just drums and hissing hi-hats that open Love Ain’t Something (That You Get For Free), before Wah Wah weaves his wah guitar. Then his vocal enters, full of hurt and sadness, while The Walters Family add soaring, dramatic backing vocals. As the vocal drops out, the rhythm section, keyboards and Wah Wah’s guitar take charge. Meanwhile, strings cascade adding to the emotion and hurt in Wah Wah’s vocal. However, when Wah Wah and The Walters Family combine, this is a perfect combination. So good are the backing vocals, this seems to lift the band, as they lift their game even higher. The result is one of the most soulful, emotive and dramatic offerings from Wah Wah Watson on Elementary.

I’ll Get By Without You is a slow track, one that usually, the arranger would have a sound that’s sad, filled with emotion and heartache. Maybe this would be strings, even a haunting saxophone solo or piano. They wouldn’t usually add a wah-wah guitar. This is what happens here, but at the start, it’s played with subtlety, while Wah Wah’s vocal is filled with heartache and hurt. A piano, subtle rhythm section and strings combine with The Walters Family heartfelt vocals. Later, Wah Wah’s guitar grows in power, but neither overpowering, nor sounding out of place. Instead,  it plays its part this in what is a soulful song about love gone wrong, but with a twist.

Bubbles is an apt description for the track, with its slow, floaty sound, where Wah Wah’s guitar resonates, disappearing wistfully into the ether. He’s accompanied by the rhythm section, who play slowly, while Herbie Hancock adds electric piano. The arrangement meanders along, with Wah Wah’s wah-wah guitar augmented by a dreamy sounding guitar that provides a contrast. Keyboards, percussion and Herbie on piano provide the track’s laid-back jazzy sound that you lose yourself into. Its sound beckons, drawing you in. You don’t hesitate, you succumb, losing yourself for just over three mellow minutes.

Closing Elementary is Good Friends which has a quite different sound from the previous track. The album was released in 1976, at the height of disco’s popularity, so Wah Wah decides to close Elementary with a disco track. You’re swept along atop a combination of beautiful vocals from The Walters Family, Wah Wah’s guitar and a rhythm section, complete with buzzing bass. Lush strings and Wah Wah’s heartfelt vocal and woodwind all enter, adding to the slick, polished disco-esque sound. The vocals, strings and rhythms are perfect for this dance-floor track, which floats elegantly and beautifully along, bringing Elementary to a surprising, but very satisfying end.

Having wondered whether Wah Wah Watson’s debut and only solo album Elementary was was far too ahead of its time, I think that was definitely the case. Listening to Elementary, what I found was an innovative, imaginative album, where Wah Wah Watson fusea funk, soul, jazz, disco and even a touch of rock. Wah Wah moves seamlessly and comfortably between musical genres. One minute he’s at home funking it up on Goo Goo Wah Wah, before heading down a very different road on the ballad Love My Blues Away. From there, Cry Baby sees Wah Wah the innovator, unleashing his box of tricks, wah-wahing his way through the track using his Voice Bag. My Love Comes and Goes sees Wah Wah Watson balladeer enter, and this isn’t the last time. Love Ain’t Something (That You Get For Free) and I’ll Get By Without You see the reappearance of Wah Wah Watson balladeer. Then on Together (Whatever), Wah Wah up the ante, accompanied by gospel-tinged vocals from The Walters Family. Bubbles sees Wah Wah enter a mellow mood, with Herbie Hancock playing electric piano. Nothing however, prepares you for the sublime Good Friends, a disco floater that closes Elementary. You’re swept along by lush strings, The Walters Family’s beautiful vocals and of course a crack rhythm section. However, it’s ironic that it’s Good Friends a disco track that closes Elementary, because the album was released at the height of disco’s popularity. That another reason record buyers weren’t buying albums like Elementary. Basically, Elementary was released at the wrong time. Its innovative, imaginative sound was years ahead of its time and released when disco was King. Even with its nod to disco Good Friends, Elementary which will be released by BBR Records on 30th July 2012 remains a hidden gem of an album that awaits unearthed by music lovers. Maybe if it had been released in a different time, Wah Wah Watson would’ve been a superstar. So take my advice, introduce all your Good Friends to Wah Wah Watson, a multitalented singer, songwriter, musician and producer one his only album Elementary. Standout Tracks: Love My Blues Away, My Love Comes and Goes, ove Ain’t Something (That You Get For Free) and Good Friends.

WAH WAH WATSON-ELEMENTARY.

MY SALSOUL SELECTED AND MIXED BY DANNY KRIVIT.

♦ July 16, 2012 ♦ Leave a comment

MY SALSOUL SELECTED AND MIXED BY DANNY KRIVIT.

Regular readers of this blog will have noticed that recently, I’ve been writing various articles on Salsoul Records. This has included Mixed With Love-The Walter Gibbons Anthology, Larry Levan-The Definitive Salsoul Mixes 1978-1983  and John Morales-The M&M Mixes which features previously unreleased Salsoul remixes. Many people will be wondering why I’ve decided to focus on Sasoul? Obviously, regular readers will know that along with Philadelphia International Records, Salsoul is one of my favorite labels. However, I’m not writing about Salsoul because it’s one of my favorite labels. Not at all. The reason is that recently, Christmas has come early for lovers of Salsoul. Two labels have announced they’d be rereleasing Salsoul’s back-catalogue. In the UK, BBR Records will be releasing albums by The Salsoul Orchestra, First Choice, Instant Funk and Double Exposure. This should give Salsoul fans something to look forward to. As if that’s not enough, in the US, Ultra Records will be undertaking a digital rerelease of Salsoul’s back-catalogue. So, for fans of Salsoul who can’t wait until then, I’ve decided to write several articles about some of the best Salsoul compilations I’ve come across. Having bought most of the ones released, I’ve separated the good, the bad and ugly, to save you having to do so. Recently, I’ve written about two of the best DJs and remixers ever in Walter Gibbons and John Morales, plus Larry Levan another talented and high-profile DJ and remixer. The next DJ whose Salsoul compilation I’ve chosen to review is Danny Krivit’s My Salsoul Selected and Mixed By Danny Krivit which I’ll now tell you about. 

Released in 2003 on Suss’d Records, My Salsoul Selected and Mixed By Danny Krivit features fourteen tracks. Among the tracks are tracks from Double Exposure, The Salsoul Orchestra, First Choice, Instant Funk, Inner Life, Candido and the unisputed Queen of Salsoul Loleatta Holloway. These tracks are a mixture of remixes, twelve inch singles and in the case of First Choice’s Let No Man Put Asunder, a medley of remixes by Frankie Knuckles, Walter Gibbons and Sheb Pettibone, which are then edited by Danny. Edits are something which have played an important role in Danny Krivit’s career. Danny Krivit is famous for his innovative, inventive and imaginative reedits. For any young person thinking of trying to forge a career as a DJ and producer, Danny Krivit should be a role model. owever, for anyone wanting to learn to make an edit, here’s how Danny Krivit started his career,

It was thirty years ago in 1982, Danny Krivit first reedited tracks. This was long before the software packages that are used nowadays. Instead, he’d have to rely on cutting up reel-to-reel tape and patiently, splicing it back together. This was time consuming, laborious work. Like many DJs of that time, these reedits were for using during their sets, not designed for being released commercially. Eventually, Danny was approached by a record company who wanted to release some of these reedits. When these were released on TD Records, Danny decided to use the pseudonym Mr K for the release of the reedits. Two of the tracks were The Chi-Lites’ My First Mistake and the Philly Soul classic from the Philadelphia All Stars’ Let’s Clean Up the Ghetto. Little did Danny know prior to their release, that very soon, these reedits would attain legendary status. However, reedits would play a big part in Danny’s DJ career.

After this, Danny found himself DJ-ing at New York’s Roxy indoor roller skating arena and it was there that Danny decided to try mash-ups. Here, he’d reedit a track and combine two tracks that worked well. This would later influence hip hop DJs and went down well at venues like the legendary Paradise Garage and Roxy. Like his earlier reedits, Danny chose to reedit and mash-up hidden gems and forgotten classics, exposing them to a new, appreciative and much wider audience. Since then, Danny has gone on to reedit numerous tracks, during his long and successful career as a DJ. For anyone wanting to hear some of Danny’s legendary and best edits, then I can recommend two compilations on Strut Records Danny Krivit’s Edits By Mr K and Edits By Mr K-Volume 2: Music of the Earth. Both compilations feature a master craftsman at work, Danny Krivit. 

Now Danny Krivit as most people know is also one of the best DJs in the world today and on My Salsoul Selected and Mixed By Danny Krivit, Danny’s mixing is flawless and peerless. Again, for a young DJ listen and learn. If you use Danny as a role model and can become even half as good as him, then you’ll have a successful career. Another thing Danny Krivit is blessed with is impeccable taste in music. On My Salsoul Selected and Mixed By Danny Krivit he picks fourteen Salsoul classics, of which I’ll now pick the creme de la creme.

Opening My Salsoul Selected and Mixed By Danny Krivit, Danny throughs a curveball straight off. The track that opens his mix is Joe Claussell’s Acapella Remix of Everyman. This was a track from their 1976 album Ten Per Cent, arranged and produced by Norman Harris of the Baker, Harris, Young rhythm section. Just as you start to revel in the powerful, impassioned vocal accompanied by tight, soulful harmonies and percussion, the track’s over. Danny teases you with one minute of the track, before the mix explodes into life.

The explosion is caused by The Salsoul Orchestra’s track twelve inch mix of Getaway. This is a track from their 1977 album Magic Journey, arranged by vibes virtuoso Vince Montana. The track literally bursts into life, with blazing horns, rhythm section, sizzling guitars and a proliferation of percussion. Here, The Salsoul Orchestra are at their very best, fusing funk, soul, jazz, Latin and disco seamlessly. Blazing horns and lush swirling, sweeping strings courtesy of Don Renaldo help power the track along. Earl Young’s drumming is powerful, providing the track’s heartbeat, while Bobby Eli, and T.J. Tindall unleash sizzling, rock-tinged guitar solos. From the opening bars to the closing notes, you’re spellbound, as The Salsoul Orchestra fuses genres seamlessly and peerlessly, and in the process provide a track that’s a dance-floor filler and classic.

Two tracks after the Saloul Orchestra explode into life Danny teases the listener again. He throws in a stonewall classic Instant Funk’s I Got My Mind Made Up. This was a track from their 1979 album Instant Funk. It was Instant Funk’s second album of 1979, and was produced by Bunny Sigler. Sadly, the You Can Get It Girl) (Beat) is only a tantalizing thirty-seconds long. Having said that, it whets your appetite nicely, resulting in you digging out the original, and reveling in seven minutes of Salsoul bliss.

Later in the mix comes another Salsoul classic, one of the creme de la creme. Inner Life’s Moment of My Life was released on Salsoul Records in 1982. The version Danny Krivit introduces is his edit of Shep Pettibone Remix. This was a track from Inner Life’s third and final album for Salsoul Inner Life II. Arranged by Leroy Burgess, who co-produced the track with Greg Carmichael, it features a stunning, diva-esque vocal, full emotion and passion, delivered with power. This is delivered against a backdrop of crunchy drumbeats, percussion, keyboards and the funkiest of bass line, while gospel tinged backing vocalists augment the lead vocal. The tempo is 114 beats per minute and like so many of the Salsoul releases, is just a quality slice of disco, with elements of funk and soul featuring in Leroy’s fantastic arrangement.

Having referred to Inner Life’s Moment of My Life  as a classic, Danny trumps this with a track from the undisputed Queen of Salsoul Loleatta Holloway, where she was transformed from Southern Soul singer to disco diva. One of her greatest tracks in Dreamin,’ a stonewall disco classic. Here she demonstrates just what it took to be a true disco diva. Dreamin’ was a track from Loleatta, her third album, released in 1976, on Salsoul. The song was released in March 1976, and produced by Baker, Harris, Young. Danny chooses a mix where the original track is mixed an acapella version during the second half of the track. In its original form, this track would become a true disco classic. Loleatta delivers a sassy vocal, before vamping her way through the track. With the Salsoul Orchestra accompanying her, everything is in place for a seminal track. Sweeping, swirling strings, Earl Young’s peerless drumming, percussion, Ron Harris’ bass and then Norman Baker’s guitar give way to Loleatta’s impassioned, sassy vocal. From there, Loleatta gives a masterclass of a vocal, accompanied by soulful backing vocalists. Add to that Vince Montana Jr.’s vibes playing and blazing horns that punctuate the track adding drama, and you’ve the recipe for one of the greatest disco tracks of the seventies.

First Choice released their debut album Armed and Extremely Dangerous on Philly Grove Records in 1973. By 1977, they were signed to Norman Harris’ Gold Mind Records and released their fourth album Delusions. It featured two of their classic tracks, Dr. Love and this track Let No Man Put Asunder, both produced by Baker, Harris, Young. Rochelle Fleming’s lead vocal is a sassy vamp, from a true disco diva. The interplay between Rochelle’s and her backing vocalists helps build up the drama and emotion of the track. This she does against a backdrop where the rhythm section, percussion and keyboards combine. For eight minutes Rochelle teases and tantalises with her peerless, sassy vocal as Danny’s edited medlry takes in mixes by three great remixers Frankie Knuckles, Walter Gibbons, & Shep Pettibone Remix’s. So good is Danny’s medley, it’s nearly worth buying the album just to hear it.

The Salsoul Orchestra feature three times on My Salsoul Selected and Mixed By Danny Krivit. 212 North 12th was a track from their 1979 album Street Sense, mixed by Tom Moulton. A powerful, dramatic, diva-esque vocal, drenched in delay opens the track. It’s accompanied by blazing horns, pounding rhythm section, guitars percussion and stabs of keyboards. Backing vocalists and swathes of the lushest strings are added, as the Salsoul Orchestra combine their unmistakable combination of soul, funk and disco. They sprinkle hooks aplenty, while Earl Young and the rest of his rhythm section provide a pounding, dance-floor friendly track, mixed by the Godfather and inventor of the remix and twelve inch single. With personnel like this involved in making the track, it’s no wonder it’s a genuine Salsoul classic.

My final choice from My Salsoul Selected and Mixed By Danny Krivit is Ripple’s The Beat Goes On, with Danny choosing the Jim Burgess 12″ Mix. The track is from Ripple’s only Salsoul album Son of the Gods and produced by Floyd Smith. A combination of Latin percussion, pounding rhythm section, melodic keyboards and the lushest of strings combine brilliantly. Then things get even better when a soaring, emotive female vocal enters. She’s accompanied by backing vocalists, while swathes of strings, percussion and the tight, pounding rhythm section combine with braying horns. It’s a glorious sound, with an uplifting, feel-good sound where Ripple provide you with “sweet music” as The Beat Goes On. So good is the track, that it’s one of the highlights of My Salsoul Selected and Mixed By Danny Krivit. 

My Salsoul Selected and Mixed By Danny Krivit proves that Danny Krivit is a world-class DJ, capable of producing some innovative and imaginative edits of tracks. A case in point is reedit of First Choice’s Let No Man Put Asunder, a medley of remixes by Frankie Knuckles, Walter Gibbons and Sheb Pettibone, which Danny transforms seamlessly into a medley. So good is that one track, it’s almost worth buying My Salsoul Selected and Mixed By Danny Krivit to hear it. However, there’s much more to My Salsoul Selected and Mixed By Danny Krivit than one track. During the compilation, Danny’s mixing is flawless, totally peerless. To me, he’s one of the major league DJs, up there with John Morales et al. Not only that, but Danny Krivit’s one of the best re-editors and remixers. For any young DJ, Danny is a DJ to use as a role model. He’s paid his dues over the years, learning the art of DJ-ing, plus taught himself to edit and remix tracks. When he learnt to edit a track, it was strictly old-school, cutting up reel-to-reel tape and patiently, splicing it back together. Now Danny’s progressed to the major league, remixing tracks for some of the biggest artists in music and playing at the world’s biggest nightclubs. Danny’s also embraced technology, adding VJ-ing to his CV. Unlike other DJs who cling to memories and refuse to embrace technology, Danny Krivit has embraced and mastered technology, using it as another string to his bow. For anyone whose not heard Danny Krivit live, then My Salsoul Selected and Mixed By Danny Krivit is the next best thing. Then to hear his editing skills, stop by your local record shop and pick up Edits By Mr K and Edits By Mr K-Volume 2: Music of the Earth. Both compilations feature a true master at work. Obviously, there are many other Danny Krivit compilations out there, but stick to Edits By Mr K, Edits By Mr K-Volume 2: Music of the Earth and My Salsoul Selected and Mixed By Danny Krivit and you’ll realize why Danny Krivit has enjoyed such longevity and become one of the true giants of DJ-ing, editing and remixing. Standout Tracks: The Salsoul Orchestra Getaway, Inner Life Moment of My Life, First Choice Let No Man Put Asunder and Loleatta Hollway Dreamin.’

MY SALSOUL SELECTED AND MIXED BY DANNY KRIVIT.

MYSTIC MERLIN-MYSTIC MERLIN.

♦ July 15, 2012 ♦ 7 Comments

MYSTIC MERLIN-MYSTIC MERLIN.

Many times, I’ve mentioned how when you’re crate digging in a record shop, desperate for something new to listen to, but finding nothing inspirational, you’ve got to think laterally. One thing I, and many other people I know do, is look for an album cover that stands out. Ideally, you’re looking for something very different, maybe something totally leftfield. Whether it’s something almost psychedelic, striking or downright wacky, then sometimes, you’ll unearth a real hidden treasure. Conversely, the opposite can happen. I’m one of these people that likes to buy a couple of albums a week at least. I remember one time, having searched the usual record stores, I’d found nothing of interest. I was getting quite desperate, needing to feed my need for new music. Then I saw it, an album cover that fitted the bill. The cover was really striking, a mixture of psychedelia, with the members of band dressed in outlandish garb. I’d never heard of the band, but they had a really unusual name. That was even better. Sometimes, a band with an unusual or weird name can prove interesting. Many a hidden gem of an album I’ve found in this way. However, not this time. I took the album home, unwrapped it and played it. What I discovered was an album of excruciatingly unlistenable free jazz, played by a group of musicians who sounded as they’d spent a lifetime smoking twenty jazz cigarettes a day. So my theory fell down that time. Recently, my theory was tested again, when I received Mystic Merlin’s 1980 debut album Mystic Merlin. Here was a group with a great name and a really striking, unusual album cover. Straight away I was intrigued, would my theory of unusual name and album cover equal a hidden gem of an album? Here’s what I found when I listened to Mystic Merlin’s debut album Mystic Merlin, which will be rereleased on 30th July 2012 by BBR Records.

Mystic Merlin were a New York band, formed in the mid-seventies when funk was hugely popular. Bands like Parliament, Funkadelic, Brass Construction, B.T. Express were among the best funk bands of the time. Soon, there would be a new kid on the block, ready to challenge for funk royalty for their crown. However, this was a band with a difference. Formed by bassist and magician Clyde Bullard, guitarist Jerry Anderson, saxophonist and keyboard player Barry Strutt plus drummer Sly Randolph. The name came about because the band used to include magic tricks in their concerts. Chris Bullard was the man with the magic tricks, which gave the band what would now be called a unique selling point. However, with gimmicks like this, sometimes this detracts from the main thing…the music. This wasn’t a new idea, Screaming Jay Hawkins had pioneered this.

Having spent time perfecting their sound in practice studios, Mystic Merlin started playing live. Their combination of funky music and magic tricks drew in a curious audience. Once they heard the music, they were hooked. Soon, the band built up a large, loyal following. Sadly, all wasn’t well behind Mystic Merlin’s magic cloak.

Soon, the group needed a new lead singer. Their original lead singer left the group, so other members would join Mystic Merlin’s Magic Band. Vocalists Betty Brown and Lesley Dorsey who also played keyboards. The final member was Keith Gonzales, vocalist and harmonic player. Now Mystic Merlin’s Magic Band  had the lineup that would eventually record their debut album. With their live shows attracting attention from music fans, record companies also started checking the band out, including Capitol Records.

By the time the band attracted the attention of record companies, two things had happened. One was the band shortened their name to Mystic Merlin and were on the verge of splitting up. Thankfully, the record deal happened just at the right time. Once the contract with Capitol was signed, Mystic Merlin were ready to record their debut album which would become Mystic Merlin.

With a sense of detente, the now settled lineup of Mystic Merlin set about recording their debut album. Producing the album was Charles Kipp, who previously, had worked with Gladys Knight and The Pips, David Ruffin, Melba Moore and Aretha Frankin. The members of Mystic Merlin wrote or cowrote seven songs, which they recorded at New York’s Penny Lane Recording Studios. They brought in four session musicians, including keyboard player Richard Turner, percussionist Oseiku, harpist Corky Hale and Gary Valente to play trombone solos on two tracks. With seven tracks recorded where Mystic Merlin fused funk and soul, which Charles Kipp moulded into their debut album Mystic Merlin was ready to be released in April 1980.

Before Mystic Merlin was released in April 1980, Burned To Learn was released as the lead single in March 1980. It failed to chart however, as did the album Mystic Merlin on its release in April 1980. Worse was to come. The album was dropped in the US, meaning no radio play or promotion. May 1980 saw the release of Just Can’t Give You Up. Sadly, it too failed to chart. However, over in the UK, British music fans discovered the delights of Mystic Merlin. Just Can’t Give You Up reached number twenty in the UK in April 1980. Then in July 1980 Got To Make the Best (Of A Bad Situation), which described Mystic Merlin’s situation, also reached number twenty in the UK. With neither single nor their album Mystic Merlin charting, the members of Mystic Merlin must have been downhearted, despairing at the way their nascent career had turned out. One minute their record company were desperate to sign them, the next Capitol dropped them like the proverbial hot brick. One wonders what would’ve happened if Mystic Merlin had been promoted? Would Mystic Merlin have been more successful. However, did Mystic Merlin’s debut album Mystic Merlin deserve to be promoted more? Was Mystic Merlin an album of quality music? That’s what I’ll tell you, once I’ve told you about the music on Mystic Merlin.

Opening Mystic Merlin is the lead single Burned To Learn, written by bassist Clyde Bullard. Straight away, the sound is funky, but with a real twist. A pounding, funky rhythm section is joined by sinister vocals that laugh uncontrollably. They drop out, sizzling rock-tinged guitars joining, before we hear the song’s main course. Its a fusion of funk and soulful vocals. The vocal is shared, changing hands while equally soulful harmonies augment it. Percussion, the rhythm section, wah-wah guitars and keyboards provide the mainstay of the arrangement, while rasping horns and lush strings add a contrast. It’s an intriguing and compelling combination that grabs your attention. Saying it’s catchy is an understatement. Likewise saying it’s funky does the track a disservice. Best just say it’s a sizzling, irresistible track, with mystical properties.

Don’t You Want To Be A Star is an ironic title, given Mystic Merlin wanted to be stars but their record company weren’t seemingly doing their part. It’s a much more soulful track, with the funky sound of the previous track still present. The lead vocal is emotive, powerful and almost frustrated, while the massed harmonies of Mystic Merlin are soulful in the extreme, Sometimes, they’re dramatic, as if emphasizing their hunger. Searing guitars cascade across the arrangement, with a pounding rhythm section adding the track’s funky heartbeat as keyboards and percussion combine. Wah-wah guitars are added as the track his funk overdrive and the vocalists deliver the lyrics with passion and hunger. While the track is much more soulful, Mystic Merlin don’t forget one vital ingredient funk.

Dreams is a much more downtempo, soulful track. Just guitars, slow drums and swathes of lush strings combine, before a lone wistful horn solo signals the arrival of a heartfelt vocal. It’s delivered with a tenderness and sincerity, while the arrangement has a much more understated, soulful sound. The addition of cascading strings is a masterstroke. Later, backing vocalists add dramatic harmonies, while the vocal grows in power. From there, the track is six minutes of beautiful, heartfelt and dramatic soulful music. Of all the tracks on the album, Dreams is a one of the best, a real hidden gem, one that must be unearthed by many more people.

The title of this track is an accurate description of what’ll happen when you hear it. Can’t Stop Dancing (No Matter What I Do) is a track that’s guaranteed to fill a dance-floor. Mystic Merlin provide an infectiously catchy, funky track blessed with a real uplifting, feel-good sound. From the opening bars you’re hooked. Whoop, hollers, handclaps, bursts of horns and a funky rhythm section accompany a joyous vocal from Lesley Dorsey. Chiming guitars, percussion and a harmonica are added, and all work. Tight joyous harmonies play their part in ensuring you’re spellbound and swept away atop the swathes of lush strings. Resistance is absolutely impossible, you loose yourself in the music and Can’t Stop Dancing (No Matter What I Do).

Layers of slow, lush strings are accompanied by bursts of horns and the rhythm section as the Clyde Bullard penned Dark Side of Your Love begins to reveal its beauty. Here, Keith Gonzales takes charge of the lead vocal, as Mystic Merlin reveal their tender, soulful side. Just a piano, strings, rhythm section and harmonica combine with the heartfelt harmonies. Later flourishes of harp are added as Mystic Merlin demonstrate a very different and quite beautiful side of their music, with another of the highlights of Mystic Merlin.

Got To Make the Best (Of A Bad Situation) has more of a funky and dramatic side to the track, with the rhythm section, chiming guitars, keyboards and percussion combining. Then rasping horns punctuate the arrangement, before the impassioned, powerful vocal enters. It’s accompanied by harmonies delivered sharply, as the rhythm section drive the track along, providing a pounding heartbeat. Swathes of strings add a contrast, as does moody, broody half-spoken vocal. It adds drama, before the arrangement rebuilds, building in drama with the impassioned, powerful vocal at the track’s pounding heart.

Closing Mystic Merlin is Just Can’t Give You Up gave Mystic Merlin a number twenty hit single in the UK, but failed to chart in the US. Given the quality of the track, this seems strange. Punchy harmonies, delivered unaccompanied are joined by melodic keyboards, rasping horns, chiming guitars and a pounding rhythm section. They provide the track’s funky heartbeat, although there’s a jazz-funk sound to the arrangement. Tender harmonies and percussion combine with the rasping horn that drifts above the arrangement. Flourishes of piano, sweet swirling strings and chiming, Chic inspired guitars join, before a deep, impassioned vocal. It’s delivered with emotion, and although it works well, the track would’ve worked as well without a lead vocal. Instead, the harmonies drifting in and out would’ve worked as well, if not better, giving the track a Salsoul sound. Having said that, Mystic Merlin have kept one of their most magical tricks to last with Just Can’t Give You Up.

Sometimes, when you listen to an album like Mystic Merlin’s debut album Mystic Merlin, you can’t believe the album was a commercial failure. From the opening track, Mystic Merlin cast a spell over me. Seven times they weaved their wand, and seven times the result was a quality soul and funk music. Not once did I ever consider skipping a track. Instead, I was listening to track two or three times, so much had I enjoyed them. While Mystic Merlin were a talented funk band, they were even better when they revealed their soulful side. The ironically titled Don’t You Want To Be A Star, Dreams and Dark Side of Your Love let us hear the soulful side of Mystic Merlin and these are three of the highlights of the album. Just Can’t Give You Up sees Mystic Merlin fuse soul, funk and jazz funk, with the track having a slight Salsoul sound. If there was no lead vocal, which wasn’t really necessary, given the harmonies worked beautifully, a great track could’ve been much, much better. Of the other three tracks Burned To Learn was the funkiest on Mystic Merlin, while Got To Make the Best (Of A Bad Situation) was funky and dramatic. Can’t Stop Dancing (No Matter What I Do) was a fusion of funk and soul that resulted in a joyous, uplifting dance-floor track with an infectious feel-good sound. Overall, the seven tracks on Mystic Merlin are an absolute hidden gem of an album, which will be rereleased on 30th July 2012 by BBR Records. For anyone who loves soul and funk music, and wants to either discover or even rediscover Mystic Merlin’s debut album Mystic Merlin, then remember to pick up a copy on 30th July 2012 and let then let them weave a spell over you. Of all the reissues available just now, then Mystic Merlin is one not to miss. It also proved my theory about  unusual name and album cover equaling a hidden gem of an album. Once you’ve put Mystic Merlin, let the them weave their wand and a cast a music spell over you, then believe me, you’ll find you Can’t Stop Dancing (No Matter What I Do). Standout Tracks: Don’t You Want To Be A Star, Dreams, Dark Side of Your Love and Just Can’t Give You Up.

MYSTIC MERLIN-MYSTIC MERLIN.

ARETHA FRANKLIN-ARETHA.

♦ July 14, 2012 ♦ Leave a comment

ARETHA FRANKLIN-ARETHA.

By 1978 and the end of Aretha Franklin’s time at Atlantic Records, her career had stalled, lost direction. She wasn’t enjoying the hits that were a regular feature of her early Atlantic. Granted there were occasional bright spots, with Break It To Me Gently, which although it gave Aretha a US R&B number one single, had very little crossover appeal, reaching a lowly eighty-five in the US R&B Charts. Here 1976 album Sparkle had been certified gold. After that, Aretha’s three albums sold in much smaller quantities. Sweet Passion released in 1977 reached just number forty-nine in the US Billboard 200 and number six in the US R&B Charts. Almighty Fire, released in 1978 proved disappointing, reaching just number sixty-three in the US Billboard 200 and number twelve in the US R&B Charts. This was a long way from albums like Lady Soul, Aretha Now and Young Gifted and Black, which were all certified gold. Worse was to come though. La Diva, Aretha’s 1979 album would be her least successful album since 1964, reaching a number 147 in the Billboard 200 and number twenty-five in the US R&B Charts. Having had seven number one albums in the US R&B Charts, this must have been a huge disappointment for Aretha. What was needed was a new start. Clive Davis head of Arista Records was a man who could make this happen, transforming Aretha’s career to the heights she’d enjoyed during the early years of his career. So, Aretha left Atlantic Records, her home since 1967, signing for Arista in June 1980. Four months later, in October 1980, Aretha released her first album for Arista Aretha, which will be rereleased on July 30th 2012 by BBR Records. Would Aretha see Aretha Franklin’s career get back on track?

Now signed to Clive Davis’ Arista Records, work started on rejuvenating Aretha Franklin’s career. This would be very different from the disco-tinged La Diva, produced by Van McCoy. To help relaunch Aretha’s career, two producers were hired Arif Mardin and a man who’d wanted to work with Aretha for over a decade Chuck Jackson. Arif Mardin had an impressive track record, producing Aretha’s 1974 album Everything I Feel In Me, plus producing The Bee Gees’ Main Course and albums by Bette Midler, Carly Simon, The Average White Band and another soul diva Chaka Khan. While Chuck Jackson hadn’t such an impressive production resume, he was a talented songwriter and experienced producer. With the producers in place, all they needed were some songs to record.

Nine tracks were chosen for what would become Aretha. Chuck Jackson cowrote United Together with Phil Perry, while the pair cowrote Together Again with Aretha, who wrote School Days. Mark Gray wrote What It Is, while there were several cover versions on Aretha. One of these was Can’t Turn You Loose written by Otis Redding. Another was a cover of the Doobie Brothers’ What A Fool Believes, written by Kenny Loggins and Michael McDonald. These tracks would be recorded at The Record Plant in New York.

Accompanying Aretha were a band that included a number of high profile musicians and backing vocalists. This included drummer Jeff Porcaro, bassist Louis Johnson, guitarists Steve Williams and Steve Lukather. David Paich played organ, while trumpeter Michael Brecker, trombonist Barry Rogers trombone and baritone saxophonist Lew Delgatto were part of a horn section. Added to this were a string section plus backing vocalists Cissy Houston, Estelle Brown, Myrna Smith and Hamish Stuart. All these musicians and backing vocalists played their part in the recording of the nine tracks that became Aretha. Would Aretha manage to rejuvenate Aretha Franklin’s career?

On the release of Aretha on October 1980, the album reached number forty-seven in the US Billboard 200 and number six in the US R&B Charts. This was Aretha’s most successful album since 1976s Sparkle. United Together was the first single released in November 1980, reaching number fifty-six in the US Billboard 100 and number three in the US R&B Charts. What A Fool Believes was released in February 1981, reaching number seventeen in the US R&B Charts. Come To Me was the final single released from Aretha, reaching number eighty-four in the US Billboard 100 and number thirty-nine in the US R&B Charts. Over the Atlantic in the UK, What A Fool Believes reached number forty-six in the UK in November 1980, giving Aretha her first top fifty single since Until You Come Back To Me (That’s What I’m Gonna Do). I Can’t Turn You Loose was released in UK in February 1981, but failed to chart. Overall, Aretha had rejuvenated Aretha’s career, but why was that? That’s what I’ll tell you when I tell you about the music on Aretha.

I always think that it’s important that the opening track on an album makes an impact. Although Come To Me is a slow ballad, it features a heartfelt vocal from Aretha. A piano plays, before synths and percussion join, with the rhythm section adding to the track’s drama. Their entrance signals Aretha’s vocal growing in power and emotion. She’s accompanied by the rhythm section, lush strings, percussion and piano, while soulful backing vocalists augment her powerful, passionate vocal. The longer the track progresses, the better it gets, especially Aretha’s vocal. This resulting in the desired impact and momentum any album needs with its opening track, keeping the listener interested and wanting to hear much more.

On Can’t Turn You Loose, Aretha rolls back the years to her Atlantic years, delivering a blistering vocal. The tempo is quick, with the rhythm section, sizzling guitars, percussion and keyboards and accompany by punchy horns. Aretha’s vocal is powerful, laden with emotion and passion, while gospel-tinged backing vocalists accompany her. It’s a storming start to Aretha, with Aretha relishing working with Arif Mardin and such a talented band.

United Together is an intriguing track. Swathes of strings cascade, drums and percussion give the track a big, bold sound, before things settle and Aretha’s tender, heartfelt vocal is accompanied by a slow rhythm section, layers of sweeping strings, piano and guitars. Tender backing vocalists compliment Aretha’s vocal, as does the understated arrangement. Gradually, the arrangement builds up, with Aretha’s voice growing in strength, while strings cascade and the rhythm section add bursts of drama. Key to the track are the arrangement, with the strings and backing vocalists playing important roles in the track’s sound and success.

Take Me With You has a much more contemporary sound, allowing Aretha to deliver her vocal with confidence and a little sass. The arrangement has a bigger sound, which when you listen carefully, is influenced by the Philly Sound. Blazing horns, percussion, keyboards and the rhythm section combine, creating a swinging backdrop for Aretha. Her vocal is strong, confident and sassy. She literally struts her way through the track, backing vocalists adding tight harmonies. Of all the tracks on Aretha, this has the catchiest, hook-laden sound. It’s literally impossible to resist its charms and delights. Why it was only the B-side of United Together seems a missed opportunity.

Like Take Me With You, Chuck Jackson produced Whatever It Is. It’s the polar opposite of Like Take Me With You. The arrangement is much more understated as the track opens, with just a piano accompanying Aretha’s tender vocal. Then Chuck adds rasping horns, the rhythm section and lush strings. To this he adds percussion and keyboards combine, as the track grows in power, becoming much bolder. Good as the track is, and it’s a great track, maybe more tracks like the previous track, would’ve attracted a new audience to Aretha’s music. However, it would take two more years before Luther Vandross achieved this.

What A Fool Believes, originally recorded by The Doobie Brothers is one of these tracks you either like or loath. I’ve never been a fan of music like that. It’s far too AOR. However, with Aretha singing the track, I’ll wipe the slate clean, give her a fair chance. Aretha grabs the track by the scruff of the neck, shaking it out of its AOR stupor. Instead, she injects some much needed soul, delivering the vocal in a way the song comes alive. Her band play their part, injecting a mixture of soul and funk. Keyboards, keyboards, percussion and guitars are combined, with the song sounding looser, delivered with a swing. By the end of the track, I find myself enjoying Aretha’s version, especially with the funky bass-line that dances across the arrangement with a blazing horn, with  Aretha’s version is the best I’ve heard.

Producer Chuck Jackson, Phil Perry and Aretha cowrote Together Again, where Aretha turns back time, demonstrating why she was called the Queen of Soul. Aretha arranged the track, with its gospel tinged backing vocalists, lush strings and punchy, rasping horns that accompany her vocal. That vocal is one of the best on Aretha. It’s vintage Aretha. She fuses power, passion and emotion, with joy, sounding as if she’s enjoying herself, has been reinvigorated. The use of top-class backing vocalists like Cissy Houston really helps the track, their experience transforming a great song into one of the highlights of Aretha.

An almost jaunty, jazzy piano solo opens Love Me Forever, before it’s all change. The rhythm section, guitars and gospel-tinged backing vocalists enter. Blazing horns work well, as do the piano which is key to the arrangement. When rocky guitars make a brief entrance, they seem out of place. Then when blazing horns enter, it’s almost as if they’re trying to overpower the guitars. Thankfully, the guitars drop out, allowing Aretha and her backing vocalists to testify. This they do brilliantly, and with her band help the track to swing gloriously along, as Aretha revisits her gospel roots, albeit with a twist.

Closing Aretha is School Days, written by Aretha herself. It’s just Aretha’s thoughtful vocal accompanied by an understated arrangement comprising just piano and punchy backing vocalists. Then all of a sudden, the track explodes. Aretha’s determined to close the album on a high. Blazing horns, a driving rhythm section, piano and percussion accompany Aretha. Her vocal is powerful and joyous, while backing vocalists and swirling strings accompany her as the track reveals it secrets at breakneck speed. Just as I said the track that opens an album needs to make its mark and grab your attention, the track that closes an album should leave you wanting more. School Days leaves you wanting to hear much more of Aretha Franklin on Aretha.

It seems that the change of record label was just the shot in the arm Aretha Franklin’s career needed. Her career had stalled at Atlantic Records, some people might say stagnated. At Arista, Clive Davis arranged for Arif Mardin and Chuck Jackson to produce Aretha. This can be risky, as different producers have different styles. Using two producers can often result in what sounds more like two mini albums. Not here. Aretha flows along, with a mixture of ballads and uptempo tracks. These tracks see Aretha deliver soul, sometimes tinged with gospel, while other tracks are much more dance-floor friendly. Aretha was just the first step in the rejuvenation of Aretha Franklin’s career. After this came 1981s Love All the Hurt Way then 1982s Jump To It, which was certified gold. Jump To It was produced by Luther Vandrosss, who also produced 1983s Get It Right. Then Aretha’s next two albums were certified gold and platinum. Who’s Zooming Who, released in 1985 was certified platinum, while 1986s Aretha was certified gold. However, Aretha, which will be rereleased on July 30th 2012 by BBR Records was the album that relaunched what was an Indian Summer for Aretha Franklin’s career. For fans of Aretha Franklin, then  Aretha, Jump To It and Get It Right are the best albums of this Indian Summer that Aretha Franklin enjoyed. Standout Tracks: Come To Me, Can’t Turn Me Loose, Take Me With You and Love Me Forever.

ARETHA FRANKLIN-ARETHA.

CHERYL LYNN-INSTANT LOVE.

♦ July 13, 2012 ♦ Leave a comment

CHERYL LYNN-INSTANT LOVE.

When Cheryl Lynn released her eponymous debut album Cheryl Lynn, it contained a single that since then, has become synonymous with Cheryl, Got To Be Real. It reached number one in the US R&B Charts, while her debut album was certified gold. Since then, Got To Be Real has become a disco classic. However, there’s much more to Cheryl’s career than just one song. After this, Cheryl released eight further albums between 1978 and 1989. While Cheryl Lynn reached number twenty-three in the US Billboard 100 and number five in the US R&B Charts in 1978, her next two albums weren’t as successful. Her second album In Love, released in 1979, reached number 167 in the US Billboard 100 and number forty-seven in the US R&B Charts. Two years later, in 1981, In the Night reached number 104 in the US Billboard 100 and number fourteen in the US R&B Charts. For Cheryl’s fourth album Instant Love, which will be rereleased on 30th July 2012 by BBR Records, Luther Vandross was drafted in by Columbia Records to produce the album. Could Luther Vandross, then an up-and-coming producer change Cheryl Lynn’s fortunes on Instant Love?

While Cheryl Lynn had released three albums since 1978, she’d worked with three separate producers. David and Marty Paich had produced Cheryl’s debut album Cheryl Lynn, while Barry Blue produced In Love and Ray Parker Jr, had produced In the Night. This meant there was no continuity, as every producer had their own way of working and sometimes, their own sound. Different producers used different arrangers and musicians. Luther Vandross was no different. By 1982, Luther Vandross had established a reputation as a singer, songwriter and producer. He also had his own tried and trusted team of arrangers, musicians backing vocalists, who he call upon on Instant love.

Luther’s team for the recording of Instant Love, included a number of people he’d worked with before on other projects, including two Aretha Franklin albums Jump To It and Get It Right. This included Marcus Miller and Nat Adderley, Jr. Luther and Marcus would cowrite two tracks on Instant Love, the title-track Instant Love and Sleep Walkin.’ Marcus would also arranged these two tracks with Luther, while playing bass and synths on Instant Love. Nat Adderley, Jr would arrange the other six tracks plus played keyboards and piano. Paul Riser another of Luther’s trusted team, arranged the strings and horns. Joining Luther’s team were percussionists Paulinho Da Costa and Earl “Crusher” Bennet and guitarist Steve Love. Backing vocalists Fonzi Thornton and Michelle Cobbs from Luther’s days singing backing vocals with Chic were among the backing vocalists that would feature on Instant Love when it was recorded. 

The eight tracks that would become Instant Love were recorded at New York’s Media Sound Studios and Los Angeles’ Village Recorders. This included Day After Day written by backing vocalist Tawatha Agee and Say You’ll Be Mine which she cowrote. Ashford and Simpson contributed Believe In Me, while Cheryl and Luther sang a duet on Marvin Gaye’s If This World Were Mine. Cheryl cowrote just one track on Instant Love, I Just Wanna Be Your Fantasy. These tracks, plus the two Luther and Marcus cowrote were recorded by Luther’s band and backing vocalists accompanying Cheryl. However, would Instant Love see an upturn in Cheryl Lynn’s fortunes?

Instant Love was chosen as the first single from the album, and was released in May 1982. It reached number 105 in the US Billboard 100 and number sixteen in the US R&B Charts. When Instant Love was released a month later in June 1982, it reached  number 133 in the US Billboard 200 and number seven in the US R&B Charts. Although Instant Love didn’t fare as well in the US Billboard 200, it nearly matched the success of Cheryl’s debut album in the US R&B Charts. Things improved with the release of the Marvin Gaye penned If This World Were Mine in August 1982, which reached number 101 in the US Billboard 100 and number four in the US R&B Charts. This became Cheryl’s most successful US R&B single since Got To Be Real. Look Before You Leap was the third and final single released from Instant Love, reaching number seventy-seven in the US R&B Charts in December 1982. Overall, Instant Love had seen an upturn in Cheryl Lynn’s fortunes. However, what does Instant Love sound like? That’s what I’ll now tell you.

Opening Instant Love is the title-track and lead single from the album Instant Love. Written by Luther Vandross and Marcus Miller, whose pounding and synths play an important part in the track’s sound along with Nat Adderley Jr’s keyboards. The arrangement mixes soul and funk, while the synths and keyboards add an eighties electronic sound. When Cheryl’s vocal enters, it’s strong and fiery, delivered with equal amounts of passion, emotion and sass. Punchy, soaring backing vocalists match Cheryl’s vocal for drama. Meanwhile the keyboards, synths and rhythm section provide a backdrop that veers between drama and a joyous sound. This means the arrangement is in perfect synch with the vocal, which has Cheryl’s trademark sound and soulfulness. It’s no wonder this track was chosen as the lead single from Instant Love, as it’s one of the highlights of the album.

By the early eighties, Luther Vandross was in his prime as a songwriter, and Sleep Walkin’ demonstrates this. Chery’s vocal is laden with confidence as she struts into the track, with the rhythm section, guitars and percussion accompanying her. Tight, soaring backing vocalists enter, adding to the energy of the track. Soon, Cheryl’s vocal is more considered and thoughtful, displaying a tenderness.The arrangement takes on a similar understated sound, meandering along with keyboards, funky bass and chiming guitars combining. Later, Cheryl finds her earlier sassiness, feeding off the bursts of soulful backing vocalists. From there, the track veers between its two sides, with Cheryl teasing and tantalizing the listener. Why a track as good as this wasn’t released as a single seems amazing.

On Day After Day written by Tawatha Agee, a very different, but soulful side of Cheryl Lynn is introduced. Here, Cheryl delivers a beautiful ballad, her voice tender but impassioned and emotive. Key to the track’s sound and success are lush, cascading strings arranged by Paul Riser. They’re augmented by Nat Adderley Jr keyboards and percussion, while Steve Ferrone’s drum’s provide the track’s slow, beautiful heartbeat.

Look Before You Leap sees Cheryl up the tempo, delivering the track with confidence, strutting her way through the track. Her vocal is stronger and sassier, accompanied by a dance-floor friendly arrangement. The rhythm section, with Marcus Miller’s bass at its heart combines with guitars, keyboard and synths providing a backdrop that swings along. Meanwhile, Cheryl sounds as if she’s having a ball. Her vocal’s a mixture of power, passion and poise. As she struts her way through the lyrics, she and her band trail hooks aplenty in her wake.

Marcus Miller’s unmistakable bass opens Say You’ll Be Mine, another uptempo track. While Marcus and the rest of the rhythm section provide a funky, dance-floor friendly backdrop, Cheryl’s soulful vocal is accompanied by swathes of strings. Cheryl powerful vocal is accompanied by backing vocals, which Cheryl contributes. With the lushest of strings dancings, percussion and breathy backing vocals accompanying Cheryl, she delivers a vocal that’s impassioned and powerful. Not only that, but she demonstrates that whether ballads or dance-floor friendly tracks, Cheryl Lynn can deliver them just as well.

I Wanna Be Your Fantasy is the only track on Instant Love that Cheryl cowrote. Her breathy, sensuous vocal is accompanied by a funky rhythm section, chiming guitars and light, elegant percussion from Paulinho Da Costa. Providing a contrast are occasional dark synths and keyboards. Tender backing vocalists accompany Cheryl, complimenting her vocal and sit well with the rest of the arrangement from Nat Adderley and Luther Vandross. They provide the perfect backdrop for Cheryl’s breathy, sensual vocal, with the use of percussion from Paulinho Da Costa an absolute masterstroke.

Ashford and Simpson were one of the best songwriting partnerships of the last fifty years, writing many classic tracks. Believe In Me is one of their tracks, with a quite beautiful, understated arrangement accompanying Cheryl’s impassioned and emotive vocal. It’s just piano and lush strings that accompany her vocal. It isn’t every vocalist who can successfully deliver a vocal against such an understated arrangement, but here, Cheryl does so beautifully, showing us another, very different side to Cheryl Lynn.

Closing Instant Love is Marvin Gaye penned If This World Were Mine, where Cheryl sings a duet with Luther Vandross. This gave Cheryl her most successful US R&B single since Got To Be Real. Luther’s vocal opens the track, with just Marcus Miller’s bass, percussion and keyboards accompanying his heartfelt vocal. Guitars and the rhythm section enter, playing subtly. When Cheryl’s vocal enters, it’s tender and heartfelt, with swathes of strings accompanying her. Soon, you’re spellbound, spellbound at the beauty of the arrangement and their heartfelt vocals. Their vocals sit well together, one complimenting the other. The finishing touch is Luther and Nat Adderley’s beautiful, understated and lush sounding arrangement. This is the perfect way to close Instant Love.

Instant Love is quite an unusual album. The reason for this is that there isn’t a bad track on the album. This is unusual on any album. Usually, there’s always one track that doesn’t quite work. Not here. From the title-track Instant Love penned by Luther Vandross and Marcus Miller, who also cowrote Sleep Walkin,’ the quality keeps on coming through the next six tracks, right up to If This World Were Mine, written by Marvin Gaye. These six tracks are a combination of ballads and dance-floor friendly tracks. On each track, Cheryl’s vocals range from tender to powerful, with each track delivered with a mixture of emotion and passion. Cheryl brings out the subtleties and nuances of the lyrics, sometimes, leaving you absolutely spellbound. She’s accompanied by a band featuring some of the most talented musicians Luther Vandross knew. While they played an important part in the Instant Love’s success, the backing vocalists played just as important a part, if not more. They fed of Cheryl, while she fed of them, adding to the energy and drama of the music. All this makes Instant Love the best album Cheryl Lynn released since her debut album Cheryl Lynn. Although her two previous albums In Love and In the Night were good albums, Instant Love surpasses them. Key to this was Luther Vandross’ production skills, plus Marcus Miller and Nat Adderley Jr’s arrangements.  Luther’s production style was slick and polished, much like the The Chic Organization who he’d learned so much from, during his time singing backing vocals for Chic. During this time, Luther Vandross was one of the best producers around, responsible for producing some really successful albums, including Aretha Franklin’s Jump To It. To this list, add Cheryl Lynn’s Instant Love, which will be rereleased on 30th July 2012 by BBR Records. To me, Cheryl Lynn and Luther Vandross were the perfect fit. After Barry Blue and Ray Parker Jr, Cheryl had found the producer she’d been looking for. This spurred Cheryl on to greater heights of soulfulness. That’s why there isn’t a bad track on Instant Love and why the album proved more popular than her two previous albums In Love and In the Night. Standout Tracks: Instant Love, Sleep Walkin,’ Day After Day and Believe In Me.

CHERYL LYNN-INSTANT LOVE.